When Paul Thomas Anderson took the world by storm with his second film, Boogie Nights, critics couldn’t help but compare him to a young Martin Scorsese. Anderson was obviously influenced by the filmmaker, and in the years since, they’ve become friends. For Scorsese’s previous film, Hugo, Anderson interviewed the director in Los Angeles and that happened again last week for Scorsese’s Oscar-nominated film, The Wolf of Wall Street. You can watch the thirty minutes of the exchange below. Read More »
Please Recommend /Film on Facebook
Most of us would pay money to work with Martin Scorsese. He’s one of the greatest filmmakers of all time, and a chance to spend time with him is priceless. The same thing, it seems, might be felt by actors. Jonah Hill was already an Oscar nominee before he got the part as Donnie Azoff in The Wolf of Wall Street, but Hill wanted the role so incredibly bad, he took a significant pay cut to star in the film. How much exactly? Read below. Read More »
There are a lot of complaints about over-reliance on CG in Hollywood films, and some of those gripes are on point. Films that go overboard with computer-generated creatures and digital doubles can quickly increase the distance between an audience and the story, rather than bridging it.
But a great many films use CG in ways that most audiences never think about while a film runs. Take Martin Scorsese‘s The Wolf of Wall Street. When Jordan Belfort goes to London to recruit Aunt Emma for a scheme, there’s a simple shot of Leonardo DiCaprio and Joanna Lumley walking into a flat. Think what’s on screen is what was shot on the day? Not really.
Or take the walk along a scenic quay, as seen above. The final shot is almost entirely a digital composite. Same for the white-collar prison where Jordan Belfort ends up, seen in a big crane-shot pullback. For even the most FX-savvy audiences, there are probably a couple shots in the film that didn’t ping as digital creations. Check out the great reel below. Read More »
Posted on Monday, January 13th, 2014 by Angie Han
One of the biggest breakouts of HBO’s Girls isn’t a girl at all. Adam Driver‘s name has cropped up in connection to everything from Batman vs. Superman to Star Wars Episode VII, and those are just his rumored roles. He’s actually appeared in projects directed by the likes of Noah Baumbach, Steven Spielberg, and the Coen Brothers. Not bad for a guy we hadn’t heard of two years ago.
Now it seems Martin Scorsese is the latest to take notice of this white-hot star. According to a new report, Driver is set to join Andrew Garfield and Ken Watanabe in Scorsese’s Silence, a drama set in 17th century Japan. Hit the jump for more details on the project.
Read More »
Depending on who you talk to in Hollywood, the future of the film industry is in question. Steven Spielberg and George Lucas said last year they think the machine will eventually break because of the massive budgets relied upon for major blockbusters. At the same time, filmmakers are crowdsourcing money to get their smaller, personal movies made for far less than the cost of your average summer movie. The spectrum is broad, and anything is possible.
When you’re talking about the film industry – past, present and future – it’s impossible not to mention Martin Scorsese. Not only has he made some of the best movies, but he continues to do so as he embraces new technology. He has a deeper knowledge of everything film than probably anyone.
So what does Scorsese think the future holds for cinema? He thinks it’s bright. In an open letter addressed to his daughter, The Wolf of Wall Street director points at technology and filmmakers like Wes Anderson, Richard Linklater, David Fincher, Alexander Payne, the Coen Brothers, James Gray and Paul Thomas Anderson as beacons of hope. Read More »
Who will be nominated for the Best Director Oscar this year? We’ve got a pretty good idea now that the nominations for the Directors Guild of America’s own awards have been handed down. Steve McQueen (12 Years a Slave), Alfonso Cuaron (Gravity), David O. Russell (American Hustle), Martin Scorsese (The Wolf of Wall Street) and Paul Greengrass (Captain Philips) have been honored with nominations for the 66th DGA award. Three of those (McQueen, Cuaron, Greengrass) are first-time DGA nominations.
Historically, this nomination set is a very good predictor of where the Oscars will go, but last year was a bit of a tradition breaker, as only two of the five DGA nominees got Oscar nominations, and the DGA winner, Ben Affleck, was not among them. (Ang Lee won the Oscar.)
Meanwhile, this is another major guild that has looked past Joel and Ethan Coen and Inside Llewyn Davis; Spike Jonze is another director of significant achievement in 2013 who didn’t get a nomination.
The full list of feature directorial nominations is below, with accompanying notes from the DGA. Read More »
The biggest debate over Martin Scorsese‘s current hit The Wolf of Wall Street hasn’t been its quality. Its been its ethics. The film shows stockbrokers lead by Jordan Belfort (Leonardo DiCaprio) abusing the legal and financial systems to ridiculous gain, only to blow it all on lavish possessions and parties. Some have said the film glorifies these actions. Others, and I’m in this camp, think it paints Belfort as a terrible person and ends up being a harsh criticism of America’s economic character.
Another reason for the controversy is the film features a cameo by Belfort himself, a convicted criminal and informant who is presumably profiting from both the movie and increased sales of his book on which Scorsese’s film is based. Since Belfort has failed to make the restitution payments mandated by his 2003 conviction — he’s got almost $100m to go — that’s been a huge sticking point for some.
However, Belfort has taken to social media to explain where his new money is going. While he will profit from the film, all of the money is being turned over to the government as continuted restitution for his years of criminal activity.
Read More »
Cool Posts From Around the Web:
Martin Scorsese‘s new film, The Wolf of Wall Street, is turning into one of the biggest firebrands of late 2013 as it provokes conversations about glorification versus excoriation of the film’s central character, and about our national obsession with getting rich. You won’t see too much of that in the official marketing, which is aimed squarely at getting across how much fun these characters have screwing people over. But it’s still there, and then when Scorsese and his collaborators have a chance to talk about the material it all starts to come out. Below we’ve got a couple official behind the scenes fluff pieces, and a couple of longer interviews that are much more in-depth. Read More »