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Observations on film art BIRDMAN: Following Riggans orders Print

Observationsonfilmarthttp://www.davidbordwell.net/blog

BIRDMAN:FollowingRiggansorders
PostedBybordwellblogOnFebruary23,2015@2:38pmInDigitalcinema,Directors:Hou
Hsiaohsien,Filmcomments,Filmtechnique:Cinematography,Hollywood:Artistictraditions|
CommentsDisabled

[1]
DBhere:
InaBroadwaybar,theNewYorkTimesdramacritichasjusttoldRigganThomsonthather
reviewwilldestroyhisplay.Riggansnatchesupherreviewofanotherproduction,readsit
quickly,anddeclaresitpackedwithmeaninglesslabels.
Theresnothinginhereabouttechnique.Theresnothinginhereabout
structure.Nothinghereaboutintention.
Happytooblige,Mr.Thomson.Spoilersahead.

Structure:Icarusrises

[2]
BirdmansplotcoverssixdaysatacriticalperiodinRigganslife.Hesanoverthehillmovie
staridentifiedwithplayingthecrimefightingsuperheroBirdman.Nowhesdirectingand
starringinaplayhehasbasedonRaymondCarversshortstoryWhatWeTalkaboutWhen
WeTalkaboutLove.Thefilmsplotstartsonthedaybeforethefirstpreview,whenduringa
rehearsalRigganhiresthearrogantbuttalentedactorMikeShiner.Threenightsofmoreor
lessbungledpreviewperformancesfollow.Theclimaxcomesonopeningnight.Intheplays
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suicidescene,thedespondentRigganshootsoffhisnose.TheTimescriticpublishesarave
reviewandRiggan,recoveringinthehospital,findsthathehasaBroadwaytriumph.His
responsetothat,however,isratherambivalent.
Thefilmfeelsalittleoddquirkyistheofficialtermbutitsblendofcomedyanddramais
constructedalongfamiliarlines.Themajorcharactershavegoals.Rigganwantstoprovehe
candosomethingvaluable,whilepayinghomagetoRaymondCarver,whoencouragedhim
whenhewasstartingoutonthestage.Rigganisalsodisturbedbyhisfailuresasafatherand
husbandmountingthisplayaboutlovewouldseemtobeanactofpenance.The
protagonistssearchforauthenticsuccessandpsychologicalstabilitymightremindyouof8
andAllThatJazz,whichalsoendowtheirprotagonistswithflamboyantfantasylives.
Theothercharactersstatetheirgoalsinthatconfessionalmodetypicalofmelodrama.(Extra
motivation:intheworldofthetheatrepeoplearealwaysreadytoovershare.)Mikewantsto
expresshimselfartisticallyandtomakeRiggansplayconformtohisstandardsofhonest
realism.Lesley,thefemaleleadandMikesgirlfriend,wantstomakeherBroadwaydebuta
success.Jake,Riggansproducer,istryingtopullthewholethingoff.Riggansscowling
daughterSamislookingforasettledlifeafterastintinrehab,whileRiggansgirlfriendand
secondleadLaurawantstohaveachild.Astheplotdevelops,intrueHollywoodfashion,the
majorcharactersachievetheirgoals.
Structurally,theplotfallsintothefourparts[3]thatKristinhasfoundtobecommonin
Hollywoodfeatures.
TheSetuplaysoutthepremisesfortheactionidentifyingcharacters,explainingtheir
motives,andarticulatingtheirgoals.Itspackedwithexposition,rangingfromtheold
standbyinwhichacharacterannounceswhattheothercharacterknows(Youremy
attorney.Youremyproducer.Youremybestfriend)tothemeetingwiththepressinwhich
Rigganspastasamoviestarandhishopeforthisproductionareredundantlylaidout.The
thirtyminutesetupendswiththefirstbotchedpreviewandRiggansmomentwithhisexwife
Sylvia.Heexplainsthattheproductionmeanseverythingtohisselfrespect.

[4]
TheComplicatingAction,acountersetupwhichredirectscharactergoals,centersmostly
ontheeffectsthatMikehasontheshow.Sincehedrunkenlyimprovisedduringthefirst
preview,Rigganrealizestheyhavetocometosomeunderstanding.Mikesonstageanticsin
thesecondpreviewthreatenLesleyshopesforabreakoutcareer.Theybreakup,andMike
andSambeginflirting.Mikealsostealsthespotlightinanewspaperfeatureaboutthe
production,evenswipingRiggansstoryaboutCarversencouragement.Moredeeply,Mikes
rantsagainstHollywoodmakeRigganfeelevenmorefearfulthathisplaywillbeadisaster
andhellbealaughingstock.Alloftheseanxietiescometofocusinanextendedinner
dialoguebetweenRigganandBirdman,whoinsiststhathewillfailandwillhavenothingleft.
Rigganisreadytocanceltheshow,butJakepusheshimforward.
Aboutanhourin,nearthemidpoint,wegettheDevelopment.Thistypicallyconsistsofa
holdingpattern.Theplotdoesntadvancemuch.RiggansconflictwithMikedeepensandhis
worriesabouttheshowmount.Lesleythankshimforgivingherachance,hereprimands
himselfagainforbeingabaddadtoSam,andSamandMikebecomeacouple.Acomic
interlude,probablythefilmsmostwidelyknownscene,addstoRiggansdebasement.Hes
lockedoutofthetheatreand,wearingjusthisunderpants,racesaroundtheblockthrougha
TimesSquarecrowd.

