SPOILER WARNING: This story discusses a major sequence in “The Many Saints of Newark,” currently playing in theaters and streaming on HBO Max. Part of the enduring appeal of “The …
) — they had to figure out how to embrace the unsentimental credo of the show while still delivering an experience worthy of the big screen.
“This is a centerpiece shift in the balance of power in the movie,” Taylor says. “There was a more of a story in this violence than I was used to doing on ‘Sopranos,’ where the violence tended to be sudden, fast, and over. This one was more of an opera.”operatic — it still had to feel of a piece with what Taylor calls the “no-frills approach” of “The Sopranos.”
With so much after-hours commotion — including loud screaming, gunshots, and a VW bus set aflame — how popular was the production with the local neighborhood? “There’s almost no objective angles in the thing,” he says. “There’s choices about when we shift from Dickie’s point of view to Harold’s and back and forth, but we never to go to objective coverage. It’s part of what makes it not feel-good violence.”
“We do it with the only fancy shot in the sequence,” Taylor says. “It’s basically supposed to play like a regular coverage angle. Part of the shock is that you’re basically just covering the dialogue, and we’re on Joey Diaz’s character when something horrible happens and the camera swings up to Dickie’s reaction. Dickie falls out of frame and the camera’s already moving — it charges in towards Harold as he approaches.
“In the old days, it would have been really tricky to do a shot like this,” he says. “Now, it’s only mildly tricky to do a shot like this.”The next of Dickie’s compatriots to die is Frankie, a musician who works at Club Silhouette — or, as Taylor jokingly calls him, “the red shirt” of the scene. Because he wanted to keep the audience’s attention on Dickie and Harold, Taylor chose not to focus on whomever was driving the bus.
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