This campaign advertisement for Mike Gravel, in which, to quote Jon Stewart, "the message is not 'vote for Gravel' as much as 'seven days after watching this video, you are going to die.'" In the video, Gravel stares at the camera for several minutes and then walks away after tossing a rock into a lake. A second video shows Gravel stoking a campfire and then the camera focuses on the fire for several minutes.
Anime and Manga
Neon Genesis Evangelion uses these frequently, due to having an animation budget equaling slightly more than pocket change:
Misato watching the train Shinji has apparently boarded leave the station.
The elevator ride with Rei and Asuka. The Directors Cut version at least mixes it a little bit up. That is to say, Asuka moves briefly and only once. What makes the scene especially unsettling is that Rei never blinks. The same shot is reused in Evangelion: 2.0, but for a much shorter amount of time (making its inclusion a bit of a joke for fans).
Misato being questioned by SEELE after Leliel's defeat: the longest still shot in the series at 80 seconds.
Shinji holding Kaworu in Unit 01's hand for one full minute before he crushes him.
Asuka curled up in Unit 02 at the bottom of the lake, except this one was deliberate to create a very tense buildup to Asuka's epiphany and recovery.
In one of the last episodes, there's a shot of the wall outside the room Misato and Kaji are in, which goes on for at least a minute. The sound-effects are nothing less than the sounds of Misato and Kaji having sex. Somehow, that's something that has to be censored out, while a fanservice-shot of Asuka who's much younger is apparently okay.
Somehow, a live orchestral Eva concert is subject to this. Symphony of EVA, a live concert recording, ends with the track "Thank You," which is for all intents and purposes a huge, 11-minute and 9-second curtain call and improv session. It's interesting at first as the orchestra gets out all the random bits of music they can but then the applause just keeps going... and going... and going... until the track ends on what appears to be the main choirgirls and the conductor casually chatting as the audience meanders out of the venue.
The last chronological episode of The Melancholy Of Haruhi Suzumiya features a scene of Nagato reading for several minutes, her page turning the only movement. This episode is later referenced by Lucky Star, with Konata getting on her computer after the episode airs and commenting that the flame wars are already starting. It runs for a total of 3 minutes 17 seconds and is broken up about two thirds through by a (similar but shorter) six second scene with Kyon sitting on a train. The only 'action' in the scene is that a drama club practicing voice exercises in another room can be overheard.
Naruto Shippuuden used this for padding out the action sequences in the early episodes where they were still trying to make the events of one chapter last an entire episode. The one this editor remembers most was a 30-second slow zoom into someone's eye.
Dragon Ball Z is rather notorious for this sort of thing. In fact, that might be the single biggest complaint against the series. The prime example of this would be the fight against Freeza on Planet Namek. Basically, the planet's core had been vaporized and was supposed to blow up in five minutes. Ten episodes and five real time minutes later, the damn thing finally goes kaput.
Mercilessly parodied in Dragon Ball Abridged where Freeza keeps making estimates in the "five minutes" and lower range that never come true until Goku (an even bigger Idiot Hero than in the original) ends up flat out asking Freeza if he knows what a "minute" is.
There were loooong periods in Transformers Armada where nothing happened whatsoever. There were also shorter pauses in conversation where it really didn't make sense. Trust me, Lull Destruction would be an improvement. It's far from DBZ class, though.
Tohru crying in the last episode of Fruits Basket after she sees Kyo's true form becomes one of these.
Arrivederci Yamato (aka Farewell Space Battleship Yamato). After the opening narration, there is an extended scene of deep space with a faint ambient sound that gets louder. Barely visible in the early part of this scene is the faint shooting-star like pinpoint of the Comet Empire approaching. It faded in and out periodically so if you blinked, you didn't notice. The White Comet approaches and we are subject to an extended closeup shot of the rotating comet, this time with Bach-like music (the Comet Empire's theme). Final Yamato has one of these at the end. This sort of thing is actually a trademark of director Toshio Masuda who not only directed the Yamato films but has directed live action movies such as Tora! Tora! Tora!
In the finale of Cowboy Bebop the camera does a looooooooong pan up through the sky and up into space, lasting for several minutes.
Two notable examples in .hack//SIGN, one with BT and Bear sitting together on a grassy field, the camera looks as though it's pushing in on a still frame, another where the group is talking in the forest and the camera does a rack focus to show dew drops fall off the leaves then focuses again.
In the 2012 noitaminA Black★Rock Shooter anime, episode 4, Yomi abuses her cellphone and buries her face in her pillow. The shot is held for a full 30 seconds, with the only change being the backlight of her phone turning off. As the only time this was used in the series, it was likely done to help convey how lonely and isolated she felt from everyone else.
The anime adaptation of Flowers Of Evil did this alot, in places where that could be read in a few seconds in the manga. Particularly scenes with a lot of walking, notably episodes 8 and 11. It's possible this happened because the series was trying to stay accurate to the manga, yet end the episodes on cliffhangers, so this was Padding episodes so they could end on said cliffhangers.
This is one of the common criticisms of the My Little Pony: Friendship Is Magic fan animation Double Rainboom. It was made as an animation project for an art school, with a required 30-minute running time, while the initial script had been written to be only 22 minutes long. In an effort to make up the runtime, this trope results. Numerous shots linger on their subjects long after the action is done. A good example is an early shot of Twilight mixing potion ingredients that goes on for half a minute without anything actually happening.
The 1976 hard core pornography movie Snuff reportedly had an infamous "leave the camera running" moment, where a female member of the film crew – after having watched the ending of a rape scene filmed for the movie – wants to re-enact the scene with the film's director. However, she is brutally raped and killed by the director and his crew after, upon realizing what the scene was actually about (a rape and murder), begins to object. The rumor has always been that the murder was real, that the murder scene — which is brutal and graphically depicted — was spliced on to the film after the original final scene and that, given an abrupt ending, was used to give the impression that the events were spontaneous. In fact, the new version of the film (released under the name Snuff) used the tagline "The film that could only be made in South America... where Life is CHEAP."
The opening shot of Orson Welles' Touch of Evil pulls this off masterfully. An over 3 minute sequence involving an elaborate crane pan with multiple actors and cars. It's said that Welles was simply showing off.
