The Unintentional Brilliance of the Iconic 'Children of Men' Shot

The Big Picture

In 'Children of Men,' Director Alfonso Cuarón employs extended uninterrupted shots to engulf the audience in a desolate and brutal tomorrow, presenting an authentic portrayal of a dystopian nightmare while avoiding the romanticization of its violence.

Long shots are utilized in the movie to heighten the sense of tension, particularly in scenes such as the surprise attack and the assassination of a crucial character. Through skillful and impactful cinematography, these moments craft a highly intense viewing experience.

Although the blood splatter on the camera lens during the war zone scene was unintended, it unintentionally adds a personal and immersive touch to the film. This accidental detail stains the audience's perspective of the on-screen reality, causing them to feel personally impacted by the depicted violence.

In ‘Children of Men,’ Director Alfonso Cuarón Shows a Bleak, Violent Future

Director Alfonso Cuarón, a highly regarded filmmaker, incorporates a continuously filming technique known as the long take in his work. This technique creates a sense of real-time action, as the camera remains in motion without interruption. In his 2018 film Roma, Cuarón employs multiple long takes to depict the vibrant streets of 1970s Mexico City. The camera effortlessly follows Cleo (Yalitza Aparicio) as she navigates the bustling streets and also captures the intense moments when Cleo must battle against a powerful ocean current to protect the children in her care. Rather than drawing attention to the technical aspect, Cuarón relies on the compelling scenes themselves to captivate the audience. While Roma highlights Cuarón's proficiency in utilizing long takes, back in 2006, he collaborated with cinematographer Emmanuel Lubezki on the film Children of Men to create breathtaking results, immersing viewers in a dystopian future. Despite facing various challenges during the filming of the movie's climactic finale, including setbacks, a chaotic production schedule, and an on-camera mistake, these unexpected circumstances ultimately yielded an iconic scene and one of the most memorable moments in the film.

Image via Universal Pictures

Set in the year 2027, Children of Men is a film adaptation of P. D. James' dystopian novel. The story revolves around a society ravaged by two decades of infertility. In this police state of the United Kingdom, immigrants are treated as less than human, subjected to imprisonment or even execution. Theo, an ex-activist portrayed by Clive Owen, finds himself lacking purpose until he reunites with his estranged wife, Julian (played by Julianne Moore). Julian leads the Fishes, a militant group fighting for immigrant rights, with a hidden agenda to secure a future. It is this hidden agenda that catches Theo's attention, as Julian needs him to escort a young refugee named Kee (played by Clare-Hope Ashitey). The twist comes when Theo discovers that Kee is pregnant - a rare occurrence in this infertile world. Armed with this knowledge, Theo's mission becomes clearer: he must safely guide Kee to the Human Project, a secretive organization with the ambitious goal of curing global infertility.

Long Takes Are Used to Build Tension in 'Children of Men'

Children of Men offers a stark portrayal of a society torn apart by war, hatred, and mistrust, while also presenting a visually stunning cinematic experience. Alfonso Cuarón and Emmanuel Lubezki aimed to create a realistic depiction of a dystopian future, where darkness permeates every aspect of life. However, they were equally committed to avoiding the glorification of violence on screen, resulting in a documentary-like style that captivates the audience. This becomes particularly evident during a pivotal moment in the plot, when Theo experiences a devastating personal loss.

Image via Universal Pictures

Around thirty minutes into Children of Men, Theo and Julian entertain their group of passengers, which includes Kee, fellow Fishes member Luke (Chiwetel Ejiofor), and former midwife Miriam (Pam Ferris), with a trick involving ping pong balls. This particular scene unfolds in a serene and uninterrupted single take, lulling you into a sense of relaxation and causing you to let your guard down. However, that proves to be a grave error because it is at this moment that the unexpected attack occurs. A gang of armed individuals sends a flaming car hurtling down the road, effectively blocking their path and triggering chaos. In the midst of the turmoil, Theo and the others desperately scramble to escape. With the camera smoothly panning left and right, the assailants close in from all directions. Tragically, Julian is struck in the throat by a bullet, causing blood to spatter across her fellow passengers. This instantaneously eliminates a pivotal character and a well-known actress from the story. Overwhelmed by grief, Theo realizes that his pregnant passenger's safety is now compromised, given the threat posed by the Fishes. To his dismay, he discovers that they were the ones responsible for Julian's demise, orchestrating the plot to replace her with Luke as their new leader. Trapped in the role of protector, Theo guides Kee to a place of refuge.

As with Julian's demise, Cuarón and Lubezki once again demonstrate their restraint in portraying violence in the alarming turn of events that befalls another one of Theo's comrades, the unconventional and cannabis-consuming Jasper (Michael Caine). At the time Children of Men was released, Michael Caine was immersed in his portrayal of the iconic Alfred Pennyworth in Christopher Nolan's Batman series. However, Jasper is a far cry from the composed and refined Alfred, drawing inspiration instead from the musician and advocate for peace, John Lennon, as revealed by Cuarón in an interview with Vulture. Jasper, always ready to inject humor into any situation, makes his untimely assassination at the hands of Luke all the more devastating. The camera deliberately maintains a distance as Jasper faces the threat of a gun, leaving Theo (and the audience) helpless witnesses from a vantage point atop a hill. While the deaths of Julian and Jasper both showcase masterful cinematography to evoke unease, the movie's most impactful visual moment serendipitously occurred during filming's climactic sequence. Behind the camera, the mounting tension paralleled the storyline's escalating intensity, resulting in an unforeseen revelation.

