| |
|
Martin Scorsese |
|
Director / Producer / Screenwriter |
 |
|
1942 - |
|
Born November 17,
Queens, New York, USA |
|
Key
Production Country: USA
|
|
Key Genres: Drama,
Crime, Period Film, Urban Drama, Gangster Film, Crime Drama,
Biography, Documentary,
Psychological Drama, Music |
|
Key
Collaborators: Thelma Schoonmaker (Editor),
Robert De Niro (Leading Player), Barbara De Fina (Producer), Dante Ferretti
(Production Designer),
Michael Ballhaus
(Cinematographer), Harvey Keitel (Leading Player),
Robert Richardson (Cinematographer), Howard
Shore (Composer),
Leonardo DiCaprio (Leading Player),
Paul
Schrader (Screenwriter) |
|
|
Highly
Recommended:
Mean Streets (1973)*, Taxi Driver (1976)*, New
York, New York (1977)*, Raging Bull (1980)*, The King of Comedy (1983)*, The Last Temptation of
Christ (1988)*, GoodFellas (1990)*, Cape Fear (1991), The Age of Innocence (1993)*, Casino
(1995)*, Kundun (1997) |
|
Recommended: Who's
That Knocking at My Door? (1968), Alice Doesn't Live Here Anymore
(1974), The Last Waltz (1978), Bringing Out the Dead (1999), My Voyage to Italy (1999), The
Aviator (2004)^, The Departed (2006)^, A Letter to Elia (2010)
[co-directed by Kent Jones], Hugo (2011)^ |
|
Worth a Look: The
Big Shave (1967), Italianamerican (1974), After Hours (1985), The Color
of Money (1986), Gangs of New York (2002)^, No Direction Home: Bob Dylan (2005), Shutter Island (2009);
George Harrison: Living in a Material World (2011) |
|
Approach with Caution:
Boxcar Bertha (1972), New York Stories (1989) [co-directed by
Francis Ford Coppola
& Woody Allen] |
|
* Listed in TSPDT's
1,000 Greatest Films
section; ^
Listed in TSPDT's
21st Century's Most Acclaimed Films
section. |
|
| |
|
|
| |
|
Links:
[
Amazon
] [
IMDB ] [
TCMDB ] [
All-Movie
Guide ] [
Senses
of Cinema: Great Directors ] [
Film Reference ]
[
Wikipedia ] [
Scorsese and His Films ] [
Martin Scorsese Fansite ] [
Guardian Articles ] [
BBC
Interview ] [
BBC Audio Interviews (1992-1998) ] [
FilmForce
Interview (2004) ] [
Close-Up Film Article (2006) ]
[
Vanity Fair Proust Questionnaire (2010) ] [
Interview Magazine (with Spike Lee) ] [
Martin Scorsese.net ]
[
MUBI ] [
Flickering Myth Profile ] [
A.V. Club Primer ]
[
Time Out Interview (2011) ] |
|
Books:
[
Masters of Cinema: Martin Scorsese
]
[
Conversations with Scorsese
] [
The Passion of Martin Scorsese: A Critical Study
of the Films
] [
Amazon
]
[
Scorsese on Scorsese: Revised Edition ] [
Martin Scorsese: A Biography ] [
Scorsese by Ebert ] [
The Philosophy of Martin Scorsese ] [
Martin Scorsese's America ] [
The Collaborations of Martin Scorsese and Robert De Niro ] [
The
Scorsese Connection ] [
Martin
Scorsese: A Journey ] [
A Personal Journey with Martin Scorsese Through American Movies ] [
Martin Scorsese: Interviews (Interviews with Filmmakers Series) ] [
Martin
Scorsese (Pocket Essentials) ] [
The Cinema of Martin Scorsese
] [
Martin Scorsese ] |
|
|
    |
|
|
| |
|
|
| |
"Scorsese
is an enthusiast. It comes through in the way he talks (hardly
stopping to draw breath) and in the way he makes his movies -
passionately, with one wary eye on the past...In purely filmic
terms, Scorsese's real talent lies in his capacity to mould
dialogue, movement and sound into one fluid, cinematic whole,
and he achieves this effect most consistently with GoodFellas
(1990)." -
Mario Reading (The Movie Companion, 2006) |
|
| |
|
|
| |
"Based
in New York, he pursues his own path (with Hollywood money),
continuously turning out films that are utterly personal and
often deeply autobiographical...Bold, inventive, versatile, and
