Chatting to Mark Kermode in The Observer last week, the Goodfellas auteur sees the tool as potentially revolutionising what we see.
“Every shot is rethinking cinema, rethinking narrative – how to tell a story with a picture. Now, I’m not saying we have to keep throwing javelins at the camera, I’m not saying we use it as a gimmick, but it’s liberating. It’s literally a Rubik’s Cube every time you go out to design a shot, and work out a camera move, or a crane move. But it has a beauty to it also. People look like… like moving statues. They move like sculpture, as if sculpture is moving in a way. Like dancers…”
Some cinema purists may be slightly irked to read these remarks, but if any filmmaker can see the advantages of this new technology beyond the (arguably) embryonic stage it’s at now, Scorsese is one of them.
To have a director who so well-versed in the language of cinema use 3D (which Scorsese is currently doing with new feature The Invention of Hugo Cabret) is a particularly mouth-watering prospect, and the world he creates will undoubtedly offer a different approach to that of previous champion of the medium, James Cameron.