A towering Robert De Niro, an against-type Leonardo DiCaprio and a magnetic Lily Gladstone shine in the director’s gripping account of a shocking episode in US history
There’s a perennial fascination in the films of Martin Scorsese with the notion of power – the structures of it, the layers to it, the flow of it. But it’s not so much the individual at the top of the ladder who seems to intrigue the director, but rather those a couple of rungs down. Characters such as dogged journeyman contract killer Frank Sheeran in The Irishman, or foot soldier Henry Hill in Goodfellas, clinging by his fingernails to the edge of the mob’s inner circle. And now, in Scorsese’s masterful adaptation of David Grann’s 2017 nonfiction book Killers of the Flower Moon, there’s hapless Ernest Burkhart (Leonardo DiCaprio), the dull-edged nephew of machiavellian cattle rancher William Hale,...
There’s a perennial fascination in the films of Martin Scorsese with the notion of power – the structures of it, the layers to it, the flow of it. But it’s not so much the individual at the top of the ladder who seems to intrigue the director, but rather those a couple of rungs down. Characters such as dogged journeyman contract killer Frank Sheeran in The Irishman, or foot soldier Henry Hill in Goodfellas, clinging by his fingernails to the edge of the mob’s inner circle. And now, in Scorsese’s masterful adaptation of David Grann’s 2017 nonfiction book Killers of the Flower Moon, there’s hapless Ernest Burkhart (Leonardo DiCaprio), the dull-edged nephew of machiavellian cattle rancher William Hale,...
- 10/22/2023
- by Wendy Ide
- The Guardian - Film News
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Martin Scorsese’s films have been resonating with audiences for decades, and he’s not done telling stories. Scorsese’s next project, “Killers of the Flower Moon,” chronicles the brutal murders of the Osage community — a Native American tribe from Osage County, Okla. who were slaughtered in the early 1900’s in what became known as the “Reign of Terror.”
The film was adapted from a nonfiction book by David Grann, and stars frequent Scorsese collaborators, Leonardo DiCaprio and Robert De Niro. The cast also includes Brendan Fraser, John Lithgow, Jesse Plemons, and Lily Gladstone.
For the Scorsese fans out there who love a good binge session, we rounded up a list of his...
Martin Scorsese’s films have been resonating with audiences for decades, and he’s not done telling stories. Scorsese’s next project, “Killers of the Flower Moon,” chronicles the brutal murders of the Osage community — a Native American tribe from Osage County, Okla. who were slaughtered in the early 1900’s in what became known as the “Reign of Terror.”
The film was adapted from a nonfiction book by David Grann, and stars frequent Scorsese collaborators, Leonardo DiCaprio and Robert De Niro. The cast also includes Brendan Fraser, John Lithgow, Jesse Plemons, and Lily Gladstone.
For the Scorsese fans out there who love a good binge session, we rounded up a list of his...
- 8/12/2021
- by Angel Saunders
- Indiewire
The Irishman
Blu ray
Criterion
2019 / 209 Min. / 1:85.1
Starring Robert De Niro, Joe Pesci, Al Pacino
Cinematography by Rodrigo Prieto
Directed by Martin Scorsese
Brotherhood, betrayal, bloodshed… memories are made of this. And these days memories are Frank Sheeran’s only companions. He was a man who engaged in crimes at the behest of some of the most powerful and dangerous men in the country, including the former Teamster head Jimmy Hoffa who disappeared in 1975. Frank took credit for that “disappearance” in a widely disputed confession to Charles Brandt, a writer who decided, like so many romantics, to print the legend.
Frank’s remembrances, both far-fetched and frighteningly credible, first appeared in Brandt’s 2004 book, I Heard You Paint Houses. Using Brandt’s work as a launching pad, Martin Scorsese began production in 2007 on what would eventually become 2019’s The Irishman. In some literary corners Brandt has been painted as unreliable as his subject—fortunately,...
Blu ray
Criterion
2019 / 209 Min. / 1:85.1
Starring Robert De Niro, Joe Pesci, Al Pacino
Cinematography by Rodrigo Prieto
Directed by Martin Scorsese
Brotherhood, betrayal, bloodshed… memories are made of this. And these days memories are Frank Sheeran’s only companions. He was a man who engaged in crimes at the behest of some of the most powerful and dangerous men in the country, including the former Teamster head Jimmy Hoffa who disappeared in 1975. Frank took credit for that “disappearance” in a widely disputed confession to Charles Brandt, a writer who decided, like so many romantics, to print the legend.
Frank’s remembrances, both far-fetched and frighteningly credible, first appeared in Brandt’s 2004 book, I Heard You Paint Houses. Using Brandt’s work as a launching pad, Martin Scorsese began production in 2007 on what would eventually become 2019’s The Irishman. In some literary corners Brandt has been painted as unreliable as his subject—fortunately,...
- 11/28/2020
- by Charlie Largent
- Trailers from Hell
Stars: Joe Pesci, Robert De Niro, Al Pacino, Harvey Keitel, Ray Romano, Bobby Cannavale, Anna Paquin, Stephen Graham | Written by Steven Zaillian | Directed by Martin Scorsese
It’s a strange thing, really, that until I had a chance to check out the new Criterion Blu-ray release of The Irishman, I hadn’t seen it. It had been one of those many films sitting on my “need to watch soon” list, yet I didn’t. Until now. Martin Scorsese has been a director I’ve had great respect for for many years, and I’m a fan of a whole bunch of his movies. Goodfellas, for my money, is the greatest mafia film out there, and other titles, like King of Comedy, Taxi Driver, The Wolf of Wall Street and Shutter Island, are also incredible. The Irishman, then, is one that I was excited to sit down and watch, albeit a year late.
It’s a strange thing, really, that until I had a chance to check out the new Criterion Blu-ray release of The Irishman, I hadn’t seen it. It had been one of those many films sitting on my “need to watch soon” list, yet I didn’t. Until now. Martin Scorsese has been a director I’ve had great respect for for many years, and I’m a fan of a whole bunch of his movies. Goodfellas, for my money, is the greatest mafia film out there, and other titles, like King of Comedy, Taxi Driver, The Wolf of Wall Street and Shutter Island, are also incredible. The Irishman, then, is one that I was excited to sit down and watch, albeit a year late.
- 11/26/2020
- by Chris Cummings
- Nerdly
Normal 0 false false false En-us X-none X-none
“I Heard You Paint Houses”
By Raymond Benson
It was a long time in gestation. The Irishman, also known as I Heard You Paint Houses (the original title and also the name of the book by Charles Brandt upon which it is based), is Martin Scorsese’s career-defining epic of a gangster film that is, more or less, a “best of” anthology of everything that gave the filmmaker’s crime pictures their buzz. But that doesn’t mean it isn’t unique and full of surprises.
At approximately 3-1/2 hours with no intermission, The Irishman is not only the longest picture Scorsese ever made, but also the most expensive. The key attraction to audiences is the combination of its powerhouse stars—Robert De Niro, Al Pacino, and Joe Pesci. Throw in Harvey Keitel, Ray Romano, Bobby Cannavale, Stephen Graham, and even Steven Van Zandt (as crooner Jerry Vale!
“I Heard You Paint Houses”
By Raymond Benson
It was a long time in gestation. The Irishman, also known as I Heard You Paint Houses (the original title and also the name of the book by Charles Brandt upon which it is based), is Martin Scorsese’s career-defining epic of a gangster film that is, more or less, a “best of” anthology of everything that gave the filmmaker’s crime pictures their buzz. But that doesn’t mean it isn’t unique and full of surprises.
At approximately 3-1/2 hours with no intermission, The Irishman is not only the longest picture Scorsese ever made, but also the most expensive. The key attraction to audiences is the combination of its powerhouse stars—Robert De Niro, Al Pacino, and Joe Pesci. Throw in Harvey Keitel, Ray Romano, Bobby Cannavale, Stephen Graham, and even Steven Van Zandt (as crooner Jerry Vale!
- 11/25/2020
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
It’s a bit of a tough break for writer/director Josh Trank, who seems to keep taking loss after loss, that his “comeback” movie “Capone” has the misfortune of arriving in the shadow of Martin Scorsese’s “The Irishman.” Both films utilize the last days of an aging mobster as their narrative backbone, then again, it’s unlikely many will compare the two films on their merits. While Scorsese utilizes Frank Sheeran hanging on the brink of death to explore morality and mortality in the gangster genre, what Trank has to say about a similar era in a dying man’s life is more nightmarish fever-dream clouded by paranoia and dread.
