[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:00.59,0:00:02.71,Default,,0000,0000,0000,,- Thank you, sir.\N- Alright. See you later, thanks.
Dialogue: 0,0:00:02.89,0:00:04.30,Default,,0000,0000,0000,,Hi, my name is Tony
Dialogue: 0,0:00:04.30,0:00:05.82,Default,,0000,0000,0000,,and this is Every Frame a Painting.
Dialogue: 0,0:00:06.08,0:00:09.50,Default,,0000,0000,0000,,Today's topic is the oner, AKA a long take.
Dialogue: 0,0:00:09.50,0:00:13.28,Default,,0000,0000,0000,,This is probably the most jerked-off-to\Ntype of shot in filmmaking.
Dialogue: 0,0:00:13.28,0:00:14.87,Default,,0000,0000,0000,,But basically, all it means
Dialogue: 0,0:00:14.87,0:00:17.95,Default,,0000,0000,0000,,is doing an entire scene\Nin a single, unbroken shot.
Dialogue: 0,0:00:17.95,0:00:20.01,Default,,0000,0000,0000,,And let's face it, it's pretty awesome.
Dialogue: 0,0:00:20.01,0:00:21.43,Default,,0000,0000,0000,,We all have our favorites.
Dialogue: 0,0:00:21.46,0:00:24.14,Default,,0000,0000,0000,,There's six dozen lists\Non the internet about this.
Dialogue: 0,0:00:24.14,0:00:26.96,Default,,0000,0000,0000,,But we tend to notice the ones\Nthat draw attention to themselves.
Dialogue: 0,0:00:26.96,0:00:29.05,Default,,0000,0000,0000,,So let's skip all of these guys
Dialogue: 0,0:00:29.05,0:00:32.16,Default,,0000,0000,0000,,and go to one filmmaker\Nwho does oners all the time,
Dialogue: 0,0:00:32.16,0:00:34.28,Default,,0000,0000,0000,,except his goal is to remain invisible.
Dialogue: 0,0:00:35.22,0:00:36.13,Default,,0000,0000,0000,,This dude.
Dialogue: 0,0:00:37.01,0:00:39.51,Default,,0000,0000,0000,,Truthfully, Spielberg's takes\Naren't even that long.
Dialogue: 0,0:00:39.85,0:00:42.02,Default,,0000,0000,0000,,He tends to keep them less than 3 minutes.
Dialogue: 0,0:00:42.02,0:00:44.85,Default,,0000,0000,0000,,In fact, he really likes that\None minute to two-minute zone,
Dialogue: 0,0:00:44.85,0:00:47.22,Default,,0000,0000,0000,,which is long enough to\Ncover an entire scene,
Dialogue: 0,0:00:47.22,0:00:49.46,Default,,0000,0000,0000,,but short enough to keep the pace brisk.
Dialogue: 0,0:00:49.46,0:00:51.32,Default,,0000,0000,0000,,And while other directors seem to have
Dialogue: 0,0:00:51.32,0:00:53.46,Default,,0000,0000,0000,,a dominant formal technique\Nto their long takes —
Dialogue: 0,0:00:53.49,0:00:55.96,Default,,0000,0000,0000,,for instance, Wes Anderson\Nlikes to move laterally,
Dialogue: 0,0:00:55.96,0:00:58.67,Default,,0000,0000,0000,,the only thing that really\Ndefines a Spielberg oner
Dialogue: 0,0:00:58.69,0:01:01.20,Default,,0000,0000,0000,,is that it's supposed to be invisible.
Dialogue: 0,0:01:01.77,0:01:04.27,Default,,0000,0000,0000,,So maybe I'm full of shit\Nfor even saying it exists.
Dialogue: 0,0:01:04.72,0:01:06.90,Default,,0000,0000,0000,,Now, I'm gonna cut\Nthese shots down for this video,
Dialogue: 0,0:01:06.90,0:01:08.18,Default,,0000,0000,0000,,but if you want to see the full scenes,
Dialogue: 0,0:01:08.19,0:01:10.68,Default,,0000,0000,0000,,I've put them all in two\Nseparate videos linked below.
Dialogue: 0,0:01:11.71,0:01:14.22,Default,,0000,0000,0000,,First off, a shot from\NRaiders of the Lost Ark.
Dialogue: 0,0:01:14.22,0:01:16.79,Default,,0000,0000,0000,,This is a single unbroken, 90-second take.
