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Norton & Keaton at 2014 NY Comic Con
Of all the Mexican new wave directors who emerged in the ‘90s, Alejandro González Iñárritu always pushed the envelope further than cohorts Alfonso Cuarón and Guillermo del Toro. And he does so once again with Birdman or (The Unexpected Virtue Of Ignorance), a dark comic tragedy co-written with Nicolás Giacobone, Alexander Dinelaris and Armando Bo.
Few films deconstruct the effects of mega stardom in such a unique way as does this film, with its long singular tracking shots, hallucinatory superpower sequences (exhibiting levitation and telekinesis), and 4th wall-breaking monologues.
Famous for portraying iconic superhero Birdman, actor Riggan Thomson (Michael Keaton) struggles to mount a Broadway play as a form of redemption from having played this one-dimensional character in three mega-hit films.
In the days leading up to opening night, he battles his ego, family miasma, career record and himself. While doing the play, Thomson copes with neurotic co-stars — particularly difficult and demanding Mike (Edward Norton) and the insecure Lesley (Noami Watts) as well as on-again/off-again girlfriend Laura (Andrea Riseborough), close friend/manager/producer Jake (Zach Galifianakis), ex-wife Sylvia (Amy Ryan) and daughter Sam (Emma Stone).
if any actor could play Thomson, Keaton was the man. The Pennsylvania native has had the kind of career the film deconstructs — in and out the media spotlight, coping with and running away from the mayhem of Hollywood.
Keaton’s own career turns have, at times, been surreal, he’s gone from being known as a great comic actor to a favorite of wacky director Tim Burton who transformed him from the cranky miscreant Betelgeuse (in Beetlejuice) into an emblematic Batman evolving a franchise then leaving it before it become a self-parodied costumed geek series.
Keaton himself has been in the wilderness literally, away from the spotlight on his Montana ranch; being tapped for this part has brought the 63 year-old actor back into the spotlight but also at the forefront of the awards season winning a Best Actor Golden Globe, several other awards and is in the running for the Best Actor Oscar.
As Thomson wonders in the film whether he has the talent or insight to be the both the actor and artist he believe he can be, so has Keaton. Playing Batman made him an iconic figure, one that could earn the big bucks just if he wanted to (working the conventions; reprising his iconic Tim Burton-directed roles), but he has shied away from Hollywood, directing (The Merry Gentleman) or doing interesting indies (Game 6 based on a Don Delillo story).
Besides, few films that address superhero worship actually star two people — Keaton and Norton — who have played two superheroes that stirred fan obsession.
This Q&A is culled from a Birdman press conference, the 2014 New York Comic-Con Birdman panel and some remarks to the press after his Golden Globes win.
Q: What does your amazing career resurgence feel like for you?
MK: How does it feel…??? It feels good!
Q: How did you get involved with Birdman?
MK: I got a call that Alejandro [González Iñárritu] was making this movie. When I asked what it was about, I was already working on another movie and they said, “Unfortunately, you can’t fly home because you’re in the middle of this movie.” But when his name was mentioned, I thought, “Well, maybe I should find a way to fly home.” I was a big, big fan of his movies. So, I flew home.
They couldn't tell me what it was about. Now that I've done the movie, I understand why they couldn't explain it, because I'm not sure what happened.
I went and had dinner with him. It was very pleasant and really interesting. [Alejandro] is a really interesting, extremely passionate guy, which is contagious. At the end of the meeting, he said, “Here, read this.” It took me about 27 seconds to decide, “Yeah, I probably want to do this.”
Q: What do you think of the Riggan Thomson character? Is he crazy? Is he depressed?
MK: The character is Alejandro, so you should ask him… No, the character is really one of the most difficult things I’ve done, not in terms of the character necessarily, but in terms of how the film was made.
Within sometimes 30 or 49 seconds, you have to surf a lot of different emotions and fit them into this giant picture. Because this picture is always shifting and moving, and it’s got so many levels, therefore, it was really, really difficult. But I like that. I like "difficult" most of time…
Q: Did the director make you suffer?
MK: He tried. I go through what Alejandro goes through, the same thing. I think, “You’re the greatest. You’re wonderful.” And like Alejandro, 20 minutes later, the difference is, I go, “No, you’re actually more than that, Michael.” [jokingly] It keeps getting bigger.
Q: There’s a lot of underwear shown in Birdman… [a scene involves Riggan getting locked outside a theater mid-costume change, forcing him to walk through Times Square in his skivvies.]
MK: That’s Alejandro [smiles].
Q: What were rehearsals like?