Continue reading ‘Capone’: Tom Hardy Goes For Broke, But Josh Trank’s Surreal Film Is Too Consumed With Paranoid Fever Dreams [Review] at The Playlist.
Continue reading ‘Capone’: Tom Hardy Goes For Broke, But Josh Trank’s Surreal Film Is Too Consumed With Paranoid Fever Dreams [Review] at The Playlist.
- 5/11/2020
- by Marshall Shaffer
- The Playlist
Exclusive: With heavy heart, author Don Winslow has cancelled plans for a 20-city book tour to promote his new book, Broken. It is no time to be traveling anywhere, much less to bookstores empty because of the Coronavirus scare, so instead he will launch with a “virtual tour” strategy. This is a dilemma that will face any author launching a book in this perilous corridor. Winslow is feeling down over the whole thing because the stops included the independent bookstores that helped turn him from a journeyman into a number one international bestselling author.
Broken is a collection of six short novels connected by themes of crime, corruption, vengeance, justice, loss, betrayal, guilt and redemption. The tour was set to begin April 6 and included stops in major cities across the country from Los Angeles to New York City. Major authors like Lee Child were set to introduce Winslow at sold out events.
Broken is a collection of six short novels connected by themes of crime, corruption, vengeance, justice, loss, betrayal, guilt and redemption. The tour was set to begin April 6 and included stops in major cities across the country from Los Angeles to New York City. Major authors like Lee Child were set to introduce Winslow at sold out events.
- 3/18/2020
- by Mike Fleming Jr
- Deadline Film + TV
Netflix knew. The executives smiled as they joined the shiny hordes walking into Hollywood’s Dolby Theater lobby on Oscar night, but their eyes held resignation. Martin Scorsese’s “The Irishman” had 10 Academy Award nominations, but it was going to go home empty handed.
Oscar pundits and the awards season circuit wrote the story weeks ago: It’s too long. It got boring. It’s Scorsese’s greatest hits. It doesn’t mean anything. As the Oscar night wore on, lobby chatter shifted to what went wrong. That Oscar campaign was huge, the best money could buy and Netflix still couldn’t overcome… what, exactly?
I’d submit that there are real reasons “The Irishman” was blanked at the Oscars, but Netflix did nothing wrong. The awards campaign wasn’t the problem, and neither was Scorsese’s movie. It wasn’t even the Academy’s would-be anti-Netflix bias. It was friction.
Oscar pundits and the awards season circuit wrote the story weeks ago: It’s too long. It got boring. It’s Scorsese’s greatest hits. It doesn’t mean anything. As the Oscar night wore on, lobby chatter shifted to what went wrong. That Oscar campaign was huge, the best money could buy and Netflix still couldn’t overcome… what, exactly?
I’d submit that there are real reasons “The Irishman” was blanked at the Oscars, but Netflix did nothing wrong. The awards campaign wasn’t the problem, and neither was Scorsese’s movie. It wasn’t even the Academy’s would-be anti-Netflix bias. It was friction.
- 2/10/2020
- by Dana Harris-Bridson
- Indiewire
Netflix’s “The Irishman” struck out at the Oscars on Sunday night, despite its 10 nominations.
Martin Scorsese’s sprawling three-and-a-half-hour look at a gangster’s life received 10 Academy Award nominations on Jan. 13 and came away empty-handed.
“The Irishman” has now joined five titles that amount to the Oscar snubs hall of fame that hit double figures in nominations, but wound up with nothing at the awards ceremonies. That roster is led by Steven Spielberg’s “The Color Purple” and Herbert Ross’ “The Turning Point,” which both received 11 nominations. “The Irishman” now joins three other films — Scorsese’s “Gangs of New York,” the Coen brothers’ “True Grit” and David O. Russell’s “American Hustle” — with 10 nominations and no wins.
Netflix also campaigned heavily for “Marriage Story,” which was nominated for six Oscars and won one for Laura Dern for supporting actress. The streamer netted two Oscar wins for the night, including best documentary for “American Factory.
Martin Scorsese’s sprawling three-and-a-half-hour look at a gangster’s life received 10 Academy Award nominations on Jan. 13 and came away empty-handed.
“The Irishman” has now joined five titles that amount to the Oscar snubs hall of fame that hit double figures in nominations, but wound up with nothing at the awards ceremonies. That roster is led by Steven Spielberg’s “The Color Purple” and Herbert Ross’ “The Turning Point,” which both received 11 nominations. “The Irishman” now joins three other films — Scorsese’s “Gangs of New York,” the Coen brothers’ “True Grit” and David O. Russell’s “American Hustle” — with 10 nominations and no wins.
Netflix also campaigned heavily for “Marriage Story,” which was nominated for six Oscars and won one for Laura Dern for supporting actress. The streamer netted two Oscar wins for the night, including best documentary for “American Factory.
- 2/10/2020
- by Dave McNary
- Variety Film + TV
Martin Scorsese gave Ilm special effects supervisor Pablo Helman the script for The Irishman in 2015 on the set of Silence, and he was hooked. It took the visual effects maestro and a team of 500 people four years to work with Scorsese to de-age Robert De Niro, Al Pacino, and Joe Pesci for the epic mob drama. Helman told me the 1,750 shots they created for the film is the most difficult work he’s done in his 30-year career.
During our conversation, Helman tells us every face, gesture, and movement in the film is intentional, with Scorsese utilizing the new technology Helman pioneered to reflect on the passage of time through Frank Sheeran’s memories–as if the character remembers his life of crime filtered through his current age and physical condition.
I spoke at length with Helman about transitioning from the helmet cams made famous by Star Wars: The Force Awakens...
During our conversation, Helman tells us every face, gesture, and movement in the film is intentional, with Scorsese utilizing the new technology Helman pioneered to reflect on the passage of time through Frank Sheeran’s memories–as if the character remembers his life of crime filtered through his current age and physical condition.
I spoke at length with Helman about transitioning from the helmet cams made famous by Star Wars: The Force Awakens...
- 2/5/2020
- by Joshua Encinias
- The Film Stage
Martin Scorsese has distilled a lifetime of expertise into this outstanding meditation on the mafia, ageing and the loss of agency
‘Three people can keep a secret only when two of them are dead.” This is the maxim of slot-mouthed hitman Frank Sheeran in The Irishman, the wintry and minor-key crime-conspiracy epic adapted for the screen by Steven Zaillian from Charles Brandt’s bestseller and directed by Martin Scorsese: produced by him and his star Robert De Niro, along with his longtime producing colleagues Irwin Winkler, Jane Rosenthal and Emma Tillinger Koskoff.
The three people with the terrible secret in this film are first Frank himself, second Russell Bufalino, the lizardly and quietly-spoken mafioso played by Joe Pesci, who brokers Frank’s promotion within the Teamsters union in the early 1960s, and third, the legendary Teamsters boss and Frank’s own father figure, Jimmy Hoffa, who famously disappeared in 1975: an ebullient,...
‘Three people can keep a secret only when two of them are dead.” This is the maxim of slot-mouthed hitman Frank Sheeran in The Irishman, the wintry and minor-key crime-conspiracy epic adapted for the screen by Steven Zaillian from Charles Brandt’s bestseller and directed by Martin Scorsese: produced by him and his star Robert De Niro, along with his longtime producing colleagues Irwin Winkler, Jane Rosenthal and Emma Tillinger Koskoff.
The three people with the terrible secret in this film are first Frank himself, second Russell Bufalino, the lizardly and quietly-spoken mafioso played by Joe Pesci, who brokers Frank’s promotion within the Teamsters union in the early 1960s, and third, the legendary Teamsters boss and Frank’s own father figure, Jimmy Hoffa, who famously disappeared in 1975: an ebullient,...
- 2/4/2020
- by Peter Bradshaw
- The Guardian - Film News
Let’s hear it for the period piece. That’s what this year’s Oscar race for Best Cinematography is about: Roger Deakins’ tour de force, continuous-shot choreography on “1917,” Sam Mendes’ World War I extravaganza; Robert Richardson’s colorful look at Quentin Tarantino’s “Once Upon a Time in Hollywood”; Rodrigo Prieto’s digital/Kodak 35mm film saga of mob life in Martin Scorsese’s “The Irishman”; Lawrence Sher’s large-format digital deep dive into a New York-infused Gotham City (circa ’81) for Todd Phillips’ “Joker”; and Jarin Blaschke’s black-and-white 35mm film rendering of 19th century Gothic horror for Robert Eggers’ “The Lighthouse.”
