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"I was staring at a shot of an open field for a full minute before I realized the movie locked up. I thought it was another long shot."

Sometimes a single shot goes on for a very, very long time. Though this is usually a bad thing when done to stretch the film and/or its budget, it can also be done deliberately for artistic reasons, such as showcasing particularly good-looking visuals, establishing more lifelike pacing, for the purposes of extending a joke, or increasing tension (because Nothing Is Scarier). It can also serve as a thematic device: For example, a director might illustrate the lonely and mundane life of a solo astronaut by showing him going about his daily routine, never speaking a word because there's nobody to talk to.

Often used in conjunction with Scenery Porn. A tactic occasionally employed for the Bottle Episode. See also Padding and The Oner. Compare Overly Long Gag. Contrast with Is This Thing Still On?, which is done accidentally.



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  • 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.
  • A certain Cartoon Network commercial involves Mandy boarding a train and sitting beside Raven. The scene goes on a little while without either of them doing anything aside from occasionally looking at each other via glancing sideways. Finally, Mandy gets up to leave and remarks "nice chatting with you." Raven responds "Whatever."
  • Norwegian potato chip company Totenflak's "Laga med tålmodighet" features a six-minute shot of a chip slowly being cooked and then put into the bag. Yes, they once showed the whole thing on TV.

    Anime and Manga 

  • Neon Genesis Evangelion uses these frequently, due to losing most of its animation budget in the second half of its run and having roughly pocket change left after the action sequences were done. However, to the credit of the creators, and considering the show's decided fight against the human condition, these moments amount to a clever, clear, and precise presentation of the characters. These moments include:
    • Misato watching the train Shinji has apparently boarded leave the station.
    • The elevator ride with Rei and Asuka. The Director's 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 re-used 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. There's actually some informative dialogue between them though, making this scene a little more bearable than the silent ones.
    • 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 in The End of Evangelion, except this one was deliberate to create a very tense buildup to Asuka's epiphany and recovery.
    • Misato and Shinji's Last Kiss.
    • 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. For example, a 30-second slow zoom into someone's eye.
  • Dragon Ball Z is rather notorious for this sort of thing:
    • 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 planet finally goes kaput.
    • Parodied in Dragon Ball Z 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.
  • Excel Saga's unaired final episode contains a few unnecessarily dragged out shots with little happening in them for comedy. There's one where Excel, who has switched bodies with Hyatt, spends a long time staring at her reflection as she realizes what has happened. There another one where Excel and Hyatt have fused together into one body and Hyatt starts repeating "How exciting" like a Broken Record for quite a while before they realize they don't know how to un-fuse. These moments also help to deliberately pad out the episode's runtime to be too long for a regular time slot.
  • 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. 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.
  • Though not as bad as other examples, Nausicaä of the Valley of the Wind features an extended scene of Nausicaa watching an Ohmu crawl into the distance.
  • At the end of episode 15 of Re:Zero, Subaru is decapitated. The credits then roll over a 90-second static shot of Subaru's headless body kneeling in the snow. The effect is mitigated not just by the credits, but by the snowfall which gradually gets heavier and eventually whites out the screen.
  • The Panty & Stocking with Garterbelt episode "Nothing to Room" consists of a single 13-minute shot with almost no camera movement, broken up only by the occasional Whip Pan to represent time passing.
  • 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 anime Black★Rock Shooter, 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 The Flowers of Evil did this a lot, 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.
  • In Osamu Tezuka's Ayako, Tezuka uses an unusually extended long scene in a comic as contrasted to his montage style.
  • In Kill la Kill, after getting a long lecture on the nature of Life Fibers and the threat to the world, the camera stays on Ryuko for nearly a full minute as she digests the information. Next to her, Mako repeatedly dozes off only to barely catch herself.
  • In The Garden of Sinners, There is a very long scene of Shiki (with one arm) eating ice cream that takes about a minute and a half. It's intended to be symbolic and a Pet the Dog scene about Shiki and Mikiya's relationship.

    Comic Books 

    Fan Works 
  • 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.
  • My Little Portal has a similar tendency to linger on static shots, even in the middle of action sequences.
  • Incendiary's "Edith: Eyes of the Parish" lasts eight minutes, about five of them being shots of Edith looking over the Womb on top of the Cathedral, with a few scenes in between. A version of the video would be uploaded in which these scenes were sped past, Hand Waved as an "I'm Excited!" pill.

    Film — Animation 
  • In The Incredibles, the entire scene where Bob is blow-drying the books and invents the lie to Helen about going to a company conference consists of a single shot which does nothing but very slowly zoom in on Bob.

