What is a long take?
A long take is an entire scene filmed in a single, continuous shot, without any editing cuts. The camera never stops rolling. There are no shot-reverse shots, no cuts, and no transitions. Everything unfolds in real time, all at once. It is a directorial choice, not an accident.
What you'll find here: the exact definition of a sequence shot, what sets it apart from a static shot and a long take, the reasons why directors choose this approach, specific filming techniques, and examples that have left their mark on the history of cinema.
Table of Contents
What is a long take? A precise definition
What is the difference between a sequence shot, a static shot, and a long take?
Long Take or Traditional Editing: Which to Choose, and Why?
Why do filmmakers shoot in long takes?
How Is a Long Take Filmed? Techniques
What are the most famous long takes in cinema?
What is a fake long take?
Common Misconceptions About the Long Take
The Long Take in TV Series
FAQ
1. What is a long take? A precise definition
In English, this is called a " long take " or oner. The French term is more demanding: it implies that a single shot replaces what would have required an entire sequence —that is, several shots edited together.
Duration is not the determining factor. A 45-second shot that captures an entire action without any cuts is a sequence shot. A 3-minute shot that simply gazes at a landscape without telling a story is not one. What matters isthe absence of editing within a narrative unit.
At the other extreme, *Russian Ark* (Sokurov, 2002) consists of a single 96-minute take. *Victoria* (Schipper, 2015) runs for 138 minutes—an entire film, shot in one continuous take, on the streets of Berlin between 4:30 and 7:00 a.m. → Analysis of *Victoria* on plan-sequences.com
Pro tip: If someone mentions a "long take," ask yourself: Is it depicting a complete action without any cuts, or is it simply dragging out the duration? In the first case, it's a sequence shot. In the second, it's just a shot that goes on for a long time.
2. What is the difference between a sequence shot, a static shot, and a long take?
The fixed shot
The camera doesn't move. It observes. Béla Tarr has made this his signature style: in *The Turin Horse* (2011), static shots lasting several minutes capture repetitive gestures—feeding the horse, eating potatoes—until the duration itself becomes oppressive. A static shot can be a sequence shot, but only if it covers a complete narrative action.
The Long Take
A generic English term for "long shot." Every sequence shot is a long take. The reverse is not true. A long take can be a single shot that goes on for a long time—such as a close-up of a face lasting a minute—without covering the action of an entire sequence.
Why It Matters
Because if you search for “long take” and come across lists that include just about any shot that’s a little long, you’re missing the essence of the concept. A long take is a directorial choice that replaces a shot list. It’s a deliberate rejection of editing. It’s not just a shot that drags on.
3. Long take or traditional editing: Which should you choose, and why?
A long take is not "superior" to editing. They are two different forms of expression. Confusing the two is like saying that a novel is better than a short story.
How Does Traditional Editing Work?
Each scene is filmed from multiple angles: wide shot, medium shot, close-up, high-angle shot, low-angle shot. The editor assembles these shots to construct a visual narrative; he chooses the best angle, adjusts the pacing, and compensates for uneven acting. It’s a massive safety net. Eisenstein invented an entire language with it. Cinema as we know it is based on editing.
What the long take sacrifices and gains
With a long take, everything hinges on what happens before and during filming. There’s no room for correction in post-production. There’s no “best angle” to choose from. If the take goes wrong at the 4-minute mark, we have to start all over again.
In return, the long take offers something that editing cannot create: absolute continuity of time and space. The viewer knows—even subconsciously—that there is no manipulation. What happens on screen lasts exactly as long as it does. And it is precisely this absence of trickery that creates immersion, tension, or beauty.
4. Why do filmmakers shoot in long takes?
A good long take always serves a purpose. When it doesn't, it's obvious, and the viewer loses interest. Here are the four most common reasons.
