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Post by Mattsby on May 10, 2019 19:36:26 GMT
Forgot if we posted this somewhere - Pacino is getting an American Icon Award in Beverly Hills on May 19 and there's confirmation today on some special guests....
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Post by pacinoyes on May 16, 2019 15:29:07 GMT
The most I think he's discussed the CGI - there's an audio interview in the link as well - which is well worth listening to in general too. This will either get you very worried or every excited related to the Irishman because this suggests its close but...... “When we put them all together and there are cuts back and forth........now I’m seeing [that] certain shots need more work on the eyes.......the wrinkles and things have changed. So it’s changed the eyes. If that’s the case, then [what] was in the eyes that I liked? Was an intensity, was it a gravitas. Was it threat........ don’t know.” www.slashfilm.com/the-irishman-cgi/
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Post by TerryMontana on May 16, 2019 16:38:04 GMT
I don't mind seeing no footage (and thus no trailer) until late summer or even early fall. What I mind is we get this movie by the end of the year with the sfx being really good.
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Post by Mattsby on May 17, 2019 2:48:16 GMT
Love that interview with Joanna Hogg - has a real mentor mentee feeling and you can tell they share a deep love of cinema. I hadn't heard some of the movie mentions - Lady in the Dark from '44 or the one Scorsese mentions quickly My Little Chickadee....
For those who haven't listened, Scorsese also says regarding The Irishman, "the actual title should be I Heard You Paint Houses." We're used to The Irishman now, though no question the other is the better title-- I wonder if Netflix made the final decision and why they'd go against Bobby and Marty's wishes dammit!
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Post by housepainter on May 20, 2019 19:37:32 GMT
Love that interview with Joanna Hogg - has a real mentor mentee feeling and you can tell they share a deep love of cinema. I hadn't heard some of the movie mentions - Lady in the Dark from '44 or the one Scorsese mentions quickly My Little Chickadee.... For those who haven't listened, Scorsese also says regarding The Irishman, "the actual title should be I Heard You Paint Houses." We're used to The Irishman now, though no question the other is the better title-- I wonder if Netflix made the final decision and why they'd go against Bobby and Marty's wishes dammit! Seems bizarre that Scorsese isn’t allowed to decide the name of his film! Could the title change before release? Probably not, given the trailer has officially kickstarted the marketing. I wouldn’t be surprised if we eventually discover he wasn’t involved in the making of that trailer, which would explain how awful it is!!
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Post by The_Cake_of_Roth on May 29, 2019 19:34:33 GMT
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Post by pacinoyes on May 29, 2019 19:41:20 GMT
I posted that full interview on the 16th above - and nothing Scorsese said has the "troubled" vibe that has been spun out of the actual interview online, so I wouldn't take a synopsis of the interview over the actual interview itself. It's quite misleading ......people want that trailer so bad...........they're reaching.
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Post by Leo_The_Last on Jun 2, 2019 22:31:43 GMT
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Post by Leo_The_Last on Jun 2, 2019 22:35:08 GMT
That CGI talk from Scorsese isn't reason to worry about anything at all, like some outlets make it seem to be (or not more reason to worry than what it's already known about a risky technological undertaking). His remarks show he knows about the pratfalls of the technology, beyond the obvious de-aging into what he knows about what makes movies/acting good. So it's rather the opposite.
It's funny not many are mentioning GoodFellas in regards to the "age problem" involved with this crime epic. Pesci was already too old for his part, De Niro/Conway is supposed to be his mentor and that of Henry Hill, and we all know Pesci is De Niro's age and not that of Liotta. Pesci had to convince Scorsese pretty heavily not to drop him from the Tommy part. In the end, no one complaint. I know, miles away from the situation in The Irishman, but still worth considering.
A question: Apart from Pesci in GoodFellas (and some early scenes with De Niro/Pesci in Casino), are there other prominent examples from the last couple of decades where they (un)successfully de-aged an actor/actress without CGI involved?
