I might add to the others that some of the shots in Vittorio DiSica's Ladri de biciclette (The Bicycle Thief) and some of Louis Malle's shots (in Au Revoir Les Enfants and Le Souffle au Coeur - for example) could be classified as realist long takes. But my theory is that such classifications are a question of degrees - there seems to be a dotted line between the realist-formalist perspectives, perhaps even moreso today, especially in the Dogme movement. ? I'm open to debate. ---- Screen-L is sponsored by the Telecommunication & Film Dept., the University of Alabama: http://www.tcf.ua.edu