Dialogue: 0,0:01:17.38,0:01:20.73,Default,,0000,0000,0000,,The great thing about it is that it's\Nbasically four different shots in one:
Dialogue: 0,0:01:20.75,0:01:24.08,Default,,0000,0000,0000,,there's a push-in, two matching\Nsingles, and an insert.
Dialogue: 0,0:01:24.08,0:01:27.66,Default,,0000,0000,0000,,So Spielberg combines all four\Ninto a single moving master.
Dialogue: 0,0:01:27.66,0:01:29.76,Default,,0000,0000,0000,,It's really simple and elegant,
Dialogue: 0,0:01:29.76,0:01:32.45,Default,,0000,0000,0000,,and it probably saved\Na bunch of time on set.
Dialogue: 0,0:01:32.80,0:01:34.59,Default,,0000,0000,0000,,Also, it really works for the scene,
Dialogue: 0,0:01:34.59,0:01:36.91,Default,,0000,0000,0000,,because there's suspense\Nin the drinking contest.
Dialogue: 0,0:01:36.94,0:01:38.52,Default,,0000,0000,0000,,And no matter how many times I watch it,
Dialogue: 0,0:01:38.52,0:01:40.21,Default,,0000,0000,0000,,I still forget the exact timing,
Dialogue: 0,0:01:40.21,0:01:42.40,Default,,0000,0000,0000,,so it's always funny when this happens.
Dialogue: 0,0:01:45.20,0:01:47.24,Default,,0000,0000,0000,,Next up is a shot from Minority Report.
Dialogue: 0,0:01:47.24,0:01:48.95,Default,,0000,0000,0000,,This time, they're on a steadicam.
Dialogue: 0,0:01:48.95,0:01:51.24,Default,,0000,0000,0000,,But notice how the camera\Nnever moves unmotivated.
Dialogue: 0,0:01:51.24,0:01:53.05,Default,,0000,0000,0000,,It's always following\Na motion or an action.
Dialogue: 0,0:01:53.05,0:01:54.16,Default,,0000,0000,0000,,Hold that, please.
Dialogue: 0,0:01:54.16,0:01:55.48,Default,,0000,0000,0000,,The pacing is fantastic,
Dialogue: 0,0:01:55.48,0:01:58.24,Default,,0000,0000,0000,,you really get the sense that\Nthe scene is unfolding in front of you,
Dialogue: 0,0:01:58.24,0:02:00.60,Default,,0000,0000,0000,,rather than a cameraman hitting his marks.
Dialogue: 0,0:02:00.60,0:02:02.06,Default,,0000,0000,0000,,You're in a lot of trouble, John.
Dialogue: 0,0:02:02.66,0:02:04.38,Default,,0000,0000,0000,,The blocking of the actors is really fluid
Dialogue: 0,0:02:04.40,0:02:06.44,Default,,0000,0000,0000,,and the shot goes from\Nfavoring one character...
Dialogue: 0,0:02:07.56,0:02:08.71,Default,,0000,0000,0000,,...to favoring another.
Dialogue: 0,0:02:08.71,0:02:10.80,Default,,0000,0000,0000,,Seems I've found a flaw.
Dialogue: 0,0:02:12.27,0:02:14.23,Default,,0000,0000,0000,,Flashing back in time, this is Jaws.
Dialogue: 0,0:02:14.23,0:02:16.92,Default,,0000,0000,0000,,The great thing about this one\Nis how restrained it is.
Dialogue: 0,0:02:16.92,0:02:18.83,Default,,0000,0000,0000,,The cameraman barely moves.
Dialogue: 0,0:02:18.83,0:02:21.08,Default,,0000,0000,0000,,All of the movement is\Nin the blocking of the actors
Dialogue: 0,0:02:21.10,0:02:23.74,Default,,0000,0000,0000,,and specially, the really\Nsmart choice of location.
Dialogue: 0,0:02:24.02,0:02:25.56,Default,,0000,0000,0000,,By shooting on a real ferry,
Dialogue: 0,0:02:25.56,0:02:28.45,Default,,0000,0000,0000,,Spielberg can use the background action\Nto keep the pace snappy.
Dialogue: 0,0:02:28.45,0:02:30.38,Default,,0000,0000,0000,,One of the reasons I forgot\Nhow long this shot is
Dialogue: 0,0:02:30.38,0:02:31.88,Default,,0000,0000,0000,,is because the background keeps shifting
Dialogue: 0,0:02:31.89,0:02:34.12,Default,,0000,0000,0000,,and you're always looking\Nat something new.
