1 00:00:00,600 --> 00:00:01,953 - What is cinema? 2 00:00:02,000 --> 00:00:07,000 Downloaded from YTS.MX 3 00:00:04,230 --> 00:00:06,540 For me, there's only one answer. 4 00:00:06,540 --> 00:00:08,025 Cinema is necessary. 5 00:00:08,000 --> 00:00:13,000 Official YIFY movies site: YTS.MX 6 00:00:08,025 --> 00:00:11,442 (film projector beeping) 7 00:00:13,146 --> 00:00:15,066 (film projector beeping) (viewers chattering) 8 00:00:15,066 --> 00:00:17,539 (film reel whirring) 9 00:00:17,539 --> 00:00:20,789 (engaging piano music) 10 00:00:49,890 --> 00:00:54,090 - Martin Scorsese is, I think, one of the best of the best. 11 00:00:54,090 --> 00:00:59,010 He really is one of the quintessential American directors. 12 00:00:59,010 --> 00:01:02,640 - He's somebody that all filmmakers look to 13 00:01:02,640 --> 00:01:04,681 as a master of the art. 14 00:01:04,681 --> 00:01:05,970 (engaging piano music continues) 15 00:01:05,970 --> 00:01:08,880 - Scorsese has become almost this curator 16 00:01:08,880 --> 00:01:10,696 of America's film archive. 17 00:01:10,696 --> 00:01:12,990 There's almost no film that Scorsese 18 00:01:12,990 --> 00:01:14,289 doesn't have a print of. 19 00:01:14,289 --> 00:01:18,372 (engaging piano music continues) 20 00:01:41,444 --> 00:01:43,992 (film reel whirring) 21 00:01:43,992 --> 00:01:46,992 (lively jazz music) 22 00:01:52,978 --> 00:01:57,978 (film reel clicking) (lively jazz music) 23 00:02:04,880 --> 00:02:09,880 (film reel whirring) (lively jazz music) 24 00:02:31,800 --> 00:02:35,280 - What's so interesting about Scorsese's mafia pictures 25 00:02:35,280 --> 00:02:39,810 is that, you know, for us, the idea of the mafia 26 00:02:39,810 --> 00:02:42,630 and the mafia life is very exotic. 27 00:02:42,630 --> 00:02:46,110 But what we forget is that for Martin Scorsese, 28 00:02:46,110 --> 00:02:48,150 he was growing up in Little Italy. 29 00:02:48,150 --> 00:02:52,020 These movies are about his life and his experience. 30 00:02:52,020 --> 00:02:55,530 And that's partially what has made them so good 31 00:02:55,530 --> 00:02:57,540 because there's an authenticity there 32 00:02:57,540 --> 00:03:00,561 that no one else could really recreate. 33 00:03:00,561 --> 00:03:02,473 (solemn jazz music) 34 00:03:02,473 --> 00:03:03,930 - [Narrator] It would've been an easy option 35 00:03:03,930 --> 00:03:06,228 for the young Martin Scorsese to join the mob 36 00:03:06,228 --> 00:03:07,950 and pursue the life of crime 37 00:03:07,950 --> 00:03:10,627 that's so often depicted in his films. 38 00:03:10,627 --> 00:03:12,870 However, severe asthma kept him away 39 00:03:12,870 --> 00:03:14,550 from living a normal life. 40 00:03:14,550 --> 00:03:17,130 - So he was just kind of staying at home a lot, 41 00:03:17,130 --> 00:03:18,690 probably peering out the window, 42 00:03:18,690 --> 00:03:21,000 like looking at these mafiosos 43 00:03:21,000 --> 00:03:23,460 going around their business being like. 44 00:03:23,460 --> 00:03:26,190 - Hey, Teroni, that big shot Follette 45 00:03:26,190 --> 00:03:27,543 gonna shoot square with us? 46 00:03:29,490 --> 00:03:31,740 - [Narrator] His family were surrounded by the mob. 47 00:03:31,740 --> 00:03:34,260 These people were often friends, neighbors, 48 00:03:34,260 --> 00:03:36,598 and sometimes even family. 49 00:03:36,598 --> 00:03:40,230 They'd come for dinner one night and go missing the next. 50 00:03:40,230 --> 00:03:42,480 But growing up, Scorsese and his parents 51 00:03:42,480 --> 00:03:45,210 embraced a quieter, family-oriented lifestyle. 52 00:03:45,210 --> 00:03:47,190 - My parents, you know, were working class people 53 00:03:47,190 --> 00:03:49,320 who never had, we never had a book in the house. 54 00:03:49,320 --> 00:03:50,430 No books. 55 00:03:50,430 --> 00:03:52,710 Just the Daily News and the Daily Mirror in New York. 56 00:03:52,710 --> 00:03:56,580 Newspapers, and, you know, I mean, he took me to movies, 57 00:03:56,580 --> 00:03:57,840 my father, basically. 58 00:03:57,840 --> 00:04:00,979 - That's how he was exposed to all of these greats 59 00:04:00,979 --> 00:04:03,540 of the Golden Age of Cinema. 60 00:04:03,540 --> 00:04:07,680 Directors like Willie Wyler, who I think he always admired 61 00:04:07,680 --> 00:04:12,060 just because of the diversity of what he was making. 62 00:04:12,060 --> 00:04:15,420 And you see that a little bit in Scorsese's career. 63 00:04:15,420 --> 00:04:18,690 Like, he's a pretty like diverse guy. 64 00:04:18,690 --> 00:04:21,090 I know we like to think of him as the "Goodfellas" man, 65 00:04:21,090 --> 00:04:23,400 but he's dipped his toe in a lot of different genres. 66 00:04:23,400 --> 00:04:25,860 So maybe his movies are a way 67 00:04:25,860 --> 00:04:30,636 of imagining what his life could have been. 68 00:04:30,636 --> 00:04:34,173 (children chattering) 69 00:04:34,173 --> 00:04:37,860 (person chattering) 70 00:04:37,860 --> 00:04:40,320 - Growing up in and around New York, 71 00:04:40,320 --> 00:04:42,469 Scorsese not only went to film school. 72 00:04:42,469 --> 00:04:44,820 He actually taught at film school. 73 00:04:44,820 --> 00:04:47,730 He taught at NYU at the end of the 1960s. 74 00:04:47,730 --> 00:04:49,920 But Scorsese, right from the very beginning, 75 00:04:49,920 --> 00:04:52,770 was ambitious to make it in Hollywood. 76 00:04:52,770 --> 00:04:56,220 He went to Los Angeles in the early 1970s. 77 00:04:56,220 --> 00:04:59,100 He went as a film editor in the first instance. 78 00:04:59,100 --> 00:05:01,770 Just keen to get a foot in the door, really. 79 00:05:01,770 --> 00:05:04,490 And from there, he hooked up with a lot 80 00:05:04,490 --> 00:05:06,363 of the New Hollywood movie brats. 81 00:05:06,363 --> 00:05:10,140 They started hanging out with each other in various houses 82 00:05:10,140 --> 00:05:12,420 and locations around Los Angeles 83 00:05:12,420 --> 00:05:15,270 as they tried to plot their way into the industry. 84 00:05:15,270 --> 00:05:20,190 And from there began touting round his script 85 00:05:20,190 --> 00:05:24,066 for "Mean Streets," which he'd already written at NYU. 86 00:05:24,066 --> 00:05:27,580 (soft jazz music) 87 00:05:27,580 --> 00:05:32,580 - [Clarisse] "Mean Streets" was really I think the first 88 00:05:33,090 --> 00:05:37,210 outing of the Scorsese that we know. 89 00:05:37,210 --> 00:05:41,520 - It talked about, you know, rage of young men. 90 00:05:41,520 --> 00:05:45,240 It painted New York as this dirty, gritty, 91 00:05:45,240 --> 00:05:46,687 difficult place. 92 00:05:46,687 --> 00:05:50,640 - "Mean Streets" has that archetype of the guy 93 00:05:50,640 --> 00:05:52,530 who gets involved in the criminal world. 94 00:05:52,530 --> 00:05:56,640 And he chases the high, and then there's a conflict. 95 00:05:56,640 --> 00:05:59,280 And then that summons the downfall. 96 00:05:59,280 --> 00:06:01,860 And obviously if you look at everything Scorsese made 97 00:06:01,860 --> 00:06:05,769 afterwards, that theme just keeps coming up again and again. 98 00:06:05,769 --> 00:06:09,150 And so I think a lot of the success of "Mean Streets" 99 00:06:09,150 --> 00:06:13,268 and the doors that it opened for Scorsese just came to that, 100 00:06:13,268 --> 00:06:16,327 that little recognition of, "Oh, okay. 101 00:06:16,327 --> 00:06:19,219 "He sort of found himself in cinema." 102 00:06:19,219 --> 00:06:22,552 (electric guitar music) 103 00:06:29,721 --> 00:06:30,941 ♪ One, two ♪ 104 00:06:30,941 --> 00:06:33,510 - So Scorsese wasn't actually the first one 105 00:06:33,510 --> 00:06:34,950 to work with Robert De Niro. 106 00:06:34,950 --> 00:06:37,290 It was Brian De Palma who actually discovered him 107 00:06:37,290 --> 00:06:41,070 and worked with him on two films and sort of introduced him 108 00:06:41,070 --> 00:06:44,778 to Scorsese and said, "Hey, look at this great actor." 109 00:06:44,778 --> 00:06:46,890 You know, he's young and he's got this sort of like 110 00:06:46,890 --> 00:06:49,890 very masculine anger and vulnerability to him, 111 00:06:49,890 --> 00:06:53,550 which is so perfect for everything that Scorsese does. 112 00:06:53,550 --> 00:06:55,260 And I think they, 113 00:06:55,260 --> 00:06:57,000 there's something about it that just clicked. 114 00:06:57,000 --> 00:06:58,933 - De Niro and myself, Bob, 115 00:06:58,933 --> 00:07:01,200 we worked on so many films together that we were like, 116 00:07:01,200 --> 00:07:03,210 we grew together creatively. 117 00:07:03,210 --> 00:07:04,340 Like we grew up together in the same, 118 00:07:04,340 --> 00:07:05,700 in the business in a way. 119 00:07:05,700 --> 00:07:07,530 So we didn't think of each other as stars 120 00:07:07,530 --> 00:07:09,090 and that sort of thing. 121 00:07:09,090 --> 00:07:12,090 - Sometimes when directors find actors that really 122 00:07:12,090 --> 00:07:15,600 just speak, speak their mind through their characters. 