Alfonso Cuarón and Emmanuel Lubezki Use Long Takes To Immerse You in the World of 'Children of Men'

Image via Universal Pictures

In the heart of a war-ravaged refugee camp, Theo becomes immersed in the chaos. The Fishes have taken Kee captive, their aim to undermine the Human Project's mission. However, Theo's resolute determination compels him to see his task through to the very end. Urgently, he searches for Kee, who has recently given birth, maneuvering through the rubble-strewn buildings and abandoned vehicles that litter the area. Amidst the relentless barrage of attacks from both the British military and the Fishes, Theo skillfully evades danger. As explosions and gunfire reverberate in the background, Krzysztof Penderecki's unsettling composition, "Threnody to the Victims of Hiroshima," provides an eerie soundtrack to the senseless casualties of war. Through this disconcerting orchestral piece, Children of Men engrosses the audience, immersing them in the harrowing reality of the battlefield.

When Theo seeks refuge inside an abandoned bus, he finds no solace as the sound of gunfire pounds against the vehicle, shattering what remains of its glass windows. In a swift, unfortunate moment, a bullet pierces a nearby refugee, causing his blood to splatter onto the camera lens. Undeterred by the gruesome sight, Theo presses forward, hoping to reach Kee who awaits in an apartment building. As he emerges from the shadows within the bus, he darts out into the dimly lit day, the crimson stains on the lens glaring brightly under the grey sky. With the meticulous choreography of multiple long takes in Children of Men, it is easy to believe that this blood splatter was deliberately included. However, the truth is that these accidental blood stains unintentionally emerged, serving to ensure that the devastating aftermath of this battle would not fade easily from memory.

The Blood Splatter on the Lens in ‘Children of Men’ Was an Accident

Capturing everything required for the war zone scene in Children of Men took a total of fourteen days. However, by the twelfth day, nothing had been filmed, highlighting the time constraints associated with film shoots. The crew faced pressure due to time-consuming rehearsals and the limited number of takes available. In an interview with Vulture, Cuarón discussed the challenges of staging the scene as a long take, especially considering the crew had only two days left before losing access to the location. He explained that they had the morning of the thirteenth day available for filming, but then had to reset the explosions, screams, and other elements, which took five hours. Consequently, they only had one more opportunity to capture the scene before daylight faded away. Unfortunately, an error occurred during the afternoon take, meaning they had to stop filming, resulting in the loss of daylight. They then resumed filming the following morning, which happened to be the final day they had scheduled.

Camera operator George Richardson tripped and fell with the equipment during the morning take, leaving only one opportunity to film the scene correctly in the afternoon. Cuarón, the director, explained that when they reached the bus, the camera was supposed to go in and blood would splatter on the lens. However, due to the fall, Cuarón couldn't see anything on his monitor and yelled "Cut!" Unfortunately, his voice was drowned out by an explosion. In that moment, Cuarón realized that he had to continue filming until the end. Despite initially seeing the blood splatter as a mistake, Emmanuel Lubezki, the cinematographer, considered it a "miracle." While Cuarón felt discouraged at first, Lubezki convinced him that the accident turned out to be fortuitous and enhanced the final result.

Children of Men, with its daring ending, concludes a film that is filled with awe-inspiring long takes, immersing the audience into a world on the brink of collapse, where corruption reigns and goodness is scarce. The blood that lands on the camera lens serves as a way for viewers to personally experience the violence, unable to erase the stain and altering our perspective of the on-screen world. It is as if we, like protagonist Theo on his mission to save Kee, are active participants in the story. This unforgettable scene, along with the other extended shots in the movie, showcases exceptional craftsmanship in filmmaking. Furthermore, the blood stain adds a remarkable, cinematic element that would not have existed if Cuarón's voice had been louder than the explosion.

Editor's P/S

As a Gen Z netizen, I appreciate the analysis of the unintended brilliance of the iconic "Children of Men" shot. The article highlights the unexpected blood splatter on the lens during the war zone scene, which adds a personal and immersive touch to the film. This accidental detail stains the audience's perspective of the on-screen reality, causing them to feel personally impacted by the depicted violence.

I find it fascinating how Director Alfonso Cuarón incorporates a continuously filming technique known as the long take in his work. This technique creates a sense of real-time action, as the camera remains in motion without interruption. In his 2018 film Roma, Cuarón employs multiple long takes to depict the vibrant streets of 1970s Mexico City. The camera effortlessly follows Cleo (Yalitza Aparicio) as she navigates the bustling streets and also captures the intense moments when Cleo must battle against a powerful ocean current to protect the children in her care. Rather than drawing attention to the technical aspect, Cuarón relies on the compelling scenes themselves to captivate the audience.