Here's a little bit more from producer Irwin Winkler (of course he only talks positively about the movie, but still). He says he saw a cut in April, that it's very great (like better than GoodFellas-great or something in that direction), the cut he saw was about 3 hours long and De Niro is apparently "so strong in it, you can't believe it" etc.
at 30:40 & 01:08:00
at 35:20
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Post by pacinoyes on Jun 2, 2019 23:10:23 GMT
I posted a trailer today of the movie called "The Kitchen" which has a CGI shot of Times Square that looks f'n ridiculous and I mention that because I think this year the Tarantino and Scorsese will likely be the last of these big budget recreation pieces - like how Tarantino transformed LA to 60s LA, well here Umberto's Clam House is going to well, you know, it's not going to be a CGI of it.
A couple points:
I don't see how OUATIH has the weight behind it now that it premiered at Cannes. I've already discussed that film so I won't bore everyone again but The Irishman now just seems like the much heavier dramatic piece. That Cannes premiere decreased my anticipation for it tbh.
I definitely think there will be an extended cut at some point so Netflix can get multiple revenue streams especially if it really is that good - so there really may be a 5 hour cut at some point as well.
The Venice Film Festival is last week of August-early September, Toronto first 2 weeks of September........if they want to make that we should start to hear some rumblings.....
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Post by Leo_The_Last on Jun 3, 2019 1:03:47 GMT
I agree with you pacinoyes, those massive productions, with (mostly) real sets/original (enhanced) location work and tons of real old school craft are a dying breed (though looking at the set pictures, Scorsese is also working with some green screen too, which is the norm today). I thought GONY seemed like the last of its kind back in the day, but there are still some filmmakers willing/powerful enough to put such a massive production together, the question is for how long. Could also be a big break for production designer Bob Shaw, who did great work on Vinyl and Boardwalk Empire (and Wolf). Wonder why Ferretti wasn't involved (or the great Kristi Zea). Hearing about how wonderful Tarantino and his team recreated 69' LA is one of the better things to look forward to regarding that film. I don't want to derail the thread, I was away for a couple of weeks and looked shortly what the discussion about OUATIH on these board is looking like, and just to mention it here, I guess I agree with you about that topic too (learn to love De Niro more then Al and we're BFF 😉). Maybe I'll pick up the discussion on the Tarantino thread some time later, but boy, if that movie is going to end like it seems to be... even if the last couple of minutes of it work... Tarantino, really..., maybe it's debatable how much self-doubt helps an artist, but being your own biggest fan certainly doesn't either. I don't get the praise post-JB Tarantino gets these days, even from critics like Gleiberman, Dargis and Bradshaw. I really don't know any other filmmaker in history who has actively built such a myth about his apparent cinematic genius and most people are buying it. It's likely I'm the problem and there's not that much to complain about, but I really don't get the hype about him nowadays, and I used to love him. I even think his films don't really work structurally, like he's just filming the first draft or whatever. He just seems like a sloppy writer to me these days, despite the fact that the writing process is so essential to his working method. He's still a massive talent, but all those smart folks buying the hype like he really is only getting better... ahh wrong thread. As for the Irishman premiere, I was considering flying down to Venice if it shows up there, but at the moment I rather think it's going to be a NYFF WP. Venice would be better for the Netflix guys, with all the international press and so, plus maybe Marty is willing to compete there (in contrast to Cannes). But for now NY seems more likely I think, it's a NY movie, there's his friend Kent Jones, he would have more time to finish it (not much though) etc. Regarding the length of it, 3 hours seems about right, I don't think it's going to be much longer or shorter than that. The pacing has to be right of course, so we'll see what Marty/Thelma think works best for the movie, but when it comes to a different, longer cut, delivered to and streamed by Netflix on a later date, as much as I would like to see it, and as much that there's talk about that around the internet, I don't think Scorsese is ever going to do that. He's a traditionalist when it comes to that, seeing himself in the tradition of the old studio mavericks he adores so much. The end product is going to be his vision, for which he will fight like a maniac, mixed with the commercial/creative battles that are happening behind the scenes, and that'll be it for him. That's just like the game works for him. I mean, he isn't even touching GONY, despite all the Weinstein bullshiting and the (rumored) existence of a (better) different cut of that movie. I'm sure Netflix would love a second version of The Irishman, but I doubt Scorsese is willing to deliver on that. The good thing is, this time with Sarandos and company, Scorsese has probably the biggest creative freedom since I don't know when, maybe even going back to his student days. And that on a 125++ million project!!
