Hello, my name's Justin the Clu, and I'm here today with Will Sloan.

And you're listening to The Important Cinema Club.

And today, we're talking about the coolest thing cinema can offer, says a 12-year-old boy who just discovered Quentin Tarantino, the long take.

And we're doing this podcast all in one take. That's right. No edits, he lied. There'll be seamless edits that we're going to try to like, Will will turn toward the microphone on his back and we'll cut and it'll continue from there. Yeah. Cutting out all the parts where I like break down in tears. Yeah, that's right. Such a such a fraud. Where I'm yelling at you and I'm like, do better.

So the long take is something that as a filmmaker myself, you kind of get obsessed with

because it's this quantitative idea of cinema as something that like anyone could see

and go, wow, that is impressive.

I think for kind of young people who are getting into film, you know, the sorts of

filmmakers that young people, young men, let's face it, gravity towards, are people like

Tarantino, Scorsese, Brian De Palma.

These filmmakers who announce their presence very strongly in a very kind of macho way.

Like, we are the authors of this film.

Film is our mode of expression.

And, like, the long take is this very obvious manifestation of that authorship.

It's them declaring, look at what I can do.

Look at what I can do.

It's the most, like, Brechtian device you can use

stylistically because the idea of a long take, the viewer has to be aware of it for it to have

an impact like the director wants. This idea that like I'm sitting in the audience and I realize,

whoa, this take has been going on for like two minutes. That's crazy. Because otherwise, like my mom or my dad sitting in the

audience watching a movie, they're never going to realize that. They will never have an impact on them.

The fact that this goes on was out of cut for a really long time. So it's really only for like

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