One more and then I'm done

"... Shone’s reflections on Scorsese and his films are expressed with surprisingly lovely prose and demonstrate not only a great appreciation for the director’s work but an intimate understanding of what makes him tick, of the rhythm that beats beneath the surface of his films. In the chapter covering Goodfellas, he has this to say:“It marks Scorcese’s most ebullient performance as director, with editing, camerawork, and sound all working at full tilt to create a great, rolling, runaway ribbon of celluloid – cinema as guitar riff – that surges, chugs, and kicks like a Keith Richards guitar lick. ‘The moviemaking has such bravura you respond as if you were at a live performance,’ said Pauline Kael. ‘All you want to talk about is the glorious zigging camera, the freeze-frames and jump cuts. That may be why young film enthusiasts are so turned on by Scorcese’s work: They don’t just respond to his films, they want to be him.' Up to a point. That Steadicam shot through the Copacabana is a show-off piece of filmmaking, but it works because Henry himself is showing off in order to seduce Karen – so Scorcese seduces the audience, too. His exuberance is born of the vitality of his hoodlum antiheroes, who even as they dish out death are themselves full of life – vibrant, awful, vulgar life, with their wide suits and hot cars, their lacquered women and their terrible taste in home furnishings.” (page 149)" — Fourth and Sycamore