Stress Due to Strain
No cut = no relief. The longer the shot goes on, the more the tension builds. Alfonso Cuarón masters this effect better than anyone: in Children of Men (2006), there’s a 6-minute ambush scene filmed with a hidden camera inside a car. You can’t step back. You’re right there in the car. → Analysis of Children ofMen
Physical Immersion
The camera stays glued to the character and never lets go. In *Son of Saul* (Nemes, 2015), it remains at Saul’s shoulder as he navigates the chaos of a concentration camp. The blur in the background isn’t an effect—it’s the vision of a man who refuses to look the horror in the face.
Tell a Story Without Explaining
The Copacabana scene in *The Goodfellas* (Scorsese, 1990). Henry and Karen make their way through the kitchens, the hallways, and the dining room. When the table arrives in front of them—carried over the crowd in three minutes, without a word of explanation—Scorsese has shown you what Mafia power is all about. Editing would have explained it. The long take embodies it. → Analysis of the shot from*Goodfellas*
Contemplation
Some long takes seek neither tension nor virtuosity. They simply let time pass. This is the cinema of Béla Tarr, Tsai Ming-liang, and Chantal Akerman. The long take as meditation: the viewer isn’t trapped; they’re invited to watch. It’s rarer, more demanding, and—in my personal opinion—often more powerful than “spectacular” long takes.
Pro tip: A question to ask yourself before shooting a long take: “Would cutting this scene during editing cause it to lose something?” If the answer is yes—if the absence of a cut adds meaning—then the long take is justified. Otherwise, it’s just showing off, and the audience will sense it.
5. How is a long take shot filmed? Techniques
The equipment has changed dramatically. But the principle remains the same: a successful long take depends first and foremost on the choreography, not on the stabilizer.
The Steadicam
Invented by Garrett Brown in 1975. A harness distributes the camera's weight across the operator's body, while a mechanical arm absorbs vibrations. The result: smooth, steady footage, even while running.
The Steadicam has made some of the most famous modern long takes possible: the Copacabana scenein *Goodfellas*, Danny’s tricycle ride in *The Shining* (Kubrick, 1980, filmed by Garrett Brown himself), and Riggan Thomson’s wanderings in *Birdman* (Iñárritu, 2014).
The Rail Track Shot
Older, stiffer, but perfectly stable. The camera moves on a dolly mounted on rails. This is the technique used in the opening scene of *Touch of Evil* (Welles, 1958), combined with a crane. It’s also the technique used in the hallway scenefrom *Oldboy* (Park Chan-wook, 2003): a lateral tracking shot on rails, like a side-scrolling video game.
Gimbal and Drone
Electronic image stabilizers and drones have made previously impossible camera movements possible. Passing through windows, flying overhead, and transitions between interior and exterior shots with no apparent cuts. These techniques can be seen in *Spectre* (Mendes, 2015) and in the series *Adolescence* (Netflix, 2025), where each episode is constructed as a single long take.
Choreography: What Really Makes the Difference
Equipment alone doesn't make a long take. Preparation does. Every successful long take requires precise coordination between the actors, the camera operator, the lighting crew, the props team, and the extras. Everyone has to be in the right place at the right time. One mistake at the 4-minute mark of a 5-minute take means we have to reshoot the whole thing.
"Victoria" was shot in three takes (the third was the charm). "Copacabana" (from *The Goodfellas*) required eight takes. The 17-minute shot in *Hunger* (Steve McQueen, 2008)—a dialogue between a priest and Bobby Sands around a table, filmed in a single, unbroken shot—required days of rehearsals with Michael Fassbender and Liam Cunningham.
Pro tip: If you're shooting a long take, rehearse it first without the camera. Choreograph each movement as if it were a dance. The cinematographer must know the camera path by heart. The actors must know exactly where to be at every moment. The camera is a character in its own right; it needs its own direction.
6. What are the most famous long takes in cinema?
A bold selection, not a weak consensus. Each entry links to its full analysis on plan-sequences.com.