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[5]
Reenteringthetheatre,heplaysthecrucialmotelscenebylurchingdowntheaisleandonto
thestage,whereheenactsthesuicide.ItsalsoduringtheDevelopmentthatRigganmeets
Tabitha,theTimescritic,andlearnsthat,sightunseen,sheplanstoroasthisplay.Thenext
morninghisfantasiestakeoverand,urgedbyBirdman,heenjoysaswoopingandsoaring
flightaroundthetheatredistrict.
Thefourthpart,theClimax,beginswiththeintermissionduringthepremiere.Theaudience
driftsontothesidewalk,praisingthefirstact.BackstageRiggantriestocalmhisnerves.After
confessingtoSylviathatheoncetriedsuicide,hetakesthepistolonstageandpreparesfor
themotelscene.Onstage,asifsuccumbingtoBirdmansrhetoric,Rigganconfesses,Idont
exist.Heblastsoffhisnose.Afterabriefmontage,theepilogueshowsustheresult.
Recoveringinthehospital,Rigganhasasuccessfulplay,asympatheticexwife,anda
daughterreconciledtolovinghim.EvenBirdman,sittingonthetoilet,isforoncesilent.

[6]
Buttheverylastmomentsareequivocalandforonceyouwontgetthespoilerfromme.
Sufficeittosaythetagisambiguousinmagicalrealistfashion.
Theplothelpsustracecharacterchangealongclassicallines.Keylocalesmarkphasesofthe
action.SamandMikemeetontherooftoptwice,Rigganvisitsthebartwice,andRiggansex
SylviacomestohisdressingroomonceintheSetupandonceintheClimax.Wheneverwe
returntothestageweseeaversionofeithertheapartmentquarrelorthemotelsuicide.(We
doglimpse,alsotwice,ahallucinatorysceneofdancingreindeer,associatedwithLaura.)The
mainarenasarethestageandRiggansdressingroom,whichisthesiteofeightmajor
scenes.Thecorridorssnakingaroundthetheatreserveastransitionalspaces.Asthefilm
goeson,GonzlezIrritutellsus,thecorridorsgetnarroweranddingier.Thefairlyrigid
timestructureoftheplotfindsacounterpartinatoandfrospatialpatternthatmeasures
Riggansjaggeddecline.
Ivebarelymentionedoneofthecrucialfactorsinthefilmsnarration.FromthestartRiggan
hearsthevoiceofBirdmanadmonishinghimtoreturntosuperheromoviesandgiveupthis
artystuff.Atcertainpoints,itseemsthatRiggangainssometelekineticpowers,enablinghim
tosmashflowerpots,furniture,andlightbulbswiththewaveofahand.Thesemomentscan
beconstruedassubjective,inthesensethatheactuallydestroyedtheminanormalrage
butfeltthathewasdisposingofthemthroughasuperherospowers.
Thesepowersaresuggestedatthestartwithanimageofhimlevitatingduringmeditation.
Theycometoakindofclimaxwhenhelauncheshimself,atrenchcoatedBirdman,intothe
air,inaflightthatservesasacounterweighttothehumiliationofhisnakedcanterthrough
TimesSquare.Again,thefilmsnarrationsuggeststhatitsallinhismind:afterhelandsand
returnstothetheatre,acabdriverpursueshimdemandinghisfare.
ThenaggingvoiceofBirdmansupportsanotherkindofstructure,athematiconepittingEast
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CoastandWestCoastvalues.Thematerialistraditional,beinggivensharpexpressioninThe
BandWagon.TheoppositiongoesbackatleasttoTwentiethCentury(1934,aHollywood
satireonBroadwaypretensions)andMertonoftheMovies(1922,aBroadwaysatireon
Hollywoodvulgarity).Ofcoursethetwoartformsfeedoffoneanother.TwentiethCentury
startedasaplay,andMertonwasmadeintoamovie.TheProducersbeganasamovie
mockingBroadway,itbecameahitBroadwaymusical,andthemusicalwasmadeinto
anothermovie.
Birdmanrevisitsthesewellwornthemes.MikeandTabithaexcoriateRigganforhistrashy
filmsonlythetheatreisrealart.Bycontrast,BirdmanscroakingwhispersremindRiggan
thatmillionsofordinaryfolklikehisblockbustermovies,whilethetheatreisforphonies.
Mikesnarcissismandpretentiousness,theabsurdityofhisnotionofrealism,andthe
snobbishnessofTabithaallsupportBirdmanspoint.Asiscommoninsuchmovies,the
Easterneliteisshownasapushoverforsuperficialseriousnessandhamacting.Atthesame
time,RiggansincerelywantstopayhomagetotheemotionalcoreofCarversstoryhemay
justnotrealizehowbadtheideais.
TheeternalHollywood/Broadwayoppositionissharpenedinthelightofnewentertainment
trends.BirdmantellsRigganthatoldsuperheroespresumablythoseofthevintageof
MichaelKeatoninBatman(1989)haveitalloverposerslikeDowneyandthenew
generation.Thismotifrefers,Ithink,tothemoderntrendtowardtroubledsuperheroes,set
upinBurtonsBatmanandcarriedtoneuroticextremesinlatercomicbooksagas.Butof
courseRigganpersonifiesthetroubledsuperherohimself.
ThesenseofRigganbeingoldschoolisreinforcedbyanotherfamiliarthematicduality,that
oftheyoungversustheirelders.Riggansconflictwithhisdaughterrecyclesthemotifofa
fathersoobsessedwithworkandseducedbyfalsevaluesthatheignoreshisdaughter.
(Whatisitwithourfilmmakersandthisfather/daughterthing?Isitjustawaytopairolder
menwithcuteyoungerwomeninasafeway?)Samberateshimforbeinginvisibleintodays
world.
Youhatebloggers,youmockTwitter,youdontevenhaveaFacebookpage.
Youretheonewhodoesntexist....Yourenotimportant.Getusedtoit.
ThemoderndefinitionofentertainmentincludestheInternet,arealmthatRigganentersonly
byaccidentduringhisskivvypromenade.SamsdenunciationreiteratesBirdmansinsistence
thatRiggandoesntexist,exceptthatshemakesitworse:evenifhereturnedtotheBirdman
role,noonewouldcare.
ThepresentationofsuperheroicsinRiggansfantasymockssummertentpoles,andwould
appeartoexpressdirectorAlejandroGonzlezIrritusdistasteforactionextravaganzas[7].
Butthemovieisprettyhardonthetheatreworldtoo.ItsunfairforMikeandTabithato
castigateRiggannowthatplayingasuperherohasbecomeartisticallylegitimate.Theonly
performersRiggancanimaginereplacinghiswoundedcastmemberareaccomplishedactors
(Harrelson,Fassbender,Renner)whoalsostarinfranchiseentertainments.Thenew
entertainmenteconomyshowsthatRigganwasapioneernoweverybodywearsacape.But
thesestarsroutinelydoseriousfilms,evenBroadwaydrama,alongwithtentpolemovies.
WhycantRiggancrossovertoo?
Thedisruptionthatarriveswhenpopularentertainmentinvadesthesacredspaceofthe
theatrefindsahallucinatoryexpressionduringtheclimacticmontage.Nowstreetdrummers
andsuperheroescrowdthestageoftheSt.James.WhatpriceTabithasArtoftheTheatre
withSpideydrawingbigcrowds?

