{"id":113290,"date":"2020-11-17T00:16:56","date_gmt":"2020-11-16T21:16:56","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/how-they-shot-russian-ark-in-one-long-take-with-no-hidden-cuts\/"},"modified":"2020-11-17T00:16:56","modified_gmt":"2020-11-16T21:16:56","slug":"how-they-shot-russian-ark-in-one-long-take-with-no-hidden-cuts","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/how-they-shot-russian-ark-in-one-long-take-with-no-hidden-cuts\/","title":{"rendered":"#How They Shot &#8216;Russian Ark&#8217; in One Long Take With No Hidden Cuts"},"content":{"rendered":"<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_85 counter-hierarchy ez-toc-counter ez-toc-custom ez-toc-container-direction\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<label for=\"ez-toc-cssicon-toggle-item-6a3c32dbb8af8\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #dd3333;color:#dd3333\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #dd3333;color:#dd3333\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-6a3c32dbb8af8\" checked aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/buradabiliyorum.com\/en\/how-they-shot-russian-ark-in-one-long-take-with-no-hidden-cuts\/#Howd_they_do_that\" >How\u2019d they do that?<\/a><ul class='ez-toc-list-level-4' ><li class='ez-toc-heading-level-4'><ul class='ez-toc-list-level-4' ><li class='ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/buradabiliyorum.com\/en\/how-they-shot-russian-ark-in-one-long-take-with-no-hidden-cuts\/#Long_story_short\" >Long story short:<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/buradabiliyorum.com\/en\/how-they-shot-russian-ark-in-one-long-take-with-no-hidden-cuts\/#Long_story_long\" >Long story long:<\/a><\/li><\/ul><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/buradabiliyorum.com\/en\/how-they-shot-russian-ark-in-one-long-take-with-no-hidden-cuts\/#Whats_the_precedent\" >What\u2019s the precedent?<\/a><\/li><\/ul><\/nav><\/div>\n<p>&#8220;<strong>#How They Shot &#8216;Russian Ark&#8217; in One Long Take With No Hidden Cuts<\/strong>&#8221;<\/p>\n<div>\n<aside class=\"mashsb-container mashsb-main mashsb-stretched\">\n                <\/aside>\n<p><!-- Share buttons by mashshare.net - Version: 3.7.8--><em>Welcome to <strong>How\u2019d They Do That?<\/strong>, a bi-monthly column that unpacks moments of movie magic and celebrates the technical wizards who pulled them off.<\/em> <em>This entry looks into the feature-length continuous shot in Russian Ark.<\/em><\/p>\n<hr class=\"wp-block-separator is-style-wide\"\/>In more ways than one, <em><strong>Russian Ark <\/strong><\/em>is a singular film. Created under uniquely restrictive circumstances and committing to a daunting cinematic language, I doubt we\u2019ll ever see anything quite like it again.<\/p>\n<p>As the film begins, we assume the hovering perspective of an unnamed Russian man (voiced by director <strong>Alexander Sokurov<\/strong>). He finds himself in the frigid courtyard of the Hermitage, one of the most famous museums in the world, once the seat of Russian imperial power. Unseen and unheard, he drifts between celebrant nobles who dust the snow off their collars and make their way towards the Winter Palace, where they will partake in what will prove to be the last extravagant ball in the history of the Russian Empire.<\/p>\n<p>Surmising that this must be the afterlife, our narrator soon meets the man who will become his (and our) companion: a slinking French Marquis from the Romantic era (played by experienced theatre actor <strong>Sergey Dreyden<\/strong>). Together, the pair will wander the grounds of the Hermitage for the next eighty-seven minutes, passing in, out, and between three centuries of Russian history. <\/p>\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img decoding=\"async\" loading=\"lazy\" width=\"800\" height=\"451\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Russian-Ark-bal-walking-out.gif\" alt=\"Russian Ark Bal Walking Out\" class=\"wp-image-359647\" srcset=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Russian-Ark-bal-walking-out.gif 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Russian-Ark-bal-walking-out-768x433.gif 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\"\/><\/figure>\n<\/div>\n<p>In their journey, time moves freely through the rooms and the camera moves with it. After a while, it almost seems natural that time should flow like this. That czars, foreign emissaries, and museum curators should occupy the same space. That, in this place of all places, Russian history would unfold before our eyes like a waking dream. <\/p>\n<p>Rather famously, the entirety of <em>Russian Ark <\/em>takes place in a single, uninterrupted