Stake contributors sat down to compile a list of our favorite extended shots in the movies. As Gravity pulls us all inexorably into its grasp, our love for Alfonso Cuaron and his famous long-shots started us down the path. Word is Gravity has a long take that’ll take our breath away. We can’t wait.

Each of these shots is meticulously conceived, constructed, and executed. Our list began at least twice as long as this, but cuts are needed (sorry, The Player). Finally, the order means almost nothing, as each of these are brilliant and complicated and a grand achievement in their way.

10. The Passenger.
(Director: Michelangelo Antonioni; Cinematographer: Luciano Tovoli)

Antonioni’s masterful bit of suspense. An almost numbingly patient seven minute take zooms from a hotel room into the street, then returns to reveal what happened while the camera’s back was following the other action. Its fabulous stuff.

9. Snake Eyes.
(Dir: Brian DePalma; Cin: Stephen Burum)

A masterfully crafted 12-minute take ranges across a casino to introduce the main character and captures the murder that will provide the mystery for the rest of the movie. A movie which, it turns out, is not very good. But as a piece of camerawork, these 12 minutes are priceless.

8. Magnolia.
(Dir: PT Anderson; Cin: Robert Elswit)

Passing through the television studio as Stanley Spector arrives for his game show appearance, and tracking his father back to a room full of nervous and demanding parents, returning to Stanley, even taking an elevator ride. The shot covers the width and breadth of a complex movie in a complicated, long-take. PT Anderson loves his tracking shots. This is among his best.

7. Serenity.
(Dir: Joss Whedon; Cin: Jack Green)

The opening of Serenity introduces the cast of characters as they make their way about the firefly class transport. But more importantly, audiences are introduced to Serenity herself as she prepares for a slight explosion. Proving that extended takes can be used for fun, and not just for superb intensity or tragedy.

Watch it here.

6. The Shining.
(Dir: Stanley Kubrick; Cin: John Alcott)

Kubrick’s tracking shot follows Danny on his tricycle as he rolls through the corridors of the Overlook Hotel. A long and slow shot, accompanied only by the sound o the wheels on the varying surfaces, the shot is haunting. It finally breaks in a flashing image of the twins, only to resume and follow Danny once more around a corner to discovers the matching twins beckoning: “come and play with us”. It is terrifying.

5. Boogie Nights.
(Dir: PT Anderson; Cin: Robert Elswit)

PT Anderson’s second appearance. From a swooping crane to the nightclub of San Fernando Valley in 1977 as Luis Guzman shows us the way of Disco. Also worth noting is the shot at the party, tracking the actors as they carouse and even into the pool.

4. Children of Men
(Dir: Alfonso Cuaron; Emmanuel Lubezki)

Cuaron gives us two to choose from in Children of Men, but we had to settle on the battle scene. Constructed meticulously (as they all are), this shot brings out horror of the world’s demise, and is the highlight of a brilliant sci-fi masterpiece. Here’s most of it:

3. Touch of Evil.
(Dir: Orson Welles; Cin: Russell Metty)

A bomb is placed in the trunk of a car and only our craning camera knows it. Orson Welles introductory scene tells the audience to expect anything in his suspense classic. We meet the victims and know their fate is sealed. Perhaps the most famous long-shot in cinematic history, and well worth all of its praise. A wonder to behold.

2. Atonement.
(Dir: Joe Wright; Cin: Seamus McGarvey)

A single shot reveals the horrors of Dunkirk. It’s a beautiful piece of cinematography and accompanying music by Dario Marinelli. Mix in the singing soldiers, the scene captures something tragic and very special.

1. Goodfellas.
(Dir: Martin Scorcese; Cin: Michael Ballhaus)

Scorcese got our top vote. The Copacabana scene. Noteworthy details include, as we wind through the narrow kitchen, Ray Liotta snags on the oven, so tight is the walkway. Our camera of course, remains steady and straight. The best of the best, we say.