    Film — Live-Action 
  • One of the hallmarks of Yasujiro Ozu, who would cut between scenes and between cameras but largely eschewed camera movement. In his last film An Autumn Afternoon the camera never moves, so if there's no conversation, like in the scene where the barmaid contemplates her drunken father or the last scene where a melancholy Shuhei sits down in his living room, the result is a long static shot.
  • Birdemic has ludicrous amounts of this, on top of everything else that makes this movie what it is. The first scene (not the title sequence, mind) is literally just four minutes of the protagonist driving his car around town from a dashboard view.
  • Ida consists mostly of a series of long static shots in which the camera never moves. The most dramatic one is Wanda's suicide. The scene opens with the camera pointing at a window. After a long interval Wanda walks across the frame. More time ticks by. Wanda re-enters the frame, and jumps out the window. More time ticks by, before the film finally cuts away. The camera never moves.
  • Ju-Rei pads out its 75-minute running time by stretching some of its suspense scenes out waaaaaaaaay too long. One single, uninterrupted shot of a girl cowering under a blanket runs for 1 minute and 53 seconds.
  • 2001: A Space Odyssey features a very slow pacing, with many very long shots, often of space and astronauts moving very slowly. And that's not even considering Jupiter and Beyond the Infinite.
  • 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 Mead's Ass (take a 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 shot in 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.
  • Done to great effect in Aguirre, the Wrath of God.
  • British Public Information Film The Finishing Line (about Train safety) features a particularly long shot where an entire class of children march into a train tunnel. At the end of the scene, the camera keeps running for about ten seconds, filming the now-empty tunnel.
  • A trademark of Michael Haneke:
    • Both versions of Funny Games, 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.
    • A couple of scenes in Code Unknown drag on with little to no action taking place like the ploughing scene at the farm land where the tractor leaves the frame but the camera keeps shooting the empty field for another 35 seconds.
    • Many shots in Caché, 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 the final scene of two characters talking without audible dialog.
    • Lots of scenes his 2012 movie Amour follow this trope.
  • Hunger, based on the 1981 Irish hunger strikes features long shots of walls, corridors, hands, etc. being washed.
  • Many films that received the Mystery Science Theater 3000 treatment:
    • 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.
    • Hercules Against the Moon Men. One word: saaaaaandstormmm.
    • 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 of 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..."
    • The Final Sacrifice: "I'm just a bush. You may want to pan off me."
    • 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!
    • Monster a-Go Go has a long short of a nurse going about her duties at night, during which Joel and the Bots don't say a word. When a second character finally appears and speaks, they are startled.
    • Indestructible Man has a long segment of a stripper and a detective talking. It lasts for so long that Tom tries to go to sleep (Joel wakes him), Crow tries to walk out (Joel stops him) and Joel has a few outbursts about how long it's been going on (Tom soothes him).
    • Danger!! Death Ray has a couple of scenes in the beginning. First in when a bunch of scientists are entering a secret base. After they are cleared through the checkpoint, the film spends over ten seconds just looking at the feed of a security camera with nothing of interest happening at all. Finally, Crow just cries out Okay?!. Later, the camera tracks all the members of the conference just walking through a hallway and taking an elevator downstairs.
    Mike: They really have captured the grandeur of white guys walking in herds.
  • 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, and is part of the director's Signature Style. Examples include:
    • The highway scene in Solaris. Supposedly this was done intentionally so that people expecting an exciting, action-filled movie could get the hint and leave the theater.
    • Almost the entirety of his film Stalker, a movie best described as "the hybrid offspring of a Knut Hamsun novel and a Samuel Beckett play, as directed by Stanley Kubrick". Indeed, all of Andrei Tarkovsky's work could probably fit.
    • 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 Robert Neville has a leg injury 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  There is also a several-minute cruise James Kirk takes around the remodelled Enterprise in a shuttlepod to show off the redesign (although as it was the first look at Enterprise on the big screen, many viewers acknowledged it was Worth It). 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.
  • 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 - Werckmeister Harmonies 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 (2003) features lots of unnervingly voyeuristic shots of the schoolkids walking down hallways (and walking...and walking...). For most of the film it's very tedious, until the scene where Benny sneaks throught the corridors to stop the shooting and it turns quite suspenseful.
  • 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 single shot of the 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 nothing 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.
    • Once Upon a Time in the West, uses the technique a lot to very great effect:
      • 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 Harmonica's hidden motivation.
  • 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 parts of Koyaanisqatsi are basically long, plotless stretches of scenery and new age music. This is used to great effect, particularly since the film isn't a traditional narrative, but rather a "visual tone poem," meant more for meditative purposes. Other parts of the film, however, feature equally effective conventional editing.
  • 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.
  • Gertrud: This film only has 89 shots in a 111-minute movie. There are several long takes of three minutes or longer. Gertrud's breakup scene with Erland runs five minutes without a cut, and her talk with Gabriel when they talk about their past and he reveals Erland's perfidy, which runs ten minutes without a cut.
  • Remember the ten-minute sleeping scene in The Ring?
  • Done to great effect in the ending of The Third Man. The last minute of the film, shows Holly waiting a the side of a road for Anna as she slowly approaches him... then walks past him without even a glance.
  • The first few minutes of There Will Be Blood.
  • Plan 9 from Outer Space is rife with scenes consisting of nothing but Tor Johnson, Vampira, and Bela Lugosi's clumsily disguised stand-in wandering aimlessly (and very slowly) around a graveyard. But at least Tor's struggle to climb out of an open grave becomes an unintentional Overly Long Gag.
  • 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 Director's 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.
  • Sam Mendes loves doing this trope, even for scenes with just two characters talking (in part thanks to his background in theatre).
    • This started in American Beauty, then continued that with Road to Perdition, Jarhead and so on.
    • Revolutionary Road has its fair share of those, but the biggest one? April looking down at the carpet, having a miscarriage and walking out of frame to call an ambulance.
    • Skyfall had two major LTCR moments: Bond and Patrice fighting in Shanghai and Raoul Silva's introduction.
    • The opening shot of Spectre lasts for four minutes. The secret organization scene in Italy (where we first see Blofeld) also counts as that.
    • 1917: The film is shot as though it is two long takes, from start to finish. Though eagle eyed viewers can probably figure out where cuts likely happened, that doesn't change the fact that otherwise the film overall is a big series of Oners.
  • Denis Villeneuve may as well be Sam Mendes’ distant cousin because he also uses the trope to maximum effect.
    • Incendies,Prisoners, Enemy, Sicario, Arrival and Blade Runner 2049 all have so many LTCR moments it would be impossible to count.
    • Enemy and 2049 have the longest and largest use of LTCR moments out of all his films, with shots often lasting for massive amounts of time.
  • Most of Jean-Luc Godard's film Weekend (1967) 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 Godard'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 throughout Paranormal Activity as a means of building suspense. Much of this is from frequent and lengthy shots of Katie in the bedroom. Notable other scenes include literally leaving the camera running while a Ouija board bursts into flames and the ending, 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) 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...
