A Quote by Richard Corliss
No question that 'Birdman' is a breathtaking technical achievement, not a stunt. Shot in 30 days after a long rehearsal period, with the actors' and the camera's movements calibrated to the inch and the millisecond so the action flows smoothly, the picture has the jagged energy of a long guerrilla raid choreographed by Bob Fosse.
Related Quotes
I never danced a step in my life so naturally. My first motion picture was a musical, and Bob Fosse was the choreographer. I didn't exactly dance for Fosse, I just did the best that I could to do what he taught us to do.
On movies, I like to involve the cast in the writing of the script. I like to have a rehearsal period, after which I do the last draft, which gives me a chance to incorporate anything the actors have come up with during the rehearsal period, so I'm very inclusive as a writer.
I don't consider an actor a star if he's paid $20 million and grimaces in front of the camera and has a stunt man stand in for him. They may be fine actors, but they're not role models. The real stars are wearing body armor in 130-degree heat . . . They're getting shot at and they don't have any stunt doubles standing in for them.
All of the [Bob] Fosse-esque movements and point of view informed years and years of what I would do.
The thing about being on a long-running series is that you get to know all the stunt men and the stunt coordinators, and they let you pretty much do everything you want, as long as they trust you.
When I walk with a camera, I walk from shot to shot, reading the light on a calibrated meter. When I walk without a camera, my own shutter opens, and the moment's light prints on my own silver gut. When I see this second way I am above all an unscrupulous observer.
The world under heaven, after a long period of division, tends to unite; after a long period of union, tends to divide. This has been so since antiquity.
If it takes 30 days of rehearsal, you better ace all 30 of those days. When it's game time, you're ready to play ball.
All civilized people see the day beginning at dawn or a little after or a long time after or whatever time their work begins; this they lengthen according to their work, during what they call 'all day long'; and end it when they close their eyes. It is they who say the days are long. On the contrary, the days are round.
There are actors in this town who made important careers for a long, long period just by taking the parts that Cary Grant turned down.
When you cut from a long shot to a close shot, you're doing it for a reason, or if you let something stay in long shot for a long take. On the short films, I was teaching myself how to express something personal cinematically, how to use the language of film the best I could.
'Birdman' is basically 'All About Eve' - the 1950 comedy about rehearsal rivalries in a Broadway show, and another Best Picture laureate - reimagined as a Batman suicide mission. The movie couldn't be actor-ier.
I love the rehearsal, as long as it's not over-rehearsed. I love it when the actors can rehearse until we feel really comfortable, and then the crew come in and shoot it. I'm not especially a big fan of rehearsing with the crew and the crew rehearsing and, "Let's rehearse this tracking dolly shot 25 times until it's just right." Television has to be shot a certain way to have a certain look. And sometimes the tried-and-true method is the best.
I've worked with actors who treat the first two takes like rehearsals. And that's okay. If the camera is on you and we're doing a scene where I'm off camera, I'm treating that as a rehearsal.
After a training camp workout, my body is eager to replace nutrients and energy that are lost during the workout. It's best to have a quick bite about 30 minutes after practice. I like to have yogurt and granola, the combination of carbs and protein helps me recover after a long and tiring workout.
Because of the way that I work with the actors and because a scene is not in this rigid and literal interpretation of something written, I can constantly change stuff, which means I can get a scene absolutely perfect, and then when we go to shoot it, the requirements of the shot mean it would be useful to extend the dialogue or take a line out or swap things around. So the camera doesn't serve the action. The action serves the camera. That's important. So it becomes more and more organic and integrated.
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