shot. Indeed, it takes as long to watch the film as it did to shoot it. Unfortunately, the audacity of this <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/download-scripts-themes-apps\/\" data-internallinksmanager029f6b8e52c=\"9\" title=\"Download Scripts &amp; Themes &amp; Apps\" target=\"_blank\" rel=\"noopener\">app<\/a>roach tends to overshadow <em>Russian Ark<\/em>\u2018s artistic merits. And look, I get it. Russsian history isn\u2019t everybody\u2019s thing. Slow burns with no cuts aren\u2019t everybody\u2019s thing. But I think it is bad form to celebrate the film\u2019s technical achievement in isolation of its artistry. <\/p>\n<p>So, to be clear: <em>Russian Ark<\/em>\u2018s feature-length take is no gimmick. You simply could not tell this story any other way. And this is what makes <em>Russian Ark<\/em> so remarkable: not that its story justifies its format or vice versa, but that together, the result is mesmerizing.<\/p>\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" loading=\"lazy\" width=\"800\" height=\"451\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Russian-Ark-girls-hallway.gif\" alt=\"Russian Ark Girls Hallway\" class=\"wp-image-359648\" srcset=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Russian-Ark-girls-hallway.gif 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Russian-Ark-girls-hallway-768x433.gif 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\"\/><\/figure>\n<p>So this was Sokurov\u2019s task: to make a film, of this scale, without cuts. And to do so in one of the most prestigious museums in the world, he would only have one day to shoot it. There was absolutely no room for error. The fact that they succeeded is nothing short of a miracle. <\/p>\n<hr class=\"wp-block-separator is-style-wide\"\/>\n<h2 id=\"h-how-d-they-do-that\"><span class=\"ez-toc-section\" id=\"Howd_they_do_that\"><\/span>How\u2019d they do that?<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<h4 id=\"h-long-story-short\"><span class=\"ez-toc-section\" id=\"Long_story_short\"><\/span>Long story short:<span class=\"ez-toc-section-end\"><\/span><\/h4>\n<p>A lot of planning, luck, and core strength.<\/p>\n<h4 id=\"h-long-story-long\"><span class=\"ez-toc-section\" id=\"Long_story_long\"><\/span>Long story long:<span class=\"ez-toc-section-end\"><\/span><\/h4>\n<p>In the aptly named making-of documentary <em><strong>In One Breath<\/strong><\/em>, producer<strong> Jens Meurer<\/strong> describes how, upon hearing Sokurov\u2019s initial pitch, the consensus was that a film shot in one day on video that required no editing was \u201cgoing to be easy.\u201d In the end, the film took four years to develop. And during that time the project mutated from a small documentary to a full-blown narrative feature.<\/p>\n<p>A film comprised of a single, continuous take had always been a dream for Sokurov. A new digital recording process made the dream possible. The film was recorded with a custom-designed high definition Sony video camera nicknamed the \u201cDirector\u2019s Friend,\u201d which recorded uncompressed images to a hard disk that could hold 100 minutes of footage. <\/p>\n<p>The shoot took place on December 23, 2001, the shortest day of the year. Ahead of time, there had been, per an <a rel=\"nofollow noopener noreferrer\" target=\"_blank\" href=\"https:\/\/www.indiewire.com\/2002\/11\/interview-achieving-the-cinematic-impossible-russian-ark-dp-tilman-buttner-discusses-what-its-l-80105\/\"><em>IndieWire <\/em>interview with B\u00fcttner<\/a>, no complete dress rehearsal. Because the Hermitage would only stay closed to allow for one day of filming. Their job was to add the fixtures necessary to tell the story and to remove or hide anything that could distract. Likewise, items from the museum\u2019s collection (like Catherine the Great\u2019s dinnerware) were pulled and staged, to be seen but never touched during the shoot, per museum rules. A small army of electricians arranged supplementary lighting according to a detailed system pre-arranged by the film\u2019s cinematographer <strong>Tilman B\u00fcttner<\/strong>, a man widely regarded as one of the best Steadicam operators in Europe.<\/p>\n<p>For some spatial context: comprised of five palaces totaling 700,000 square feet, the Hermitage is the second-largest art museum in the world after the Louvre. And even though the film only takes place in a small fraction of the Hermitage\u2019s 365 rooms, the path the camera takes is nearly a mile (1.6 km) long.