Andy Warhol did entire films like this, intentionally, including Sleep (five hours of Warhol's lover John Giorno sleeping), Blow Job (half an hour of shots of the facial expressions of a man receiving oral sex from a prostitute) and Taylor Meads Ass (take a lucky guess - allegedly, this was inspired by a snipe made by a critic about Warhol and Mead's oeuvre). The longest of these was Empire which was just the Empire State building one night going on for eight hours. When asked why he made such a ridiculous film, Warhol replied, "To see time go by". Perhaps even crazier was that only six and a half hours were shot but were shown at fewer frames to make it even longer. Amazingly (or perhaps not), Empire has been selected for preservation by the National Film Registry.
Russian Ark - the entire film is literally an example of this.
Many shots in Michael Haneke's Cache, most notably the videos sent to the main character showing nothing more than the exterior of his house for long periods of time. Other choice shots include three minutes of random kids swimming laps and two characters talking without audible dialog.
Both versions of Michael Haneke's Funny Games, by the same director, feature a shot after the son is killed in which both parents lie on the ground in mute horror for several minutes. Through much of it, there is absolutely no sound or movement.
The 2008 film Hunger based on the 1981 Irish hunger strikes features a 17 minutes long single take. It currently holds the record for the longest shot on celluloid film.
Escape 2000. The original film begins with governmental Mooks imploring residents to "Leave the Bronx!" They said it so many times, and for so damned long, however, that alone it's a Leave The Camera Running and with Mike and the Bots riffing it becomes an Overly-Long Gag.
Lost Continent features unbearably long shots of the main characters simply climbing up a mountain. Since absolutely nothing is going on, Joel and the robots often simply repeat, "Rock climbing..." to each other.
And then, when the sequence is almost over: "Oh no! Rock climbing!"
The Starfighters had endless, endless scenes of planes refueling. The scenes were so long, Mike and the Bots started riffing on the fact that they did every conceivable joke about mid-air refueling.
Fire Maidens from Outer Space features lengthy shot of, just to name a few: An airplane landing; a car driving out of town to a distant observatory; people standing around staring at a clock, awaiting a rocket launch; one scene leaves the camera running for so long after the dialog stops that the actors all look expectantly at the camera!
Colossus and the Headhunters features a brief moment where the camera lingers on Colossus steering the raft, then kind of drifts off over the ocean. Crow sighs "Well, the camera operator is indulging himself..."
A number of times in "Manos" The Hands of Fate, most notably when it takes over thirty seconds for Torgo to stand up. Ironically, no single shot could be over about 30 seconds long due to camera limitations.
Joel:DO SOMETHING!! God!
Andrei Tarkovsky wrote a book entitled Sculpting in Time, which takes its title from his name for this method. The aim is to immerse the viewer in the setting and characters by giving an unbroken, organic perspective, as opposed to a montage-style editing. Examples include:
The Sacrifice. One of the earliest scenes is a simple pan up a bare tree that lasts over three minutes. This exact shot is repeated later.
This crops up in I Am Legend. The scene where Will Smith's character is hurt in the leg and must crawl away from the Infected is particularly notable.
Star Trek: The Motion Picture has several. Before the main credits, it opens with the "overture," which consists of music and stars (white dots) flying by on a black backdrop for three minutes.note The stars were added for the 2001 "Director's Edition". The overture was meant to be played with the theater curtains closed, as in older "roadshow" presentations. There is also a several-minute cruise James Kirk takes around the remodelled Enterprise in a shuttlepod to show off the redesign. The infamous one is the V'Ger encounter, which goes on and on. The special edition DVD actually makes it longer by including CGI shots that are from shots that were planned or incomplete in the original film. The film was nicknamedStar Trek: The Motionless Picture because of this trope.
Used under the closing credits of The Warriors. The Warriors that managed to get back to Coney Island take a long walk along the beach into the sunrise to the tune of "In the City." The actors had actually walked nearly a quarter-mile by the end of the scene and wondered if they should have stopped multiple times.
The collective works of Béla Tarr. One of his films (Sátántangó) is seven hours long; another is almost two-and-a-half hours, and has only 39 shots in the entire film.
Gus Van Sant's later works seem to be influenced by Béla Tarr.
Gerry, which is simply about two guys (both called Gerry) who get lost in the desert, features long sequences of the two men simply walking without any dialogue. One infamous shot lasts for 7 minutes and consists of nothing but the two walking along a nearly featureless landscape as the sun rises.
Elephant features lots of unnervingly voyeuristic shots of the schoolkids walking down hallways (and walking...and walking...).
Many of Rainer Werner Fassbinder's early films use this technique, especially Katzelmacher, where basically all shots are set up like this with great effect.
Ingmar Bergman used it in his devastating psychodrama Face to Face in the scene where the Liv Ullmann character nearly gets raped by two burglars.
The Brown Bunny has been described as "a motorcycle journey across the US in real time." It features a number of scenes of Vincent Gallo driving his motorcycle on some salt flats and driving his van on the highway. The rough cut featured at Cannes was apparently much longer, causing it to be infamously flamed by Roger Ebert. The trailer addresses this aspect of the film, with one half of the screen devoted to a view through Gallo's windshield as he drives.
Effectively used in the 1958 western The Big Country. The characters played by Gregory Peck and Charlton Heston have a fist fight, in the middle of the night without witnesses. It was filmed from about 100 yards away so all you see is a huge screen full of west Texas nuthin and two little men fighting for several minutes. The director set every thing up and told the two actors to keep fighting till he said stop. The director called action and the two men proceeded to trade blows, eight hours later he called cut.
Sergio Leone made extensive usage of this trope in most of his films.
M. Night Shyamalan seems to love endless, endless footage of silent men standing in doorways.
The final shot of The Silence of the Lambs. Hannibal Lecter hangs up the phone, puts on his hat, and strolls off down a crowded street after Dr Chilton. The credits even start rolling partway through the shot, but he just keeps on walking.
Many (some would say most) parts of Koyaanisqatsi are accused of basically being long, plotless stretches of scenery and new age music. Justified, in that this film is a "visual tone poem," meant more for meditative purposes.
