Stitching Birdman Together

Alejandro Gonzalez Iñárritu may not want to give away the “continuous take” gag in his extraordinary Birdman, but Oscar buzz continues to mount because he’s achieved the ultimate in POV narrative. And his long-time editors Douglas Crise and Stephen Mirrione “stitched” Birdman together in a very unique way, compiling an assembly of rehearsal footage before principal photography and cleverly erasing the cuts with the VFX and post teams.

The film’s challenge: the number of tracking shots with hand-held cameras and Steadicams made maintaining the film’s continuous shot structure incredibly difficult. And so the editors had to be proactive and creative in collaborating with G. Iñárritu, Oscar-winning cinematographer Emmanuel (Chivo) Lubezki(Gravity), production designer Kevin Thompson, Rodeo FX, and Technicolor.

“They blocked everything out and it allowed Alejandro and us to look at scenes before they were completely shot and fix things that you would normally fix later on in any other movie,” explains Crise. “But the rehearsal assembly was pretty similar to what was shot.”

“It still ends up being the same process but we are little bit more present and vocal in terms of chiming in and getting direction,” adds Mirrione.

Read the rest at TOH/Indiewire.

Posted on by Bill Desowitz in Below the Line, Cinematography, Clips, Editing, Movies, Music, Oscar, Production Design, Tech, Trailers, VFX, Virtual Production

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