Deakins, though, is a shoo-in to win his second Oscar. That’s because “1917” was the must-see, theatrical event of the season, and because of its unique, almost video game-like, immersive quality, it packs a great deal of emotional intensity and intimacy in its heroic adventure. The cinematographer...
Deakins, though, is a shoo-in to win his second Oscar. That’s because “1917” was the must-see, theatrical event of the season, and because of its unique, almost video game-like, immersive quality, it packs a great deal of emotional intensity and intimacy in its heroic adventure. The cinematographer...
- 2/3/2020
- by Bill Desowitz
- Indiewire
When Martin Scorsese began to plan the period look of The Irishman, he spoke with three-time Oscar-nominated cinematographer Rodrigo Prieto about the notion of memory.
The Netflix drama follows hitman Frank Sheeran (Robert De Niro) as he looks back, in 2002, on his life. The bulk of his story takes place during a cross-country drive to Detroit during the '70s ("the present"), with flashbacks to the '50s and onward ("the past"). "Scorsese wanted the past to have a sense of memory, and he even said that it could have a feeling of a home ...
The Netflix drama follows hitman Frank Sheeran (Robert De Niro) as he looks back, in 2002, on his life. The bulk of his story takes place during a cross-country drive to Detroit during the '70s ("the present"), with flashbacks to the '50s and onward ("the past"). "Scorsese wanted the past to have a sense of memory, and he even said that it could have a feeling of a home ...
When Martin Scorsese began to plan the period look of The Irishman, he spoke with three-time Oscar-nominated cinematographer Rodrigo Prieto about the notion of memory.
The Netflix drama follows hitman Frank Sheeran (Robert De Niro) as he looks back, in 2002, on his life. The bulk of his story takes place during a cross-country drive to Detroit during the '70s ("the present"), with flashbacks to the '50s and onward ("the past"). "Scorsese wanted the past to have a sense of memory, and he even said that it could have a feeling of a home ...
The Netflix drama follows hitman Frank Sheeran (Robert De Niro) as he looks back, in 2002, on his life. The bulk of his story takes place during a cross-country drive to Detroit during the '70s ("the present"), with flashbacks to the '50s and onward ("the past"). "Scorsese wanted the past to have a sense of memory, and he even said that it could have a feeling of a home ...
Motion capture in one form or another has been around for decades, and certainly the most recognizable modern use comes from “The Lord of the Rings” films in which Andy Serkis portrayed the beady-eyed creature Gollum. The actor wore a special bodysuit, helmet and strategically placed markers so that each detail of the part computer-generated, part live-action performance appeared on screen.
Howver, the Pablo Helman-led Ilm visual-effects team behind “The Irishman” from Martin Scorsese didn’t have the luxury to use such technology.
The story chronicles the criminal and union ties between Frank Sheeran (Robert De Niro), notorious crime boss Russell Bufalino (Joe Pesci) and Teamsters leader Jimmy Hoffa (Al Pacino) over four decades. The iconic actors, now in their 70s, needed to appear younger in many scenes. To rejuvenate them, Scorsese didn’t want to use technology that could intrude or restrict the performances. The Ilm team took...
Howver, the Pablo Helman-led Ilm visual-effects team behind “The Irishman” from Martin Scorsese didn’t have the luxury to use such technology.
The story chronicles the criminal and union ties between Frank Sheeran (Robert De Niro), notorious crime boss Russell Bufalino (Joe Pesci) and Teamsters leader Jimmy Hoffa (Al Pacino) over four decades. The iconic actors, now in their 70s, needed to appear younger in many scenes. To rejuvenate them, Scorsese didn’t want to use technology that could intrude or restrict the performances. The Ilm team took...
- 2/3/2020
- by Daron James
- Variety Film + TV
Exclusive: Oscar conversations around town bring differing opinions about what might win in an exceptional year for auteur cinema. It was surprising how many people add: boy would it be nice to see Martin Scorsese get an Oscar for his final mob epic, The Irishman. Sure he won for The Departed, but he got robbed on Taxi Driver, Goodfellas, Raging Bull and Casino, those epics with Robert De Niro.
Scorsese shared with Deadline moments from those film collaborations with De Niro. Most know the hardship this film went through after De Niro and Scorsese decided to scrap a Paramount greenlit adaptation of the Don Winslow novel The Winter of Frankie Machine to instead make the film about union leader/hitman Frank Sheeran’s deathbed regret over crimes that included the murder of his best friend, Teamsters leader Jimmy Hoffa. The Irishman allowed Scorsese and De Niro to focus on the...
Scorsese shared with Deadline moments from those film collaborations with De Niro. Most know the hardship this film went through after De Niro and Scorsese decided to scrap a Paramount greenlit adaptation of the Don Winslow novel The Winter of Frankie Machine to instead make the film about union leader/hitman Frank Sheeran’s deathbed regret over crimes that included the murder of his best friend, Teamsters leader Jimmy Hoffa. The Irishman allowed Scorsese and De Niro to focus on the...
- 2/1/2020
- by Mike Fleming Jr
- Deadline Film + TV
Martin Scorsese and Jonah Hill star in a new Super Bowl ad for Coca-Cola Energy, the company’s latest soft drink to put a pep in your step, and possibly a stent in your heart (but this one’s completely taurine-free!). This charming Super Bowl commercial may not be “cinema” — and more of the sort of junk-food offerings akin to, say, a theme park! — but, as Frank Sheeran says in Scorsese’s Academy Award contender “The Irishman,” “It is what it is.” Watch the ad below.
Marking the biggest domestic push yet for Energy, Coca-Cola’s ad features Scorsese almost being stood up by Hill at a party, as Hill, sagged with the classic plight of all millennials, debates flaking on his pal and staying home on the couch. Thankfully, a 12-ounce can of Cola-Cola Energy changes Hill’s tune and sends him dashing to meet his friend. The frantic...
Marking the biggest domestic push yet for Energy, Coca-Cola’s ad features Scorsese almost being stood up by Hill at a party, as Hill, sagged with the classic plight of all millennials, debates flaking on his pal and staying home on the couch. Thankfully, a 12-ounce can of Cola-Cola Energy changes Hill’s tune and sends him dashing to meet his friend. The frantic...
- 2/1/2020
- by Ryan Lattanzio
- Indiewire
Bob Shaw has scored his first Oscar nomination, as production designer for “The Irishman.” The film looks at U.S. history through the eyes mafia hitman Frank Sheeran and his relationship with Teamsters boss Jimmy Hoffa. The epic entailed 108 shooting days, with several locations each day.
How did you start?
I decided at age 16 that I wanted to design scenery; I was thinking theater. I designed “The Mandrake” at the Public Theatre when I was 20, then at 23, I designed “The Pirates of Penzance” with Linda Ronstadt on Broadway, working with a really wonderful director named Wilford Leach.
“The Irishman” spans 50 years. What did that entail?
We built 28 sets and had 295 sets in all. Our locations were all over the place. There were a lot of locations that are only seen for a few moments.
After agreeing to do it, did you have a moment of doubt?
Usually I do.
How did you start?
I decided at age 16 that I wanted to design scenery; I was thinking theater. I designed “The Mandrake” at the Public Theatre when I was 20, then at 23, I designed “The Pirates of Penzance” with Linda Ronstadt on Broadway, working with a really wonderful director named Wilford Leach.
“The Irishman” spans 50 years. What did that entail?
We built 28 sets and had 295 sets in all. Our locations were all over the place. There were a lot of locations that are only seen for a few moments.
After agreeing to do it, did you have a moment of doubt?
Usually I do.
- 2/1/2020
- by Tim Gray
- Variety Film + TV
“Is this the real life? Is this just fantasy? Caught in a landslide, no escape from reality.”
A landslide, indeed. Blame the advent of 24-hour cable news, the popularity of reality TV or social media, which allows anyone to invent their own version of their life for public consumption on a daily basis. But biopics have over-run awards season of late while fictional features are becoming a rarity at this time of year, save for the constant stream of comic-book adventures.
Consider that in 1939, often referred to as the greatest year for movies in Hollywood history, all 10 Best Picture candidates – including the winner, “Gone With the Wind” – were based on fictional premises. In fact, only two biopics –“The Private Lives of Elizabeth and Essex” starring Bette Davis and Errol Flynn and “Young Mr. Lincoln” with Henry Fonda — settled for nominations in other categories but collected no wins that year.
