JakeHolman

Martin Scorsese: 'Cinema is gone'

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By JAKE COYLE
AP Film Writer

 

It wasn't easy. Scorsese, 74, may be among the most revered directors in Hollywood, but "Silence" is almost the antithesis of today's studio film. To make it Scorsese had to drum up foreign money in Cannes and ultimately made the film for about $46 million. Everyone, including himself, worked for scale.

Few today are making movies with the scope and ambition of "Silence" - a fact, he grants, that makes him feel like one of the last of a dying breed in today's film industry.

"Cinema is gone," Scorsese says. "The cinema I grew up with and that I'm making, it's gone."

"The theater will always be there for that communal experience, there's no doubt. But what kind of experience is it going to be?" he continues. "Is it always going to be a theme-park movie? I sound like an old man, which I am. The big screen for us in the '50s, you go from Westerns to 'Lawrence of Arabia' to the special experience of '2001' in 1968. The experience of seeing 'Vertigo' and 'The Searchers' in VistaVision."

Scorsese points to the proliferation of images and the overreliance on superficial techniques as trends that have diminished the power of cinema to younger audiences. "It should matter to your life," he says. "Unfortunately the latest generations don't know that it mattered so much."

 

AP >> http://hosted.ap.org/dynamic/stories/U/US_FILM_MARTIN_SCORSESE?SITE=AP&SECTION=HOME&TEMPLATE=DEFAULT&CTIME=2016-12-20-17-45-42

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Can't argue with himJake.  A lot of us in here have been making the same gripe lately.

 

I do wonder however, if he'll make a movie about his nephew's breaking and entering experience?

 

 

Sepiatone

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No offence, but you guys really took me backward if these tioi.article. Hre's akmost a **** to earn his 9th bD nomnination for: "Silencer "Silence" & for those that out himdownfirawys (P.S. despite the strong powerful & something told me the fall in it it a record break.

 

(NOTRE :Beside' my ever decresing helth &hed trauma my friends, my new comuter is iw startngupo with somethig. Main reasoinfir all the clerical screw-upsonhere & atopicI sure wuldlike to join in on!?

 z

 

Have you seen "The Last Walt" "Age of Innocence

": "{Alice Doiesn't Live Here Anyre:&others tet>

 

& at almost age 75, he's already moved on his top 4-5:

 

My essential Michael Caine)(

Maurice Milklwhite) Caine -(as all know where all limited to just (4) films"

 

1st "Man Who would Be King" (l975) (BY A BLOW-OUT FORME)

2. "Sleuth" (l972)-(He & *Olivier match wits)

3. "Hannah & Her Sisters" (l986)

4. "Cider House Rules" (l999)-(2nd *Oscar td(

& "Alfie" (l966)

 

(NOTE: "Going in Style" way remake of the marvelous 1979 version is due April 7th)

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  No offence, but you guysreally took me baswck t these tioi.article. Hre's akmost a **** to earn his 9th bD nomninastionfor:Silence" & for those that out himdownfirawys

 

9NOTR:Beside' my ever decresing helth &hed trauma my friends, my new comuter isiw startngupo withsoethig. Main reasoinfir allthe cleruical screw-upsonhere & atopicI sure wuldlike to join in on!?

 

 

Have yiu seen :The lastWalt:"Age ofInnocence: "{Alice Doiesn't Live Here Anyre:&others tet>

Could someone on the Starship Enterprise please reboot the Universal Translator?

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Can't argue with himJake.  A lot of us in here have been making the same gripe lately.

 

On my blog, I always to place the historical cutoff date at which point studios stopped looking for original scripts and started selling marketing "franchises"--

Where every hit movie was now a brand name, and movies were treated as bulk-serial episodes of hit TV series, where we were told to "Tune in next year, same Bat-month, same Bat-theater!"