  • A trademark of director Tsai Ming-liang. His film Vive L'Amour, for example, ends with a several minutes long shot of nothing but a woman crying.
  • 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.
  • Concert Film The Last Waltz: Almost all of Muddy Waters' performance of "Mannish Boy" is shown as a single unbroken take from a camera at stage right. The reason for this was that Waters had bounded on stage during what was supposed to be a scheduled camera break to change film. The only one who had film ready to shoot was Oscar-winner Laszlo Kovacs at stage right, who hadn't heard the message to change film because he had his headset off.
  • 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.
  • In One Flew Over the Cuckoo's Nest, the camera focuses on Randal's face for more than a minute as he quietly thinks.
  • Moon uses it to show the silent tedium of a solitary astronaut going about his daily routine.
  • Five Easy Pieces ends with a pretty long, static shot of a lonely gas station in the Pacific Northwest, after Anti-Hero Robert has hitched a ride, abandoning his pregnant girlfriend at said gas station.
  • Most of Nick Millard's films such as Criminally Insane and especially its sequel use this.
  • Many, many scenes in Doctor Zhivago, particularly static shots of the balalaika 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 uses this trope in her films. Lost in Translation has an uninterrupted scene of Bob playing golf in between press events. The Bling Ring has a minute-long scene of Marc smoking and dancing while webcamming, a recreation of the original online video. Somewhere starts with several minutes of watching a sports car doing laps from a fixed position, while Marie Antoinette (2006) ends with a shot of the titular character’s ransacked bedroom.
  • Many of Irréversible'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 uninterrupted 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 shears.
  • 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 schwarma at a leisurely pace and saying nothing. It's also a Brick Joke since after the climactic battle, Tony Stark casually asks if anyone wants to get schwarma later.
  • Elaine May, Mike Nichols' onetime comedy partner, pretty much made her third 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 effectively forfeited any chance that she will ever direct a studio picture again.
  • The Graduate. 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 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.
    • Chantal Akerman loved this trope in general. Her first feature film Je Tu Il Elle consists of long takes of her (as the main character) sitting in her room, shifting furniture, writing letters, eating sugar, taking her clothes off, putting them on again, etc. The final scene of the film is a ten-minute sex scene between Akerman's character and her supposedly ex-girfriend, all done in about three shots, maybe four.
  • Michael Clayton ends with an extended shot of the title character in the back of a cab, showing his facial expression as he wordlessly contemplates what he's just done.
  • 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.
  • 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.
  • Kiss of the Tarantula: The scene of Susan being followed through the woods by Bo and of Susan lowering Walter into the casket could've shaved ten minutes off the run time with some editing.
  • Heat ends with a fifteen second shot of Lt. Hanna standing framed in the lights of Los Angeles International Airport holding Neil McCauley's hand as he dies.
  • Done throughout the low-budget sci-fi movie R.O.T.O.R. to pad the running time, such as showing the protagonist puttering around his house, having a leisurely dinner with his girlfriend, and driving to work.
  • Ishir⁠ō Honda, director of most of the classic Godzilla films as well as many other kaiju films, had a strange habit of including extremely long takes of people performing various monster-related ceremonies and rituals. Examples range from the primitive islanders of King Kong vs. Godzilla and Mothra to the advanced people of the subterranean Mu Empire in Atragon, but the setup is always almost identical: have a bunch of people in silly costumes sing and dance for about five minutes, and leave the camera running the whole time. Honda also seems to have enjoyed long takes of people walking through nature, especially mountainous areas.
  • Nearly all of Jim Jarmusch's films use this as part of his minimalistic style. For example, Stranger Than Paradise 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 soon-to-be-released experimental film Ambiance takes this to its logical apotheosis. The film is 30 days (yes, days) long, and was supposedly done in one take. Even the trailer released is 7 hours long and is nothing but the two actors in the entire film doing cryptic stuff as the camera stays in one spot.
  • Played for Laughs in Austin Powers, with Dr. Evil and his minions indulging in some evil laughter, which after a while slowly and awkwardly peters out as they don't really know when or whether they should stop.
  • Call Me by Your Name ends with a heartbroken Elio crying in front of a fireplace after learning Oliver got engaged to his on/off girlfriend. The camera lingers on him for virtually the entire length of Sufjan Stevens's song "Visions of Gideon."
  • In Des hommes et des dieux, the camera has a tendency to linger on the beautiful scenery as the subject of the shot slowly disappears into the distance.
  • The independent 2016 film Paint Drying literally consists of silent, static footage of a freshly-painted wall that goes on for ten hours, even longer than Andy Warhol's Empire. It was an intentional troll movie made to protest against the British Board of Film Classification, which charges exorbitant fees for their review process based on film length, something that director Charlie Lyne deemed as censorship as it gated independent filmmakers from getting necessary clearance to distribute their movies. The BBFC have to watch through all of the films they review to give it a rating, so Lyne set up a Kickstarter campaign for the movie, its length decided proportionately to how much the BBFC would charge to review it. And yes, they did end up having to review it — Paint Drying now has a U rating, indicating it is suitable for all ages.
  • Marco Berger does this a lot in his films. Plan B in particular has numerous scenes where the camera lingers on the main characters' faces or profiles for a long time, especially the ones where the characters are silently agonizing over their feelings for each other while apart.
  • Yet another example of a lengthy film doing this was Baa Baa Land which was nothing but sheep walking in a field for eight hours. It's available here.
  • In A Ghost Story this happens several times during the film, most remarkably when M sorts through her mail and silently eats pie after returning from C's funeral.
  • The Time Machine (I Found at a Yardsale) has loads of pointless scenes that drag on for a long time, including an infamous scene of the main character drinking orange juice for over a minute.
  • Birdman or (The Unexpected Virtue of Ignorance) at one point leaves the camera to point at an empty hallway, and nothing happens for about 10 seconds until one of the main characters walks in. However, the entire film is filmed and edited to look like it's filmed in one take, and this was used to switch the focus to an another character without cutting away.
  • Quentin Tarantino started his career with a 99 minute movie, but everything afterwards nearly breaks two hours or easily surpasses it. It usually owes to long takes, long dialogues, and Slice of Life moments that contribute almost nothing (such as many, many driving scenes in Once Upon a Time in Hollywood).
  • Meek's Cutoff features many long takes without dialogue and without much going on as the pioneers travel by wagon train. The film opens on a lengthy sequence of people going back and forth across a river in silence.
  • Avengers: Endgame spends fifty seconds just showing Thanos getting his breakfast ready.
  • The camera in doesn't move or cut in Stations of the Cross, remaining as unmoving and distant as Maria's parish. Even when a scene is set in a moving car, the camera barely moves. The only two exceptions are in the tenth station, where Maria moves from the pews to the altar for her Confirmation, and, more shockingly, when the camera moves from Maria's grave to the beautiful fields and finally to the heavens.
  • Happens in almost every scene of The Plague at the Karatas Village, most likely to underline the otherworldliness of the village and the questionable sanity of its inhabitants.