[8]

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[9]
Attheend,Rigganearnshisaccoladesasanactor,butwhathesbeenafter,hintedatinthe
referencestoIcarusandtheliberationofhisflightoverthecity,isvalidationofhisworth.
Onceherealizesheisindeedloved(byexwife,daughter,bestfriend),heshappytopaythe
priceofhisnose.Hegainsanewsuperherocowl,agauzebandagemask,andasurgical
versionofBirdmansbeak.Andnowthatflightisnolongerfleeing,hecanconsiderallhis
options.

Techniqueor,Intensifiedcontinuitywithoutcutting
Thisplotcouldeasilyhavebeenpresentedinamannertypicaloftodaysmoviemaking,both
indieandmainstream.Thatis,theremighthavebeenhundredsorprobablythousandsof
shots.ButBirdman,weretoldbypeoplewhoshouldknowbetter,consistsofasingleshot.
Anyviewercanseethatsnottrue.Dependingonhowyoucounttheopeningquotationfrom
RaymondCarver(isitpartofthecredits,oraseparateshot?),therearesixteendiscernible
shotsinthemovie.Apartfromthetitles,theopeninggivesusthreequickimagesaseaside
landscapewithjellyfish,twoshotsofaplungingcometandthefinalportionofthefilm
providesamontageofnaturescenes,interiors,andstageperformers.
Admittedly,theseshotsaccountforlittleoftherunningtime.ThebulkofBirdmanconsistsof
whatappearsasacontinuousshotrunningalittleover101minutes.Inproduction,several
shotsweremergedseamlesslyintotheonethatweperceive.Thehospitalepilogueconsists
ofanotherlongtake,thatlastingabouteightminutes,andittoomayhavebeenassembled
fromseparatetakes.
Filmmakersconfrontalotofoptionsforhandlinglongtakes.Theboldest,probably,isthe
staticframingthatdoesntusecameramovement.Thisoptionisemployedinearlycinema
(viz.theLumirefilms),inthetableautraditionIvegabbledaboutfairlyoften[10],andby
someveryrigorousdirectorslikeHouHsiaohsien,AndyWarhol,andJeanMarieStrauband
DanileHuillet.Butmostfilmsusinglongtakesrelyuponcameramovement.
InBirdman,unsurprisingly,thecameramovementsaretypicalofHollywoodsmodern
intensifiedcontinuitystyle[11].Forexample,weoftengetthepushinonacharacterclose
up.