<\/p>\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" loading=\"lazy\" width=\"800\" height=\"451\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Russian-Ark-opera.gif\" alt=\"Russian Ark Opera\" class=\"wp-image-359650\" srcset=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Russian-Ark-opera.gif 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Russian-Ark-opera-768x433.gif 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\"\/><\/figure>\n<p>During this pre-shoot prep period, nearly two thousand actors and three orchestras arrived at the Hermitage. B\u00fcttner attempted (and failed) to eat what he jokingly refers to as his \u201cfinal meal.\u201d After napping eluded him, he headed over to the Hermitage to assist with the lighting prep.<\/p>\n<p>Shooting began at 12:30 pm with four hours of precious natural light remaining. After three false starts, at 2:00 pm, things finally kicked off in earnest.\u201dBecause we had to stop filming three times\u2026some of the batteries were used up,\u201d B\u00fcttner explains. \u201cWe had to get it in the can the fourth time, no matter what happened.\u201d <\/p>\n<p>To ensure everything ran smoothly during the shoot, twenty-two assistant directors dotted the edifice like a relay race team. In the interest of not overwhelming the already crowded ten-person camera team (including B\u00fcttner, Sokurov, the focus pullers, and translators), an \u201cadvance team\u201d led the charge to make sure everyone was ready. A separate sweep team followed to \u201cmake sure everyone had survived.\u201d<\/p>\n<p>A great example of the importance of these separate teams is the moment in the film where the Marquis and our narrator backtrack towards a familiar corridor to find a different<em> <\/em>period of history has materialized behind them. This moment required the team to re-build the set while the Steadicam\u2019s \u201cback\u201d was turned. Another remarkable instance is when the camera follows the aging Catherine The Great across a frigid -11 \u00b0F (-24 \u00b0C) courtyard and re-enters the warmth of the palace without the lens fogging up. Camera tests in the fridge only provided so much solace. Ultimately Sokurov lit a candle in a church and hoped for the best. <\/p>\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" loading=\"lazy\" width=\"800\" height=\"451\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Russian-Ark-courtyard-snow.gif\" alt=\"Russian Ark Courtyard Snow\" class=\"wp-image-359649\" srcset=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Russian-Ark-courtyard-snow.gif 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Russian-Ark-courtyard-snow-768x433.gif 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\"\/><\/figure>\n<p><em>Russian Ark <\/em>functions because it is one of the most impressive displays of project management in the history of cinema. But all of that group effort was ultimately the responsibility of one man:<strong> <\/strong>B\u00fcttner.<\/p>\n<p>The weight of the film was riding on the backs of every crewmember. But it was quite literally riding on B\u00fcttner\u2019s. \u201cIt was only because of all this special equipment, which was specially made for the film, that we were able to pull the whole thing off technically,\u201d he explains. Of great importance were the batteries which weighed approximately seventy-seven pounds (thirty-five kilograms) total. Which is, I should stress, <em>very heavy.<\/em><\/p>\n<p>B\u00fcttner had to carry and operate a camera rig roughly the weight of two four-year-olds, all while remembering the intricacies of the mile-long route. \u201cI didn\u2019t have a diagram on the camera, nobody could tell me where we were going or what was happening. I really did commit the whole thing to memory.\u201d Keep in mind, B\u00fcttner had never seen any of the prior rehearsals. \u201cI had to be flexible, but the film was not supposed to show any kind of distraction.\u201d<\/p>\n<p>B\u00fcttner was more than experienced, having operated Steadicams since 1988, but by the time he reached the climactic imperial ball scene, he was exhausted. \u201cI had pains around my groin,\u201d he recalls. \u201cAnd I thought before I cause myself serious problems which could result in my never being able to work again, I\u2019m going to put the Steadicam down, and say, \u2018I can\u2019t do it.&#8217;\u201d Thankfully, B\u00fcttner experienced a burst of adrenaline after seeing all the actors in their costumes for the first time. \u201cIf it hadn\u2019t been for that, I would\u2019ve stopped filming.\u201d<\/p>\n<p>In all, I think producer Meurer sums the making of <em>Russian Ark<\/em> up best: \u201cIn hindsight, it couldn\u2019t have worked. But it did.\u201d<\/p>\n<hr class=\"wp-block-separator is-style-wide\"\/>\n<h2 id=\"h-what-s-the-precedent\"><span class=\"ez-toc-section\" id=\"Whats_the_precedent\"><\/span>What\u2019s the precedent?