ABSTRACT
There are contemporary filmmakers, mostly from Europe or Asia, like the Hungarian director Bela Tarr, who depend exclusively upon the long take. The American director Gus Van Sant, best known for films like Good Will Hunting (1997) and the 1998 shot-by-shot remake of Psycho (1960), has made more personal works, like Elephant (2003), a contemplation on the Columbine shootings, that are made in very long takes with a minimum of editing. The most radical longtake directors will cut only when the scene changes. They are in the minority.
