Paramount, which released Martin Scorsese’s three most recent films, including last year’s The Wolf of Wall Street, is close to a deal that will partner the studio and the Oscar winner again on Silence, his next film. Sources close to the production confirm a Deadline report that the studio is aiming for a November 2015 release of the movie, which will star Andrew Garfield and Adam Driver as two 17th-century Jesuit missionaries in Japan in search of a missing mentor. Liam Neeson and Ken Watanabe also will star. READ FULL STORY
Tag: Martin Scorsese (1-10 of 53)
Andrew Greene, who worked with notorious broker Jordan Belfort at Stratton Oakmont, is suing Paramount Pictures and the producers of The Wolf of Wall Street, including Leonardo DiCaprio’s production company Appian Way, for $25 million because he claims the Oscar-nominated film defames his reputation. In the film, actor P.J. Byrne plays Nicky “Rugrat” Koskoff, a character with a ridiculous toupee that is portrayed as “a criminal, a drug user, and a degenerate” that Greene claims is falsely based on him.
In Belfort’s 2007 memoir, on which the film is based, Greene’s real name was used, but according to the lawsuit, Greene never gave the filmmakers his consent for his involvement in the film — perhaps explaining the character’s name change. Greene claims that he has been maliciously and willfully defamed “as a criminal and drug user with misogynistic tendencies. Mr. Greene is portrayed as an individual with no moral or ethical values, which is injurious to him in his trade, business, or profession.” READ FULL STORY
For years, Martin Scorsese’s most famous collaborator was Robert De Niro, who starred in the director’s most iconic movies, including Mean Streets, Taxi Driver, Raging Bull, and Goodfellas. In recent years, the director has formed a similar relationship with Leonardo DiCaprio, making five celebrated films. The Departed, their third movie together, finally won Scorsese his elusive Oscar for Best Director, and last year’s The Wolf of Wall Street is currently up for five Oscars, including two each for both men, who also produced the movie.
This Thursday and Friday at New York’s hallowed Ziegfeld Theater, all five Scorsese/DiCaprio films will be screened during a two-day retrospective, anchored by a special panel discussion on Thursday night with DiCaprio, Wolf of Wall Street screenwriter Terence Winter, and the film’s editor, three-time Oscar winner Thelma Schoonmaker.
De Niro and DiCaprio may be the director’s favorite stars, but his greatest collaborator over the years has been behind the scenes. Schoonmaker has cut 18 of Scorsese’s feature films, including every one since Raging Bull, for which she won her first of three Oscars. The pair met at NYU in the early 1960s, where Schoonmaker had signed up for a six-week filmmaking course, and Scorsese desperately needed help to salvage his student film, What’s a Nice Girl Like You Doing in a Place Like This? It was a fortuitous encounter that has led to some of cinema’s most revered films.
Below, Schoonmaker discusses her work with Scorsese and describes the unique bond between the director and DiCaprio. READ FULL STORY
UPDATED: Gravity does not seem to be falling on the awards circuit. Alfonso Cuarón walked away with the top honor at the Directors Guild of America Awards Saturday night in Los Angeles, beating out Martin Scorsese, David O. Russell, Paul Greengrass, and Steve McQueen.
“This is truly an honor and I am humbled by it,” Cuarón said to the audience of his peers after last year’s winner Ben Affleck presented him with the award. But Gravity was not the work of just one mind, and no one knows that more keenly than Cuarón. “Directing is about the work of your collaborators,” he said. Earlier in the evening, when Gravity was spotlighted amongst the five Feature Film nominees, Cuarón thanked his team including his first assistant director Josh Robertson, co-writer (and son) Jonas Cuarón, his cinematographer Emmanuel Lubezki, and his visual effects team. Then he said: “I barely understand how we made the film.” The audience laughed uproariously.
The DGA Awards are generally a pretty decent indicator for who will walk away with the Best Director Oscar. Comprised of over 15,000 voting members, the Directors Guild does have a tendency to skew more mainstream when compared with the choices of the 377 voting members of the Directors branch in the Academy. But in the past ten years, the DGA winner has gone on to win the Oscar 90% of the time. In fact, in 65 years, only 7 DGA winners failed to win the Academy Award. Last year, however, was a major outlier when Ben Affleck won the DGA for Argo after he’d failed to pick up an Oscar nomination.
The DGA did deviate from the Oscars in other fairly significant ways last year. The nominees only matched 2 out of the 5 Oscar nominees. This year, it was 4 out of 5. Captain Phillips director Paul Greengrass was the odd man out — the Academy included Alexander Payne for his work on Nebraska instead.
For Cuarón, the win only seems to add to his awards momentum. In addition to a host of Film Critics awards, Cuarón also won a Golden Globe earlier this month.
The DGA doesn’t just honor features, though. Oscar nominee Jehane Noujaim picked up an award for her documentary The Square, Steven Soderbergh won for Behind the Candelabra, and Vince Gilligan was recognized for directing the Breaking Bad finale “Felina.” Check out the full list of winners from the 66th Annual DGA Awards after the jump.
The Supreme Court pondered Tuesday whether the daughter of the man whose work was the basis of the Oscar-winning movie Raging Bull should go another round with a major movie studio over copyright infringement for ownership of boxer Jake LaMotta’s life story.
The Raging Bull case involves an appeal from Paula Petrella, the daughter of Frank Petrella, whose written work inspired the movie. Frank Petrella collaborated with his friend LaMotta on two screenplays and a book, which were used to make the movie directed by Martin Scorsese and starring Robert De Niro. The 1980 film won two Oscars, including best actor for De Niro.
