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<ul class="summary-list"><li><keyword id="12759817" type="UNKNOWN" weightage="60" keywordseo="george-mackay" source="Orion">George MacKay</keyword> plays Jacob, a man with "species dysphoria" in the new film "<keyword id="12759818" type="UNKNOWN" weightage="60" keywordseo="wolf" source="Orion">Wolf</keyword>."</li><li>MacKay told Insider he spent months "crawling around and howling" like the animal for the role. </li></ul>Warning: Spoilers ahead for the ending of "Wolf."<a href="https://www.insider.com/1917-military-advisor-reminds-stars-take-care-of-their-feet-2019-11">George MacKay said that his character</a> in "Wolf" is at his "most true and wild self" when he's naked in the forest. The <keyword id="11897475" type="UNKNOWN" weightage="60" keywordseo="movie" source="Orion">movie</keyword>, released December 3, tells the story of Jacob, who has "species dysphoria" and believes he's a wolf trapped in a man's body.Jacob often crawls around on all fours and howls at night. His parents send him to a treatment facility run by a strict doctor (played by Paddy Constantine) where he meets other patients with species dysphoria, <a href="https://www.insider.com/johnny-depps-daughter-lily-rose-2016-5">including Wildcat (played by Lily-Rose Depp)</a>.In the opening scene, viewers find a naked Jacob wandering around in the forest as struggles to distance himself from his "wolf self." Speaking with Insider ahead of the film's release in November, MacKay explained that the sequence with Jacob in the forest wasn't initially going to be the movie's first scene. The idea to start the film there came about when he was "rehearsing" his "wolf movement" and he "was crawling around with my shirt off."The director Nathalie Biancheri, he continued, decided to have that be the opening because it's a great introduction to his character and also because "there's something really powerful about seeing a naked human body in the wild.""It suddenly feels kind of right. This makes sense because that's how Jacob would be and how he wants to be," MacKay said. "And so it felt important that was seen in the film."He added: "It just introduces you to where Jacob feels himself. It helps you to know Jacob, because you see him at his truest form, you meet him at his most true and wild self. And then you can, therefore, understand the struggle."<div type="image" title="George MacKay in &quot;Wolf.&quot;" height="2250" width="3000" msid="88348076" hostid="261"></div>MacKay as Jacob is seen doing this "wolf movement" throughout the movie, often at night when there's no one around to shame him for doing so. He told Insider that he worked with a movement coach and watched "a ton of videos of wolves" to workshop his crawl. <a href="https://www.insider.com/qa-sam-mendes-on-making-1917-in-one-long-take-2019-12">The "1917" actor</a> explained that he started his transformation into playing a wolf in a man's body by doing "meditative exercises" that helped him get into "the mindset of the animal" while letting go of the socialization "that makes us human."During the pandemic, MacKay said he "crawled around for months and months and months every day, just working on all the movements and working on the howl.""Suddenly, all those things that felt difficult suddenly just felt more comfortable," he said. "I always thought that was essential because his wolf state is where Jacob feels most at home, where he feels right.He added that his goal was for Jacob "to look legitimately comfortable in that position rather than struggling around."<div type="image" title="George MacKay in &quot;Wolf.&quot;" height="2056" width="2742" msid="88348077" hostid="261"></div>The movie ends exactly how it started — with Jacob back in the forest after a tense scene where he escapes from the facility.Wildcat, his closest friend and love interest, tries to run away with Jacob but ultimately cannot follow through on the plan. As the credits start rolling, Jacob's future remains uncertain. During his chat with Insider, MacKay said he was drawn to "the imperfection of the ending."He hopes the movie "demonstrates being true to yourself and for all that it costs," especially taking into account the uncertainty Jacob faces by venturing out into the forest alone. As for where he thinks his character ultimately ends up, he guesses that, in the end, Jacob will go "further and further into his wolf self.""It's double-edged in that there's a real triumph in him going the way that he goes, but also a sadness in what he leaves," MacKay said.

