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I'm sure most of you have seen this beauty by now. Dropped out of nowhere yesterday and set the entire Internet ablaze. First of all, do yourselves a favor and avoid watching the trailer on YouTube or any other source than Netflix itself obviously. The trailer is apparently in 4K on the platform, I watched it on a big screen and it's obviously much less compressed and much more representative. The deaging can be seen from the opening of the trailer with Pesci and De Niro and at the end of it. Looks pretty darn impressive when viewed properly on Netflix. De Niro's skin looks a bit smooth on more compressed versions, it does not on Netflix itself. Otherwise, I've been checking out a bunch of set photos to determine how much was film and digital. The producer Emma Tillinger Koskoff pulled some numbers a while ago which were incorrect for some reason, ie 30% of the film being shot on 35mm, and that everything involving the deaging required shooting digitally. However, Thelma Schoonmaker said half of the film has them deaged. So that means half Alexa (as listed on IMDB) and half 35mm film. IMDB lists the following info: Arri Alexa Mini, Zeiss Master Prime and Cooke Panchro/i Classics Lenses Arricam LT, Zeiss Master Prime and Cooke Panchro/i Classics Lenses I don't know if anyone here knows Prieto or someone else involved with the film and can provide maybe more technical info? I also saw that Prieto tested some special rigs consisting of multiple cameras at a rental house. And you can see one of the rigs on the set photos, seemed like several Red cameras which are presumably there to capture facial data for the deaging. And the Alexa which is now being regularly used by Prieto and Scorsese for low light work (Wolf, Silence). Gorgeous work as expected and a film that's been in the works for a decade, Schoonmaker and others close to the project have said it's a different animal than Goodfellas and Casino despite the obvious initial similarities. The film is opening at NYFF late September too, presumably released in November on Netflix, Scorsese has been said to make a push for a wide release of sorts with possibly an exclusive theatrical window of a few weeks.
IT IS HERE AT LAST Silence is Marty Scorsese's passion project he's been wanting to make for 27 years ever since he read in 1989 the book Silence written by Shūsaku Endō. It is set in the seventeenth century, it follows two young Portuguese Jesuit priests (Garfield, Driver) who face violence and persecution when they travel to Japan to locate their mentor (Neeson) and propagate Christianity. They shot for 8 months in Taiwan with a crew of 750 people for a budget of 48 million dollars. It opens on December 23rd as a limited release and in January wide. It is shot by Scorsese's new go-to cinematographer, ie the great Rodrigo Prieto who shot The Wolf Of Wall Street, and the pilot of Vinyl (HBO) with him. They shot on film for the day scenes and on the Alexa for night scenes, just as they did on Wolf. There's an article to come in the January issue of AC (which will be an issue featuring articles exclusively (except for Passengers shot by Prieto on the Alexa 65) of films shot on film).