[12]

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[13]
WegetorthodoxSteadicammovementstrailingacharacterfrombehindorbackingupashe
orshestridestowardus.Thisyieldsthefamiliarwalkandtalk[14].

[15]
Andwegetthestandardtreatmentofpeoplearoundatable,withthecameracirclingitto
pickupeachonesreactionatacriticalpoint.

[16]

[17]

[18]
Toagreatextent,then,Birdmanslongtakestylestitchestogetherschemasthatarewell
establishedincontemporaryHollywood.Anothercurrentdeviceistheoccasionaldepthshot
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yieldedbywideanglelenses.ThistechniquewaswellestablishedinHollywoodinthe1940s,
andtodaysfilmmakersrelyonthesamesortoftoolsthatclassiccinematographersused:
stronglightingandwideanglelenses.

[19]

ThewideanglelensesusedonBirdman,only14mmand18mm,dontalwayscreatewire
sharpfocusindepth,buttheyprovideenoughvisibilitytocreatedeptheffects.Sometimes
therearplaneismadesharperthroughrackingfocus.

[20]

[21]
Morepervasively,inmanylongtakefilms,thecameramovementsreplicatethepatternswe
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findinaneditedscene.Editinggivesthecameraakindofubiquity:itcangoanywhere.
Tetheredtounfoldingtime,thelongtakesacrificestheabilitytochangeviewsinstantly.Yet
insuchfilmstheactionisstagedandframedsothatnothingimportantescapesournotice.
Theactiongetsspelledoutaspreciselyasitwouldifthescenewereedited.
PeoplehavewonderedalotaboutthehiddeneditsthatblendBirdmanslongtakes,butmore
important,Ithink,arethewaysthatthestyleadherestostandardeditingpatternswithinits
longtakes.Forexample,theovertheshoulderanglesofshot/reverseshotaremimickedby
acameraarcingtofavorfirstonecharacter,thenanother.

[22]

[23]
Wecangetshot/reverseshoteffectsviamirrors.

[24]

[25]
Apancanalsoapproximateapointofviewshot,aswhenTabithaseesRigganattheother
endofthebar.

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[26]

[27]
Throughout,theensemblestagingmotivatesshiftsthatwouldnormallybecoveredbycuts.
MikeandRigganareseenfrombehindthebar,butwhencustomersspotRigganandaskMike
totakeapicture,thecamerasidlesaroundthebar.

[28]

[29]

[30]
AsMikeandRigganturnbacktothebarweareeffectively180degreesoppositetothefirst
setup.

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[31]

[32]
Withcutting,asimilarshiftwouldhavebeenmotivatedbychangingtheaxisofaction
throughshiftsinstaging.
Longtakeshootingcantmimiceditingperfectly.Anunbrokenshotdoesntyieldthe
instantaneouschangeofanglesuppliedbyacut.Butthescenecantbeallowedtogodead
whilethecameraoperatorshiftstoanewspot.Sotheintervalbetweenonesustainedangle
andanotherhastobefilledupbydialogueandphysicalaction.Onewaytomotivatethe
changeofcamerapositionisthroughtheactorschangingpositions.Inthebarscene,the
fansphotoopmotivatesthecameramove.
Alternatively,theactorsgesturescanprovidesomewedgedinbits.WhenRigganandhis
wifehaveanintimatetalkathisdressingtable,heexecutessomebusinesswithabeerbottle
thatjustifiesshiftingtheangletofavorhim.

[33]

[34]

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[35]

[36]
Oncewereonhim,heturnsseriousandthedialogueandfacialexpressionmotivateapush
in.

Innormalshootingandcutting,thetechniqueisfittedtotheunfoldingaction.Witha
commitmenttothelongtake,thedirectormustfittheactiontothetechnique.Thisiswhy,I
think,GonzlezIrrituandhisDPEmmanuelLubezkispentmonthsblockingtheactionona
soundstageandhiringstandinstomovearoundthesetstheydbuilt.Longbeforetheactors
cameontheset,thefilmmakershadmappedoutmanywedgedinbitsofactiontheyd
execute.
Givingupcuttingforcesotherstorytellingdecisions.Anarrativefilmtypicallydistributes
knowledgeamongitscharacters,andsothelongtakecameramustcarveapaththroughthe
storyworldthateitherrestrictsorexpandswhatweknow.Themobilelongtakestickingwith
onecharactertendstorestrictourknowledge.Thelongtakethatshiftsamongcharacters
givesusawiderrangeofinformation.Andwheneveronecharacterleavesanother,theresa
forcedchoice:Whichonedoesthenarrationfollow?Thisisachoiceinanystorytelling
medium,butinthelongtakefilmtheoptionsarenarrower:theissueiswhichonethe
camerawillfollow.
BirdmanstaysmostlywithRiggan,butintheComplicatingActionandDevelopmentsections,
thenarrationneedstogiveusinformationonthedoingsofMike,Lesley,andSam.So,in
anotheractoffittingandfilling,thechoreographymustmakethosecharactersadjacentto
someotheraction.Themazelikeplayingspaceofthefilm,inthebowelsofthetheatre,
facilitatesthesecomingsandgoings,sothatwecandroponecharacterandpickupanother.
WhenLesleyandLaurakiss,MikeinterruptsthemandLesleyhurlsahairdryerathim.He
ducksout.

