Behind the Scenes: The Studio’s One-Take Wonder and Its Hilarious Mishaps

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1. “People can sometimes seem unintelligent, but it’s often because the leader is focusing on personal indulgences rather than the well-being of others. The audience isn’t interested in such petty matters.” (27 words)

2. “People may appear foolish at times when leaders are more concerned with their own gratification and neglecting others. Audience members don’t take kindly to trivial nonsense.” (31 words)

3. “Leaders who prioritize their own pleasure over the welfare of their followers can make everyone seem stupid. The public doesn’t appreciate such frivolous behavior.” (34 words)

4. “When a leader is more interested in self-satisfaction than caring for others, it can make the group seem unintelligent. The audience isn’t impressed by such pointless actions.” (36 words)

5. “It seems as though people are foolish when their leaders prioritize themselves over everyone else. The public doesn’t appreciate unnecessary distractions.” (31 words)

Experience the satirical comedy “The Studio,” created by Seth Rogen and Evan Goldberg, now streaming on Apple TV+. This limited series offers a humorous take on Hollywood’s inner workings, particularly the directors’ obsession with filming scenes in one continuous take. The second episode, titled “The Oner,” delves into the intricacies of such filmmaking techniques. In this installment, Ike Barinholtz portrays an executive named Sal who voices his concerns about the one-take to Matt Remick, played by Seth Rogen as the head of Continental Studios. Sally Polley embodies a director attempting to execute a crucial one-take for her film before losing her lighting. The duo finds themselves in a frenzy, rushing through the Hollywood Hills to observe the scene being filmed. However, events don’t unfold smoothly due to Matt’s repeated interruptions of the important one-take shot. On multiple occasions, the scene must be re-staged. Interestingly, the episode itself is structured in a way that echoes its content – it is also filmed as a single take.

When Adam Newport-Berra learned that Rogen and Goldberg intended to use numerous long takes throughout their series and even film an entire episode without cuts, he eagerly accepted the opportunity. “There were no easy ways out,” Newport-Berra stated.

As a movie reviewer, I can share my personal experience: Working alongside EbMaster, Newport-Berra admitted that the process was more about “grinding through every moment.” This involved strolling with Rogen and Goldberg, carrying the script to gauge how scenes would be filmed. Newport-Berra elaborated, “We’d visit locations, armed with an iPhone, the script, and just assessing how it would flow.” Frequently, we had to find ways to combine two locations or figure out the transitions from one scene to another.

A clear illustration can be found at the beginning of the episode, as Matt and Sal pull up through the Hollywood Hills and pause for a chat in the driveway. The Ronin gimbal seamlessly transitioned Newport-Berra between different scenes.

In this discussion, Newport-Berra shares the steps he takes during preparation, the selection of his cameras, collaborating with Martin Scorsese and Kathryn Hahn.

How did you map out Episode 2? What went into that?

Among the most thrilling and nerve-wracking proposals for a shoot we’ve encountered was this stunning location we fell in love with. The problem? It was predominantly made of glass walls, which made it less than ideal for our intended purposes.

The glass-walled location that captivated us was one of the most exhilarating and fearsome shooting ideas we’ve had. Although we adored it, the fact that it was mostly composed of glass walls presented challenges in executing our desired plans.

We couldn’t manipulate the time because it was clearly visible, and there were no suitable spots for hiding equipment or personnel. Any deviation by the camera would reveal a multitude of crew members, monitors, and lights that shouldn’t have been seen. Instead, we invested considerable time in scouting the location. We visited weeks beforehand and brainstormed ideas. Seth and Evan would traverse the site, pinpointing areas that seemed less engaging or could be enhanced, and we gradually refined the script to create the most thrilling journey through the space and the optimal way to highlight the location, all while providing ample opportunities for the actors. This involved frequent returns to the location, with contributions from everyone in the crew. Some ideas emerged early on, while others surfaced during filming from the actors or camera operator.

What went into the driving sequence that ends with the two of them talking in the driveway?

As a movie enthusiast, I must admit that one particularly intriguing aspect of this episode was the clever use of camera technology. Filming a scene where an event occurs both at the start and end required some deft maneuvering. In the past, such scenes might have been challenging due to the limitations of equipment, but today’s technology is simply astounding.

We employed a Ronin gimbal for this sequence, allowing us to operate it remotely. This was quite a feat as our filming car followed closely behind another vehicle, which was ahead of ours during our drive-up. Upon parking, that car needed to vanish quickly, because moments later, we detached the gimbal and maneuvered around the car, seamlessly transitioning into the rest of the episode.