123 00:07:15,600 --> 00:07:19,110 And I think the De Niro, that's so true. 124 00:07:19,110 --> 00:07:21,990 He captures everything of that Scorsese rise 125 00:07:21,990 --> 00:07:24,690 and downfall structure, like in one guy. 126 00:07:24,690 --> 00:07:27,000 And that guy is Robert De Niro. 127 00:07:27,000 --> 00:07:29,371 - I mean, they've been making films together for decades. 128 00:07:29,371 --> 00:07:32,970 They have a shorthand, and they have a sensibility 129 00:07:32,970 --> 00:07:35,940 that's the same in terms of what they want from a character. 130 00:07:35,940 --> 00:07:40,940 They both want to get really deep inside a character 131 00:07:41,190 --> 00:07:44,520 and on why they behave the way they do. 132 00:07:44,520 --> 00:07:46,350 And De Niro is extremely good at that. 133 00:07:46,350 --> 00:07:48,840 I don't think De Niro is better directed 134 00:07:48,840 --> 00:07:50,493 by anybody but Scorsese. 135 00:07:51,570 --> 00:07:53,070 - [Narrator] Three years after the success 136 00:07:53,070 --> 00:07:55,410 of "Mean Streets," Scorsese and De Niro 137 00:07:55,410 --> 00:07:58,110 joined forces again with "Taxi Driver," 138 00:07:58,110 --> 00:07:59,270 a film that is often highlighted 139 00:07:59,270 --> 00:08:01,233 as their best collaboration. 140 00:08:03,690 --> 00:08:05,490 De Niro plays Travis Bickle, 141 00:08:05,490 --> 00:08:07,890 a disturbed and lonely Vietnam veteran 142 00:08:07,890 --> 00:08:09,993 who works as a taxi driver in New York. 143 00:08:11,340 --> 00:08:13,530 De Niro's character is drawn to the worst, 144 00:08:13,530 --> 00:08:16,410 sleaziest and most dangerous areas of town, 145 00:08:16,410 --> 00:08:19,887 where his clientele includes pimps and prostitutes. 146 00:08:19,887 --> 00:08:24,150 Everywhere he goes, he sees violence, degradation, insanity, 147 00:08:24,150 --> 00:08:27,213 and filth, which fuels the madness in Bickle's mind. 148 00:08:28,170 --> 00:08:30,300 Scorsese himself cameos in the film 149 00:08:30,300 --> 00:08:32,640 in one of the darkest moments as a passenger 150 00:08:32,640 --> 00:08:34,563 who plans to murder his cheating wife. 151 00:08:35,640 --> 00:08:36,890 - And I'm gonna kill her. 152 00:08:37,811 --> 00:08:40,380 There's nothing, there's nothing else. 153 00:08:40,380 --> 00:08:41,830 I'm just, I'm gonna kill her. 154 00:08:42,720 --> 00:08:43,947 Well, what do you think of that? 155 00:08:43,947 --> 00:08:48,720 - The appeal of "Taxi Driver" is to me so interesting 156 00:08:48,720 --> 00:08:53,460 because it's such a, it's such an unpleasant movie. 157 00:08:53,460 --> 00:08:58,460 And there's this sort of like restrict, like gross, 158 00:08:59,640 --> 00:09:01,380 like sheen to it. 159 00:09:01,380 --> 00:09:03,240 And it's like the pure ugliness 160 00:09:03,240 --> 00:09:06,600 of New York City exposed onscreen. 161 00:09:06,600 --> 00:09:08,340 And yet at the same time 162 00:09:08,340 --> 00:09:13,340 because Scorsese is such a soulful filmmaker, 163 00:09:13,620 --> 00:09:16,500 we get put in this really strange position 164 00:09:16,500 --> 00:09:19,770 where we're repulsed by him, 165 00:09:19,770 --> 00:09:22,830 but also we empathize with him a little bit. 166 00:09:22,830 --> 00:09:24,990 And we're constantly being like tussled 167 00:09:24,990 --> 00:09:28,770 between these two extremes of the actions 168 00:09:28,770 --> 00:09:33,770 that he perpetuates are so immoral, 169 00:09:33,990 --> 00:09:36,300 and yet what he represents, 170 00:09:36,300 --> 00:09:39,870 the sort of the loneliness and the sense of bitterness 171 00:09:39,870 --> 00:09:41,880 and feeling forgotten in your own life, 172 00:09:41,880 --> 00:09:45,783 like that is something that everyone can associate with. 173 00:09:48,540 --> 00:09:49,540 - You talking to me? 174 00:09:52,350 --> 00:09:53,353 You talking to me? 175 00:09:54,277 --> 00:09:59,277 - "Mean Streets" and "Taxi Driver" were incredibly visceral 176 00:09:59,340 --> 00:10:04,320 and immersive movies that quickly attained that cult status 177 00:10:04,320 --> 00:10:07,590 because they seemed very much in line with the way 178 00:10:07,590 --> 00:10:11,343 in which the new Hollywood ethos was working. 179 00:10:12,330 --> 00:10:17,250 Violent, quite jarring, anti-heroic characters, 180 00:10:17,250 --> 00:10:19,740 people on the margins of society. 181 00:10:19,740 --> 00:10:23,220 Filming really a post-Vietnam society 182 00:10:23,220 --> 00:10:26,669 that American audiences coming through into the theaters 183 00:10:26,669 --> 00:10:30,360 were beginning to see themselves outside, 184 00:10:30,360 --> 00:10:31,980 but they weren't seeing it on screen 185 00:10:31,980 --> 00:10:34,770 up until Scorsese's films, I think. 186 00:10:34,770 --> 00:10:39,770 They were very, very kind of important and templates 187 00:10:40,530 --> 00:10:45,360 in a way of that alternative scene that Scorsese 188 00:10:45,360 --> 00:10:49,473 had really helped build up since the turn of the '70s. 189 00:10:53,121 --> 00:10:58,121 (smooth jazz music) (pedestrians chattering) 190 00:11:02,760 --> 00:11:06,120 - A lot of these, like the movie brat filmmakers, 191 00:11:06,120 --> 00:11:09,810 felt so indebted to the studio age, 192 00:11:09,810 --> 00:11:11,370 to the films of the 1940s, 193 00:11:11,370 --> 00:11:14,010 because that's, that's what they grew up on, 194 00:11:14,010 --> 00:11:16,290 and that's what inspired their love of movies. 195 00:11:16,290 --> 00:11:19,470 So I think a lot of these directors like Scorsese 196 00:11:19,470 --> 00:11:22,890 have a really great love of musicals. 197 00:11:22,890 --> 00:11:27,030 And so his attempt to make "New York, New York" 198 00:11:27,030 --> 00:11:28,734 was very earnest to me. 199 00:11:28,734 --> 00:11:30,750 (smooth jazz music) 200 00:11:30,750 --> 00:11:32,970 But the reason that it didn't do well 201 00:11:32,970 --> 00:11:35,847 I think is really down to "Star Wars." 202 00:11:36,777 --> 00:11:38,610 (bus engine humming) 203 00:11:38,610 --> 00:11:41,968 - So "Star Wars" changed the whole shape 204 00:11:41,968 --> 00:11:45,127 of the industry after 1977. 205 00:11:45,127 --> 00:11:48,660 Hollywood had been looking for a way back in 206 00:11:48,660 --> 00:11:53,660 in commercial terms of how to make big blockbuster movies 207 00:11:54,180 --> 00:11:56,460 that were family orientated, 208 00:11:56,460 --> 00:11:58,440 that people were gonna see not just once, 209 00:11:58,440 --> 00:12:01,450 but actually come out and see again and again. 210 00:12:01,450 --> 00:12:03,390 - With "Star Wars," overnight, 211 00:12:03,390 --> 00:12:06,780 like the appetite of the audience changed. 212 00:12:06,780 --> 00:12:09,517 And they're like, "We only want these sort 213 00:12:09,517 --> 00:12:12,720 "of like sci-fi fantasies, overblown spectacles." 214 00:12:12,720 --> 00:12:15,962 And there almost wasn't really a place 215 00:12:15,962 --> 00:12:18,976 for something like "New York, New York" anymore. 216 00:12:18,976 --> 00:12:21,976 (smooth jazz music) 217 00:12:24,630 --> 00:12:26,550 I think it surprised a lot of the people 218 00:12:26,550 --> 00:12:29,790 in that filmmaking group because even George Lucas's wife, 219 00:12:29,790 --> 00:12:34,507 Marcia, at the time said, "Hey, George, 'New York, New York' 220 00:12:34,507 --> 00:12:35,977 "is a grownup person movie. 221 00:12:35,977 --> 00:12:39,157 "Like, you have made a little like child's movie 222 00:12:39,157 --> 00:12:39,990 "with 'Star Wars.' 223 00:12:39,990 --> 00:12:41,377 "I don't think that's gonna work. 224 00:12:41,377 --> 00:12:43,920 "Like 'New York, New York,' that's a movie." 225 00:12:43,920 --> 00:12:46,207 And then obviously the opposite happens and everyone goes, 226 00:12:46,207 --> 00:12:49,860 "Oh, I guess the movies have changed." 227 00:12:49,860 --> 00:12:51,630 - [Journalist] What do you think sets this film aside 228 00:12:51,630 --> 00:12:53,370 from all the other science fiction films there are? 229 00:12:53,370 --> 00:12:54,203 - Publicity. 230 00:12:54,203 --> 00:12:55,830 - Publicity, exactly, yes. 231 00:12:55,830 --> 00:12:58,620 Publicity, it's the thing to do to go and see "Star Wars." 232 00:12:58,620 --> 00:13:00,630 So we're all here doing the thing to do. 233 00:13:00,630 --> 00:13:05,630 - Books, records, comics, figurines all followed. 234 00:13:06,377 --> 00:13:08,447 And before "Star Wars" knew it, 235 00:13:08,447 --> 00:13:12,240 it had become a multimillion dollar industry 236 00:13:12,240 --> 00:13:13,693 of its own right. 237 00:13:13,693 --> 00:13:18,693 (computer clicking) (smooth jazz music) 238 00:13:19,110 --> 00:13:22,110 (tense music rises) 239 00:13:25,080 --> 00:13:28,770 - Scorsese I think was already struggling a little bit 240 00:13:28,770 --> 00:13:31,170 even during the making of "New York, New York." 241 00:13:31,170 --> 00:13:33,810 He was pretty deep into a cocaine addiction. 