The on-again, off-again production of The Irishman has experienced a number of twists and turns down the years. Such as a name change and cast members like Joe Pesci, who have jumped in and out of the Martin Scorsese project. But the filmmaker is pushing through. Determined to make it a reality and, if his producer Gaston Pavlovich is to be believed, timing won't exactly be an issue.
Utilizing some cutting edge technology for the gangster flick, Pavlovich outlined to the press how some special effects will come in handy to transform the 73-year old veteran into a younger man. It won't only be Bobby himself going back in time, with his old pal and gangster aficionado Al Pacino also transforming into his 1970s persona once more.
Nothing Plastic: Pure CGI Genius
Invoking his famous take in 1974's masterpiece The Godfather Part II, Pavlovich thinks we haven't seen the last of a young De Niro and potentially others from the past that can be revitalized with this technology. Speaking with CinemaBlend, the producer sees limitless potential for Scorsese to create something fresh.
"Well it’s an extraordinary technology that we’ve been looking at," began Pavlovich. "You don’t use prosthetics, make-up, they have acting and the technology is able to have them go through different time ages without the prosthetics. So we’ve seen some tests and it looks extraordinary."
This is far from hypothetical, with certain cinematography already taken place to make the transition visual.
"We were able to film Bob and just do a scene, and we saw it come down to when he was like 20, 40, 60, so we’re looking forward to that, from that point of view, for The Irishman … Imagine seeing what De Niro looked like in The Godfather 2 days, that’s pretty much how you’re going to see him again."
Silence Praised Without Being Classified As A Scorsese Classic
Yet to come to fruition on the big screen, Scorsese's recent work for Silence with Liam Neeson and Andrew Garfield has been received warmly by critics without the acclaim that has met his previous films via The Departed, Raging Bull and Taxi Driver among others. Described as a brave movie for broaching religion in an unapologetic fashion, the production treads the fine line well.
Robert Abele from The Wrap says it is "cinematically rigorous, but it’s never ritualistically flashy," while Peter Debruge at Variety argues that the instalment is "a remarkable achievement, tackling as it does a number of Big Questions in a medium that, owing to its commercial nature, so often shies away from Christianity altogether."