'Wolf' star George MacKay spent months 'crawling around and howling' to get into character as a man with 'species dysphoria'

<ul class="summary-list"><li><keyword id="11948110" type="UNKNOWN" weightage="60" keywordseo="pierce-brosnan" source="Orion">Pierce Brosnan</keyword> says Regé-Jean Page would be a "wonderful" choice for the next <keyword id="11918058" type="UNKNOWN" weightage="60" keywordseo="james-bond" source="Orion">James Bond</keyword>.</li><li>Brosnan played the iconic spy for four movies, including "Goldeneye" and "Die Another Day."</li><li>The "<keyword id="12012626" type="UNKNOWN" weightage="60" keywordseo="bridgerton" source="Orion">Bridgerton</keyword>" star has been a favorite to take on the role.</li></ul>Pierce Brosnan, who played the role of James Bond in the late 90s, recently said that "Bridgerton" star Regé-Jean Page would be a "wonderful" choice for the next bond.Page is currently a favorite to take on the role after his performance in "Bridgerton," which premiered last year on Netflix. A source for <a href="https://pagesix.com/2021/08/26/bridgerton-star-rege-jean-page-still-the-favorite-for-next-james-bond/">Page Six</a> said the actor is in the running alongside <a href="https://www.insider.com/henry-cavill-was-told-wasnt-lean-enough-for-james-bond-2021-8">Henry Cavill</a> and "1917" star George MacKay."Bond" fans have been speculating who will be the next person to take on 007 after the current Bond, <keyword id="11898344" type="UNKNOWN" weightage="60" keywordseo="daniel-craig" source="Orion">Daniel Craig</keyword>, <a href="https://www.bustle.com/p/daniel-craig-confirmed-no-time-to-die-is-his-last-james-bond-movie-19378604">said in 2019 that the upcoming</a> "No Time To Die" will be his last time as the iconic spy.Craig's predecessor, Brosnan, who played Bond in four franchise films, including "Goldeneye," gushed about Page when asked by <a href="https://www.etonline.com/media/videos/pierce-brosnan-reacts-to-rege-jean-page-james-bond-rumors-exclusive-171266">Entertainment Tonight</a> what he thinks of the "Bridgerton" star stepping into the role. <div type="image" title="bridgerton rege jean page duke of hastings" height="2091" width="2788" msid="85900294" hostid="261"></div>"I think he would be wonderful," Brosnan added while promoting <a href="https://www.insider.com/billy-porter-cinderella-genderless-fairy-godmother-2021-8">his upcoming movie "Cinderella."</a> "Good luck, good luck."Despite the support, Page has been recently <a href="https://www.insider.com/rege-jean-page-james-bond-rumors-response-interview-bridgerton-2021-1">shutting down rumors</a> about him being the next Bond.He told <a href="https://www.gq-magazine.co.uk/culture/article/rege-jean-page-interview">GQ</a> earlier this week: "Well, of all the things you'll read about yourself on the internet, it's one of the more pleasant and more flattering. But I take it and leave it at that, personally."But Brosnan has other men in mind for the role. In June, the actor also raised the idea that Tom Hardy or Idris Elba could take on the mantle."Idris is such a powerful presence and such a great former voice tensity," the 68-year-old actor told <a href="https://people.com/movies/pierce-brosnan-admits-being-asked-who-should-play-james-bond-next-is-sometimes-wearisome/">People. </a>"He would be magnificent. There's Tom Hardy out there as well. Tom can really chew the furniture up, just be a ball boy - both men can."Sadly though, Elba <a href="https://www.vanityfair.com/hollywood/2019/06/idris-elba-cover-story">told Vanity Fair</a> in 2019 that he's not interested in taking the role either."No Time To Die," starring Craig, hits theaters October 8.