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[37]

[38]
WecouldstaywithLesleyandLaura,orfollowMike.WefollowMikesothatwecanshiftto
thenewscene,withhimvisitingRiggantocomplainaboutthepistolandthenjoiningSamon
theroof.NothingmoreofconsequencewillhappenbetweenLesleyandLaurafollowingMike
willleadustothenextstorybit.Thecameraseesallthatmatters.

[39]
Thelongtakesmuffledmimicryoforthodoxeditingpayssomedividends.Arcsandshort
pansworkwhencharactersareclosetogether,butifanencounterisplayedoutinmedium
shotandonecharacterpullsaway,thecameraisforcedtopickatarget.Whomwillitfollow?
ThiseffortbecomesquiteexpressivewhenMikeispunchingupRigganstablescene.Justas
Miketakesovertherewritingofthelines,hehijacksthecamera.
Thingsstartwiththeusualcirclingshot.

[40]

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[41]
AsMikespitchbuilds,hebreaksfromtheneutraltwoshotandcirclesRiggan.Thecamera
favorshimashewalksoff,returnstothetableandexhortsRiggantoturnupthetension.
(Fuckme!)

[42]

[43]

[44]

[45]
Nowthatthetwoareinproximity,wecanseeRiggan,infectedbyMikesenergy,delivera
morespiritedlinereading.

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[46]
Thesceneendswithaseguetothenextpassageofwalkandtalk,asSamcomesontothe
stageindepth.

[47]
Insuchscenes,theobstinatecommitmenttothelongtakeitselfmotivatesadramaticeffect.
Later,SamstiradeaboutRiggansirrelevancegainsforcebecausethecameraswingstoher
andstaysfastenedthere.

[48]

[49]

[50]
Inacuttingbasedscene,therewouldhavebeenthetemptationtoshowRiggansreaction
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whileSamisunloadingonhim.True,wecouldgetthesamedelayedrevelationofhis
responsebylettinghertiradeplayoutbeforecuttingtohim.Butgivenourtacitadherenceto
thelongtake,andgiventheinitialframing,wecantseebothofthem.Therefusalofediting
itselfjustifiesholdingonherandsuppressinghisresponse.Inthesameway,showingher
somewhatchastenedpauseandthenfollowingherwalkingpasthimmotivatesfinally
revealinghisreaction.

[51]

[52]
Abonus:ThisscenesconcealmentofthereverseanglewhatisSamseeing?anticipates
thefilmsfinalimage.
Whataboutthelongtakeseffectontime?Theplotstensionreliesuponthepressureoftime.
Agreatmanyactionsarejammedintoashort,continuousspan.Thisisacommoneffectin
filmsbuiltaroundbothadeadlineandaconfinedspace.Birdmanslongtake,withitsrapid
trackingmovementsandhurlyburlyentrancesandexits,enhancesthepressure.Butwe
needtonotehowmuchthisresultreliesonanothersortofhiddenediting.
Weoftenhearthatthelongtaketiesustorealtime.Andclockduration,withoneminute
onscreenequalingoneinthestory,isindeedaconvenient,normativedefault.Yetsuitably
cued,alongtakecanhaltdurationinthepresenttogiveusflashbacks,asweveseenat
leastsinceCaravan(1934)[53].FilmsbyAngelopoulos[54],Jancs,andothershaveshown
thatthelongtakecancompressorexpandstoryduration,andevenreplayevents.The
remarkableIraniansingleshotfeatureFishandCatof2013[55]isfullofribboncandytime
wrinkles.
Oncemore,Birdmanplaysitstraight.Likeanormalmovie,itusessoundbridgesandnight
todaytransitionstoskipoverstretchesofstorytime.Thefilmisaclearcutexampleofthe
differencebetweenstorytime(theyearsofRigganscareerandtheotherslives),plottime
(sixdays),andscreentime(about110minutes).Thecentrallongtakecreatesellipsesakin
totraditionalsceniclinks,anditdoessoinwaysthatareeasytograspaswerewatching.

