"THE TRACKING SHOT IS WHAT BRIAN WOULD CALL 'NO NET PRODUCTIONS'"
The past two issues of Fangoria have featured parts one and two of a terrific interview with Nicolas Cage, conducted by Chris Alexander. In the current issue (#311), the discussion leads to Brian De Palma's Snake Eyes:
FANG: You've worked with most of the living masters, including David Lynch in the wonderful Wild At Heart. But I must say, Brian De Palma's Snake Eyes is woefully undervalued, both as a De Palma film and a Cage film. And that tracking shot...
CAGE: I don't watch my movies, but that one, if I catch it on television... I'll shut it off after two minutes, but I'll look at it and go, "Oh, wow, what did we get up to there?" That movie is remarkable, really. It has a style that's all its own, and the tracking shot is what Brian would call "No Net Productions." It was as if we were on a high wire and we'd go for five minutes, doing nonstop dialogue, movement, rehearsing all day long and if one line was blown, we'd have to stop, set it up and do it all over again.
FANG: How many times did you do it?
CAGE: I don't remember, but I know I was rehearsing it day and night, in my head all the time, even in the shower. Then on the day we were filming, we rehearsed well past lunch before we actually started to shoot. I often tell people I'm working with, if they are interested in tracking shots, to check out the beginning of Snake Eyes, because it is a standout, right up there with Touch Of Evil.
'SILENT HOUSE' CREATES ILLUSION OF SINGLE-TAKE FOR REAL TIME HORROR
Speaking of long tracking shots, this issue of Fangoria also includes an article about the just-released remake of Gustavo Hernández' The Silent House (the new version shortens the title to Silent House). Hernández' film stood out for its use of one long single-take to present its haunted house story in real time. In the Fangoria article, Open Water filmmakers Chris Kentis and Laura Lau describe how they worked hard to give the illusion that their Silent House is done in one long single-take, although it is made up of a string of very long continuous takes itself. (De Palma's opening 15 minutes of Snake Eyes also includes one or two well-designed cuts to present the illusion of a single take.) The pair also explains why, after showing the film at Sundance in 2011, they went back and shot a new ending. "We actually reshot quite a bit of the movie, like the last 15 minutes," Lau tells Fangoria's Michael Gingold, "and obviously one reason was that because it's a continuous take, it was not simple to change that film!"