  • 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.
  • House of Leaves describes one. 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.
  • You Look Different in Real Life: In the documentary Five at Six, Justine develops stomach cramps that turn out to be psychosomatic. Tests at the hospital find nothing wrong with her. During the scene where the doctor discusses the results with her parents, the camera stays on Justine the entire time while she colors in bed, slowly filling a whole page with orange crayon.

    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 end 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.
  • 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.
  • The Yule Log, a popular Christmas program consisting of nothing but a fireplace 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 Carnivàle, 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 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 the Vampire Slayer 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 an 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 reciting a poem 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.
  • The Doctor Who story "The Leisure Hive" opens with a notorious scene of the camera panning along a row of abandoned deckchairs and huts on a dingy winter beach for a whole minute and a half before revealing the TARDIS. Reportedly, this was included because the first episode underran slightly after John Nathan-Turner had most of the script's comedic elements excised (wanting to move away from the Lighter and Softer tone of the Graham Williams era).
  • During the early years of television, when most programs were broadcast live, it was rather commonplace for scripted broadcasts to run short, forcing the performers to ad-lib sometimes for several minutes until their allotted time ran out. The comedy duo of Dean Martin and Jerry Lewis often had to do this when their shows ran short. Here is one example. Jackie Gleason similarly was forced to ad-lib for several minutes at the end of one of his 1950s broadcasts when a piece of scenery that was supposed to be lowered into place got stuck in the rafters; Gleason spent part of the time comically tying a tie and hollering "I wouldn't wish this spot on a leopard!"
  • A common gag on the Armenian News Parody show ArmComedy is for the screen to suddenly go Deliberate Monochrome, look like it was recorded on an old camcorder, and have the hosts seemingly go off script and not know they are being recorded.
  • Escape at Dannemora features several instances of extremely lengthy close-ups of a character's face. One early scene fixates on Sweat's face as he listens to rock music on his headphones while lying in bed. Episode 6 has one on Tilly's face as she looks at Lyle amorously.
  • Too Old to Die Young: The pace of the miniseries is intentionally protracted, with long pauses between lines of dialogue and long periods of silence.