'James Bond' legend Pierce Brosnan says 'Bridgerton' star Regé-Jean Page would be a 'wonderful' choice for the iconic role

<div class="KonaFilter image-container display-table"><div><div class="image"></div></div></div><ul class="summary-list"><li>"1917" is set during World War I and follows two British privates who have to travel behind enemy lines to deliver an important message to their allies.&#xa0;</li><li>Director Sam Mendes made the movie so that it feels like it was done in two long continuous shots.</li><li>The movie is an emotional thrill ride that needs to be seen on the big screen to be fully appreciated.&#xa0;</li><li><a href="https://www.businessinsider.com/?hprecirc-bullet">Visit Business Insider's homepage for more stories</a>.</li></ul>&#xa0;War movies are one of the hallmarks of the moviemaking business. Since the advent of the moving image, storytellers have been so captivated (and horrified) by the sights that they consistently make movies about the topic.Sam Mendes ("American Beauty," "Jarhead," "Skyfall," "Spectre") is the latest to take on the genre and has done it with a masterful hand in the epic "1917" (in theaters Christmas day).Inspired by stories told to him by his grandfather, who fought in World War I, Mendes takes the hugely ambitious task of telling the movie so it feels like it's done in two long continuous shots.Clearly a personal project for Mendes, who has a screenwriting credit for the first time in his career (sharing it with Krysty Wilson-Cairns), "1917" stands out in the war story genre for its pristine execution from all departments: production design, costume, visual effects, score, and especially photography.Shot by legendary cinematographer Roger Deakins, marking his fourth time collaborating with Mendes, the movie has all the makings of becoming one that will define Deakins' storied career (and will likely earn him the second Oscar of his career).The camera really is the star of the movie - no offense to any of the actors. But the artistry of how this movie is photographed will be marveled over for decades to come.Take the opening of the movie, in which British privates Blake (Dean-Charles Chapman) and Schofield (George MacKay) are told to report to the General. The shot is of the two soldiers getting some shut-eye by an open field. As the scene progresses, that shot becomes narrower and narrower as more things fill in both sides of the frame. With the camera pointing at the characters and moving backwards, we can't see what is coming at them. But as we watch the pair walk and talk, things around them begin to reveal what they are a part of. Walking ten yards or so, we see more and more soldiers resting and interacting. And then things become even narrower as the duo walk into a huge trench to get to the General.That's just one example of how the movie being shot continuously brings loads of surprises, and with Deakins as DP is gorgeous to watch. &#xa0; In "1917," Blake and Schofield are ordered to hand deliver a message to their allies in enemy territory. 1,600 men, including Blake's brother, could all perish if the privates don't get the message to the leader of the battalion. &#xa0;The movie then becomes an intense race against time that includes a harrowing march through No Man's Land, a Germain occupied town, and more trenches.There is only one blatant cut in the movie. It occurs following a dramatic moment when the screen goes black. Other than that, there is no break in the action which makes it impossible for the audience to catch a breath (and fun to try to catch where the other edits in the movie actually take place). There are a couple of moments when things drag on for a beat too long, but other than that the movie is an emotional thrill ride.And I can't stress enough that you should see this movie on the big screen. There is so much going on in the frame all the time, you want to feel fully immersed in it.There are moments in the movie that are hard to watch, in regards to gore and violence, but in no way does it go the level that, say, "Saving Private Ryan" does. Mendes mixes the horrors of war with some touching moments that show even in darkness there's hope. That can range from Schofield aiding a mother and baby by giving them his canteen (filled with milk), to a soldier singing to his platoon before they go into battle. Mendes and Wilson-Cairns discovered both of these true instances when researching for the script.This is certainly a movie that's going to stay with you for some time after watching it.&#xa0;<div></div>

'1917' is a bold war movie whose striking cinematography demands to be seen on the big screen