 

Don't think it was just Marvel that Caused It, I'd go all the way back to the Great Screenwriter Bubble of 1988-91:

When studios tried hitch their wagons to hit action-movie screenwriters who could produce new original blockbusters on demand, causing a literal bidding-war of one-upmanship between Pen Densham, Shane Black and Joe Eszterhas, to see who could get the record-breaking highest price for "Prince of Thieves", "Basic Instinct" and "The Last Boy Scout".

When "Last Action Hero" finally popped the Bubble (like tulips and mortgage-derivatives, that's what happens when dreams push the price up too far...), studios began looking at ways they could start writing the Screenwriter out of the equation, since they were becoming the second-most expensive item after the already-expensive A-list star and CGI.

 

The by-product was, studios could now only afford to make movies audiences knew already, since you didn't need to hire anyone to risk profits by making up an unknown story--

When you see a teaser poster nowadays, the "tease" is a logo or character you already know, and the "sell" is, it's back again!

 

(I don't think that Marty's Asiaphilic remake of "The Mission" is going to rescue movies singlehandedly, but it would have been nice to see that alternate universe where enough voters had actually seen "Hugo" for it to win the Best Picture Oscar...)

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So him doing a remake of a 1966 novel is more ambitious than others doing an adaptation of a 1966 comic book? I don't think so.

 

Cinema is gone due to a lack of originality, just as his movie is equivalent to many other clone movies being released today. I'm sure its going to do well though, and his greedy investors will make a lot of money.

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So him doing a remake of a 1966 novel is more ambitious than others doing an adaptation of a 1966 comic book? I don't think so.

 

 

The comic-book phase at the moment is almost IDENTICAL (and has almost the exact same people to blame) as the CGI Animated bubble of the early-mid '00's:

Nobody understood why Pixar was ruling the box office--namely by making good movies, with some actual care and emotional involvement in the scripting--but imitators like Dreamworks thought if they just got themselves a bunch of computers, they could do the CGI thing, and have power over the audience, too!

As a result, we were drowned up to our eyeballs in bad, charmless, cynically made CGI, the genre became dead-in-the-water at the box office, and people groaned that they "hated CGI movies" while they went back to see Pixar and WDFA.  

What they meant was, they hated the bad ones, that were made with the technical ingredients, but not the care.

 

Similarly, when people say they're "tired of comic-book movies", they usually say it after a Warner or Fox movie.  They don't usually say it after the Marvel movies made with actual care and emotional involvement made by Disney/Marvel, they usually say it after some dreary or punishing rival-franchise Batman or X-Men movie that saw only the five-year-plan franchise strategies, and tried to imitate that.

And then they went back to see Civil War again.

 

The difference, of course, is that each Pixar was one movie, not a strategy of five or seven movies.

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  No offence, but you guysreally took me baswck t these tioi.article. Hre's akmost a **** to earn his 9th bD nomninastionfor:Silence" & for those that out himdownfirawys

 

9NOTR:Beside' my ever decresing helth &hed trauma my friends, my new comuter isiw startngupo withsoethig. Main reasoinfir allthe cleruical screw-upsonhere & atopicI sure wuldlike to join in on!?

 

 

Have yiu seen :The lastWalt:"Age ofInnocence: "{Alice Doiesn't Live Here Anyre:&others tet>

 

What's that in ENGLISH?    ;)

 

 

Sepiatone

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On my blog, I always to place the historical cutoff date at which point studios stopped looking for original scripts and started selling marketing "franchises"--

This would be when they made the second Philo Vance movie, I presume.
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Box Office: 'Beauty and the Beast' Waltzes to Record $170M in U.S., $350M Globally

HOLLYWOOD REPORTER >> http://www.hollywoodreporter.com/news/weekend-box-office-beauty-beast-roars-163m-thursday-986898

 

Good news for the lovely Emma Watson! She stands to earn at least $15 million because of the blockbuster success of Disney's live-action version of "Beauty and the Beast." The feminist fairy tale becomes a feminist reality.