The elder Petrella died in 1981, with his copyrights reverting to his daughter. She sued Metro-Goldwyn-Mayer Inc. for copyright infringement for creating and distributing copies of the movie, but the 9th U.S. Circuit Court of Appeals said she waited too long before filing her lawsuit.
Now she wants justices to resurrect her lawsuit. They will make a decision later this year.
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The National Board of Review announced its 2013 honorees on Dec. 4, with Her, Nebraska, and Fruitvale Station claiming some of the top prizes. That meant the only real suspense last night at the organization’s New York City gala was who would win the crowd and earn the best howls. Rob Reiner nearly stole the show, but it was Meryl Streep who brought down the house at Cipriani’s on 42nd Street. Streep, presenting the Best Actress award to Emma Thompson for Saving Mr. Banks, left her friend “nauseous with gratitude” with a heart-felt introduction that also took swipes at Walt Disney and the Disney brand. READ FULL STORY
In Martin Scorsese’s GoodFellas, a pre-Quentin Tarantino movie that is turning out to be the post-Tarantino touchstone for how to make a drama about the lethal seductions of bad behavior (Boogie Nights, The Sopranos, and American Hustle are all honorary sons of GoodFellas), Henry Hill (Ray Liotta), the shark/schlub wise-guy antihero, sucks the audience right into his dream of doing whatever the hell he pleases the moment he announces, in that opening voiceover, “As far back as I can remember, I always wanted to be a gangster.” To watch GoodFellas is to think: And who wouldn’t? A quintessential here’s why you want to be a gangster moment is the famous entering-the-restaurant tracking shot, in which Henry and his date, Karen (Lorraine Bracco), get to bypass the crowd by snaking in through the kitchen, only to land at the best table in the house. That’s the Horatio Alger myth compressed into 30 ecstatic Scorsesesque seconds: Being a gangster isn’t just acting like a hoodlum — it’s rising up and flowing past the horde, fulfilling a fantasy of coming out on top. It is, on some level, what all of us crave. GoodFellas has a lot of moments like that, but Scorsese is too great a filmmaker to make the gangster life look easier than it is. To live by violence gets you treated like a king, but it’s also a brutal existence that gradually eats away at you. In the classic “You think I’m funny?” scene, Joe Pesci’s is-he-kidding? tweaking of Henry isn’t just a goof, it’s a sinister preview of what every gangster ultimately faces: the Mob’s violence turning on them. As GoodFellas goes on, the freedom that Henry Hill saw in the gangster life begins to look like a trap, and by the end, when he’s coked to the gills, trying to escape his cronies and the law, no one in his right mind would want to trade places with him. READ FULL STORY
“It’s too long!” “It’s obscene!” “It’s Marty’s best since Goodfellas!” “It’s shameful!” “It’s hilarious!”
By now, you probably know that Martin Scorsese’s The Wolf of Wall Street is this season’s most polarizing film. Dropped on Christmas Day in the midst of Oscar season, the debauched tale about Wall Street swindler Jordan Belfort has pushed critics into two camps: it’s either a worthy companion piece to Goodfellas about white-collar greed, or a misguided, misogynistic opus that glorifies everything it claims to abhor. No one seems to be saying, “Um, it was okay.”
Leonardo DiCaprio’s performance, however, is something most everyone agrees upon. After Django Unchained and the Wolf, it’s going to be difficult for some to look at Titanic the same way again — but he’s great and fascinating in the way Jack Nicholson was great and fascinating during his historic early 1970′s run. As Belfort, “he gives a hell of a performance that’s electrifyingly loose, perversely funny, and dripping with jerk charisma,” says EW’s Chris Nashawaty. “It says something about DiCaprio’s oily charm that you almost want him to get away with it.”
Maybe you’ve already seen the movie and just want to see the pundits go at it. Or maybe you wisely chose Saving Mr. Banks for your family’s Christmas Day movie selection, slyly postponing Wolf for yourself the day after grandmom flies home. Either way, click below to see bull and bear critics wage war over The Wolf of Wall Street. READ FULL STORY
When you think of the movies you really love, your memories of a great many of them are probably linked, in one way or another, to music. Yet movies and music remain, at least in our heads, beautifully complimentary yet distinct things, like food and wine, or football and big TVs. They shouldn’t, though. A musical, of course, is its own special mashup. Yet there are so many other incredible ways that movies and music can merge. The title sequence of Singin’ in the Rain is a great number — and so, in its way, is Ewan McGregor’s performance of “Your Song” in Moulin Rouge! Yet what about the opening-credits sequence of American Hustle? We hear Steely Dan’s great 1972 song “Dirty Work” laid over slow-motion images of Christian Bale, Bradley Cooper, and Amy Adams sauntering through the Plaza Hotel with a suspicious-looking briefcase. The song is reconfigured, with an irony that gently explodes in your brain, from being about an adulterous lover tired of being used as a slimy third wheel into a song about a con man tired of being used by the law. More that just a terrific song choice, this, too, is a bona fide musical number — a piece of opera, really. And it’s just one of many moments in American Hustle that remind you why movies and music, when they’re really working together, chemically and synergistically, create a sensual pop poetry all their own. Here’s a look at a few of the other memorable numbers unfolding in the big-screen operas-by-any-other-name that are ruling the megaplex this season. READ FULL STORY
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