<ul class="summary-list"><li><keyword id="42076" type="PERSON" weightage="60" keywordseo="Viola-Davis">Viola Davis</keyword>' <keyword id="5962" type="ENTERTAINMENT" weightage="60" keywordseo="Vanity-Fair">Vanity Fair</keyword> cover was the first to be shot by a Black photographer in the magazine's 37-year history. </li><li>Photographer Dario Calmese told Insider that he knew the cover was "an opportunity to say something." </li><li>"I knew this cover had to be unabashedly Black," he said. "Unabashedly myself and my history, unabashedly Viola and her history." </li><li>Calmese wanted his portrait to celebrate Davis and subvert the white gaze that has long controlled how Black stories are portrayed. </li></ul>As <a href="http://www.dariocalmese.com/">Dario Calmese</a> was photographing <a href="https://www.insider.com/viola-davis-regrets-the-help-criticism-racism-2020-7">Viola Davis on set</a> — her back turned to him, exposed in a backwards, unbuttoned MaxMara dress — he knew he had captured something special. "I knew this was an opportunity to say something," Calmese told Insider. "It's <a href="https://www.insider.com/instagram-artists-black-lives-matter-2020-6">my own form of protest</a>."<h2>The cover image of Viola Davis, for <a href="https://www.vanityfair.com/hollywood/2020/07/cover-story-viola-davis">Vanity Fair's July issue</a>, is a historic one</h2>Dario Calmese is the first Black photographer to shoot the magazine's cover in its 37-year history.<div type="image" title="viola davis vanity fair" height="2718" width="2000" msid="76988354" hostid="261"></div>"I knew this cover had to be unabashedly Black," he said. "Unabashedly myself and my history, unabashedly Viola and her history." Calmese says he found inspiration in images from the past, specifically in "The Scourged Back." The 1863 portrait of a runaway slave named Gordon was taken after he found refuge in a camp of Union soldiers, according to <a href="https://www.metmuseum.org/art/collection/search/302544">The Metropolitan Museum of Art</a>. Published that year in Harper's Weekly, the image — which shows his back turned to the camera, his scars on display — became one of the most famous portraits of enslaved people during the Civil War.On the Vanity Fair cover, Davis holds the same pose with her hand on her waist, face in profile, and back exposed. But Calmese didn't want his photo to just be a re-creation. He wanted his portrait to celebrate Davis, and subvert the white gaze that has long controlled how Black stories are portrayed. "It's definitely not some, 'Oh, look how far we've come,"' he said. "This reference image, for me, it's one that reimagines but also transmutes that pain. It's the transmuting of this gaze, and owning ourselves and owning our own beauty." "Viola not only owned the image, she imbued it with a strength and a power," Calmese added. "Even though her back is towards the camera, you can tell she is not to be messed with."<h2>Coming on the heels of both the <a href="https://www.businessinsider.com/conde-nast-employees-racist-video-vetting-process-lizzo-megan-stallion-2020-7">reckoning at Condé Nast</a> and the <a href="https://www.insider.com/protesters-have-turned-white-house-fence-into-memorial-2020-6">ongoing Black Lives Matter protests</a>, the timing may seem intentional</h2>Calmese says he discovered he was Vanity Fair's first Black cover photographer at the same time as the magazine. "This was not a reactionary moment," Calmese said. "I started shooting for them a year ago and we did the cover."After he photographed high-profile stars like Billy Porter, George MacKay, and Adrienne Warren for the magazine, Vanity Fair asked if Calmese would shoot Davis' issue. As he began envisioning the shoot, Calmese wanted to find past covers that had been done by Black photographers, but when the editors dug through the archives, the photographer said they found that no one had preceded him. Radhika Jones, Vanity Fair's editor-in-chief, wrote in <a href="https://www.vanityfair.com/style/2020/07/radhika-jones-on-icons-fame-and-evolution">her editor's letter</a> that "to the best of our knowledge" Calmese was the first Black photographer to receive the cover.<div type="image" title="dario calmese" height="3000" width="2000" msid="76988357" hostid="261"></div>In the same letter, Jones wrote that Vanity Fair only had 17 covers that featured Black people from 1983 to 2017. Since she took the helm two-and-a-half years ago, the magazine has had 10 Black cover subjects. "It is my job, and the magazine's job, to center people who are visionaries, who are moving the culture forward," she wrote.Calmese has worked hard to do the same in his own career, shining a light on Black voices through the fashion shows that he directs for designer Kerby Jean-Raymond and the creatives that he hosts <a href="https://anchor.fm/blackimagination">on his podcast,</a> "Institute of Black Imagination." <h2>Calmese felt he owed it to Davis and all Black women to 'render her as aesthetically honest and beautiful as possible'</h2>"These women are existing and are living full lives," Calmese said of Black women. "But, because of an industry machine that's flattened and reduced, they never see themselves reflected in this place.""I am flesh and blood and I am living and thriving and I am sexy and beautiful and yet, I don't see myself reflected anywhere. It's like being a vampire," he said.In her interview with Vanity Fair, Davis discussed how she saw a "real absence of dark-skinned Black women" on magazine covers. "They've