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Scorsese and DeNiro 9th feature?


#1

After a few decidedly suspicious choices (ANALYZE THAT, MEET THE FOCKERS, HIDE AND SEEK), veteran thespian Robert DeNiro seems back on track with movies like STARDUST, WHAT JUST HAPPENED?, and the much-anticipated decision to reunite with Martin Scorsese.



Apparently Bobby and Marty will get together again for FRANKIE MACHINE, which is, you guessed it, a mob-themed crime thriller. DeNiro had been developing the adaptation of Don Winslow’s novel (originally called THE WINTER OF FRANKIE MACHINE) for some time, but now his long-time collaborator will reportedly direct the film, marking their ninth feature together.



The movie (which Scorsese plans to make some time after his Rolling Stones project and/or one of the dozen other things he intends to do with Leonardo DiCaprio) involves the title’s retired mob hitman who gets drawn back into the bad business and finds past crimes catching up to him. OCEAN’S 13 writers Brian Koppelman and David Levien adapted the book for DeNiro.



  • Joblo.com

#2

Interesting.

By the way, did you know that deNiro will do a movie with Al Pacino again:



CANNES – Robert De Niro and Al Pacino are teaming to play New York police investigators hunting a serial killer in Jon Avnet’s $60 million thriller “Righteous Kill” for Avi Lerner’s Millennium Films and Emmett/Furla Films.



The independently financed feature written by Russell Gewirtz (“Inside Man,” the upcoming “Labyrinth”) unites the longtime friends on screen for some 90% of the film – unlike their one shared scene in Michael Mann’s “Heat” and no shared scenes in Francis Ford Coppola’s “The Godfather Part II.”



“You see those two icons onscreen together for virtually the whole film,” Lerner said at his Festival de Cannes offices, “(something) never seen before in the history of cinema. It’s one of the hardest deals we’ve ever done to put these two actors together.”



Emmett said the actors had long been seeking a project on which to work together and that he acted as a catalyst to get the duo together. Lerner talked to producer Art Linson and De Niro, now filming the Warner Bros. Hollywood comedy “What Just Happened?” to help move the new project along.



“Kill” begins a two-month shoot in Connecticut and New York on Aug. 6, taking advantage of each state’s tax incentive programs. Lerner said “Kill” is the biggest budget production he’s ever done without co-financing from a major studio. “If this were a studio film, it would cost $120 million,” he said. “We believe the independent film world (makes films) more efficiently, more cost effectively and with more heart. A studio would read it and set up a committee about the script, the director … a committee about the committee.”


#3

[quote=“moussemaker”]
Interesting.

By the way, did you know that deNiro will do a movie with Al Pacino again:



CANNES – Robert De Niro and Al Pacino are teaming to play New York police investigators hunting a serial killer in Jon Avnet’s $60 million thriller “Righteous Kill” for Avi Lerner’s Millennium Films and Emmett/Furla Films.



The independently financed feature written by Russell Gewirtz (“Inside Man,” the upcoming “Labyrinth”) unites the longtime friends on screen for some 90% of the film – unlike their one shared scene in Michael Mann’s “Heat” and no shared scenes in Francis Ford Coppola’s “The Godfather Part II.”



“You see those two icons onscreen together for virtually the whole film,” Lerner said at his Festival de Cannes offices, “(something) never seen before in the history of cinema. It’s one of the hardest deals we’ve ever done to put these two actors together.”



Emmett said the actors had long been seeking a project on which to work together and that he acted as a catalyst to get the duo together. Lerner talked to producer Art Linson and De Niro, now filming the Warner Bros. Hollywood comedy “What Just Happened?” to help move the new project along.



“Kill” begins a two-month shoot in Connecticut and New York on Aug. 6, taking advantage of each state’s tax incentive programs. Lerner said “Kill” is the biggest budget production he’s ever done without co-financing from a major studio. “If this were a studio film, it would cost $120 million,” he said. “We believe the independent film world (makes films) more efficiently, more cost effectively and with more heart. A studio would read it and set up a committee about the script, the director … a committee about the committee.”

[/quote]
Yep made a thread for the movie


#4

Another film Scorsese is doing. This is the script review from Latinoreview who gave it a A grade and called it a masterpiece.