 

belle-gold-dress-emma-watson-beauty-and-

 

http://www.huffingtonpost.com/entry/emma-watson-is-raking-in-the-galleons-with-beauty-and-the-beast-salary_us_58cd5361e4b00705db4fe82c

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Good news for the lovely Emma Watson! She stands to earn at least $15 million because of the blockbuster success of Disney's live-action version of "Beauty and the Beast." The feminist fairy tale becomes a feminist reality.

 

 

B&B is a "feminist" fairytale?  Ron Perlman wishes to differ.

 

(It somehow seems to have become one since 1991, after Linda Woolverton threw the story into her same Maleficent/Alice screenwriting blender and turned the setting on Chick-Whip.)

 

And as for the "Gasp, horrors, did our culture suddenly implode??" reactions to the headlines, Disney learned about seven years ago that "March Geek-Week" (as I recently blogged on two weeks ago, and I'm now trying to think of this week's topic) has become more of a fangirl thing, post-Alice/Hunger Games, than a fanboy thing.  Also, that in real-world practice, it's more one week than an entire month, and they've learned to pick their fangirl dates appropriately.

At least, that's what Warner's finding out, now that we're not talking about "Kong: Skull Island" anymore.

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  No offence, but you guysreally took me baswck t these tioi.article. Hre's akmost a **** to earn his 9th bD nomninastionfor:Silence" & for those that out himdownfirawys

 

9NOTR:Beside' my ever decresing helth &hed trauma my friends, my new comuter isiw startngupo withsoethig. Main reasoinfir allthe cleruical screw-upsonhere & atopicI sure wuldlike to join in on!?

 

 

Have yiu seen :The lastWalt:"Age ofInnocence: "{Alice Doiesn't Live Here Anyre:&others tet>

 

Sepiatone 

What's that in ENGLISH?     ;)

 

karlofffan

Could someone on the Starship Enterprise please reboot the Universal Translator?

 

Well, we DID, only it came out as:

"Darmok, at Tanagra, when the walls fell...Yeah, definitely, very bad when the walls fell--Who's on first, Darmok, I mean the guy on first base, Darmok, I'm an excellent bridge navigator, today on the Federation's Court..."

:wacko:

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BEAUTY AND THE BEAST(LaBELLE et la  Bete) was a novel length French fairy tale  penned in 1740 by GABRIELLE-SUZANNE BARBOT VILLENEUVE  that over the years took on some minor changes, but none of the story infers or promotes what we now consider feminist  elements.  To suggest so  is possibly indicative of some men's irrational fear and illogical ability to accept and deal with strong willed and independent women.

 

They would also have to believe that such fairy tales such as LITTLE RED RIDING HOOD and GOLDILOCKS AND THE THREE BEARS are feminist propaganda as well.

 

 

Sepiatone

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BEAUTY AND THE BEAST(LaBELLE et la  Bete) was a novel length French fairy tale  penned in 1740 by GABRIELLE-SUZANNE BARBOT VILLENEUVE  that over the years took on some minor changes, but none of the story infers or promotes what we now consider feminist  elements.  To suggest so  is possibly indicative of some men's irrational fear and illogical ability to accept and deal with strong willed and independent women.

 

In the original French tale--which Disney, Trousdale/Wise and Wooverton openly ADMITTED in press interviews that they had to screw around with just to pad out to 90 minutes, like Jean Cocteau didn't--the Beast is gracious and generous from the minute Beauty walks in, even if he seems a little too hard on his own self-esteem...Y'know, appearance issues.

 

In the end, it's Beauty who learns the lesson not to judge, ahem, books by their covers, and that maybe sometimes ugliness is only skin deep.

And why is she so surprised to learn he was a nice guy all along?  The story has some excuse, eg. the "fairy not invited to the christening", etc., etc. for why (DINGDING!  BRRTT!!  MESSAGE INCOMING!!) it wasn't his fault he was cursed, and that maybe being wedding-propositioned every night at a banquet table wasn't such a "scary" thing all along once you see the bigger picture.

