Coming to.... Netflix? Goddamn they just throwing money around big dick swingin'

http://deadline.com/2017/02/martin-scorsese-the-irishman-acquired-netflix-robert-de-niro-1201931848/

Martin Scorsese’s ‘The Irishman,’ Starring Robert De Niro Heading To Netflix?
by Liz Calvario
and Anita Busch
February 21, 2017 7:31pm

1

Mandatory Credit: Photo by Chelsea Lauren/Variety/REX/Shutterstock (8137205em) Robert De Niro and Martin Scorsese Producers Guild Awards, Inside, Los Angeles, USA - 28 Jan 2017

Film
Acquisitions
Breaking News
Distribution
News
Martin Scorsese
Netflix

Rex/Shutterstock

Martin Scorsese’s The Irishman, starring Robert De Niro, may be heading to Netflix which apparently offered $105M for a full buyout of the film this afternoon after its Mexican financier, Gaston Pavlovich of Fabrica de Cine fell out, one source involved with the project told Deadline. Meanwhile, it is known that STX had already signed agreements with all output partners to the tune of $50M with about $40M more accumulated in tax credits and incentives. The negotiations were continuing late into the day on Tuesday and it was still at Paramount Pictures at 5 PM which had agreed to a deal for $15M for domestic rights.

Related
'Chelsea' Switches To Weekly Format In Season 2, Sets Premiere Date On Netflix

It is known that the STX deal was tied to Fabrica de Cine. In order to move the project to Netflix, many deals would have to be unraveled legally which has not yet taken place, but domestic could move over to Netflix much easier. It’s understood that Netflix is interested in worldwide rights so that would essentially push STX out. The film, no matter who ends up with it (as it seems slowly to be moving over to Netflix), is a sure Oscar possibility.

The Irishman, based on the Charles Brandt’s true-crime book I Heard You Paint Houses, tells the deathbed story of mob hitman Frank “The Irishman” Sheeran, who had insider knowledge about the disappearance and death of Jimmy Hoffa.

With the deal, which IndieWire first reported, it was known that Scorsese was looking at a budget of about $150M because of the visual effects to make the actors appear younger. They had been talking to Netflix over the past couple of weeks. Scorsese’s budget was said to be too rich for Mexican financier-producer Gaston Pavlovich of Fábrica de Cine. It was Fábrica de Cine that also financed Scorsese’s Silence to the tune of $50M.

The Mexican financier was in the center of what became a bidding war at Cannes for the rights to the high-profile project with STX winning the foreign rights for a $50M price tag. The domestic distributor was to be Paramount, which has just undergone a management change at the top level with the exit of Brad Grey. It is not known how much Netflix stepped up to the plate for to win the rights of The Irishman but it was known that the budget had ballooned from $100M to $150M. The long-gestating film seems custom made for Oscar as a reunion of all the great old actors from the filmmakers’ mob films, reuniting Scorsese with his Goodfellas stars De Niro and Joe Pesci, as well as mark his first time working with Al Pacino.

It was one of the biggest sales for foreign rights at Cannes as the final bids came down to Universal, Fox and STX going toe-to-toe with Lionsgate along with Stuart Ford’s IM Global and Alex Walton’s Bloom also in the mix.

Subscribe to Deadline Breaking News Alerts and keep your inbox happy

I hope the whole film isn't 30 year old DeNiro. Making people look younger works for a little bit but then it starts to feel more and more like an animated film, which is probably going to be more glaring in a film set in the real world.

But, yeah, this is stupid money for Netflix. I get that they want to have a Scorsese picture but they're shelling out huge money before they even get to the production and the marketing. I'm getting more and more nervous that we might be heading to an entertainment bubble bursting.

>I hope the whole film isn't 30 year old DeNiro. Making people
>look younger works for a little bit but then it starts to feel
>more and more like an animated film, which is probably going
>to be more glaring in a film set in the real world. \

The book is amazing. But yeah, old ass Bobby D CGI'd for the majority of the film is not gonna be a good look.