THE LONG PLAY

by Matthew Weiss

Based on the original screenplay by Rich Cohen, Martin Scorsese and Mick Jagger.





So hot off his Oscar, what is Marty doing next?



THE LONG PLAY! His long in development look at the music industry. It’s like the THE LAST WALTZ meets GOODFELLAS!



Now I read Rich Cohen’s draft back in the days, and most recently Weiss’ draft.



So what is it about?



Over thirty years in the music business, a hungry, young hustler from Brooklyn grows into a megasuccessful multi-millionaire only to sadly lose the professional freedom he’s always fought to retain.



What’s the verdict?



THE SCRIPT IS HOT! A Masterpiece for sure. There is not much difference between the Cohen and Weiss draft except for name changes and minor plot points but I’m really excited to see what William Monahan does with the source material. What is cool is that you see the Scorsese touches and camera angles and moves written into the script so you know what visually Scorsese wants to do.



Like GOODFELLAS, the script is narrated in Voice Over by HERB ADLER and SAM KING – the two buddies of the piece.



If ya love GOODFELLAS, you’re gonna love THE LONG PLAY! I see a lot of similarities between Henry Hill and Herb Adler. The rise of a hustler, only to be driven out of the very culture he loves so much.



DISCLAIMER:

This is still a work in progress so more work on the script is going to be done, so expect many changes. For the most part, the story beats remain the same so enjoy…



It’s 1994 and, at Las Vegas’ MGM Grand Ballroom, the MUSIC EXECUTIVES of mega-successful American-Century Music are meeting for their annual convention. As American-Century CEO DAVID WEINER and his SOMBER SUITED COMPANY MEN solemnly look on, rhinestone-and-denim wearing lost-rich-boy JIMMY VAN DER MEER orders seltzer at the bar. Nearby, old time executive BOBBY BLUE (70s) (aka ROBBIE BLUMENTHAL) holds court, while sharply dressed Head of the Music Division HERBIE ADLER (early 50s) tries to convince long time friend/adversary SAM KING (early 50s) - a fashionable black man - to sell Herbie his successful rap label.



As Herbie and Sam argue, they have one sticking point: Herbie wants to dump best-selling rap star DIRTY TEA who has a wild history of violence. After performing for the crowd, attitude-plus Dirty Tea leaves withhis POSSEE - only to be gunned down outside the hotel. Dirty Tea dead, the problem is solved, with Herbie and Sam quickly striking a deal for millions.



Back in 1964, 22-year-old Herbie was a hungry hustler from Brooklyn who idolized recording kingmaker LESTER JARVIS (60s). Holding court at a typical Broadway diner near the Brill Building, Lester metered out advice to Herbie and his cronies: CHICK MOSCOW, the owner of Bunker Hill Records; JULIE SILVER, a heavy gambler who cruises Harlem clubs in search of new talent; and Bobby Blue, a toughie in the juke box business who’s connected to the Mob.



Dreaming of owning his own sporty convertible and being surrounded by beautiful women, Herbie’s an eager protegee to mentor Julie. Hitting the road in search of talent, Herbie tells the group who, in New Orleans, he found raucous misadventure outside of New Orleans when trying to sign PROFESSOR LONGHAIR. Determined to prove himself, Herbie now bets that he can get the fictitious singer FINGERSNAPS WASHINGTON and fictitious song “Why Do Teardrops Fall?” on Billboard’s charts.



The group impressed when Herbie gets the fictitious song listed as a hit, they know encourage Herbie to make this ruse a reality by creating a singer named Fingersnaps and recording the non-existent tune. To this end, Herbie checks out a group of BLACK MUSICIANS and chooses Alabama born Sam King. Anxious for a record deal, Sam agrees to become Fingersnaps.



Reborn as star Fingersnaps, Sam soon finds himself performing at Brooklyn’s legendary Paramount Theater as a member of DICK CLARK’s Rock and Roll Revue - an all star bill that’s headlined by battling JERRY LEE LEWIS and CHUCK BARRY. The revue going on tour, Herbie joins Sam in New Orleans where Sam’s furious to learn that - due to Chick’s creative bookkeeping - his profits from the hit song are a pittance.