  • On the vinyl version of the Godspeed You! Black Emperor album F♯ A♯ ∞, at the end of Side B, the music continues onto the inner groove, resulting in a small loop playing forever until the needle was lifted.
  • "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.
    • 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.
    • Any sort of "systems music," like that of Philip Glass, Steve Reich, and Brian Eno's ambient work (Discreet Music and Thursday Afternoon''
    • Ambient music, particularly drone and dark ambient, does this frequently.
  • 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.
  • John Lennon's first three albums Unfinished Music No. 1: Two Virgins, Unfinished Music No. 2: Life with the Lions and Wedding Album are all basically candid recordings of Lennon and Yoko experimenting with noises. Some of it almost inaccessible Sensory Abuse, others more durable fly-on-the-wall recordings, but too many it all boils down to genuine Album Filler.
  • A hidden track repeat happens at the end of David Bowie's album Diamond Dogs, where one second of the song "Chant of the Ever Circling Skeletal Family" keeps looping, leaving it with No Ending; this was the result of a Throw It In moment (the tape got stuck]]).
  • 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.
  • Lou Reed's album Metal Machine Music. 64 minutes of feedback. Released on vinyl with a locked groove at the end of side four, and now available the same way on vinyl, DVD, and Blu-ray.
  • 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.
  • 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 Voodoo Child's album The End of Everything is an 18:27 track called "Reject," and is a repeating series of slow synth washes.
  • Massive Attack's 100th Window ends with the hidden track "LP 4," an 11-minute instrumental consisting of a repeated ten-second cycle of synths. Here's a slightly shortened version.
  • 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 ambiance 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 Còrdia 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 "Rundtgåing av den transcendentale egenhetens støtte" 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 - 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. The band had convinced their label this was purely an artistic gesture, but later admitted it was a ruse to take up data that could have been used to hide DRM software.
  • Jaga Jazzist's "Out of Reach (or Switched Off)" — from their Old Shame album Jævla 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...
  • The Tractors, a Country Music band, have a lot of interstitial chatter between each song on their debut album.
  • Frank Zappa also enjoyed leaving snippets of Studio Chatter and random recordings sprinkled out on his albums. Examples are Jimmy Carl Black complaining about the low pay during "If We'd All Be Living In California" on Uncle Meat, a heckler during a concert on Burnt Weeny Sandwich, Zappa receiving a note from someone from the audience halfway a live performance of "Titties & Beer" on Zappa in New York,... He even did it on Trout Mask Replica by Captain Beefheart note  where some recordings of conversations with band members can be heard. The best example can be heard after "Hair Pie Bake 1" ends and we hear Beefheart talking to two teenagers in the street, who wanted to ask him if his drummer could play in their garage band, assuming Beefheart and his musicians are just amateurs. When they hear him mention his band name and the fact they are actually making a recording the boys realize that they are dealing with professional musicians, prompting one of them to say to his friend: "I'll guess you won't get the drummer then."
  • "Lost in Autumn" by The Sea and Cake has about 3 minutes of silence tacked on at the end.
  • "Oahu" by The 6ths is a three-minute song followed by 25 minutes of a seven-second synthesizer part being looped over and over.
  • The ending Outro on Limp Bizkit's Chocolate Starfish and the Hotdog Flavor Water album has a cameo appearance by Ben Stiller who Fred Durst was a big fan of and even made a song dedicated to him on the album. However, the Outro has Stiller mocking the band members and making fun of the group as a whole while seemingly high. While doing so he gives a goofy laugh that then gets looped for 4 straight minutes before another part of the Outro is played, which has Durst talking on the phone with someone while touring.
  • In contrast with the fairly brief, grunge/Noise Rock influenced songs on the rest of the EP, Magic Dirt's Signs Of Satanic Youth ends with an untitled 36 minute instrumental track of ambient backwards guitar loops. A later reissue has the track fade after about 9 and a half minutes.
  • For the first three and a half minutes, The Fall's "Nine Out Of Ten" consists of electric guitar and vocals. It seems to end at that point, but then there's a brief pause and another five minutes of just guitar. It sounds as though there was an alternate take of the guitar part tacked on to the end of the recording and they just left it in.
  • Escalator Over the Hill, the ambitious triple album conceived by jazz composer/keyboardist Carla Bley and lyricist Paul Haines, ends with a drone that continues into the locked groove at the center of the disc. The CD reissue fills out the balance of the last disc with the drone.
  • Heaven 17's vinyl version of Penthouse and Pavement invokes this in the closing track "We're Going To Live For A Very Long Time", where the lyric "For a very long time!" is recorded in a locked groove set before the auto-return point of most turntables, causing it to loop indefinitely until the listener manually raises and returns the tonearm. The cassette version repeats the line until the end of the tape, while the CD/digital version fades out after about eight repetitions.
  • Sonata Arctica:
    • The song "Draw Me" (the final track on the Winterheart's Guild album, excluding bonus tracks) ends with brief silence, followed by a short snippet of conversation (in Finnish) among the band members. Following this is four minutes of dead silence, followed by someone saying something else in Finnish, and then the song ends.
    • "The Power of One" (the final track of the album Silence, again excluding bonus tracks) ends with about a minute of silence, followed by a sound engineer saying (in English) "And I fuckin' touched the mic, hold on."
  • Stratovarius: The song "I'm Still Alive" (from the Elements Part 2 album) ends with two of the band members briefly talking about the song, presumably a conversation that happened after they finished recording the song that was left in.
  • Dream Theater:
    • The end of "Panic Attack" off the Octavarium album features a few minutes of random... noises. This part is omitted from the iTunes release of the song.
    • "Finally Free", the final track of the album Metropolis Part 2: Scenes from a Memory, ends with the hypnotist, who may or may not be a reincarnated Edward saying "Open your eyes, Nicholas", followed by Nicholas yelling in surprise, a record scratch, and then about a minute of white noise. "The Glass Prison", the first track on the next album, Six Degrees of Inner Turbulence, begins with the same white noise.
  • Ayreon: "Another Time, Another Space", the final track on the album Into the Electric Castle, consists of about a minute of "Remember... Forever -rever -rever -rever" repeating over and over again, in the manner of a CD skipping. The iTunes release shortens it significantly.
  • Some editions of Imogen Heap's Elipse include a bonus CD of instrumental versions of the songs. However, "The Fire" was an instrumental to begin with, being a short piano piece with crackling fire sounds in the background for ambience... So the "instrumental" version takes it a step further by removing the piano track, leaving two minutes of nothing but the crackling fire.