242 00:13:33,810 --> 00:13:38,310 And the failure of this movie that he had put a lot of heart 243 00:13:38,310 --> 00:13:42,600 and soul into just made everything so much worse. 244 00:13:42,600 --> 00:13:44,444 It pushed him deeper into the spiral. 245 00:13:44,444 --> 00:13:46,378 (static buzzing) 246 00:13:46,378 --> 00:13:49,961 (jarring electronic music) 247 00:14:02,880 --> 00:14:06,900 Eventually, he was hospitalized at age 35 248 00:14:06,900 --> 00:14:09,810 because of his addiction and also his asthma 249 00:14:09,810 --> 00:14:13,020 and several other prescription drugs had all just collided 250 00:14:13,020 --> 00:14:15,621 into this one sort of terrible incident. 251 00:14:15,621 --> 00:14:18,454 (monitor beeping) 252 00:14:19,740 --> 00:14:21,000 (somber music) 253 00:14:21,000 --> 00:14:22,530 - [Narrator] Scorsese was kept in the hospital 254 00:14:22,530 --> 00:14:24,270 for 10 days and nights. 255 00:14:24,270 --> 00:14:26,700 As he lay on his bed, he was able to reflect 256 00:14:26,700 --> 00:14:30,267 on both his place in life and in the new era of cinema. 257 00:14:30,267 --> 00:14:34,620 - Obviously, Scorsese, Spielberg, Lucas, you know, 258 00:14:34,620 --> 00:14:36,960 they were all kind of part of the same group. 259 00:14:36,960 --> 00:14:40,514 They all came up through the ranks together, but there was 260 00:14:40,514 --> 00:14:43,740 I guess this definite split that happened 261 00:14:43,740 --> 00:14:47,820 where Spielberg and Lucas had the ability to adapt to this 262 00:14:47,820 --> 00:14:51,262 changing landscape and also create the changing landscape. 263 00:14:51,262 --> 00:14:53,220 But that was just not something 264 00:14:53,220 --> 00:14:55,272 that Scorsese could ever adapt to. 265 00:14:55,272 --> 00:14:58,027 I think he was very upfront with saying, 266 00:14:58,027 --> 00:15:00,307 "Look, I appreciate what these guys are doing. 267 00:15:00,307 --> 00:15:02,467 "I'm not filming things in front of a blue screen. 268 00:15:02,467 --> 00:15:05,340 "That's not my vibe. 269 00:15:05,340 --> 00:15:07,950 "That's not how I wanna make movies." 270 00:15:07,950 --> 00:15:11,520 And you know, I think you can look at "Raging Bull" and go, 271 00:15:11,520 --> 00:15:13,110 there's so much darkness here. 272 00:15:13,110 --> 00:15:14,820 There's so much complexity. 273 00:15:14,820 --> 00:15:17,850 There's so much ugliness that 274 00:15:17,850 --> 00:15:20,250 that was never gonna be the kind of film 275 00:15:20,250 --> 00:15:23,850 that America was flocking to see. 276 00:15:23,850 --> 00:15:25,770 - Because I thought it was the end of my career, that film. 277 00:15:25,770 --> 00:15:26,603 Yeah. 278 00:15:26,603 --> 00:15:28,230 I didn't think, I didn't think so, quite honestly. 279 00:15:28,230 --> 00:15:29,460 I knew for De Niro it was gonna be fine 280 00:15:29,460 --> 00:15:30,690 because Bob would get his award. 281 00:15:30,690 --> 00:15:31,920 I knew he was such a wonderful actor, 282 00:15:31,920 --> 00:15:33,330 and he'd get his Academy Award. 283 00:15:33,330 --> 00:15:35,144 But I thought I was gonna go off to Italy 284 00:15:35,144 --> 00:15:37,740 and do films on saints. 285 00:15:37,740 --> 00:15:41,130 - Scorsese really wasn't interested in making "Raging Bull." 286 00:15:41,130 --> 00:15:44,100 It was a project that De Niro had brought to him 287 00:15:44,100 --> 00:15:45,998 and De Niro was very interested in. 288 00:15:45,998 --> 00:15:47,467 And Scorsese had gone, 289 00:15:47,467 --> 00:15:50,287 "Mm, I'm not, I'm not really into this boxing thing. 290 00:15:50,287 --> 00:15:52,320 "I don't get the character." 291 00:15:52,320 --> 00:15:56,040 But while he was on his hospital bed, 292 00:15:56,040 --> 00:15:59,583 De Niro came to visit him and re-pitched the idea and said, 293 00:15:59,583 --> 00:16:02,107 "Are you gonna be one of these directors that just makes 294 00:16:02,107 --> 00:16:04,627 "like two good movies and then that's it, 295 00:16:04,627 --> 00:16:06,274 "or are you gonna be here forever?" 296 00:16:06,274 --> 00:16:10,830 And I think that was the little pep talk that got Scorsese 297 00:16:10,830 --> 00:16:14,010 to the place he needed to be to make "Raging Bull." 298 00:16:14,010 --> 00:16:15,510 And also I think to see himself 299 00:16:15,510 --> 00:16:17,580 in Jake LaMotta a little bit more. 300 00:16:17,580 --> 00:16:20,100 - I know, don't forget, this man's job basically is to go 301 00:16:20,100 --> 00:16:21,750 to work in the morning and go into a ring 302 00:16:21,750 --> 00:16:24,190 and get beaten up and beat up other people, then come home. 303 00:16:24,190 --> 00:16:25,620 (chuckles) I mean, in a sense, 304 00:16:25,620 --> 00:16:27,433 he's a metaphor for all of us and the psychological 305 00:16:27,433 --> 00:16:31,954 and emotional pummeling that we take in our lives. 306 00:16:31,954 --> 00:16:33,287 (static buzzing) 307 00:16:33,287 --> 00:16:36,320 And he eventually, he eventually... 308 00:16:37,530 --> 00:16:39,570 He eventually is so, 309 00:16:39,570 --> 00:16:42,780 he becomes so negative a character that he cuts off everyone 310 00:16:42,780 --> 00:16:45,150 around him, including himself from his own soul, 311 00:16:45,150 --> 00:16:46,650 until finally at the end he goes through his own sort 312 00:16:46,650 --> 00:16:49,470 of redemption and is able to get at least a couple of, 313 00:16:49,470 --> 00:16:53,070 at least one moment in his life where he's at peace 314 00:16:53,070 --> 00:16:55,230 with himself at the end when he's in front of the mirror. 315 00:16:55,230 --> 00:16:56,553 - You don't understand. 316 00:16:57,660 --> 00:16:59,490 I could have had class. 317 00:16:59,490 --> 00:17:01,350 I could have been a contender. 318 00:17:01,350 --> 00:17:04,260 I could have been somebody instead of a bum, 319 00:17:04,260 --> 00:17:05,790 which is what I am. 320 00:17:05,790 --> 00:17:09,450 - With films like "New York, New York," "Raging Bull," 321 00:17:09,450 --> 00:17:12,120 you could tell they were sort of his films. 322 00:17:12,120 --> 00:17:16,380 But here he was dealing in, you know, jazz music, history, 323 00:17:16,380 --> 00:17:19,170 boxing, you know, these were very different 324 00:17:19,170 --> 00:17:20,790 kind of scene in many ways 325 00:17:20,790 --> 00:17:24,027 from the things that he'd first started on. 326 00:17:24,027 --> 00:17:26,610 (somber music) 327 00:17:27,800 --> 00:17:29,640 - [Narrator] As Scorsese had predicted, 328 00:17:29,640 --> 00:17:32,557 De Niro went on to win the Best Actor Academy Award 329 00:17:32,557 --> 00:17:35,238 for his performance in "Raging Bull." 330 00:17:35,238 --> 00:17:38,400 Galvanized by the way the film was received critically, 331 00:17:38,400 --> 00:17:41,040 Scorsese decided against retiring to Italy 332 00:17:41,040 --> 00:17:44,970 and began work on his next project, "The King of Comedy." 333 00:17:44,970 --> 00:17:47,610 Once again, he cast De Niro in the main role. 334 00:17:47,610 --> 00:17:50,197 And this time, alongside comedian Jerry Lewis. 335 00:17:50,197 --> 00:17:53,340 - "King of Comedy" out of all Scorsese's films 336 00:17:53,340 --> 00:17:58,340 is maybe the one that really felt unappreciated in its time 337 00:17:59,460 --> 00:18:02,820 because, again, it was a film I'm not sure Scorsese 338 00:18:02,820 --> 00:18:04,500 really wanted to make that much, 339 00:18:04,500 --> 00:18:07,740 but De Niro was very excited about the prospect. 340 00:18:07,740 --> 00:18:10,410 Scorsese was more interested in going off 341 00:18:10,410 --> 00:18:12,180 to make "The Last Temptation of Christ." 342 00:18:12,180 --> 00:18:14,220 And he wanted De Niro to do it. 343 00:18:14,220 --> 00:18:18,097 And De Niro was like, "Hmm, I'm not really into this. 344 00:18:18,097 --> 00:18:19,687 "Here's a script for a comedy 345 00:18:19,687 --> 00:18:21,450 "that I'd actually really love to do." 346 00:18:21,450 --> 00:18:24,513 And again, managed to convince Scorsese to make it. 347 00:18:25,705 --> 00:18:26,850 (somber music) 348 00:18:26,850 --> 00:18:30,030 And there was something about, I think, again, 349 00:18:30,030 --> 00:18:32,160 the harshness of "King of Comedy." 350 00:18:32,160 --> 00:18:34,650 The awkwardness of the humor as such. 351 00:18:34,650 --> 00:18:38,070 It's such an uncomfortable movie to watch. 352 00:18:38,070 --> 00:18:41,403 - And so, no, the film was completely ignored. 353 00:18:42,240 --> 00:18:44,760 It actually had gotten some fairly decent reviews, 354 00:18:44,760 --> 00:18:46,680 good reviews in major papers here, 355 00:18:46,680 --> 00:18:51,680 but the film was completely reviled, reviled. 356 00:18:53,460 --> 00:18:57,570 It was appreciated, I think, it opened the Cannes Festival 357 00:18:57,570 --> 00:18:59,070 and was appreciated there. 358 00:18:59,070 --> 00:19:01,950 But other than that, the film was just put away for years. 