Night Of Horror features a just over three-minute long scene filmed out of the various windows of a camper as it travels down a highway through Maryland and Virginia. The scenery is not that interesting. There is no dialogue, only the same three minor chords played over and over and over again. After that, a character reads "Bridal Ballad" by Edgar Allan Poe for almost two and a half minutes. The recap site The Agony Booth considers these to be the six worst minutes of film ever recapped.
The video and DVD releases of the sketch "comedy" film Loose Shoes tack on over 20 minutes of blank tape to the end of the film to stretch the running time.
The works of avant-garde Canadian filmmaker Michael Snow. In Wavelength, which features a 45 minute zoom on a wall. Even worse, La Region Centrale consists of a camera... on a tripod... on a hill... spinning around...for three hours.
The scene of the creation of Rocky in The Rocky Horror Picture Show. In true surreal Rocky fashion, several casts now turn down the sound and do something else entirely during the scene nowadays.
Lawrence of Arabia features many long shots of majestic landscapes set to soaring music. It's been said you can tell a person's age by whether they're enthralled or bored out of their mind.
One Hour Photo features a thirty-second scene of Sy standing in his apartment holding a glass of water as an illustration of how banal and empty his life is. According to the Directors Commentary, he told Robin Williams to just stand there for a while and he'd find some way to work it into the movie.
Used effectively in the ending of The Long Good Friday as the Villain Protagonist is "taken for a ride". We see Bob Hoskins sitting in the back of the car as he visibly reflects on all the decisions he has made that led him to that position. Hoskins was quite against the scene, but apologized to the director when he saw the final product.
Most of Goddard's film Week-End could be said to be this, but especially the 11-minute tracking shot of a traffic jam. This sequence also has the added effect of driving the viewer nuts. Which, to be fair, was Goddard's point, he wanted to showcase the excess of the rich. It also creates a very effective Mood Whiplash as the audience shares the various drivers' boredom and aggravation at the pointlessness of all this... until we finally see that the traffic jam was caused by a horrific car accident.
The film version of Pink Floyd's The Wall has a static 45-second shot of the Wall at one point.
This was also used at the end of Paranormal Activity, where the camera is left on the tripod while the characters are both downstairs. The lengthy silence is broken when Micah is thrown into the camera. Another, very subtle example shows up at the end of the film, as the last title cards show the ambient noise is heard against a blank screen, as if the camera was just left rolling.
Spaceballs spoofs 2001: A Space Odyssey's (and to a lesser extent, the opening shot of the Star Destroyer in Star Wars: A New Hope) infamous long establishing shot of the Discovery by panning along the Spaceball One and panning... and panning... and panning... and the ship is shaped so that several times, just when you think you've reached the end, there's still more ship. And it's all done to the Jaws theme. Director Mel Brooks has gone on record saying that he would have loved to have done an entire two hours of that shot if he thought he could ever get away with it.
A couple of times in Star Wars, though for slightly different reasons; one has David Prowse gesturing long after James Earl Jones has stopped talking; and also a way-too-long shot of a Stormtrooper ("Look, sir, droids!" beat, beat) which Spaceballs manages to spoof just by doing exactly the same thing.
Vase de Noces (also known as The Pig Fucking Movie), aside from its obvious scene of a farmer sodomizing a pig, seems to consist of endless random scene after endless random scene of the farmer slotting dolls' heads onto doves, of chickens and turkeys having sex, of chickens and turkeys sitting around doing nothing, of the farmer collecting pieces of vegetables in jars and putting them on a shelf, of the farmer defecating, of the farmer eating the pooh...
Anything by Tsai Ming-liang.
Playing God, with David Duchovny and Timothy Hutton, has an unusually long establishing shot of the exterior of the main house in act three. It's just a house.
There are many long, slow shots during the first 40 minutes of Alien as the crew leaves cryosleep and lands on the planet.
In Boogie Nights, Dirk Diggler staring forward for 51 seconds before realizing that selling baking soda as cocaine to a freebase-smoking drug dealer (Alfred Molina) with a bodyguard was not a good idea.
The opening scene shows three outlaws waiting on the empty platform of a train station in the middle of the desert at noon, just leaning on rails or swatting at flies and not talking to each other for almost 8 minutes. Then the train arrives and they watch it stopping and leaving with nobody getting off, which takes another 4 minutes. But when the train has left, there's a man on the other platform, and they exchange only five short lines before shooting each other. Fortunately, the Mysterious Stranger gets up again with only a minor wound.
The legendary final duel lasts for almost 9 minutes, during which the villain has two lines with a grand total of 8 words, and only a single shot is fired. Just stepping on the open patch of sand behind a shed takes 3 minutes and THEN they begin their staring contest. The scene gets a lot of tension from showing the final part of the Dream Sequence that had appeared on multiple occasions during the film and finally reveals the hidden motivation of the MysteriousStranger.
In Children of Men Where Theo and Kee walk through the war zone with the baby. Justified, as nobody quite believes what they're seeing.
Moon uses it to show the silent tedium of a solitary astronaut going about his daily routine.
Wong Kar-Wai is quite fond of this when he's not using fast jump cuts.
Many, many scenes in Doctor Zhivago, particularly static shots of the balalika while music plays.
Moments of this trope are very common in Jacques Rivette`s films, which is why they often run close to and over three hours.
Sofia Coppola's Somewhere starts with several minutes of watching a sports car doing laps from a fixed position.
Many of Irreversible's scenes, especially in the second half of the film, involve long scenes with no visible camera edits and random dialogue, such as the main characters talking about relationships while riding a bus. This is largely due to the fact that there was no script — the actors were given a 3-page outline and improvised all of their lines. The infamous rape scene is notable mostly for being not only 9 minutes long, but featuring only one camera angle, no music, and only one instance of anything happening beyond the focus of the scene.
Seed has a scene that's just five uninterupted minutes of a woman being beaten with a hammer, shot with a stationary camera. It's disturbing up until the Special Effects Failure, at which point it just becomes awkward.
This is used in what is probably the most infamous scene from The Exorcist III... a single continuous shot of a hospital nurse station in which nothing much happens for several minutes, abruptly interrupted at the very end by a killer lunging at the nurse with a pair of hedge sheers.
