Orson Welles, meanwhile, rolled up his sleeves and sashayed his way into this filthy Mexican-border policier with a much-imitated crane shot. But the film doesn’t rely entirely on movie magic: parts of the movie are truly composed of massively long takes. Whenever you first see this shot, in Mikhail Kalatozov’s electrifying paean to the Castro revolution, it’s impossible not to wonder how on earth they did it. Well, Alejandro González Iñárritu's Birdman was made to look as though it was filmed in one shot. The shot wasn’t so very hard to achieve – it took eight takes, not even a single day’s shooting. It was written by Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Jr., and Armando Bo.

And then, somehow, impossibly, the camera drifts further, right out of the window, into mid-air, mid-street, gliding far above the heads of the massed mourners. Welles was a whiz with crane shots – there are plenty in Citizen Kane and The Magnificent Ambersons – but this is his showiest and most celebrated. It obviously wasn't, but making it look like it was must've been no small feat for the filmmakers, namely the film's world-class DP Emmanuel Lubezki and editors Douglas Crise and Stephen Mirrone. https://www.telegraph.co.uk/film/birdman/five-greatest-long-takes-in-film The motion is bird-like, but it doesn’t so much fly down the street as float, for what feels like a small but miraculous eternity. Russian Ark (90 minutes) Aleksandr Sokurov’s dazzling, oneiric journey through the Russian State … The camera starts low on a Havana street, backing away from a vast funeral procession while Ravel’s Pavane pour une infante défunte plays out. I thought of myself as a tour guide driving a bus.”We rely on advertising to help fund our award-winning journalism.We urge you to turn off your ad blocker for The Telegraph website so that you can continue to access our quality content in the future.Alfred Hitchcock watches the filming of Rope, which gave the illusion of being shot in one take
This riding-in-a-car sequence is the centrepiece of Alfonso Cuarón’s post-apocalyptic survival parable, and somehow trumps even that Gravity opener, despite being much shorter. It’s a faux pas Brian De Palma certainly made with the fast-fading Snake Eyes (1998), which at least makes a virtue of its bravura beginning by constantly referring back to it later. And the second is that the showoffiness completely makes sense in context.

But his cinematographer, Emmanuel "Chivo" Lubezki, 50, who won an Oscar in March for Gravity, reveals to THR that the longest take in Birdman actually lasts …
It drifts across the street to the facing building and ducks inside, passing down ranks of textile workers as they relay a Cuban flag to the back window and unfurl it above the crowd. A whole system of cranes and cables was required, but imagining the logistics of this is much less interesting than simply giving in to it – when you’re beholding what feels like the journey of a soul in flight, the last thing you want to do is prod it and ask for directions.When we talk about a Scorsese shot, this is what we mean. The chest-puffing urge of directors to outdo each other in this department was exemplified 34 years later by the wink-wink opening of Robert Altman’s The Player, a self-conscious riff on this shot which backs out into a studio car park, chooses many of the same angles, and triples it in length.If any further proof were needed that Oscar-winning Mexican cinematographer Emmanuel Lubezki is the go-to man for dizzyingly complicated long takes as integral components of your movie, here it is in purest form. An award-winning team of journalists, designers, and videographers who tell brand stories through Fast Company's distinctive lensOur annual guide to the businesses that matter the mostLeaders who are shaping the future of business in creative waysNew workplaces, new food sources, new medicine--even an entirely new economic systemTo make this work, the director and cinematographers had to get really creative, utilizing tricks like time lapse and dark spaces for cuts between scenes. Cuarón noticed blood splashing onto the camera lens, and yelled “Cut!” halfway, but luckily the sound of an explosion drowned him out. Of course, he only had one room: the master filmmaker Alexander Sokurov moved through entire eras with his film Russian Ark, which only utilized a single shot. It’s hard to believe how nimbly the camera manages to weave its way between and among them – something called a Two Axis dolly rig, allowing the camera to swivel and rove within the car’s interior, was specially constructed do it. Their work paid off: Many comparable set-pieces, such as the Dunkirk sequence in Atonement (2007), or the 360º tank turret shot in Dawn of the Planet of the Apes (2014), can feel like ostentation for its own sake. There are two main reasons it works so well. Then it glides upwards to balcony level and higher, to a rooftop with wrought-iron curlicues, as flowers are thrown down on the throng below.

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