This is a treat: almost 25 minutes of legendary director Martin Scorsese talking about how he made his most iconic movies, from Mean Streets and Raging Bull to Gangs of New York and The Irishman. You have to laugh at the number of times he says, “Well, I didn’t want to make this film, but…” From an accompanying profile/interview with Scorsese (which is quite good as well):
It is a peculiar fact about Martin Scorsese that he does not enjoy actually making movies. “I don’t mean to be funny,” he said, “but, the thing is, you get up real early.” And Scorsese has never been a morning person. For most of his life, he recalled, “I’d stay up late watching movies on TV or reading late, or doing homework late, or trying to write scripts late. I lived at night and the streets were dark, and I never saw the light. It took me many years to understand where the sun set and where the sun rose. I didn’t know. I’m not kidding. I learned it in LA. When you’re going on Sunset Boulevard and you hit the Pacific Coast Highway and it’s seven o’clock and the sun is setting — it’s right there.”
He likes to borrow a complaint from Kubrick. “They said, ‘What’s the hardest thing about directing?’ He said, ‘Getting out of the car.’ Because once you get out of the car, the questions start.” Now, when Scorsese gets out of the car in the morning, he looks at his AD and says, “What can’t I have today?”
Oh boy. I thought the teaser trailer was good, but the full trailer for Martin Scorsese’s Killers of the Flower Moon just dropped and I am. So. Excited. To. SEE. THIS!
At the turn of the 20th century, oil brought a fortune to the Osage Nation, who became some of the richest people in the world overnight. The wealth of these Native Americans immediately attracted white interlopers, who manipulated, extorted, and stole as much Osage money as they could before resorting to murder.
In the 1920s, the richest people per capita in the world were members of the Osage Nation in Oklahoma. After oil was discovered beneath their land, the Osage rode in chauffeured automobiles, built mansions, and sent their children to study in Europe.
Then, one by one, the Osage began to be killed off. The family of an Osage woman, Mollie Burkhart, became a prime target. One of her relatives was shot. Another was poisoned. And it was just the beginning, as more and more Osage were dying under mysterious circumstances, and many of those who dared to investigate the killings were themselves murdered.
The movie will be out in theaters on October 6. Oh, and Scorsese & DiCaprio have already signed on to adapt Grann’s latest book, The Wager, which I recently read and loved.
Catherine Scorsese appeared in many of her son Martin’s films — Goodfellas, Taxi Driver, Mean Streets, Casino, etc. — and would often cook for the cast and crew.
Robert DeNiro said, “She made the best pizza I’ve ever eaten. I always wanted to serve it at TriBeCa Grill,” while Harvey Keitel said, “In my memory, Catherine was the epitome of a warm, loving Italian mother. She enjoyed watching me eat as much as I enjoyed eating her cooking.” And Pesci said, “Katie was one of the sweetest ladies I ever met. She was a true innocent. She never did anything bad; she never knew anything bad. In terms of her cooking, it’s a toss-up as to who’s a better cook, Katie or my mother.”
In 1974, Martin made a documentary about his parents called Italianamerican:
Over dinner at their New York apartment on Elizabeth Street, Martin engages his parents in a lively and candid discussion about their lives, discussing such topics as their upbringing, family, religion, marriage, their Italian ancestors, post-war life in Italy, and the hardships of poor Sicilian immigrants striving to succeed in America.
During the film, Catherine cooks meatballs and sauce for dinner and a bare-bones recipe appears in the ending credits (which you can see here with the rest of the film):
The Sauce:
Singe an onion & a pinch of garlic in oil. Throw in a piece of veal, a piece of beef, some pork sausage, & a lamb neck bone. Add a basil leaf.
When the meat is brown, take it out & put it on a plate. Put in a can of tomato paste & some water. Pass a can of packed whole tomatoes through a blender and pour it in. Let it boil. Add salt, pepper & a pinch of sugar. Let it cook for awhile. Throw the meat back in. Cook for 1 hour.
Now make the meatballs. Put a slice of bread, without crust, 2 eggs, & a drop of milk, into a bowl of ground veal & beef. Add salt, pepper, some cheese & a few spoons of sauce. Mix it with your hands. Roll them up, throw them in. Let it cook for another hour.
As you can see, the recipe is pretty vague on measurements, but Catherine published a cookbook of her recipes shortly before she died, Italianamerican: The Scorsese Family Cookbook. The book has long been out of print and seems to be an expensive collector’s item now, but some kind soul has republished the full meatballs and sauce recipe here.