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Post by Leo_The_Last on Jun 4, 2019 22:08:43 GMT
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Post by futuretrunks on Jun 4, 2019 23:59:09 GMT
I agree with you pacinoyes , those massive productions, with (mostly) real sets/original (enhanced) location work and tons of real old school craft are a dying breed (though looking at the set pictures, Scorsese is also working with some green screen too, which is the norm today). I thought GONY seemed like the last of its kind back in the day, but there are still some filmmakers willing/powerful enough to put such a massive production together, the question is for how long. Could also be a big break for production designer Bob Shaw, who did great work on Vinyl and Boardwalk Empire (and Wolf). Wonder why Ferretti wasn't involved (or the great Kristi Zea). Hearing about how wonderful Tarantino and his team recreated 69' LA is one of the better things to look forward to regarding that film. I don't want to derail the thread, I was away for a couple of weeks and looked shortly what the discussion about OUATIH on these board is looking like, and just to mention it here, I guess I agree with you about that topic too (learn to love De Niro more then Al and we're BFF 😉). Maybe I'll pick up the discussion on the Tarantino thread some time later, but boy, if that movie is going to end like it seems to be... even if the last couple of minutes of it work... Tarantino, really..., maybe it's debatable how much self-doubt helps an artist, but being your own biggest fan certainly doesn't either. I don't get the praise post-JB Tarantino gets these days, even from critics like Gleiberman, Dargis and Bradshaw. I really don't know any other filmmaker in history who has actively built such a myth about his apparent cinematic genius and most people are buying it. It's likely I'm the problem and there's not that much to complain about, but I really don't get the hype about him nowadays, and I used to love him. I even think his films don't really work structurally, like he's just filming the first draft or whatever. He just seems like a sloppy writer to me these days, despite the fact that the writing process is so essential to his working method. He's still a massive talent, but all those smart folks buying the hype like he really is only getting better... ahh wrong thread.
As for the Irishman premiere, I was considering flying down to Venice if it shows up there, but at the moment I rather think it's going to be a NYFF WP. Venice would be better for the Netflix guys, with all the international press and so, plus maybe Marty is willing to compete there (in contrast to Cannes). But for now NY seems more likely I think, it's a NY movie, there's his friend Kent Jones, he would have more time to finish it (not much though) etc. Regarding the length of it, 3 hours seems about right, I don't think it's going to be much longer or shorter than that. The pacing has to be right of course, so we'll see what Marty/Thelma think works best for the movie, but when it comes to a different, longer cut, delivered to and streamed by Netflix on a later date, as much as I would like to see it, and as much that there's talk about that around the internet, I don't think Scorsese is ever going to do that. He's a traditionalist when it comes to that, seeing himself in the tradition of the old studio mavericks he adores so much. The end product is going to be his vision, for which he will fight like a maniac, mixed with the commercial/creative battles that are happening behind the scenes, and that'll be it for him. That's just like the game works for him. I mean, he isn't even touching GONY, despite all the Weinstein bullshiting and the (rumored) existence of a (better) different cut of that movie. I'm sure Netflix would love a second version of The Irishman, but I doubt Scorsese is willing to deliver on that. The good thing is, this time with Sarandos and company, Scorsese has probably the biggest creative freedom since I don't know when, maybe even going back to his student days. And that on a 125++ million project!! I have my own reservations about QT, at least compared to someone like 70s Coppola, but that brings to mind the question: who are you comparing QT to? I don't see anyone as fecund and interesting in his generation or younger over the past 20 years, and even among older folks I'd only consider Scorsese, Spielberg, and Woody Allen in the conversation. Soderbergh deliberately became minor after Traffic, besides his surprising work on The Knick. PTA makes poorly-scripted acts of wanton indulgence and pretension over and over again to hipster acclaim. Coens are incredible talents, but it's clear without Cormac's writing they wouldn't have been able to create something as grand as NCFOM, as nothing they've done before or since is remotely as amazing. Nolan has steadily risen in my estimation, even though I think Dunkirk a pointless exercise, but even he can't point to anything in his filmography nearly as stunning as pure film art as Pulp Fiction. So I'd say the hype around QT has to do with him representing an exemplar of "The Director" that hasn't really been followed up on satisfactorily. Damien Chazelle is interesting though.