Touch of Evil - Orson Welles (1958)
The opening. A crane track shot lasting more than 3 minutes follows a car bomb through a border town. The camera looks down from above, descends, passes by the characters, and returns. The viewer knows a bomb is going to explode but doesn’t know when. Welles invented the suspenseful long take. →Full analysis
Goodfellas - Martin Scorsese (1990)
The Copacabana. As discussed above, this is probably the most frequently cited long take in the history of cinema. And rightly so. →Full analysis
Oldboy - Park Chan-wook (2003)
The hallway. Oh Dae-su, a hammer in hand, facing off against about twenty opponents. A lateral tracking shot on a rail. No heroic music, no redemptive editing. Just the violence, the exhaustion, the blows landing with ever-diminishing force. A fascinating anti-spectacle. → Full analysis
Children of Men - Alfonso Cuarón (2006)
Not just one, but several stunning long takes. The one with the car (6 min), the one at the refugee camp (about 7 min). In my personal opinion, this is the most accomplished use of the long take in 21st-century cinema. Cuarón isn’t putting on a show—he’s creating immersion. → Full analysis
Russian Ark - Alexander Sokurov (2002)
96 minutes. A single shot. 2,000 extras. 33 rooms in the Hermitage. 300 years of Russian history. The most radical challenge in the history of the long take—and a film that divides audiences as much as it impresses them.
Rope - Alfred Hitchcock (1948)
The entire film is conceived as a single long take, with cuts hidden behind the characters' backs. Technically limited by 10-minute reels. A historic milestone. Cinema's first "fake long take." → Full analysis
Victoria - Sebastian Schipper (2015)
138 minutes, a single shot, Berlin at dawn. Three takes. The third one is the film. The longest single take in the history of feature-length fiction films—and proof that constraints can generate a raw energy that editing could never capture. → Full analysis
Hunger - Steve McQueen (2008)
It’s missing from most lists, and that’s a mistake. The 17-minute scene between the priest and Bobby Sands is a static shot—a dialogue, a table, two chairs. No camera movement. And yet, it’s one of the most moving long takes ever filmed. Proof that technical virtuosity isn’t a must.
Gravity - Alfonso Cuarón (2013)
The first 17 minutes of the film consist of a single (digital) continuous shot in space. The camera floats, spins, and enters Sandra Bullock’s helmet. This sequence was created entirely in post-production, which raises the question of what “sequence shot” means in the digital age. → Full analysis
1917 - Sam Mendes (2019)
The entire film is presented as a single long take. Invisible digital cuts connect the takes. Two soldiers, one mission, the real-time pace of war. The immersion works even though we know the continuity is fabricated. → Full analysis
7. What is a fake long take?
A fake long take gives the illusion of a continuous shot, even though it is actually composed of several takes spliced together with invisible cuts.
How It Works
The invisible cut takes advantage of a moment of visual obstruction: a character walking in front of a dark wall, a quick camera movement (whip pan), or a character walking in front of the lens. At that moment, the editor cuts to the next shot. If done well, the viewer doesn't notice a thing.
Hitchcock hid his cuts behind characters' backs in *Rope*. Iñárritu used dark hallways in *Birdman*. Mendes made use of trees and rapid movements in *1917*. With today's digital tools, the software blends the two shots pixel by pixel—there's no longer any need for natural obstructions.
Is that cheating?
No. What matters in a long take is the sense of continuity. Whether that continuity is real or simulated makes no difference to the viewer’s experience. A fake long take is a directorial tool, not a deception. Most directors are transparent about their methods.
On the other hand—and this is a point I make on this site—there is a difference in the filming experience and artistic constraints between a true single take (Victoria) and a digital montage (Birdman). Both produce a similar effect on screen, but the creative process is not the same. A true long take imposes total constraints, while a digital edit allows for retakes. It’s not better or worse—it’s just different.
8. Common Misconceptions About the Long Take
"A long take has to be long." No. A 30-second long take that covers an entire sequence of action without any cuts is a long take. Duration isn't the deciding factor.
"The long take is superior to editing." Eisenstein revolutionized cinema with editing. Cuarón did so with the long take. These are two tools, not a hierarchy.
"It's a stylistic device meant to impress." Sometimes. But the best long takes serve the story; they evoke an emotion that editing alone couldn't achieve. When that's not the case, the long take falls flat.