Dialogue: 0,0:02:34.38,0:02:35.77,Default,,0000,0000,0000,,You yell "shark",
Dialogue: 0,0:02:37.62,0:02:40.07,Default,,0000,0000,0000,,we've got a panic on our hands\Non the 4th of July.
Dialogue: 0,0:02:40.78,0:02:42.51,Default,,0000,0000,0000,,Next up, Saving Private Ryan.
Dialogue: 0,0:02:44.79,0:02:46.56,Default,,0000,0000,0000,,One of the hallmarks of a Spielberg oner
Dialogue: 0,0:02:46.56,0:02:50.87,Default,,0000,0000,0000,,is that he tends to do almost all of his\Nspecial FX or his vis FX in the master.
Dialogue: 0,0:02:50.87,0:02:52.11,Default,,0000,0000,0000,,And this one's a doozy.
Dialogue: 0,0:02:52.11,0:02:56.79,Default,,0000,0000,0000,,Explosions, rubble, dust, smoke,\Ngunfire, squibs, and you know...
Dialogue: 0,0:02:57.77,0:02:58.65,Default,,0000,0000,0000,,A tank.
Dialogue: 0,0:03:00.24,0:03:01.14,Default,,0000,0000,0000,,Good shit.
Dialogue: 0,0:03:01.83,0:03:03.20,Default,,0000,0000,0000,,Now, I do want to emphasize,
Dialogue: 0,0:03:03.20,0:03:05.18,Default,,0000,0000,0000,,Spielberg did not invent this type of shot.
Dialogue: 0,0:03:05.18,0:03:07.73,Default,,0000,0000,0000,,In fact, it used to be\Na very common choice.
Dialogue: 0,0:03:07.73,0:03:08.88,Default,,0000,0000,0000,,How about you, handsome?
Dialogue: 0,0:03:10.07,0:03:11.48,Default,,0000,0000,0000,,Haven't I seen you somewhere before?
Dialogue: 0,0:03:11.48,0:03:13.24,Default,,0000,0000,0000,,In the 40s and 50s and 60s,
Dialogue: 0,0:03:13.24,0:03:15.09,Default,,0000,0000,0000,,studio directors frequently employed
Dialogue: 0,0:03:15.09,0:03:17.45,Default,,0000,0000,0000,,a moderate-length oner\Nto move the story along.
Dialogue: 0,0:03:17.48,0:03:19.52,Default,,0000,0000,0000,,How do you like this?\NI'm running outta alibis.
Dialogue: 0,0:03:19.52,0:03:21.60,Default,,0000,0000,0000,,But really, beginning with\NRope and Touch of Evil,
Dialogue: 0,0:03:21.60,0:03:23.67,Default,,0000,0000,0000,,the oner became a\Ncalling card for directors.
Dialogue: 0,0:03:23.67,0:03:24.86,Default,,0000,0000,0000,,Audiences noticed it,
Dialogue: 0,0:03:24.86,0:03:27.38,Default,,0000,0000,0000,,film critics and students\Ngot raging hard-ons for it,
Dialogue: 0,0:03:27.38,0:03:30.10,Default,,0000,0000,0000,,and for the last 50 years,\Nit's been a game of one-upmanship.
Dialogue: 0,0:03:30.10,0:03:32.43,Default,,0000,0000,0000,,Yours is 3 minutes?\NWell mine's 17.
Dialogue: 0,0:03:33.08,0:03:34.94,Default,,0000,0000,0000,,Hitchcock did a movie\Nseemingly in one take?
Dialogue: 0,0:03:34.94,0:03:36.87,Default,,0000,0000,0000,,Well we did it actually in one.
Dialogue: 0,0:03:36.87,0:03:39.30,Default,,0000,0000,0000,,Now, I'm not saying that\Nthese long takes are bad.
Dialogue: 0,0:03:39.30,0:03:40.92,Default,,0000,0000,0000,,Most of them are fun as shit.
Dialogue: 0,0:03:40.92,0:03:43.10,Default,,0000,0000,0000,,All of them are a little awe-inspiring.
Dialogue: 0,0:03:43.10,0:03:47.19,Default,,0000,0000,0000,,But there used to be a real type of shot\Nin at least American cinema that was…
Dialogue: 0,0:03:47.19,0:03:49.59,Default,,0000,0000,0000,,for lack of a better word, really robust.
Dialogue: 0,0:03:49.59,0:03:50.100,Default,,0000,0000,0000,,Like, it didn't break down.
Dialogue: 0,0:03:50.100,0:03:52.90,Default,,0000,0000,0000,,It worked, it got the job done.
