Netflix has released a new poster for The Irishman. This is the latest from director Martin Scorsese and, for various reasons, this is one of his most buzzed-about movies in years. For one, he's returning to the gangster genre and, considering this is the man who brought us Goodfellas, that would be enough on its own. But he's also reuniting Robert De Niro and Joe Pesci for the movie. To top it all off, Al Pacino is joining in on the action, marking the first time he's worked with Scorsese.
Naturally, Netflix is leaning hard on the trio at the center of this flick, and this poster speaks to that. We see the three stars featured at the center of the poster, with the city looming large in the background. Save for the title and Martin Scorsese's name proudly stamped across the top, there's not much else going on. But what more does one need to be sold on The Irishman? It's also worth pointing out that the versions of the actors on this poster don't appear to be digitally de-aged.
Much of what has taken so long in getting this movie finished is the fact that the actors will be de-aged, like we've seen in movies such as The Curious Case of Benjamin Button and Ant-Man and the Wasp, so that they will be able to play younger versions of themselves. This was glimpsed in the trailer, but we've yet to get a true sense of how that's going to play on screen. Unfortunately, this poster isn't offering much help in that department. Still, it's an accomplishment just to see these three actors gathered together for the first time, especially since Joe Pesci had been retired for years prior to this.
Related: Scorsese Is Worried The Irishman De-Aging VFX Are Stealing DeNiro's Edge
Netflix shelled out big money for The Irishman, with its budget said to be in the neighborhood of $175 million. Other studios weren't confident the movie would be able to make what it needed to make at the box office, given the hefty price tag. It's also important to note that its runtime is reportedly three and a half hours. Netflix will be giving the picture a theatrical release, but it will be limited and won't be as wide as some expected perhaps it could have been. Much of that had to do with the streaming service being unwilling to grant a traditional theatrical window to satisfy chains like AMC and Regal.
The temperature was unusually high in the Saban Theatre Saturday night, and the jokes were sizzling too. On center stage, Comedy Central's latest roast-ee, Alec Baldwin, for tonight's taping of the Roast of Alec Baldwin.
After all, what would you expect when one of the appetizers served before the show was a punchline: it was that classic SNL treat - chocolate Schweddy Balls.
Since all of the evening's roasters are also fair game for hard-jabbing punch lines, a round of applause for bravery should go to host Sean Hayes and roasters Ken Jeong, Chris Redd, Jeff Ross also a co-executive producer of the roast, Blake Griffin, Nikki Glaser, Robert De Niro, Caitlyn Jenner, Adam Carolla and Caroline Rhea.
Glaser, who took plenty of hits for her two-left-feet turn as a contestant on Dancing With the Stars,” offered mock delight at getting the chance to meet “Justin Bieber's wife's oldest, fattest uncle.”
Special kudos to De Niro, because, as Hayes pointed out at the top of the show, the Hollywood legend was “the real reason we're all here tonight.”
De Niro, a two-time Oscar winner, took almost as much ribbing as Baldwin for his advanced age and his recent penchant for starring in big screen comedies never destined for awards greatness. Ross referred to De Niro as the “Aging Bull.”
And while the audience learned early that Baldwin's 23-year-old daughter Ireland Baldwin was in the audience, it came as a surprise when the young woman the actor famously called a “thoughtless little pig” on a voicemail 12 years ago actually took the stage to have a chat with her dear old Dad.
Ireland Baldwin, who was featured in plenty of jokes before she took the stage, appeared cool and poised as she zinged her famous father for his role in Mission Impossible: “Mission Impossible is what I call getting my dad to apologize,” she said sweetly.
Nothing was off limits tonight, including Baldwin's wicked temper, his 35-year-old yoga instructor wife Hilaria, his past substance abuse, paparazzi punching and the extreme likelihood he will never be named father of the year.
Naturally, transgender Jenner took plenty of heat, but was quick to respond when her turn came, telling De Niro that she wasn't the only one going through a transition, pointing out that Robert De Niro used to be Robert F—king De Niro. On a more serious not, she encouraged other transgender people to find the strength to be who they are and “if you have a problem with that, you can suck my d–k. If you can find it.”
