All told, the sequence clocks in at around six minutes. Fukunaga and the crew ran through the whole thing seven times while the cameras were rolling. The director built in possible edit points if two takes had to be combined to make the perfect version of the shot, but anyone who is wondering should know that the sequence everyone saw in the episode is, in fact, a true single take and one of the great achievements of filmmaking for television - True Detective: How Did They Pull Off That Final Shot?

All told, the sequence clocks in at around six minutes. Fukunaga and the crew ran through the whole thing seven times while the cameras were rolling. The director built in possible edit points if two takes had to be combined to make the perfect version of the shot, but anyone who is wondering should know that the sequence everyone saw in the episode is, in fact, a true single take and one of the great achievements of filmmaking for television - True Detective: How Did They Pull Off That Final Shot?

All told, the sequence clocks in at around six minutes. Fukunaga and the crew ran through the whole thing seven times while the cameras were rolling. The director built in possible edit points if two takes had to be combined to make the perfect version of the shot, but anyone who is wondering should know that the sequence everyone saw in the episode is, in fact, a true single take and one of the great achievements of filmmaking for television - True Detective: How Did They Pull Off That Final Shot?

All told, the sequence clocks in at around six minutes. Fukunaga and the crew ran through the whole thing seven times while the cameras were rolling. The director built in possible edit points if two takes had to be combined to make the perfect version of the shot, but anyone who is wondering should know that the sequence everyone saw in the episode is, in fact, a true single take and one of the great achievements of filmmaking for television - True Detective: How Did They Pull Off That Final Shot?

All told, the sequence clocks in at around six minutes. Fukunaga and the crew ran through the whole thing seven times while the cameras were rolling. The director built in possible edit points if two takes had to be combined to make the perfect version of the shot, but anyone who is wondering should know that the sequence everyone saw in the episode is, in fact, a true single take and one of the great achievements of filmmaking for television - True Detective: How Did They Pull Off That Final Shot?

All told, the sequence clocks in at around six minutes. Fukunaga and the crew ran through the whole thing seven times while the cameras were rolling. The director built in possible edit points if two takes had to be combined to make the perfect version of the shot, but anyone who is wondering should know that the sequence everyone saw in the episode is, in fact, a true single take and one of the great achievements of filmmaking for television - True Detective: How Did They Pull Off That Final Shot?

All told, the sequence clocks in at around six minutes. Fukunaga and the crew ran through the whole thing seven times while the cameras were rolling. The director built in possible edit points if two takes had to be combined to make the perfect version of the shot, but anyone who is wondering should know that the sequence everyone saw in the episode is, in fact, a true single take and one of the great achievements of filmmaking for television - True Detective: How Did They Pull Off That Final Shot?

(via bartonfinks)


A letter from Akira Kurosawa to Ingmar Bergman in honor of the latter’s 70th birthday. Originally published in Chaplin film magazine, 1988.

A letter from Akira Kurosawa to Ingmar Bergman in honor of the latter’s 70th birthday. Originally published in Chaplin film magazine, 1988.

(via janusfilms)

katzmatt:

THIS IS MY FAVORITE QUOTE OF ALL TIME FROM THE SIMPSONS 
katzmatt:

THIS IS MY FAVORITE QUOTE OF ALL TIME FROM THE SIMPSONS 

katzmatt:

THIS IS MY FAVORITE QUOTE OF ALL TIME FROM THE SIMPSONS 

(via borinq)

ozu-teapot:

Sommarlek (Summer Interlude) - Ingmar Bergman - 1951
Maj-Britt Nilsson
ozu-teapot:

Sommarlek (Summer Interlude) - Ingmar Bergman - 1951
Maj-Britt Nilsson

ozu-teapot:

Sommarlek (Summer Interlude) - Ingmar Bergman - 1951

Maj-Britt Nilsson

(via janusfilms)

criterioncollection:


La Pointe Courte (dir. Agnès Varda - 1955)Persona (dir. Ingmar Bergman - 1966)Love and Death (dir. Woody Allen - 1975)Mulholland Dr. (dir. David Lynch - 2001)

So cool.
criterioncollection:


La Pointe Courte (dir. Agnès Varda - 1955)Persona (dir. Ingmar Bergman - 1966)Love and Death (dir. Woody Allen - 1975)Mulholland Dr. (dir. David Lynch - 2001)

So cool.
criterioncollection:


La Pointe Courte (dir. Agnès Varda - 1955)Persona (dir. Ingmar Bergman - 1966)Love and Death (dir. Woody Allen - 1975)Mulholland Dr. (dir. David Lynch - 2001)

So cool.
criterioncollection:


La Pointe Courte (dir. Agnès Varda - 1955)Persona (dir. Ingmar Bergman - 1966)Love and Death (dir. Woody Allen - 1975)Mulholland Dr. (dir. David Lynch - 2001)

So cool.

criterioncollection:

La Pointe Courte (dir. Agnès Varda - 1955)
Persona (dir. Ingmar Bergman - 1966)
Love and Death (dir. Woody Allen - 1975)
Mulholland Dr. (dir. David Lynch - 2001)

So cool.

janusfilms:

Separated at birth?
janusfilms:

Separated at birth?