Of course,...
A landslide, indeed. Blame the advent of 24-hour cable news, the popularity of reality TV or social media, which allows anyone to invent their own version of their life for public consumption on a daily basis. But biopics have over-run awards season of late while fictional features are becoming a rarity at this time of year, save for the constant stream of comic-book adventures.
Consider that in 1939, often referred to as the greatest year for movies in Hollywood history, all 10 Best Picture candidates – including the winner, “Gone With the Wind” – were based on fictional premises. In fact, only two biopics –“The Private Lives of Elizabeth and Essex” starring Bette Davis and Errol Flynn and “Young Mr. Lincoln” with Henry Fonda — settled for nominations in other categories but collected no wins that year.
Of course,...
- 1/31/2020
- by Susan Wloszczyna, Misty Holland and Chris Beachum
- Gold Derby
Bob Shaw has scored his first Oscar nomination, as production designer for “The Irishman,” one of 10 nominations for the Netflix film. “Irishman” looks at U.S. history through the eyes mafia hitman Frank Sheeran and his relationship with Teamsters boss Jimmy Hoffa. The epic entailed 108 shooting days, with several locations each day.
How did you start?
I decided at age 16 that I wanted to design scenery; I was thinking theater. I designed “The Mandrake” at the Public Theatre when I was 20, then at 23, I designed “The Pirates of Penzance” with Linda Ronstadt on Broadway, working with a really wonderful director named Wilford Leach.
“The Irishman” spans 50 years. What did that entail?
We built 28 sets and had 295 sets in all. Our locations were all over the place. There were a lot of locations that are only seen for a few moments.
After agreeing to do it, did you have a moment of doubt?...
How did you start?
I decided at age 16 that I wanted to design scenery; I was thinking theater. I designed “The Mandrake” at the Public Theatre when I was 20, then at 23, I designed “The Pirates of Penzance” with Linda Ronstadt on Broadway, working with a really wonderful director named Wilford Leach.
“The Irishman” spans 50 years. What did that entail?
We built 28 sets and had 295 sets in all. Our locations were all over the place. There were a lot of locations that are only seen for a few moments.
After agreeing to do it, did you have a moment of doubt?...
- 1/30/2020
- by Tim Gray
- Variety Film + TV
Great movies always speak directly to the here and now regardless of their actual settings. Taken together, six of 2019’s best-picture nominees manage to survey still-potent American themes across the span of the past century and a half.
“Little Women” is set during the Civil War, and while the adaptation, like Louisa May Alcott’s beloved novel, takes place far from those bloody battlegrounds, writer-director Greta Gerwig wants us to remember that all women were struggling for their own agency back then — and that the struggle continues on to this day. Most film versions of the Alcott classic, including a 1933 best picture nominee, fade in on a snow-covered country home and the four March girls’ readiness for Christmas. Gerwig’s “Little Women” fades in on a bustling city street, and an older Jo March’s readiness to play hardball with a (male) publisher. The filmmaker is signaling an interest in...
“Little Women” is set during the Civil War, and while the adaptation, like Louisa May Alcott’s beloved novel, takes place far from those bloody battlegrounds, writer-director Greta Gerwig wants us to remember that all women were struggling for their own agency back then — and that the struggle continues on to this day. Most film versions of the Alcott classic, including a 1933 best picture nominee, fade in on a snow-covered country home and the four March girls’ readiness for Christmas. Gerwig’s “Little Women” fades in on a bustling city street, and an older Jo March’s readiness to play hardball with a (male) publisher. The filmmaker is signaling an interest in...
- 1/30/2020
- by Bob Verini
- Variety Film + TV
Will love and mercy prevail again this year, or will one of the season’s darker offerings take home the ultimate prize? Last year, Peter Farrelly’s “Green Book” triumphed, its period story about a friendship that blossoms between a boisterous white bigot and a black, highly educated classical musician an unlikely balm at a time of rising racism and homophobia in America. It prevailed against contenders including Alfonso Cuarón’s “Roma,” a memoir exploring class tensions and a faltering marriage in Mexico.
This year’s Oscar nominees for best picture explore dark themes such as mental illness, economic inequities and revenge fantasies, their denouements ranging from bleak to hopeful. Two heavyweights are especially bleak: In “Joker,” a clown who desperately wants to succeed as a stand-up comic (Joaquin Phoenix) descends into madness in economically ravaged Gotham (acting as a stand-in for Reagan-era New York City), while a wily lower-class...
This year’s Oscar nominees for best picture explore dark themes such as mental illness, economic inequities and revenge fantasies, their denouements ranging from bleak to hopeful. Two heavyweights are especially bleak: In “Joker,” a clown who desperately wants to succeed as a stand-up comic (Joaquin Phoenix) descends into madness in economically ravaged Gotham (acting as a stand-in for Reagan-era New York City), while a wily lower-class...
- 1/27/2020
- by Diane Garrett
- Variety Film + TV
The numbers for “The Irishman” are staggering: 108 shooting days, 117 locations, 319 scenes, 160 actors, in a story spanning 50 years.
“I must say, it was no small feat,” laughs Emma Tillinger Koskoff, who is Oscar-nominated for the film, as well as for “Joker.”
“Irishman” is the story of Frank Sheeran (Robert De Niro) starting in 1956. But it’s basically a history of the U.S., with newsreel footage used to cover such events as the JFK assassination, the Apollo 11 moon landing, the Watergate hearings, etc.
“Logistically, this was complex and complicated. Thank God I have the greatest assistant-director department working today,” she says. “We had a very intricate model on each page of the day’s shooting script, telling you what location we were in, what year it was, what age the characters were. It had to be really clear.”
The Netflix film, directed by Martin Scorsese and scripted by Steven Zaillian, shot...
“I must say, it was no small feat,” laughs Emma Tillinger Koskoff, who is Oscar-nominated for the film, as well as for “Joker.”
“Irishman” is the story of Frank Sheeran (Robert De Niro) starting in 1956. But it’s basically a history of the U.S., with newsreel footage used to cover such events as the JFK assassination, the Apollo 11 moon landing, the Watergate hearings, etc.
“Logistically, this was complex and complicated. Thank God I have the greatest assistant-director department working today,” she says. “We had a very intricate model on each page of the day’s shooting script, telling you what location we were in, what year it was, what age the characters were. It had to be really clear.”
The Netflix film, directed by Martin Scorsese and scripted by Steven Zaillian, shot...
- 1/24/2020
- by Tim Gray
- Variety Film + TV
The numbers for “The Irishman” are staggering: 108 shooting days, 117 locations, 319 scenes, 160 actors, in a story spanning 50 years.
“I must say, it was no small feat,” laughs Emma Tillinger Koskoff, who is Oscar-nominated for the film, as well as for “Joker.”
“Irishman” is the story of Frank Sheeran (Robert De Niro) starting in 1956. But it’s basically a history of the U.S., with newsreel footage used to cover such events as the JFK assassination, the Apollo 11 moon landing, the Watergate hearings, etc.
“Logistically, this was complex and complicated. Thank God I have the greatest assistant-director department working today,” she says. “We had a very intricate model on each page of the day’s shooting script, telling you what location we were in, what year it was, what age the characters were. It had to be really clear.”
The Netflix film, directed by Martin Scorsese and scripted by Steven Zaillian, lensed...
“I must say, it was no small feat,” laughs Emma Tillinger Koskoff, who is Oscar-nominated for the film, as well as for “Joker.”
“Irishman” is the story of Frank Sheeran (Robert De Niro) starting in 1956. But it’s basically a history of the U.S., with newsreel footage used to cover such events as the JFK assassination, the Apollo 11 moon landing, the Watergate hearings, etc.
“Logistically, this was complex and complicated. Thank God I have the greatest assistant-director department working today,” she says. “We had a very intricate model on each page of the day’s shooting script, telling you what location we were in, what year it was, what age the characters were. It had to be really clear.”
The Netflix film, directed by Martin Scorsese and scripted by Steven Zaillian, lensed...
- 1/23/2020
- by Tim Gray
- Variety Film + TV
"It's a mix of relief and disbelief," says producer Jane Rosenthal of The Irishman's best picture nomination, more than a decade after she began work on the crime epic. As the longtime producing partner of Robert De Niro, Rosenthal became involved with the Netflix film — which tells the story of Mafia hitman Frank Sheeran (De Niro) and his claim to having killed Teamster union leader Jimmy Hoffa — in 2007.