had a problem in the past with putting Black women on the covers," she said."When you couple that with what's going on in our culture, and how they treat Black women, you have a double whammy," she added. "You are putting us in a complete cloak of invisibility." <div type="image" title="dario calmese" height="3000" width="2000" msid="76988359" hostid="261"></div><h2>Calmese's cover comes amid criticism <a href="https://www.insider.com/simone-biles-vogue-cover-photos-photographer-backlash-2020-7"></a><a href="https://www.insider.com/simone-biles-vogue-cover-photos-photographer-backlash-2020-7">surrounding Simone Biles' July cover for Vogue</a> by Annie Leibovitz </h2>Many on Twitter said the lighting in the photos did little to accentuate Biles' skin tone. "Annie has a very specific way of shooting which I personally love," Calmese said. "But maybe it doesn't always work on everyone. We have to be present to the moment that we're in, and service the people that we are working with." "Though I'm Black and queer, I'm still a cis male and so I still have my own blind spots. I wanted to make sure I was rendering Black women in a way they want to be seen," he added, noting that he looked to the work of Black female artists like Alma Thomas, Lorna Simpson, and Carrie Mae Weems "to see how they were representing themselves." Calmese also ensured that Davis' skin was not lightened in post-production. <keyword id="108439" type="PERSON" weightage="60" keywordseo="magazines">Magazines</keyword>, he said, "lighten and brighten everything, it doesn't matter who it is. But I had them bring her skin back down. This is a time for all of us to question what we take as standard, to question the way we've always done it."While his cover may be historic, Calmese said there is one very important thing to remember: "Although I'm the first Black photographer who shot the cover for Vanity Fair, I'm not the first Black photographer who could have shot a cover for Vanity Fair."Representatives for Vanity Fair and Viola Davis did not immediately respond to Insider's request for comment.<ul class="read-more-links"><li>Read more:</li><li><a href="https://www.insider.com/viola-davis-regrets-the-help-criticism-racism-2020-7">Viola Davis reveals more about why she regrets starring in 'The Help' and how it feels like a self-betrayal</a></li><li><a href="https://www.insider.com/simone-biles-vogue-cover-photos-photographer-backlash-2020-7">Fans are applauding Simone Biles' Vogue cover story, but many argue her photos are proof that magazines need to hire Black photographers</a></li><li><a href="https://www.insider.com/instagram-artists-black-lives-matter-2020-6">Meet the artists behind the powerful Black Lives Matter artwork being shared across social media</a></li><li><a href="https://www.insider.com/british-tabloids-finally-acknowledged-meghan-markles-racism-struggle-2020-6">The British tabloids have finally acknowledged Meghan Markle's struggle with racism — but they're 6 months too late</a></li></ul>

The photographer behind Viola Davis' historic Vanity Fair cover says it was his form of protest

Universal(L-R) Cinematographer Roger Deakins and director Sam Mendes on the set of "1917."<ul class="summary-list"><li>"1917" marks the 15th movie for which cinematographer Roger Deakins has been nominated for an Academy Award.</li><li>Business Insider spoke to Deakins about how the weather was a major challenge in pulling off the movie's unique continuous single shot visual. </li><li><a href="https://www.businessinsider.com/?hprecirc-bullet">Visit Business Insider's homepage for more stories</a>.</li></ul>Roger Deakins has dazzled moviegoers for decades with visuals that have gone on to become the most memorable in modern film history.The frigid vistas in "Fargo," the dreamy Western plains in "The Assassination of Jesse James by the Coward Robert Ford," the gritty underground world of drug cartels in "Sicario," and the washed out future in "Blade Runner 2049" (which finally earned him his first-ever Oscar), all came from Deakins.It's hard to imagine he could do anything that would top this legendary body of work.But he has with "1917."Marking Deakins' latest collaboration with Sam Mendes (the two worked together on "Jarhead," "Revolutionary Road," and "Skyfall"), the story follows two British soldiers during World War I who have to travel behind enemy lines to deliver a message that will stop 1,600 of their allies from walking into a trap. And in telling that story, Deakins makes it feel like the entire movie is done in one continuous shot.The hugely ambitious idea paid off. The movie, currently in theaters, has found critical acclaim, <a href="https://www.businessinsider.com/1917-movie-weekend-box-office-with-over-36-million-2020-1">box-office glory</a>, and award-season praise as it won three Golden Globes (including best director for Mendes and best drama) followed by 10 Oscar nominations.Warner Bros."Blade Runner 2049" is the only movie for which Roger Deakins has won an Oscar.Among them was Deakins for best cinematography, the 15th time he's been