Dialogue: 0,0:03:52.90,0:03:54.73,Default,,0000,0000,0000,,It was always interesting to watch.
Dialogue: 0,0:03:54.73,0:03:56.74,Default,,0000,0000,0000,,It didn't call attention to itself.
Dialogue: 0,0:03:56.74,0:03:58.51,Default,,0000,0000,0000,,You know, you could rely on it.
Dialogue: 0,0:03:59.20,0:04:00.31,Default,,0000,0000,0000,,Now, it's split.
Dialogue: 0,0:04:00.31,0:04:01.66,Default,,0000,0000,0000,,You got one branch of filmmaking
Dialogue: 0,0:04:01.66,0:04:04.11,Default,,0000,0000,0000,,that is trying to go faster,\Nshorter, more chaotic.
Dialogue: 0,0:04:04.11,0:04:07.09,Default,,0000,0000,0000,,And another that is almost\Nwillfully doing the opposite.
Dialogue: 0,0:04:07.09,0:04:08.40,Default,,0000,0000,0000,,Some people are still in the middle.
Dialogue: 0,0:04:08.40,0:04:09.85,Default,,0000,0000,0000,,Alfonso Cuarón comes to mind
Dialogue: 0,0:04:09.85,0:04:12.96,Default,,0000,0000,0000,,as someone trying to mine\Nthe long take for dramatic purposes.
Dialogue: 0,0:04:12.96,0:04:15.68,Default,,0000,0000,0000,,But even Alfonso\Nisn't trying to be invisible.
Dialogue: 0,0:04:16.55,0:04:18.83,Default,,0000,0000,0000,,Hell, even Spielberg sometimes\Nwants you to notice.
Dialogue: 0,0:04:18.83,0:04:20.26,Default,,0000,0000,0000,,This one from Minority Report
Dialogue: 0,0:04:20.26,0:04:22.99,Default,,0000,0000,0000,,is practically a De Palma\Nor Hitchcock shot.
Dialogue: 0,0:04:22.99,0:04:27.11,Default,,0000,0000,0000,,This one from Duel is, I mean,\Nit's almost like a slasher movie.
Dialogue: 0,0:04:31.38,0:04:32.46,Default,,0000,0000,0000,,This one from Always,
Dialogue: 0,0:04:32.48,0:04:34.02,Default,,0000,0000,0000,,which is a terrible movie,
Dialogue: 0,0:04:34.02,0:04:36.60,Default,,0000,0000,0000,,is done in sync with a 747.
Dialogue: 0,0:04:44.30,0:04:46.46,Default,,0000,0000,0000,,And this is just insane.
Dialogue: 0,0:04:51.28,0:04:52.91,Default,,0000,0000,0000,,But otherwise, Spielberg plays it quiet.
Dialogue: 0,0:04:52.91,0:04:55.30,Default,,0000,0000,0000,,Which is weird to say, because\Nyou know, Spielberg.
Dialogue: 0,0:04:55.85,0:04:56.94,Default,,0000,0000,0000,,But compared to his peers,
Dialogue: 0,0:04:56.94,0:04:59.71,Default,,0000,0000,0000,,this technique, which he has been doing\Nthis for 40 years at this point,
Dialogue: 0,0:04:59.71,0:05:01.25,Default,,0000,0000,0000,,makes him stand out all the more.
Dialogue: 0,0:05:01.28,0:05:03.76,Default,,0000,0000,0000,,Which car were you planning on?
Dialogue: 0,0:05:05.80,0:05:06.100,Default,,0000,0000,0000,,Whichever one you are.
Dialogue: 0,0:05:07.00,0:05:10.61,Default,,0000,0000,0000,,So I guess that's maybe the closest\NI can get to defining a Spielberg oner.
Dialogue: 0,0:05:10.61,0:05:13.72,Default,,0000,0000,0000,,It uses any and all possible\Ntricks to remain invisible.
Dialogue: 0,0:05:14.27,0:05:15.20,Default,,0000,0000,0000,,So if you're a director
Dialogue: 0,0:05:15.20,0:05:16.86,Default,,0000,0000,0000,,and you want to pull off a Spielberg oner,
Dialogue: 0,0:05:16.86,0:05:18.34,Default,,0000,0000,0000,,there’s only a few simple rules to follow.
Dialogue: 0,0:05:19.01,0:05:20.33,Default,,0000,0000,0000,,First, move your actors.
