The creativity involved in film making in the recent times often fall under microscopic inspection as film enthusiasts try and decipher the techniques to create the visual illusion. It is quite obvious that a film attracts such mass attention if and only if it excels in some global film podium. Birdman by Alejandro González Iñárritu is one of those rare instances when a film grabbed attention for creating a visual illusion – as if the entire film was a single shot!

When discussed over coffee the technique was appreciated by a number of film enthusiasts, however, when discussed over whiskey Birdman’s single shot illusion is often regarded as one of the great cinematic magic tricks of all time. If you have not watched the film (you must be very busy), come back after watching it and read the rest of this write-up. Some of you might find it absurd and some of you might wonder about the impossible sense of geography – I am still an explorer!

[For film buffs and intense followers of international cinema – this is not the only one take film that I have watched. There is Ana Arabia by Amos Gitai and there are various instances when a particular part of a film is shot in a long take. However, Birdman is an exception – an exception for all good reasons]

Birdman delves into the life of a former movie-star, Riggan Thompson (Michael Keaton) portraying his mind and psychosis in an attempt to regain his lost fame. It is a first person account of the actor who is preparing for a Broadway production depicted in a style that appears seamlessly one-shot. Although the film looks like a 119 minute continuous shot, it is obviously not. The idea behind this blog is to congratulate the team (sometimes I feel I am a part of it) that made it possible and explore the blueprint of such a miraculous technique.

In an article published in Hollywood Reporter in December 2014, the Oscar winning cinematographer, Emmanuel Lubezki described the entire process of filming as a ‘ballet’.

Describing how difficult the lighting of the sets and maintaining the continuity were, Lubezki said, “That is because, for instance, the light that is lighting Michael at his makeup mirror will create a shadow a minute later if we move around the room. So we had to time all of the lighting changes, making sure you don’t see shadows. We were moving lights; we were moving diffusions. There were grips moving with me. Every time you see a shot, there were eight people moving with me. It was like a ballet — that’s what made it truly exciting.”

According to me, the entire movement of lights along with the camera that provided no clue to crack the single shot illusion gave Michael Keaton the much acclaimed dramatic look. The director, cinematographer and editor along with a team of highly creative people followed the panning of camera and the movement of color to stitch those otherwise long takes (usually in the 10 minute range). A tricky editing and a subtle VFX followed in the master copy.

Well, theoretically the end result seems quite achievable. However, in reality the cinematography of Lubezki is nothing less than incredible – such flawless movement that it never looked disjointed. I am curious to find out how the entire team decided on this goal. The journey must have been fascinating to say the least. Cinematography is something that I am stating quite profusely in this article. However, it is aided by a pool of creatively genius people who contributed in editing, color grading, writing and most importantly directing the thought which probably seemed like a dream!

One of the striking features of Birdman, the film is probably the confusing and bold use of space. The film was mostly filmed on a mazelike set and the use of space, color of lights and the camera movements were purely out of artistic desire as I understand. And I completely believe that Riggan’s inner state of mind was perfectly described in this process. Whether that was intentional or not, I hold no version of my own. But, to be honest, every time I have seen the film, it excited me; I felt an utmost rush of desire in me that transported me to the sets of Birdman where Iñárritu and Lubezki would probably shoot the next scene planning the perfect transition!

119 minutes of visual illusion – One shot – quite an incredible feat!