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Post by Leo_The_Last on Jun 5, 2019 2:14:08 GMT
futuretrunksI don't really compare him to anyone. But I think he has become pretty lazy post Jackie Brown, or maybe Kill Bill. You're absolutely right about Pulp Fiction, pure magic. He had a great run, was a fresh/revolutionary voice during the 90's, giving us movies that worked equally well as riffs on genre conventions as they did as arthouse/grindhouse flicks. And he had a big impact on popular culture in general. And he's riding that reputation ever since (and most critics with him), without ever delivering anything close to what he did back then, especially with his first two movies. Popular culture has also moved on (but that's a structural question and not QT's fault), but he's treated like he's still at the epicentre of the zeitgeist. Like I've said, he is still a massive talent, and there are still great things in the pictures he did in the past two decades, not to mention they're better than 80% of what's out there. But he's indulgent nowadays, so much stoned by the hype/myth about that "Tarantino persona" he and the media have created around him that I don't even think he succeeds at what made those early flicks so special, like his dialogue or the set pieces or the way he shapes the narrative of his movies. The other younger directors you've mentioned have their own problems too of course (like everybody else has), but I think people like Anderson or Bennett Miller are tougher on themselves during their creative process. Tarantino is Tarantino's biggest fan, and I think that's partly the problem his movies don't work for me like they used to. But you're somehow right about PTA. I don't agree with you about the quality of his work, but the way the press looks at him is similar to the way they treat Tarantino (and to a lesser degree Nolan). Just some thoughts about some of the directors you've mentioned: I think Nolan hasn't made a better film than Memento, not many have in the last 20 years, and I would love to see him continue in that tradition, doing fresh takes on noir elements, making movies that are morally complicated, not primarily complicated in their logistics. And the Coens have made movies as profound as anything else out there decades before NCFOM I think.
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Post by Viced on Jun 25, 2019 20:21:45 GMT
Doing some spring (summer) cleaning today and came across a letter I wrote to my future self in my senior year of high school (2012)... lmaooooooo.
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Post by TerryMontana on Jun 26, 2019 15:18:35 GMT
Martin Scorsese's THE IRISHMAN Will Be Released on Netflix During Thanksgivinglink
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Post by TerryMontana on Jun 26, 2019 15:20:10 GMT
I don't know how credible this site is. The article is based on an Irwin Winkler's interview in Gilbert Gottfried’s Amazing Colossal podcast.
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Post by Viced on Jun 26, 2019 15:37:59 GMT
Senile Winkler said that on a podcast over a month ago... yet it's getting reported everywhere now.
Let's wait until Netflix says something.
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Post by TerryMontana on Jun 26, 2019 16:27:52 GMT
Senile Winkler said that on a podcast over a month ago... yet it's getting reported everywhere now. Let's wait until Netflix says something. The article I linked said Irwin, but ok... In Netflix by Thanksgiving (and having a minimum 2 week theater window) means that around mid-November, it's going to be in cinemas. Hopefully....
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Post by pacinoyes on Jul 17, 2019 10:42:34 GMT
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Post by TerryMontana on Jul 17, 2019 14:09:13 GMT
The article is based on a Fandango release date. How official can that be? I dunno. And if it gets released Nov 27th, it's gonna be on Netflix or theaters? No official word yet.
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Post by housepainter on Jul 26, 2019 11:43:08 GMT
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Post by TerryMontana on Jul 26, 2019 12:17:51 GMT
Shit, for a split second I thought you had posted a trailer...
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Post by housepainter on Jul 26, 2019 13:08:47 GMT
Shit, for a split second I thought you had posted a trailer... I wish. It'll be interesting to see whether Robertson has written an actual score or whether it's just an instrumental track here and there (like the one over the credits).
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Post by pacinoyes on Jul 28, 2019 10:41:52 GMT
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