Seth Rogen’s ‘The Studio’ Tackles Hollywood’s Absurdity with High-Stakes “Oners”
By Archyde News Service
LOS ANGELES—On a June day in Los Angeles, inside the Wilshire Ebell Theater, Seth Rogen, sporting a tuxedo with a rust-colored jacket, offered a pep talk that was anything but typical Hollywood fluff. “If we mess up, just keep going!” Rogen exhorted a group of actors poised to enter a ballroom on the set of his Apple TV+ show, The Studio. The scene depicted doctors attending a fundraising gala alongside Rogen’s character, studio mogul Matt Remick, captured in a single, continuous take — a cinematic technique known as a “oner.” “It’s good to just finish the first few [takes], for morale,” Rogen advised, underscoring the daunting nature of the task.
The Art of the “Oner”: A Risky Cinematic Wager
The “oner,” a high-stakes cinematic device, isn’t new. Film buffs will recall masterful uses of the technique in Orson Welles’s Touch of Evil, Martin Scorsese’s Goodfellas, and Alejandro G. Iñárritu’s birdman. In The Studio, the oner becomes a recurring motif, most notably in episode 2, appropriately titled “The Oner,” a full 25 minutes of continuous filming. The episode follows Matt, head of the fictional Continental Studios, as he visits a set where director Sarah Polley, playing herself, is attempting a oner of her own.
The complexity of these shots is undeniable.They demand meticulous planning and flawless execution from every member of the crew,from camera operators to actors and sound technicians. For Rogen, the use of oners throughout the season serves a specific purpose: to heighten the anxiety that permeates the show’s central theme—the tension between Matt’s genuine passion for filmmaking and the frequently enough-destructive demands of commercial success.
Rogen’s Vision: Stress, Tension, and a Departure from Post-Production Fixes
“A oner creates a feeling of stress and tension that is part of the show,” Rogen explained, pausing beside a monitor before filming commenced. “And it’s a welcome departure from my earlier career experience of figuring things out in post.” This emphasis on capturing the moment, rather than relying on post-production editing, reflects a growing trend in filmmaking toward authenticity and immediacy.
Rogen’s dedication to this vision is evident. When a viewer expressed skepticism about The Studio‘s oners on social media, Rogen used his Threads account to share videos from the set. This direct engagement showcases his commitment to the project and his desire to demystify the filmmaking process.
From spielberg to Studio Satire: The Genesis of “The Studio”
Rogen, who directed all 10 episodes of the series with his longtime writing partner Evan Goldberg, traces the origins of The Studio back to his experience working on Steven Spielberg’s 2022 coming-of-age drama, The Fabelmans. However, the show’s core concept emerged from a meeting Rogen and Goldberg had with a studio executive providing notes on a project. “He said, ‘I got into this business to make movies,’” Rogen recalled. “‘Now I ruin them.’” Rogen later identified that executive as Steve Asbell, president of 20th Century Studios.
Hollywood’s Darkest Secrets: Research and Real-Life Inspiration
to ensure authenticity, rogen, Goldberg, and their writers, including Veep‘s Alex Gregory, interviewed numerous studio executives and filmmakers about their most outlandish and bizarre Hollywood experiences. “Everybody’s got stories,” Rogen said.These anecdotes served as fodder for the scripts,shaping the characters of Matt and his industry colleagues,portrayed by Kathryn Hahn,Catherine O’Hara,Ike Barinholtz,Chase Sui Wonders,and bryan Cranston. The show also features a star-studded guest cast playing themselves, including Martin Scorsese, charlize Theron, Zoë Kravitz, and Ron Howard, adding another layer of meta-commentary.
The blurred lines between fiction and reality have captivated audiences, with many attempting to match the show’s fictional characters to their real-life counterparts.This element of insider baseball has contributed to the show’s buzz and its appeal to industry-savvy viewers.
Episode 6: A cancer Gala Confrontation
In episode 6, “The Pediatric Oncologist,” which was filmed that June day and aired on Apple TV+, Matt accompanies his new love interest, sarah, a pediatric oncologist played by Rebecca Hall, to a cancer fundraising gala. The episode highlights the contrast between the perceived importance of Matt’s daily decisions—movie greenlights, script notes, and trailer edits—within the entertainment industry bubble, and the life-and-death realities faced by Sarah and her colleagues.
The episode explores themes of insecurity and grandiosity, as Matt’s fragile ego is challenged when the conversation shifts to whether his signature franchise, Continental’s MK ultra, or “the exploding head movies,” as one doctor phrases it, can be considered “art.” “It is art,” Rogen as Matt proclaims as the camera follows him and the cast across the ballroom. “All movies are art. Can’t really pick which movies are art.” This scene encapsulates the show’s satirical take on Hollywood’s self-importance and its frequently enough-tenuous relationship with genuine artistic expression.