<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p>There are two things we need to talk about. The first is <strong>Sergei Eisenstein<\/strong> and <strong>Grigori Aleksandrov<\/strong>\u2018s 1927 propaganda film <em><strong>October (Ten Days that Shook the World)<\/strong><\/em>. And the second has to do with differentiating the \u201cone-cut\u201d films that are feats of editing and those that are feats of endurance.<\/p>\n<p>Let\u2019s begin with <em>October<\/em>. Like <em>Russian Ark<\/em>, <em>October <\/em>uses the Winter Palace as an imposing and meaningful stage to celebrate Russian history. The film dramatizes the precipitating event of the Russian Civil War. And much of the film reenacts the storming of the Winter Palace, the official residence of the Russian emperors, wherein much of <em>Russian Ark <\/em>takes place.<\/p>\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" loading=\"lazy\" width=\"800\" height=\"600\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/October-Ten-Days-that-Shook-the-World.jpg\" alt=\"October Ten Days That Shook The World\" class=\"wp-image-359651\" srcset=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/October-Ten-Days-that-Shook-the-World.jpg 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/October-Ten-Days-that-Shook-the-World-768x576.jpg 768w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/October-Ten-Days-that-Shook-the-World-160x120.jpg 160w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/October-Ten-Days-that-Shook-the-World-320x240.jpg 320w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\"\/><\/figure>\n<p><em>October<\/em> also shares common ground with <em>Russian Ark <\/em>in terms of its scale. Reportedly, filming the assault on the Winter Palace required eleven-thousand extras. And, supposedly, the lighting needs for the shoot blacked out the rest of St. Petersburg.<\/p>\n<p>And yet, <em>Russian Ark <\/em>and <em>October <\/em>adopt very different film languages to tell, ultimately, very different stories about Russian history. <em>October<\/em> employs an editing technique championed by Eisenstein himself, called \u201cintellectual montage.\u201d The technique relies heavily on quick, meaningful cuts between disparate subjects. The altogether new meaning created by splicing together two different shots was, for Eisnensetin, revolutionary in nature. Montage (which is just the French word for \u201cediting\u201d), is the most common approach to editing in narrative fiction films to this day. <\/p>\n<p>If the intellectual montage we see in <em>October<\/em> represents a kind of assertive approach to celebrating Russian history, what we see in <em>Russian Ark <\/em>is far more gentle. Without any intrusive cuts, the discussion of our two interlocutors becomes less of a debate than a passing encounter between two different souls. The end result, I think, is a kind of melancholic yearning for the appreciation of a specific cultural history. A dedication not to assert dominance over history, but to let it play out on its own terms, however complicated and tragic.<\/p>\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" loading=\"lazy\" width=\"800\" height=\"600\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Alfred-Hitchcock-Rope.jpg\" alt=\"Alfred Hitchcock Rope\" class=\"wp-image-359652\" srcset=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Alfred-Hitchcock-Rope.jpg 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Alfred-Hitchcock-Rope-768x576.jpg 768w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Alfred-Hitchcock-Rope-160x120.jpg 160w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Alfred-Hitchcock-Rope-320x240.jpg 320w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\"\/><\/figure>\n<p>Now we must launch ourselves into the present, to put <em>Russian Ark <\/em>in context as a \u201cone-take\u201d film. Cinematic history is full of legendary, immersive long shots, from the eight-minute opening sequence of Robert Altman\u2019s<strong> <em>The Player<\/em><\/strong> to Brain de Palma\u2019s nearly 13-minute tracking shot in <em><strong>Snake Eyes<\/strong><\/em>. Beyond the logistics, shooting a feature-length film in one shot was simply beyond the capabilities of celluloid.<\/p>\n<p>However, there was a film before <em>Russian Ark <\/em>that gave <em>the appearance<\/em> of taking place in a single shot. Alfred Hitchcock\u2019s 1948 thriler <em><strong>Rope<\/strong><\/em> stitches together ten different tracking shots to give the illusion of one, eighty-minute, continuous take. Cuts take place in clever pans, smuggled behind the character\u2019s backs and pieces of furniture. <\/p>\n<p>This technique would later be replicated in films like <em><strong>Silent House<\/strong><\/em>,<em> <strong>Birdman<\/strong><\/em>,<em> <\/em>and <em><strong>1917<\/strong><\/em>, which all hide their cuts with everything from black screens to push zooms, to whip pans, to wipes, to opening doors, to state of the art motion-controlled cameras.