uncompromising, Scorsese is one of the most intelligent and
provocative filmmakers working in cinema today." -
(The
MacMillan International Film Encyclopedia, 1994) |
|
| |
|
|
| |
"Scorsese,
arguably the most cinematically eloquent American director of
modern times, is best characterised as an expressionist and
cinephile...His exhilaratingly long, complex camera movements,
his often staccato editing, and his carefully controlled use of
colour, props, decor and music are all designed not only to take
us inside the minds of his often paranoid, volatile or disturbed
protagonists, but to pay tribute, in passing, to movies he
loves." -
Geoff
Andrew (The Director's Vision, 1999) |
|
| |
|
|
| |
"New York City and New Yorkers have been characterized by
Scorsese better than by any other director of his generation. In
his young career, he has shown concern for violence in society
and the seamier side of life." -
William R. Meyer (The Film Buff's Catalog, 1978) |
|
| |
|
|
| |
"What
does it take to be a filmmaker in Hollywood? Even today I still
wonder what it takes to be a professional or even an artist in
Hollywood. How do you survive the constant tug of war between
personal expression and commercial imperatives? What is the
price you pay to work in Hollywood? Do you end up with a split
personality? Do you make one movie for them, one for yourself?" -
Martin
Scorsese (A Personal Journey with Martin Scorsese Through
American Movies, 1997) |
|
| |
|
|
| |
"Every
year or so, I try to do something; it keeps me refreshed as to
what's going on in front of the lens, and I understand what the
actor is going through." -
Martin Scorsese |
|
| |
|
|
|
|
|
|
Please
note that the rating given for this director (see top-right) is based
only on the films we have seen (listed above). Films by this director
that we haven't seen include Shine a Light (2007). |
|
|
|
10 |
| |
|
"Scorsese’s work evidences a remarkable thematic
consistency. His collaborations with the screenwriter
Paul
Schrader on Mean Streets, Taxi Driver
(1976), Raging Bull (1980), and Bringing Out the
Dead (1999) only hint at this consistency. Whether he is
directing a period adaptation of Edith Wharton’s 1920 novel
The Age of Innocence (1993), creating a Tibetan epic
based on the early years of the Dalai Lama in
Kundun (1997), or
returning, as he so often has, to the formulas of the crime
film in GoodFellas (1990), Cape Fear (1991),
or Casino (1995), Scorsese is fascinated by the story
of the hero in revolt against a stifling culture whose norms
he or she has internalized to a dangerous extent."
-
Thomas Leitch, Schirmer Encyclopedia
of Film |
| |
 |
| |
|
●
Top 250 Directors |
|
●
21st Century Top
50 |
| ●
100 Essential Directors (Pop
Matters) |
|
●
The 11th Most
Influential Director of All Time (2002 MovieMaker
Poll) |
|
●
Survey of Filmmakers:
Top 25 Directors (2005 poll by The Film Journal) |
|
●
Ranked 2nd on
The Guardian's 2004 List of the World's 40 Best Directors |
|
●
501 Movie Directors: A
Comprehensive Guide to the Greatest Filmmakers |
|
|
|
See Also |
|
●
Robert Aldrich |
|
●
John Cassavetes |
|
●
Francis Ford Coppola |
|
●
Jonathan Demme |
|
●
Brian De Palma |
|
●
Elia Kazan |
|
●
Barry Levinson |
|
●
Anatole Litvak |
|
●
Michael Powell & Emeric
Pressburger |
|
●
Roberto Rossellini |
|
●
Robert Rossen |
|
●
Paul Schrader |
| |
|
Martin Scorsese's Favourites |
|
Citizen Kane (1941)
Orson Welles,
8½ (1963)
Federico Fellini,
The Leopard (1963)
Luchino Visconti,
The Red Shoes (1948)
Michael Powell &
Emeric Pressburger,
The Searchers (1956)
John Ford.
Source:
Profil (2004) |
| |
|
|
|
|