There’s a moment in Birdman where Michael Keaton’s washed-up movie actor Riggin Thomas stands swaying near the edge of a New York City rooftop. “Hey,” yells a woman off-screen, “is this for real or are you shooting a film?” A film, he shouts back. “You people,” she calls to him, “are full of shit.”
It’s the closest thing the movie — which switches genres at the literal snap of a finger and uses a madcap set of camera angles to tell a story that can only be described as gleefully meta —...
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