And not, of course, that he was a "selfish male jerk" who had to be "punished" for his ego, until he could finish his community-service course in Sensitivity Training.

 

But that tale, of course, would involve the female character learning a lesson, which might impart the dangerous subtext that she wasn't perfect at the beginning of the story...Shh, heresy.  

Remember, if a heroine dreamily has her head in a fairytale book, she's actually fighting for literacy, world women's-education and empowerment. :rolleyes:

 

(Hence the previously posted Ron Perlman/Linda Hamilton clip, where Vincent reciting Shakespeare's sonnets would rather suggest he already DID know how to read when he and Catherine first met...)

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"Cinema is gone," Scorsese says. "The cinema I grew up with and that I'm making, it's gone."
Scorsese points to the proliferation of images and the overreliance on superficial techniques as trends that have diminished the power of cinema to younger audiences.

 

It's amazing when I walk the halls behind the mall's megaplex, all I hear is bombs and explosions coming from the theater doors. A major portion of the movies that are playing are "the same" in that they are either geared towards teen boys (those explosions) or little kids (Trolls/Minions/etc)

 

This is nothing new...look how many low budget "clones" of space & alien movies geared to teens were made in the two decades after the success of Lucas & Speilberg's space/alien movies. (you can see them on COMET TV & at VHS festivals)

 

There are still romantic "date" comedies and adult themed movies made, they just don't get the mega hype and therefore box office of the kid's fare. Those who do attend are often annoyed by talking/cel phone glare from rude audience members, so they wait until they can stream or watch the DVD at home next time. Only a kid falls for the hype of seeing a new movie.

 

"It should matter to your life," he says. "Unfortunately the latest generations don't know that it mattered so much."

 

There is a distinct separation between generations due to their parents values. Those who were brought up by parents with "adults rule" values opposed to those brought up by parents with "kids rule" values. 

The 50's was the first generation of acknowledging teenagers in the first place, and the 60's "youth" was heralded. By the 70's, children were brought up as the center of the universe. 

 

So these are the kind of "arts" that come from children's entitlement.

 

I only wish Scorsese made more good movies. Stop complaining & take action.

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Sure!

 

Like I usually say to ALL the "armchair quarterbacks" I know....

 

"So shut up and go to the stadium and SHOW them how it's done instead of yelling at the TV."   ;)

 

 

Sepiatone

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I wouldn't say that the cinema is dead, but rather the main life signs are coming from smaller films. I'm young, part of Hollywood's key demographic (15-30), but for the most part, blockbusters just don't appeal to me. Some of the best films of recent years that were not Oscar films arrived with very little fanfare, films like About Time, Sing Street, Denial, Testament of Youth,  Eddie the Eagle, The End of the Tour, Far from the Madding Crowd, Labor Day, I'll See You in my Dreams etc. I think that if you look for those types of smaller films and also look for the usually wonderful Oscar films, one can see that cinema is still alive. It just takes a little hunting.

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Cinema, you might have to figure some of us "geezers" grew up going to the show when EVERY movie practically was fine cinema.  By the time I was old enough to be in that "key" demographic you mention, I had already seen at the show, in weekend matinees, movies like "The Birdman Of Alcatraz",  "Pressure Point",  "Raisin In The Sun",  "Lillies Of The Field",  "Seven Days In May",  "Rio Bravo",  "The Manchurian Candidate",  and a host of others that were wonderful movies, but at the time were also considered "par for the course". 

 

These days it DOES seem that "the bigger the hype, the bigger the draw" when it comes to movie releases.  There ARE gems out there.  You just have to have the time and patience to dig them out.