When he got his chance at the podium, De Niro cheerfully opened his remarks with “What the f- am I doing here?” observing that the rest of the roasters are people you can't even find on Wikipedia. He took a friendly shot at Jenner, wishing her vagina a happy second birthday but getting a little political by saying Comedy Central wanted to wait until after her surgery “so they can pay her 20% less than a man.”
A few roasters couldn't resist breaking the barbed tone of the evening. A recorded announcement by Lady Gaga revealed Baldwin and Comedy Central are donating $1 million to the charity Exploring the Arts, an arts education nonprofit founded by Tony Bennett and Susan Benedetto, pointing up the fact that this roast was for charity.
But in true Comedy Central Roast form, even that generous gesture was undercut by a review of Gaga's performance: “You're not Lady Haha,” he said.
At the end of the nearly four-hour evening, Baldwin went down the line, insulting each and every guest. He praised himself for a charitable act: “Sharing the spotlight is my gift to all of you,” he cracked.
But at the end of it all, he thanked them for their support for a man who didn't always star in hit movies, or be polite to the paparazzi, but “did it my way.” “And if you don’t believe me, check your e-mails,” he said.
Comedy Central’s Roast of Alec Baldwin will premiere on September 15 at 10 pm ET/PT on the channel.
The Hamptons Film Festival said Wednesday that it has added Martin Scorsese’s The Irishman as its Friday Centerpiece Film this year. It will screen at the fest October 11 at Gould Hall, just two weeks after the Netflix pic starring Robert De Niro, Al Pacino and Joe Pesci has its world premiere at the New York Film Festival.
Also added to the fest’s Spotlight lineup today are four pics in the fall awards-season picture: from Terrence Malick’s A Hidden Life, Taika Waititi’s Jojo Rabbit, Noah Baumbach’s Marriage Story and Fernando Meirelles’ The Two Popes.
The Hamptons fest, which runs over Columbus Day weekend October 10-14, opens with Warner Bros’ Just Mercy, with Ford V Ferrari as its Saturday Centerpiece.
The festival also said today that Neon’s Cannes pic Portrait of a Lady on Fire has joined the World Cinema Narrative lineup, along with several others in the Narrative and Documentary competition sections.
Here’s the list of new titles:
THE IRISHMAN Friday Centerpiece Director: Martin Scorsese
Robert De Niro, Al Pacino and Joe Pesci star in Martin Scorsese's THE IRISHMAN, an epic saga of organized crime in post-war America told through the eyes of World War II veteran Frank Sheeran, a hustler and hitman who worked alongside some of the most notorious figures of the 20th century. Spanning decades, the film chronicles one of the greatest unsolved mysteries in American history, the disappearance of legendary union boss Jimmy Hoffa, and offers a monumental journey through the hidden corridors of organized crime: its inner workings, rivalries and connections to mainstream politics.
A HIDDEN LIFE Director: Terrence Malick At the dawn of the second World War, the Edenic life of peasant farmer Franz Jägerstätter August Diehl and his family is disrupted by the intrusion of violence and hatred developing throughout their Austrian countryside village. As their town becomes further immersed in the Third Reich's ideologies, Franz is called in for military training, where his refusal to swear allegiance to Hitler will force him into imprisonment and away from his family back home. Telling the true story of one of the many conscientious objectors who quietly pushed back against their countries' advances toward extremism, filmmaker Terrence Malick THE TREE OF LIFE, THE THIN RED LINE returns to the vast canvas of his most celebrated work in this immensely powerful rumination on the call for a higher purpose in times of unimaginable turbulence.
JOJO RABBIT Director: Taika Waititi Growing up during the Second World War with his single mother Scarlett Johansson, a young German boy spends his days idolizing his country's tyrannical regime and taking comfort in the presence of his imaginary best-friend: Adolf Hitler writer-director Taika Waititi. But the boy's understanding of the world around him is rattled when he discovers a secret within his home. In Waititi's outrageous “anti-hate satire,” the director weaponizes the irreverent, off-beat charms he previously lent to both independent comedies WHAT WE DO IN THE SHADOWS and blockbuster superhero epics THOR: RAGNAROK in a wonderfully unexpected new direction. JOJO RABBIT is a deeply funny and surprisingly touching depiction of our capacity for both hate and love.
