If you were hoping Naughty Dog would spill the beans on The Last of Us 3 in its newest documentary, then we’ve got bad news. Hot on the heels of their The Last of Us 2 PS5 remaster, the studio has released a two-hour behind-the-scenes video that looks at how the gritty survival horror sequel was made.
One More Shot’s director on trying to get an entire action movie through airport security
20.01.2024 - 19:35 / polygon.com
In 2021, One Shot blasted into action fans’ hearts, making full use of Scott Adkins’ varied skill set. It’s a high-octane tactical action movie with a fun gimmick: The whole movie is designed to look like one continuous take.
The newly released sequel, One More Shot, now available everywhere you rent or purchase movies digitally,is a more confident, polished effort than the original, adding a compelling and familiar action-movie setting (an airport), more action legends (Tom Berenger and Michael Jai White), and a string of exciting fight sequences that make the most of the location, the conceit, and the talent.
One More Shot also reunites director James Nunn with Adkins and fight choreographer Tim Man, who’ve each worked with Nunn four times. But this movie is Nunn and Adkins’ most accomplished collaboration yet. Polygon spoke with Nunn about the difficulties of shooting an action movie in one take, following in the wake of Sam Mendes’ Oscar winner 1917, hiding the cuts, what he learned from the first movie, and his hopes for the future of the series.
This interview has been lightly edited for length and clarity.
Polygon: As someone who’s filmed more conventional action movies, like Eliminators , what do you think is different for the audience when a movie is portrayed as one continuous take?
James Nunn: Well, it’s funny, because it started as an exercise in How can I push something? How can I be different? How can I be unique? How can I use Scott’s raw, amazing ability to the best? And how can I use my technical knowhow? So it actually started as more of an experiment in just proving to people, I’m really good technically, he’s really good physically and on camera — merge them skills, make a movie. That was where the initial pitch came from. But as time went on, and as we started filming it, honestly, I’ve kind of fallen in love with doing it this way. You realize that you’re pushing this immersion on your audience.
All movies have a ticking clock. That’s the premise of a lot of stories: You’re going from A to B, or A to Z, but it’s not about the letters, it’s about the journey between. There’s always a ticking-clock narrative, especially in action movies. Whether it’s a bomb going off or saving your loved one because she’s about to fall into acid, there’s always a timer. And I think what happens when you don’t manipulate time with cuts is, you’re actually forcing people to, almost on a subconscious level, just feel that timer a bit more, feel the urgency, and be a bit more present in it.
Now look, a lot of problems come with the style, because you can’t film Scott as the best martial artist in the world, necessarily, because you can’t do the angles that really show off what he can do. Equally,
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