12019-01-28T00:43:35+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b11Gun Crazy (1950)plain2019-01-28T00:43:35+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bFearing boredom, the director Joseph H. Lewis staged the robbery scene in a single take, photographed entirely from the back of the getaway car—actually, a stretch Cadillac with the rear seats taken out. The crew greased some wooden boards and placed them in the back of the car; then they mounted a saddle onto the boards and attached the camera head to the saddle. Sliding back and forth on the greased boards, the operator created the effect of a dolly shot in a moving vehicle.
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12019-01-28T00:32:11+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bChapter Six: An Art of DisclosuresPatrick Keating3Chapter on long takes and the widescreen cinema of the 1950splain1992019-01-28T02:10:25+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b
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12019-01-27T22:00:35+00:006.7 Gun Crazy1Gun Crazy (1950)plain2019-01-27T22:00:35+00:00Critical Commons19502019-01-27T18:39:50ZVideoJoseph H. LewisGun Crazy