Titel, Inhalt und Besetzung sind noch unbekannt, aber Alejandro González Iñárritu soll sich auf den Dreh seines nächsten Films vorbereitet. So war Alejandro González Inárritu der erste mexikanische Regisseur, der für die Kategorie bester Regisseur bei den Oscars sowie für die des besten Regisseurs. Alejandro González Iñárritu (* August in Mexiko-Stadt) ist ein mexikanischer Filmregisseur, Drehbuchautor und Filmproduzent. Foto: Twentieth.
Cannes-Jurychef: Alejandro González IñárrituAlle Infos zu Alejandro González Iñárritu, bekannt aus Babel und 21 Gramm: Alejandro González Iñárritu ist ein mexikanischer Filmregisseur und -produzent. In der Hauptrolle: Pitt, Brad, Yakusho, Koji, Blanchett, Cate, et al. Regie: Inarritu, Alejandro Gonzalez · The Revenant - Der. Alejandro González Iñárritu (* August in Mexiko-Stadt) ist ein mexikanischer Filmregisseur, Drehbuchautor und Filmproduzent. Für seinen Film.
Iñárritu Navigációs menü VideoIÑÁRRITU’S VISUAL POETRY
Retrieved 24 February Chicago Tribune. Retrieved 25 January The New York Times. Golden Globe Awards.
The Guardian. Retrieved 28 June Retrieved 8 March The A. Retrieved 21 October Archived from the original on 12 September Retrieved 14 June BBC Online.
Retrieved 19 July International Business Times. Retrieved 27 October Palm Springs International Film Festival. Archived from the original on 14 October The Hollywood Reporter.
Retrieved 5 March Retrieved 18 July Archived from the original on 15 October Los Angeles Times. Scott 28 December Retrieved 22 May The Huffington Post.
Latin American Herald Tribune. Deadline Hollywood. Retrieved 29 July Throughout shooting, Arri Alexa cameras were used; an Alexa M was used for handheld sequences, and an Alexa XT was attached to the Steadicam.
Neither used matteboxes , however. Steadicam operator Chris Haarhoff explained this decision: "We didn't want this big black thing gliding into their eyeline.
This way we could get very close and get the light past the lens and onto the actor's face. The crew instead went to an 18mm Leica, which was used for the majority of the film.
Only when emphasis was needed did they switch the lens to a 14mm, but this was rare. Despite all the preparation, a typical shooting day would begin with rehearsals.
These usually lasted most of the morning, after which photography followed. Emma Stone, in an interview with Jimmy Fallon , recalled how a six-minute take of the scene where Riggan first meets Mike was ruined after she walked around a corner too quickly.
The locations sometimes placed restrictions on the takes too; the live Times Square sequence was shot only twice since they did not want to attract the attention of tourists.
Whenever shooting was taking place there was pressure on everyone involved, but the cast had a positive experience. Norton said that normally in movie production half the people can "check out" due to repetitive aspects, but during the shooting of Birdman , "everybody's on, the whole thing, and you're all on pins and needles because you're all relying on forty other people not to drop the ball".
Norton said: "I've never, ever been on a set where every day ended with an enormous, authentic sort of cheer at having made it. The score is offset by a number of well known classical music pieces, including Mahler and Tchaikovsky.
In comedy, rhythm is king, and not having the tools of editing to determine time and space, I knew I needed something to help me find the internal rhythm of the film.
There's no other movie I know that has a score like this. When the Academy of Motion Picture Arts and Sciences released their longlist for the Academy Award for Best Original Score in December , Birdman was absent from the list.
Ultimately, they did not overturn their decision. Birdman was edited by Douglas Crise and Stephen Mirrione , who had both worked with the director before on 21 Grams and Babel.
Stitching shots together was, of course, a crucial component of the editing, but Crise and Mirrione already had experience doing this. The director had included takes that were joined together in previous films, but in these if the editors didn't think the stitching worked they had the ability to introduce cuts.
Mirrione was busy and unable to be in New York. The director gave the New York recordings to Crise early on to help with pacing, asking him to cut the music to the film.
Still, in terms of the editing workflow, Crise described it as "pretty traditional". The editors cut the film together back in Los Angeles.
They always talk about how when you're cutting a dance scene, a choreographer wouldn't want any cuts because she's designing something to see the whole movement, and that's what Alejandro was doing here.
The visual effects for the film were created by Montreal studio Rodeo FX. For example, stitching shots together, or creating the background for the windows in the hospital scene.
To accomplish this the studio created a 2. They then rotoscoped out the parts of the mirror not containing the foreground actors and their reflections, and replaced these with the digital environment.
A matte-painting was constructed for the night-day time lapses in the film too, created by matchmoving and reprojecting shots of the buildings it features, captured at different times of the day, together.
Unlike some of the smaller adjustments though, the flying sequence required extensive preparation.
