I love this movie. It's a cinematic tour de force, the impression of it being one continuous camera shot inspired and pulled off brilliantly. Incredible cast. Great characters. Compressed time frame. Strong conflict. Terrific dialogue. Just a superb movie. Two comments straight off. First, if you want a script to study in terms of subplots, Birdman is a fantastic one. My principle is this: Subplot = Relationship So track all of the subplot relationships in the script: Riggan - Jake Riggan - Sam Riggan - Laura Riggan - Leslie Riggan - Shiner Riggan - Sylvia Riggan - Ralph Riggan - Birdman Riggan - Dickinson Sam - Shiner Leslie - Laura Every single one of these has a beginning, middle, and ending arc, both in terms of plot machinations and underlying emotional journeys. The fact everything needs to fit into a compressed geographical area and time frame makes it even more impressive how the screenwriters pulled it all off, a complex story structure, yet seamless with every hand-off from one subplot to the next. The second thing is based on something I always look for in a story: What are universal themes at work in it with which I can relate on an authentic human and emotional level. Birdman has several, but the biggest one is Riggan wanting to do something big, something important, something memorable. The play is a desperate gamble -- quite literally as he keeps putting up his own money to pay for Shiner, etc -- by Riggan to be remembered for more than having starred in a superhero movie years ago. Behind all that, of course, is the specter of death. Riggan is closer to death per actuarial charts than he is to his birth, so he is thinking legacy. And THAT is a universal theme, speaking to Big Questions like, Why am I here... How can I make a mark in this life... Who am I? So while the movie is a visual spectacle... and its structure is a marvel in screenwriting... there exists at the core of this story a beating heart, albeit a desperate one, as Riggan tries to make something of what he perceives to be a second-rate life. Who among us doesn't have dreams? Doesn't wish to do something notable? Be remembered for an achievement? Great movie. I hope folks join in on the discussion this week as there's lots to talk about.

Hi Scott! I loved this film too, and glad signing up to do the SBS breakdown resulted in me adding a copy of it to my library. When I first viewed it though, I'll admit, my reaction was like many other theater-goers who were a disappointed with the ending. Learning the writers themselves still aren't sure it ended the "right" way, is comforting. ;-) Here are a few of my takeaways: 1. People will get more out of the film if they read the script first, then watch it. Or, at least, if they watch the film a second time. Then, read the script? (One can hope!) Having done both multiple times, I think much of the story's nuance may be lost on the casual viewer once eyeballs are engaged ... all that constant motion is great, but also distracting. For example, I spent more time trying to figure out what was happening in that first kitchen table scene, than I did soaking up the dialog - a shame, because it's so important to everything else that follows. 2. The story within a story, within a story. Casting Michael Keaton to play this role with his Batman backstory is just perfect. You'd almost think this was a story written for/about Michael Keaton. Talk about a tapestry! Also, the weaving of the film characters' dreams/hangups/failures into their onstage characters is amazing ... the writing is inspiring. 3. Speaking of the writing, I loved the way the writers brought us through the rehearsal and performance scenes without feeling as though we had heard it all before. Great dialog layering. And, even if you caught every word in that first kitchen table scene, you may have missed how the dialogue is distilled in tandem with each character's story arc. We're given it all at the outset, but gentle edit after gentle edit, we're left in the end with only what really matters to each character. Some may disagree with me, but for Riggan, while he's outwardly seeking significance, what he really wants is love: from Sam, the audience and himself. Nothing else matters, and we see that in his last dialog bits on stage with Leslie on page 105. 4. The Academy as Electoral College. Some definite parallels, right? The populace doesn't get it, but the Academy does ... maybe they read the script first! And the Electoral College? Well ... ;-) Looking forward to the conversation! Cheers, Doc

Doc, I went back and re-read the dialogue in that first kitchen table scene in which Ralph gets conked on the head by the light fixture. In the script, there's even MORE talk about love than in the movie. So I think your assessment that what is underneath everything else going on with Riggan, perhaps the deepest, rawest aspect of his Need is to feel loved. Looked at that way, I feel like that Need sharpens and focuses along the way. At first, it's more generalized: 'People' to love him. But by the end, it's his ex-wife... and Sam... that moment in the hospital... especially Sam where she lays her head on his chest, a real moment of human connection. So by journey's end, it's not just an unfocused sense of love from everyone, but rather a few key people in his life, their love. Still the more conscious thing going on is tied to wanting to be somebody of significance. Witness this confession he makes to Sylvia on P. 39:

The last time I flew here from LA, George Clooney was sitting two seats in front of me. With those cuff links, and that... chin. We ended up flying through this really bad storm. The plane started to rattle and shake, and everyone on board was crying... and praying. And I just sat there-- Sat there thinking that when Sam opened that paper it was going to be Clooney's face on the front page. Not mine. (A beat.) Did you know that Farrah Fawcett died on the same day as Michael Jackson?

He wants to be 'Michael Jackson'. Right now, he thinks he's 'Farrah Fawcett Majors'. But that's just a stage in his arc. And the picture sharpens as he progresses through his journey.

Yes, absolutely! He's tortured Sam will see him for something less than he sees himself. Sylvia's line to him is a reminder of that as well ... he doesn't need to be a great dad, just "a" dad. That's her parting comment to him in that wonderful Clooney/Jackson commentary. The writing is so damn good in this script! It's like a fan-freaking-tastic croissant - layer after layer of buttery goodness.