359 00:19:01,950 --> 00:19:04,620 - Maybe just something about the era it was released in 360 00:19:04,620 --> 00:19:06,450 or the feeling of the time. 361 00:19:06,450 --> 00:19:09,000 People just were not ready for it. 362 00:19:09,000 --> 00:19:11,790 And it's only now that you can have a movie 363 00:19:11,790 --> 00:19:15,780 like "Joker" come in and essentially just, you know, 364 00:19:15,780 --> 00:19:19,140 replicate the whole thing and audiences laugh it up, 365 00:19:19,140 --> 00:19:21,390 and it makes a billion dollars at the box office. 366 00:19:21,390 --> 00:19:24,787 I find that, I find that really interesting. 367 00:19:24,787 --> 00:19:28,204 (upbeat jazz band music) 368 00:19:30,793 --> 00:19:33,793 (audience cheering) 369 00:19:35,953 --> 00:19:37,103 (lips smacking) - Good to see you. 370 00:19:37,103 --> 00:19:38,520 Gerald, good seeing you. 371 00:19:38,520 --> 00:19:41,940 Jerry, don't get up. (lips smacking) 372 00:19:41,940 --> 00:19:43,533 Ah, boy, I'll tell you. 373 00:19:45,060 --> 00:19:46,972 Well, that was quite an entrance. 374 00:19:46,972 --> 00:19:49,972 (audience laughing) 375 00:19:53,378 --> 00:19:54,394 (hand slapping) 376 00:19:54,394 --> 00:19:56,280 Ah, Jerry, I love this guy. 377 00:19:56,280 --> 00:19:57,865 Always coming up with these great lines. 378 00:19:57,865 --> 00:19:59,224 I love him, I love him. 379 00:19:59,224 --> 00:20:00,920 He's wonderful, you're wonderful. 380 00:20:00,920 --> 00:20:03,420 I tell you, I don't know what I'd do without you. 381 00:20:03,420 --> 00:20:04,617 Well, that makes one of us. 382 00:20:04,617 --> 00:20:07,617 (audience laughing) 383 00:20:12,768 --> 00:20:14,910 (soft jazz music) 384 00:20:14,910 --> 00:20:17,670 - So there's a point after "King of Comedy" 385 00:20:17,670 --> 00:20:20,520 where it again felt like Martin Scorsese 386 00:20:20,520 --> 00:20:23,700 was ready to make "The Last Temptation of Christ." 387 00:20:23,700 --> 00:20:26,340 It was a book that he'd actually been given all the way back 388 00:20:26,340 --> 00:20:29,661 when he was making "Boxcar Bertha" by Barbara Hershey, 389 00:20:29,661 --> 00:20:32,437 who said, "I'm gonna give you this book. 390 00:20:32,437 --> 00:20:34,867 "I think one day you should make it into a movie, 391 00:20:34,867 --> 00:20:38,130 "but just promise me that you will cast me in it." 392 00:20:38,130 --> 00:20:39,300 And Scorsese said, "Okay." (chuckles) 393 00:20:39,300 --> 00:20:42,090 And he fell in love with this book, and it was sort of 394 00:20:42,090 --> 00:20:45,960 simmering underneath every project he made since. 395 00:20:45,960 --> 00:20:47,407 You know, just this, "Oh, one day I am gonna 396 00:20:47,407 --> 00:20:50,040 "make 'The Last Temptation of Christ'." 397 00:20:50,040 --> 00:20:51,810 And after "King of Comedy," 398 00:20:51,810 --> 00:20:53,743 it really seemed like it was gonna happen. 399 00:20:53,743 --> 00:20:56,370 Everyone was ready to go, ready to start filming. 400 00:20:56,370 --> 00:21:00,307 And the studio phoned him up on Thanksgiving Day and said, 401 00:21:00,307 --> 00:21:02,386 "Marty, we're pulling the movie." 402 00:21:02,386 --> 00:21:05,386 (film reel buzzing) 403 00:21:06,360 --> 00:21:09,660 So Scorsese was devastated, obviously. 404 00:21:09,660 --> 00:21:12,480 And I think he retreated a little bit 405 00:21:12,480 --> 00:21:16,140 into making "After Hours," which was a very sort of 406 00:21:16,140 --> 00:21:20,250 low budget, almost off the cuff, very raw movie. 407 00:21:20,250 --> 00:21:22,470 That was moderately successful. 408 00:21:22,470 --> 00:21:24,043 And then it finally came time 409 00:21:24,043 --> 00:21:27,030 to make "The Last Temptation of Christ." 410 00:21:27,030 --> 00:21:28,980 And the only way he could pull it off 411 00:21:28,980 --> 00:21:31,530 was by promising the studio that he would 412 00:21:31,530 --> 00:21:35,160 make them a second very commercial picture, 413 00:21:35,160 --> 00:21:37,140 which was "Cape Fear." 414 00:21:37,140 --> 00:21:41,310 But even then, you know, it was problem after problem. 415 00:21:41,310 --> 00:21:44,070 And it's sort of a miracle that the movie got made. 416 00:21:44,070 --> 00:21:46,980 - Yeah, movie hell, everything that could possibly go wrong, 417 00:21:46,980 --> 00:21:48,077 you know, goes wrong. - Like what? 418 00:21:48,077 --> 00:21:51,900 - Well, hailstones, roads being washed out. 419 00:21:51,900 --> 00:21:54,420 Arabic extras that for a long period of time 420 00:21:54,420 --> 00:21:55,560 don't understand what you're trying to tell them 421 00:21:55,560 --> 00:21:56,520 because you don't speak the language. 422 00:21:56,520 --> 00:21:57,540 And of course, you know, 423 00:21:57,540 --> 00:22:00,210 naturally you have Arabic second ADs too, 424 00:22:00,210 --> 00:22:01,290 assistant directors, 425 00:22:01,290 --> 00:22:03,330 but it does take a little while to get going. 426 00:22:03,330 --> 00:22:04,680 It takes a little while to get going. 427 00:22:04,680 --> 00:22:07,350 - But it's very clear that throughout his whole life 428 00:22:07,350 --> 00:22:09,720 he's really been I think 429 00:22:09,720 --> 00:22:12,570 trying to answer a question about his own faith. 430 00:22:12,570 --> 00:22:13,663 - For me, it's never been just another film. 431 00:22:13,663 --> 00:22:15,247 For me, it was the most important film 432 00:22:15,247 --> 00:22:17,100 I've ever had to make. 433 00:22:17,100 --> 00:22:20,847 And it's very important for me, this movie. 434 00:22:20,847 --> 00:22:22,500 I mean, because of my religious background. 435 00:22:22,500 --> 00:22:23,910 Because of the fact I wanted to be a priest. 436 00:22:23,910 --> 00:22:26,097 Because of the fact that in a sense the church 437 00:22:26,097 --> 00:22:28,140 has never left me and I've never left it. 438 00:22:28,140 --> 00:22:30,030 In that sense, even though I'm a lapsed Catholic, 439 00:22:30,030 --> 00:22:31,619 I'm not a Catholic who's a practicing Catholic, 440 00:22:31,619 --> 00:22:36,570 but I still, I still think about it. 441 00:22:36,570 --> 00:22:39,510 I still think about my relationship to God 442 00:22:39,510 --> 00:22:42,120 and the idea of the sacrament of the mass, 443 00:22:42,120 --> 00:22:46,650 the Catholic attitude towards Jesus and God, 444 00:22:46,650 --> 00:22:49,059 the divinity of Jesus, and being fully human 445 00:22:49,059 --> 00:22:50,700 and fully divine and one entity, 446 00:22:50,700 --> 00:22:53,550 and all these incredible heresies of the past 2000 years. 447 00:22:53,550 --> 00:22:56,670 And all of this just part of my life, you see. 448 00:22:56,670 --> 00:22:58,233 - You wanna know who my God is? 449 00:23:00,330 --> 00:23:01,163 Fear. 450 00:23:02,580 --> 00:23:04,880 You look inside me and that's all you'll find. 451 00:23:08,190 --> 00:23:10,380 - But the more devils that we have inside of us, 452 00:23:10,380 --> 00:23:12,453 the more of a chance we have to repent. 453 00:23:13,980 --> 00:23:16,170 - Lucifer is inside me. 454 00:23:16,170 --> 00:23:17,220 - [Journalist] People have talked a lot 455 00:23:17,220 --> 00:23:18,570 about the controversy about this film, 456 00:23:18,570 --> 00:23:19,807 and we've touched on it here. 457 00:23:19,807 --> 00:23:22,530 Is it valid the people, the, you know, 458 00:23:22,530 --> 00:23:23,565 fundamentalists that are saying, 459 00:23:23,565 --> 00:23:26,130 "It's wrong, it's wrong, don't go see it." 460 00:23:26,130 --> 00:23:27,420 - Well, I think in terms of fundamentalists you have 461 00:23:27,420 --> 00:23:29,737 to understand that people who are called fundamentalists 462 00:23:29,737 --> 00:23:31,710 are people who believe in the word of the gospel. 463 00:23:31,710 --> 00:23:34,819 And you can't detract one iota from those words. 464 00:23:34,819 --> 00:23:37,650 Anything else, anything other than the facts 465 00:23:37,650 --> 00:23:40,284 that are written in the gospel would be, 466 00:23:40,284 --> 00:23:42,690 to say the least, inappropriate, you know, 467 00:23:42,690 --> 00:23:44,610 if not sinful, if not blasphemous. 468 00:23:44,610 --> 00:23:46,860 And so I understand from their point of view 469 00:23:46,860 --> 00:23:48,330 that it would be a problem for them 470 00:23:48,330 --> 00:23:50,883 to participate in viewing of this film. 471 00:23:51,720 --> 00:23:53,430 What I'm saying is that don't give the wrong impression 472 00:23:53,430 --> 00:23:56,160 to other people, the other people like myself who, 473 00:23:56,160 --> 00:23:57,150 like myself and other people 474 00:23:57,150 --> 00:23:59,550 who were raised very strict Catholics, let's say, 475 00:23:59,550 --> 00:24:00,838 and other Christians who were raised 476 00:24:00,838 --> 00:24:02,400 on the truth of the gospels. 