Taiwanese director Edward Yang loved him some long takes. Yi Yi in particular has an at least minute-long shot of a dishwasher.
The entirety of the second stinger of The Avengers. A couple of minutes of the heroes sitting in a restaurant, eating at a leisurely pace and saying nothing.
Elaine May, Mike Nichols' onetime comedy partner, pretty much made her second film, Mikey And Nicky, this way. She had John Cassavetes and Peter Falk improvise extensively, in addition to shooting the scripted scenes, and kept the cameras rolling as they did so, even as they slipped out of character. At one point she even kept the cameras rolling on their empty chairs for several minutes after they both left to go do personal errands and/or eat. When one of the camera operators had finally had enough, he took it upon himself to say "Cut!". This is a major breach of filmmaking etiquette, since only the director normally has that privilege, and May dressed him down for it. He pointed out that the principals had left the set. "They might come back," she responded. She wound up shooting more raw footage than Gone with the Wind and fought with the studio over the cut for years, only releasing her final cut ten years later. Between that movie and Ishtar, she has effectively forfeited any chance that she will ever direct a studio picture again.
Speaking of Mike Nichols—The Graduate, anyone? How long are they sitting on that bus, slowly realizing they have no idea what they will do next, having burned all their bridges behind them? Nichols literally left the camera running without warning the actors.
Belgian feminist director Chantal Akerman relied on this technique for her 1975 classic Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles. The camera sits on a counter in the title character's kitchen through long takes without zooms or reverse angles, where characters go in and out of the frame as necessary and we can only hear them. Sometimes it stays on as she leaves the house to work or do errands.
Michael Clayton ends with an extended shot of the title character in the back of a cab, showing the expression on his face as he wordlessly contemplates what he's just done.
Lots of scenes in Michael Haneke's 2012 movie Amour follow this trope.
This is the prevailing style of Jim Jarmusch's Stranger Than Paradise, which features quite a few very long shots with nothing going on. One sequence is just an empty, snow-filled landscape from inside of a car on a road trip. Even the cuts are lengthened, with black screens inserted between shots to further slow the pace down.
The killer in Lucker the Necrophagus sits in a chair and observes a woman he has strung up scream for about four minutes straight.
Tejut is a Hungarian art film composed of vignettes all filmed in this fashion.
Lucky Bastard qualifies as an In-Universe example. The setting is a gonzo/reality porn company; the producer insists that EVERYTHING be taped (even behind-the-scenes events with his staff and performers), even when a number of people repeatedly demand that he turn the camera off. To top it off, the second half takes place in a mansion outfitted with numerous security cams, all filming constantly.
Fictional example: in Moving Pictures, CMOT Dibbler gets the idea to put subliminal advertising into the film. However, instead of using only one frame of a plate of spare ribs, he uses a five-minute-long static shot of the plate of spare ribs, thinking that its effectiveness would be proportional to the length of time it was shown. It never gets shown, because Soll Dibbler finds it and cuts it out.
HouseOf Leaves featured one also. When Holloway dies on page 337, he's left bleeding and suffering for two minutes and twenty-eight seconds until he dies. And then the camera is left on for 46 seconds, watching his dead body in the darkness. Then all of a sudden, the darkness bursts out and literally absorbs him, along with a large and terrible roar.
The Joanna Hogg film 'Archipelago' uses long, unbroken shots with no background music, and much of the dialogue occurs off-camera. It makes the viewer into an uncomfortable voyeur of the family holiday.
Live Action TV
Let's Make a Deal: Quickie deals were shown following the closing credits, always with traders who had been picked over during the regular game. A typical example: "I'll give up $25 for every dime you find in your purse!" The end credits would end with the host continuing to make "deals."
On a Season 5 Episode of Pee-Wee's Playhouse'', Pee-Wee shows kids how to feed a dog. Pee-Wee opens a can of dog food, puts it in a bowl, and the dog eats THE ENTIRE BOWL OF DOG FOOD. All in one shot.
Monty Python's Flying Circus: once when an episode "ran short," they showed a section of beach with the tide coming in. After a while, John Cleese stepped into frame wearing a Roman battle costume, explained that they had run short, and assured the viewer there was nothing more. He left and the camera continued to show the beach for another minute or so, then slowly faded to black. It was, at least, quite pretty.
Since this scene occurs right after the bloody comic violence of the "Sam Peckinpah's Salad Days" sketch and "Philip Jenkinson" getting machine-gunned to death in slow motion, it could be seen as a deliberate use of Relax-o-Vision.
The Bill commonly used it in the very early days, when a typical scene could go on for anything up to five whole minutes without a single edit or insert, with the camera simply following the actors around the sets/locations in a single take. Although this helped to portray the series in a very realistic way, it became less common as the years went on, though it will sometimes still be done for stylistic effect in a scene or two (notably used in the final scene of the series).
The Trigger Happy TV season 1 DVD special features ends with Dom Joly sitting in an arm chair announcing a "Special Bonus Minute" of footage. He proceeds to sit there motionless for an exact minute, after which the screen fades to black.
The first episode of Mega64 opens with Derek eating a can of yogurt for three minutes.
A director on Highlander: The Series tended to not call "cut" on scenes, just to see what the actors would do once they ran out of script. 99 times out of 100 it didn't work, but one bit (of Duncan (or Adrian Paul) and Richie (or Stan Kirsh) giggling their heads off on a Paris bridge) made it into the opening credits for a few seasons.
The final scene in the modern Battlestar Galactica episode "Scar" has Kara and Helo in a gym discussing the episode's events. After the conclusion of their conversation the director continued to let the camera roll (as was common on the show) giving the actors a chance to do some faux-sparring and tapping out. Ron Moore was originally going to include another scene of Kara praying but decided that moment was a much better ending to the show.
Which first zooms in when it begins, then zooms out then in again at certain points before zooming back out at the end.
Pulled off with aplomb in the opening of the second episode of Carnivŕle, featuring a silent diner with cast members slowly entering and not saying a word. When the first line is spoken several minutes in, it seems almost deafening.
