Martin Scorsese: “There’s always the budget, but I am more concerned about the creative freedom”

Martin Scorsese (b. 1942), considered to be one of America’s most significant and influential filmmakers of his generation, was the guest of honor at the Cinémathèque française in Paris only very recently, where he introduced the Cinémathèque’s upcoming exhibition: for the next four months (until February 14, 2016), they will be honoring and celebrating his career in pictures as a prominent director, producer, screenwriter, and actor.

Mr. Scorsese was joined by Cinémathèque president and Academy Award-winning filmmaker Costa-Gavras on the stage of the salle Henri Langlois where they talked about the exhibition, the numerous personal objects, and memorabilia on display at the exhibition, including several of Mr. Scorsese’s original storyboards. The exhibition was first organized by the Deutsche Kinemathek—Museum für Film und Fernsehen from January until May 2013.

Scorsese with Costa-Gavras verkleind
Two film directors amiably discussing their craft at the Cinémathèque française in Paris: Costa-Gavras and Martin Scorsese | Leo/Film Talk

Storyboards tell the concept of a film before filming begins and the relationship of this concept to contemporary art, so initially, the Deutsche Kinemathek got in touch with Mr. Scorsese to ask if they could exhibit a number of his storyboards from “Taxi Driver” (1976), which is one of the highlights of the exhibition. It was no problem at all to get them. Since Mr. Scorsese was very frank, very open—and if he really enjoyed presentations of his work in an exhibition—why not ask him to dedicate an exhibition to his entire body of work? He agreed, and when the exhibition opened in Berlin, he couldn’t come over because of the aftermath of Hurricane Sandy [October 2012]: the shooting and production of his last film “The Wolf of Wall Street” got delayed, so he sent a video message, sitting in a chair and looking around, looking at the walls, saying, ‘I must have given so many things because there are so many things missing on these walls.’ Now, they can all be seen at the Cinémathèque française in Paris.

Storyboard for “Raging Bull” (1980) | Leo/Film Talk

How important are storyboards to you when you are preparing a film?

I am accustomed to thinking in terms of camera movement, scenes, edited sequences, and also framing—whether it’s a single or a double shot—and who’s in the frame to make sure they’re balancing each other. But basically, it goes back to when I was very young. I could not play sports or go out much, so I used to draw pictures in my little room. I usually do the storyboards myself. I always wanted to draw; I wanted to be an artist. Sometimes I use color, but primarily I like to use a special ebony pencil that I got. The pressure of the soft lead on the page indicates to me the angle or the movement. That’s why I often have to look at the original drawing rather than the xerox. That’s also why I really do enjoy editing: it reminds me of being in a room all by myself, or in this case, with my friend [editor] Thelma Schoonmaker. To be clear, since I’ve started to do these drawings, for the past fifteen years or so, they have been getting smaller and smaller, and they are becoming more like notes and indications. Drawings are now made on the set very often. For example, the “Cape Fear” [1991] action sequence that is storyboarded by professional storyboarders comes from my original notes of drawings. In other words, for the whole crew to see, they couldn’t understand what I was drawing, so we had someone coming in to make the storyboards based on my own drawings. That’s usually the way it’s been going now. Another reason for storyboarding so much was, I think—to a certain extent—for protection against the time schedule shooting.

In the exhibition, there is this film poster you designed in 1952, when you were ten years old, called “The Eternal City,” ‘directed and produced’ by Martin Scorsese. How could you at this young age imagine yourself in the Hollywood system then, with actors like Marlon Brando, Jack Palance, Virginia Mayo, Claire Bloom,…? It was more than a dream, wasn’t it?

Again, I started to make those drawings, and I also began making small films, usually in black and white and then in color, but I lost most of those. Then the new Widescreen opened, and I got fascinated by the biblical epics and films about the ancient world—Rome particularly—so I tried to make this film “The Eternal City,” but I don’t think I ever finished it [laughs]. And ‘directed and produced by’—obviously, I must have seen a number of Howard Hawks films—that Hawksian thing, ‘directed and produced’ and not ‘produced and directed’. It was even a Marsco Production, shot in Marsco Color. Technicolor wasn’t good enough anymore, and it was 75 mm, not 70 mm [laughs]. Obviously, I wound up shooting in hallways.

storyboard 01
Storyboard for “King of Comedy” (1982) | Leo/Film Talk

You are based in New York; you make your films in New York. How do you get and stay in touch with your investors, the major studios, etc.?

I have been very lucky over the years to be involved with people who, for the most part, maybe eighty percent of the time, actually want to work on a film with me and want to make a film of mine. There have been long periods when that didn’t happen, the mid-1980s were very difficult, but finally, after “Goodfellas” [1990], things picked up again. Invariably I must say, since starting out at Warner Brothers in the early 1970s, there are people who believe in what I do, and so I’ve had a very lucky relationship that way. But it’s not always a simple situation: there’s always the money, there’s always the budget, but I’m more concerned about creative freedom. Budgets are always—always!—a problem. It doesn’t matter if it’s a hundred dollars or a hundred million.

How about the new digital technology: does it give you more freedom now compared to your earlier days?

Yes, John Cassavetes even used a technique with cameras that gave him this freedom of shooting, and there’s no doubt that the freedom which is available today is remarkable. Digital often helps, and I’ve made certain films where I always try to get back to a smaller unit. That’s one of the reasons why I do documentaries and music films too: you have the freedom to move, without moving 200 or 300 people.

Martin Scorsese: “‘Hugo,’ that was the big challenge.” | Leo/Film Talk

If you look at a film like “Hugo” [2011], when are you directing, and when do the special effects take over your job?

