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  "path": "/goodfellas-copacabana-shot",
  "publishedAt": "2026-04-02T21:23:00.000Z",
  "site": "https://nofilmschool.com",
  "tags": [
    "Martin scorsese",
    "Steadicam",
    "Copacabana scene",
    "Long takes",
    "Goodfellas"
  ],
  "textContent": "\n\n\n\n_Goodfellas_ is one of the best (if not _the_ best) mafia movies ever made. I love it so much because the whole movie has an energy to it.\n\nThe camerawork is enthralling, steeping us in the underworld of organized crime...making us feel like we're right there filling The Bamboo Lounge with lifesaving laughter as Tommy \"closes\" his tab.\n\nBut if we're going to talk about _Goodfellas_ and camerawork, obviously, we have to completely explore the Steadicam long take leading Henry and Karen into the Copacabana. It's an iconic scene that not only tells us so much about the story but also gives the audience a connection to what it's like to be a gangster.\n\nBut shooting the scene was so hard, and you don't have to take our word for it. The Steadicam operator, Larry McConkey, will tell you so.\n\nCheck out this video showing how the epic cinematography was achieved behind the scenes.\n\n* * *\n\n##\n\n## What Cameras Were Used for the 'Goodfellas' Copacabana Shot?\n\nThe secret to that three-minute long take in _Goodfellas_ wasn't just a specific camera, but how it was carried.\n\nCinematographer Michael Ballhaus used an Arriflex 35 BL4S, but the real MVP was Larry McConkey, the Steadicam operator.\n\nBack in 1990, McConkey was basically doing a high-speed dance through a crowded kitchen and narrow hallways while balancing a massive 35mm rig on his chest.\n\nHere is the breakdown of the gear involved:\n\n  * **The Camera:** The Arriflex 35 BL4S. It was the workhorse of the era—reliable and quiet enough that the dialogue at the table at the end of the shot could be recorded cleanly.\n  * **The Glass:** They used Zeiss Super Speed lenses. These were crucial because the Copacabana was dark, and those lenses let in a ton of light without needing a massive, immersion-breaking lighting setup.\n  * **The Rig:** A Steadicam. McConkey actually rigged a small monitor to the top of it so he could see his framing while walking backward, which was a pretty technical feat at the time.\n\n\n\nFun fact: the shot exists because of a logistical headache.\n\nThe club wouldn’t let them film the front entrance, so Scorsese decided to turn the \"long walk through the back\" into a way to show off Henry Hill’s status with the mob.\n\nIt took eight takes to get the timing right, mostly because of the sheer number of people they had to coordinate along the way.\n\n## The Copacabana Long Take in _Goodfellas_\n\nI love listening to McConkey talk about the Copa shot. Hearing what it was like to work with Martin Scorsese, Ray Liotta, and DP Michael Balhaus. Truly, the best part for me was hearing how Liotta (Henry Hill) improvised some of the most memorable moments in the whole movie.\n\nAnd how they had to seamlessly shoot around lighting for the exterior, the kitchen interior, and then inside the club as well.\n\nHere is an even more behind the scenes looks at the shot in question, as they block it out.\n\n## Seduction With a Steadicam\n\nThe whole idea behind this scene is seduction.\n\nHenry is not only seducing Karen, but Scorsese is seducing the audience with the gangster lifestyle that is afforded to Henry. We're given an omniscient point of view, following Henry and Karen like voyeurs. We are getting the same treatment as she does within the scene.\n\nTo make a short like this work, it's all hands on deck. The set decorators had to make hallways look like different rooms, the actors had to stick to their blocking, and they had to run the whole thing many times to make sure it wound up perfect.\n\nAll of this is compounded with all the extras moving in and out with trays, dishes, drinks, and creating a chaotic environment that adds to the fun.\n\nFinally, check out the finished product below.\n\n## Summing It All Up\n\nFor me, this is Scorsese at his peak. I love this movie so much and think we cannot possibly talk about it enough.\n\nDo you love the scene or think it's overrated?\n\nLet me know in the comments.",
  "title": "How Did They Capture the 'Goodfellas' Copacabana Shot?"
}