MARRIAGE STORY Director: Noah Baumbach MARRIAGE STORY is Academy Award nominated filmmaker Noah Baumbach’s incisive and compassionate look at a marriage breaking up and a family staying together. The film stars Scarlett Johansson and Adam Driver, Laura Dern, Alan Alda and Ray Liotta co-star.
THE TWO POPES East Coast Premiere Director: Fernando Meirelles From Fernando Meirelles, the Academy Award-nominated director of CITY OF GOD, and three-time Academy Award-nominated screenwriter Anthony McCarten, comes an intimate story of one of the most dramatic transitions of power in the last 2,000 years. Frustrated with the direction of the church, Cardinal Bergoglio Jonathan Pryce requests permission to retire in 2012 from Pope Benedict Anthony Hopkins. Instead, facing scandal and self-doubt, the introspective Pope Benedict summons his harshest critic and future successor to Rome to reveal a secret that would shake the foundations of the Catholic Church. Behind Vatican walls, a struggle commences between both tradition and progress, guilt and forgiveness, as these two very different men confront elements from their pasts in order to find common ground and forge a future for a billion followers around the world.
WORLD CINEMA NARRATIVE
PORTRAIT OF A LADY ON FIRE Director: Céline Sciamma As the 18th century draws to a close, Marianne Noémie Merlant, a young painter, is sent to an isolated island off the coast of Brittany to paint the wedding portrait of Héloise Adèle Haenel, a young woman counting her last days of freedom before her arranged marriage to a man she has never met. As Marianne portrays herself as a companion to Héloise during the day and secretly paints the portrait meant to secure Héloise's marriage at night, the two women slowly begin to find the tenderness in each other that their society has denied them. Visually rich and intellectually provocative, director Céline Sciamma's Cannes Best Screenplay winner is a delicate and beautifully realized period piece.
ATLANTICS Director: Mati Diop Along the shores of Dakar, Senegal, Ada Mama Sané, soon to be forced into an arranged marriage with a wealthy man, falls in love with construction worker Souleiman Ibrahima Traoré. Looking for a better future and incapable of seeing a life with Ada, Souleiman boards a small vessel with his co-workers and attempts the perilous sail to Spain, where he soon disappears and is presumed dead. In her Cannes Grand Prix-winning debut feature, French-Senegalese actress and filmmaker Mati Diop translates the collective drama of sea departures into a dazzlingly beautiful ghost story of unfulfilled love and lives lost in the search for a better future.
THE BEST OF DORIEN B. New York Premiere Director: Anke Blonde To almost everyone around her, the life of 37-year-old Dorien Kim Snauwaert seems to be picture perfect – with two children, a loving husband, and a thriving veterinary practice to her name. But just as the local press tell ominous news of a “black hole” on the horizon, Dorien's life is hit with a series of devastating setbacks in the form of her own news of a recent affair, her parent's breakup, and unexpected results from a trip to the hospital. A sympathetic portrait of a life in crisis, director Anke Blondé's THE BEST OF DORIEN B. is a warmly funny and bittersweet look at one woman's attempts to let go from the coping mechanisms that have defined her life for so long.
LARA U.S. Premiere Director: Jan Ole Gerster Waking up on the morning of both the most important piano concert of her son's career and her own 60th birthday, Lara Corinna Harfouch steps out of her living room window and contemplates jumping to her death. From this startling, unnerving beginning, director Jan-Ole Gerster creates a stunningly precise psychological portrait of a woman on the verge. As Lara prepares for her estranged son's concert, she attempts to forge connections with a varied group of friends, family, and acquaintances from her past and present. Anchored by Harfouch's masterful lead performance, Gerster's second feature is a perfectly calibrated look at familial discord and attempts at redemption in contemporary Berlin.
THE VAST OF NIGHT New York Premiere Director: Andrew Patterson With a summer night descending over 1950s New Mexico, the residents of a small town congregate for a high school basketball game. Amidst the action, the local radio DJ's planned interviews with attendees are halted by the discovery of a strange frequency over the town's airwaves by a local switchboard operator, leading the pair on an investigation deep into the darkness of their sleepy hometown. Paying loving homage to THE TWILIGHT ZONE and early Spielberg in equal parts, Andrew Patterson's imaginative debut is a singular piece of original sci-fi, traveling through the unknown corners of our collective history.
