The Studio Recap: Back to One!

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In the initial scenes of “The Oner,” Matt boasts to Sal that unlike many executives, he doesn’t struggle on set. Regrettably, throughout the episode, Matt demonstrates exactly the opposite, causing chaos and issues that even surpass expectations. This is an unfortunate moment for Matt, given the high-pressure situation he finds himself in. The director, Sarah Polley and Greta Lee, are attempting a challenging single-take shot, or “oner,” at dusk. They have limited opportunities to capture it before losing light and potentially their star due to scheduling conflicts. Everything needs to run smoothly, but nothing does, and the majority of the problems can be traced back to Matt’s mishaps.

During this installment, the narrative unfolds in a single, continuous shot, focusing on Matt and Sal who arrive with intentions of relaxing, while Polley performs her enchanting work. Matt particularly enjoys this aspect of the job, as he watches the script unfold before his eyes. He has some suggestions, such as a bookend effect, which the episode also employs. The initial mistake Matt makes by parking in an incorrect spot at the start of the episode leads to severe repercussions towards its conclusion. This is just one of many self-referential elements in this intriguing episode, with discussions about the challenges of capturing magic hour shots being a prominent theme. Interestingly, the episode itself demonstrates these very challenges. Despite its complexities and self-awareness, it’s an entertaining and amusing watch that makes you forget its thoughtful undertones until after you’ve enjoyed it. Essentially, it’s a tightly written comedic episode that also serves as a thrilling disaster movie in disguise.

The episode is particularly impactful because it consistently presents opportunities for Matt to change course, which he repeatedly ignores as he hurtles towards catastrophe. For instance, the inappropriate wardrobe shift initiates this pattern. Seeing Sal dressed casually unsettles Matt, and he questions why he’s wearing a suit. Both Sal and Patty advise him to keep a low profile and refrain from suggesting ideas. However, Matt chooses to concentrate on their criticism of his attire rather than the more critical matter they urge him to focus on: the potential dangers of his presence. In essence, it’s like Matt being as distracting as when Bob Evans would appear with a bottle of Dom Perignon and cocaine.

It appears that Sal and Patty have devised a plan to keep Matt away from the set, as they anticipated potential issues. Polley also doesn’t want him there initially, but she needs Matt to approve a budget increase so she can use “You Can’t Always Get What You Want” by The Rolling Stones in the scene. They might try to isolate Matt in his own video village, as they believe this plan is crucial. Meanwhile, Lee is traveling to London to collaborate on a Christopher Nolan film about Jack the Ripper (who turns out to be female). After sunset, there’s no more opportunity for adjustments.

Matt’s presence on set sets off a chain reaction, stirring up turmoil. Polley is tense. Patty confides in Sal that Lee must be kept away from Matt, as she aims to flatter him for access to the corporate jet. Even the choice of his casual attire could lead to repercussions later on. Moreover, it appears things are running smoothly without him. Polley is managing the set effectively and the rehearsals promise an impressive final product. Even Matt is left speechless by admiration until Doug (Thomas Barbusca), a helpful assistant, mistakes him for an extra and disrupts his focus. Then Matt orders coffee, and after Polley opens the door to receive feedback, suggests to her modifying the scene by showing Lee’s character smoking a joint at the start of the scene. These suggestions also carry potential consequences, both immediately and in the long run.

Take one: The joint goes out. Cut.

In another attempt: The flow is generally good, but the video and sound transmissions to the video tent are intermittent. Matt, managing to slip away from the exclusive video tent, becomes quite agitated due to this issue, which causes him to divert Lee’s attention. This creates an opportunity for them, assuming they can quickly swap Party Guy No. 2’s costume. The challenge: Matt is currently wearing Party Guy No. 2’s backup outfit. With no moments to waste (and Patty’s blackmail threat still looming), Sal must be honest with Matt. Both Patty and Polley don’t want him there. Matt seems ready to depart until Lee arrives and showers him with compliments for his strategy and innovative thoughts. She’s a fan of bookends, too! (She also, as expected, wants to utilize the studio’s private aircraft.)

In the scene, Matt enters. Attempting to resolve the situation, he ends up hurting himself while leaving, causing Polley’s annoyance to grow. (Word count: 37)

Everything seems to be going smoothly, except for the persistent medic bothering Matt, until the last second of the final scene, where Lee’s character is left to drive away with a broken heart. However, she almost does so, unless you count the striking classic convertible with the license plate “STD HEAD.” Realizing he might be the source of her troubles (although it turned out to mean “studio head”), Matt hurriedly tries to move his car but fails because he changed out of his suit. After getting his keys, he drives off as the sun sets, marking the end of the episode, which was somewhat reminiscent of a bookend. Unfortunately, there’s an additional note: a message from the set informing Sal that they didn’t manage to get the desired shot.

In a compelling yet draining 30-minute episode titled “The Oner”, we delve deeper into Matt’s character, uncovering layers of self-doubt. His insecurity, stemming from his dedication to producing quality films, makes him relatable, but it doesn’t erase the harm he inflicts. He may not be an outright egocentric, yet he’s far from being entirely selfless. He revels in the prospect of his ideas becoming part of a film and cherishes the praise and adoration Lee bestows upon him. However, his primary flaw lies in his inability to step back, leading to him often hindering himself and, unfortunately, others as well.

Rogen skillfully portrays his escalating anxiety amidst an intricately designed scenario where Matt’s troubles progressively mount. Remarkably, they manage to execute this complex sequence seamlessly in a single take as the sun sets, a feat that leaves Polley baffled within the episode. Co-created by Peter Huyck and directed by Rogen and Goldberg, “The Oner” impresses with its second episode, setting a high standard for the series.

And … Cut!

In Sal’s opinion, “Directors are sometimes overindulgent when they shoot long, unbroken takes (known as ‘oners’). It seems like they’re focusing more on themselves rather than making the experience enjoyable for everyone else.” He further adds that “Viewers typically aren’t interested in this kind of self-centered filmmaking.” Now, there’s a touch of irony here since Sal is expressing his thoughts during a discussion about an episode featuring a long take. However, it’s not entirely off the mark. Long takes can sometimes come across as indulgent. Matt counters by citing ‘Birdman’ as a case where a long take was used effectively for artistic purposes, but opinions might differ on that point. Ultimately, it’s agreed that a long take can either enhance or detract from a film.

The man carried a bag that resembled a caramel-colored leather sofa, and Patty expresses her condolences for Ray Liotta in the second consecutive episode by making a reference to the late actor’s physical attributes. O’Hara might not grab every line from this series that stands out, but she certainly gets her fair share.

In this episode, Polley could be considered the unsung hero, demonstrating exceptional performance as a secondary character. Although her focus has shifted towards directing rather than acting, she hasn’t forgotten her craft. Her initial response to Matt’s feedback is filled with heartfelt affection, yet there’s also a calculated intent to secure the rights to the song she desires. By the end, when she erupts, it’s as if a pressure cooker that has built tension throughout the episode finally releases steam.

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2025-03-26 20:54