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I Heard You Paint Houses/ The Irishman

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©brad

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Reply #45 on: March 08, 2019, 07:53:23 PM
Nicely done.  Hope the film is as good as this teaser.

If I ran things all trailers would be this simple -  just text and VO and nothing else.


Drenk

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Reply #46 on: March 09, 2019, 06:41:45 AM
The first pages of this thread were fun to read again.

An answer to eward:

Personally, I think it will be really disappointing; I'm not familiar with the source material but I wonder why Scorsese wants to tell this story, why he needs that much money, and I don't think that it will be a hit. Can a Netflix movie be a hit? I don't even know. Why bother? They needs subscriptions and we'll never know how many people or money it will really make—this is abstract and can, therefore, make that kind of movie possible, but I'm worried that it doesn't also affect their existence. Netflix movies wither away more easily than other movies.

I'm curious as hell, though. Silence wasn't the disaster I expected like most of the "dream projects" are (remember Don Quixote by Gilliam? it was in cinemas in France for a week or two, people've seen it and all) but it was also not as strong as it should have been—as if, yes, it was too late. That director. That cast. That release. It will probably be spectral once the Oscar campaign is done. Or it will be halfway there? à la BlacKkKlansman?
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Gold Trumpet

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Reply #47 on: March 12, 2019, 02:39:36 PM
The first pages of this thread were fun to read again.

Haha, not as much for me. I needed to calm the fuck down.


eward

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Reply #48 on: March 12, 2019, 02:48:09 PM
It is rarely, if ever, advisable for one to go digging through old posts.
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Gold Trumpet

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Reply #49 on: March 12, 2019, 05:45:15 PM
Getting back to Scorsese, he's found more willingness to let his films breathe in the last 10 years. Silence could have been slimmed down and Wolf of Wall Street really should have had an editor focused more on trimming. Now, I don't mind he didn't (Wolf is hilarious and crazy all the way through). I imagine Netflix will allow his Scorsese's first cut on The Irishman to be his only cut if he wants it to be.

The question I have, sorta off topic, why can't he revisit Gangs of New York and re-edit that film to make it longer? It is the one film of his that really needs to be fleshed out more (and critics who have seen longer cuts say it is much better).


Fuzzy Dunlop

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Reply #50 on: March 12, 2019, 10:31:12 PM
The question I have, sorta off topic, why can't he revisit Gangs of New York and re-edit that film to make it longer? It is the one film of his that really needs to be fleshed out more (and critics who have seen longer cuts say it is much better).

Maybe a rights issue? Harvey was the one that took the scissors to it in the first place if memory serves. I'm guessing a longer cut does exist but I don't see anyone in the business of re-releasing old Weinstein stuff these days.

Would be cool to have a Criterion extended cut, maybe a version where someone loops over all of Cameron Diaz's dialogue. 



eward

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Reply #52 on: July 31, 2019, 07:22:04 AM
Yep this looks awesome

The face in the misty light...


Drenk

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Reply #53 on: July 31, 2019, 08:31:58 AM
Baaaaad trailer for such an hyped project. It looks generic as hell. Like some "prestige" TV series trying to imitate Scorsese.

Do they need the Netflix logo? It highens the direct to streaming feel of it all. They didn't add it to the trailer for Roma. EDIT: No logo on YouTube, cool. I watched it on Twitter.
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Shughes

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Reply #54 on: July 31, 2019, 10:01:01 AM
This looks ok. But as predicted the de-ageing is distracting as hell. I hope the story is strong enough that this feeling fades away whist watching.

There's nothing more interesting than human expressions, and they can't (successfully) be manipulated by VFX in my opinion. I doubt the effort will even be appreciated in the age of Deepfake. If you have to spend millions on this process then you've cast the wrong actor. If you need an actor to play ages ranging from younger to older aim for the middle and use make up and performance to age/de-age.

Also if the VFX look bad on a laptop screen the problem is only going to be (literally) magnified on the big screen. So maybe Netflix is the right home for this after all.

