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The Man Behind The Name Scorsese

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Jessy Guler

on 23 April 2010

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Transcript of The Man Behind The Name Scorsese

SCORSESE Throughout history, there has been a collection of stand out male members of the American Film Industry that are true legends, so highly regarded that they are referred to by their last name. Tarantino DeNiro Brando Spielberg Chaplin Hitchcock Among those names is a headliner who has made ground-breaking, thought provoking motion pictures for nearly fifty years. He continues to outsmart and out run the rest by not only his complex diversity, but also through his precise, trademarked techniques. This is why no film history project would be complete without talking about the name...SCORSESE! SCORSESE Legendary Films History of SCORSESE SCORSESE
Trademarks SCORSESE
Awards & Recognitions SCORSESE
Influences & Inspirations SCORSESE
Collaborations SCORSESE
Techniques An Analysis of The Man Behind The
NAME SCORSESE Coppola Alternative Film Pursuits The Big Shave (1967)
Producer: Martin Scorsese
Director: Martin Scorsese
Screenplay: Martin Scorsese
Editor: Martin Scorsese Who’s That Knocking at My Door? (1969)
Screenplay: Martin Scorsese
Director: Martin Scorsese Mean Streets (1973)
Screenplay: Martin Scorsese, Mardik Martin
Director: Martin Scorsese Alice Doesn't Live Here Anymore (1974)
Director: Martin Scorsese Taxi Driver (1975)
Director: Martin Scorsese New York, New York (1977)
Director: Martin Scorsese Raging Bull (1980)
Director: Martin Scorsese The Color of Money (1986)
Director: Martin Scorsese The Last Temptation of Christ (1988)
Director: Martin Scorsese GoodFellas (1990)
Director: Martin Scorsese
Screenplay: Nicholas Pileggi, Martin Scorsese The Age of Innocence (1993)
Director: Martin Scorsese
Screenplay: Martin Scorsese, Jay Cocks Casino (1995)
Director: Martin Scorsese
Screenplay: Nicholas Pileggi, Martin Scorsese Kundun (1997)
Director: Martin Scorsese Gangs of New York (2002)
Director: Martin Scorsese The Aviator (2004)
Director: Martin Scorsese The Departed (2006)
Director: Martin Scorsese Minor appearances
in his films Themes of Guilt,
redemption and sin Loneliness of the
main character Roman Catholic Motifs Violence and extreme,
uncensored gore Gang figures and
Italian heritage New York City Settings Kinetic styling Angelic female characaters Troubled male characters
struggling to fit into
a specific group or community Long tracking shots Diegestic music Large amount of
verbal profanities Crime-centored plot Wierd and abnormally dark style Character-driven films, not plot-driven Musical focus Corrupted leaders Actor collaboration -Scorsese is a fan of Old Hollywood due to the fact that classic films became a large part of his childhood and adolescence. To this day, he is an avid enthusiast of the preservation of classic films and the power that Old Hollywood films have to this day to inspire filmmakers of any generation (Katz). -Scorsese attributes his intense lighting techniques to classic Hollywood cinematographers who use lighting as a narrative tool in their efforts to increase the emotion of a story. Many of Scorsese’s storylines follow an alienated protagonist, in which shadowing techniques and silhouettes come into play to help enhance this feeling of loneliness. Scorsese tends to use camera angles and movement to create the narrative but uses the opposite, utter stillness, in scenes, which mark transitions, and a climactic scene is introduced with an abrupt change in camera movement. One type of collaboration that Scorsese is famous for is his collaboration with one young talented male actor. Scorsese's first half of his career centered around his young Italian male muse, Robert DiNiro. After they went their seperate ways Scorsese began focusing his attention to a new young male Italian actor, Leonardo DiCaprio. Thanks to scorsese he not only kickstarted both of their young careers, but also developed a deep bond and friendship with both men over the years (Scorsese). New SCorsese Collaboration:
DiCaprio old SCorsese Collaboration:
DiNiro The Leonardo DiCaprio/Scorsese collaboration first began with the film Gangs of New York. After Gangs of New York Scorsese and DiCaprio went on to create several other films such as The Aviator, The Departed and most recently Shutter Island. Their collaboration has grown to create in depth characters that deepen their films

“Somehow, particularly in the past three films-The Aviator, and even more so in The Departed, and now Shutter Island- I became aware of us working as a team in terms of exploring characters.”- Martin Scorsese. The Robert Diniro/Scorsese collaboration began with Scorsese’s breakout film Mean Streets. After working on Scorsese’s breakout film Diniro went on to perform in films such as Taxi Driver, New York, New York, Raging Bull, The King of Comedy,Goodfellas, Cape Fear, and Casino. While all these films enhanced Diniro’s career, his performance in the film Taxi Driver sent him to Stardom. Over the years Scorsese and Diniro’s relationship has grown and now Scorsese shows every script he considers to Diniro for his opinion (Scorsese).