In 1973, Martin Scorsese made a film called Goncharov starring Robert De Niro, Harvey Keitel, Gene Hackman, Al Pacino, and Cybill Shepherd. But no one has actually seen it. Because it doesn’t actually exist…a bunch of scamps on Tumblr made it up.
So a few years ago, a Tumblr user posted a photo of some “knockoff boots” they had ordered online that had a very strange tag on the tongue: “The greatest mafia movie ever made. Martin Scorsese presents GONCHAROV. Domenico Proccacci production. A film by Matteo JWHJ0715. About the Naples Mafia.”
This mostly went ignored until 2020, when another Tumblr user reblogged a comment made on the original post, reading: “this idiot hasn’t seen goncharov.” Like the good lord himself and the Guardian’s coffee machine, the internet works in mysterious ways; earlier this month, Tumblr user beelzeebub made a fake poster for the film, tens of thousands of people were suddenly sharing it and lo: a new Scorsese film was born.
You can find the poster here. In a text to his daughter Francesca, Scorsese acknowledged, “Yes. I made that film years ago.” The way movies and memes work these days, it’s a solid chance this gets made in the next two years, as a “remake” with Scorsese executive producing.
Here’s a short clip of cinematographer Rodrigo Prieto talking about his work on The Irishman.
The movie takes place over several decades and Prieto worked with director Martin Scorsese to build a distinct look for each period based on different photo processing techniques: Kodachrome for the 50s, Ektachrome for the 60s & early 70s, and neutral for the film’s present-day:
Prieto also talks a little bit about the three camera system needed to “youthify” the actors. (You Honor, I would like to state for the record that Jennifer Lopez did not require fancy cameras or de-aging CGI to make her look 20 years younger in Hustlers. I rest my case.)
It’s been three years since The Wolf of Wall Street and Martin Scorsese is finally coming out with a new film. Based on the novel by Shusaku Endo, Silence is the story of a pair of Jesuit priests who travel to Japan in the 17th century to find a third priest and to convert the Japanese to Christianity. Adam Driver, Liam Neeson, and Andrew Garfield star.
Martin Scorsese is reportedly set to direct a biopic on Mike Tyson with Jamie Foxx in the title role. Tyson has compiled a video of each of his 44 knockouts and wants his fans’ help in choosing his top 10 for Foxx to study.
The top 10 from this video are definite contenders.
The Player: “In the years before this movie, the age of the director who had a free hand came to an end. And yet Altman kept experimenting with different kinds of actor, different approaches to narrative, different equipment, until finally he hit it with this movie, which took him off onto a whole other level.”
I was going to make a joke about how this is Scorsese’s first movie without Leonardo DiCaprio in like 20 years, but it’s actually his first DiCaprio-free film in 12 years. (via stellar)
Academy Award-winning director Martin Scorsese traces Harrison’s live from his musical beginnings in Liverpool though his life as a musician, a seeker, a philanthropist and a filmmaker, weaving together interviews with Harrison and his closest friends, performances, home movies and photographs. Much of the material in the film has never been seen or heard before. The result is a rare glimpse into the mind and soul of one of the most talented artists of his generation and a profoundly intimate and affecting work of cinema.
Warning: this video contains spoilers, violence, and cinematic greatness.
Many friends after seeing my video “Tarantino vs Coen Brothers” requested me to do a new video duel of directors, so I decided to do now a tribute to my two favorite directors, Stanley Kubrick and Martin Scorsese, were 25 days re-watching 34 films, selected more than 500 scenes, and a hard work editing.
This video features a number of directors talking about the difference between viewing films in widescreen vs. pan and scan. Martin Scorsese:
[Converting to pan & scan] is, technically, re-directing the movie.
Update: Thoughts from David Lynch about pan and scan taken from a 1997 interview:
I would like to see everything done letterboxed and with great sound. I’m not too interested in doing the commentary, you know, like a lot of people do. But in some strange way I kind of like pan-and-scan. Because you see things. It is a compromise, and in a couple of things you really say, “Why am I doing it?” But it’s just an interesting thing that happens- another composition. It’s not so bad, but I wish really that people could see the thing in a theater and that laserdiscs and videos didn’t exist. Because on the big screen with the sound, you become inside the film, and that’s the beauty of cinema. And it never happens on video, and it doesn’t happen on laserdisc, either.
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