At the time, Netflix was still a mail-order DVD rental service and the de-aging technology that would be required for De Niro to play Sheeran in ...
At the time, Netflix was still a mail-order DVD rental service and the de-aging technology that would be required for De Niro to play Sheeran in ...
- 1/23/2020
- The Hollywood Reporter - Movie News
"It's a mix of relief and disbelief," says producer Jane Rosenthal of The Irishman's best picture nomination, more than a decade after she began work on the crime epic. As the longtime producing partner of Robert De Niro, Rosenthal became involved with the Netflix film — which tells the story of Mafia hitman Frank Sheeran (De Niro) and his claim to having killed Teamster union leader Jimmy Hoffa — in 2007.
At the time, Netflix was still a mail-order DVD rental service and the de-aging technology that would be required for De Niro to play Sheeran in ...
At the time, Netflix was still a mail-order DVD rental service and the de-aging technology that would be required for De Niro to play Sheeran in ...
- 1/23/2020
- The Hollywood Reporter - Film + TV
“It’s like a marriage,” confesses costume designer Sandy Powell about collaborating with Christopher Peterson on “The Irishman.” Peterson explains, “We’re friends and share on common aesthetic. We don’t agree on everything but we keep talking about it until we do. Or one of us wins. Sandy’s an instinctual designer; I will over-research everything. And we meet somewhere in the middle.” Watch our exclusive video interview with the Oscar nominated designers above.
SEE2020 Oscar Nominations By Film: ‘Joker,’ ‘Irishman,’ ‘1917,’ ‘Once Upon A Time’ …
The Martin Scorsese film tells the true story of Frank Sheeran (Robert De Niro), a truck driver who becomes a hit man. The film uses de-aging technology in order to portray De Niro and other actors from the late 1940s to early 2000s. Peterson explains that for a costume designer “the challenge was to imagine what the actor was going to look like and...
SEE2020 Oscar Nominations By Film: ‘Joker,’ ‘Irishman,’ ‘1917,’ ‘Once Upon A Time’ …
The Martin Scorsese film tells the true story of Frank Sheeran (Robert De Niro), a truck driver who becomes a hit man. The film uses de-aging technology in order to portray De Niro and other actors from the late 1940s to early 2000s. Peterson explains that for a costume designer “the challenge was to imagine what the actor was going to look like and...
- 1/21/2020
- by Matt Noble
- Gold Derby
During the SAG Awards on Sunday, Twitter had a lot to say about Anna Paquin‘s lack of lines in The Irishman.
Presenting the Netflix film as one of the nominees for outstanding performance by a cast in a motion picture, Paquin, 37, gave a quick introduction to the movie, along with two of her costars, Ray Romano and Harvey Keitel.
Viewers on Twitter noted that the actress’ brief speaking engagement at the awards show marked more lines for Paquin than her character was given in the three-and-a-half-hour film itself.
The Oscar-winning actress only says a total of seven lines of...
Presenting the Netflix film as one of the nominees for outstanding performance by a cast in a motion picture, Paquin, 37, gave a quick introduction to the movie, along with two of her costars, Ray Romano and Harvey Keitel.
Viewers on Twitter noted that the actress’ brief speaking engagement at the awards show marked more lines for Paquin than her character was given in the three-and-a-half-hour film itself.
The Oscar-winning actress only says a total of seven lines of...
- 1/20/2020
- by Benjamin VanHoose
- PEOPLE.com
The 2020 SAG Awards have come and gone, with the first award of the evening going to “The Marvelous Mrs. Maisel” star Tony Shalhoub for Male Actor in a Comedy Series and the last to “Parasite” for Best Cast in a Motion Picture.
Phoebe Waller-Bridge won the award for Best Female Actor in a Comedy Series for “Fleabag,” while the Best Ensemble in a Comedy Series went to “The Marvelous Mrs. Maisel.” Its star, Rachel Brosnahan paid tribute to Brian Tarantina, who played Jackie the emcee at the Gaslight comedy club and died in November at the age of 60.
Laura Dern won Best Supporting Actress for her role in “Marriage Story.” Brad Pitt won for his role in “Once Upon a Time… in Hollywood.” “The Crown” won Best Ensemble in a Drama Series. Joaquin Phoenix won Best Lead Actor for “Joker,” while Renee Zellweger won Best Lead Actress for “Judy.”
Also...
Phoebe Waller-Bridge won the award for Best Female Actor in a Comedy Series for “Fleabag,” while the Best Ensemble in a Comedy Series went to “The Marvelous Mrs. Maisel.” Its star, Rachel Brosnahan paid tribute to Brian Tarantina, who played Jackie the emcee at the Gaslight comedy club and died in November at the age of 60.
Laura Dern won Best Supporting Actress for her role in “Marriage Story.” Brad Pitt won for his role in “Once Upon a Time… in Hollywood.” “The Crown” won Best Ensemble in a Drama Series. Joaquin Phoenix won Best Lead Actor for “Joker,” while Renee Zellweger won Best Lead Actress for “Judy.”
Also...
- 1/20/2020
- by Beatrice Verhoeven
- The Wrap
This year’s Oscar race for cinematography is dedicated to period pieces: Roger Deakins’ tour de force, continuous-shot experiment for “1917,” Sam Mendes’ bold World War I thriller; Robert Richardson’s colorful look at Quentin Tarantino’s “Once Upon a Time in Hollywood,” Rodrigo Prieto’s digital/Kodak 35mm film saga of mob life in Martin Scorsese’s “The Irishman,” Lawrence Sher’s large-format digital deep dive into a New York-infused Gotham City (circa ’81) for Todd Phillips’ “Joker,” and Jarin Blaschke’s black-and-white 35mm film rendering of 1890s Gothic psychological horror for Robert Eggers’ “The Lighthouse.”
Once Deakins wrapped his head around the continuous-shot concept, he worked out the entire movie with Mendes and the crew as a choreographed dance with George MacKay and Dean-Charles Chapman as the two British soldiers, Schofield, and Blake. He used Arri’s brand new Alexa Mini Lf, the lightweight, large-format version of the Lf, and an assortment of creative rigs.
Once Deakins wrapped his head around the continuous-shot concept, he worked out the entire movie with Mendes and the crew as a choreographed dance with George MacKay and Dean-Charles Chapman as the two British soldiers, Schofield, and Blake. He used Arri’s brand new Alexa Mini Lf, the lightweight, large-format version of the Lf, and an assortment of creative rigs.
- 1/20/2020
- by Bill Desowitz
- Indiewire
Period costumes this season run the gamut from Hollywood counterculture, to mob fashion, to DC’s legendary comic book villain, to the reinvention of Louisa May Alcott’s beloved characters, to chic fashion statements in war-torn Nazi Germany.
For Quentin Tarantino’s “Once Upon a Time in Hollywood,” Arianne Phillips created contrasting iconic looks (circa 1969) for Leonardo DiCaprio’s has-been actor, Brad Pitt’s rugged stunt man, and Margot Robbie’s angelic Sharon Tate. It’s turtlenecks and leather for DiCaprio, Hawaiian shirt and denim for Pitt, and yellow hot pants and go-go boots for Robbie, among other vintage looks.
Three-time Oscar-winning costume designer Sandy Powell did less flamboyant work with co-designer Christopher Peterson on Martin Scorsese’s mobster epic, “The Irishman.” They made different looking threads for Robert De Niro’s mob hitman, Frank Sheeran, Al Pacino’s Teamsters leader, Jimmy Hoffa, and Joe Pesci’s crime boss, Russell Bufalino.
For Quentin Tarantino’s “Once Upon a Time in Hollywood,” Arianne Phillips created contrasting iconic looks (circa 1969) for Leonardo DiCaprio’s has-been actor, Brad Pitt’s rugged stunt man, and Margot Robbie’s angelic Sharon Tate. It’s turtlenecks and leather for DiCaprio, Hawaiian shirt and denim for Pitt, and yellow hot pants and go-go boots for Robbie, among other vintage looks.
Three-time Oscar-winning costume designer Sandy Powell did less flamboyant work with co-designer Christopher Peterson on Martin Scorsese’s mobster epic, “The Irishman.” They made different looking threads for Robert De Niro’s mob hitman, Frank Sheeran, Al Pacino’s Teamsters leader, Jimmy Hoffa, and Joe Pesci’s crime boss, Russell Bufalino.