Perseverance and Precision: The Making of a “Oner”
Rogen revealed that the average number of takes required to perfect a oner this season was approximately 16. After completing one take of the gala scene, Rogen called “Cut!” and the cast returned to their starting positions, ready for another attempt. The dedication and precision required to execute these complex shots are a testament to the cast and crew’s commitment to Rogen’s vision.
The Counterargument: Is it Gimmicky?
Some critics argue that the extensive use of “oners” in The Studio is a gimmick, a stylistic flourish that distracts from the story rather than enhancing it. They contend that these long takes prioritize technical achievement over narrative depth, turning the filmmaking process into a self-congratulatory exercise. However, Rogen and his team woudl likely argue that the “oners” are integral to the show’s thematic exploration of stress and control within the Hollywood system. The anxiety and tension inherent in executing these complex shots mirror the pressures faced by studio executives and creatives alike, creating a more visceral and engaging viewing experience.
Release Details
The 10 episodes of The Studio debuted on Apple TV+ earlier this year, with new episodes released weekly.
FAQ
| What is a “oner” in filmmaking? | A “oner” is a continuous shot filmed in one take, without any cuts or edits. It requires precise choreography and flawless execution from the entire cast and crew. |
| Why did Seth rogen use “oners” in The Studio? | Rogen used “oners” to create a feeling of stress and tension, reflecting the high-pressure surroundings of Hollywood. He also wanted to move away from relying on post-production fixes. |
| What inspired the show The Studio? | Rogen’s experiences working on The Fabelmans and a meeting with a studio executive who felt he was “ruining” movies inspired the show. |
| Who are some of the guest stars in The Studio? | The show features a star-studded guest cast playing themselves, including Martin Scorsese, Charlize Theron, Zoë Kravitz, and Ron Howard. |
| Where can I watch The Studio? | The Studio is available for streaming on Apple TV+. |
Given Anya Petrova’s expertise in long takes, how do you think Seth Rogen’s decision too utilize this technique extensively in “The studio” might influence future filmmaking trends?
Seth Rogen’s ‘The Studio’: A Deep Dive with Director Anya Petrova
By Archyde News Service
Archyde news Service recently sat down with Anya petrova, a leading cinematographer known for her innovative work in long takes, to discuss Seth Rogen’s ambitious new Apple TV+ series, “The studio.” Petrova,not directly involved in the show,is highly respected in the industry for her technical prowess.We gained insight from industry veterans on the merits and potential pitfalls of mastering the “oner” in modern filmmaking.
The “Oner” Phenomenon: A Cinematographer’s perspective
Archyde: Anya, thank you for joining us.”The studio” has made waves with its extensive use of “oners.” What are your initial thoughts on this cinematic approach?
Anya Petrova: Thank you for having me. I think it’s a bold move. Utilizing “oners,” particularly in the way Rogen describes – to build tension and create a raw, immediate experience – can be incredibly effective. It’s a challenging technique, though, requiring meticulous planning and execution.
Practical Challenges & Creative Rewards
Archyde: The article mentions the sheer number of takes needed to achieve a perfect “oner.” what are some of the most significant practical challenges in pulling off a long, continuous shot?
Anya petrova: Everything has to be synchronized perfectly. Actors’ performances, camera movement, lighting, sound, and even the background action must be flawless throughout the take. Any minor error can meen starting from scratch, especially if you choose not to perform post-production edits. This requires immense stamina and precision from the entire crew.
Archyde: The article highlights this approach to create a feeling of stress and tension. How can this technique enhance a narrative in ways that conventional editing cannot?
Anya Petrova: “Oner” shots can immerse the viewer in the story in a way that traditional cuts don’t always allow. They can make the audience experience an entire scene in real-time, amplifying the emotional impact of the moment. when done well,they create a sense of inevitability. It’s an investment for the story, making the audience experience the same anxiety of failure felt by the characters.
Style vs. Substance: avoiding the “Gimmick” Trap
Archyde: Some critics argue the extensive use of “oners” veers into gimmickry. How can filmmakers ensure these choices serve the story and do not become a distraction?
Anya Petrova: It’s a delicate balance.”Oners” should serve a purpose. They should be a choice to heighten the key themes of the story, not a technical exercise. The choice is what separates excellent cinematography from pure showing off. Filmmakers need to ensure that the long takes enhance character development or build tension in an organic way, making this choice vital for the story.
The Future of the “Oner”
archyde: Seth Rogen’s use of “oners” is a key talking point. Do you believe this style will become more prevalent?
Anya Petrova: It’s already enjoying a resurgence, as evidenced by films of the last decades. It is an exciting shift in the industry, where technology allows it and the desire for immersive viewing grows stronger. Filmmakers continue to look for new ways to engage audiences. “Oner” is one of those tools. It’ll be interesting to see how filmmakers continue to use it creatively.
Archyde: Thank you,Anya,for your insightful perspective. It has been enlightening.
Anya Petrova: My pleasure.
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What are your thoughts on the use of “oners” in modern filmmaking? Share your opinions and favorite examples of the technique in the comments below!