Intention:Theexpectedvirtuesofignorance

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[56]
Thecrucialcreativedecisionbehindthefilmwasthechoicetoshoottheextendedtake.
GonzlezIrrituasserts[7]thathedidntmodelthetechniqueonRopebutratheronthe
longtakesofMaxOphuls.HealsoacknowledgesthathewasenrapturedbyAleksandr
SokurovsRussianArk,afeaturefilmthatwasindeedshotinonelongtake(thankstovideo,
butwithoutCGIblending).
Thestatusofthelongtakehaschangedacrossthehistoryoffilm.Inthefirsttwentyyearsor
so,itwasmoreorlesstakenforgrantedasthemostbasicwaytoshootascene.Longer
takesbecamerarerinmostnationalcinemasduringthe1920s,witheditingbecomingthe
preferredtechniqueforbuildingupaction.Evencomplicatedcameramovementswere
consignedtocomparativelybriefshots.
Thelongtakeintodayssenseemergesmostvividlyintheearlysoundperiod,whendirectors
begantouseitcreatively.Duringthe1930s,somelongtakeswouldbestaticorrelativelyso,
infilmslikeJohnStahlsMagnificentObsession(1936)ormusicals,especiallythosefeaturing
FredAstaire.Otherlongtakeswouldmakeextensiveuseofcameramovement.Agreatmany
earlytalkiesbeginwithafancytravelingshotbeforemovingtomoreorthdox,editingdriven
scenes.AndthemusicalsofBusbyBerkeleyflauntedoutrageouscraneshots.InJapan,the
USSR,France,Germany,andmanycountries,thesoundcinemabroughtarenaissanceof
longtakes,propelledbycameramovement.
Forthemostpart,thistechnicalchoicewasfelttoservethestory.Yousustainedtheshot
becausetherhythmofperformancebenefited,orbecauseyouwantedtoexploreaspace
throughacameramovement.InDreyersVampyr(1932),thetrackingshotsaredesignedto
createuncertaintiesaboutwherecharactersarewhentheygooffscreen.
Behindthescenes,though,thefilmmakersfeltacertainprideinmakingasolidtrackingor
craneshot.Alengthycameramovementwasachallengebecausethecameraswerebigand
bulky,theyhadtorollsmoothlyontracksorothersupports,lightinghadtobecontrolled
carefully,andequipmentnoisemightbepickedup.
Despitethedifficulties,inthe1940s,someAmericandirectorsseemedtohavewelcomed
longertakes.Thenewinterestprobablyowedsomethingtonewtechnology,suchasthecrab
dollysabilitytoedgethecamerathroughnarrowspacesandturninmanydirections.With
complexcameramovementseasier,thetakescouldbecomelonger.Atatimewhenmost
filmsaveragedeighttotensecondspershot,OttoPremingercouldmakeDaisyKenyon(17
seconds),CentennialSummer(18seconds),Laura(average21seconds),andFallenAngel
(33seconds).TherewereaswellBillyWilderwithDoubleIndemnity(14seconds)andA
ForeignAffair(16seconds),AnthonyMannwithStrangeImpersonation(17seconds),and
JohnFarrowwithTheBigClock(20seconds).Thisisnttomentionthebiglongtakefilmsof
theperiodfromTheLadyintheLaketoRopeandUnderCapricorn.TheopeningofRidethe
PinkHorsecontainsaremarkablelongtaketrackingshot,andoneshotinWellesMacbeth
consumesafullcamerareel.
Itseemsthatforsomedirectorssustainingthetakewasitselfthemainconcern.Themore
complexthelocaleacrowdedroom,abusystreet,anovergrownlandscapethemorethat
thesustainedcameramovementwouldbeconsidered,atleastbythoseintheknow,asa
difficulttechnicalaccomplishment.
Theresultwasvirtuosity,butwithanalibi.Longtakesareflashy.Buttheycansavemoney.
(Allthosescriptpagescoveredfast,noneedforediting.)Theycanbejustifiedasrealism.
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(Theactioncanbuildoverrealtime.Besides,dontweseerealityinacontinuousshot,
notcuts?)Theycanbemotivatedassubjective.(Bystayingwithacharacteroverastretchof
time,webecomeidentifiedwithhimorher.)Regardlessofthesereasons,orexcuses,theres
anundeniablebragadoccioassociatedwiththeprotractedcameramovement.Yourpeersin
theindustrywillrecognizewhatyouvedone,andcinephileswillapplaudyourbravado.
TheMovieBratsseizedonthevirtuosocameramovementandlongtakeasamarkof
prowess.AnewcompetitionsprangupbetweenScorseseandDePalma,encompassingRaging
Bull,BonfireattheVanities,Goodfellas,andSnakeEyes.Evenastraighttovideoheistmovie
likeRunningTime(1997),choosingtohideitscutsintheRopemanner,hasabitof
playgroundswagger.(BruceCampbellisinittoo.)NowonderthatChristineVachonremarks
thatshootingawholesceneinoneisamachochoice.
ItsinthiscontextthatwecanappraiseGonzlezIrritusdeclaredintentions.Hewas
clearlydrawntothevirtuosicsideoftheverylongtake,andhisDPEmmanuelLubezkihad
madethecomplexcameramovementhissignaturewithChildrenofMenandGravity.After
SnakeEyesshowedthatCGIcouldstitchtogetherseverallongtakesintoaseamlesswhole,
manydirectorssawthatdigitalfilmmakingcouldextendtheshotbeyondanythinginanalog
cinematography.Anewlevelofvirtuositywascalledfor,notonlythelogisticsof
choreographybuttheskillsofhidingthecuts.Doitright,youmightevengettossedanOscar
ortwo.
ThefilmmakersjustifyBirdmanstechniqueonfamiliargrounds.Theresrealism:
Wearetrappedincontinuoustime.Itsonlygoinginonedirection....This
continuousshot[yields]anexperienceclosertowhatourreallivesarelike.
(GonzlezIrritu[57])
Theressubjectivity.
Ithought[thecontinuoustake]wouldservethedramatictensionandputthe
audienceinthisguysshoesinaradicalway.(Lubezki)
Toreallynotonlyunderstandandobserve,buttofeel,wehavetobeinside
him.[Theoneshot]wastheonlywaytodothat.(GonzlezIrritu[57])
Isitshowoffish?No,itservesthestory.
Allthechoiceswemadewereservingthepurposeanddramatictensionofthe
characters,notaboutLookhowimpressivewecanbe.Alltheshotswere
meanttoservethenarrativeofthefilm.(GonzlezIrritu)
Buttheresstillvirtuosityartconceivedasatriumphoverselfimposedobstacles.
Itwasrisky!EveryscenegoodorbadIhadtoleavein.Itwasanendless
strandofspaghettithatcouldchokeme!Everynotehadtobeperfect.(Gonzlez
Irritu[7])

