From en.wikipedia.org:
[Single continuous recorded performance] [Other uses] {{Multiple issues|
[date=August 2023] [date=August 2023] [reason=Writing consistency and focus is
off. Full rewrite is not strictly necessary.] }} A TAKE is a single
continuous recorded performance. The term is used in film and music to denote
and track the stages of production.
** Film
In cinematography, a take refers to each filmed "version" of a particular shot
or "setup". Takes of each shot are generally numbered starting with "take
one" and the number of each successive take is increased (with the director
calling for "take two" or "take eighteen") until the filming of the shot is
completed.[date=April 2019]
Film takes are often designated with the aid of a clapperboard. It is also
referred to as the slate. The number of each take is written or attached to
the clapperboard, which is filmed briefly prior to or at the beginning of the
actual take. [date=April 2019]
Only those takes which are vetted by the continuity person and/or script
supervisor are printed and are sent to the film editor.[date=April 2019]
*** Single-takes
A SINGLE-TAKE or ONE-TAKE occurs when the entire scene is shot satisfactorily
the first time, whether by necessity (as with certain expensive special
effects) or by some combination of luck and skill.[date=April 2019]
*** Long takes
[Long take] Some film directors are known for using very long, unedited takes.
Alfred Hitchcock's _Rope_ is famous for being composed of nine uninterrupted
takes, each from four to ten minutes long. This required actors to step over
cables and dolly tracks while filming, and stagehands to move furniture and
props out of the camera's way as it moved around the room. The eight-minute
opening shot of _The Player_ includes people discussing long takes in other
movies.[date=April 2019]
Aleksandr Sokurov's _Russian Ark_ (2002) consists of a single 90-minute take,
shot on a digital format. Mike Figgis' _Timecode_ (2000) consists of a single
90-minute take as well, albeit with four camera units shooting simultaneously.
In the finished film, all four camera angles are shown simultaneously on a
split screen, with the sound fading from one to another to direct audience
attention.[date=April 2019]
*** Multiple takes
Other directors such as Stanley Kubrick are notorious for demanding numerous
retakes of a single scene, once asking Shelley Duvall to repeat a scene 127
times for _The Shining_. During the shooting of _Eyes Wide Shut_, Kubrick
asked for 97 takes of Tom Cruise walking through a door before he was
satisfied. Charlie Chaplin, both director and star of _The Gold Rush_, did 63
separate takes of a scene where his character eats a boot—in reality, a prop
made of licorice—and ended up being taken to the hospital for insulin shock
due to the high sugar intake.[1] Chaplin also did 342 takes of a scene in
_City Lights_ (1931).[date=April 2019]
In other cases, it is the actors who cause multiple takes. One fight scene in
Jackie Chan's _The Young Master_ was so intricate that it required 329 takes
to complete.[2]
Director Bryan Singer tried for a full day to get his desired shots of the
cast of _The Usual Suspects_ behaving sullenly in a police lineup, but the
actors could not remain serious and kept spoiling the takes by laughing and
making faces. In the end, Singer changed his plan and used the funniest of
the takes in the final movie to illustrate the contempt the criminals had for
the police. [date=April 2019]
During the filming of _Some Like It Hot_, director Billy Wilder was
notoriously frustrated by the retakes required by Marilyn Monroe's inability
to remember her lines.[date=April 2019]
** Music recording
In music recording, a TAKE similarly refers to successive attempts to record a
song or part. Musical takes are also sequentially numbered. The need to
obtain a complete, acceptable take was especially important in the years
predating multi-track recording and overdubbing techniques.
Failed attempts are called "false starts" if, for example, not even a complete
chorus or verse is recorded; longer almost-complete attempts are called "long
false starts".
Different versions of the same song from a single recording session are
sometimes eventually released as ALTERNATE TAKES (or ALTERNATIVE TAKES) or
"playback masters" of the recording. Notable examples of releases of
alternate takes include The Beatles _Anthology_ box set, Johnny Cash's Bear
Family box sets and _Johnny Cash:The Outtakes_ and a series of alternate takes
of recordings by Elvis Presley released by RCA Victor beginning in 1974 with
_Elvis: A Legendary Performer Volume 1_.
A fine example of the musical implications of multiple recorded performances
and how they differ can be found on the posthumous 1969 LP compilation "To
Know a Man" (Blue Horizon 7-66230) which comprises the complete last two early
1960s sessions by legendary slide guitarist Elmore James with backing
musicians. These are unedited studio tapes which include multiple live
complete and part takes of several tracks. There are also adlib band
reminiscences and talkback chat with the producer which give a superb insight
into the creative energy of the performing and recording process.
** See also
- Shot (filmmaking)
** References
References:
[1]. [url=https://www.imdb.com/title/tt0015864/trivia/]
[2]. [url=https://www.imdb.com/title/tt0081499/trivia]
** External links
[take]
Category:Film production Category:Music production