The bulk of the movie, he's 50 and up, and the illusion really works well imo. The hardest part to grasp isn't even his face, it's the fact that his eyes are blue.

looking forward to it.

Do the studios know the movie sucks?

I see Scorcese-Crime-Deniro-Pesci (!) and I would think that's a license to print money

Though, a shared universe Scorsese character film would be amazing haha

Sans Leo, Marty tops out at 82 million.

Being generous, if the production budget is on the low end of 100 million and the marketing is the average 50 million, you're getting into domestic box office numbers that Scorsese just doesn't see and I doubt this is a film that people want to rely completely on foreign markets for the profit.

Beyond that, Hollywood's probably never investing 150 million in the production of an R-rated film starring three 70-year-olds, no matter what the names. Unless it's Cocoon meets Avatar and even then it would be a struggle.

>Sans Leo, Marty tops out at 82 million.
>
>Being generous, if the production budget is on the low end of
>100 million and the marketing is the average 50 million,
>you're getting into domestic box office numbers that Scorsese
>just doesn't see and I doubt this is a film that people want
>to rely completely on foreign markets for the profit.
>
>Beyond that, Hollywood's probably never investing 150 million
>in the production of an R-rated film starring three
>70-year-olds, no matter what the names. Unless it's Cocoon
>meets Avatar and even then it would be a struggle.

The production budget was $159M. Marty is a treasure but I don't think he would have gotten $59M for a 'grown-up' movie in this film market. It's just the new reality.

https://www.youtube.com/watch?v=1Expe7hf6MU

Gotta see it in a theater. "I heard you paint houses"

the trailer is wildly effective but that final shot of DeNiro is video game cut scene worthy.

With how good the de-aging is in Captain Marvel and even something like Gemini Man, it's kind of embarrassing.

I really hope that's not representative of the final film because everything else looks fantastic

>the trailer is wildly effective but that final shot of DeNiro
>is video game cut scene worthy.
>
>With how good the de-aging is in Captain Marvel and even
>something like Gemini Man, it's kind of embarrassing.
>
>I really hope that's not representative of the final film
>because everything else looks fantastic

Need to see it again to fully digest it. It's 3 and a half hours. In my opinion it could have lost 15 to 20 minutes.

First two hours are very funny despite the contemplative, somber tone. The film is paced like Silence, so don't go in expecting Goodfellas, Casino, Wolf of Wall Street Scorcese.

Really surprised by How Peseci's performance. Not what I was expecting.

But Pesci was the standout for me.

would probably have to watch again but skimming through in my head, i can't think of anything that felt like filler, or deleted scenes. and yeah, this def moves at a different more subdued pace than Goodfellas/Casino/Wolf/Departed



>Need to see it again to fully digest it. It's 3 and a half
>hours. In my opinion it could have lost 15 to 20 minutes.
>
>First two hours are very funny despite the contemplative,
>somber tone. The film is paced like Silence, so don't go in
>expecting Goodfellas, Casino, Wolf of Wall Street Scorcese.
>
>Really surprised by How Peseci's performance. Not what I was
>expecting.

>

She literally won't be able to sit through a film this long because of her bad back.

So Netflix works a lot better for her in this case.

******************************
******************************

Very powerful that Anna’s character only said 6 words, I know Marty is getting flack for it but I don’t think of her as an underutilized female role at all.

De-aging stuff looked cartoon-y in spots but in general was fine.

Favorite line was:

“Should I give the $2k back?”

“he won’t need it”

But move like geriatrics. But I was fine with it. If they were able to replace faces on other actors or go the Tarkin route I think it would've been bEtter executed for those moments. But that also can be risky to rely on that.


----------

IG @erichrigonan

But move like geriatrics. But I was fine with it. If they were able to replace faces on other actors or go the Tarkin route I think it would've been bEtter executed for those moments. But that also can be risky to rely on that.


