Don't know what this means sorry.
I'm struggling to see your point. You claimed that Scorsese was irate that his movie didn't do well at theaters, while other franchises were 'killing it' at the box office. (The Irishman was only ever going to do small runs in Theaters by the way, it was only put in theaters in order to be eligible for awards season, like 'Roma').
At no point did Scorsese think his film wasn't going to match or better those franchise comic book films in theaters.
I'm struggling to see your point. You claimed that Scorsese was irate that his movie didn't do well at theaters, while other franchises were 'killing it' at the box office. (The Irishman was only ever going to do small runs in Theaters by the way, it was only put in theaters in order to be eligible for awards season, like 'Roma').
At no point did Scorsese think his film wasn't going to match or better those franchise comic book films in theaters.
But in the real world, killing it in the box office pays off at least in the sense that once you’ve done it a few times, you as a director can then do whatever you want and secure easy funding for your next project, which can be as niche and art house as you wish. I’d argue that’s what Nolan did with Tenet, which would never “make it” or get made at all if it had been his first, second, or even third film. It’s just that people like Nolan know how to milk the game and hence can afford to do this at this stage of their careers, whereas someone like Shane Carruth, who never mastered the box office tricks, will never get the budget to make whatever he likes. So in a sense, taking the box office into account serves to benefit the directors above anyone else.