Radosh.net

yeah, i remember that shot from the movie, it's probably the highlight... but you should see the whole thing, I think there's a disk that has both versions out now...

Hey, what about Rope? Huh? Didn't think of that one, did ya?

Sorry, that was a parody comment that really should've gone onto that blog's own thread, but I was trying to be polite.

Here are a couple that actually didn't get mentioned:

* Funny Girl - End of 'Nobody's Gonna Rain on My Parade,' where Streisand is on a boat belting the last verse of the song and as she hits and holds the final notes the camera tracks wayyyyyy back off the boat and into the sky. Classic effect, if not a particularly long take.

* Bob Roberts - Not a big deal in terms of Film Moments, but a great moment in the movie, where the camera meanders through a room over the course of a musical number to finally, and intentionally (remember, it's a mockumentary), glimpse Bob's mysteriously tapping foot.

>>Hey, what about Rope? Huh? Didn't think of that one, did ya?

I'm pretty sure that's what he's alluding to in the Russian Ark entry.

I have fond memories of a ridiculous Alphaville shot that passes through a revolving door.

I once saw a play, where you just sat there looking at a stage and it was like there were no cuts at ALL for two hours.

Well, one 15 minute cut in the middle so people could pee.

Is that the same hotel from High Anxiety?

Hows about the 4-minute tracking video of "Wannabe" ("...I'll tell ya what I want, what I really really want...") by the Spice Girls?

I'm just sayin'

Spice Girls? Son, I don't know if you remember a certain old-timer, name of Janet Jackson...?

The "Wannabe" video isn't one tracking shot, it's three or four shots with a couple of tricks to make it look seamless. (I used to watch a lot of Pop-Up Video.)

I think the Lisa Loeb video was all one tracking shot, but it wouldn't make any list of the best tracking shots, since both the video and the song sucked.

My Spice Girls posting was meant for the Anti-Caption Contest, but I had already used up my allotted five entries.

I dunno, steady cam technologies make this a little difficult (if you wanna split hairs, which I do). The end of Tarkovsky's "The Sacrifice" is an amazing tracking shot of the house burning down (they had to rebuild the house after they fucked up the shot the first time! Weird that they chose the shot from "Nostalgia"). But, by comparison, something from, say, Kill Bill or the Protector or Russian Ark shouldn't count in quite the same way, because steady cam is a fundamentally different technique (not that it's any less impressive, it's just not, technically speaking, a "tracking" shot, because there's no track! Dude with flexibility to run up stairs etc. vs. constructing an elaborate tracking set-up...with the broader definition you could even include something like handheld verite shots in a documentary like Primary, and the list would spiral into total chaos).

And by allowing digital splicing he opens up the whole "what is animation?" can of worms. If Spielberg's Tintin movie contains a "single" "shot" that is entirely digital created, does it count?

> If Spielberg's Tintin movie contains a "single" "shot" that is entirely digital created, does it count?

I'd vote no.

And while the writer of the linked-to article says he thinks there's one cut in the opening scene of "Snake Eyes," I suspect there are multiple cuts. There are several moments in which the camera whips around and things are blurry--a perfect place to hide a cut.

And, for the record, while I kinda like DePalma, "Snake Eyes" sucked.