Then, Scorsese and his mixing team do something very curious.Īll the din fades down, while the onscreen action remains furious (though we do withdraw to a more placid, distant high angle, almost a Hitchcock God shot) and Mascagni’s Barcarolle bleeds in, wafting a discordant gentleness over the brutish proceedings.

It’s a scene of high noise and chaos, the violent blows underplayed if anything in favour of the vocal panic of onlookers. Joe Pesci as Joey La Motta slams Frank Vincent as Salvy’s head in a taxi cab door in a fit of pique. We’re an hour into Scorsese’s 1980 monsterpiece. Watch me run a 50-yard dash with my legs cut off. The whole sequence is such a compendium of unusual choices, maybe I can just talk about THAT today.

Scorsese is still doing these giant detail shots in SILENCE and WOLF OF WALL STREET, where Jonah Hill spots Leo’s car and it fragments into what Werner might call ECSTATIC SNAPSHOTS. It’s his favourite bit from RAGING BULL, with the mysterious close-ups of coffee cups and a coffee cup HANDLE. So, probably no time for watching ANYTHING apart from snatches of BRAM STOKER’S DRACULA and I can’t write about any of the films I see for eminently reasonable privacy reasons.īUT - my friend Travis, an ace sound editor, got in touch the other day and mentioned a clip he was going to use in a class of sound designers. There will be hundreds of features and hundreds of shorts. And I’m now heading into Hell, as my viewing of feature film submissions for Edinburgh Film Festival crashes into my viewing of short films as applications for Edinburgh College of Art Film & Television Department.

Nicholas colasanto raging bull