Getting drunk, Sam wakes in his “all black” hotel to find himself with a WHITE WOMAN. Scared of getting lynched, Sam calls Herbie for help - with Herbie helping Sam avoid disaster by quietly slipping the White Woman away.


#5

Returning to New York, Herbie learns that, due to Julie’s latest gambling debts, Bunker Hill has been taken over by GANGSTERS. Determined to be his own boss, Herbie

leaves Bunker Hill. But, try as Herbie might, the Gangsters won’t let him take “talent” Sam along. Furious with Herbie regarding these business dealings, Sam’s also personally disappointed in Herbie when he learns that Herbie’s been living a double-life: with wild swinger Herbie constantly leaving wife RUTH and 5-year-old daughter SANDRA alone at their suburban Long Island home.



Come 1967, a divorced Herbie has moved to Los Angeles and formed his own Sugar Records. There, Herbie’s joined by other former Bunker Hill staffers, including loyal secretary MELANIE HAYES and talent scout Julie. Proudly, a now LA-hip-dressing Herbie’s built Lugar into a huge success, representing such artists as gun-toting WILSON PICKET; JAMES BROWN - who’s going through his “black pride phase”, and ARETHA FRANKLIN.



To Herbie’s delight, he’s reunited with Sam who’s come West in search of artistic freedom. But, due to Sam’s outstanding contract with Bunker Hill, Herbie won’t sign him to a recording deal. Instead, Sam gets hired as an A&R man - with Sam’s resentment towards Jewish Herbie growing as he spends time hanging out with James Brown and militant H. RAP BROWN. Excited when he discovers singing sensation EDITH LECLAIRE - a sexy black woman from Alabama - Sam’s determined to make her a star.



The LA riots devastating the City, racial tensions grow. Insisting that he can’t be around white people, James Brown leaves Herbie’s label. His own resentment at Jews boiling over, Sam also quits and heads out on his own with client Edith. At a Miami music convention, racial tensions continue - with black hoodlum PERVIS WOODLEY forming a Fairplay Committee which blackmails the labels into paying Woodley huge kickbacks. When some of the music men resist, Woodley’s THUGS turn violent - killing one RECORDING EXECUTIVE and holding Julie hostage. Luckily, old pal Bobby Blue is the one white member of Woodley’s group and wins Julie’s freedom; with cheap Julie refusing to reimburse Herbie the huge ransom fee. With Bobby’s encouragement, Herbie agrees to sell Lugar to GEORGE GROSS, the CEO of huge Century Brothers music.



Come 1974, Herbie’s label continues to prosper as the face of music changes and Herbie bets on British spandex-clad rockers SPUTNICK to become huge stars. While hanging with the wild, room-trashing Sputnick, Julie accidentally is dosed with LSD; with Herbie soon getting into the drug scene. On the road, Sputnick is so wild that Herbie sends tough, black TEDDY SYLVESTER to keep them in line - a goal that Teddy accomplishes by making sure that there are lots of GROUPIES to keep the Sputnick members sexually exhausted. At a wild Sputnick party, Teddy and Julie are embarrassed to see that Herbie’s become a wild, cocaine addict.



Back in Los Angeles, Herbie continues to predict hitmakers with the help of now 14-year-old daughter Sandra. In New York City for a record industry gala, Herbie and Julie are happily reunited with old pals Bobby and Chick - with this successful quartet now overweight, middle-aged men. In New York, Herbie finds a protege in eager, young

photographer Jimmy Van Der Meer.



For his part, Sam’s still toiling to turn girlfriend Edith into a star. Stealing Edith from Sam, Herbie becomes her lover and manager - with Edith finally finding stardom and even getting the chance to duet with her idol Aretha Franklin. Enraged, Sam battles with Herbie during a wild fistfight. Meanwhile, Jimmy’s determined to prove himself - even if it means stealing audition tapes from Julie. Impressed by Jimmy’s drive, Herbie allows him to sign Harness, a middling Alabama-like clone.