I know I sound negative but I'm rooting for this film to be a success. Early signs don't look good though.


eward

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Reply #55 on: July 31, 2019, 10:06:03 AM
Yeah Deniro's eyes look especially weird in that one reveal shot. We'll see how that all works out. Otherwise though, I find this trailer pretty diggable.
The face in the misty light...


wilberfan

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Reply #56 on: July 31, 2019, 10:18:42 AM
I'm gonna try dialing down my anticipation for this one.  I've been burned recently.   :yabbse-wink:
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Drenk

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Reply #57 on: July 31, 2019, 10:41:26 AM
"The best special effect is a special effect on the face of an actor." Paul Thomas Anderson
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Something Spanish

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Reply #58 on: July 31, 2019, 11:28:14 AM
fuck this looks incredible, now I have a new movie to obsess about post OUATIH


eward

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Reply #59 on: August 27, 2019, 05:33:46 PM
Netflix Forgoes Wide Release for Martin Scorsese's 'The Irishman'

The streamer and theater owners have been unable to reach a compromise that would allow the star-studded drama to play on thousands of screens across the country.
Not even a Martin Scorsese mob pic could bridge the divide between Netflix and cinema chains.

The streamer will forgo a wide theatrical release for Scorsese's The Irishman in order to make the film available to its subscribers as quickly as possible, a longstanding policy that doesn't fly with exhibitors. There had been rampant speculation that the Oscar-hungry Netflix might further soften its stance in regard to honoring theatrical windows, but in the end, it couldn't reach a compromise with chains including AMC and Cineplex.

The Irishman will open Nov. 1 in select indie cinemas willing to carry the drama. More than three weeks later — or 26 days to be exact — it will debut Nov. 27 on Netflix, much as Alfonso Cuarón's Oscar-nominated Roma did last year. This rules out the sort of big-screen blitz Scorsese and other seasoned directors are used to, unless something changes at the 11th hour. (The Irishman makes its world premiere Sept. 27 at the New York Film Festival, where it's the opening night film.)

Last year, Netflix acknowledged the value of the theatrical experience when announcing that Roma and other Oscar hopefuls would play exclusively in cinemas for two to three weeks before being made available to its subscribers. But that wasn't enough to appease all Oscar voters — or theater chains, which insist on a 90-day window between the time a title opens and is released on home entertainment (for digital sell-through, it can be 74 to 76 days).

When Roma lost the best picture race even while winning best director and best foreign language film, some cited the lack of box office grosses for the snub. According to sources, top Netflix executives and Scorsese himself immediately began a dialogue with theaters to see what could be done for The Irishman, starring Robert De Niro, Al Pacino, Joe Pesci and Harvey Keitel.

Scorsese has been nominated for the Oscar for best director eight times, more than any other living director. He's also a proven force at the box office. Hits include The Wolf of Wall Street, which grossed nearly $400 million globally, and the Oscar-winning The Departed ($291 million).

Based on the 2004 book I Heard You Paint Houses by Charles Brandt, The Irishman tells the deathbed story of a mob hit man who claimed to have had a role in the disappearance of Jimmy Hoffa.

Earlier this summer, sources say Netflix offered up a 30-day window before talks broke off.

In the weeks just before and after last year’s Oscars, some Academy members were debating proposing a rule that would have required a four-week exclusive release for a film to qualify for the industry’s highest honors. Ultimately that rule was never proposed, but Netflix’s minor expansion of its theatrical window this year suggests the streamer has been willing to inch closer to traditional business models for certain films with awards prospects (Roma's exclusive theatrical window was 23 days).

Last week, AMC CEO Adam Aron said in a statement that talks with Netflix had resumed, but that his company has to be mindful of its studio partners in terms of shortening the window. In the days since, Netflix and AMC weren't able to reach a compromise, according to sources.

Netflix is hardly alone in questioning the validity of the traditional 90-day theatrical window, considering that most films earn the majority of their gross in the first few weeks. And with the rise of other streaming services such as Disney+, the debate is sure to grow louder.

In the meantime, without the support of a chain like AMC, Netflix will continue to be relegated to playing its titles in indie cinemas such as the Landmark, iPic and Laemmle. (Netflix either rents the locations, known as "four walling," or pays generous terms.)

Netflix picked up The Irishman, costing as much as $200 million to produce, after Paramount stepped aside. Scorsese shot the movie on both film and digital and is relying on Industrial Light & Magic to de-age his principal cast for flashback sequences.

The Irishman will play first in cinemas in New York and Los Angeles before expanding into additional markets in the U.S. and the U.K. on Nov. 8. It will further expand on Nov. 15 and Nov. 22, according to Netflix.
The face in the misty light...