Dialogue: 0,0:05:20.33,0:05:21.45,Default,,0000,0000,0000,,Move 'em around.
Dialogue: 0,0:05:21.45,0:05:23.14,Default,,0000,0000,0000,,Don't just have them stand there and talk
Dialogue: 0,0:05:23.14,0:05:24.95,Default,,0000,0000,0000,,like they're in a 2014 blockbuster.
Dialogue: 0,0:05:24.98,0:05:26.03,Default,,0000,0000,0000,,Don't mind him.
Dialogue: 0,0:05:26.03,0:05:28.25,Default,,0000,0000,0000,,- English humor?\N- Scottish whiskey.
Dialogue: 0,0:05:28.28,0:05:29.96,Default,,0000,0000,0000,,Second, follow that movement.
Dialogue: 0,0:05:29.98,0:05:31.97,Default,,0000,0000,0000,,The camera doesn't have\Nto follow on a leash,
Dialogue: 0,0:05:31.97,0:05:34.14,Default,,0000,0000,0000,,it can swing around,\Nit can move counter to them,
Dialogue: 0,0:05:34.14,0:05:36.02,Default,,0000,0000,0000,,it can track laterally, whatever.
Dialogue: 0,0:05:36.02,0:05:38.48,Default,,0000,0000,0000,,But watch the scene and\Nplace the camera accordingly.
Dialogue: 0,0:05:40.14,0:05:41.29,Default,,0000,0000,0000,,Third, break down the shot
Dialogue: 0,0:05:41.29,0:05:43.63,Default,,0000,0000,0000,,into multiple compositions\Nand smaller angles.
Dialogue: 0,0:05:43.63,0:05:46.12,Default,,0000,0000,0000,,You are essentially linking\Nfive or six different shots
Dialogue: 0,0:05:46.12,0:05:47.36,Default,,0000,0000,0000,,into a single moving master.
Dialogue: 0,0:05:48.06,0:05:49.59,Default,,0000,0000,0000,,So you can think in terms of
Dialogue: 0,0:05:49.59,0:05:52.36,Default,,0000,0000,0000,,single, over-the-shoulder, insert, wide.
Dialogue: 0,0:05:52.38,0:05:53.58,Default,,0000,0000,0000,,It all flows together.
Dialogue: 0,0:05:55.88,0:05:57.18,Default,,0000,0000,0000,,Ah, Frank.
Dialogue: 0,0:05:57.21,0:05:58.51,Default,,0000,0000,0000,,Oh, and if you can accomplish all this
Dialogue: 0,0:05:58.51,0:06:00.16,Default,,0000,0000,0000,,without even moving the camera?
Dialogue: 0,0:06:00.16,0:06:01.06,Default,,0000,0000,0000,,Even better.
Dialogue: 0,0:06:01.60,0:06:02.41,Default,,0000,0000,0000,,All of you?
Dialogue: 0,0:06:03.82,0:06:06.16,Default,,0000,0000,0000,,Fourth, do your vis FX or special FX,
Dialogue: 0,0:06:06.16,0:06:08.07,Default,,0000,0000,0000,,anything you need to\Nkeep the "magic" alive,
Dialogue: 0,0:06:08.07,0:06:09.36,Default,,0000,0000,0000,,do it in the wide shot.
Dialogue: 0,0:06:09.36,0:06:11.25,Default,,0000,0000,0000,,Don't cheat and construct your elements
Dialogue: 0,0:06:11.25,0:06:12.69,Default,,0000,0000,0000,,out of close-ups and cutaways,
Dialogue: 0,0:06:12.69,0:06:15.37,Default,,0000,0000,0000,,put 'em in the wide shot and\Nlet the actors interact with them.
Dialogue: 0,0:06:15.37,0:06:18.07,Default,,0000,0000,0000,,And don't fucking green screen\Nshit that should be practical
Dialogue: 0,0:06:18.07,0:06:19.04,Default,,0000,0000,0000,,The audience can tell
Dialogue: 0,0:06:19.04,0:06:21.09,Default,,0000,0000,0000,,when an actor is reacting\Nto something that's there
Dialogue: 0,0:06:21.09,0:06:22.25,Default,,0000,0000,0000,,versus something that isn't.
Dialogue: 0,0:06:28.08,0:06:30.19,Default,,0000,0000,0000,,Fifth, if you need to, shoot a cutaway.
Dialogue: 0,0:06:30.19,0:06:32.67,Default,,0000,0000,0000,,All of the shots in this video\Nare completely unbroken takes,
Dialogue: 0,0:06:32.67,0:06:34.20,Default,,0000,0000,0000,,but Spielberg isn't stupid.