A WHITE, WHITE DAY U.S. Premiere Director: Hlynur Pálmason Retired from his job as a local policeman and grieving the recent death of his wife, Ingimundur an excellent Ingvar E. Sigurðsson channels his quietly brewing grief into the renovation of a secluded house in the remote Icelandic community they called home. But while going through a box of his wife's old possessions, Ingimundur finds an unexpected memento that directs his detective instincts into increasingly unstable paranoia. With a tone perfectly matching its remote, isolated Icelandic setting, director Hlynur Pálmason's remarkably confident second feature is a spellbinding, oft-kilter tale of the obsessive ends of unconditional love.
COLLECTIVE U.S. Premiere Director: Alexander Nanau In the aftermath of a deadly fire in a Bucharest nightclub that left dozens dead, Romania's government pledged that the over 100 citizens left injured would receive immediate and substantial treatment. But in the weeks and months that followed, what seemed like treatable injuries continued to lead to further unexplainable deaths, prompting an unlikely group of investigative journalists at the Sports Gazette to launch an investigation into what went wrong. Uncovering a scandal reaching into the highest levels of government, the team soon discovers that their story is larger than they ever imagined, leading to mass protests across Romania and the toppling of the Prime Minister. Following the investigation as it progresses, Alexandre Nanau's revelatory documentary is a powerful indictment of governmental corruption and a tribute to those working tirelessly to uncover the truth.
CUNNINGHAM Director: Alla Kovgan In the past century of choreography, Merce Cunningham is perhaps the most iconic name of his medium, with an ever-evolving body of work that forever changed the world of contemporary dance. Bringing together the last generation of dancers trained under the choreographer at the Merce Cunningham Dance Company to perform his most celebrated and ambitious pieces, filmmaker Alla Kovgan presents his work in stunning 3D photography, bringing the audience as close as possible to the movements and actions of the dancers on screen. For both viewers intimately aware and new to his work, CUNNINGHAM is a stunning profile of one of contemporary dance's most important bodies of work.
OVERSEAS New York Premiere Director: Sung-a Yoon In one of many training centers of its kind in the Philippines, a group of women gather to prepare themselves for the life awaiting them overseas as domestic workers in the West. Training under teachers who have returned from similar work abroad, the women learn to enact the cleaning and maidly duties their positions will require of them, while also learning to prepare for the likelihood of mistreatment and abuse that may await them. In her revealing look at the personal sacrifices and abandoned lives of a small group of Filipina workers, director Sung-a Yoon sheds necessary light on the struggle of those risking alienation, heartbreak, and abuse for the means through which to find a better life thousands of miles from home.
PAHOKEE New York Premiere Directors: Patrick Bresnan & Ivete Lucas In their striking feature film debut, HIFF alums Ivete Lucas and Patrick Bresnan immerse themselves in the rural town of Pahokee—a small, close-knit community nestled within the Florida Everglades—to observe four high-school students about to embark on their senior year. Finding themselves on the precipice of adulthood in a community where older generations have placed all of their hopes for opportunity on the youth, these students navigate the often celebratory, sometimes bittersweet rites-of-passage that accompany this hopeful and uncertain time of transition. Imbued with warmth and intimacy, PAHOKEE is a remarkable piece of verité filmmaking that captures both the joy and heartbreak of the teenage experience.
TALKING ABOUT TREES U.S. Premiere Director: Suhaib Gasmelbari Reunited after years in exile, Ibrahim, Soliman, Manar, and Altayeb, the members of the “Sudanese Film Club,” come together with a single mission: to bring back the now decaying grand cinema in the center of their city. Each a filmmaker in their own right after receiving their film education abroad, the four members now tirelessly work to try to overcome the overwhelming persecution and oppression facing the country's artists to return a culture of cinema, and art, to Sudan. Intimately exploring the history of Sudanese cinema alongside the Film Club's struggle against the many blockades in their way, TALKING ABOUT TREES looks beyond the headlines of the country's ongoing crisis to shed light on the struggle for personal expression within it.
