ilmmakers Noah Baumbach (‘Marriage Story’), Todd Phillips (‘Joker’), Fernando Meirelles (‘The Two Popes’) and Lulu Wang (‘The Farewell’) sound off on Netflix pros and cons, Marvel as «amusement park» and «that bulls*** thing where the media picks a movie and declares it means something it doesn’t.»

Anyone interested in playing six degrees of separation would have had a field day at this year’s Director Roundtable — and not just because half of the helmers made their films for Netflix. Martin Scorsese (The Irishman), 77, came this close to producing Joker from Todd Phillips, 48, only to pull out and leave it in the hands of his producing partner, Emma Tillinger Koskoff. His last movie, Silence, screened for Pope Francis I, the subject of The Two Popes by Fernando Meirelles, 64. And he’s been longtime friends with Steven Spielberg, who gave Greta Gerwig, 36, notes on her new drama, Little Women. Gerwig, of course, is life partners with Noah Baumbach (Marriage Story), 50, and in case you’re thinking Lulu Wang (The Farewell), 36, may have felt left out, her own significant other, Barry Jenkins (Moonlight), was on the Director Roundtable three years ago.

In the past few years, what’s changed the most in show business, for good or bad?

TODD PHILLIPS Three of the filmmakers here, out of six directors, made movies for Netflix. That’s been a giant change.

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MARTIN SCORSESE The studios just weren’t interested in The Irishman. What they’d make back on something like that, they figured wasn’t enough, particularly because I had to do the CGI. [Robert] De Niro and I hadn’t made a picture since 1995, Casino, and over the years we wanted to make another film. And he comes up with this book that [screenwriter] Eric Roth gave him [I Heard You Paint Houses by Charles Brandt]. Becomes extremely passionate and somewhat emotional about it. And I read the book and I said, «This is what we’ll do.» That was 2009. Got [writer] Steve Zaillian involved. Worked out the structure. Worked everything out. And could not get the financing. Then I got a call from [manager-producer] Rick Yorn, who said, «Are you interested in Netflix?» And the main thing for me was creative freedom. The tradeoff is that it’s a streamer. I said, «But it will be shown in theaters, right?»

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