Later, on a greenstage in Montreal, using a technique he had developed on Gravity , Lubezki lit Keaton with LED panels featuring high-dynamic-range images of the surrounding New York footage.
The panels then realistically lit Keaton. Khanikian described the effect of the process, saying, "Instead of using standard lighting on greenscreen, [we were getting] the proper red bounce from the red bricks, and the same color of the sky reflected on Michael's head.
It worked so well. Mirrione commented that before the sequence was finished, they "had only imagined what it was going to feel like", but once it was completed, "it took the movie to this ecstatic level that absolutely blew me away".
The production sound his team was given was "surprisingly perfect and clean", so they didn't need to spend much time tidying it. Obviously, that would not work on Birdman because here, everything is flowing.
The digital intermediate was completed by a team at Technicolor led by Steven Scott. They had previously collaborated with Lubezki on Gravity ,  but needed to approach Birdman differently because of the continuous-shot approach.
According to Scott, "we have never done anything like it before". To do this, the team inserted their own cuts whenever the camera was stationary, and in the middle of pans and other camera movements.
They then devised a way to color correct the stationary cuts and turn the moving cuts into a form of dissolve, allowing them to "do all these independent, crazy, complicated, color corrections that would flow organically from one to another".
Inserting the dissolves required rotoscoping methods which the software Scott and his team were using did not have, but an enterprise agreement between Technicolor and the software's developer led to the creation of a tool Scott required.
For the color timing itself, one of the priorities of the team was making the faces as dimensional and readable as possible. This required, amongst other things, that faces be highlighted, but the moving camerawork meant that the mattes used in this process had to be animated by hand.
Lubezki would provide notes on the areas he wanted tracked, then the team would carry out the animations. The director has emphasized and defended the various ambiguities intentionally included in the film: "At the ending of the film, [it] can be interpreted as many ways as there are seats in the theater.
The father-daughter themes in the film, portrayed through the relationship of Riggan and Samantha, were the "most difficult" and important parts of the film to depict for co-writers Dinelaris and Giacobone, as they both had similar experiences within their families involving their own relationships with their daughters.
When the writers were asked about the meaning of the ambiguous ending which the director refused to comment upon, they stated that any comedic ending was completely ruled out.
The writers also stated that reflections about the conclusion to the film were not directly concentrated upon Riggan or the character of Birdman as much as upon the lives of the surviving characters portrayed in the film, in particular the portrayal of Riggan's daughter Samantha.
Mankiewicz i Orson Welles Michael Kanin i Ring Lardner, Jr. Marshman, Jr. Clarke Charles Brackett , Richard L. His characters are often unsympathetic and prone to mistakes.
His characters are often criminals or engage in illegal activities and often try to atone for Them. Films often take place in settings of poverty, squalor, and urban decay.
They often support each other. First Mexican citizen to receive an Academy Award nomination as 'Best Director'.
In at the '79th Academy Awards', he was one of ten Mexican 'Oscar' nominees. Member of the 'Official Competition' jury at the '64th Venice International Film Festival' in Has directed ten Academy Award-nominated performances: Michael Keaton , Leonardo DiCaprio , Tom Hardy , Naomi Watts , Edward Norton , Benicio Del Toro , Adriana Barraza , Rinko Kikuchi , Emma Stone and Javier Bardem.
DiCaprio won for his performance in The Revenant First Mexican director to win the 'Best Director' award Prix de la mise en scene at the Cannes Film Festival.
Crossing the Atlantic Ocean on a cargo ship at the age of 17 and 19 had a great influence on him as a filmmaker.
Was a DJ at the Mexican radio station WFM and later became the director. As a musician, he scored six Mexican films in the late s. Studied filmmaking under Polish director Ludwik Margules.
He was the first Mexican to be nominated. He is one of 3 directors who have won back-to-back. All of his full-length feature films received at least one Oscar nomination.
In he won all three for Birdman or The Unexpected Virtue of Ignorance The others are Francis Ford Coppola , Leo McCarey , Billy Wilder , James L.
Brooks , Peter Jackson , and Joel Coen and Ethan Coen. Became the first person to win the DGA Award for Feature Film two years in a row, first for Birdman or The Unexpected Virtue of Ignorance and then for The Revenant The first non-white Director to win consecutive Oscars for Best Director.
One of three people to win back-to-back Oscars for Best Director the others are: John Ford and Joseph L. Lewis Milestone also won two years in a row and , however, there were two Oscar ceremonies in Milestone won an Oscar for Best Director in the second award show of that year, while Frank Lloyd won in the first.
According to himself, a constant theme in his films is the filial relationship between father and son.
Andrei Rublev is his all-time favorite film. He is one of nine directors to have won the Golden Globe, Director's Guild, BAFTA, and Oscar for the same film, achieving this feat for The Revenant He was thirty-seven years old when he directed his first feature film.
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