- 1/19/2020
- by Bill Desowitz
- Indiewire
Robert De Niro is a big winner. It’s the afternoon of the AFI Luncheon, honoring the best in film and television, and De Niro has just left the ceremony with three certificates. “There they are, yeah,” he gestures to a table in his hotel room at the Four Seasons when asked, as if it’s no big deal. Because De Niro, widely considered one of the Greatest of All Time, makes it look easy.
The three awards are actually for his producing work: for the Netflix miniseries “When They See Us” and two films he also appears in, “Joker” and “The Irishman.” Accolades are nothing new to De Niro; he’s a multiple Oscar nominee, a nine-time Golden Globe nominee (he won for “Raging Bull” and received the Cecil B. DeMille Award in 2011), and a five-time SAG Award nominee, including this year for his work in the “Irishman” ensemble.
The three awards are actually for his producing work: for the Netflix miniseries “When They See Us” and two films he also appears in, “Joker” and “The Irishman.” Accolades are nothing new to De Niro; he’s a multiple Oscar nominee, a nine-time Golden Globe nominee (he won for “Raging Bull” and received the Cecil B. DeMille Award in 2011), and a five-time SAG Award nominee, including this year for his work in the “Irishman” ensemble.
- 1/17/2020
- by Jenelle Riley
- Variety Film + TV
This year’s Best Editing Oscar race among “The Irishman,” “Parasite,” “Joker,” “Ford v Ferrari,” and “Jojo Rabbit” is marked by unconventional characters and demanding narratives. There are complicated flashbacks (“The Irishman”), an unreliable narrator (“Joker”), imaginary relationships, a tricky two-hander (“Ford v Ferrari”), and a volatile ensemble piece (“Parasite”). And they all possess dream-like qualities to their life lessons.
“The Irishman” marks Martin Scorsese’s summary movie about mob life told from the perspective of hitman Frank Sheeran (Robert De Niro), who recounts his conflicted life in trying to appease both crime boss Russell Bufalino (Joe Pesci) and Teamsters leader Jimmy Hoffa (Al Pacino). “It’s a different view of mob rule than Marty’s previous movies,” said three-time Oscar winner Thelma Schoonmaker, the director’s long-time editor of nearly 40 years. “He wanted to do brushstrokes with history that were relevant to the characters, not make a documentary about Jimmy Hoffa.
“The Irishman” marks Martin Scorsese’s summary movie about mob life told from the perspective of hitman Frank Sheeran (Robert De Niro), who recounts his conflicted life in trying to appease both crime boss Russell Bufalino (Joe Pesci) and Teamsters leader Jimmy Hoffa (Al Pacino). “It’s a different view of mob rule than Marty’s previous movies,” said three-time Oscar winner Thelma Schoonmaker, the director’s long-time editor of nearly 40 years. “He wanted to do brushstrokes with history that were relevant to the characters, not make a documentary about Jimmy Hoffa.
- 1/16/2020
- by Bill Desowitz
- Indiewire
Al Pacino is basking in his Academy Award nomination for The Irishman.
The actor, 79, spoke to People about the honor on Tuesday while promoting his upcoming show Hunters at the Television Critics Association press tour.
This is Pacino’s first Oscar nomination since his 1993 win for Best Actor in Scent of a Woman. He was also up for a second nomination that year for Best Supporting Actor in Glengarry Glen Ross.
“The idea of it being the first [nomination] in a long time, well, that’s cool,” Pacino said. “But I guess, just getting an Oscar nomination, it’s just, how...
The actor, 79, spoke to People about the honor on Tuesday while promoting his upcoming show Hunters at the Television Critics Association press tour.
This is Pacino’s first Oscar nomination since his 1993 win for Best Actor in Scent of a Woman. He was also up for a second nomination that year for Best Supporting Actor in Glengarry Glen Ross.
“The idea of it being the first [nomination] in a long time, well, that’s cool,” Pacino said. “But I guess, just getting an Oscar nomination, it’s just, how...
- 1/16/2020
- by Alexia Fernandez, Scott Huver
- PEOPLE.com
Today, the Motion Picture Academy nominated nine films for the Best Picture Oscar, and I have reviewed all of them here at Deadline over the past few months.
To say the Academy and I are pretty much on the same page as far as the best movies of 2019 is an understatement. Of the nine nominees, seven also appear on my own Top 10 list for the year. Once Upon a Time in Hollywood, 1917, Parasite and Ford v Ferrari were my top four in that order, while Jojo Rabbit, Joker and Marriage Story also were included on my best-of roster. It marks the best correlation I have ever had with Oscar.
It was a very good year for film, and I am happy to say I gave positive reviews to all nine nominees, each one definitely worth checking out. You can do exactly that by clicking the link on each film’s title below.
To say the Academy and I are pretty much on the same page as far as the best movies of 2019 is an understatement. Of the nine nominees, seven also appear on my own Top 10 list for the year. Once Upon a Time in Hollywood, 1917, Parasite and Ford v Ferrari were my top four in that order, while Jojo Rabbit, Joker and Marriage Story also were included on my best-of roster. It marks the best correlation I have ever had with Oscar.
It was a very good year for film, and I am happy to say I gave positive reviews to all nine nominees, each one definitely worth checking out. You can do exactly that by clicking the link on each film’s title below.
- 1/13/2020
- by Pete Hammond
- Deadline Film + TV
Seems to me that only in a very good year for movies could the best film I saw all year and the worst film I saw all year both be called Parasite. Of course, one was the Cannes sensation and sure-to-be-Oscar-nominated South Korean film from Bong Joon Ho. The other was the 1982 3-D “classic” from director Charles Band, starring Demi Moore and Luca Bercovici, a movie which, once I finally caught up with it, or rather once it finally caught up with me (after my having successfully avoided it for almost 40 years), certainly made for an agonizing waste of my time, so I can only imagine what the actors and craftspeople who were involved with making it must have felt, and likely still do. And I consider it a real hallmark of a quality cinema annum when I can say that I saw more movies by near-forgotten Hollywood journeymen Ray Enright...
- 1/12/2020
- by Dennis Cozzalio
- Trailers from Hell
The Irishman might be considered one of the best movies of 2019, but not every one of the over 26 million people who watched it are happy with what they saw. One of those very disgruntled viewers is Jack Goldsmith, who’s the real-life stepson of Chuckie O’Brien (played by Jesse Plemons in the film).
In the flick, O’Brien is depicted as Jimmy Hoffa’s loyal yet distant foster son who unwittingly becomes an accomplice in the notorious gangster’s murder. According to Goldsmith, however, their relationship was actually much more similar to the one that Hoffa and Frank Sheeran are shown as having.
In his own words:
“What Mr. Scorsese did, in effect, was to place Mr. Sheeran in Chuckie’s role in Mr. Hoffa’s life. It was Chuckie, not Mr. Sheeran, who for decades served as Mr. Hoffa’s “intimate companion, driver, bodyguard and special troubleshooter,” as the...
In the flick, O’Brien is depicted as Jimmy Hoffa’s loyal yet distant foster son who unwittingly becomes an accomplice in the notorious gangster’s murder. According to Goldsmith, however, their relationship was actually much more similar to the one that Hoffa and Frank Sheeran are shown as having.
In his own words:
“What Mr. Scorsese did, in effect, was to place Mr. Sheeran in Chuckie’s role in Mr. Hoffa’s life. It was Chuckie, not Mr. Sheeran, who for decades served as Mr. Hoffa’s “intimate companion, driver, bodyguard and special troubleshooter,” as the...
- 1/9/2020
- by Evan Lewis
- We Got This Covered
Rob Lowe has seemingly just earned bragging rights over one of the biggest directors in Hollywood!
The actor, 55, spoke to reporters at the Television Critics Association while promoting his Fox show 911: Lone Star where he claimed his Netflix Christmas film, Holiday in the Wild, surpassed Martin Scorsese‘s The Irishman in terms of viewership.
When asked about filming locations, Lowe said he doesn’t “care where I’m working as long as it’s with people I like, people I like to work with and are telling good stories.”
“I just did a movie for Netflix, it was the...
The actor, 55, spoke to reporters at the Television Critics Association while promoting his Fox show 911: Lone Star where he claimed his Netflix Christmas film, Holiday in the Wild, surpassed Martin Scorsese‘s The Irishman in terms of viewership.