nominated.If you were looking for a sure bet this Oscars, it's that Deakins will take home his second Oscar when the awards are handed out on February 9. But don't count on the man himself to get too excited.The 70-year-old Englishman has been the frontrunner too many times before, only to leave empty-handed, to listen to any Oscars handicapping. In fact, he's so modest it's hard to get many details out of him on how he actually pulled off the ambitious shooting technique that has become the biggest draw of the movie."We had a lot of prep and we could just work through all the problems," he said in a laid-back tone to Business Insider hours after the Oscar nominations were announced on Monday.But finally he let out something that did scare him. It was something that even a legend like himself, who has come across seemingly every scenario behind the camera, could not control: the weather."That was a bit tricky," he said, with just the hint of dry English humor.Most of "1917," which takes place over two days, is shot over grey skies. The gloom adds to the despair of the story's war-torn surroundings. But Deakins said it was also a choice he kept pushing for early on in preproduction."Just practically we had to shoot in cloud," he said, looking back. "Either you shoot it in real time, at the right time of day, which you never do unless you have months and months of time. Or you shoot in cloud and time it to look that way."Universal"1917."Knowing most of the filming would be done at Shepperton Studios in Scotland, the movie's production office looked up what the weather was in the area the year before at the time they were going to shoot. Deakins was disappointed in the answer: "Apparently it was gorgeous."But the movie moved forward, which included Deakins and his team rehearsing the shots constantly with the small, light-weight cameras made especially for the movie from Arri Alexa.Everyone was ready when the first day of shooting came in April of last year, but there was one problem."There wasn't a cloud in the sky," Deakins said. "It certainly made me anxious."While producers were on the phone explaining to the studio, Universal, and financiers why they couldn't begin production because the weather was too nice, Mendes, Deakins, and the rest of the actors and crew were back to rehearsing in the trenches made for the movie.Thankfully, the second day was a cloudy one and production was able to get back on track as they also made up the previous day's shooting. Deakins said that's how it was for most of production. If clouds weren't in the forecast, everyone waited around until the day came when there was - and then everyone doubled their efforts to stay on schedule."We would literally stand around for hours waiting for a cloud to come by," Deakins said. "I had five different weather apps on my iPhone. Every radar I could get. You look at them and try to find the one that will tell you what you want."Francois Duhamel / Universal Pictures and DreamWorks PicturesShooting a scene from '1917.'Then the day came when he wanted some sun. At the end of the movie, for a shot where the movie's lead, Schofield (George MacKay), is sitting by a tree, Deakins said he wanted the shot to show some rays of sunlight in the sky."There was this little cloud coming over the sun so before we shot that section we called everyone over and said, 'Let's shoot it, we might get lucky,' and sure enough when it got to the end of the take the sun came out," he said."That was the first take," Deakins continued, with a certain pride he didn't show earlier in our conversation. "We shot it another fifteen or twenty times, but Sam liked that first one. And it was the only one where the sun came out. We never got that again."Looking back on the experience, Deakins said he would be up for shooting a movie again like this - though he wonders if anyone would want to."I don't think many directors would want to tell the story in that way," he said. "But it doesn't scare me off at all. It would be quite fascinating to do it on something else."It's good to see that even a legend has dreams for what the future could hold."1917" is currently playing in theaters. <h3>NOW WATCH: <a href="https://www.businessinsider.com/starbucks-spend-more-money-coffee-chain-rewards-2019-4">Starbucks is giving away free drinks for the rest of 2019. It's one of the 5 sneaky tactics the coffee chain uses to get you to spend more money.</a></h3>

Oscar-nominated cinematographer Roger Deakins had to 'literally stand around for hours waiting for a cloud' while shooting the stunning '1917'

