Birdman Group Analysis

[jhull]

OK, it looks like we have a split about 50/50, most like Fantasy/Worth for MC/IC (though Sam likes Security/Confidence), and its split between Skill/Ability for OS/RS and Experience/Desire for OS/RS.

So keeping those in mind, just focusing on the four elements beneath each Issue, and concentrating on the MC ONLY!, can you explain why you like those four elements? For the Fantasy people you have Test, Trust, Unending and Ending. For Security you have Cause, Effect, Result and Process. And please don’t make connection to other throughlines for now (just to keep it readable). Thanks!

[Alejandro]

Hi. Sorry for the previous post. This time I’ll only focus on the MC.

I can see Ending as Riggan coming to a conclusion. Reaching a point when he is considered a real actor. A milestone in his career. Even if he kind of feels unsatisfied once he achieves it. But I think he could perceive it as a conclusion. But that could be his drive.

I could also argue Unending - probably the play is just another step in his career, he’ll get other roles during his career. I’m not as convinced about it as being the source of his drive.

Test - He just can’t be considered a “real” actor because he says/thinks so. He has to test his ability, to demonstrate he can be a serious actor. Try it in “the real world”. That could also drive him.

Trust - his drive could also be derived from the fact that he accepts without trial he’s a great actor. Birdman questions him but as far as I remember he doesn’t question himself if he is a great actor or not. This, in fact, could be the “Unexpected Virtue of Ignorance”

[Jerome]

Is Fact off the table for the MC Issue? If so, is there a reason why?

[SPotter]

If Riggan’s issue of Fantasy is his dilusion of Birdman and the voice in his head then I see Trust as being a symptom of Raymond Carver telling him he has talent (a real actor) and Riggan has always trusted that to be true.
Now he is putting that to the Test to prove it to himself and the world. Testing he is more than Birdman.
The real problem for him is this Unending voice in his head. The voice of Birdman always telling him he is on the wrong path.
Ending the voice in his head will bring him relief.

(Now to argue my Security)

[jhull]

If you have an argument for the elements under Fact as pertaining to the source of Riggans problems then by all means go for it!

[SPotter]

When I say issue of Security I am thinking Riggan’s issue is insecurity. He is not secure in his skill as an artist and insecure about this whole project. He has a lot on the line with this play. Financially. His career. Reputation. Everything. He wants to be respected as a real artist.
He is not getting the Results he wants. Actors. Production.
So he focuses on the Process. Changing actors. His performance. The new actor, Mike, gives him more problems.
His insecurity is really the Effect of the Birdman Voice in his Head. He needs to work on the Cause by silencing the voice in his head.

[Jerome]

Don’t know if this will be of any help to others, but am reading these while trying to get a better grasp of issues.

http://dramatica.com/questions/concept/issue/all

EDIT: (Not sure if this helps, just wanted to throw it out there.)

Examples with MC Issue of Fantasy http://dramatica.com/analysis/examine/mc-issue/fantasy
Examples with MC Issue of Security http://dramatica.com/analysis/examine/mc-issue/security

EDIT: Yeah, Fantasy works better as the issue and Fact the counterpoint (I think). So Riggan wants to change his situation, earn recognition as a legitimate actor, and constantly gauges how things are going by how he is perceived by others (journalists, fellow actors, his estranged wife), but is haunted by an imaginary voice that keeps telling him everything he’s doing is bullshit.

Test - Riggan risks everything to put on a play and see if he can earn praise and recognition
Trust - Riggan finally accepts that he doesn’t even exist and is only what people perceive him to be
Unending - No matter what Riggan does, Birdman is a constant presence in his life
Ending - Riggan does everything in his power to suppress the voice of Birdman

[jhull]

@SPotter make sure you focus on Riggan’s personal issues. Your examples of Result and Process are more externally focused. If there was more evidence of problems he has with his own results and methods then I would think there is a problem there.

Ok. So let’s now look at the Overall Story Issue. Same thing make a case for your favorite group of 4 elements.

[SPotter]

Agreed. I like my Fantasy argument better. It helped to spell it out for myself. Fantasy was so much easier/stronger with the elements.

[Dan310]

I chose Experience as the Issue for OS.

Expectation/Determintation - The biggest representative of this for me is Riggan. He is pretty set on what he expects from this play. Others question his motives and judgement (Determination).

Accurate/Non-Accurate - Characters will do things they believe to be Accurate, such as giving a range of acting, or hiring well-known Broadway talents but others are there to misquote them, lie in interviews, urge them to get rid of fake-looking guns, tell them they don’t belong on Broadway, say they are pregnant when they are really not.

[jhull]

That’s good. Anyone else have an argument for another four?

[Jerome]

I’m finding this bit extremely hard to figure out. So many variations, all of them seemingly correct. So I’ll try Skill VS Experience…

Effect / Cause: “Are you going to Hollywood, Mike?” “No, Hollywood is coming here.” What are the repercussions for Broadway theatre to let a Hollywood celebrity write, direct and star in his own vanity project? What does it mean for those involved? What does it say about the world we live in?

Trust / Test: Everyone questions their actions, why are they here, what purpose do they serve. “This is about being respected and validated. That’s how you got me into this shit.”

Does that make sense?

[SPotter]

Skill. I have to get home from work first

[jhull]

Yes, great argument for Skill. We will see what @SPotter has to say about it as well, but for now without looking at the program what would you say the Problem and Solution would be for the Overall Story and the Main Character?