Angered by Herbie’s betrayal, Jimmy quits and returns to NYC where he soon dies of a heart attack. Harness becoming stars, Herbie continues to try to push Edith’s career - even if it means forcing Rolling Stone Magazine’s JANN WENNER into giving her a cover story. From Bobby Blue, Herbie learns that George Gross is planning on selling Century Brothers to American Media - a magazine corporation run by CEO David Weiner who creates the huge American-Century Music.



In Los Angeles, Herbie finally marries Edith in an extravagant wedding that’s modeled on Prince Charles’ wedding to Princess Diana. But as a bickering Herbie and Edith honeymoon in Italy, disaster strikes as George dies of a heart attack. Learning that Jimmy’s betrayed him to Weiner, Herbie fires Jimmy. But Herbie faces new problems as scheming Jimmy becomes American-Century’s new head of the music division.



Infuriated, Herbie confronts Weiner who’s so impressed by Herbie that he makes Herbie the music division’s chief. Business forcing him to move back to New York, Herbie keeps Edith at home at their huge country house; while Herbie spends most of his time in NYC. But, come 1984, Herbie realizes that he’s made a horrible deal: he’s a figurehead who even Weiner ignores. Finally, Herbie’s world comes collapsing in when, at the Grammy’s, Edith blames her failure to win any awards on him. Even worse, after two decades in the music business, Herbie is summarily dismissed by Weiner in a press release which accuses Herbie of embezzling company funds to pay for his extravagant wedding. Forced to retire in disgrace, Herbie takes Weiner to court and is granted a $40 million pay off. Similarly, Sam is paid $30 million to also retire. Divorcing Herbie, Edith finally finds mega-success - and five Grammies - via her song about finding her freedom as a mermaid.



Although they’re both mega-wealthy, Herbie and Sam are both barred from competing in the music business - with these two old cronies spending time together at a Broadway diner where they bemoan the fact that they’ve been edged out of their beloved music business.


#6

The same guy who reviewed this script also gave The Winter of Frankie Machine script a A rating and he really doesn’t do it that often


#7


#8

Don’t really like the name, but that’s great that they’re working together again.

[quote=“Bad Max”]
After a few decidedly suspicious choices (ANALYZE THAT, MEET THE FOCKERS, HIDE AND SEEK), veteran thespian Robert DeNiro seems back on track with movies like STARDUST, WHAT JUST HAPPENED?, and the much-anticipated decision to reunite with Martin Scorsese.



Apparently Bobby and Marty will get together again for FRANKIE MACHINE, which is, you guessed it, a mob-themed crime thriller. DeNiro had been developing the adaptation of Don Winslow’s novel (originally called THE WINTER OF FRANKIE MACHINE) for some time, but now his long-time collaborator will reportedly direct the film, marking their ninth feature together.



The movie (which Scorsese plans to make some time after his Rolling Stones project and/or one of the dozen other things he intends to do with Leonardo DiCaprio) involves the title’s retired mob hitman who gets drawn back into the bad business and finds past crimes catching up to him. OCEAN’S 13 writers Brian Koppelman and David Levien adapted the book for DeNiro.



  • Joblo.com
    [/quote]

Sweet.


#9

<LINK_TEXT text=“http://www.filmstalker.co.uk/archives/2 … ranki.html”>http://www.filmstalker.co.uk/archives/2007/10/mann_directs_de_niro_in_franki.html</LINK_TEXT>



Michael Mann has signed up to direct Robert De Niro in Frankie Machine, the adaptation of The Winter of Frankie Machine written by Don Winslow.



The story of Frankie Machine, a retired hitman with a successful business and a new life away from the mob. One day the local boss calls on him for a favour, a favour he has to deliver, and then he’s “sucked right back in”. Unfortunately the hit is a set-up, and he’s forced to become the character he once was in order to survive.



Martin Scorsese had been lined up to direct the film, but then we heard he pulled out.



Now the news from Variety tells us that Michael Mann is taking his place. I think this is interesting news, I’d much rather see Michael Mann direct Robert De Niro and give us something to his performance in the Heat remake.



I could see that this is going to be a great response to Francis Ford Coppola’s negative comments about the star. Instead of taking the possibly slower paced Martin Scorsese route Robert De Niro is going to be taking the stylish, faster paced, Michael Mann film, and that’s going to push him a bit more I hope.