477 00:24:02,400 --> 00:24:04,920 But also were able to interpret the gospels and discuss 478 00:24:04,920 --> 00:24:07,560 and use parables in the gospels or stories 479 00:24:07,560 --> 00:24:09,300 or incidents in Jesus' life that are given us 480 00:24:09,300 --> 00:24:13,480 in the gospels as starting off points for a discussion 481 00:24:13,480 --> 00:24:15,960 and to make up stories and to argue. 482 00:24:15,960 --> 00:24:18,120 And so you can learn a little more, that's all. 483 00:24:18,120 --> 00:24:19,290 Question, you might get an answer. 484 00:24:19,290 --> 00:24:21,510 Maybe, you know, maybe an answer. 485 00:24:21,510 --> 00:24:25,320 - People started getting mad even before the film came out. 486 00:24:25,320 --> 00:24:30,320 The script had leaked and the rumors started to spread 487 00:24:30,330 --> 00:24:35,330 that the film was going to include a sequence where Jesus 488 00:24:35,970 --> 00:24:39,360 gets down off the cross and goes to live a human life 489 00:24:39,360 --> 00:24:40,920 with Mary Magdalene. 490 00:24:40,920 --> 00:24:44,880 Has kids, has sex, lives a full life, and dies, 491 00:24:44,880 --> 00:24:47,730 and then it turns out to be the devil's temptation. 492 00:24:47,730 --> 00:24:52,730 And something about seeing just that human aspect of Jesus 493 00:24:55,530 --> 00:24:59,130 infuriated a sector of the Catholic Church. 494 00:24:59,130 --> 00:25:02,700 - I would dismiss it artistically. 495 00:25:02,700 --> 00:25:07,700 It contains some of the most bizarre 496 00:25:08,220 --> 00:25:11,190 and crude imaginings that I have seen. 497 00:25:11,190 --> 00:25:15,960 We have black cobras with female seductive voices. 498 00:25:15,960 --> 00:25:19,500 We have, for heaven's sake, a talking lion who's supposed 499 00:25:19,500 --> 00:25:23,670 to represent part of the temptations of Christ. 500 00:25:23,670 --> 00:25:26,670 You have Christ taking out his heart 501 00:25:26,670 --> 00:25:29,640 and holding it up before his followers. 502 00:25:29,640 --> 00:25:33,390 It's an imagination that has created this film, 503 00:25:33,390 --> 00:25:37,500 which is very violent, very crude, 504 00:25:37,500 --> 00:25:40,800 and I would have imagined somewhat sick. 505 00:25:40,800 --> 00:25:43,530 - So that's a lot to fight against. (laughs) 506 00:25:43,530 --> 00:25:46,352 And there were protests outside of the studio. 507 00:25:46,352 --> 00:25:48,840 There were protests at film festivals. 508 00:25:48,840 --> 00:25:51,150 Scorsese had to have a bodyguard. 509 00:25:51,150 --> 00:25:55,410 There was an arson attack on a cinema in Paris 510 00:25:55,410 --> 00:25:57,729 where 13 people were injured. 511 00:25:57,729 --> 00:26:00,420 Again, it's just incredible that this movie 512 00:26:00,420 --> 00:26:02,820 was made and distributed. 513 00:26:02,820 --> 00:26:06,810 But I think really looking back on it now, 514 00:26:06,810 --> 00:26:07,950 anyone who watches it, 515 00:26:07,950 --> 00:26:10,155 whether you are of faith or not, 516 00:26:10,155 --> 00:26:13,920 you see that this was a very religious experience 517 00:26:13,920 --> 00:26:15,120 for Scorsese. 518 00:26:15,120 --> 00:26:17,820 This was a very pure, this was about his own faith. 519 00:26:17,820 --> 00:26:20,430 And he was very upfront about that. 520 00:26:20,430 --> 00:26:22,567 You know, at the time saying, you know, 521 00:26:22,567 --> 00:26:24,397 "I made this as a Catholic man. 522 00:26:24,397 --> 00:26:26,497 "Like I, this is not blasphemy for me. 523 00:26:26,497 --> 00:26:30,840 "This is me coming to better understand Jesus." 524 00:26:30,840 --> 00:26:32,670 - That's what I say to them, 525 00:26:32,670 --> 00:26:35,580 to please be more tolerant and understand. 526 00:26:35,580 --> 00:26:36,413 They say that, they can say, 527 00:26:36,413 --> 00:26:37,920 "Listen, you can't do that with our God." 528 00:26:37,920 --> 00:26:38,943 But it's my God too. 529 00:26:48,257 --> 00:26:49,816 - [CNN] Mr. Scorsese, CNN. 530 00:26:49,816 --> 00:26:50,666 - Hi. 531 00:26:50,666 --> 00:26:51,499 - [CNN] Mark Shooter. 532 00:26:51,499 --> 00:26:53,753 - Hi. - To discuss the movie. 533 00:26:53,753 --> 00:26:57,000 - Undeniably, "The Last Temptation of Christ" 534 00:26:57,000 --> 00:26:59,160 was a controversial film. 535 00:26:59,160 --> 00:27:00,570 And I think Scorsese knew 536 00:27:00,570 --> 00:27:02,940 that it would probably be controversial. 537 00:27:02,940 --> 00:27:04,530 It was a very personal film for him. 538 00:27:04,530 --> 00:27:07,080 You know, his own religious upbringing 539 00:27:07,080 --> 00:27:09,925 and his own kind of devotion to the church, 540 00:27:09,925 --> 00:27:13,650 which features a lot in his films in various ways, 541 00:27:13,650 --> 00:27:17,070 clearly made this a very, very personal project for him. 542 00:27:17,070 --> 00:27:22,070 But he moved on very swiftly from that controversy 543 00:27:22,200 --> 00:27:25,650 to "Goodfellas" at the turn of the 1990s. 544 00:27:25,650 --> 00:27:27,840 And then further on to "Age of Innocence" 545 00:27:27,840 --> 00:27:29,610 in the early 1990s. 546 00:27:29,610 --> 00:27:33,566 Two films that really kind of cemented both his reputation 547 00:27:33,566 --> 00:27:36,180 as one of America's great filmmakers, 548 00:27:36,180 --> 00:27:41,180 but also perhaps two of his best films of his whole career. 549 00:27:41,190 --> 00:27:42,023 - Big cops. 550 00:27:42,023 --> 00:27:43,563 - Really funny, really funny. 551 00:27:44,817 --> 00:27:46,080 (mafiosos laughing) 552 00:27:46,080 --> 00:27:47,346 - What do you mean I'm funny? 553 00:27:47,346 --> 00:27:48,241 (mafiosos laughing) 554 00:27:48,241 --> 00:27:51,090 - It's funny, you know, it's a good story. 555 00:27:51,090 --> 00:27:53,317 It's funny, you're a funny guy. 556 00:27:53,317 --> 00:27:55,643 - What do you mean, you mean the way I talk, what? 557 00:27:56,730 --> 00:27:59,550 - It's just-- - "Goodfellas" strikes that 558 00:27:59,550 --> 00:28:03,900 kind of perfect balance between what's real 559 00:28:03,900 --> 00:28:08,900 and what's fantastical because there is such an authenticity 560 00:28:09,210 --> 00:28:13,290 to it and a feeling of texture and detail, 561 00:28:13,290 --> 00:28:17,050 and you're so absorbed in the lives of these gangsters. 562 00:28:17,050 --> 00:28:19,530 All things that could only come out of the fact 563 00:28:19,530 --> 00:28:23,280 that Scorsese knew this life firsthand. 564 00:28:23,280 --> 00:28:24,437 - Basically, that was the idea to make the picture 565 00:28:24,437 --> 00:28:27,010 'cause it wouldn't be any sense me making another film. 566 00:28:27,010 --> 00:28:28,950 'Cause there's been so many great ones made 567 00:28:28,950 --> 00:28:31,380 about the rise and fall of the American gangster, 568 00:28:31,380 --> 00:28:34,670 whether it's from an Italian American or Irish American, 569 00:28:34,670 --> 00:28:36,750 in the case of "Public Enemy" with Jimmy Cagney, 570 00:28:36,750 --> 00:28:40,290 many other films, but, or in the case of "The Godfather," 571 00:28:40,290 --> 00:28:43,320 that very, very strong, almost Greek tragedy 572 00:28:43,320 --> 00:28:46,590 of the Italian American family that he controls 573 00:28:46,590 --> 00:28:47,880 and that, in those films. 574 00:28:47,880 --> 00:28:50,910 And in this case, for me, the main reason for making it 575 00:28:50,910 --> 00:28:53,670 was to show a day-to-day lifestyle, 576 00:28:53,670 --> 00:28:55,830 to do it as accurately as possible. 577 00:28:55,830 --> 00:28:57,750 - The confidence and energy that he brought 578 00:28:57,750 --> 00:29:00,933 to the filmmaking, and that it feels, 579 00:29:02,070 --> 00:29:04,590 just that it feels like you are being 580 00:29:04,590 --> 00:29:06,630 shot out of a gun, and you are the bullet, 581 00:29:06,630 --> 00:29:10,590 and you are like traveling through Henry Hill's life. 582 00:29:10,590 --> 00:29:12,300 And before you know it... 583 00:29:12,300 --> 00:29:13,560 - Now it's all over. 584 00:29:13,560 --> 00:29:15,085 - I feel like it's been two minutes 585 00:29:15,085 --> 00:29:18,150 and this whole movie has happened in front of me. 586 00:29:18,150 --> 00:29:21,816 I think it was that, just something about that combination 587 00:29:21,816 --> 00:29:26,816 meant it felt so different from "The Godfather," 588 00:29:27,330 --> 00:29:28,923 which was this very sort of, 589 00:29:30,300 --> 00:29:33,960 I guess, poetic and almost sort of noble representation 590 00:29:33,960 --> 00:29:35,040 of the gangster life. 591 00:29:35,040 --> 00:29:37,560 Scorsese came in and just like, 592 00:29:37,560 --> 00:29:38,880 like ripped it to shreds. 