OLIVER TWIST (1948, Lean)
This is a quick shot by David Lean, a real favorite of mine. He famously did two letter-perfect adaptations of Dickens' work - Oliver Twist and Great Expectations, and today's shot shows what a great visualist he was. Lean loved to
APOCALYPSE NOW (1979, Coppola)
I just watched this film again last night on the big screen. What an experience. It really is a vividly realized descent. In the gut-wrenching documentary on the film's creation, Hearts of Darkness: A Filmmaker's Apocalypse (man, do I dig what
CHILDREN OF MEN (2006, Cuarón)
In terms of current work, Alfonso Cuarón is my favorite director. There I said it. Whether he's posing for a faux promo pic (he's above, right), directing a tiny character piece (Y Tu Mama Tambien) or a huge franchise (Harry Potter),
TOUCH OF EVIL (1958, Welles)
Most people know about the beautiful master shot at the top of this film, but Welles always spoke of another long oner in this film that he was more proud of. It's the apartment interrogation scene from this stylish noir
MIDNIGHT SUN (2011, Baumgartner)
Today's post is a simple example of what I talked about in my last Spielberg Raiders post, about tying visual beats together with a pan or a tilt. It also marks the very first shot of my own that I'm
RAIDERS OF THE LOST ARK pt 2 (1981, Spielberg)
Happy Friday everyone. I want to thank everybody for your visits; the blog is now 1 month old and this week was an all-time high for readership. So if you're enjoying, please keep reposting and telling people about Shot4Shot! I'm
RAIDERS OF THE LOST ARK (1981, Spielberg)
It was just a matter of time before I came to this, of course, and no better reason than this film's 30th birthday this month. And I have 2 Raiders shots I'm posting (the second next week), both oners that
INHERIT THE WIND (1960, Kramer)
Today's memorable shot is in honor of the premiere of my friends Aeden Babish and Kevin Fall's new TV show, Franklin & Bash, June 1 @ 9PM/8c on TNT. Hope you'll watch Wednesdays; Mark Paul Gosselaar and Breckin Meyer are
LIVE FREE, DIE HARD (2007, Wiseman)
As you can see, I'm changing it up and going off the beaten path. Today's clip has a couple moments that are great examples of capturing exciting kinetic energy. I can imagine that this director, Len Wiseman, was a fan
STAR WARS (1977, Lucas)
I think by now we probably take this opening for granted, not stopping to appreciate how much good storytelling is crammed into this one "silent cinema" shot. (But when you see the prequels, you realize with stunning clarity just how