<ul class="summary-list"><li>One take scenes are shot in long, unedited segments and then stitched together.</li><li><a href="https://www.insider.com/category/movies">Movies</a> like "<keyword id="6406346" type="UNKNOWN" weightage="60" keywordseo="extraction">Extraction</keyword>," "<keyword id="4275121" type="PERSON" weightage="60" keywordseo="Atomic-Blonde">Atomic Blonde</keyword>," and "<keyword id="302094" type="ORGANIZATION" weightage="60" keywordseo="SPECTRE">Spectre</keyword>" often hide the cuts by having characters walk through doorways or even walk in front of the camera.</li><li>In order to travel light and capture characters on the move, <a href="https://www.insider.com/category/oscars">Oscar</a> winners "<a href="https://www.insider.com/category/1917">1917</a>" and "<keyword id="1025564" type="PERSON" weightage="60" keywordseo="Birdman">Birdman</keyword>" relied on small cameras and natural light.</li></ul>Following is a transcript of the <keyword id="21654" type="COMPANY" weightage="60" keywordseo="video">video</keyword>: Abby Tang: This epic trench battle from "<keyword id="3012877" type="PERSON" weightage="60" keywordseo="1917">1917</keyword>" was shot to look like one long take. And it was a huge challenge for both the cast and crew. It involved multiple cranes, speeding trucks, and perfectly timed handoffs. But this is just one example of a one-take scene, or a "oner," that pushed filmmakers to their limits and required impressive technical innovations. Here's how eight movie and TV scenes were shot to look like one long take.One-take scenes are naturally suited for intense action, as you can see in this fight scene in "Atomic Blonde." Despite shooting in a real building, the crew still had to alter the set to accommodate the oner. For example, they built this elevator, which helped create a natural stitch point, a way to hide the moment the camera cuts and keep the continuous illusion going. They also used another stitching technique called body crossing, in which a cut is hidden when a performer blocks the camera, as seen here with this henchman. Because the fight was shot to look like one take, it needed to be shot in chronological order. So the effects team had to constantly apply new makeup to Charlize Theron and the other characters as the fighting continued and injuries increased. Charlize did her own stunts for a large part of this sequence. However, for some of the riskier moves, the crew subbed in her stunt double, Monique Ganderton. For example, the director used motion blur when Charlize had to fall down the stairs and slam into a wall. That's actually Monique tumbling down the stairs before switching back to Charlize hitting the wall.Unlike "Atomic Blonde," Netflix's "Extraction" hops from location to location, as opposed to just one building. The entire sequence goes on for about 12 minutes and consists of approximately 36 segments cobbled together. The nonstop action required director Sam Hargrave to do some stunts of his own. For this car chase, he strapped himself to the hood of another vehicle and then had to quickly unstrap himself and place the camera inside the other car. He then had to replicate the same shot backwards by leaning out the car once he was inside. This helped create a natural transition point. If Sam's position was off even slightly, they'd have to shoot it all over again. Then for this shot, where Chris Hemsworth's stunt double tumbles off an awning, Sam roped himself into a pulley system to get up close to the action. The sequence also fools the eye in many other ways. For instance, when Ovi runs through this doorway, he is actually running into a room in a different building 10 blocks away. The crew had to change locations to one where there was more space to pull off the upcoming action. And like with "Atomic Blonde," they frequently swapped out Chris with his stunt double, Bobby Holland Hanton. The first shot you see here is Chris' face. They could then pan to his double without anyone noticing by shooting the back of his head.For the Day of the Dead parade scene in "Spectre," cinematographer Hoyte van Hoytema wanted to start big and then go small and intimate. That meant starting wide with parade shots, then getting in closer to the marchers before following Bond into a hotel room. To pull this off, Hoyte used a technocrane. The crane started high and then lowered down into the crowd without cutting. A Steadicam operator then jumped off, pushed farther into the crowd, and followed actor Daniel Craig up to the hotel room. While the street scenes were shot in Mexico, the hotel room was actually set in the UK. The crowd scenes featured 1,500 extras. According to ILM VFX supervisor Mark Bakowski, since they couldn't get a perfect shot where every extra looked the right way at the right time, the VFX team inserted digital masks over their faces.Sometimes oners are limited by the space they're shot in, which means the crew needs to be a bit more creative. In the season two premiere of "The <keyword id="7948567" type="UNKNOWN" weightage="60" keywordseo="Marvelous-Mrs-Maisel">Marvelous Mrs. Maisel</keyword>," cinematographer M. David Mullen had to lead the camera through a fictional department store, through a mail slot, and then into the small room where Midge Maisel works as a switchboard operator. Unlike other continuous shots, there were no wide spaces for the camera to pass through -- just five feet of space between these two rows of actresses. For both cameraperson and performer, it was about precise timing. The space was so tight that the actresses had to lean back so they