Dialogue: 0,0:06:34.20,0:06:36.07,Default,,0000,0000,0000,,He often shoots an insert\Nor a cutaway for a oner
Dialogue: 0,0:06:36.70,0:06:38.15,Default,,0000,0000,0000,,even if he's sure they nailed it.
Dialogue: 0,0:06:38.15,0:06:41.16,Default,,0000,0000,0000,,This gives him the ability to\Ntighten in editing if he needs to,
Dialogue: 0,0:06:41.16,0:06:43.25,Default,,0000,0000,0000,,or perhaps use the beginning of one take
Dialogue: 0,0:06:43.25,0:06:44.25,Default,,0000,0000,0000,,and the end of another.
Dialogue: 0,0:06:44.82,0:06:45.96,Default,,0000,0000,0000,,It also helps if he needs someone
Dialogue: 0,0:06:45.96,0:06:47.74,Default,,0000,0000,0000,,to hit a particularly difficult mark,
Dialogue: 0,0:06:47.74,0:06:49.81,Default,,0000,0000,0000,,like making a gun land in the right spot.
Dialogue: 0,0:06:50.24,0:06:51.71,Default,,0000,0000,0000,,...cautious fellow I am.
Dialogue: 0,0:06:53.79,0:06:55.10,Default,,0000,0000,0000,,And last, keep it short.
Dialogue: 0,0:06:55.10,0:06:56.32,Default,,0000,0000,0000,,Don't outstay your welcome.
Dialogue: 0,0:06:56.32,0:06:58.61,Default,,0000,0000,0000,,The Spielberg oner is designed\Nto get through scenes quickly
Dialogue: 0,0:06:58.61,0:06:59.42,Default,,0000,0000,0000,,and keep the pace up.
Dialogue: 0,0:06:59.81,0:07:01.42,Default,,0000,0000,0000,,You should not be\Nspending an entire day
Dialogue: 0,0:07:01.44,0:07:02.60,Default,,0000,0000,0000,,trying to get it perfect.
Dialogue: 0,0:07:02.60,0:07:03.77,Default,,0000,0000,0000,,That's for shit like this.
Dialogue: 0,0:07:06.64,0:07:07.94,Default,,0000,0000,0000,,So in conclusion,
Dialogue: 0,0:07:07.94,0:07:10.01,Default,,0000,0000,0000,,I understand that there's\Nsometimes a lot of backlash
Dialogue: 0,0:07:10.04,0:07:12.70,Default,,0000,0000,0000,,with regards to talking about\NSpielberg as a serious artist.
Dialogue: 0,0:07:12.70,0:07:15.72,Default,,0000,0000,0000,,I mean, sometimes the sentimental\Nstuff is a little hard to swallow.
Dialogue: 0,0:07:16.29,0:07:17.71,Default,,0000,0000,0000,,I'm not gonna talk about his legacy,
Dialogue: 0,0:07:17.71,0:07:20.06,Default,,0000,0000,0000,,but I do think he should be\Ncelebrated for his oners.
Dialogue: 0,0:07:20.52,0:07:21.100,Default,,0000,0000,0000,,Especially considering it's a technique
Dialogue: 0,0:07:21.100,0:07:24.12,Default,,0000,0000,0000,,generally abandoned by mainstream directors
Dialogue: 0,0:07:24.12,0:07:26.94,Default,,0000,0000,0000,,for either this kinda\Nincomprehensible bullshit
Dialogue: 0,0:07:28.16,0:07:31.59,Default,,0000,0000,0000,,or this really good, but also\Nreally noticeable style.
Dialogue: 0,0:07:33.28,0:07:34.54,Default,,0000,0000,0000,,Ironically, this dude,
Dialogue: 0,0:07:34.57,0:07:38.18,Default,,0000,0000,0000,,who was once considered responsible\Nfor destroying 70's Hollywood filmmaking,
Dialogue: 0,0:07:38.18,0:07:40.64,Default,,0000,0000,0000,,is probably the greatest\Nliving practitioner
Dialogue: 0,0:07:40.64,0:07:42.18,Default,,0000,0000,0000,,of a classic Hollywood tradition.
Dialogue: 0,0:07:43.00,0:07:44.57,Default,,0000,0000,0000,,I wonder if he feels sad about that.
Dialogue: 0,0:07:47.43,0:07:49.16,Default,,0000,0000,0000,,Fuck that, he's rich!