    Music Video 
  • 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.
    • The Replacements hated making music videos and as a result, a lot of their videos are like this. The video for "Left of the Dial" is pretty much identical to the video for "Bastards of Young", expect for a handful of differences that make it apparent it isn't the same footage (chief among them is that the speaker lives). The video for "Hold My Life" is also identical to the other two but in full color.
  • 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. A fan video once sped up the footage to their best guess at the original speed, setting it to a severely edited 30 second version of the song. 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.
  • One of Death Grips' videos for "On GP" uses only one shot of the band sitting in a small room, nearly motionless.
  • 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 "Round and Round" 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.
  • R.E.M.'s "Bang and Blame" video ends with Michael Stipe walking off, while the video (and the song) keeps going.
  • The Rentals' "Friends Of P." video ends with 30 seconds of a single shot of the band standing with their instruments in complete silence and occasionally fidgeting a little, as eventually the lights start going out in the room and everything fades to black. When airing the video, MTV would usually cut this scene out, fading out prematurely once the actual song was finished.
  • Played with in Natalie Imbruglia 's "Torn" video. The scenes are cut and change, but the camera always stays in the exact same place, giving this effect and resulting in relatively long takes for a music clip.
  • "Here It Goes Again" is one long take of OK Go on treadmills.
  • The Ramones' video for "I Wanna Be Sedated" consists of 2 minutes and 31 seconds of a single shot of the band sitting around a table while all sorts of crazy people roam around the room, with the band being completely unfazed by their presence.