Thelma Schoonmaker is an editor who also has collaborated with Scorsese working on the films Raging Bull, The King of Comedy, GoodFellas, Cape Fear, the age of innocence, Casino, kundun, bringing out the dead, Gangs of New York, The Aviator, and The Departed. Their work has developed a great relationship that extends outside their work and is sure to continue for years to come (scorsese). “My whole life has been movies and religion. That’s it. Nothing else.” -Martin Scorsese -Scorsese is known as the film encylopedia on legs by some. Therefore he has many influences from a wide rand of films. However for every film he creates, he draws from his wide film knowledge to create the proper influence for the film. For example, on the set of Scorsese’s most recent film Shutter Island his influences included such films as Cat People and I walked with a zombie. Scorsese even shared his influences on set by screening these films on set for the cast and crew. Cannes Film Festival Golden Palm (Palme d’Or)- Taxi Driver (1976)
Blue Ribbon Awards Best Foreign Film- Taxi Driver (1977)
Cannes Film Festival Best Director- After Hours (1986)
Founder of the World Cinema Foundation (1990)
President of The Film Foundation, an organization that works to preserve film (1990)
BAFTA Best Direction- GoodFellas (1991)
BAFTA Best Film- GoodFellas (1991)
BAFTA Best Adapted Screenplay- GoodFellas (1991)
Bodil Awards Best Non-European Film- GoodFellas (1991)
BAFTA/LA Britannia Honoree (1993)
Bodil Awards Best American Film- The Age of Innocence (1994)
AFI Life Achievement Award (1997)
AFI Ranks for Most Hear-Pounding Movies in America, “Taxi Driver” (#22) and “Raging Bull” (#51)- (2001)
Broadcast Film Critics Association Awards Best Director- Gangs of New York (2002)
Golden Globe for Best Director (Drama)- Gangs of New York (2002)
Star on the Hollywood Walk of Fame (2003)
French Legion of Honor, for his contribution to cinema (2005)
Golden Globe for Best Film (Drama)- The Aviator (2005)
Broadcast Film Critics Association Awards Best Director- The Aviator (2005)
Grammy Awards Best Long Form Music Video- “No Direction Home: Bob Dylan” (2006)
Directors Guild Association “Outstanding Achievement in Feature Film”- The Departed (2006)
Broadcast Film Critics Association Awards Best Director- The Departed (2007)
Honored by the National Italian American Foundation (2007)
Creator of the Jack Valenti Institute (NIAF), which supports Italian American film students (2007)
AFI Rankings for Greatest Movies in America, “Raging Bull” (#4), Taxi Driver (#52), and GoodFellas (#92)- (2007)
Kennedy Center Honors, organization that awards career excellence and cultural influence (2007)
Academy Award for Best Director- The Departed (2007)
Academy Award for Best Motion Picture- The Departed (2007)
Golden Globe for Best Director- The Departed (2007)
Time’s 100 Most Influential People In The World (2007)
Cecil B. DeMille Award at The Golden Globe Awards (2010)
“Second Greatest Director of All Time” (Total Film Magazine)- (2010) In the early years of the great Martin Scorsese’s life he endured many hardships including being bullied on the mean streets of Little Italy and suffering from loneliness as a child. On the streets he gained the nickname of “Marty Pills” because of his severe respiratory problems which made him an easy target for frequent beatings from neighborhood kids. The rough streets of Little Italy and the late hours his parents worked made Scorsese resort to creating storyboards and living through movies (Keyser). -His early childhood had a great deal of influence on his filmmaking career. The severe respiratory problems he experienced is shown in films through throat injuries that characters frequently receive. The bullying he experienced while on the streets influenced his films as well; redemption, punishment,suffering, and salvation through physical sacrifice are all common themes. The loneliness which Scorsese experienced from having two working parents can be seen in the development of many of his characters for example the main character in the film Taxi Driver (Grist). In September 1956 Scorsese began to prepare for priesthood by enrolling in a New York Seminary. However, soon after entering into the Seminary he was expelled. Scorsese claims his expulsion was due to his discovery of girls causing him to