Breaking Bad has a scene where a character is arrested by an undercover cop for drug dealing. Most shows would have a quick scene, maybe 30 seconds long, where the guy makes the sale then gets busted. Here, the entire deal, the back and forth from the cop trying to convince the dealer, the dealer looking around trying to figure out what's happening, some chit-chat, and finally ends with the arrest.
The famous minute and a half long panning shot that begins Episode 1 of the Doctor Who serial The Leisure Hive.
The Stinger for the end of series 1 of Misfits is a side angle of Nathan waking up in his coffin. First, he's elated that he's alive and has a superpower, and then gradually realizes he's stuck in a coffin. He quiets down, turns on his iPod, and lies down. The music plays and the credits roll over the scene for about a minute or so before fading out.
Played for Laughs in the Buffy episode No Place Like Home. Buffy sees Giles dressed as a wizard and the two stare at each other for about half a minute, with Buffy admirably being able to keep from laughing, until Giles realizes how silly he looks and reluctantly removes the costume.
The confession scene from the episode "Possible Kill Screen" of ''The Shield' in which Vic confess to all of his and the Strike Team's crimes in order to sign a immunity deal with the FBI. There's almost two minutes of silence before Vic can bring himself to talk.
Played for laughs in one episode of El Chavo del ocho, The Festival of the Good Neighborhood. Chavo is declaiming a poetry called "The Repenting Dog", which consists of just four verses which are repeated over and over. Chavo planed to repeat them 44 times, but then Don Ramon cuts him short.
Done again in "Advanced Documentary Filmmaking" when Britta tries to film Shirley but gets the stop and record buttons confused, so that she not only failed to record what she was supposed to, she actually filmed everything that happened after she put the camera down. Jeff uses the footage to find evidence that Chang is pretending to have amnesia.
"I Can Help," a country and pop No. 1 hit from the fall of 1974 by singer-songwriter Billy Swan. The album version fits the trope – where applause can be heard as the final note is held for approximately 15-20 seconds. The song ends with a reprise of the final musical bridge and more applause. However, it still does not end there; Swan plays still another reprise of the final musical bridge as the song fades out. Stories abound about the applause being due to Billy completing the take, despite his dog tugging his pant leg.
The single version fades immediately after the applause at the original end of the song begins.
Any of the wilder Minimalist works would have to epitomize this trope - La Monte Young's breathtaking The Well-Tuned Piano is a largely-improvised work played in just intonation. It spans over five hours. Morton Feldman's later works were renowned for their extreme length and spareness (String Quartet II runs for a whopping six hours).
Then there's Erik Satie's Vexations: a single page of music with the instruction to repeat the piece 840 times in succession. This was actually performed in its entirety in New York by a tag-team of pianists (including the likes of John Cage, John Cale and David Tudor) on September 9, 1963, and clocked in at almost 19 hours.
John Cage - never failing to push the envelope - planned his composition As Slow As Possible to last 639 years. He just marked that tempo and neglected to say exactly what he meant, leaving "performers" free to make their own interpretation. It's an inversion of the more common "as fast as possible," which just means as fast as you can play it while getting all the notes. Amazingly enough, the piece is currently being performed at the Church of St. Burchard in Germany.
Ambient music, particularly drone and dark ambient, does this frequently.
The Flaming Lips have a song on the album Hit To Death in the Future Head, called simply "Bonus Track", that is the same annoying sound over and over again for thirty minutes.
The end of The Beatles' album Sgt. Pepper's Lonely Hearts Club Band features one of the first "hidden tracks", a collection of backward studio chatter. Although the CD version simply repeats the chatter a few times before fading out, the original LP placed the chatter in the record's run-out groove, meaning it could hypothetically repeat forever, or until the listener got up and manually turned the stereo off.
The final track on the album The Beginning Stages of The Polyphonic Spree is called A Long Day. It lasts about 40 minutes. It mostly sounds like the CD got stuck, but the chords change occasionally. Strangely hypnotic.
Neutral Milk Hotel's debut, On Avery Island, features the closing song Pree-Sisters Swallowing a Donkey's Eye, which is basically just 13 minutes and 50 seconds of noise. Not even interesting noise.
The opening of The King of Carrot Flowers, Parts Two and Three from In the Aeroplane Over the Sea counts too, surely. The song lasts just over three minutes, but it takes vocalist Jeff Mangum a minute to finish bellow/wailing "IIIIIIIII LOVE YOU JEEEEEEEESUUUUUUS CHRIIIIIIIIIIST, JEEESUS CHRIST I LOOOOOVE YOOU, YES I DOOOOOOOO" twice.
John Cage's '4:33'. The purpose of the piece is to make you realize that there's no such thing as silence and to hear the things that are always going on all around you, a typical performance actually includes a great many sounds and distinct events. And the best performance is not the one you find on YouTube, nor the purpose-made recording made from a microphone in an empty room, but the one you perform yourself in a place you love, such as a forest or beach.
Used to disturbingly great effect in Korn's "Daddy": The song itself is about singer Jonathan Davis' childhood sexual abuse at the hands of a childhood adult friend and the titular parent not believing his story. Over the course of the song, Jon becomes increasingly agitated until he begins screaming incoherently and finally, crying as the band continues to play on. The door of the vocal booth is then heard opening and Jon is coaxed out by someone present at the time of recording.
Liars' "This Dust Makes That Mud" is 30 minutes long, over twenty minutes of this is a single bar of music being looped over and over at the end of the song.
"Nevada", the closer of John Linnell's album State Songs. The song would be about 35 seconds long were it not for the ending, which is seven minutes of a marching band passing by.
Neko Case's Middle Cyclone ends with "Marais la Nuit" - that's Gratuitous French for "marsh at night", and appropriately enough, the track consists of half an hour of frogs croaking, as recorded outside of the farm she owns. On the vinyl version, it's edited down to half that length, but still takes up the entirety of side four of a double album. At least it's kind of relaxing.
Jimmy Eat World's "Goodbye Sky Harbor" is a 3-minute song stretched out to 16 minutes thanks to playing the same bit over again, with only a few changes until the ending. Good song, though.
