The opposite of what they did at Woodstock. “With The Last Waltz, we stayed with The Band and the other performers. He went on to say that the approach to how he would film the fight scenes was inspired by his work on New York, New York (1977) and The Last Waltz (1978). However, as the director maintained, “the bottom line was I wanted the fight scenes to express what they meant for Jake.” Scorsese approached each fight scene differently. He knew what he wanted to achieve, but if De Niro and Scorsese thought the scene merited LaMotta’s fresh input, the choreography and tone would be shifted slightly.
Scorsese had given over long hours to storyboarding the bouts. Makeup creator Michael Westmore recalled LaMotta saying on more than one occasion, “Nah, it didn’t happen like that … he never touched me.” Scorsese felt the viewer had to feel that rush, reminiscent of attending a rock concert, whereby your perceptions change, your hearing and visuals are altered, time has stretched - you have no idea where you are.Īt the end of a take, Jake LaMotta would often enter the ring to give his thoughts and little insights as to how the scene was being shot.
No CGI or video assists back then either,” explained Scorsese. “At that point the camera comes flying down and through the ropes on a crane. The only time we are out of the ring during a bout is when the Fox fight is thrown, and when Jake is taking a beating from Laurent Dauthuille, that is until Jake turns on him and begins to destroy Dauthuille. In other words, what he perceives in the ring,” reported Scorsese. De Niro and LaMotta’s “vision becomes your sensibility. As much as possible, the camera would never film outside the ring. “And what if the interpretation of the fight is subjective it’s what the fighter sees or what he hears? How he perceives sound, image, physicality and everything you can think of.”Ī decision was made.
Scorsese felt that the fights “embroider the movie” and he wanted to shoot them “unlike other fight scenes in movies.” He asked himself myriad questions, hoping to find the answers. “He is one of the most disciplined people I have ever met,” declared Moriarty. At the end of a hard day’s filming, he and Moriarty would make their way back to their hotel, and some miles out De Niro would ask the driver to pull over so that he could run the rest of the return journey. LaMotta always maintained that he was playing “possum” with his opponent.ĭe Niro did not let up for a minute. Punch and get punched until the adversary got tired out.” “He could take punches more than anybody because he had an abnormally hard skull. Scorsese felt that Jake LaMotta’s willingness to take punishment within the ring was him repenting for sins he had made outside of it. On to the next setup and De Niro would ask, “What about this one?” Martin Scorsese Brings 'Killers of the Flower Moon' First-Look to CinemaConĪn average day would begin with De Niro asking Scorsese, “What do I do in this shot?”
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