<\/p>\n<p>This isn\u2019t to say that <em>Russian Ark <\/em>is devoid of visual effects. But there\u2019s a big difference between color grading and creating a CGI dummy of George MacKay to blend two shots together.<\/p>\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\n<iframe loading=\"lazy\" title=\"How &#039;1917&#039; Was Filmed To Look Like One Shot | Movies Insider\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/kMBnvz-dEXw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/p>\n<\/figure>\n<p>I think those seemingly one-shot films are impressive, but for a different reason than <em>Russian Ark<\/em>. They are feats of editing, camera-work, and unnoticed computer-generated witchcraft. But <em>Russian Ark <\/em>is different. Not better, just different. It\u2019s an endurance test and a distinctly physical feat that conjures a very specific kind of awe in me. It\u2019s the same kind of awe I feel when I watch a play. There is an understood degree of risk that I just don\u2019t feel when I watch something like <em>1917. <\/em><\/p>\n<p>Heck, I don\u2019t even feel it when I watch <em><strong>Timecode<\/strong><\/em>, which pre-dates Russian Ark by two years. Mike Figgis\u2019 film consists of four continuous ninety-three-minute takes that were filmed simultaneously by four separate cameras. However, because <em>Timecode<\/em> is improvised, it doesn\u2019t quite achieve the same effect. It\u2019s the difference between an opera and a long-form improv show. Neither is intrinsically \u201cbetter,\u201d but it doesn\u2019t feel right to compare the two. <\/p>\n<p>Ultimately, I don\u2019t think anyone would be crazy enough to make something like <em>Russian Ark <\/em>ever again. It represents a huge risk most filmmakers can no longer justify. And it is a small miracle that it exists at all. So, for that, I\u2019m grateful.\n<\/div>\n<blockquote><p><strong><span style=\"color: #ff6600;\">If you liked the article, do not forget to share it with your friends. Follow us on\u00a0<span style=\"color: #ff0000;\"><a style=\"color: #ff0000;\" href=\"https:\/\/news.google.com\/publications\/CAAqBwgKMLG0nwswvr63Aw\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Google News<\/a><\/span>\u00a0too, click on the star and choose us from your favorites.<\/span><\/strong><\/p><\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\">For forums sites go to <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/forum.buradabiliyorum.com\/\" target=\"_blank\" rel=\"noopener noreferrer\">Forum.BuradaBiliyorum.Com<\/a><\/span><\/strong>\n<\/p><\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\"><strong>If you want to read more Like this articles, you can visit our <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/en.buradabiliyorum.com\/social-media\/\" target=\"_blank\" rel=\"noopener noreferrer\">Social Media category.<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<p><span style=\"color: black;\"><a style=\"color: #ff9900;\" href=\"https:\/\/filmschoolrejects.com\/russian-ark-long-take\/#utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=russian-ark-long-take\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;#How They Shot &#8216;Russian Ark&#8217; in One Long Take With No Hidden Cuts&#8221; Welcome to How\u2019d They Do That?, a bi-monthly column that unpacks moments of movie magic and celebrates the technical wizards who pulled them off. This entry looks into the feature-length continuous shot in Russian Ark. In more ways than one, Russian Ark&#8230;<\/p>\n","protected":false},"author":1,"featured_media":113291,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Russian-Ark.jpg","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[23258,44129,80238],"class_list":["post-113290","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa","tag-cinematography","tag-howd-they-do-that","tag-russian-ark"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/113290","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=113290"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/113290\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/113291"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=113290"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=113290"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=113290"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}