To extent Birdman proved to be an unsatisfactory project with improvisation, certainly in terms of how the actors responded to my intended process. There was considerable pressure to complete the shoot in a limited time frame. It was a budgeted project (15k), multiple locations and a large crew. Essentially, much of the energy, enthusiasm and ÔlifeÕ, all of which were evident in the casting process/improvisation workshops, became quickly dissipated at the point of production. To that extent what I was hopping for in the performances did not materialize.
My action plan, which was mapped out in my Ôset of obstructionsÕ (pp.126-7), did not take into consideration the needs of either the eight-year old star (Holly) or her on screen father (Martin). On reflection, character-building experiences (see point one) should not have been discounted and certainly would have been ideal within this production context. Budget and time permitting, the shoot days could have been restricted and more Ôfun-timeÕ built into the schedule.
The biggest problem was that the actors were not given sufficient opportunity to improvise with the script. Although they were encouraged to relax and let go, both Holly and Martin felt more confident in hanging on to the script. The lines provided a security. Thus point three, ÔAll character knowledge must be discovered through the improvised performance and experience of the cinematic momentÕ, which was an essential precursor to the project, was substantially compromised and I do feel this shows in some of the performances. However, it should be noted that the actors were very worn out by the shoot. It is as much tiredness that has affected the performance. The penultimate scene, with Lizzie, Jackie and Mr. Poop (time
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00.26.23) in the kitchen is quite revealing. The close-ups of Lizzie are quite muted and you can detect the tiredness in her body language, particularly her facial expression. What the viewer wonÕt know is that this scene was shot in a small kitchen, in the height of the summer, with an Aga cooker generating heat/hot water and two HMIÕs providing a key light for the scene! Whilst the schedule was long, clearly environmental factors, in this case excessive heat, also had an effect.
Similarly, the interior of the shop (starting 00.03.30) was filmed on the last day of the shoot. Again, this proved difficult for the actors, both of whom were untrained actors. The difficulty for Holly was that she was tired and worried that she could not remember her lines. David, the shopkeeper, was worried that his untrained performance would compromise the scene. In fact neither the actors concerns were the source of the problem with this scene. On reflection, the scene is far too long with too much dialogue. Whilst we tried improvising a few takes, the tension between what the actors had learnt and what they were required to do ended up further constricting the performance. Ideally, I should have had two cameras running throughout the Shoot and this would have permitted more license and freedom for the actors. Single camera filming in this structured institutional way, unlike the vŽritŽ styles of Blood Offering and Fallen Angels, is quite restrictive, particularly when camera technology such as cranes and tracks are used.
The scene featuring the Butterfly woman (00. 18.10) was not without itÕs problems. Although the final scene depicts a Russian speaking character, which was a decision made in post- production, the character actually delivered her lines in English. Obviously Holly naturally understood what was being said at the time. Clearly, had the character spoken to Holly in Russian, then we would have had far more fun and seen a more puzzled expression on HollyÕs face. Perhaps my directorÕs note should have been for Holly to stick cotton wool in her ears!
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The result was a performance that appeared to be a comfortable exchange between the characters, whereas Holly and Butterfly woman should have been nervous and weary of each other.
Whilst I can confirm that the cast did not invent and improvise their dialogue, it is true to say that the performances were invented and spontaneously created in the moment. Nothing was rehearsed or shot multiple times. As much as 85% of what is seen in the completed film is the product of a first take. So it is true to say that these performances were improvised in the moment that they were filmed, returning to Chris JohnstonÕs definition of improvisation Ôimprovisation is in fact inseparable from the creative processÕ (2006:xiii). The actors thoughts and responses were not finely honed and calculated but delivered in the moment with no Ôpreconception as to how [they would] do itÕ (Spolin, 19991:361).
In placing criticism to one side, many successfully improvised sequences featured in the final film; specifically all the action sequences featuring Holly, whether riding her bike, discovering the camera (00.02.00), using the camera, delivering papers or finding Jackie running across the hilltop. The point is that Holly was not pretending to discover a camera, she actually went through the process for real, even working out how to use the camera and hold it whilst taking a photograph.
The sequence, featuring Dad and Lizzie at the Statue (00.21.50) was perhaps the most successful interaction. At this stage in the shoot, about day three, Holly was comfortable with the filming process and not worn out. It was a morning shoot and energy was high. Holly had tuned into her character and started being more ÔcontrollingÕ and more maternal. Undoubtedly the characterisation in this scene, as well as other scenes, was supported by the mise-en-scene. The dialogue exchanges were shorter and the overall mood of the edited scene is supported by
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the soundscape and music. The scene involved action and reaction to distinct events, i.e Dad jumping off the steps. The improvisation can be seen in Holly, the non-actor, reacting to DadÕs public display of daring. It is a genuine moment, born of real observation and concern.
In adhering to my Ôcode of practiceÕ it is the case that character motivation was not discussed and all locations and settings were unseen prior to the shoot. In this way the actors genuinely experienced each setting and context for the first time. The actors were not really able to explore the environment under their own steam and within the context of the scene, which was quite different when compared to filming Blood Offering, during which the actors would take themselves off at various points, often being pursued by a roving camera. The exception being the lighthouse location, where Holly spent half the day whizzing around on her yellow bicycle.