----------

IG @erichrigonan

maybe the ultimate coda to gangster films, hopefully Scorsese and De Niro stop their collab here because I don’t think they can add anything to this. This was surprisingly (to me) funny, and was great to see with an audience that was into it. I usually resent most long movies, but this one didn’t have that much flab IMO. The de-aging thing wasn’t perfect but not fucked up like Michael Douglas in Ant Man either.
Pacino is fantastic, I could watch him tail about tardiness for another hue easy.

Didn't even realize they did any.

As far as funny goes, the whole car scene about the fish had me dying.

It almost felt like a Tarantino scene.

Good “Coda” as someone on here said. No hamming it up whatsoever.

I do think Sopranos ending trajectory informed this one.

Not one note “Gimme Shelter” was played, Praise Be.

The de-aging was pretty damn seamless.

>Coming to.... Netflix? Goddamn they just throwing money
>around big dick swingin'
>
>http://deadline.com/2017/02/martin-scorsese-the-irishman-acquired-netflix-robert-de-niro-1201931848/
>
>Martin Scorsese’s ‘The Irishman,’ Starring Robert De
>Niro Heading To Netflix?
>by Liz Calvario
>and Anita Busch
>February 21, 2017 7:31pm
>
> 1
>
>Mandatory Credit: Photo by Chelsea
>Lauren/Variety/REX/Shutterstock (8137205em) Robert De Niro and
>Martin Scorsese Producers Guild Awards, Inside, Los Angeles,
>USA - 28 Jan 2017
>
> Film
> Acquisitions
> Breaking News
> Distribution
> News
> Martin Scorsese
> Netflix
>
>Rex/Shutterstock
>
>Martin Scorsese’s The Irishman, starring Robert De Niro, may
>be heading to Netflix which apparently offered $105M for a
>full buyout of the film this afternoon after its Mexican
>financier, Gaston Pavlovich of Fabrica de Cine fell out, one
>source involved with the project told Deadline. Meanwhile, it
>is known that STX had already signed agreements with all
>output partners to the tune of $50M with about $40M more
>accumulated in tax credits and incentives. The negotiations
>were continuing late into the day on Tuesday and it was still
>at Paramount Pictures at 5 PM which had agreed to a deal for
>$15M for domestic rights.
>
>Related
>'Chelsea' Switches To Weekly Format In Season 2, Sets Premiere
>Date On Netflix
>
>It is known that the STX deal was tied to Fabrica de Cine. In
>order to move the project to Netflix, many deals would have to
>be unraveled legally which has not yet taken place, but
>domestic could move over to Netflix much easier. It’s
>understood that Netflix is interested in worldwide rights so
>that would essentially push STX out. The film, no matter who
>ends up with it (as it seems slowly to be moving over to
>Netflix), is a sure Oscar possibility.
>
>The Irishman, based on the Charles Brandt’s true-crime book
>I Heard You Paint Houses, tells the deathbed story of mob
>hitman Frank “The Irishman” Sheeran, who had insider
>knowledge about the disappearance and death of Jimmy Hoffa.
>
>With the deal, which IndieWire first reported, it was known
>that Scorsese was looking at a budget of about $150M because
>of the visual effects to make the actors appear younger. They
>had been talking to Netflix over the past couple of weeks.
>Scorsese’s budget was said to be too rich for Mexican
>financier-producer Gaston Pavlovich of Fábrica de Cine. It
>was Fábrica de Cine that also financed Scorsese’s Silence
>to the tune of $50M.
>
>The Mexican financier was in the center of what became a
>bidding war at Cannes for the rights to the high-profile
>project with STX winning the foreign rights for a $50M price
>tag. The domestic distributor was to be Paramount, which has
>just undergone a management change at the top level with the
>exit of Brad Grey. It is not known how much Netflix stepped up
>to the plate for to win the rights of The Irishman but it was
>known that the budget had ballooned from $100M to $150M. The
>long-gestating film seems custom made for Oscar as a reunion
>of all the great old actors from the filmmakers’ mob films,
>reuniting Scorsese with his Goodfellas stars De Niro and Joe
>Pesci, as well as mark his first time working with Al Pacino.
>
>It was one of the biggest sales for foreign rights at Cannes
>as the final bids came down to Universal, Fox and STX going
>toe-to-toe with Lionsgate along with Stuart Ford’s IM Global
>and Alex Walton’s Bloom also in the mix.
>
>Subscribe to Deadline Breaking News Alerts and keep your inbox
>happy
>

