The Departed (Martin Scorsese, 2006)

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Antoine Doinel · #326 Post by **Antoine Doinel** » Wed Jun 11, 2008 9:09 am

From IMDB:

Nicholson's Fire Threat To Scorsese
11 June 2008 5:15 AM, PDT

Hollywood actor Jack Nicholson once threatened to set fire to the movie set of 2006 film The Departed - after director Martin Scorsese asked him to think up ideas for a scene.

The star admits that when Scorsese asked him to come up with a few suggestions for the next day's filming, his imagination ran wild and he seriously considered burning down the set in a spectacular stunt.

But Nicholson's rational side took over, and in the end he didn't go through with his idea.

He recalls, "I didn't sleep that night. Next day, I asked the prop man to get me a gun... I also asked him to get a fire extinguisher.

"That's what happens when you set me loose. I was literally planning to set the set on fire."

If only Rob Reiner had set him loose on the set of The Bucket List.

Gator · #327 Post by **Gator** » Wed Jun 11, 2008 9:26 am

I wish he had burnt down The Departed set!:P It was another awful, forgettable studio pic from one of American cinema's most overrated directors.

flyonthewall2983 · #328 Post by **flyonthewall2983** » Wed Jun 11, 2008 9:38 am

The Queen lost. Get over it

Gator · #329 Post by **Gator** » Wed Jun 11, 2008 10:13 am

flyonthewall2983 wrote:The Queen lost. Get over it

Good one!

Antoine Doinel · #330 Post by **Antoine Doinel** » Mon Jun 30, 2008 10:16 pm

A prequel and sequel are in early development.

Bananafish · #331 Post by **Bananafish** » Mon Jun 30, 2008 10:40 pm

Oh for fuck's sake.

#332 Post by **domino harvey** » Mon Jun 30, 2008 10:45 pm

Bananafish wrote:Oh for fuck's sake.

When Scorsese reads this thread, this response will be scored by "(I Can't Get No) Satisfaction" in his head.

exte · #333 Post by **exte** » Tue Jul 01, 2008 11:33 am

“They’re [still] developing it,” Wahlberg sighed. “If it can be better than the first, then great. I’ll be all for it. I’m not interested in going for the paycheck. I love ‘Godfather 2’ but, then again, I don’t like ‘Godfather 3.’”

LMAO! I can just picture him saying that with the Dirk Diggler voice.

filmnoir1 · #334 Post by **filmnoir1** » Wed Jul 02, 2008 3:20 am

It is disheartening to hear that someone like Scorsese who possess real talent is now being reduced to making prequels and sequels. While the original Infernal Affairs does indeed have sequels they are far inferior to the original. Then, I felt that The Departed was a poor re-imagining of a better gangster film that displays what is right about the hong Kong style and what is wrong about the current state of American filmmaking.

hot_locket · #335 Post by **hot_locket** » Wed Jul 02, 2008 4:16 am

Great, 35+ years of honest film making and the second you give a guy an Oscar it's on to sequel land.

#336 Post by **domino harvey** » Wed Jul 02, 2008 4:20 am

Well I for one am looking forward to The Arrived and The You're Back-- Did You Forget Something?

MichaelB · #337 Post by **MichaelB** » Wed Jul 02, 2008 5:43 am

hot_locket wrote:Great, 35+ years of honest filmmaking and the second you give a guy an Oscar it's on to sequel land.

<ahem>The Color of Money</ahem>

#338 Post by **domino harvey** » Wed Jul 02, 2008 5:52 am

In his defense, you're the first person to remember the Color of Money in over twenty years.

Svevan · #339 Post by **Svevan** » Wed Jul 02, 2008 5:55 am

hot_locket wrote:Great, 35+ years of honest film making and the second you give a guy an Oscar it's on to sequel land.

I'm glad we're so immature as to believe that sequels are inherently inferior and anyone who makes one is dishonest. David Bordwell recently argued very effectively in favor of sequels.

People have been saying that Scorsese has "fallen off the tracks" for years. It's nothing new: he makes movies that are more "commercial" now. Are they as good as his best stuff? Not really (he gets close sometimes). But let's compare the "fall of Scorsese" to the fall of Coppola and Lucas and thank our stars that he's making movies anywhere NEAR his previous greatness.

Tom Hagen · #340 Post by **Tom Hagen** » Wed Jul 02, 2008 12:22 pm

What the hell kind of sequel is there? Mark Wahlberg's arrest and trial? I haven't seen the original franchise, but any sequel to this thing would require a whole new cast of characters.

exte · #341 Post by **exte** » Wed Jul 02, 2008 8:52 pm

Svevan wrote:
hot_locket wrote:Great, 35+ years of honest film making and the second you give a guy an Oscar it's on to sequel land.
I'm glad we're so immature as to believe that sequels are inherently inferior and anyone who makes one is dishonest. David Bordwell recently argued very effectively in favor of sequels.

