There is a connection between the output of The Irishman on Netflix and the controversy of Martin Scorsese against the Marvel movies. While his last effort on the disappearance of Jimmy Hoffa in the halls, the director returns to the office in the New York Times and defines the extraordinary success of the superheroes, a threat to the values of auteur cinema.
The controversy was erupted at the beginning of October, when Scorsese, in an interview with Empire, had defined the Marvel movies “the equivalent of a playground”. It was followed by a lively debate that he had seen lined up with the 77enne Scorsese the senior colleagues Francis Ford Coppola and Ken Loach . Yesterday against Scorsese was down in the field, the boss of Disney, Bob Iger : “Great director, but I don’t think I have ever seen one.”
To be honest, Scorsese says to have tried, but never got to the bottom. The New York Times the director comes to admit that, if he had been born later, would have found to his taste, the films are baked by the studios (owned by Disney) Playa Vista, California. Martin then queries his tastes as a young man, acknowledging that some of his favorite films – in particular Alfred Hitchcock’s – promised, and brought home the same type of emotions that now offer superheroes. But they are not in the game and personal tastes, according to the elder statesman of the cinema in new york, which puts on the bench of the accused the business model imposed by the franchise: “Changes unlimited on a defined number of issues made to satisfy a specific set of questions, the Marvel movies are the sequels to name but a remake of fact, based on market research and test the audience, modified, riverificati and edited until they are ready for consumption”.
The director then explains that the scale and the cost of a movie Marvel requires of it out to the maximum number of rooms possible, but there is only a limited number of rooms in north America and the result is a bottleneck that marginalized films that Scorsese loves to see and do and relegating them to the streaming distribution or home video. “I wanted to see The Irishman screened in more salt,” admitted the director, going back on the decision that led him to do his last film with Netflix resulting in a war between the merchants and the behemoth of streaming on the limited number of days in which the saga of the disappearance of Jimmy Hoffa may be distributed in the cinema before going out on the Internet.
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