The best thing Scorcese has done since his GoodFellas although I may be forgetting something. In fact, it'll probably end up being my favorite film of his.

Pesci was just perfect. Like how you stop acting for years and years come back and deliver on that level

DeNiro and Pacino give their best performances in 20-some-odd years to deliver some of their best work, especially DeNiro.

This was a masterpiece and I look forward to watching this again

It was very good. Drug on a little at the end for me but considering it is 3.5 hours i can't complain. Gonna watch it again in a bit. I would imagine once award season comes around it may get a re-release in theaters.

Peace,

Spirit (Alan)
http://wutangbook.com

Well actually there's some negative stuff/slurs about Italians. Oddly all of it was said by Pacino.

But it is odd that Pacino, who is Italian(?) went in on Italians most of the movie.

Wait until you see Sam Jackson in Django Unchained that's gonna really blow your mind.

Just cause it's friggin Al Pacino.

It didn't stop it from being a great performance, but it took me out of the movie a little.

If Jerry Seinfeld was in a movie where he was anti-Semitic and not Jewish, it could be Oscar caliber but it would also be a little awkward.

I don’t expect any substantial roles for any Black actors in it, because it’s still Marty, but I’ll check it out. Wish he had shut his trap about Marvel but the guy is a cinematic legend, so....

Peace,

Spirit (Alan)
http://wutangbook.com

The more I think about it (which is not very often outside of PTP), it would be really strange if Scorsese was like oh yeah Avengers Endgame was my shit right there.

Now if someone like Guillermo del Toro trash talked the MCU it would be a different story.

decided to watch it thanksgiving night. was only going to watch it for an hour two because it was late but i couldnt stop.

Pacino was good. DeNiro was good. Pesci was great. The de-aging was well done and mostly didn't take me out of the movie (except for Pacino, who looked weird, like he'd had massive plastic surgery).

But this is Scorsese staying in his lane. If you're expecting a vastly different mafia movie than Goodfellas or Casino, think again. It plays out almost exactly the same as those films.

The only difference is that this one is more about how it sucks to be old, and that in a way the few that survived ended up worse off than the people they murdered. That was an interesting spin.

Otherwise, you've seen this movie many times before.

It's funny that Scorsese would take a big shit on the MCU and then churn out a movie so similar to almost every other organized crime drama that he's ever done.

Saw it the other night with family and was impressed with Pacino and Paquin but most of the rest seemed like a less memorable version of Casino and Goodfellas.

A conscious effort is made to remove the thrills, the "romanticism," the intoxicating stylistic flourishes of the 90s movies. This is a bleak look at the moral rot at the heart of these organizations and how these people can't and won't be spiritually redeemed.

Scorsese and the actors are obviously very self-aware of their legacies within the genre and all appear to be intentionally in conversation with those movies and their past contributions. The entire thing plays almost like a counterpoint to them. Whereas in Goodfellas you get the jovial scene going around the room while every gangster introduces himself, here everyone is introduced with a sour note about the manner in which they were unceremoniously killed (often pathetically).