 

 

Sepiatone

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Cinema, you might have to figure some of us "geezers" grew up going to the show when EVERY movie practically was fine cinema.  By the time I was old enough to be in that "key" demographic you mention, I had already seen at the show, in weekend matinees, movies like "The Birdman Of Alcatraz",  "Pressure Point",  "Raisin In The Sun",  "Lillies Of The Field",  "Seven Days In May",  "Rio Bravo",  "The Manchurian Candidate",  and a host of others that were wonderful movies, but at the time were also considered "par for the course". 

 

These days it DOES seem that "the bigger the hype, the bigger the draw" when it comes to movie releases.  There ARE gems out there.  You just have to have the time and patience to dig them out.

 

 

Sepiatone

Indeed, the classic era was a glorious time for filmmaking. Even the B-pictures of the era have a soecial glow about them. To look back at any year from the 20s through the 60s is to see an embarrassment of riches. They are no longer just par for the course. :)

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Marty sounds like an old curmudgeon yelling at the

kids to stay out of the editing room.

 

I remember the projection booth at the movie theater

where I worked in high school. It looked like it would

be right at home in a plant or the hold of a ship. 

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Indeed, the classic era was a glorious time for filmmaking. Even the B-pictures of the era have a soecial glow about them. To look back at any year from the 20s through the 60s is to see an embarrassment of riches.

 

Really? You might be a tad overreacting there.

 

But I do agree, even "B" movies from the golden/silver ages are more watchable than many big franchise blockbuster movies of today. The beauty of the studio system was, shorts and then B's were often a training ground for talent before trusted on an "A" picture. Later, TV would be training for major movie directors/writers/actors.

 

Nowadays, the earliest hands on experience kids get is in "film" school or self-funded projects.

 

I think golden age shorts & B's were written very well. I really think that is the weak link in todays films, not such great writing. Writing sets the pace of the story and editing defines it further.

 

It is dead, ever seen the mausoleums they call a projection room?

 

Funny you'd say that. I just received an email from a friend whose on the road traveling 2000 miles to pick up a new (1964) set of 35mm projectors. His projection room was just upgraded with a private bathroom last year, no crickets chirping there.

 

Like vinyl is to music, I think there will always be film geeks.

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Well, even the movie going "experience" has changed so much it's clear it's not(to me) as enjoyable as it used to be....

 

Like how you'd hear people(grown-ups and kids) chattering in conversation all over the theater until the lights went down, then there'd be a big "hush".  (now, the "hush" of the patrons has been replaced by the "chirp" of various CELL PHONES)

 

Walking in and looking at a dark, blank big screen.  No advertisements "slide show" flashing by.

 

Popcorn and soft drinks in boxes and cups.  Not either in BARRELS. (Jay Leno once joked that in movie theaters you now get popcorn in such huge containers that, "When you get THAT much corn, it's no longer "food", it's FEED!" )

 

In the old single screen theaters, the longest walk to the restroom was from your seat to the end of the aisle.  NOW after you reach the end of the aisle, the trip to the restroom is to the OTHER END of the building housing the 20 screen "multiplex".  You might make it, you might NOT.  And after polishing off that 2 litre "cup" of soft drink, it does become a challenge.  Especially if you have a 1 LITRE bladder!

 

And now, you're sometimes forced to make a decision as to whether to buy the candy at the concession stand, or save the money to get a steak dinner AFTER the movie.

 

Still like comedian STEVEN WRIGHT's gag about----

 

"I once got kicked out of a movie theater for bringing in my own food.  MY argument was that the prices at the concession stand were outrageous.  And besides, it's been YEARS since I had a good BARBEQUE!"   :P

 

 

Sepiatone

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The girls at the concession stand allowed us to eat all the popcorn

we wanted, as long as we were discreet about it. But the candy we

had to pay for. I remember they'd go to their locked storage room 

and get out a big plastic bag of popcorn. It still tasted pretty good

and I ate all I could and I still like popcorn today. I sneak in a big

candy bar, but that's all. I guess one could have a flask filled with

soda, but that seems a bit of a chore. I'm not that desperate. 

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