"With a €300 gimbal, anyone can make one." The equipment has become affordable. But without choreography, without rehearsal, without a narrative vision, the result will be a long, aimless floating shot. The stabilizer stabilizes the image, not the staging.
9. The Long Take in TV Series
The long take is no longer the exclusive domain of the big screen. TV series have embraced it, first as an occasional feat, then as a structural principle.
"True Detective " (Season 1, Episode 4) marked a turning point with a 6-minute long take at the end of the episode, filmed with a Steadicam in a tense neighborhood. "The X-Files " had attempted something similar as early as 1998 with the episode "Triangle," which was constructed using four long takes, each 11 minutes long—a direct homage to *Rope*. → Analysis of The X-Files“Triangle”
But the most radical example is a recent one: *Adolescence* (Netflix, 2025), in which each episode consists of a single long take. No hidden cuts—just one shot, one take, and total commitment from the crew. This is probably the series that has taken the concept the farthest. → Analysisof *Adolescence*
Pro tip: Long takes in TV series are subject to different constraints than those in feature films. Budgets are tighter, schedules are shorter, and sets are often smaller. The fact that a series like *Adolescence* pulls it off in every episode shows that a long take doesn’t require an exorbitant budget—it requires preparation.
10. FAQ
What is a long take in film?
A long take is a scene filmed in a single, continuous shot, without any cuts. It captures a complete narrative sequence that would normally have required several shots edited together.
What is the longest single take in history?
Filmed in a single, verified take, *Victoria* (Sebastian Schipper, 2015), at 138 minutes, is an entire film without a single cut. *Russian Ark* (96 minutes) was released earlier but is shorter.
What is the difference between a long take and a static shot?
A static shot means that the camera does not move. A sequence shot means that there are no cuts. A sequence shot can be moving (Steadicam, tracking shot) or static. A 5-second static shot is not a sequence shot.
Why is the long take in *The Godfather* so famous?
Because in just 3 minutes, without any explanatory dialogue, Scorsese tells you everything you need to know about Henry Hill: his power, his network, his lifestyle. The long take doesn't just show a scene—it brings a character to life.
Is *1917* a true long take?
No. Sam Mendes's film uses invisible digital cuts to create the illusion of a single take. It's a "fake long take," but the immersive effect works.
Is *Birdman* shot in a single take?
Not at all. Like *1917*, *Birdman* uses digital transitions. The film appears to be continuous, but it is actually composed of several takes edited together. The illusion is masterful.
How do you shoot a long take without professional equipment?
With a smartphone and a basic gimbal, you can technically shoot a long take. But the real investment is in the preparation: rehearsals, choreographing the movements, and scouting the location. The equipment matters less than the time spent preparing.
How long does a shot have to be before it becomes a long take?
There is no official threshold. What matters is that the shot covers a complete narrative sequence without any cuts. A 30-second shot that replaces a montage is a long take. A 3-minute shot that simply shows a setting is not a long take.
How many takes does it take to get a long take right?
Victoria: 3 takes. Le Copacabana: 8 takes. Some complex shots require 40 to 60 takes. There's no set rule—it all depends on the complexity of the choreography.
Conclusion
The long take is a tool. It’s not a trophy, nor is it an end in itself. In the hands of a director who knows why he’s using it—Cuarón, Tarr, Scorsese, McQueen—it produces effects that no other editing technique can replicate. In the hands of someone who just wants to impress, it falls flat.
From Renoir to Schipper, from the 10-minute film reel to the unlimited digital sensor, each generation has pushed the technical boundaries. The interesting question is no longer “Can we film without cutting?”—the answer has been “yes” since 2002. The question is: “Should we?”
The long take always delivers the same result: no cuts, no way out. Every second must count.
👉 Each long take mentioned in this article is analyzed in detail at plan-sequences.com —technical breakdowns, behind-the-scenes insights, and everything you don’t see behind the camera. Over 100 analyses await you. Plus, new long takes every week.