IvenevercaredmuchforGonzlezIrritusfilmstheyalwaysseemtooclosetotheir
influences.(MyremarksonBabelarehere[58].)Still,Birdmanseemstomeafascinating
exampleofhowtraditionscanberevisited,oratleastrepackaged.Icanalsoappreciatethe
skillwithwhichthewholeaffairhasbeenbroughtoff.ButIalsowishthatcriticsand
mainstreamfilmmakerswouldbemoreaccurateandcomprehensivewhentalkingaboutfilm
formandstyle.Birdmanisntasingleshotmovie,andtoinsistonthatpointisntjust
pedantry.Partofthecriticsjobistolookatwhatsthere,andafullaccountofthemovie
(whichmineisnt)wouldneedtoreckonintheothershotsthefilmpresents.
Criticsshouldacknowledgethatthelongtakehasotherexpressivepossibilities,someofthem
impossibletoreducetothepatternsofcontinuityediting.TogobacktoHouHsiaohsien,
FlowersofShanghaiconsistsofthirtyfiveshots,nearlyallmadewithagentlyshifting
camera.ButHousmobilelongtakesretaintheintricacyofhisstaticshotsinearlierfilms.
Thecameramaycircletheaction,butateachmomentitsnotonlyfollowingonecharacters
movementbutdrawingintoviewothermovements,greaterandlesser,nearerandfarther
offthewholethingbuildingupgesturesanddialogueandfacialreactions,asifbybrush
strokes,intoarichsenseofcharacterscoexistinginastoryworldandasocialsystem.The
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resultisagradationofemphasis[59],touseCharlesBarrsneatphrase,thatenrichesour
senseofthedrama.
Andsometimesthecamerawillnotseeall.Houacceptsthelimitsofthelongtakebymaking
someactionvisible,someactionpartlyvisible,andsomeactionunseen,evenwithinthe
frame.Charactersandpropsslideintoblockthemainaction,sometimesshiftingagainstthe
grainofthecamerasmovement.Thefilmsvisualflowdoesntreplicatetheschemasof
traditionalsceneanalysisoftenwemuststraintoseeagestureorreaction.
Housisnttheonlywaytouselongtakes,butitsonethatdeservesmoreattention.Granted,
heandotherexplorersinthisveinwillneverwinanOscar.Butourcritics,toooftendutifully
repeatingPRtalkingpoints,shouldsignalthattheenjoyablevirtuosityofBirdmanisonlyone
waytoemploytherichresourcesofcinema.
IllsaveforanothertimeareplytoRiggansquestiontoTabitha:Whathastohappenina
personslifeforthemtobecomeacriticanyway?
MybackgroundinformationonBirdmanstechniquecomesmostlyfromJeanOppenheimers
article,BackstageDrama,AmericanCinematographer95,12(December2014),5467.So
doesthequotefromLubezkiabove.Ashootingscriptforthefilmishere[60].Information
abouttheconcealeddigitalcutsisinBillDesowitzsIndiewirepiece[61].
Kristinsmodeloffourpartplotstructureisdiscussedinseveralentries[62]andinmy
essayAnatomyoftheActionPicture[63]andthebookchapterThreeDimensionsofFilm
Narrative.[64]
Theideathatacameramovementcanrecapitulatethepatternofanalyticaleditingwas
floatedbyAndrBazinanddevelopedindetailbyJohnBelton,UnderCapricorn:Montage
EntrancedbyMiseenscne,inhisCinemaStylists[65](Scarecrow,1983),3958.
Formoreonthelongtake,seeourentryStretchingtheshot.[66]TheChristineVachon
quotationislinkedthere,asisDePalmassenseofcompetingwithScorsese.Thefirstessay
inmyPoeticsofCinemadiscussestrendsinlongtakeshootingandcameramovementinthe
1940s.SeeaswellHerbA.Lightman,TheFluidCamera,AmericanCinematographer27,3
(March1946),82,102103,andFluidCameraGivesDramaticEmphasisto
Cinematography,AmericanCinematographer34,2(February1953),63,7677.OnDreyers
cameramovementsinVampyr,seemybookTheFilmsofCarlTheodorDreyer.Idiscuss
Angelopoulos,Hou,andlongtakestaginggenerallyinFiguresTracedinLight:OnCinematic
Staging.Onthissite,IdiscussHousstagingpracticeshere[67]andhere[68].Andfor
discussionsofintensifiedcontinuitystyle,seeTheWayHollywoodTellsIt.
TwoframesfromFlowersofShanghai(1998)arebelow,showingthecamerasslight
movementaroundthecentrallanternandPearlsface,aswellastheshiftintheyoungmans
postureashewaitsforananswertohisquestion.Hesintheprocessofclearingabitof
spaceforustoglimpsetheolderman,Hong,whossittingbetweenhimandPearl.
P.S.24Feb2015:ThankstoPaulMollicaforanamecorrection!