    Professional Wrestling 
  • 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"). In the very least, the video can be used as evaluation tools, to help promoters determine whether a particular wrestler has potential, or to help a novice wrestler learn from what he did during matches to improve.

  • 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.
  • The same goes for Rosencrantz and Guildenstern Are Dead, which makes sense since the play bears a striking, and not unintentional, resemblance to Waiting for Godot.
  • True of a lot of absurdist theatre, including the above examples. Goes hand-in-hand with Absurdism's tendency for repetitious, inane dialogue, long awkward pauses, and plays in real-time.
  • Anything directed and/or written by Robert Wilson
  • The 136-bar prelude to Das Rheingold consists of gradually intensifying repetitions of a single Leitmotif with no chord changes.

    Video Games 
  • The gaming-related trope Idle Animation is a variation of leaving the camera running.
  • Final Fantasy:
    • Final Fantasy VII:
      • The game opens with an FMV of a starfield doing absolutely nothing for a ridiculous amount of time. This had been intended to be the backdrop for an Opening Crawl, but the text was cut for being redundant (as Barret provides a Lecture as Exposition to Cloud a few minutes later).
      • Did you decide to take the stairs when invading Shinra HQ? Enjoy climbing 60 flights of identical stairs in real time. Yeah.
    • Final Fantasy VIII: Rinoa floating in space serves as an example of the 'tension' form above.
  • Kingdom Hearts II: One of the scenes in the Final Mix shows Xemnas accessing the Chamber of Repose... which requires tapping at Hollow Bastion's computer, walking down to the Heartless Manufactory, continuing down a very long spiral staircase, and going through what seems to be a prison area. There's a brief cut mid-descent, but it still takes a good few minutes. The flashback-esque dialogue that plays during this period would have diminished the nature of the cutscene if it hadn't been pulled from another cutscene that plays two fights later.
  • In Uru: Path of the Shell, three puzzles are solved by waiting at one point for several minutes. The reason for this is those puzzles were designed for the MMORPG which was dropped for various reasons. Cyan finished off the ages they'd been working on and packaged them as Path of the Shell, but their substitute for puzzles that needed multiple people was to put in ridiculous 15-minute pauses. When the online version was revived (briefly) we got to see how the puzzles were originally intended.
  • 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.
  • Though not quite as exaggerated as most here, Phoenix Wright: Ace Attorney's bonus case achieves the effect. Most suspicious characters in the series have some kind of overblown reaction to a critical piece of evidence being presented to them, or a hole being blown in their story. Not Chief of Police Damon Gant- he just stares at you, smirking, for several seconds. Unlike every other text event in the entire series, there's no way to mash the A button through this one.
  • Pokémon Ruby and Sapphire and its remakes have an optional sidequest puzzle like this (it's changed in Emerald) that opens Regice's cave; you click on the Braille puzzle and then wait two full minutes before it opens.
  • In EarthBound (1994), 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.
    • A similar Waiting Puzzle was used in Shin Megami Tensei III: Nocturne, as a ghost in the Labyrinth of Amala's Fourth Kalpa will ask if you're a patient person. Waiting about 3 minutes or so before answering will allow you to continue onwards.
  • 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. 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.
  • Imagine going from Earth to Mars in real time. You can do that in Orbiter. 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".
  • 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.
  • The ending of most Splatter House games often lead to a silent, 10~20 second long static shot of the discarded Terror Mask before it lifts off by itself, laughing maniacally.
  • At the end of Stage 4 of Touhou Youyoumu ~ Perfect Cherry Blossom, the stage stops scrolling, the enemies stop coming, and there's a pause of at least 20 seconds before the start of the pre-boss cutscene. Even then, the boss (or rather, bosses) don't appear immediately; only when Reimu remarks, "Doesn't someone usually appear at this point?" does the first of the Prismriver Sisters present herself.
  • Turok 2: Oblivion's leitmotif apparently runs on indefinitely without exactly repeating, due to the procedurally generated arrangement of its instrument sequences. The YouTube clip 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 their final moments from third person. No, you don't get to see their face.
  • Each and every cutscene of 198X is a stationary still of your character just sitting, standing, lying on his bed, and just chilling out and doing nothing, right up to the ending scene.
  • 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.
  • Doubles as an Overly Long Gag: the cutscene showing King Zora moving out of the way in The Legend of Zelda: Ocarina of Time takes about a minute to finish.
  • 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.
  • Doki Doki Literature Club! has a text variation, after Yuri commits suicide in front of the player, the player is then treated to hundreds and hundreds of lines of randomly generated garbage text (fortunately the Skip button becomes available to quickly get through them all) as they watch Yuri's corpse slowly decompose over the weekend.
  • The Steam release trailer for Black Mesa, which takes the form of a promotional video for the titular facility's weapons division, features an interview with a HECU soldier who ends his segment by saying "Thanks a lot, Black Mesa!" and giving the camera a thumbs-up. The camera lingers on him for a while as he awkwardly holds his pose and several people in the background laugh at him.