Think of the scene where De Niro kicks the store owner's ass. The camera just sits there, still, observing in an unbroken wide shot. In Goodfellas, the violence would have been visceral. It was almost erotic when Henry Hill kicked Karen's boyfriend's ass (she wad admittedly turned on by it). Here, De Niro's daughter is horrified; the violence is presented as it is, unadorned.

On the surface it obviously has similarities with Scorsese's previous rganized crime movies, but it's a more sober, deeper variation on those themes and and an attempt to take them to their logical extreme. This will most likely be viewed by history as one of his more major works.

thank you for the time you gave me back in my day

i also liked how they would say how the person gets killed when they introduced a new character.

with the main characters (Hill, Rothstein, Sheeran) going on to live these low key "average nobody" lives in contrast to everything we just watched.

Ass. Took me out the film

...can make that 76 year old man move. Totally took me out too.

I would only say that I didn't think Goodfellas or Casino glorified violence at all. Only in the Irishman it's a little more blunt. Like there's nothing at all dramatic about how Hoffa dies. Nothing sentimental. I thought at first that it would be like the Assassination of Jessie James, where everything builds up to a tense dramatic climax, but nope. It's pop pop drop end scene.

But yeah I read it as a look at mortality, at how surviving into old age can be more damning than dying young by violence.

I wish all that made me like the movie more. You could be right, it might end up being considered one of his best. For me, I can't see it outside of the context of his other mafia movies, and it just played out like a lesser version. I enjoyed it, but it didn't leave a lasting impression like his movies usually do.

>It's funny that Scorsese would take a big shit on the MCU and
>then churn out a movie so similar to almost every other
>organized crime drama that he's ever done.

^grown men questioning scorsese's filmography cause he doesn't watch their favorite saturday morning cartoons

>^grown men questioning scorsese's filmography cause he doesn't
>watch their favorite saturday morning cartoons

If you want to have an intelligent conversation about movies, even and especially if you disagree with me, let me know. If you want to just sling insults and trash movies other people appreciate, well go ahead I guess, but that's boring.

in the bowling ally scene with Pesci and the little girl, what were they trying to say? Was Bufalino a creep or were they just saying that he was sad he didn't have any kids? I need to watch again.

he was trying to be the nice, jovial uncle but she saw him for what he really was. He kept trying and was hurt by it because he was used to people being deferential to him and he genuinely cared for her father and his family

always knew he was bad news, but still he comes off looking kinda weird in that scene.

dont think that came off like he wanted

like that relative that always scared you when you were growing up. they weren't trying to fuck you but they just scared you and didn't seem right

anyone expecting Good Fellas 2 would be disappointed. But its a very solid film. Some of Pacino's best acting in a long time.

pesci did his thing.

but pacino owned this movie.

https://www.youtube.com/watch?v=ntpwLPAnRJQ

"It's summer..."

"More than ten is saying something...you saying something to me?"

I love De Niro in those kinds of scenes where he's just sitting back apologizing for everyone. Like the Billy Bats scene in GOOD FELLAS

Deniro sitting there while he's doing that scene with Pacino:

https://www.youtube.com/watch?v=qBx4pezGXHg

Honestly Pacino killed it this entire movie. The "it is what it is" "They wouldn't dare!" scene with Deniro? Man.

I love that dude. And to see the joy in his face for being able to share the screen with Al and Bobby.... so awesome.

Between him and Canavale, it's awesome to see Scorsese throwing some choice roles to some of his Boardwalk Empire cats.

BE in effect!

Really great to see him in his joy

Tommy from Snatch has come a long way

but this is legitimately the best performance from Pacino since before Scent of a Woman

He goes large at times but every time he does it feels earned and indicative of Hoffa. Its his small work, his quiet work that is truly amazing. The look he gives DeNiro when they go to pick him up and are trying to get him into the car is just brilliant. He knows something is wrong but he fights it back because Frank, a man he trusts even more than anyone in the world is there.

There's phenomenal work all around. Pesci is just terrifying at moments and for him to come back into this after being away and do that is just wow.