When asked about filming locations, Lowe said he doesn’t “care where I’m working as long as it’s with people I like, people I like to work with and are telling good stories.”
“I just did a movie for Netflix, it was the...
- 1/7/2020
- by Alexia Fernandez, Christina Dugan
- PEOPLE.com
Production designer Bob Shaw reveals, “We had 295 locations and we built 28 sets” for “The Irishman.” Upon first reading Steven Zaillian‘s script for Martin Scorsese‘s gangland epic, it was “quite clear how expansive the project was, and not only how many locations there were and how many things that had to be found, but often what a brief period of time we would spend in any of these given locations.” Watch our exclusive video interview with Shaw above.
The Netflix release tells the true story of Frank Sheeran (Robert De Niro), a working class truck driver who became a hit man in league with Teamsters honcho Jimmy Hoffa (Al Pacino) and Mafia bigwig Russell Bufalino (Joe Pesci). Spanning the late 1940s through the early 2000s, the film was a daunting challenge for any designer, especially considering the number of sets needed for the three-and-a-half-hour saga. “We would find something...
The Netflix release tells the true story of Frank Sheeran (Robert De Niro), a working class truck driver who became a hit man in league with Teamsters honcho Jimmy Hoffa (Al Pacino) and Mafia bigwig Russell Bufalino (Joe Pesci). Spanning the late 1940s through the early 2000s, the film was a daunting challenge for any designer, especially considering the number of sets needed for the three-and-a-half-hour saga. “We would find something...
- 1/6/2020
- by Zach Laws
- Gold Derby
In a year which has included tales of a mad titan battling superheroes through time and space and adventures in a galaxy far, far away, Martin Scorsese's The Irishman still stands as one of the most ambitious films of the year. The Irishman starred Robert De Niro as Frank Sheeran, a truck driver who became a hitman involved with mob boss Russell Bufalino (Joe Pesci) as well as Jimmy Hoffa (Al Pacino), the powerful head of the International Brotherhood of Teamsters. As the story of The Irishman…...
- 1/4/2020
- by Kevin Fraser
- JoBlo.com
“Tomorrow I’ll be presenting [Martin Scorsese] with the 2020 Kim Jong Un Humanitarian Award and after that the big one — the Kids’ Choice Award,” Robert De Niro quipped in his opening remarks upon receiving the Variety Creative Impact in Acting Award at the Variety Creative Impact Awards and 10 Directors to Watch Brunch Presented by AT&T on Friday morning. “It’s what we do,” De Niro laughed.
Scorsese, who was at the Parker Palm Springs to introduce “The Irishman” star and longtime professional collaborator, called De Niro “the greatest actor of his generation” whose “creative impact in acting will always be felt so long as there are actors to express their art.”
Scorsese made note of the nine films he and De Niro have made together, adding that “God willing, we’re on the tenth, with Leo [DiCaprio].”
“We met when we were 16 years old,” Scorsese said of fellow New Yorker De Niro.
Scorsese, who was at the Parker Palm Springs to introduce “The Irishman” star and longtime professional collaborator, called De Niro “the greatest actor of his generation” whose “creative impact in acting will always be felt so long as there are actors to express their art.”
Scorsese made note of the nine films he and De Niro have made together, adding that “God willing, we’re on the tenth, with Leo [DiCaprio].”
“We met when we were 16 years old,” Scorsese said of fellow New Yorker De Niro.
- 1/3/2020
- by Malina Saval
- Variety Film + TV
Three of the Best Editing Oscar contenders — “The Irishman,” “Marriage Story,” and “Little Women” — boast complex narratives about friendship and mortality, the forensics of divorce, and artistic liberation. And they employ creative use of flashbacks and montages as part of their storytelling arsenals, too.
“The Irishman” marks Martin Scorsese’s summary movie about mob life told from the perspective of hitman Frank Sheeran (Robert De Niro), who recounts his conflicted life in trying to appease both crime boss Russell Bufalino (Joe Pesci) and Teamsters leader Jimmy Hoffa (Al Pacino). “It’s a different view of mob rule than Marty’s previous movies,” said Thelma Schoonmaker, the director’s long-time editor of nearly 40 years. “He wanted to do brushstrokes with history that were relevant to the characters not make a documentary about Jimmy Hoffa. And Marty didn’t want to explain a lot — he wanted the audience to figure things out for themselves.
“The Irishman” marks Martin Scorsese’s summary movie about mob life told from the perspective of hitman Frank Sheeran (Robert De Niro), who recounts his conflicted life in trying to appease both crime boss Russell Bufalino (Joe Pesci) and Teamsters leader Jimmy Hoffa (Al Pacino). “It’s a different view of mob rule than Marty’s previous movies,” said Thelma Schoonmaker, the director’s long-time editor of nearly 40 years. “He wanted to do brushstrokes with history that were relevant to the characters not make a documentary about Jimmy Hoffa. And Marty didn’t want to explain a lot — he wanted the audience to figure things out for themselves.
- 1/2/2020
- by Bill Desowitz
- Indiewire
Love it or hate it, Netflix’s “The Irishman” has dominated the awards-season conversation. Martin Scorsese’s elegiac, sprawling, three-plus-hour mafia epic unspooled on the streamer over Thanksgiving weekend after a healthy theatrical run that found sold-out showings across the nation. While the film is a slam-dunk for a Best Picture nomination and a surfeit of other nods throughout the 2020 Academy Awards, not everyone in the film community is an ardent fan.
In a recent IndieWire interview that touched on everything from “The Man Who Killed Don Quixote” to Marvel movies and “Black Panther,” legendary director Terry Gilliam shared his feelings about Scorsese’s tome, which he did see in theaters.
“I saw it at the London Film Festival. It was in the Odeon Leicester Square, which they’ve just revamped. They have these comfortable seats that are lounge chairs basically. My wife fell asleep,” Gilliam admitted.
Gilliam, meanwhile, had...
In a recent IndieWire interview that touched on everything from “The Man Who Killed Don Quixote” to Marvel movies and “Black Panther,” legendary director Terry Gilliam shared his feelings about Scorsese’s tome, which he did see in theaters.
“I saw it at the London Film Festival. It was in the Odeon Leicester Square, which they’ve just revamped. They have these comfortable seats that are lounge chairs basically. My wife fell asleep,” Gilliam admitted.
Gilliam, meanwhile, had...
- 12/28/2019
- by Ryan Lattanzio
- Indiewire
After he missed out on nominations at the Golden Globes and SAG Awards, you might think Robert De Niro‘s Oscar chances for “The Irishman” might be deader than Jimmy Hoffa, but he could still crack the Oscars’ Best Actor lineup.
The two-time Oscar winner has hit a bit of a speed bump on his way to nomination number-eight for Martin Scorsese‘s gangland epic. His role as Frank Sheeran, a low-level truck driver who becomes a hitman thanks to his association with Teamster leader Hoffa (Al Pacino) and Mafia kingpin Russell Bufalino (Joe Pesci), seems like it should have awards bait written all over it. Indeed, he still holds fifth place odds of 15/2 according to the combined predictions of thousands of Gold Derby users, even with those snubs by the Hollywood Foreign Press Association and the Screen Actors Guild (who didn’t totally snub him since they’re giving...
The two-time Oscar winner has hit a bit of a speed bump on his way to nomination number-eight for Martin Scorsese‘s gangland epic. His role as Frank Sheeran, a low-level truck driver who becomes a hitman thanks to his association with Teamster leader Hoffa (Al Pacino) and Mafia kingpin Russell Bufalino (Joe Pesci), seems like it should have awards bait written all over it. Indeed, he still holds fifth place odds of 15/2 according to the combined predictions of thousands of Gold Derby users, even with those snubs by the Hollywood Foreign Press Association and the Screen Actors Guild (who didn’t totally snub him since they’re giving...
- 12/26/2019
- by Zach Laws
- Gold Derby
Joe Pesci as Russell Bufalino with Robert De Niro as Frank Sheeran in The Irishman Photo: Anne-Katrin Titze
Now the clear front runner this awards season, The Irishman leads the Online Film Critics Society (Ofcs) award nominations with a total of eight, but it's closely followed by Once Upon A Time...In Hollywood with seven and Parasite and Marriage Story with six apiece.
The Ofcs is an international body but bases its awards on film that have screened in New York or Los Angeles - the same rules used by the Oscars.
The winners will be announced on 6 January.