593 00:29:38,880 --> 00:29:43,410 - The idea was, again, to show literally what every aspect 594 00:29:43,410 --> 00:29:46,000 of this lifestyle is like, and the attraction to it, 595 00:29:46,000 --> 00:29:48,360 the glamorization of it when you're a child and you see it, 596 00:29:48,360 --> 00:29:50,580 and you wanna be, you wanna aspire to that. 597 00:29:50,580 --> 00:29:53,528 And then being caught and wrapped up in it and having, 598 00:29:53,528 --> 00:29:56,880 in many cases, rewards for being in it. 599 00:29:56,880 --> 00:29:59,860 Like being able to get a ringside table at a nightclub 600 00:30:00,750 --> 00:30:03,030 and people not waiting on line to buy bread 601 00:30:03,030 --> 00:30:04,500 at the neighborhood bread store. 602 00:30:04,500 --> 00:30:05,712 You know, I think that's basically 603 00:30:05,712 --> 00:30:07,380 what the film is really about. 604 00:30:07,380 --> 00:30:10,320 About people who want to aspire not to wait on line. 605 00:30:10,320 --> 00:30:12,540 And finally you have to start paying for it though. 606 00:30:12,540 --> 00:30:13,691 They have to start paying for it. 607 00:30:13,691 --> 00:30:15,271 (gunshots blasting) 608 00:30:15,271 --> 00:30:17,179 (blood spurting) (body thudding) 609 00:30:17,179 --> 00:30:18,012 (crowd cheering) 610 00:30:18,012 --> 00:30:21,960 - Obviously, by 1990, he had a pretty incredible 611 00:30:21,960 --> 00:30:23,730 body of work already. 612 00:30:23,730 --> 00:30:28,730 But there was something about the confidence of "Goodfellas" 613 00:30:29,100 --> 00:30:33,690 and like the feeling of energy it brought 614 00:30:33,690 --> 00:30:35,730 that excited people. 615 00:30:35,730 --> 00:30:39,510 And I think both got studios on his side, 616 00:30:39,510 --> 00:30:42,270 critics on his side, audiences on his side. 617 00:30:42,270 --> 00:30:44,610 I think everyone was a little bit more ready 618 00:30:44,610 --> 00:30:47,010 and like willing to accept what came next. 619 00:30:47,010 --> 00:30:51,930 And perhaps that's why Scorsese could then go make things 620 00:30:51,930 --> 00:30:54,645 like the "Age of Innocence" and kind of like 621 00:30:54,645 --> 00:30:57,260 go wherever he wanted to go. 622 00:30:57,260 --> 00:31:01,230 (somber instrumental music) 623 00:31:01,230 --> 00:31:03,630 - One of my favorite Scorsese films 624 00:31:03,630 --> 00:31:05,070 is "The Age of Innocence," 625 00:31:05,070 --> 00:31:07,830 his adaptation of Edith Wharton's novel. 626 00:31:07,830 --> 00:31:11,550 And in a way that's a probably a slightly contrary view 627 00:31:11,550 --> 00:31:13,530 because people wouldn't necessarily, 628 00:31:13,530 --> 00:31:15,030 if they thought of Scorsese, 629 00:31:15,030 --> 00:31:18,030 go to the kind of films where he's taken a sort 630 00:31:18,030 --> 00:31:21,810 of left field shift away from the traditional subject matter 631 00:31:21,810 --> 00:31:24,030 that people would associate him with. 632 00:31:24,030 --> 00:31:25,230 But I think "The Age of Innocence" 633 00:31:25,230 --> 00:31:27,744 is just a spectacular film in many ways. 634 00:31:27,744 --> 00:31:29,952 (film reel clicking) 635 00:31:29,952 --> 00:31:32,498 It captures the period in time, 636 00:31:32,498 --> 00:31:34,953 the late 19th century setting. 637 00:31:34,953 --> 00:31:36,197 He captures the manners. 638 00:31:36,197 --> 00:31:39,288 He captures the sense of, I think, 639 00:31:39,288 --> 00:31:44,288 not only sense of social framing and a social milieu 640 00:31:44,430 --> 00:31:48,330 for East Coast patrician America 641 00:31:48,330 --> 00:31:53,250 and the way in which those various constructs of society 642 00:31:53,250 --> 00:31:55,200 play out around each other. 643 00:31:55,200 --> 00:31:56,220 - Well, my old friend Jay Cox, 644 00:31:56,220 --> 00:31:57,860 who was a Time magazine movie critic at the time 645 00:31:57,860 --> 00:32:00,420 in the late '60s, we became friends, and he gave me, 646 00:32:00,420 --> 00:32:03,090 he gave me the book in 1980, and he kind of knew, 647 00:32:03,090 --> 00:32:05,796 he kind of knew me very well and the kind of films 648 00:32:05,796 --> 00:32:07,470 that we liked. 649 00:32:07,470 --> 00:32:09,930 We liked a lot, very much the same film. 650 00:32:09,930 --> 00:32:11,640 And I would introduce him to certain films. 651 00:32:11,640 --> 00:32:12,930 He would introduce me to others. 652 00:32:12,930 --> 00:32:15,240 And knew that I would wanted to make a love story 653 00:32:15,240 --> 00:32:18,725 at one point in my career and knew that I also liked films 654 00:32:18,725 --> 00:32:22,080 of this genre, which loosely called costume pieces, 655 00:32:22,080 --> 00:32:23,100 but actually this isn't. 656 00:32:23,100 --> 00:32:24,360 It's more of a story about people, 657 00:32:24,360 --> 00:32:27,660 but they're wearing different costumes, okay. 658 00:32:27,660 --> 00:32:29,857 And he said, "This one is you. 659 00:32:29,857 --> 00:32:31,057 "When you get that time to read the book, 660 00:32:31,057 --> 00:32:33,295 "this one will be the one to make for you, I know it." 661 00:32:33,295 --> 00:32:35,820 And he meant the spirit of it. 662 00:32:35,820 --> 00:32:39,018 - When I first sat down to watch the adaptation, 663 00:32:39,018 --> 00:32:42,930 I sort of couldn't believe that Martin Scorsese had made it. 664 00:32:42,930 --> 00:32:46,230 I was like, why is the "Taxi Driver" guy making this movie 665 00:32:46,230 --> 00:32:50,947 of this beautiful tender romance set in the Gilded Age? 666 00:32:50,947 --> 00:32:54,900 And then you watch it, and you hear Martin Scorsese 667 00:32:54,900 --> 00:32:56,280 talk about it. 668 00:32:56,280 --> 00:32:59,430 And he's always called it his most violent film. 669 00:32:59,430 --> 00:33:04,228 And I agree with it 100% because the violence 670 00:33:04,228 --> 00:33:06,630 that's in "The Age of Innocence" 671 00:33:06,630 --> 00:33:09,060 is not about blood or bullets. 672 00:33:09,060 --> 00:33:13,770 It's about the cruelty with which people treat each other. 673 00:33:13,770 --> 00:33:18,180 And you know, it's about two people who have such a desire 674 00:33:18,180 --> 00:33:20,040 for each other and such a love for each other, 675 00:33:20,040 --> 00:33:24,180 but they are torn apart just, just because. 676 00:33:24,180 --> 00:33:25,480 Just because society said. 677 00:33:34,429 --> 00:33:37,133 (people shouting) 678 00:33:37,133 --> 00:33:39,190 - Everybody to your left. - Everybody to your left. 679 00:33:39,190 --> 00:33:42,840 - [Narrator] By 2003, with 17 movies behind him, 680 00:33:42,840 --> 00:33:44,240 Scorsese was now seen as one 681 00:33:44,240 --> 00:33:46,252 of the greatest directors in the world. 682 00:33:46,252 --> 00:33:48,360 And whilst he hadn't yet been rewarded 683 00:33:48,360 --> 00:33:50,940 with an Oscar for his work, in 2003, 684 00:33:50,940 --> 00:33:53,850 he finally got a place on the Hollywood Walk of Fame. 685 00:33:53,850 --> 00:33:55,677 - [Photographer] Joey, turn this way please, sir. 686 00:33:55,677 --> 00:33:57,900 - [Narrator] The name Martin Scorsese was now 687 00:33:57,900 --> 00:34:00,003 cemented in cinematic history. 688 00:34:01,080 --> 00:34:02,250 - [Journalist] I was there when you got your star 689 00:34:02,250 --> 00:34:03,780 on the Walk of Fame yesterday. 690 00:34:03,780 --> 00:34:05,280 Does that mean you've made it? 691 00:34:06,352 --> 00:34:08,460 - (laughs) No, no. 692 00:34:08,460 --> 00:34:10,770 I guess, I don't know if you're always 693 00:34:10,770 --> 00:34:11,794 in the process of making it. 694 00:34:11,794 --> 00:34:13,470 I mean, it's more about what you, 695 00:34:13,470 --> 00:34:14,670 it's really how you feel about yourself 696 00:34:14,670 --> 00:34:16,290 and how you feel about each film that you make. 697 00:34:16,290 --> 00:34:17,123 - [Journalist] Uh-huh. 698 00:34:17,123 --> 00:34:18,210 - I think that's what you gotta live with yourself. 699 00:34:18,210 --> 00:34:20,520 If you feel it's the best I can do under the circumstances 700 00:34:20,520 --> 00:34:22,440 or if I'm satisfied or not satisfied. 701 00:34:22,440 --> 00:34:23,610 Sometimes you make a film you don't even know 702 00:34:23,610 --> 00:34:25,157 what to think of it, you know? 703 00:34:25,157 --> 00:34:28,050 And I think for me the star and I have the name there 704 00:34:28,050 --> 00:34:30,210 is my parents would've loved it. 705 00:34:30,210 --> 00:34:32,100 My mother and father would've really loved that. 706 00:34:32,100 --> 00:34:33,930 And that's one of the reasons why it was kind of fun. 707 00:34:33,930 --> 00:34:35,310 - [Journalist] I want to ask you about the movie. 708 00:34:35,310 --> 00:34:37,230 What impressed you most about the piece of history 709 00:34:37,230 --> 00:34:39,130 you're telling in "Gangs in New York"? 710 00:34:41,430 --> 00:34:46,020 - It's really the formation of a new country in a way. 711 00:34:46,020 --> 00:34:48,030 The experiment of a country that's dealing 712 00:34:48,030 --> 00:34:50,039 with multi-cultures and different religions, 713 00:34:50,039 --> 00:34:51,540 different ethnic groups, 714 00:34:51,540 --> 00:34:53,610 all trying to live together in the same city. 715 00:34:53,610 --> 00:34:57,090 Which is quite unique I think in history. 