For a final few months, Richard Linklater’s micro-budgeted, initial coming-of-age drama, “Boyhood,” has reigned autarchic as a slightest expected best design front-runner in a story of a Oscars, winning a Golden Globe, mixed critics prizes and a eternal supply of goodwill.
That kingpin standing altered this weekend as “Birdman,” a dark, gorgeous comedy about an actor attempting reinvention, took tip honors with a Producers Guild of America and a Screen Actors Guild. Suddenly, that “Boyhood” celebration during a Chateau Marmont progressing this month, a one with a cheuffer line stretching down Sunset Boulevard for blocks, seems a small reduction like a accession it did when Linklater and association were nod prolonged lines of well-wishers.
Today, pundits are jumping off a “Boyhood” bandwagon, and not but reason. “Birdman’s” SAG/PGA victories make it a formidible contender. While usually about 500 of a PGA’s 6,500 electorate also go to a academy, a guild uses a same favoured balloting complement as a Oscars. And given a organisation shifted to that system, mirroring a academy in 2009, each PGA leader has left on to win a best design Oscar.
The fact that actors, who make adult one-fifth of a academy’s membership, also like “Birdman” apparently bodes good for a chances. And while we could (and some have) boot a “Birdman” commend as an act of film attention self-love, a film’s themes — battling ego, determined to a improved self — are universal. “All of us have a Birdman,” Alejandro G. Inarritu, a movie’s executive and co-writer, pronounced during a Producers Guild breakfast Saturday. That’s a good hook, reaching over highly-strung actors to highly-strung people in general. Which, in Hollywood, flattering most encompasses everyone.