Those nominations in full:-
Best Picture 1917 The Irishman Jojo Rabbit Knives Out Marriage Story Once Upon A Time...In Hollywood Parasite Portrait Of A Lady On Fire Uncut Gems Us
Best Director Bong Joon-ho - Parasite Sam Mendes - 1917 Celine Sciamma - Portrait Of A Lady On Fire Martin Scorsese -...
Now the clear front runner this awards season, The Irishman leads the Online Film Critics Society (Ofcs) award nominations with a total of eight, but it's closely followed by Once Upon A Time...In Hollywood with seven and Parasite and Marriage Story with six apiece.
The Ofcs is an international body but bases its awards on film that have screened in New York or Los Angeles - the same rules used by the Oscars.
The winners will be announced on 6 January.
Those nominations in full:-
Best Picture 1917 The Irishman Jojo Rabbit Knives Out Marriage Story Once Upon A Time...In Hollywood Parasite Portrait Of A Lady On Fire Uncut Gems Us
Best Director Bong Joon-ho - Parasite Sam Mendes - 1917 Celine Sciamma - Portrait Of A Lady On Fire Martin Scorsese -...
- 12/24/2019
- by Jennie Kermode
- eyeforfilm.co.uk
Martin Scorsese’s mob epic unites three lead actors steeped in menace to spin a potent tale of male toxicity, and bid farewell to an era. It’s the work of a master
The richness, artistry and grandeur of Martin Scorsese’s film-making was revealed again in his epic mob corruption tale The Irishman, which returns him spectacularly to the wellspring of his greatest inspiration: the lives of working-class Italian Americans, and those from other Us immigrant communities in the 20th century. They are mixed up with organised crime, deeply influenced by the protective codes and practices of the family, the church and respectable commerce, but their conformity exists alongside a half-acknowledged life of sin and crime. The family man cheats on his wife, the churchgoer murders and robs, the hardworking small businessman evades tax, uses his business as a laundering front for the wiseguys and pays (or demands) protection...
The richness, artistry and grandeur of Martin Scorsese’s film-making was revealed again in his epic mob corruption tale The Irishman, which returns him spectacularly to the wellspring of his greatest inspiration: the lives of working-class Italian Americans, and those from other Us immigrant communities in the 20th century. They are mixed up with organised crime, deeply influenced by the protective codes and practices of the family, the church and respectable commerce, but their conformity exists alongside a half-acknowledged life of sin and crime. The family man cheats on his wife, the churchgoer murders and robs, the hardworking small businessman evades tax, uses his business as a laundering front for the wiseguys and pays (or demands) protection...
- 12/20/2019
- by Peter Bradshaw
- The Guardian - Film News
To say that two-time Academy Award-nominated cinematographer Rodrigo Prieto is in demand would be an understatement. Prieto has been a frequent collaborator with directors Alejandro G. Iñárritu, Ang Lee, Julie Taymor and Oliver Stone and has worked with Curtis Hanson, Cameron Crowe and Pedro Almodóvar. He has shot Martin Scorsese’s past three films: “The Wolf of Wall Street,” “Silence” (earning an Oscar nom) and this year’s “The Irishman.” He talked with Variety about the demands and rewards of shooting the current film.
What was the biggest challenge?
I think the schedule. It was well beyond 300 scenes, and we shot for 108 days. So we had to move frequently, often several times in one day. Add to that, roughly half the movie has visual effects with the de-aging techniques. That required a rig that we created for the three cameras needed, which created a lot of logistical questions on how to light the actors.
What was the biggest challenge?
I think the schedule. It was well beyond 300 scenes, and we shot for 108 days. So we had to move frequently, often several times in one day. Add to that, roughly half the movie has visual effects with the de-aging techniques. That required a rig that we created for the three cameras needed, which created a lot of logistical questions on how to light the actors.
- 12/19/2019
- by Tim Gray
- Variety Film + TV
Variety will honor “The Irishman” star Robert De Niro with the Creative Impact in Acting Award at the Palm Springs International Film Festival.
De Niro will be presented with the award on Jan. 3 as part of the annual 10 Directors to Watch brunch presented by AT&T. Todd Phillips will also receive the Creative Impact in Directing Award.
De Niro won Oscars for Francis Ford Coppola’s “The Godfather: Part II” and Martin Scorsese’s “Raging Bull” before taking on the role of Frank Sheeran in Scorsese’s “The Irishman.”
“Robert De Niro is one of cinema’s greatest actors, and his recent collaboration with Martin Scorsese in ‘The Irishman’ is a career-best,” Variety‘s editor-in-chief Claudia Eller said. “De Niro embodies Frank Sheeran from a 20 something-year-old man to an elderly man in a nuanced performance that has resonated with audiences and critics alike. We are so glad to be giving...
De Niro will be presented with the award on Jan. 3 as part of the annual 10 Directors to Watch brunch presented by AT&T. Todd Phillips will also receive the Creative Impact in Directing Award.
De Niro won Oscars for Francis Ford Coppola’s “The Godfather: Part II” and Martin Scorsese’s “Raging Bull” before taking on the role of Frank Sheeran in Scorsese’s “The Irishman.”
“Robert De Niro is one of cinema’s greatest actors, and his recent collaboration with Martin Scorsese in ‘The Irishman’ is a career-best,” Variety‘s editor-in-chief Claudia Eller said. “De Niro embodies Frank Sheeran from a 20 something-year-old man to an elderly man in a nuanced performance that has resonated with audiences and critics alike. We are so glad to be giving...
- 12/19/2019
- by Variety Staff
- Variety Film + TV
Once Upon a Time in Hollywood and The Irishman are full of male brutality – but are they doing anything to move the discussion forward?
This year we have been given two new masterworks from two old masters, and they’re strikingly similar in subject. Quentin Tarantino’s Once Upon a Time in Hollywood and Martin Scorsese’s The Irishman are both examinations of male-dominated worlds that orbit and adore violence. Both present vibrant ecosystems of toxic masculinity. And both reveal much about the largely male environments they present and the shocking violence within them, through the way they think about their central female characters.
Margot Robbie’s Sharon Tate is the personification of the fantasy world Tarantino creates in Once Upon a Time in Hollywood: free and joyous, and protected by Tarantino in his film from the violence wreaked on her in reality. The Irishman’s Peggy Sheeran (daughter of...
This year we have been given two new masterworks from two old masters, and they’re strikingly similar in subject. Quentin Tarantino’s Once Upon a Time in Hollywood and Martin Scorsese’s The Irishman are both examinations of male-dominated worlds that orbit and adore violence. Both present vibrant ecosystems of toxic masculinity. And both reveal much about the largely male environments they present and the shocking violence within them, through the way they think about their central female characters.
Margot Robbie’s Sharon Tate is the personification of the fantasy world Tarantino creates in Once Upon a Time in Hollywood: free and joyous, and protected by Tarantino in his film from the violence wreaked on her in reality. The Irishman’s Peggy Sheeran (daughter of...
- 12/16/2019
- by David Alexander
- The Guardian - Film News
Exclusive: Martin Scorsese’s epic 3 1/2-hour-plus The Irishman has been at the forefront of the Oscar conversation since its world premiere at the New York Film Festival in September. It was borne from the 145-page shooting script from Steve Zaillian, the four-time Oscar-nominated screenwriter who won the Academy Award in 1994 for Steven Spielberg’s Schindler’s List. The mob epic also reteams the writer and director who previously made Gangs of New York.
Zaillian adapted The Irishman from Charles Brandt’s 2004 book I Heard You Paint Houses and is based on Frank Sheeran (Robert De Niro), a hitman for Russell Bufalino (Joe Pesci), who gets caught between the interests of Bufalino and union chief Jimmy Hoffa (Al Pacino).
New digital wizardry from Ilm allowed De Niro to portray the mob soldier across the entire second half of the 20th century, as Zaillian’s plot stretches between 1949 and 2000. The scope, the talent...
Zaillian adapted The Irishman from Charles Brandt’s 2004 book I Heard You Paint Houses and is based on Frank Sheeran (Robert De Niro), a hitman for Russell Bufalino (Joe Pesci), who gets caught between the interests of Bufalino and union chief Jimmy Hoffa (Al Pacino).
New digital wizardry from Ilm allowed De Niro to portray the mob soldier across the entire second half of the 20th century, as Zaillian’s plot stretches between 1949 and 2000. The scope, the talent...
- 12/13/2019
- by Patrick Hipes
- Deadline Film + TV
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