People have been saying that Scorsese has "fallen off the tracks" for years. It's nothing new: he makes movies that are more "commercial" now. Are they as good as his best stuff? Not really (he gets close sometimes). But let's compare the "fall of Scorsese" to the fall of Coppola and Lucas and thank our stars that he's making movies anywhere NEAR his previous greatness.

Totally with you on the issue, Svevan.

flyonthewall2983 · #342 Post by **flyonthewall2983** » Wed Jul 02, 2008 9:31 pm

exte wrote:
Svevan wrote:
hot_locket wrote:Great, 35+ years of honest film making and the second you give a guy an Oscar it's on to sequel land.
I'm glad we're so immature as to believe that sequels are inherently inferior and anyone who makes one is dishonest. David Bordwell recently argued very effectively in favor of sequels.

People have been saying that Scorsese has "fallen off the tracks" for years. It's nothing new: he makes movies that are more "commercial" now. Are they as good as his best stuff? Not really (he gets close sometimes). But let's compare the "fall of Scorsese" to the fall of Coppola and Lucas and thank our stars that he's making movies anywhere NEAR his previous greatness.
Totally with you on the issue, Svevan.

^ This, definitely. And everybody can trash me all they want for saying this, but this probably stands as my favorite of Martin's work. I think at the very most, it's significance to this generation will be the same as Goodfellas was to the previous one and Taxi Driver before that.

hot_locket · #343 Post by **hot_locket** » Wed Jul 02, 2008 9:48 pm

In my defense, I was being more than a little facetious.

Ruby · #344 Post by **Ruby** » Wed Mar 18, 2009 6:00 pm

Having rewatched the Departed today, I slogged through this thread. Two things stick out:

1. Bordwell’s criticism of the editing seems to be misplaced. The staccato effect of the audio and visual editing creates a slightly jerky effect that compliments the tension experienced by the characters. So it has function. EG. when Costigan receives a silent call from Queenan’s phone, he reacts by grabbing his keys and papers and preparing a rucksack to leave. The continuous motion is broken up in editing with very brief temporal ellipses. This conveys Costigan’s state of mind pretty well I think and it is not a million miles away from the use of temporal ellipsis between compact scenes in Scorsese’s previous work-most obviously, GoodFellas and Casino. If anything, the editing here shows a development-applying a trusted technique to create a new effect. I thought this kind of stuff was the very thing Bordwell’s approach to style was supposed to illuminate.

I like Bordwell very much but like all theorists (like all of us) his approach to style is far less objective than he would admit and is very dependent on a particular fondness for certain techniques.

2. I’m committed to all things Scorsese but I just can’t understand the appreciation shown for Casino here. It is so dependent on voice-overs to move the film along, that watching it is like attending a book reading with (admittedly vivid) power-point illustrations. For me, it’s one of his weakest films.

Is there a petition going anywhere to have Jack Nicholson put down or at least, deeply sedated?
Failing that, how about an official record of films he has ruined by playing a parody of himself trying to be an actor. It would have to be graded against the quality of the individual films though...

exte · #345 Post by **exte** » Wed Mar 18, 2009 8:43 pm

Parody or not, I'd love to see a two hour spot with him on Inside the Actor's Studio.

rs98762001 · #346 Post by **rs98762001** » Fri Mar 20, 2009 12:14 am

Nicholson has given at least 2 brilliant performances in the last 15 years: Blood and Wine and About Schmidt. Which is two more than the amount of brilliant films that Scorsese has made in the same period.

flyonthewall2983 · #347 Post by **flyonthewall2983** » Fri Mar 20, 2009 12:44 am

exte wrote:Parody or not, I'd love to see a two hour spot with him on Inside the Actor's Studio.

He's refused to do it before, but some people who have eventually changed their mind. Morgan Freeman was one that Lipton mentioned when he was on Larry King several years ago.

Cold Bishop · #348 Post by **Cold Bishop** » Fri Mar 20, 2009 1:05 am

rs98762001 wrote:Which is two more than the amount of brilliant films that Scorsese has made in the same period.

I count Casino and Kundun, with Age of Innocence a bit shy of the window of time. But valiant attempt

rs98762001 · #349 Post by **rs98762001** » Fri Mar 20, 2009 2:24 am

I desperately want Kundun to be great, because it feels like a real, personal Scorsese film, and is so beautifully made and such a departure for him. But it really isn't. It has much to recommend it, but it's so dramatically inert. And Casino in my opinion is a pale shadow of Goodfellas, as has been argued a thousand times by others. But I agree with you about The Age of Innocence. His last real masterpiece. Hopefully Silence will rectify this.

MyNameCriterionForum · #350 Post by **MyNameCriterionForum** » Fri Mar 20, 2009 5:03 am

rs98762001 wrote:Nicholson has given at least 2 brilliant performances in the last 15 years: Blood and Wine and About Schmidt. Which is two more than the amount of brilliant films that Scorsese has made in the same period.

I think the two performances you mean are The Pledge and The Crossing Guard.

The Departed (Martin Scorsese, 2006)

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