The logistics involved were complex, involving numerous people coordinating gear and vehicle movement. Behind the scenes, it was a whirlwind of activity, but the actors rose to the challenge admirably. They had to focus on their performances while dealing with a myriad of distractions happening all around them. It’s truly amazing how they manage to deliver such captivating performances amidst the chaos.

One of the first things Seth and Evan told you was that they wanted to use one lens, what was your lens and camera of choice for this, and why?

In our shoot, we opted for the ARRI 21mm Master Prime Lens after trying out several other focal lengths. This particular lens stood out due to its rapid aperture speed. The close focusing distance is quite minimal, allowing us to get up close to subjects without needing additional diopters. All in all, it’s an incredibly versatile lens. Its sharpness is particularly noteworthy; in close-up shots, it really delivers a strong impact. We utilized the Alexa 35, ARRI’s latest camera model, which excels at reproducing skin tones naturally and performs exceptionally well in low light conditions, as well as high contrast situations. This meant we could rely heavily on natural and available light during our shoot without the need for excessive overlighting.

Going back to about the rest of the episode, it’s an actual film set where you have lines about whip pans, but with that many people talking, what happened when someone flubs their lines, or stepped into the shot?

We restarted from scratch, aiming for unity, kindness, and mutual support among all team members. Despite occasional mistakes like missed takes, accidental intrusions into shots, or unintentional camera bumps – inherent in our work – Seth and Evan remained patient, fostering a sense of camaraderie. This shared understanding that everyone needed to give their best effort on every take created an inclusive atmosphere. The thrill of successfully executing a take was exhilarating, as it symbolized the pinnacle of teamwork. In essence, nailing a take was our show.

Once you knew this episode was happening, did you go off and watch any films or scenes that had oners?

We drew heavily from numerous sources for our project. Many of our ideas were deeply ingrained in our minds, and I could easily recite them. The initial scene of Robert Altman’s “The Player” was particularly influential; it showcased a studio lot that served as an early inspiration for the series, and we aimed to capture its energy while making it our own. Other clear inspirations were “Birdman” and “Children of Men,” known for their handheld approach. However, my personal favorite references came from Mikhail Kalatozo, who directed “Soy Cuba” and is also referenced in the show. He also made “The Cranes Are Flying,” and his unique and intricate camera movements continue to amaze me. This inspired me to believe that I had no excuse not to attempt similar shots, as they require determination and resourcefulness to achieve.

Were there any last-minute changes or things that were decided during filming?

During our entry, we’d encounter a general hold-up situation and determine the ideal approach for the performers. Frequently, they would depart from the set temporarily as we brainstormed how to execute the freshly conceived shot. We often attempted five to six takes of a single shot, with noticeable moments where the scene lacked the desired dynamism or a crucial reaction or performance was absent. At such times, we’d pause filming and reconsider our approach, discussing ways to enhance the shot quality. Often, an actor’s spontaneous improvisation line would warrant incorporation into the scheme, or we’d recognize a gap in the scene that needed addressing. Every day brought minor modifications to our strategy, which was simply part of our creative process.

How many takes of this episode did it take until they finally had it?

I would say dozens of takes.

Martin Scorsese appears in episode 1. What was it like working with him and his sequences?

The situation was quite daunting due to the high expectations we had for our performance, given Seth’s significant influence on the show. I could sense that Seth was anxious, as were the rest of us. We all wanted to meet his standards and make a positive impression on him. Knowing his exceptional standards and the impact he had on our production, we were eager to deliver our best for him.

It turned out that we hadn’t informed him about our plan to shoot long, continuous scenes (oners) ahead of time. Seth revealed this detail much later. To be prepared in case Marty questioned the setup, we arranged for an extra camera to be available. When Marty arrived on set, Seth announced, “Hey, Marty, we’re doing all of this as oners.” To our relief, Marty responded positively and said, “Let’s go ahead with it.” He proved more than capable of handling the challenge.

Collaboratively, we worked out the logistics of these extended shots, just like we had with any other cameos. The excitement of doing something unconventional and pushing the boundaries of our medium was palpable among everyone involved.

Do you have a favorite mishap, especially when you were so close to getting a take?

Kathryn Hahn frequently brought the house down with her hilarious improvisations on set. Her humor was so infectious that it often caused Seth to burst out laughing, or even half of the cast and the crew to erupt in laughter. Kathyrn’s comedic prowess and impeccable timing made her an unstoppable force for creating spontaneous, side-splitting moments. On several occasions, she would spontaneously utter something hilarious during a take, causing us to abandon the original take, but we would later incorporate that unexpected line into the next take, resulting in a funnier scene overall. Kathyrn was an indispensable source of comedic relief throughout the show, and her unpredictability added a wild, beloved element to the production.

This interview has been edited and condensed for clarity.

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2025-03-28 01:18