716 00:34:57,090 --> 00:35:00,600 And it's the formation of that, and it's an honesty. 717 00:35:00,600 --> 00:35:02,848 We tried to be as honest as possible with the nature 718 00:35:02,848 --> 00:35:06,120 of the way people behaved at that time, what they felt. 719 00:35:06,120 --> 00:35:07,890 And not not deal with anything 720 00:35:07,890 --> 00:35:09,570 being somewhat politically correct, 721 00:35:09,570 --> 00:35:11,250 but trying to hit it pretty much on the head. 722 00:35:11,250 --> 00:35:12,093 - [Journalist] Really quick, oh, sorry. 723 00:35:12,093 --> 00:35:14,520 - It's basically, it's a film that also comes 724 00:35:14,520 --> 00:35:17,248 out of the streets where I grew up too. 725 00:35:17,248 --> 00:35:19,745 - You know how I stayed alive this long? 726 00:35:19,745 --> 00:35:20,703 All these years? 727 00:35:23,550 --> 00:35:24,383 Fear. 728 00:35:26,749 --> 00:35:29,010 The spectacle of fearsome acts. 729 00:35:30,930 --> 00:35:33,960 Somebody steals from me, I cut off his hands. 730 00:35:33,960 --> 00:35:37,080 He offends me, I cut out his tongue. 731 00:35:37,080 --> 00:35:38,700 - [Narrator] The release of "Gangs of New York" 732 00:35:38,700 --> 00:35:41,172 coincided with his Walk of Fame honor. 733 00:35:41,172 --> 00:35:43,680 The film was the start of Scorsese's professional 734 00:35:43,680 --> 00:35:46,200 relationship with Leonardo DiCaprio, 735 00:35:46,200 --> 00:35:48,960 who for the next 20 years would become a mainstay 736 00:35:48,960 --> 00:35:50,430 in the director's movies in a way 737 00:35:50,430 --> 00:35:53,405 that mirrored his previous relationship with De Niro. 738 00:35:53,405 --> 00:35:56,130 For many, this was the start of a new era 739 00:35:56,130 --> 00:35:58,917 for both DiCaprio and Scorsese. 740 00:35:58,917 --> 00:36:00,720 - It's a coincidence they're coming out 741 00:36:00,720 --> 00:36:01,553 at the same time. - I don't know. 742 00:36:01,553 --> 00:36:05,070 I don't know, probably not, probably not. 743 00:36:05,070 --> 00:36:08,400 My old friend Mike Ovitz stopped by one day in 1999 744 00:36:08,400 --> 00:36:09,756 and said, "Why don't we do 'Gangs of New York'? 745 00:36:09,756 --> 00:36:12,157 "I got, I'm forming a new management company. 746 00:36:12,157 --> 00:36:14,986 "I have a young new actor, Leo DiCaprio." 747 00:36:14,986 --> 00:36:16,447 And I said, "Well, that's fantastic 748 00:36:16,447 --> 00:36:19,320 "because he's a great actor and maybe have the ability." 749 00:36:19,320 --> 00:36:21,330 It turned out that Leo liked my films too, 750 00:36:21,330 --> 00:36:23,340 so he promised to stay on board. 751 00:36:23,340 --> 00:36:25,320 - [Narrator] Following "Gangs of New York," 752 00:36:25,320 --> 00:36:28,170 DiCaprio appeared in five Scorsese films, 753 00:36:28,170 --> 00:36:31,331 including "The Departed" in 2007. 754 00:36:31,331 --> 00:36:34,650 The film, which was a return to similar themes Scorsese 755 00:36:34,650 --> 00:36:38,670 was well known for, crime, corruption, and mob violence, 756 00:36:38,670 --> 00:36:42,630 finally won the 65-year-old director his first Oscar. 757 00:36:42,630 --> 00:36:45,540 And on the night, it was his old movie brat colleagues 758 00:36:45,540 --> 00:36:47,160 who presented him with the award. 759 00:36:47,160 --> 00:36:49,440 - [Journalist] When your name was called, 760 00:36:49,440 --> 00:36:54,440 is the word finally is what popped into your mind? 761 00:36:54,540 --> 00:36:55,470 - It's a good question. 762 00:36:55,470 --> 00:36:58,200 I, finally, it, I kept saying, 763 00:36:58,200 --> 00:36:59,610 I told Leslie outside, I said, you know, 764 00:36:59,610 --> 00:37:01,631 good thing I didn't get it before. 765 00:37:01,631 --> 00:37:04,080 It's a good thing I waited and good thing I, you know, yeah. 766 00:37:04,080 --> 00:37:06,030 Because maybe it would've changed the kinda movies 767 00:37:06,030 --> 00:37:07,470 I made or something. 768 00:37:07,470 --> 00:37:09,480 I couldn't trust myself. 769 00:37:09,480 --> 00:37:10,500 I don't know if I was strong enough, 770 00:37:10,500 --> 00:37:13,140 if I had gotten it before, quite honestly, you know? 771 00:37:13,140 --> 00:37:14,790 And I'm glad that it went this way. 772 00:37:14,790 --> 00:37:18,240 And when I saw that smile on his face, Steven's face, 773 00:37:18,240 --> 00:37:21,810 I said, "Oh, you know, something's up." 774 00:37:21,810 --> 00:37:23,250 You know, but I'm glad, I'm glad. 775 00:37:23,250 --> 00:37:24,900 I'm glad it's taken this long. 776 00:37:24,900 --> 00:37:26,279 It's been worth it. 777 00:37:26,279 --> 00:37:28,620 It's very moving, very moving movement. 778 00:37:28,620 --> 00:37:30,818 With Francis, George and Steven up there, great. 779 00:37:30,818 --> 00:37:32,010 (journalists shouting) 780 00:37:32,010 --> 00:37:33,840 - [Narrator] Scorsese's next big success 781 00:37:33,840 --> 00:37:37,347 came in the form of "The Wolf of Wall Street" in 2013. 782 00:37:37,347 --> 00:37:39,630 The story of Jordan Belfort, 783 00:37:39,630 --> 00:37:41,940 a greedy Wall Street stockbroker, 784 00:37:41,940 --> 00:37:44,307 struck a chord with people around the world. 785 00:37:44,307 --> 00:37:47,000 Once again, Scorsese cast DiCaprio 786 00:37:47,000 --> 00:37:48,690 in the lead role as Belfort, 787 00:37:48,690 --> 00:37:50,763 continuing their strong working relationship. 788 00:37:50,763 --> 00:37:53,695 (brokers applauding) 789 00:37:53,695 --> 00:37:56,127 - Everybody have a good week? (brokers cheering) 790 00:37:56,127 --> 00:38:01,127 - For me, the character represents or actually behaves 791 00:38:02,028 --> 00:38:07,028 in a way which is fascinating to me because it's a mindset 792 00:38:08,880 --> 00:38:13,880 that is ruthless and literally I think at a certain point, 793 00:38:16,620 --> 00:38:21,333 and it's very early in his life, he is able to, 794 00:38:22,342 --> 00:38:25,170 he's able to command millions of dollars 795 00:38:25,170 --> 00:38:27,270 by one or two phone calls, 796 00:38:27,270 --> 00:38:32,100 and this eliminates any aspect of morality. 797 00:38:32,100 --> 00:38:33,840 The whole moral landscape is gone, 798 00:38:33,840 --> 00:38:36,210 and there are no restrictions. 799 00:38:36,210 --> 00:38:37,440 There were no restrictions. 800 00:38:37,440 --> 00:38:39,630 Even legally, there were no restrictions. 801 00:38:39,630 --> 00:38:42,360 And so he's able to run rampant. 802 00:38:42,360 --> 00:38:44,250 - There's something about the story 803 00:38:44,250 --> 00:38:47,370 that "The Wolf of Wall Street" is telling that, you know, 804 00:38:47,370 --> 00:38:51,390 this book had come out exposing how the entirety 805 00:38:51,390 --> 00:38:54,838 of America had been scammed, basically. 806 00:38:54,838 --> 00:38:57,710 And there was an anger behind that. 807 00:38:57,710 --> 00:39:01,176 And I think Scorsese being able to capture that anger 808 00:39:01,176 --> 00:39:06,176 and channeling it into a movie that also brought 809 00:39:06,450 --> 00:39:09,570 all the vitality and energy of the "Goodfellas" 810 00:39:09,570 --> 00:39:13,568 into that arena, like created this perfect storm 811 00:39:13,568 --> 00:39:17,220 of just like Americana. 812 00:39:17,220 --> 00:39:18,750 Like it's one of the most American movies 813 00:39:18,750 --> 00:39:20,413 I've ever seen in my life. 814 00:39:20,413 --> 00:39:25,413 (upbeat marching band music) (hands clapping) 815 00:39:30,930 --> 00:39:33,390 It's sort of surprisingly controversial 816 00:39:33,390 --> 00:39:35,786 for Scorsese's filmography. 817 00:39:35,786 --> 00:39:40,302 I love that it is the film with the most amount 818 00:39:40,302 --> 00:39:42,360 of F-bombs. 819 00:39:42,360 --> 00:39:44,880 In terms of like narrative feature films, 820 00:39:44,880 --> 00:39:46,620 it's the one with the absolute most, 821 00:39:46,620 --> 00:39:49,456 I think there's around like 500 instances. 822 00:39:49,456 --> 00:39:50,340 (film reel beeps) - Fuck! 823 00:39:50,340 --> 00:39:51,173 Fucking. 824 00:39:51,173 --> 00:39:52,006 Fucking! 825 00:39:52,006 --> 00:39:53,344 Mother fucking. - Fucking! 826 00:39:53,344 --> 00:39:57,461 - Fucking 30,000 fucking dollars in one fucking month! 827 00:39:57,461 --> 00:39:58,294 (film reel beeping) 828 00:39:58,294 --> 00:40:01,203 - Well, that's the way they speak. 829 00:40:02,700 --> 00:40:05,850 - [Narrator] Nearly 25 years after their last collaboration, 830 00:40:05,850 --> 00:40:09,641 De Niro and Scorsese joined forces again in 2019 831 00:40:09,641 --> 00:40:12,210 to tell the story of "The Irishman." 832 00:40:12,210 --> 00:40:14,510 The four-hour epic was released on Netflix, 833 00:40:14,510 --> 00:40:17,760 marking a new era for streaming and movies. 