Quentin Tarantino Reveals His Favourite Long Take in Film

Long takes have made a notable return to the spotlight, with recent productions like Netflix’s unsettling drama Adolescence employing a single, unbroken shot per episode to intensify the chilling narrative of a child’s crime. Yet, the technique itself is hardly new, and few directors are as well-versed in its history as Quentin Tarantino. Among the most technically ambitious examples is the 2002 Russian film Russian Ark, directed by Alexander Sokurov. This 96-minute feature unfolds in one continuous Steadicam shot, filmed at the Hermitage Museum in St Petersburg. The production marshalled 2,000 actors, each required to hit their marks with near-flawless timing, as the camera glided through 33 rooms, weaving a tapestry of Russian history. The project, which took four years to plan, was executed in a single day, with only three unsuccessful attempts preceding the final take on 23 December 2001.

Despite its technical prowess, this feat did not earn Tarantino’s highest praise. Instead, he points to a different moment in cinema as the pinnacle of the long take.

The Artistry of the Unbroken Shot

For Tarantino, the most impressive use of the technique appears in the 1973 film Paper Moon. The story follows real-life father and daughter, Ryan and Tatum O’Neal, as they portray Moses Pray and Addie Loggins, a pair of con artists traversing 1930s Kansas. Tarantino’s appreciation for the long take is rooted not in technical bravado, but in its ability to capture genuine emotional intensity. In his review, he demonstrates his deep knowledge of the form, remarking:

“And for all the cinematic virtuousness of some of the other seventies movie brats, especially when compared to Bogdanovich, the single greatest long take of their cinematic collective isn’t any of DePalma’s over hill and under dale Steadicam and crane combinations, or even Scorsese’s magnificent and witty tour through the Copacabana leading up to Henny Youngman in Goodfellas (though that’s pretty spectacular, as is the crane that ends up behind the bucket of blood in Carrie).”

He singles out a particular scene in Paper Moon—a two-minute, uninterrupted shot mounted on a car, capturing a heated exchange between Moses and Addie as they drive through a barren landscape. The camera remains fixed, allowing the audience to witness the ebb and flow of their row in real time.

Emotional Honesty in Motion

During this sequence, the pair argue over what to do with the money they have swindled. The father’s frustration is palpable, and his daughter’s stoic resolve is equally striking. Their conversation escalates, each blaming the other, until the tension finally gives way to a fragile reconciliation. Tarantino describes the moment:

“For me, it’s the car mount single take two-shot of Ryan O’Neal’s driving Moses Pray and overall-wearing, shotgun-riding tyke Tatum O’Neal’s Addie Loggins, as they bicker, fight, break up and then, finally, get back together (‘I guess we’ll just hafta’ keep on veerin’).”

The dialogue is sharp and quick, with lines like, “You got an excuse for everything!” and the retort, “Because you blame me for everything!” The scene’s power lies in its simplicity; the camera does not flinch or cut away, allowing the rawness of the moment to unfold naturally. In just two minutes, director Peter Bogdanovich achieves a level of emotional complexity that others might labour an entire film to reach.

Why This Scene Stands Apart

For Tarantino, the brilliance of this long take is not in its technical execution, but in its ability to lay bare the vulnerability between parent and child. The unbroken shot draws viewers into the heart of their relationship, making every word and gesture feel immediate and unfiltered. It is a masterclass in restraint, proving that sometimes, the most powerful moments in cinema are those that simply allow the truth of a scene to breathe.