The Mars Volta, being a Progressive Rock band, has a song of over half an hour,Cassandra Gemini. It's got vocals for a good couple of minutes, then it turns into a wibbly wobbly warping screeching warpy bit for a while, while echoing a bit of the chorus, until a buildup for like the last 4 minutes, and then it goes back to its vocals before finishing off. FINALLY. Worst part is that it's got catchy vocals.
They also have a song that has 4 minutes of coqui croaks. It's kind of peaceful, until you realize you would like to hear some actual music now.
Wilco's album "A Ghost Is Born" contains a fifteen-minute track at the end called "Less Than You Think". It starts off as a gentle ballad, but eventually degenerates into droning audio two minutes in. Jeff Tweedy was suffering from debilitating migraines while recording the album, and he's said that section of the song was supposed to "express the slow painful rise and dissipation of migraine in music". The worst part is that it's not even the last song on the album - that's "The Late Greats", the catchiest, most relaxed song there.
Hank Williams III's album Straight to Hell includes a bonus disc which contains a 42 minute track that includes random noises, covers, and miscellany all rolled into one.
Overseer has a bonus track called Heligoland that ends with twenty minutes of the sound of a phone ringing.
At the end of Grandaddy's song Lawn and So On, there's a good five minutes of silence, followed by about two minutes of cricket noises.
Regina Spektor has a song called Man of a Thousand Faces which has about 10 minutes of silence tacked on to the end. This is semi-common practice if the cd has a bonus track after the long silence, but in this case, the song is three songs away from the end of the cd.
Iron Butterfly's In-A-Gadda-Da-Vida, which goes on for 17 minutes, only about 5 is actually the song. The massive middle section sounds pretty much like random instrumentals. A common theory about the song is that the band members were all stoned when they recorded it, and didn't know when to stop playing.
Nick Cave's Babe, I'm On Fire from Nocturama is a fairly decent two-minute song. Unfortunately, it runs for fifteen.
The last track on Moby Voodoo Child's album The End of Everything is an 18:27 track called "Reject," and is a repeating series of slow synth washes.
Electronic music duo Autechre released a download-only track called Perlence Subrange 6-36 which runs for 58 minutes and 35 seconds. It repeats a 4-second sequence alternating between three different samples, with a few changes in the sequence over the course of the song, and a faint background of dark ambience which shifts and changes very gradually throughout. You can listen to it here.
Also their album Chiastic Slide, which ends in a two minute long low-pitched buzz.
The second disc of Covenant's Skyshaper: Deluxe Edition album features "Subterfugue for 3 Absynths", a 42-minute track consisting of three industrial synth loops slowly phasing in and out with each other. "Flux" from Sequencer, in addition to being a total of nearly 11 minutes long, ends with three minutes of the atonal background sounds heard throughout the song.
Bull of Heaven's longer works can invoke this. Their longest piece, "lcm(2,3,5,7,11,13,17,19,23,29,31,37,41,43,47,53,59,61,67,71,73,79,83) " has a length of 8,462,937,602,125,701,219,674,955 years (the LCM of the tape loop lengths).
The Fantômas album Delirium Cňrdia is a single track clocking in at an hour and 15 minutes, and is intended to be the soundtrack to a surgery. To that end, the last 19 minutes are nothing but the steady sound of a respirator and heart monitor, until the last couple of seconds when you hear a quick "One, two, three, four!" and the sound of a needle scratching on a record (which by that point is so startling it may well give you a heart attack and send you in for a surgery of your own).
The Neurosis song "Cleanse," which closes off their Enemy of the Sun album, ends with a loop of a short distorted vocal clip which jumps from speaker to speaker. On the reissue it lasts about a minute and a half... on the original it goes on for over 12 minutes.
This is rather common in drone metal, which seeks to create a hypnotic feel through slow repetitive sounds.
Lindsey Buckingham's song "Play in the Rain" is the last track on side A of the Go Insane LP. When the stylus reaches the center ring, the outro solo just keeps going... and going... and going... as the tempo of the music etched into the center ring is perfectly timed with the rotation of the record. The song then continues on side B.
Burzum's ambient piece "Rundgang um die transzentale Säule der Singularität" consists of twenty-five minutes of mostly the same three-note melody repeated over and over, with a brief one- or two-minute respite in the middle. It works better than it sounds like it should, though it's not the sort of thing you'll likely want to listen to every day.
Jars of Clay's self-titled debut album has two Hidden Tracks. The first is "Four Seven", a brief acoustic song. It's followed by about 30 minutes' worth of random studio chatter interspersed with snippets of string quartet rehearsal.
Korpiklaani's "Korven Kuningas", the final track on the album of the same name, ends with 15 minutes of distant, repetitive drumming.
Red House Painters have a song off of Ocean Beach titled "Over My Head". The beginning of the track has about 45 seconds worth of the band just talking in the recording studio about random stuff, as if someone accidentally left the tape rolling. The ending 15 seconds has the same thing.
The Brian Jonestown Massacre's Thank God For Mental Illness ends with a 33 minute track called "Sound Of Confusion". Most of it actually consists of five different songs indexed together on one track, but the first six minutes or so are just the sounds of traffic going by. The traffic part does get a little more entertaining once Anton Newcombe starts yelling at passing cars. And to be fair, it's probably meant as a way to separate these songs from the rest of the album because they're sort of different stylistically: most of the songs that come before are based around acoustic guitar, while the songs in the "Sound Of Confusion" section more prominently use electric guitars.
Many albums with hidden tracks will have a minute or more of silence or blank tracks between the last listed track and the hidden one, or sometimes it is incorporated into the last track after the silence.
The US version of OK Go's Oh No ends in the hidden track "9027 KM", which is 35 minutes of distorted ambient noise. The backstory is sort of cute though - it's a recording of Damian Kulash's girlfriend sleeping, and 9,027 kilometers is apparently the distance between the two of them when they're in their respective home cities of Los Angeles, California and Malmö, Sweden. There's an unconfirmed rumor that this was also done so that there wouldn't be room on the CD for the record company to hide DRM.
Jaga Jazzist's "Out of Reach (or Switched Off)"—from their Old Shame album Jćvla Jazzist Grete Stitz—has about six minutes of actual song, followed by 22 minutes of what sounds like a Norwegian TV host talking about the album. Presumably, it's more interesting if you can understand Norwegian.