act out and be too rambunctious for the school. After his days at the Seminary he entered a Catholic high school in Little Italy where he planned on attending Fordham University afterwards to persue a dergree in theology. However Fordham University rejected him, causing Scorsese to go to the only school that would accept him, New York University (Keyser). -Scorsese’s second feature film entitled “Boxcar Bertha” (1972) showed the influence on Old Hollywood exploitation films on his directional technique. The film was a sequel to a previously made film called “Bloody Mama”, and contained a large amount of graphic blood and gore. The film clearly shows that Scorsese was inspired by the gritty uncensored feel of exploitation films, this outlook of graphic violence would later become a trademark of the scorsese franchise (Katz). -One camera movement technique that Scorsese seems to embody is the “shaky camera”. Through the course of nearly all of his films Scorsese experiments with jittery camera, provoking audience emotion and reaction to a certain environment or situation (Katz). There is much debate to why it took so long for a legend like Scorsese to finally win his first Best Director Academy Award. However, historians declare their reasoning quite frankly, they say that Scorsese was never a member of the “Hollywood establishment” and that is why he lost out to an oscar win fives times. The New York resident and native, refuses to call Hollywood “home” and takes his own path to is massive commercial success, with hollywood money (Katz). Not many legendary motion picture filmmakers can say they have won a Grammy. However, Martin Scorsese is the proud recipient of a Grammy for his work on Bob Dylan’s documentary film “No Direction Home”. Scorsese’s alternative film pursuits do not stop there. He has been making documentary films since the early 1970s and continues to wow critics with his works. Scorsese’s documentaries commonly revolve around music, a passion close to Scorsese’s heart. In 2008 Scorsese made a documentary that was truly a long time a coming entitled “Shine a Light”. There truly couldn't have been a better choice of direction for a Rolling Stones documentary than the man who incorporates the Stones music in nearly all of his films. Scorsese’s alternative works don’t just stop at documentaries, he even directed Michael Jackson’s 1987 music video “Bad” along with a few international television commericals. What is in the future for Scorsese? Two biopics, one about the reserved Beatle George Harrison, and the other about brat pack bad boy Frank Sinatra. However, the most alternative film Scorsese is about to pursue will be landmarked as two “firsts” for Scorsese. Scorsese will be directing his first children’s movie (Invention of Hugo Cabret), and it will also be the first of his major motion pictures to be released in 3D. It is clear that Scorsese refuses to be stereotyped into one genre of filmmaking. He continues to find alternative ways to show the world he is a name that will never be forgotten (Katz, imdb). directing style:
fast-talking, new yorker "On every street in every city, there’s a
nobody who dreams of being a somebody." "Lies. Betrayal. Sacrifice. How far will you take it?" "For some men, the sky was the limit.
For him, it was just the beginning." "America Was Born
In The Streets." "The destiny of a people lies
in the heart of a boy." "They had it all, they ran the show,
and it was paradise...while it lasted." "In a world of tradition. In an age of
innocence. They dared to break the rules." "In a world that's powered by violence, on the
streets where the violent have power, a new
generation carries on an old tradition." "The hustler isn't what he used to be, but he has the next best thing: a kid who is" "The war was over and the world
was falling in love again." "A picture for anyone who has ever
dreamed of a second chance." "You don't make up for your sins
in church. You do it in the streets..." "Mean Streets was just
around the corner." "And though I can fight,
I’d rather recite…" "The life of Jesus Christ, his journey through life
as he faces the temptations that all humans face
during their lives, and his final temptation upon the cross." Works Cited
Bliss, Michael. Martin Scorsese and Michael Cimino. Metuchen, N.J.: Scarecrow, 1985. Print.