Martin Scorsese's The Irishman took some pretty big gambles. The story spans multiple decades and the legendary director had to find a way to make Robert De Niro, Al Pacino, and Joe Pesci look young again. This was not an easy task, even with how good the technology is these days.
But, in order to get a feel for how it would look, Scorsese had De Niro come in and reenact a classic scene from Goodfellas to do a side-by-side comparison. Industrial Light & Magic's Pablo Helman had this to say.
"We made a little set that looked a little like the original film, and then Bob got going. He did his monologues and soliloquies and different expressions. 'Get rid of the fur coat! Get rid of the Cadillac!' Then he went through a series of computer processes."
When Martin Scorsese and ILM looked back at what they had done, they knew they were on the right track. "We all decided," recalls Scorsese, "'This is going to work.'" When talking about the de-aging process used in The Irishman, the director prefers to call it "youthification." The revolutionary effect will undoubtedly leave an impact on the future of movie making. But for Scorsese, it was a way to finally tell a story he has wanted to share for over a decade now. He explains.
"I really had no choice. The risk was there, and that was it. We just tried to make the film. After sitting on the couch for ten years... we finally had a way."
Even though Martin Scorsese and crew knew they made the right choice with the de-aging process, there was still some lingering doubt when The Irishman hit the post-production stage. Long-time Scorsese collaborator Thelma Schoonmaker revealed there were still some issues that they were trying to work out and noted that the movie hinged on getting the special effects done in the correct way. With that being said, they've accomplished their goal as evidenced by the first trailer for the upcoming movie.
Martin Scorsese The Irishman is based on Charles Brandt's book I Heard You Paint Houses, and it marks the ninth collaboration between Robert De Niro and the director. They've also set plans to work on a tenth project with Leonardo DiCaprio. The Irishman unites Robert De Niro and Joe Pesci for the first time in a Scorsese project since 1995's Casino and fans are excited to see what the director has done this time around.
Related: The Irishman Producer Says Scorsese's Next Is Funny Like Goodfellas
The Irishman hits select theaters on November 1st in Los Angeles and New York and the hits Netflix on November 27th. If checking out the movie in theaters, one should know that it is Martin Scorsese's longest movie of his career, clocking in at three-and-a-half hours. Regardless, the gangster movie is one of the highest anticipated releases of the year and there are going to be a lot of eyes on it when it premieres. The interview with Scorsese was originally conducted by Empire.
#TheIrishman: World exclusive images from Martin Scorsese's crime epic: https://t.co/JDzyK1cHVtpic.twitter.com/rE55SWtfC8
— Empire Magazine @empiremagazine August 31, 2019
New stills from Martin Scorsese’s ‘THE IRISHMAN’ have been officially released. Source: https://t.co/w4CH6XnD2f pic.twitter.com/7YJfXNjymc
— DiscussingFilm @DiscussingFilm September 1, 2019
The announcement that Martin Scorsese’s gangster movie “The Irishman” will run 210 minutes has left cinephiles in a state of shock and awe. For every person on social media expressing excitement over Netflix letting Scorsese see his vision through seemingly uncut there are many more bemoaning the rise of increasingly longer runtimes. At three hours and 30 minutes, “The Irishman” will run a half hour longer than “The Wolf of Wall Street” to become the longest narrative feature of Scorsese’s career. However, this fact would not be true had Scorsese been able to release his original four-hour “Wall Street” cut. The 240-minute “Wall Street” would have made the 210-minute “Irishman” not so much of a big deal.
Scorsese has long downplayed the existence of the four-hour “Wolf of Wall Street.” In a January 2014 interview with Gold Derby, the director said that while a 240-minute version of the movie did exist it was more or less an assembly cut. An assembly cut brings together all of the footage shot during production, meaning the editor has not begun to chip away at individual scenes.
“Well, I think there are some scenes we could make available, so to speak,” Scorsese said about adding deleted scenes to the “Wolf” home video release. “Quite honestly, the four-hour version was just the first cut. I mean, 'Alice Doesn't Live Here Anymore,’ that was a three-hour, fifteen minute cut, the first cut, [but] the film is an hour and forty five. So it's part of a filmmaking process. I don't think there's any major scene that I dropped. We did do some wonderful improvisations and some very funny moments we had to whittle down so to speak, and I do miss a few of those.”
