While filming has come out a long way out of Hade's studio system of Hollywood's Golden Age, there are numerous practical techniques from the early years of the cinema that are still practiced today. Perhaps the most practical technique of all is the one who makes the least common sense of an outsider, which is that most films are made completely out of order. This is usually done for location questions or only available for a certain time during production, which means that the directors should complete the recording there first before moving to another setting. These problems are then complemented by the schedule of the cast - for example, a certain actor may appear at the end of the film, but is only available in the wounds in the recording schedule. Although this may seem bizarre for those coming from the theater world, it is a reality of film and television that has become widely understood and accepted.

As such, it is rare that the film will shoot anywhere near chronological order, as it rarely has a practical or financial sense to do so. However, every once for a while, Starsvals are aligned in fashion that makes shooting in a row not only financial sound but also creatively attractive. After all, while every movie and television actor has to get used to doing their job in an awkward way, there is no doubt that filming in a row creates a much more natural environment for them to build and build a play. That's why "Long Walk", the adaptation of Richard Bachmann, aka Steven King, Roman directed by Francis Lawrence, Contains such richly developed and incredibly well -placed performances by the cast of ensemble. Thanks to the needs of the script, Lawrence realized that the film could be filmed chronologically, and this is because he made the choice to do so that the film ended up the richer and unique.

Francis Lawrence could have made the film in a more traditional, non -humonologically manner and would still be great. However, when Lawrence saw the opportunity to shoot the film subsequently, he knew that the choice to do so would pay dividends for the effect it had on actors, crew and, after all, the audience. As he recently told Ign, this was the first for him in his career:

"We were filming this film chronologically and that's not something I have ever done. There is only no movie built in the way they gave me that opportunity. But because of the nature of this film, these young people gather, they all meet each other, and as soon as they start to walk, every day you can.

This choice not only helped in little ways with things to maintain continuity for suits, hair, makeup and the like, but also helped Lawrence and cinematographer John Willems understand how they would make the film look aesthetic. Just as the actors had a target of experience building links between themselves outside the camera, which ended sharply when a character was killed during a long walk, Lawrence and his team began to realize that the focus of the story was not the world around these boys, but the boys themselves. As Lawrence continued:

"I took a little care at the very beginning of how I shoot these guys, how I block them, shoot them walking, talking, doing all these things.

Indeed, the slow progression of the degradation of each character - both physical and mental - is something that can be seen sharply in the film. Until the film takes place (and was not filmed) in real time, it still carries part of the sensation to watch a documentary, like The reality of these guys marching endlessly to their accidents about the characters and the audience. It is an effect that could not be conveyed, too, if the film was traditionally shot.

Taking such a unique shooting experience will always have an effect on the "long walk" for its actors and the crew of the set. However, the waves did not stop there, as the shooting choice in order to have an impact on post-production. According to Q&A that MovieWeb Performed by editor Mark Yoshikawa after the recent pre -shown film (which this writer was also present), filming to influence the editing and sound of the film. As a result, restrictions on the post-production process were added, but a uniquely powerful psychological effect appeared. As Yoshikawa explained:

"One thing for this movie is that you can't move things out of order and rearrange things as you would normally like as an editor, because people died in a certain order. It started with 50, and it becomes less and less. A dozen, then 10, then it's three. "

Yoshikawa also discussed how, thanks to filming in a row, he was able to shorten the film as it was filmed, which means Lawrence can see the film almost immediately after the wrapped main photography. All this meant that the "long walk" was in an attractive position to do in a way that served the practical needs of the film while allowing him to reach his creative potential. To be sure, Not every movie can (and even should) make it like this. However, directors may have become accustomed to the "normal" method of non-sequential recording that they may not consider to have the option of doing so in this way. I hope that, despite becoming recognized for their wonderful performances and making movies, "Long Walk" can mark a slightly creative sea change for film filming, also ahead.