The beginning of Tori Amos's Not the Red Baron, which sounds like two pilots talking, is actually the sound engineers talking in their native Dutch while Tori fiddled with the piano. Because it fit so well it was left in. In fact, a lot of the stuff that came out of the Boys for Pele sessions, especially the b-sides, can be attributed to this trope.
Denis Leary's comedy/music/performance album Lock 'n Load features a track called "Deaf Mute Cocktail Party," which clocks in at just above two minutes.
Lee Ranaldo of Sonic Youth had a solo album, From Here To Infinity, where every track ended in a lock groove (which again, means the last few seconds loop over and over until you manually switch to the next track). The later CD version usually slowly faded the songs out at this point.
Pulp's 'This Is Hardcore' contained a weird ending on the UK edition. After the song 'The Day After The Revolution' ends, all that is left is a harmonious drone lasting 10 minutes. However, 9 minutes into that silence, Jarvis whispers 'Bye-bye!' in a low, monotone voice. At least the US edition shortens that to a minute...
Many fans have speculated that since the album's theme was sex, the drone was filler to make the album length 69 minutes.
The Replacements' video for "Bastards of Young" is a shot of a stereo system in somebody's lounge room, with the song playing (at the wrong speed) on the turn table. The camera stays on it as people go in and out of the room. At the end of the song the speaker is kicked over.
While it's at least in montage form and has different camera angles, their video for "The Ledge" might also qualify, as it consists of nothing but the band standing around in a park while eating donuts and drinking coffee. It was banned from MTV for some reason - possibly it was the lyrical content, because the song itself is about someone being Driven to Suicide. The Replacements were well-known for disliking music videos, and only started making them when their record company insisted, so both of these were likely meant as Writer Revolt.
The Pixies' video for "Velouria" is a single shot of the band running a short distance across a rock quarry in slow motion for about four minutes. Without the slow-motion effect, the video would be 23 seconds long, if not even shorter. Reportedly this is because the band really wanted to perform on Top of the Pops while the song was in the UK Top 40, but the show required all acts performing on the show to have a music video for their current single, so they threw something together at the last minute. It was all in vain because the band never did get to play on Top of the Pops.
Nitzer Ebb subverts this trope with the video for "Control I'm Here". The camera stays in the same place for the entire video, but different scenes (filmed using the very same camera angle) are visually spliced in.
The video for Fatboy Slim's "Everybody Needs a 303" essentially consists of a guy in a hat standing around doing nothing. For the first two minutes, he does just that, staring off camera. Finally something happens (a hand comes in off-camera and writes in lipstick on his forehead, taking about a minute to do so; finally, he turns a bit more to the camera and lights up, and as he takes his smoke, you can finally read what's written: "Why Make Videos?"). The point is not lost on the audience, one might imagine.
The video of "Proof" by I Am Kloot is a long shot of Christopher Eccleston staring into the camera, and slowly moving from a neutral expression to a smile. Used very well; it's damn near impossible to watch in real time and not find yourself smiling along with him.
In a possible Shout-Out to The Replacements' "Bastards of Young" video, the official video for blur's long awaited 2010 reunion single "Fool's Day" simply features the single playing on a turntable. The tonearm of the player moves slowly to middle of the record and when the song ends the video cuts to black. The end.
The video for "Crash Years" by The New Pornographers features a static aerial view of a portion of a brick street, as people walk by holding umbrellas, riding on bicycles and other miscellaneous stuff happens below the camera.
The video for the New Order song "Bizarre Love Triangle" is merely a series of black and white shots of the heads and shoulders of various women, with random colored pictures spliced in. However, an alternate version exists, where the only shot is one woman. For the entirety of the music video.
REM's "Bang and Blame" video ends with Michael Stipe walking off, while the video (and the song) keeps going.
Sometimes,WWE or TNA will continue to roll the cameras during commercial breaks and/or following the end of a live broadcast. The idea is one of the following:
To tell what happened "after going off the air." Usually this is used in a major feud, and can range from additional comments made during an in-ring promo to a post-program pull-apart brawl to showing the aftermath of a multiple guys-on-one attack.
If used during a commercial break during a live broadcast, to show an "injured" wrestler being "helped" to the back or to catch viewers up on exciting parts of the ongoing wrestling match that happened during the commercial break.
To tape post-program matches, which may be aired later or released on home video (as "exclusives").
One could certainly make an argument that Waiting for Godot is essentially one long instance of Leave The Camera Running, since it consists mostly of inane conversations and little happens in terms of traditional plot.
The same can be said for Samuel Beckett's other theatrical works. Krapp's Last Tape is about a man who sits in a chair listening to old recordings of himself.
At one point in Mario & Luigi: Bowser's Inside Story, you have to drill into a specific area inside Bowser's body to fix his back. After doing so, several NPCs sit down to have a tea break before the game tells you, in no uncertain terms, to put down the DS and go do something else for a while. It's not kidding - if you do decide to wait it out, it'll take almost five minutes before you can regain control.
Unless, of course, you talked to that one NPC that gave you the code that literally makes time speed up to the exact moment you regain control when you input it. Then it's about five seconds, max.
To complete That One Sidequest in Braid, you have to wait for about an hour and a half in one stage for a slow-moving cloud to get from one side of the screen to a place where you're high enough to jump onto it. You then have to wait an additional half-hour for the cloud to get where you need to be. And this ties in with several of the game's messages.
Pokémon Ruby and Sapphire has an optional sidequest puzzle like this (it's changed in Emerald). note To elaborate, it's the puzzle that opens Regice's cave; you click on the Braille puzzle and then wait two full minutes before it opens.
In Earthbound, the password to get into Belch's base is... waiting three minutes. No you don't SAY "waiting three minutes." When the guy asks you the password, you just stand there. And probably go and get a sandwich and drink.
Penn and Teller's Smoke and Mirrors includes a game called "Desert Bus" where you drive a bus from Tucson, Arizona, to Las Vegas, Nevada, at forty-five miles an hour. It's exactly as fun as you imagine. You also have to pay attention and actually keep holding the controls down correctly or the bus will veer off the road. Sometimes, a bug will splatter on the windshield. And eventually, night will fall.
And then the sun will rise!
