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  1. #1
    Administration Team


    Jan 2007
    21,627

    Arrow - Martin Scorsese

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    Martin Scorsese: I Said Marvel Movies Arent Cinema. Let Me Explain.
    Cinema is an art form that brings you the unexpected. In superhero movies, nothing is at risk, a director says.

    https://www.nytimes.com/2019/11/04/o...se-marvel.html

    When I was in England in early October, I gave an interview to Empire magazine. I was asked a question about Marvel movies. I answered it. I said that Ive tried to watch a few of them and that theyre not for me, that they seem to me to be closer to theme parks than they are to movies as Ive known and loved them throughout my life, and that in the end, I dont think theyre cinema.

    Some people seem to have seized on the last part of my answer as insulting, or as evidence of hatred for Marvel on my part. If anyone is intent on characterizing my words in that light, theres nothing I can do to stand in the way.

    Many franchise films are made by people of considerable talent and artistry. You can see it on the screen. The fact that the films themselves dont interest me is a matter of personal taste and temperament. I know that if I were younger, if Id come of age at a later time, I might have been excited by these pictures and maybe even wanted to make one myself. But I grew up when I did and I developed a sense of movies — of what they were and what they could be — that was as far from the Marvel universe as we on Earth are from Alpha Centauri.

    For me, for the filmmakers I came to love and respect, for my friends who started making movies around the same time that I did, cinema was about revelation — aesthetic, emotional and spiritual revelation. It was about characters — the complexity of people and their contradictory and sometimes paradoxical natures, the way they can hurt one another and love one another and suddenly come face to face with themselves.

    It was about confronting the unexpected on the screen and in the life it dramatized and interpreted, and enlarging the sense of what was possible in the art form.

    And that was the key for us: it was an art form. There was some debate about that at the time, so we stood up for cinema as an equal to literature or music or dance. And we came to understand that the art could be found in many different places and in just as many forms — in “The Steel Helmet” by Sam Fuller and “Persona” by Ingmar Bergman, in “Its Always Fair Weather” by Gene Kelly and Stanley Donen and “Scorpio Rising” by Kenneth Anger, in “Vivre Sa Vie” by Jean-Luc Godard and “The Killers” by Don Siegel.

    Or in the films of Alfred Hitchcock — I suppose you could say that Hitchcock was his own franchise. Or that he was our franchise. Every new Hitchcock picture was an event. To be in a packed house in one of the old theaters watching “Rear Window” was an extraordinary experience: It was an event created by the chemistry between the audience and the picture itself, and it was electrifying.

    And in a way, certain Hitchcock films were also like theme parks. Im thinking of “Strangers on a Train,” in which the climax takes place on a merry-go-round at a real amusement park, and “Psycho,” which I saw at a midnight show on its opening day, an experience I will never forget. People went to be surprised and thrilled, and they werent disappointed.

    Sixty or 70 years later, were still watching those pictures and marveling at them. But is it the thrills and the shocks that we keep going back to? I dont think so. The set pieces in “North by Northwest” are stunning, but they would be nothing more than a succession of dynamic and elegant compositions and cuts without the painful emotions at the center of the story or the absolute lostness of Cary Grants character.

    The climax of “Strangers on a Train” is a feat, but its the interplay between the two principal characters and Robert Walkers profoundly unsettling performance that resonate now.

    Some say that Hitchcocks pictures had a sameness to them, and perhaps thats true — Hitchcock himself wondered about it. But the sameness of todays franchise pictures is something else again. Many of the elements that define cinema as I know it are there in Marvel pictures. Whats not there is revelation, mystery or genuine emotional danger. Nothing is at risk. The pictures are made to satisfy a specific set of demands, and they are designed as variations on a finite number of themes.

    They are sequels in name but they are remakes in spirit, and everything in them is officially sanctioned because it cant really be any other way. Thats the nature of modern film franchises: market-researched, audience-tested, vetted, modified, revetted and remodified until theyre ready for consumption.

    Another way of putting it would be that they are everything that the films of Paul Thomas Anderson or Claire Denis or Spike Lee or Ari Aster or Kathryn Bigelow or Wes Anderson are not. When I watch a movie by any of those filmmakers, I know Im going to see something absolutely new and be taken to unexpected and maybe even unnameable areas of experience. My sense of what is possible in telling stories with moving images and sounds is going to be expanded.

    So, you might ask, whats my problem? Why not just let superhero films and other franchise films be? The reason is simple. In many places around this country and around the world, franchise films are now your primary choice if you want to see something on the big screen. Its a perilous time in film exhibition, and there are fewer independent theaters than ever. The equation has flipped and streaming has become the primary delivery system. Still, I dont know a single filmmaker who doesnt want to design films for the big screen, to be projected before audiences in theaters.

    That includes me, and Im speaking as someone who just completed a picture for Netflix. It, and it alone, allowed us to make “The Irishman” the way we needed to, and for that Ill always be thankful. We have a theatrical window, which is great. Would I like the picture to play on more big screens for longer periods of time? Of course I would. But no matter whom you make your movie with, the fact is that the screens in most multiplexes are crowded with franchise pictures.

    And if youre going to tell me that its simply a matter of supply and demand and giving the people what they want, Im going to disagree. Its a chicken-and-egg issue. If people are given only one kind of thing and endlessly sold only one kind of thing, of course theyre going to want more of that one kind of thing.
    I am not a number I am a free note

  2. #2
    AVClub Fanatic
    Dec 2010
    Kashyyyk stratosphere - 100,000 ft
    38,760

    : - Martin Scorsese

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    !!!
    There is no emotional danger, nothing is at risk !

  3. #3
    AVClub Fanatic
    Dec 2014
    France
    12,049

    Re: - Martin Scorsese

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    100% .


    SANS MOI, VOUS NE POUVEZ RIEN FAIRE II Corinthiens 4, 8-14 _ Jean 15, 1-8

    Si quelquun parmi vous pense etre un sage la maniere d'ici bas, quil devienne fou pour devenir sage. Car la sagesse de ce monde est folie devant Dieu I Corinthiens 3, 17-23

  4. #4
    Senior Member
    Apr 2019
    473

    : - Martin Scorsese

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  5. #5
    AVClub Fanatic
    Dec 2014
    France
    12,049

    Re: - Martin Scorsese

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    SANS MOI, VOUS NE POUVEZ RIEN FAIRE II Corinthiens 4, 8-14 _ Jean 15, 1-8

    Si quelquun parmi vous pense etre un sage la maniere d'ici bas, quil devienne fou pour devenir sage. Car la sagesse de ce monde est folie devant Dieu I Corinthiens 3, 17-23

  6. #6
    Senior Member
    Apr 2019
    473

    : - Martin Scorsese

    "And if youre going to tell me that its simply a matter of supply and demand and giving
    the people what they want, Im going to disagree. Its a chicken-and-egg issue.
    If people are given only one kind of thing and endlessly sold only one kind of thing,
    of course theyre going to want more of that one kind of thing."

    , ,
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    ( comics , games, ),
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    "ADAM" short scifi av,
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    super hero .
    !

    .

 

 

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