The Oscar for Best Cinematography has become the Oscar for the longest lakes.
notwithstanding, the Academy still seems uncertain how to navigate the complicated relationship between on-set photography and visual effects, and the long take is the easiest way to avoid that issue altogether. It’s no secret that, in modern movies, many of what appear to be long, unedited shots are actually digital quilts stitched together from numerous pieces. Roger Deakins has declined to say how many shots are actually involved in; you do the math.
Although they’re almost invariably abetted by digital technology at this point—if not to join together separate takes, at least to paint out stray cables or correct a wobble that might ruin an otherwise perfect shot—long takes serve as an implicit rebuttal to the CGI-heavy process of contemporary Hollywood filmmaking. At least at some points in.
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