Thread by @metaplexmovies

now that FURIOSA is out on VOD I wanted to clarify what I meant by "mini-oners," IE Spielbergian shots that effortlessly combine multiple setups but aren't full-bore tracking shots, by sharing some of the best in the movie, starting with this one:

FURIOSA (shockingly) begins with a series of longer-takes, with Miller instantly differentiating the visual language and rhythm from the cut-cut-cut kineticism of FURY ROAD. This shot begins as a close-up before craning to an epic tableau, the visual climax of the opening scene:

This shot of Dementus casing Gastown might be one of the most Spielberg-feeling shots of the movie, beginning as a tight medium, moving into a two-shot, craning into a wide, tracking forward with a group, then craning over a cliff-face into another huge wide shot:

This shot is only 15 seconds long, but FURIOSA has many (many) dozens just like it, the camera effortlessly snaking through the action with total clarity. The "stowaway" set-piece is almost all shots just like this one, it's an action masterpeice but also of shot design:

I also have to reshare this clip, which has already widely circulated Twitter:

but one of my favorite oners in FURIOSA is immediately after the vehicular acrobatics of that "stowaway" set-piece, Miller hits the emergency break (sorry) with a near minute-long take to capture Furiosa confronting the loneliness of The Wasteland in a way only a longer take can:

The sneakiest mini-oner in FURIOSA might be this one, which begins as a two-shot of Jack and Furiosa, only to glide between Immortan Joe's entourage mid-debate, constantly reframing speakers. It's the most old-school "moving master" style shot in the film, down to a profile view:

I wanted to save the longest, most complex and possibly best "oner" (also **SPOILERS**) in FURIOSA for last, which tracks from a defeated Furiosa and Jack into Dementus' monologue, then their embrace, followed by his torture by motorcycle, to Furiosa strung up. It's extraordinary