MK: In this, as hard as it was, and as grueling as it could be, we had the luxury of saying the words over and over again. And as you start to hear them, being in a play, you go, “Oh, I never heard that line coming out of my mouth.” You find another level to it, without sounding totally pretentious and obnoxious. That was a great luxury to have. It was hard, though.
Q: Riggan clashes with an influential Broadway critic. You were also involved with a movie called Game 6, which also dealt with how a critics can affect a Broadway show. What are your thoughts on how critics can affect careers?
MK: This is where I’m a dope. I make it really simple. The first play I ever did, in Pittsburgh, someone walked up and said, “Hey, I read the thing in the paper. Someone said you were real good” or something like that. I hadn’t even thought of that part. And I still often don’t think of that part.
What I thought originally was, “You should be courageous and read everything.” I did that a couple of times. And then I thought, “I don’t want to do that anymore.” That’s just miserable, so I don’t really bother. I just don’t do it.
Admittedly, when someone says, “Hey, you got a really nice review,” I’ll read it. I’m willing to make myself feel better. I ain’t going to fight that.
It’s real simple for me. I think — unless I’m really stupid here and there’s a strong possibility that’s true — I’ve basically been treated fairly, but I’m the wrong person to ask. There’s probably a lot of you out there going, “Oh no, you haven’t.”
But I think it’s been pretty fair. I don’t know, I’m the wrong guy to ask. By the way, I really liked Game 6. That was a Don DeLillo story.
Q: Is this a movie about a man going through a crisis/breakdown, or is he kind of becoming enlightened?
MK: Not “kind of.” There’s no “kind of” about it. It’s kind of tricky. I don’t want to be coy by saying, “I don’t want to give away too much.” I really don’t, because it would be unfair, frankly. But yeah, that’s the thing that you get.
I’m in the movie and I read the script, and I did all the discussions, and I did all the rehearsals. And yet when I saw it, I go, “Wow, he had to go that crazy to get that sane." He had to go that crazy to find that little sweet spot.
Q: So now, how would you describe Birdman to people who haven’t seen it?
MK: When people ask me, I always tend to say, “It's not like anything you've ever seen before.” And then I say, “No, literally, it’s not like anything you’ve seen before.” It's not just a glib expression.
I don't know that I've seen any of my movies in 10 years, outside of looping and little bits and pieces in 10 years, but I've seen this movie two-and-a-half times…. And I'm going to watch it all the way through tomorrow [at its premiere]. And I'll watch it many, many times after.
I was watching it the other day, and I kept looking at the screen. I noticed things that I didn’t really get [before]. And I think, “Man, I could love this movie.” And then you realize, “Wait a minute. I’m in this movie.”
Q: Did you get to keep your Birdman costume?
MK: No, and what a great idea! How stupid am I not to keep one of those. Now I’m thinking of a way to get one.
Q: The superhero genre is part of the debate about and within this film. Having starred in superhero films -- Batman and Batman Returns -- what did you think of them?
MK: When Tim [Burton] called and I took the original Batman script home, I was mostly unfamiliar with the superhero books and wasn't that big a comic book reader. I thought, "I can’t imagine anyone making this movie the way I see the character, but I'm sure glad to read it."
I told Tim what I thought, and Tim was just nodding, his long hair going up and down. He was smiling and looking excited. I said, "OK, they're not going to make that, are they?" He said, "I don't know, let's find out!"
Q: Would you star in another superhero movie in the future?
MK: [I'd have to ask,] Who's directing, what's the cast and is the script good? What's it all about [before I could say.]
Q: You’ve always given spectacular performances, especially in comedies like Night Shift where you were cutting your comedic teeth. In a movie like that as opposed to a movie like Birdman, do you approach them the same?
MK: When I saw Fast Times at Ridgemont High, I had seen this kid as a young guy. Holy moly! This guy’s approach to comedy was so good and authentic, so I called and said I saw this guy in this movie, I want to do a movie with him. As it turns out, he was this wonderful actor Sean Penn. He happened to be funny, but what I dug about it was how authentic it was. Jonah Hill is the same way, so committed to the comedy. So I approach them the same: Do your homework and go to work.
With attendance numbers at over a hundred thousand, New York Comic Con at the Jacob Javits Center is an event that is so massive that it’s easy to get completely swept up and miss some of the finer details. But we at Film Festival Traveler wanted to take the time to give you some one-on-one with some great minds from the world of comics, both old and new and we are presenting a series of video interviews with some of the talented people that make events like NY Comic Con worth going to.