Block, Bruce A. The Visual Story: Creating the Visual Structure of Film, TV and Digital Media. Oxford: Focal, 2008. Print.
Grist, Leighton. The Films of Martin Scorsese: 1963 - 77 : Authorship and Context. Basingstoke [u.a.: Macmillan [u.a., 2000. Print.
Katz, Ephraim, and Ronald Dean. Nolen. The Film Encyclopedia: [the Complete Guide to Film and the Film Industry]. New York: Collins, 2008. Print.
Kelly, Mary Pat. Martin Scorsese the First Decade. Pleasantville, N.Y.: Redgrave, 1980. Print.
Keyser, Lester J. Martin Scorsese. New York: Twayne, 1992. Print.
Scorsese, Martin, Ian Christie, David Thompson, Arvi Tamminen, and Petteri Granström. Scorsese on Scorsese. Helsinki: Like, 2006. Print.
Thompson, Kristin, and David Bordwell. Film History: an Introduction. New York, NY: McGraw-Hill Higher Education, 2010. Print.
Vineyard, Jeremy. Setting up Your Shots: Great Camera Moves Every Filmmaker Should Know. Studio City, Calif.: M. Wiese Productions, 2008. Print.
Weiss, Marion. Martin Scorsese: a Guide to References and Resources. Boston Mass: G. K. Hall, 1987. Print.
Weston, Judith. Directing Actors: Creating Memorable Performances for Film and Television. Studio City, CA: M. Wiese Productions, 1996. Print. “The King of Tracking Shots”, Scorsese is famous for those long continues shots that seem to follow into affinity of complex scenes. A Scorsese tracking shot provides the ability for the audience to shift their attention from one object to another. Scorsese likes to use his camera angles to help the storyline as it takes dramatic turns and to emotionally trigger the audience for the change in story structure, therefore when it comes to establishing a setting or for a lull in the storyline, he uses intricate long tracking shots to keep the pace moving in as realistic an approach as possible. One of his well known long tracking shots is a famous scene from the film Goodfellas in which Ray Liotta and Lorraine Bracco are walking into a restaurant starting from the street and walking through the kitchen and back of house into the main dining room. The shot itself runs a little over three minutes in length and yet the timing of the actors and placing seems to be executed flawlessly. The use of this long tracking shot helps to establish the surroundings as well as help to build the character of Henry Hill as we see him moving with fluidity through the normally prohibited areas. This part of the storyline may not be as intense as other scenes in the movie, yet Scorsese takes advantage of the time to help develop the characters even further (Block).
(*information gathered from all cited sources) *information gahtered from (Scosese) and imdb. When Martin Scorsese first attended New York University he was a literature major. However after being emerged in the culture of Greenwich village he realized his calling was film. When Scorsese made this discovery he began his ten year stay at New York University that went from his undergraduate experience to teaching as a graduate student. During his years at NYU he made lasting bonds with fellow students as well as faculty. Haig Monougian was one of the most influential people in Scorsese’s film career. Monougian was a professor for Scorsese who hammered the idea of individuality and artistry into his students. Later on in Scorsese’s career he dedicated the film Raging Bull to Monougian (Keyser). -In his youth Scorsese went to an Irish Catholic school called St. Patrick’s during the 1950s. His elementary school years were coated with anti-communist teachings and air raid drills. The air raid drills had a huge influence on Scorsese’s filming techniques. To practice for an air raid the small Catholic school would escape to the catacombs below the church floors. Once safely hidden the children would recite the rosary until the drill was complete. Scorsese claims crawling around in such a small space had a large influence on the camera movements he uses in his films. He reflects on those times in an interview “ Images from then are always coming back to me. The camera movement in a lot of my films certainly comes from creeping around those catacombs, with the sound effects of the echoing rosary" (Keyser). One film that stands out for very unique technique is Scorsese’s 1977 film “Raging Bull”. Scorsese uniquely chose all black and white cinematography for this film to stand out and also promote a cause near and dear to his heart, the issue of fading film stock (Katz).
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