834 00:40:17,760 --> 00:40:20,790 For Scorsese, using Netflix allowed him the scope 835 00:40:20,790 --> 00:40:23,100 to do exactly what he wanted with the film 836 00:40:23,100 --> 00:40:24,900 with total creative control. 837 00:40:24,900 --> 00:40:27,180 - I think Scorsese's relationship 838 00:40:27,180 --> 00:40:30,840 with modern American cinema is an interesting one 839 00:40:30,840 --> 00:40:32,085 on a lot of levels. 840 00:40:32,085 --> 00:40:35,430 I mean, he's had success in the 2000s and the 2010s, 841 00:40:35,430 --> 00:40:38,610 most obviously with "The Wolf of Wall Street." 842 00:40:38,610 --> 00:40:40,920 But I guess with something like "The Irishman," 843 00:40:40,920 --> 00:40:45,090 he's making fairly traditional Scorsese fare, 844 00:40:45,090 --> 00:40:45,923 in a way, you know. 845 00:40:45,923 --> 00:40:49,080 And it's not just that he's pulling together the old team 846 00:40:49,080 --> 00:40:52,392 of actors who've been in so many of his previous movies 847 00:40:52,392 --> 00:40:56,940 and that it's okay, mild, perhaps more mildly, 848 00:40:56,940 --> 00:41:00,510 but it's still a gangster film to one degree or other. 849 00:41:00,510 --> 00:41:03,010 - Put him on the phone, let you talk to him, okay? 850 00:41:05,958 --> 00:41:07,470 - Hello? 851 00:41:07,470 --> 00:41:08,727 - Is that Frank? - Yes. 852 00:41:08,727 --> 00:41:11,280 - Hiya, Frank, this is Jimmy Hoffa. 853 00:41:11,280 --> 00:41:12,810 - Yeah, yeah, glad to meet ya. 854 00:41:12,810 --> 00:41:15,027 - Well, glad to meet you too, even if it's over the phone. 855 00:41:15,027 --> 00:41:17,130 - And I suppose that then begs the question, 856 00:41:17,130 --> 00:41:19,297 you know, should somebody again, who's been... 857 00:41:19,297 --> 00:41:21,315 (photographers chattering) 858 00:41:21,315 --> 00:41:22,513 Should they be doing films. 859 00:41:22,513 --> 00:41:23,670 - I don't do movies anymore. 860 00:41:23,670 --> 00:41:27,253 (photographers chattering) 861 00:41:28,260 --> 00:41:30,060 - Maybe, to some degree. 862 00:41:30,060 --> 00:41:31,606 I mean, after all, the culture demands 863 00:41:31,606 --> 00:41:35,040 that wherever you are, whatever journey in life 864 00:41:35,040 --> 00:41:36,660 or whatever stage of your career, 865 00:41:36,660 --> 00:41:41,010 you should be able to attract a wide scope and audience. 866 00:41:41,010 --> 00:41:42,594 So I think on one, you know, on one level, 867 00:41:42,594 --> 00:41:45,239 Scorsese's making movies for himself. 868 00:41:45,239 --> 00:41:48,977 On another level, to find an audience making those kind 869 00:41:48,977 --> 00:41:53,460 of films still after such a long career 870 00:41:53,460 --> 00:41:57,930 is testimony to his ambition, still his ability, 871 00:41:57,930 --> 00:42:01,950 and still his desire to do a great body of work. 872 00:42:01,950 --> 00:42:04,170 And I think that's, you know, you can, 873 00:42:04,170 --> 00:42:06,440 when most people are way past retirement, 874 00:42:06,440 --> 00:42:07,853 you can ask for a little more, can you? 875 00:42:08,708 --> 00:42:10,893 (photographers shouting) 876 00:42:10,893 --> 00:42:12,000 - [Photographer] Martin, on to your left please. 877 00:42:12,000 --> 00:42:13,290 - [Narrator] Martin Scorsese's pursuit to continue 878 00:42:13,290 --> 00:42:15,540 telling important stories about American history 879 00:42:15,540 --> 00:42:17,790 continued in 2023. 880 00:42:17,790 --> 00:42:20,040 His film, "Killers of the Flower Moon," 881 00:42:20,040 --> 00:42:22,740 tells the devastating story of the Osage murders. 882 00:42:22,740 --> 00:42:25,890 And for the first time, Scorsese cast both De Niro 883 00:42:25,890 --> 00:42:27,870 and DiCaprio together in what 884 00:42:27,870 --> 00:42:31,230 felt like a culmination of every film that's come before. 885 00:42:31,230 --> 00:42:33,480 - It's supposed to be a suicide, you dumbbell! 886 00:42:33,480 --> 00:42:34,766 You didn't tell him to leave the gun? 887 00:42:34,766 --> 00:42:36,567 - I don't know why, I told him to leave the gun. 888 00:42:36,567 --> 00:42:37,890 I told him exactly-- - Told him to leave the gun? 889 00:42:37,890 --> 00:42:38,778 - Just like you told him. 890 00:42:38,778 --> 00:42:40,860 I don't know why he didn't, I don't know why. 891 00:42:40,860 --> 00:42:42,807 I told him just like you told him. 892 00:42:42,807 --> 00:42:45,060 - [William] You told him to do it in the front of the head, 893 00:42:45,060 --> 00:42:48,252 then why'd he do it in the back of the head? 894 00:42:48,252 --> 00:42:50,120 - [Journalist] Is it important for you not to sit still, 895 00:42:50,120 --> 00:42:51,480 to always push yourself? - Oh, no, no. 896 00:42:51,480 --> 00:42:53,790 I always, I mean, the point is, it's so hard. 897 00:42:53,790 --> 00:42:55,830 Look at what you're doing, it's very hard work. 898 00:42:55,830 --> 00:42:57,924 You have to really want to do it, I think. 899 00:42:57,924 --> 00:43:02,924 And so to be on a movie set or on a location 900 00:43:03,331 --> 00:43:05,250 to be dealing with all the issues that, 901 00:43:05,250 --> 00:43:07,650 well, that are involved in production, 902 00:43:07,650 --> 00:43:09,270 I think it's something that you have 903 00:43:09,270 --> 00:43:11,283 to really feel strongly about and that you want to say, 904 00:43:11,283 --> 00:43:13,470 that you're sort of burning to say. 905 00:43:13,470 --> 00:43:14,970 And so that keeps you going. 906 00:43:14,970 --> 00:43:16,698 If we get the actors with you and a DP 907 00:43:16,698 --> 00:43:19,504 and the rest of your crew that's on a mission with you, 908 00:43:19,504 --> 00:43:20,562 that's good. 909 00:43:20,562 --> 00:43:22,063 So I've been lucky. 910 00:43:22,063 --> 00:43:24,390 (solemn music) 911 00:43:24,390 --> 00:43:28,830 - There's definitely been a slowdown in the amount of movies 912 00:43:28,830 --> 00:43:31,800 that Scorsese makes, which, you know, partially, 913 00:43:31,800 --> 00:43:33,930 yeah, he's older, he's got a family. 914 00:43:33,930 --> 00:43:36,017 He's got other stuff to be worrying about. 915 00:43:36,017 --> 00:43:39,997 But at the same time, it is becoming increasingly harder 916 00:43:39,997 --> 00:43:43,588 for Scorsese to make the kinds of movies 917 00:43:43,588 --> 00:43:45,990 that Scorsese wants to make. 918 00:43:45,990 --> 00:43:50,370 So I don't know if he's going to continue 919 00:43:50,370 --> 00:43:53,160 to make movies at the same pace, 920 00:43:53,160 --> 00:43:57,000 but I think maybe we'll consider him more 921 00:43:57,000 --> 00:44:00,300 as a sort of caretaker of cinema. 922 00:44:00,300 --> 00:44:02,100 - Now I, you know, I've been blessed to be, 923 00:44:02,100 --> 00:44:03,720 I've been blessed to have been able 924 00:44:03,720 --> 00:44:08,720 to make some interesting pictures over the years. 925 00:44:09,231 --> 00:44:13,975 But it's true that I keep learning from the pictures I know. 926 00:44:13,975 --> 00:44:15,967 (film reel clicking) 927 00:44:15,967 --> 00:44:17,310 And at the same time, 928 00:44:17,310 --> 00:44:21,115 I'm excited by many of the new pictures being made here. 929 00:44:21,115 --> 00:44:22,950 (solemn music) 930 00:44:22,950 --> 00:44:24,513 But I'm also concerned. 931 00:44:25,503 --> 00:44:27,790 I'm almost very concerned 932 00:44:28,920 --> 00:44:32,830 about the way that people are seeing movies. 933 00:44:32,830 --> 00:44:35,130 (solemn music continues) 934 00:44:35,130 --> 00:44:37,500 Now, look, I know the business has changed 935 00:44:37,500 --> 00:44:40,320 and everything changes all the time. 936 00:44:40,320 --> 00:44:42,120 Impermanence, that's what it's about. 937 00:44:42,120 --> 00:44:43,830 It's wide open though now. 938 00:44:43,830 --> 00:44:47,460 You can watch everything, anytime, anywhere, 939 00:44:47,460 --> 00:44:49,653 and it puts a burden on you, on the viewer. 940 00:44:50,547 --> 00:44:53,250 You know, not all changes are all for the good. 941 00:44:53,250 --> 00:44:56,490 And I just feel that we might be tilting the scales away 942 00:44:56,490 --> 00:45:00,330 from that creative viewing experience and away from, 943 00:45:00,330 --> 00:45:02,027 away from movies as an art form. 944 00:45:02,027 --> 00:45:05,110 (film reel clicking) 945 00:45:08,740 --> 00:45:12,415 You know, all I can say is that while the art 946 00:45:12,415 --> 00:45:16,440 of course can't survive without the business, 947 00:45:16,440 --> 00:45:18,570 I have to say that, in the end, 948 00:45:18,570 --> 00:45:21,060 the business certainly isn't gonna survive without the art, 949 00:45:21,060 --> 00:45:23,891 which is made by people with something to say. 950 00:45:23,891 --> 00:45:27,308 (solemn music continues) 951 00:45:30,937 --> 00:45:34,110 We, you know, we can't have a future of our art form 952 00:45:34,110 --> 00:45:35,613 without knowing its past. 953 00:45:36,703 --> 00:45:40,660 (film reel whirring) (film reel clicking) 954 00:45:40,660 --> 00:45:44,077 (solemn music continues)