Scorsese’s legendary editor, Thelma Schoomaker, tells a different story. The Oscar winner told The New York Times in 2014 that the four-hour “Wolf of Wall Street” was more than just an assembly cut because it had been test-screened for audiences. Schoonmaker said a four-hour version of the movie performed very well in test screenings, “but it's just not feasible to distribute that.” The movie was released at three hours, but even that runtime earned some backlash.
“A film like 'Wolf' is intended to be sprawling,” Schoonmaker said at the time. “Marty wanted things to go just a little too far in the scenes sometimes, to test the patience of the audience just a bit. Because that's what the whole movie is about.”
Schoonmaker told HitFix via IndieWire around the time of the “Wolf” theatrical release that “people loved the four-hour cut.” The editor also revealed that for a brief moment Scorsese and herself were thinking about going the “Kill Bill” route and releasing “Wolf” in two parts.
“Well, we thought about it. We did. But the film doesn't work split in half,” Schoonmaker said. “It has to have a certain arc. We did think about it, believe me.”
According to Schoonmaker, even test audiences and executives that felt the movie was too long at four hours had no idea what could be cut out of it. Eventually she opted not to cut out any scenes but simply shave off some of the duration of certain moments.
Nearly six years after “The Wolf of Wall Street” release, many Scorsese fans would love to be able to get their hands on the long-discussed four-hour cut. If a 240-minute “Wolf” was good enough for Schoonmaker, than moviegoers should feel confident every minute of a three-and-a-half-hour “Irishman” will be worth it.
“The Irishman” is set to world premiere on opening night of the New York Film Festival. Netflix will kickoff an exclusive theatrical release for the movie on November 1 before a streaming debut on November 27.
Martin Scorsese’s upcoming gangster film “The Irishman” has a runtime of 3 ½ hours, making it the filmmaker’s longest movie and the the longest mainstream American narrative movie in more than two decades.
It will play for audiences for the first time on Sept. 27, day one of the New York Film Festival, but with the unusually early screening time of 3 p.m., making the epic the festival’s “opening day” selection rather than “opening night.” A source confirms that it will run without intermission.
“The Irishman” will run 210 minutes; by comparison,”Wolf of Wall Street” was 180 minutes, “Casino” was 178, “Gangs of New York” 167 and “Goodfellas” 147. All of the films, except “Casino,” received nominations for best director and/or best picture.
Joe Pesci and Martin Scorsese on the set of “The Irishman”
Philip Vaughan/ACE Pictures/REX/Shutterstock
Based on Charles Brandt's nonfiction book “I Heard You Paint Houses,” “The Irishman” stars Robert De Niro as Frank Sheeran, a World War II veteran who became a mob hitman and played a role in union boss Jimmy Hoffa’s disappearance. Al Pacino stars as the notorious mob-connected Teamsters president in his first Scorsese film. Joe Pesci also stars as mob boss Russell Bufalino.
The film, which spans decades, has already made headlines due to its use of VFX de-aging technology. The trailer, which dropped earlier this month, gave a peek at a younger-looking De Niro.
At 210 minutes, “The Irishman” isn’t quite as lengthy as Kenneth Branagh’s “Hamlet.” The 1996 Shakespeare adaptation runs an impressive 4 hours and 2 minutes.
Scorsese is likely still perfecting the film before its world premiere in exactly one month — the NYFF page for the movie notes that the runtime may change. If the director doesn’t cut any more, “The Irishman” will hold the distinction of running longer than “Godfather Part II” 3:20, “Exodus” 3:27 and “War and Peace” 3:28. The epic “Ben Hur” is just slightly longer, at 3:32.
Using old math, long movies have historically been risky for studios because they limit the number of theatrical showtimes. But this is a Netflix movie, and the streamer plays by its own rules.
Netflix is releasing the movie in select theaters Nov. 1 before making it available to stream Nov. 27 — a short theatrical window that has proven to be a point of contention between the streaming giant and exhibitors.