![]() At least with Henry there seemed to be instances of humanity - he's distraught by Spider's death, he tries to stop Tommy from killing Billy Batts in the bar, he tries to save Morrie - with Jordan I can't think of really any instances where he displays a clear morality. Therefore when he is released from prison it is not to "egg noodles and marinara sauce", but an entire auditorium full of normal, every-day Americans eagerly awaiting an ex-federal prisoner's advice on how to best replicate his success. The only difference between the 2 lifestyles is that what Jordan is doing has been societally approved. It's interesting to compare the 2 characters - especially since the screenwriter, Terrence Winter, admitted he wrote Wolf as "Goodfellas on Wallstreet" - and note how Jordan really is just a state supported, institutional gangster. While Henry is eventually caught by "the helicopters" and forced to seek a retribution of sorts Jordan never has to come to terms with his sins because he is the one flying the helicopters - literally in the first scene. The characters are very similar, the largest difference, really, is the setting of their chosen racket. I didn't even think of this until just now, but I think you're absolutely right about Wolf being 3 hours of Henry Hill-esque, drug-fueled paranoia. I've also read that Scorsese is especially reluctant to use ADR, which can make correcting a scene with broken continuity in post production especially challenging. Very few members of the audience would find any of the discontinuities in Wolf's editing jarring or noticeable. The mark of a competent editor is avoiding errors the mark of a great one is knowing which errors the audience won't notice and Schoonmaker is one of the best ever. This isn't a criticism: none of the continuity errors in Wolf break the flow of the scene. ![]() It seemed to happen far more often in this movie than most movies.Īs for continuity errors, Scorsese's longtime editor, Thelma Schoonmaker, has an unusually high tolerance for continuity errors. Like in a dialogue when the camera would switch from being behind one person to the other it was clear that scene wasn't happening continuously, the illusion was broken. Scorsese goes out of his way to demonstrate this to the audience explicitly in one of the film's first scenes, when Belfort "corrects" the color of the car he's driving mid-scene. We're hearing Belfort tell the story, and like a lot of stories, there's room for embellishment and inaccuracies. The stairs are clearly shown to be very short, about 6 steps.įor the stairs and other exaggerations, it's obvious we're in a more subjective reality than most films. In the quaaludes scene Jordan rolls down the stairs at the country club before he gets into his car.
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