Subject: Directing
Films: Goodfellas (1990), Casino (1995)
"There's a certain freedom in Goodfellas, as it's mostly medium shots, where the actors have room to move. But that's the world these characters live in. It's not a world of close-ups. They have people around them all the time, and what they do always affects the world around them. So you have to shoot it in medium shots.
It's important not to restrict actors. But, on the other hand, I cannot let actors give me something that I don't want. On a film like Casino, there was a lot of improvisation, which is fine. If an actor feels really comfortable playing that character in that world, I let him improvise within a given scene, and I cover it in a pretty straightforward manner: medium shots, close-ups... When you do that, the world is pretty much created by the actors. I place them in the frame, and the set around them is part of their life, but they bring the life to it. When that happens, and when it goes in the direction you wanted, it can be incredibly rewarding."
- Martin Scorsese, Moviemaker's Master Class by Laurent Tirard
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You’ve made my day responding so fast!! I want something like, you’re Sam’s new girl after splitting with ginger and everything has his the fan and he’s worried you’re going to bail now that he’s out of the casino business but you’re in it for the long haul and move with him to California and start a life and now I’m rambling but something like that!! Throw in a baby surprise if you want! I’m just ecstatic you responded
thank you for your request lovely! 🥺 it’s a really short snippet as opposed to something longer but i hope you enjoy it even so!
SUMMARY: a bit of morning consolation to start ace’s day right <3
WARNINGS: none
ace had just lit his cigarette when you came into the kitchen that morning, sunlight pouring into the space like the sky had spilled its fresh glass of orange juice on the counter. you felt his shoulders as you passed by him, leaning in to meet his lips in a quick kiss between puffs.
“good morning, handsome,” you sigh, a soft joyfulness behind your voice. your hands immediately start working on a breakfast for yourself, something light. cornflakes, a glass of apple juice, some berries perhaps. ace still puffs at his cigarette behind you, not saying a word.
sometimes you wonder if, when he sits here like this all silent and mellowed out, he thinks about what this kitchen was like when she had still walked around it. kissed him good morning, served his bacon and eggs, answered his phone.
his eyes flicker to and away from you when you do sit across from him. you catch him after a few glances had gone by and tilt your head.
“what?”
“nothin’,” he replies quickly. “nothin’.”
“i know you. that look isn’t nothin’.”
he purses his lips and demolishes his stub in the ashtray between you. his eyes look so sad.
“you uh… you… you gonna go back to your mother’s?”
puzzled, you drop your spoon in what’s left of your tiny islands of milk and flakes. “no. why would i do that?”
a pitiful smile peeks out from beneath his long face. “‘cause i’m uh… i’m sort of a nobody now…”
you immediately reach your hand to cover his on the table, squeezing with a loving urgency. “that is completely ridiculous and you know it. i’m not here for the casinos, the money. i’m here for you, ace. i’m all yours.”
he flips his hand to lock it with yours, thumbing your knuckles with silent gratitude. he pauses for a long while, just admiring how perfectly your hand fits in his. then his eyes flick up to you again.
“will you… will you come to california with me?”
your face immediately alights at his request.
“baby, i’ll go anywhere… anywhere in the world if it means i’ll be with you.”
“i love you, darling,” he says with a sudden, genuine passion before meeting you across the island to kiss you deeply, “so, so much.”
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