wouldn't get hit by the camera. Then, when the camera went through the center of the room, actresses wheeled around in their chairs so they wouldn't block the shot.For "Birdman," it wasn't just one scene, but the entire movie that needed to look like one long take. According to director Alejandro González Iñárritu, some of the takes were up to 20 minutes long. Because of the amount of movement in the film, "Birdman" was shot using small handheld cameras and Steadicams. These allowed the crew to more easily follow the cast as they walked through New York's crowded streets. This also meant the crew couldn't use typical large light kits. So, according to cinematographer Emmanuel Lubezki, they instead relied on natural and practical lights in the scene, like these colorful light bulbs above Michael Keaton and even the lights emitting from Times Square. "Birdman" wasn't just a challenge for the crew; it was also a huge endeavor for the cast. According to Emma Stone, if she flubbed even a single word, she'd have to start again from the very top.Like "Birdman," "1917" was also filmed to look like one single take over its entire two-hour running time. But it was even more complicated due to its epic battle sequences. Pulling this film off involved the most careful planning imaginable. Every set was precisely measured out and could be no longer than the length the camera could travel. Since the crew was constantly on foot, they relied almost entirely on natural light. Look at the scene where Schofield runs through a destroyed city. It was lit up by flares in the sky. Because the flares were the main light for part of the scene, the crew needed to time exactly how long the flares needed to be in the air. They figured this out in preproduction, where they ran a light above a mini model of the set to see where exactly all the shadows would fall. Of course, the film also relied on stitch points, like here, when Blake and Schofield walk through a black curtain. But most of its magic was accomplished using innovations in technology. For example, Schofield's journey downriver was captured by a drone. Meanwhile, lighter and smaller cameras allowed the crew to move through trenches and difficult terrain with ease. Then, to get across no man's land, cinematographer Roger Deakins and the crew attached cameras to a cable system above the set. This shot, where Schofield runs through a destroyed city and jumps off a ledge and into a river, was too dangerous to do in real life. So the part of him running was shot on set, while the jump was actually shot using CGI with a swapped background that allowed for a seamless transition. Shooting continuous takes means it's hard to call "cut," so it's not ideal for making mistakes. But this moment here, where actor George MacKay runs alongside the trench and then trips, was not intentional. But in the end it felt natural, so it stayed in the movie.The entire set for this episode of "The Haunting of Hill House" had to be built specifically to accommodate a single shot. Take a look at this elevator. It was designed to lower the cameraperson down to the next floor and allow them to capture the shot of Olivia and Hugh running down the stairs without a break. Because the camera goes between Hill House and the funeral home in the episode, the two stages were actually built adjacent to each other and connected by a hallway. This allowed the camera to follow Hugh as he walked directly from the funeral home into the house. Oners are frantic by nature, and they involve a lot of movement and setup changes. The "Hill House" set had places throughout for the crew and their equipment to hide whenever the camera turned in their direction. Like with "Birdman" and "1917," "Hill House" also demonstrated the challenges of lighting a oner. If an actor missed a cue, they wouldn't be lit properly. So series creator Mike Flanagan came up with a unique solution. When he clapped these two wood blocks together, the cast member knew what to do. [blocks clapping]One-take scenes aren't just used to show movement from place to place. They can also be really useful in showing the passage of time. This scene from the Showtime series "Kidding" shows the character Shaina watching "Mr. Pickles' Puppet Time" on her TV as her life progresses and improves around her. The shot captures five years of her life over the course of one minute and 42 seconds. Because the camera had to circle constantly around the room as it changed, this endeavor was an absolute mad rush for the cast and crew. To show the passage of time, the camera operators circled around the room. Each area of the room would show a new development in Shaina's life. So whenever the camera wasn't focused on them, the 50 crew members had to swap out furniture and bring in new props. Then this wall slid over into the kitchen. While that was happening, actress Riki Lindhome had to go through multiple costume changes, some of which involved using a body double.What are some of your favorite one-take scenes? Let us know in the comments.

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