If you chose Fantasy for the Main Character (which everyone pretty much did), then the Problem/Solution will either be Test and Trust or Ending and Unending.

If you chose Skill for the Overall Story, then the Problem/Solution would either be Cause and Effect or Test and Trust.

If you chose Experience for the Overall Story, then the Problem/Solution would either be Expectation and Determination or Accurate and Non-Accurate.

Make sure you make an argument for both, and make sure you come up with why it is a problem for either the Main Character or the Overall Characters … we’re almost there!

[Dan310]

For MC
Problem Ending
Solution Unending

Riggan is preoccupied with trying to silence his inner Birdman. His resistance ends up stressing him out and making him feel he is losing his mind. If he chooses Unending, comes to terms with the idea that Birdman is here to stay, he will feel the comfort from a voice who isn’t afraid to tell him the “truth”.

For OS
Problem Determination
Solution Expectation

Riggan’s daughter, Sam is focused on why her father is attempting to put on this play. It fuels their conflict. Mike and Lesley are in conflict over how a scene is supposed to be played (when is authenticity over-board?). Mike and Riggan have a conflict about the nature of the significance of Raymond Carver writings on a cocktail napkin. Riggan is fueled over the motives of the theater critic.

The solution would be to focus on the end result. Sam would have to consider that her father would be a happier person if he were successful again. The critic would need to reserve her judgement until she’s actually seen the play. Mike would have to expect that his bedroom scene antics only make the play look silly and is an attraction for cheap headlines.

[Alejandro]

Without looking at the software and having argued for Fantasy I’d say:

MC Problem: Test - I think Riggan is driven/motivated to test his ability as a serious actor. Show it through the play and see if the people and critics agree or not.
MC Solution: Trust - He hopes to achieve his, the audience’s and critics trust that he is a serious actor without further proof.
OS Problem: Effect - All characters seem to be worried by how the play (and their individual performances) will be received by the audience and critics. This is more obvious for Riggan and Lesley. Mike shows how he is worried by the effect in his acting caused by replacing his gin.
OS Solution: Cause - Harmony would be restored if they would focus more on the cause instead of the effects. In this case, the effect being the reception to the play, the cause would be the play itself, doing their best without worrying if the audience and critics will like it. “Art for art’s sake”

[SPotter]

everyone is concerned with creating art or doing important things or concerned with doing itself.
The Issue is Skill (vs. Experience)
Do they have the aptitude to create art that matters. Do they have the innate ability.
The Critic is pissed off that Hollywood people think they can come to this town and create art. They "give each other awards for cartoons” They don’t have the skill. Any bartender or waiter in this town can do Shakespeare with more skill than the hollywood actor.
The new actor (Mike) has on over confidence of his skill.
The Actor/Director is concerned with his own skills AND every one else’s. He wants the show to have a great Effect on the audience (critics, peers, etc.) As the Producer/Director/writer/star he is so caught up with all the Causes(his writing, his performance, his directing, the other actors’ performance, his daughters sobriety, etc) that lead to his desired Effect he can’t focus. He is lost in it all. Overwhelmed.
The real problem is Trust. The Producer/Director/writer/star has no real trust in the final product. The other Actors and his Lawyer friend/Producer they all seem to be nervous and doubtful that the show will come off well. The critic has NO trust that the show will have any worth.
But the proof is in the pudding and the the ultimate test is opening night which is a success (solution)

(edit) How does Sam fit into all of that? Maybe that is why there is the second ending. For Sam. Maybe it’s not a broken story form but a second story form for Sam.

[SPotter]

“What would you say the Problem and Solution would be for
the Main Character?”

@SPotter

If Riggan’s issue of Fantasy is his dilusion of Birdman and the voice in his head then I see the real problem for him is this Unending voice in his head, the voice of Birdman always telling him he is on the wrong path. Ending the voice in his head will bring him relief.

[Jerome]

OS Problem: Test: Opening night approaches and the cast and crew are in the process of figuring out if they can actually get through the play without any hiccups.

OS Problem: Trust: Placing their trust in their training and rehearsals, the cast and crew have a terrific opening night.

MC Problem: Test: Riggan is trying to figure out if he can have a career outside of Birdman.

MC Problem: Trust: Riggan gives in to Birdman and has the performance of a lifetime (literally).

[jhull]

Sorry for the delay in responding here, I had the *Weekend of Dramatica" workshop to get ready for and do last weekend, and besides … I saw “Test” as the Problem several times and thought we were done!

I agree with those who see “Test” as the Problem both in the Overall Story and the Main Character Throughline. This is a Change story, which means those two throughlines will share the same Problem … but that is a bit of a cheat.

@Dan310 your arguments for Ending and Unending … your Unending actually sounds more like Trust to me. As mentioned previously, this whole thing is an effort by Riggan to validate himself (Test) and see what he can do. His Symptom is Unending – people will forever see him as the Birdman, and the only way to get past that is to bring those comments and opinions towards him to an end with his play.

Likewise I see TONS of Cause as Symptoms (that guy’s a bad actor, you’re deliberately ruining my play by really getting drunk, etc.) and the Response being towards Effect (dropping the light on the guy’s head, the audience’s reaction, etc.)

So if we’re all good we have:

Change
Stop
Do-er
Linear
Action
Optionlock
Success
Good
Activity
Doing
Skill
Test

Any additional comments?