    Web Animation 

    Web Comics 

    Web Original 
  • 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.
  • Attack of the Alium Monstars from Outside Space, due to the video being all one person operating the camera.
  • One Andrew Klavan on the Culture video had Andrew 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 offscreen, 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.
  • Twitch Plays Pokémon has this by necessity due to the setup: the stream consists of a Pokemon game with the inputs entered by people watching the stream, meaning that any kind of editing is impossible. Naturally, because of the Hive Mind of watchers, this regularly results in incidents like the player character wandering around in front of a building for an hour trying to reach the door, or spending even longer attempting to walk past a ledge without falling off. Most infamously, during the Team Rocket HQ portion of the original stream, it took over two days for the PC to get through the maze. Needless to say, no one is ever going to watch the whole stream from start to finish (it totals about 16 continuous days of footage).
  • ClickHole engages in this from time to time. For instance, the three hour long This Stick Of Butter Is Left Out At Room Temperature; You Won’t Believe What Happens Next.
  • Many of CDZA's videos end with one of the singers holding up a "click to subscribe" sign while they all try to stand very still and keep straight faces, as the camera continues running.
  • "Sitting And Smiling", a series of YouTube videos, that are just a guy, well sitting and smiling...for four hours straight. Yes, these are real and they've acquired millions of views.
  • There's an entire genre of YouTube videos, usually referred to as "video game ambience", that just leave the camera running at a location in a video game, often for hours on end. These videos are mainly meant to be put on in the background while the viewer goes about other tasks or even goes to sleep.

    Western Animation 
  • 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.
  • One of the biggest complaints about Family Guy, which not only makes a habit of making frequent cutaway gags to something completely irrelevant but also makes them go on for way too long. Including, at one point, a minute-long clip of Conway Twitty performing for no reason. The final time they do this, they show Conway Twitty singing an entire song, from start to finish.
  • While it doesn't abuse the Overly Long Gags as much as Family Guy is guilty of, Robot Chicken does have a tendency for the [ideally] brief, single-joke sketches to keep going for a while after the punchline has already been delivered.
  • 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."
  • He-Man and the Masters of the Universe (1983) was famous for its very long, very slow pans used for establishing shots. A classic example of this trope being used for budgetary reasons.
  • 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, 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 Draw duel 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 subconscious 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.
  • Futurama does this in its "Saturday Morning Fun Pit" parody of Scooby-Doo, subverting the standard shot in which the Monster of the Week would chase Shaggy repeatedly into and out of a bunch of doors down a single hallway: they run into a single door, and the camera holds on the empty hallway for several seconds.
  • The final shot of BoJack Horseman is of BoJack and Diane sitting on the roof just looking up at the stars and awkwardly trying to avoid looking at each other as "Mr. Blue" by Catherine Feeny plays.

    Real Life 
  • After a standoff at the Malheur Wildlife Refuge in Oregon, a number of militiamen heading to a meeting with their supporters were arrested en route, along with several of their supporters at their destination. One of their supporters, Pete Santilli, ran a YouTube livestream, and got arrested and dropped his camera, which continued to stream an image of the wall of his motel room for hours afterwards.
  • Before leaving the moon on Apollos 15, 16, and 17, the astronauts would drive their lunar rover a short distance away and abandoned them facing the lunar module, so as to capture footage of the take-off. Since after that point there was no one there to switch it off, the camera would continue filming until it ran out of power.


Video Example(s):


Nice While It Lasted

The closing shot of the series finale of BoJack Horseman sees BoJack and Diane staring at the stars in silence, sharing one last moment together.

How well does it match the trope?

5 (20 votes)

Example of:

Main / LeaveTheCameraRunning

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