When you finally arrive, it's time to take the return trip.
And if you veer off the road? The bus stalls and is towed back to Tucson in real time!
Anybody crazy enough can pop in Microsoft Flight Simulator and fly long-haul trips that take exactly as long as reality. When this is trans-oceanic...
One mission involves flying a Concorde SST across the Atlantic. Even at supersonic speed, it takes several hours.
And there are people crazy enough. One popular add-on is called "In-Flight Entertainment" and allows you to watch your favorite DVD(s) in-game.
Even better? Orbiter. If you thought New York to Tokyo would be long, imagine Earth to Mars IN REAL TIME. Luckily, you can increase and decrease the speed of time in that simulator.
The 360 version of Guitar Hero II gave an achievement for watching the credits. The 15+ minute long credits where the only music is Push Push Lady Lightning and the outro solo of the cover version of War Pigs on loop. Appropriately, the achievement icon is "ZZZ".
Similarly, Rock Band Unplugged (PSP) gives an in-game guitar based on the Backbone Entertainment logo after completing the Rolling Stone Rock Immortals List and sitting through the 10+ minutes of credits.
Turok 2: Oblivion's leitmotif apparently runs on indefinitely without exactly repeating, due to the polyrythmic staggering of its instrument sequences. The YouTubeclip of it is 15 minutes (split into two parts).
"Marginal Consciousness" from Battle Garegga is the only tune that doesn't technically loop, it indefinitely keeps increasing in pitch if listened to in the arcade game's sound test.
In Halo: Reach's post-credits epilogue, the camera on Noble Six's discarded broken helmet shows his final moments from third person. No, you don't get to see his face.
The old Edutainment title Agent USA has you fighting off people that have been turned into walking TV fuzz and can fuzz you, making you lose control of your character. This doesn't end the game, though, and it's possible to just leave the game running for a few hours and suddenly randomly run into a power crystal that de-fuzzes you, getting you back into the game.
The Paranoia quest in The Elder Scrolls IV: Oblivion would work like this if you followed Glathir's advice to shadow the people he suspects are stalking him. For the most part the NPCs just go through scripted routines that make up the daily life of a farmer. Or you could just wait behind the church for 24 hours and tell him whatever you want.
The true ending of Chakan The Forever Man. After beating Death, the game cuts to an hourglass, and then just stays on it. If you wait a long time (a long, long, long, long, long, long, loooooooooooooong time,) the words "Not The End" appear on the screen and the game returns to the title screen.
Parodied in Homestar Runner where Strong Sad proudly (or at least as proud sounding as he can get) says his film school minor was "Holding on wide shots for too long". And then there's a good 5 second break until the scene cuts.
The original ending of The "Some Sucky Action Movie". It consisted of 2 minutes straight of Dr.T messing around with the camera (this may have been his first time doing that sadly) and showing the dead bodies, the dragon trying to leave but being told not to go, and him being a wacko. I cut the whole ending off for the better and I lost the original file, not that I'd upload it if I could. It still ended up succeeding in a So Bad, It's Good way.
One Andrew Klavan On The Culture video had Klavan notice that that after the story he still had time left so he began to sing Never Gonna Give You Up then stopped after a few seconds sighed sadly and after he walked of screen the the wall of screens behind him began to play the music video for a few more seconds.
Every episode of I Love Alaska is a single long shot of Alaskan scenery, over which a monotone voice is played, along with occasional sound effects.
Drawn Together commonly uses this trope in gags, such as a shot of the cast sitting on the floor doing nothing, or Spanky Ham continually farting, both for more than a minute. This can overlap with Overly-Long Gag.
Space Ghost Coast to Coast episode "Fire Ant" features a seemingly never ending scene in which Space Ghost follows an ant for TEN MINUTES with almost no dialogue or action. Predictably this scene was cut short in future airings and the original version is rarely seen, although it does show up on the DVD.
The joke here is on the viewer. The episode was built up as a special half-hour episode. In true Space Ghost style, that last half is completely worthless.
One of the biggest complaints about Family Guy, which not only makes a habit of making frequent cutaway gags to something completely irrelevent, but also makes them go on for way too long. Including, at one point, a minute-long clip of Conway Twitty performing for no fucking reason. The final time they do this, they show Conway Twitty singing an entire song, from start to finish.
Played with in the South Park episode "Cancelled", where Cartman demands Kyle stick his finger up his ass (for very important reasons). Kyle tries multiple times, but each time Cartman farts just before impact and scares Kyle away. Chef laughs the first few times, then says it isn't funny anymore. Cartman does it again and Chef says "Ok, now it's funny again."
The Invader Zim episode "Zim Eats Waffles" is mostly Dib watching Zim eat waffles from a security camera. The episode contains scenes where it is Zim sitting at his table eating waffles talking about his day and etc. with Gir. This is also a perfect example of Exactly What It Says on the Tin.
In the third season episode of ReBoot "The Episode With No Name," which is an homage to Sergio Leone and the Spaghetti Western, the Quick Drawduel between AndrAIa and the female Guardian lasts one minute and thirteen seconds before either character draws their weapon. Like Sergio himself did, this was used to build the tension and to underline the psychological conflict between the two characters before they even began the physical confrontation. While they waited, the shot cut back and forth between their respective weapons, gazes, and their subconcious signs of stress. Ultimately, the fight is decided by a single shot.
Samurai Jack is famous for its very long, slow shots, usually of Samurai Jack wandering some vast landscape, which really drives home the idea of a lonely knight errant. Other times it's used to create tensions, such as when Jack was in the middle of a cat-and-mouse game with four elite hunters, or when he slowly walked into a trap set up by the episode's villains. Needless to say, it was used to great effect.
The end of the Moral Orel episode "Turn The Other Cheek" has Orel and Clay finish their study session early. Clay states "Well, we've got about another minute. They just remain there, doing almost nothing. The credits roll over this shot. A similar, but arguably more effective example would be the credits of "Nature: Part 2." It has Orel eating and thinking about what his mother said (that when Clay gets drunk, his true nature emerges), shown from the outside of his room as a bird from earlier sits on a branch. Most of the credits only show one name at a time, to make this shot with minimal action go on for even longer.