Well, Irishman says otherwise. We'll see when this one comes out, though.
Yes, a guy with a distinguished 50+ year career as a professional filmmaker and a crew of some of the best collaborators in the business must not know what they're doing with budgets.
...and then Netflix picked it up and proved him right.Hugo and Silence proves your point there. Plus, all the major distributors passed on The Irishman because of its length and price tag.
Whelp, this is probably the wrong time to come in to say I REALLY didn't like The Irishman and think it embodies all the worst tendencies of Scorsese's career, especially the latter years...
But gosh do I hope someone manages to convince him to actually, you know, edit his movie this time around.
But gosh do I hope someone manages to convince him to actually, you know, edit his movie this time around.
Oh, wow, I didn't realize she did The Irishman. (I actually thought she was dead, for some reason ) Looking at the wiki, a lot of their recent collabs (Irishman most glaringly) just seem so uncharacteristic of her talents. She's a huge part of making Scorsese's legendary work as legendary as it is. But then you look at something like The Irishman, and it just feels like it's barely been edited at all beyond the technical level, just stringing every single scene and shot Scorsese thought up into one overlong stream of consciousness.
I make the same mistake sometimes, and I realized that I always mix up Schoonmaker and Sally Menke, Tarantino's longtime editor who worked on all of his films until her death in 2010.Oh, wow, I didn't realize she did The Irishman. (I actually thought she was dead, for some reason )
Ah, yes, I think that's my problem, too. Especially since both Scorsese and Tarantino's later work share the problem of not being cut sternly enough in the editing booth, IMO.I make the same mistake sometimes, and I realized that I always mix up Schoonmaker and Sally Menke, Tarantino's longtime editor who worked on all of his films until her death in 2010.
At least on that we can all agree.Worst part of The Irishman is an obviously elderly Robert De Niro (despite de-aging effects) beating up a guy in the street.
I am well aware of this. I spent many, many hours in the Edit Suites at college working on my film projects. My point is that my major issue with both "The Irishman" and "OUATOH" was with the pacing/final cut, which is ultimately dictated in the editing process. Personally, I find the pacing in both those movies atrocious. But I fully know I'm in the minority on that.An editor’s job isn’t just to make a movie shorter.
Whelp, this is probably the wrong time to come in to say I REALLY didn't like The Irishman and think it embodies all the worst tendencies of Scorsese's career, especially the latter years...
But gosh do I hope someone manages to convince him to actually, you know, edit his movie this time around.
Him reusing a similar template for a few movies is part of what makes them so interesting. THE IRISHMAN is great, but it's also fascinating when juxtaposed with GOODFELLAS. They have a similar energy and style, but they aren't about the same thing. There is a bleak, lonely, sadness to THE IRISHMAN that only an older filmmaker revisiting an old stomping ground would be able to tap in to.Filmmakers tend to revisit similar themes in different ways. Scorsese likes the rise and fall stories he just tells them in very different and exciting ways each time. Howard Hawks remade Rio Bravo twice.