- [Narrator] Using his latest masterpiece, "The Irishman,"
we 're about to explore every one
of Martin Scorsese's trademarks.
Here's our list.
Long tracking shots are easily
one of Scorsese's favorite camera movements.
This is a great way to establish both a sense of location
and the area of focus.
While that might make the editor's job a tad easier,
the extras are another story.
This is due to Scorsese's tracking shots
usually being very complex,
featuring heavily choreographed movements
and often needing several takes to get them just right.
Hey, when people refer to you
as the king of the tracking shot,
you've got a reputation to uphold.
Marty's films almost never start from the beginning.
- What the fuck does that mean?
- [Narrator] That just means that Marty likes
to tell his stories in a non-linear fashion,
usually starting things off in the middle
or the very end of a character's journey.
And, as you can see from the opening shot of "The Irishman,"
we're probably going to be working our way back.
And thanks to some remarkable special effects,
we do just that.
The post-production trifecta,
you'll almost always find in a Scorsese film
are slo-mo shots, freeze frames and rapid editing.
Slow motion is often used when you really want accentuate
the gravity of a specific moment
and the impact it has on a character's life.
That, and it almost always looks cool.
Freeze frames on the other hand, are a great way
to capture the essence of a character in a single shot.
Are they pensive?
Are they having the time of their lives?
Did they get killed in an unceremonious fashion?
Freeze frames are a great way to encapsulate all of that.
Then, there's rapid editing, which can help create
a sense of anxiety or convey repetition,
like it does in "The Irishman."
Many of Scorsese's films involve a cerebral trip
through the mind and the world of a complicated protagonist.
Marty likes to convey this kind of journey
with characters narrating throughout the film
entire life's journey.
Sure, this tends to break ye old rule-of-thumb
of Show Don't Tell, but when done the right way,
these narrations can provide a nuanced, introspective tone,
as if a character is looking back on evil deeds
with newfound hindsight.
- And when they say they're more
than a little concerned, they're desperate.
- [Narrator] And while my opinion might be somewhat biased,
(chuckles) I think having a voiceover
is the perfect way to tell a story.
Those trademarks are pretty well-known,
but let's move onto some that really cook.
If there's one subject matter
that Scorsese seems to enjoy portraying on film,
it's the irredeemable world of thieves, extortionists,
dealers and, in "The Irishman's" case, hitmen.
Along with these kind souls, you can definitely expect Marty
to include a good bit of violence and profanity.
And just in case you thought Scorsese has calmed down
in his later years.
(screams)
- You motherfucker.
- I'll fucking kill you!
- Dumb motherfucker.
That fucking cocksucker Kennedy!
He's got his nose up my ass.
Get in the fucking car.
What the fuck is candy?
Get in the fucking car.
Goddamn Kennedys.
- Jimmy, the kids, language.
- Oh what difference does it make?
- [Narrator] Scorsese has always enjoyed
making brief appearances in his own work.
However, this cameo is one
you're really gonna have to listen for.
- [Narrator] Good to hear from you, Marty!
He's always been known to cast the occasional comedian.
In "The Irishman," there's Ray Romano.
But did you catch the quick scene
featuring Jim Norton as Don Rickles?
- You're Jewish, fella?
Would you like to be?
- [Narrator] If you're familiar with his other films,
you've probably noticed
that Marty alludes to the Catholic Church quite a bit.
Many times, he uses this imagery to explore themes of guilt,
a need for redemption and other feelings
your average Scorsese character might experience.
- But you don't feel anything at all?
- Nah.
- [Narrator] Well, most of them anyway.
With New York as his hometown
and NYU as his alma mater, the City That Never Sleeps
has been quite an influence on the work of Scorsese.
With more than half of his films taking place in NYC,
two of them literally named after it,
there's just something about this city
that keeps Marty coming back.
- What the fuck does that mean?
- [Narrator] Yeah, yeah, I was just getting to that.
Okay, so you might be typing in the comments
right now that "The Irishman,"
while it did feature New York a little,
the story mostly takes place in Philadelphia.
And you're absolutely right, it does.
That being said, Scorsese still shot most of it
in the city that raised him.
Those things are all very Marty,
but if really want to experience some peak Scorsese,
it all boils down to one thing.
Joe Pesci is no stranger to Scorsese films,
nor is Harvey Keitel, but the actor that Scorsese
has collaborated with the most is easily Robert De Niro.
Scorsese has said that, when it comes to De Niro,
no other actor can provide the same power
and excitement he does.
And that must be true, because their team-ups have resulted
in some of Marty's most acclaimed films,
as well as De Niro's most celebrated performances.
That being said, "The Irishman" is actually
something of a reunion for the two,
as they haven't worked together since 1995's "Casino."
While Leo DiCaprio seems to becoming
another Scorsese favorite,
it'll be hard to top the magic of Bob and Marty.
And boom, that's every Scorsese trademark
found in "The Irishman."
Did we miss something?
What are your favorite trademarks?
Let us know in the comments.
- What the fuck does that mean?