From drawing friend’s D&D characters in high school, to working in advertising, to creating comics online, Megan Levens’ artistic trajectory has been a self made one. Her art combines clean linework with an eye for the horrific in her comic Madame Frankenstein, written by Jamie S. Rich (Cut Your Hair) for Image Comics. Madame Frankenstein combines 1930’s style with a tale of obsession and flesh, as the myth of Pygmalion meets Mary Shelley by way of F. Scott Fitzgerald. Having cut her teeth on her semi-autobiographical webcomic, Somewhere In Between, Levens’ Madame Frankenstein and her upcoming Ares & Aphrodite for Oni Press reinterpret classical myths in a thoroughly modern way.
Paul Pope has made a career for himself as both an avant-garde artist on the fringes and someone trying to get more kids into reading comics. Born in Philadelphia and having a strongly European aesthetic to his comics, Pope actually got his start in comics in Japan, working for publisher Kodansha and allegedly cranking out over 15 pages a week. His early works like Escapo (which was recently reprinted in a new colored edition) and THB got his kinetic style noticed, landing him work with DC and making Batman Year 100. But dissatisfied with DC’s unwillingness to let him helm a story aimed at a younger audiences, Pope set off to create his own series of graphic novels for young readers with Battling Boy, The Death of Haggard West and The Rise of Aurora West from First Second Books.
Possessing a dynamic style rooted American aesthetics of the 1950s, Howard Chaykin is the quintessential New York comic author. Having got his break into comics with the help of Gil Kane and Neal Adams at DC, Chaykin has created a comics with themes of noir, sci-fi, action, fantasy, eroticism, crime, and sometimes combining all of the above. Chaykin came into renown in the 1980’s with his contributions to Heavy Metal, his take on the pulp hero The Shadow for DC, and his own sci-fi political satire, American Flagg!. Currently Chaykin is working with Fantastic Four and Sex Criminals scribe Matt Fraction on Satellite Sam for Image Comics.
You can follow Renzo on Twitter @RenzoAdler or email at
With attendance numbers at over a hundred-thousand, New York Comic Con at the Jacob Javits Center is an event that is so massive that it’s easy to get completely swept up and miss some of the finer details. But we at Film Festival Traveler wanted to take the time to give you some one-on-one with some great minds from the world of comics, both old and new and we are presenting a series of video interviews with some of the talented people that make events like NY Comic Con worth going to.
2000 AD started as a humble British sci-fi anthology comic magazine in 1977, and has since become a stable of top sci-fi and fantasy talent from Britain. Authors and creators like Neil Gaiman, Brian Bolland, Kevin O’Neil, and Grant Morrison either got their start at 2000 AD, or were regular contributors to it. Whenever the Big Two want to get some fresh talent, they look to 2000 AD’s crop of artists and authors. The most well known character to come out of 2000 AD is Judge Dredd, who since 1977 has been dishing out his own brand of the law in the dystopian Mega City One. The 2012 film Dredd, despite underperforming in the box office, has garnered a cult following, leading to the film’s executive producer, Adi Shankar, to create an unofficial sequel to the film in the form of an upcoming web series.But Dredd is only a small part of 2000 AD’s stable of characters, which includes Nemesis the Warlock by Kevin O’Neil (The League of Extraordinary Gentlemen), The Kingdom by Dan Abnett (Guardians of the Galaxy), and Nikolai Dante by Simon Fraser and Robbie Morrison. Nikolai Dante is about a carefree and swashbuckling rogue that was created at a time in comics when most heroes were brooding, gritting, and strictly wore black leather. We spoke with Dante’s creator, Fraser, and 2000 AD’s head of PR, Michael Molcher, about 2000 AD, the new British invasion, what is the deal with all these Doctor Who fans?
Video by Rishi Gandhi.
To learn more, go to: http://www.2000adonline.com/
You can follow Renzo on Twitter @RenzoAdler or email at
New York’s Valiant Entertainment began in the early 90’s when Marvel editors Jim Shooter and Bob Layton broke away to start a new kind of comic imprint founded on independent and artistic principles by and for creators. After generating a stable of offbeat but memorable heroes like Rai, Bloodshot, Quantum & Woody, and XO Manowar, Valiant suffered some turbulent years, which included a buyout by video game developer, Acclaim Entertainment, until 2004 when Acclaim shut down.
In 2005 Dinesh Shamdasani, an entrepreneur, and former Marvel president Peter Cuneo, purchased Valiant. Shamdasani has revitalized the company and brought back favorite Valiant characters along with new creations. Unveiled at NYCC, the super-event The Valiant, coming out in December 2014 by Jeff Lemire, Matt Kindt, and Paolo Rivera is garnering attention and is purported to be both a major story for all Valiant books, but also a good launching point for new fans. Shamdasani has helped make Valiant rise from the ashes and he took a moment to speak with us about this all new, all singing, and all dancing Valiant Entertainment and where it’s going.
To learn more, go to: http://valiantuniverse.com/
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