birdman mike shiner

Birdman oder (Die unverhoffte Macht der Ahnungslosigkeit) ist eine US-amerikanische schwarze Komödie von Alejandro González Iñárritu.Der Film, der Michael Keaton als Titelhelden sowie Zach Galifianakis, Edward Norton, Andrea Riseborough, Amy Ryan, Emma Stone und Naomi Watts in weiteren Rollen zeigt, wurde bei der Oscarverleihung 2015 als bester Film ausgezeichnet. Riggan is torn between prestige and popularity. Send. […] of Birdman (Or The Unexpected Virtue of Ignorance) added (SEE LINK). a film which unfolds dizzyingly and dramatically and takes us on a journey that,holds so much for each of us to take back and so much to seduce us,the narrative visuals tugging us along as if we’re reading a novel that doesn’t allow pause  -- a novel disgusted by the idea of pause, even, a book that makes sure we can’t look away -- and yet a book that makes us wonder about ego and life and self-importance,and perhaps fixating on the film’s novel-ty is just what director Alejandro Gonzalez Inarritu intended,with this singular comedic masterpiece surpassing all his previous, occasionally overwrought works,in fact surpassing most modern movies with a freaky flourish and with such gorgeous, gorgeous audacity...Allow me here to suggest that you think of these ellipses here in this piece not as breaks in flow but as drum solos,as wondrous bursts of force like the ones punctuating the film courtesy of stunning drummer Antonio Sanchez and his terrific score which lets us glory in all the magnificent detail for example, there is a baby on the way for Riggan Thomson, but that doesn’t seem to matter to him as much,which is somewhat understandable considering the fact that he, an actor best known for a superhero franchise he left behind two decades ago but can never quite shake off,is sticking his wrinkly neck out and putting it on the line by creating a Broadway showcase for himself,in a bid to earn himself legitimacy as an actor and finally exorcise his superhero demons,but then is his spandexed alter-ego a hindrance or something he needs,one that defines him and holds him together even as he aims to spread his wings into the unfamiliar in order to more keenly etch out his own celebrity status,trying to make sure he leaves behind a legacy -- a quest, it seems,that matters more to him than his pregnant girlfriend or his surly ex-junkie daughter, a bright girl burying her exceptional eyes under gothic layers of kohland one who seems catastrophically attracted to Mike Shiner, a Broadway superstar who is literally potent only when on stage,but despite being a quotable, sharp, spectacularly talented actor who always thinks he knows best, Shiner is actually perhaps even more oblivious about his sense of self,but he is Inarritu’s entertainer, his jack-in-the-box, the man we enjoy following around the most,with clever, canny editing making long takes merging into one-another with magically few seams showing,a modern day take on Hitchcock’s Rope but on digital steroids, the kind of miraculous gimmick that could have been tiresome in the wrong handsbut here the flight is a marvelous one, the film going from night to day without looking away -- one shot with Shiner and Thomson’s daughter Sam on the roof of a theatre,has the two talking and then the camera cants upward to the sky, following a swirl of cigarette smoke and then, after staying there for just a moment, the night melts into day and the camera swooshes down onto the busting midday street,and this shot, with its poetry and its radical beauty, melted my mind and just typing about it is making my keyboard-drumming fingers tremble -- and this is whatusing the tools at hand today to craft something previously impossible and present us with a film worth watching twice because the first time viewer is liable to just ogle this work of staggering genius;I, for one, watched it thrice in a week the first time I got the chance to watch it, and remain bowled over, besotted, enchanted, and who wouldn’t be,with the kind of actors on display here, Michael Keaton and Edward Norton and Emma Stone -- who each come with superhero-movie baggage of their own, sure, but happen also to be people who have been replaced or killed off in superhero movies,movies notorious for nobody really dying or staying dead -- and they each dole out virtuoso acts, with Norton showing off obvious mastery (while playing an obvious master),Stone gliding on the edge of ineffability with a crucial role and perhaps the film’s most important lines,and Keaton himself playing it close to the bone, playing his near-mythological hero with vulnerability and style while also putting on the bird-suit and rocking it good,but then, but then, everyone is so good in this film,from each of the screenwriters to Andrea Riseborough to the man playing a disgruntled Indian cabbie,and by the time the film ends with a moment of heartbreaking perfection, the eyes have it -- as do the ayes, for what good is a critic who remains closed off from the unobvious conjuror,a critic who can’t delight in this magical a wingspan, this film neatly putting us all in our place -- and I don’t just mean us professional nitpickers and recommenders of movies -- but each and every one of us with opinions that could be wiped out in an instant, for,as a sign in Thomson’s dressing room says so astutely, ‘A thing is a thing, not what is said of that thing.’ Like However, Keaton’s despair and angst and voices in his head and fantasies are all seen in such tight close up, that it has a lot to say about the human condition, the process of aging and losing relevance in the world, acting, reality v fantasy. Shiner reflects the prestige side he craves. Riggan (Michael Keaton) is an actor who used to play a superhero called Birdman, in a three part series which ended in 1992 (at the same time as Michael Keaton’s last The USP of the film is that it looks as if sections were made in one continuous take often hand-held, … it wasn’t the entire “one take” that some reviews suggest at all, but it was filmed in long unbroken chunks, covering up to fifteen pages of dialogue, which is a major trial for actors on film. It’s something actors have to do every night in the theatre, and the film is about theatre The longer the take, the more pressure there is on actors not to fluff lines. He declines because he fears he might not be able to “get it up” – he is twenty years older than her. The unaccompanied drum score by Antonio Sanchez is totally effective. Review: Birdman is one of the greatest films of all time. We were at the filming of the It’s basically a backstage movie. […]Fill in your details below or click an icon to log in: Mike Shiner Quotes: Mike Shiner: Popularity is the slutty little cousin of prestige. Mike Shiner Quotes in Birdman or (The Unexpected Virtue of Ignorance) (2014) Share. She points out his onstage stonker earlier, and he says he is only “real” on stage. Tweet +1. Raja Sen reviews Birdman in three sentences, as a tribute to the film's brilliant one-take technique. Birdman (ou la Surprenante Vertu de l'ignorance) ou Birdman (ou les Vertus insoupçonnées de l'ignorance) au Québec, Birdman or (the Unexpected Virtue of Ignorance) en version originale, est un film américain co-écrit, co-produit et réalisé par Alejandro González Iñárritu, sorti en 2014.. She also has two superb balcony sequences with Mike Shiner (Edward Norton).

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