That shit was way too real. It made me so fucking sad to see him like that.

gotta give it to pesci here but, just good acting all around. really good movie.

and I say that as someone who only really likes Pacino in the Godfathers.

Totally forgot my man was in this movie and had to pause that shit quick when he popped up I was so taken aback.

the film started with him in WWII making enemy soldiers dig their own graves...

I keep thinking about that scene right before the end where the FBI agent is like "Everyone's gone." Continuing that idea from the graves scene of thinking the outcome is going to be different than the reality.

Harvey Keitel had limited screen time and dropped maybe the best line of the entire film here "he won't need it"...

https://www.youtube.com/watch?v=9ON5rlHXmWc&t=27s

Then you have all the dialogue with him and Deniro - and it really drives home the fact that Frank wasn't a thinker. He just followed orders without question. From the army to doing side jobs like the laundry bombing which should have gotten him killed, all the way to taking out Hoffa and losing his family relationships as a result.

All the while with all this great dialogue, Pesci actually steals the scene without saying one word. So many emotions delivered without saying one single word.

>All the while with all this great dialogue, Pesci actually
>steals the scene without saying one word. So many emotions
>delivered without saying one single word.

The fucking looks he gives are so deliberate and say so much. He fuckin' blew me away in this film.

saved him at the end by convincing the higher ups to let Frank live by doing the Hoffa hit. "You don't know how good a friend you got..."

To me, there's a bit more selfishness (borderline jealousy) in Russell tapping Frank to kill Hoffa. He knows how conflicted Frank is about them offing his friend, and while he says he wants Frank to do it so that he's settled, it signals to the bosses that Frank is their guy and they don't have to worry about him, but following that thread, it shows the bosses that they don't have to worry about Russell. That's why in jail he's like "it was him or us." It wasn't just about saving Frank's life. It was saving his own.

But under all of that (And why I say borderline jealousy), I think Russell in the film (not sure if in real life) wanted to be assured that Frank loved him more than he loved Jimmy.

So like I'm saying, I totally agree that he was saving Frank's life yet again, but I think there's a layer of self preservation there that can't go unlooked.

definitely implied...

>It wasn't just
>about saving Frank's life. It was saving his own.

Exactly...Russ wasn't playing when he said the order came from higher ups. They were both on the line for that situation.

>But under all of that (And why I say borderline jealousy), I
>think Russell in the film (not sure if in real life) wanted to
>be assured that Frank loved him more than he loved Jimmy.

Yeah the jealousy was there. When he saw Peggy happily dancing with Hoffa when he'd been trying to connect with her for YEARS that was clear as well.

Pacino - lead
Pesci - supporting
Marty - director
Film - best picture

>Pacino - lead
>Pesci - supporting
>Marty - director
>Film - best picture
>
>

The film treats women as non-existent and has two minority characters with only one with lines. Can you imagine the think-pieces oh the flood of think-pieces if this gets all those nominations?

I’ll watch Little Women for a movie with a bunch of female leads and supporting roles.

The only even slightly memorable female character is Anna Paquin, and she's given almost nothing to do except mean mug.

I know this is about dirty dudes doing dirty work, but then so is Casino, and that was able to shoe in a Oscar worthy female performance.

I liked the movie but that's a valid argument against it. It fails the Bechdel test like crazy.

>The only even slightly memorable female character is Anna
>Paquin, and she's given almost nothing to do except mean mug.
>
>I know this is about dirty dudes doing dirty work, but then so
>is Casino, and that was able to shoe in a Oscar worthy female
>performance.
>
>I liked the movie but that's a valid argument against it. It
>fails the Bechdel test like crazy.

I don’t actually believe nor care about that crap. I was just commenting on what the Oscars are now. No disrespect to you but fuck a Bethdel test.

www.engadgethd.com - the other stuff i'm looking at

and thought this is how you felt lol.