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[69]

[70]

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URLtoarticle:http://www.davidbordwell.net/blog/2015/02/23/birdmanfollowing
riggansorders/
URLsinthispost:
[1]Image:http://www.davidbordwell.net/blog/wpcontent/uploads/screenshot_01
crop.jpg
[2]Image:http://www.davidbordwell.net/blog/wpcontent/uploads/screenshot_128
copy400.jpg
[3]thefourparts:http://www.davidbordwell.net/blog/2008/06/21/timesgoby
turns/
[4]Image:http://www.davidbordwell.net/blog/wpcontent/uploads/screenshot_58
copy.jpg
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copy.jpg
[6]Image:http://www.davidbordwell.net/blog/wpcontent/uploads/screenshot_152
copy.jpg
[7]distasteforactionextravaganzas:http://time.com/3502675/birdmanalejandro
gonzalezinarritu/
[8]Image:http://www.davidbordwell.net/blog/wpcontent/uploads/screenshot_141
copy300.jpg
[9]Image:http://www.davidbordwell.net/blog/wpcontent/uploads/screenshot_147
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[10]Ivegabbledaboutfairlyoften:
http://www.davidbordwell.net/blog/category/tableaustaging/
[11]intensifiedcontinuitystyle:
http://www.davidbordwell.net/blog/2007/05/27/intensifiedcontinuityrevisited/
[12]Image:http://www.davidbordwell.net/blog/wpcontent/uploads/opening
300.jpg
[13]Image:http://www.davidbordwell.net/blog/wpcontent/uploads/opening2
300.jpg
[14]walkandtalk:http://www.davidbordwell.net/blog/2007/02/09/walkthetalk/
[15]Image:http://www.davidbordwell.net/blog/wp
content/uploads/screenshot_0218.jpg
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[20]Image:http://www.davidbordwell.net/blog/wpcontent/uploads/rackfocus1
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300.jpg
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[41]Image:http://www.davidbordwell.net/blog/wpcontent/uploads/screenshot_33
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[52]Image:http://www.davidbordwell.net/blog/wpcontent/uploads/screenshot_91
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[53]Caravan(1934):http://www.davidbordwell.net/blog/2011/06/15/juliejuliathe
housethattalked/
[54]Angelopoulos:http://www.davidbordwell.net/blog/2013/02/03/tonyandtheo/
[55]FishandCatof2013:http://www.davidbordwell.net/blog/2014/10/09/middle
easternfareatviff/
[56]Image:http://www.davidbordwell.net/blog/wp
content/uploads/screenshot_133copy.jpg
[57]GonzlezIrritu:http://collider.com/birdmanalejandroinarrituemmanuel
lubezkiinterview/
[58]here:http://www.davidbordwell.net/blog/2006/11/27/lessonsfrombabel/
[59]gradationofemphasis:
http://www.davidbordwell.net/blog/2008/11/13/gradationofemphasisstarring
glennford/
[60]here:
https://desertscreenwritersgroup.files.wordpress.com/2015/01/screenplay
birdman.pdf
[61]BillDesowitzsIndiewirepiece:
http://blogs.indiewire.com/thompsononhollywood/howtheydidittechnicolors
secretrecipeforbestpicturewinnerbirdman20150223?
utm_source=immersed_newsletter&utm_medium=sailthru_newsletter
[62]inseveralentries:http://www.davidbordwell.net/blog/?
s=%22complicating+action%22
[63]AnatomyoftheActionPicture:
http://www.davidbordwell.net/essays/anatomy.php
[64]ThreeDimensionsofFilmNarrative.:
http://www.davidbordwell.net/books/poetics_03narrative.pdf
[65]CinemaStylists:http://smile.amazon.com/CinemaStylistsFilmmakersNo
2/dp/0810815850/ref=sr_1_1?s=books&ie=UTF8&qid=1424722833&sr=1
1&keywords=john+belton+cinema+stylists
[66]Stretchingtheshot.:
http://www.davidbordwell.net/blog/2012/10/07/stretchingtheshot/
[67]here:http://www.davidbordwell.net/blog/2011/07/10/goodandgoodforyou/
[68]here:http://www.davidbordwell.net/books/figures_intro.php?ss=4
[69]Image:http://www.davidbordwell.net/blog/wpcontent/uploads/FLOWERS2
5001.jpg
[70]Image:http://www.davidbordwell.net/blog/wpcontent/uploads/FLOWERS11
500.jpg
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