“I think this is different, I think it is,” he insists. “I admit that there are – you know, Goodfellas and Casino have a certain style that I created for them – it's on the page in the script actually. Putting Goodfellas together was almost like an afterthought, at times I was kind of rushing, I felt I'd already done it because I'd played it all out in terms of the camera moves and the editing and that sort of thing. The style of the picture, the cuts, the freeze-frames, all of this was planned way in advance, but here it's a little different.

“The people are also older in The Irishman, it's certainly more about looking back, a retrospective so to speak of a man's life and the choices that he's had to make.”