I think there’s naiveté or ignorance about certain technical things. So if they tell me they can’t do this kind of conversion or special treatment, I’d say, ‘No, no, go further.’ Even up to a point where I start to get a headache. And then I realize, ‘Ah, I see what they mean, okay, that’s good!’ And in the case of “Hugo” [2011], every time we set the camera, there was a new way of making cinema, a new way I could see the world around me, even though I may have storyboarded the picture. So it was a learning experience every time. For me, this has been a process that began with “The Aviator” [2004]. When they told me what would be possible to bring up there on the screen, they said things like, ‘I can give you this, and I can give you this.’ And then I’d say, ‘Well, I would like to have that.’ ‘Okay, I can do that!’ And then I said, ‘And can we put a light there?’ ‘No, I can’t do that.’ So I learned a lot on “The Aviator” [2004] to what I can ask for and what I know I can pretend not to know. And they’ll come up with a way. By the time we did “Hugo” [2011], that was the big challenge. That was huge. I didn’t realize it [laughs]. Earlier I intended “Gangs of New York” [2002] and “The Aviator” to be a bigger spectacle, particularly “The Aviator,” about this American pioneer in the air, Hollywood and all that sort of thing, the hidden illness, the hidden disease, his ego. But with all the other films I made, we never thought they’d be that big: there’s always this kind of enthusiasm, and then we realize there’s going to be a problem (laughs).

In France, we are very concerned and preoccupied with the preservation and restoration of movies by putting them back on a 35mm negative. Do you share that idea?

Yes, I do believe that. A new negative is made, and the prints are struck from that later. There’s no doubt. The biggest problem now is the migration of digital. Ten years ago, when I was here at the Cinémathèque, and we talked about the Film Foundation and the restoration of film, digital was just beginning to be used, and many of the films were being restored fully chemically. Since then, many of those negatives are not in very good shape. So more and more digitizing is going to be the restoration of film, but again, the only stable material at this point is the negative.

Could you tell something about your upcoming TV series “Vynil” that you are producing right now?

It is a project that Mick Jagger suggested to me in 1996 or 1997 to make a film about the music business, very different from the music world or the rock ‘n roll performers. It took many years, we tried many different forms for a long feature film, but I didn’t really know where to stop: there are so many stories, so many transitions, and changes, and so it became a series. I did the pilot and it’s like a film, it’s about an hour and fifty-five minutes, we’re mixing the sound on that now. The last episode is being shot right now, episode 10. And so it became a series, which takes place in 1973 in New York, but it spans a lot of time.

You once said that Italian film director Pier Paolo Pasolini [1922-1975] was very important to you. Could you tell how he has influenced you and if Pasolini’s films are still contemporary now, forty years after his death?

Pasolini is never irrelevant. Over the years, I’ve read everything about him, but that came after the films, though. I saw “Accattone” [1961] at a press screening at the New York Film Festival, that must have been in 1966, I think. It had a profound effect on me because of its truthfulness in dealing with that class of people. I grew up in an area not as impoverished but very often with the same instincts and the same desperation from a lot of people. It reminds me of the depiction and the description of the poorer neighborhoods in Céline’s book ‘Journey to the End in the Night’ [1932]. I thought, ‘Wow, this is the truth, this is what it is, he really knows it.’ But the thing about Pasolini, as I could not read Céline’s original French work, he brings the poetry and the beauty of the human being. And, of course, he did the best film on the gospel, “The Gospel According to Matthew” [originally titled “Il vangelo secondo Matteo,” 1964], which is even dubbed in English, and that version works too.

Do you feel that society today is affecting cinema or that cinema is influencing on society?

That’s a difficult question, as I am no longer able to really enjoy a film by going to a theatre, and so I am experiencing cinema differently, but my impression—this may not be the absolute accuracy—is that society has influenced cinema, at least where I come from in America. I feel that the kinds of stories that are being made for the most part indicate that the split in cinema is very clear now: you have the audience participation in the action/adventure films, and then there are the more modern, budgeted, and simpler productions which to a certain extent—even though many have been Academy Award winners—are still marginalizing a lot of the artists. Yet, you can see these films everywhere now, and even on a computer, so they’re reaching more people. The bigger theatres are meant for some wild, visual all-experience super productions. Whether that’s good or bad? I come from the old days, and I make films that are big too, in a sense, so it’s not my place to speak that way. But it’s a complicated matter. The danger is that the young people who are experiencing cinema this way believe that is what cinema is. We know that cinema is something else also—besides, along with. But now, it’s just a place where you go to see beautifully and extraordinary made films, but what are they saying? So in a sense, those films create the audience, and we have missed now a generation. This is why it’s important to preserve the older films, even if it is a film that’s only five years old. So preserve them and show them anywhere you can, on a computer—anything—to make them aware that cinema is also something beyond just the visual experience of a super production. “Cabiria” was a super production, made in 1914, right? People just wanted to see it. The film I made when I was eleven was a super production! [Laughs.] But at that time, they were co-existent; now I don’t feel that’s the case. The big productions of Chris Nolan, for example, they combine both: an incredible mind and beautifully made films on a big scale, so it is possible, there is room. I am just worried about the young generation and their impression of what cinema is.

record collection
Music, whether it was Bing Crosby or classical music, always was on the background in my life around me,’ says Martin Scorsese. At the Cinémathèque: the box with his personal collection of the 45 rpm records he compiled when he was young | Leo/Film Talk

How do you explain the importance of music in your films?

When I grew up, I was always inside, and we had a little phonograph. I was listening to the 78 rpm records my father had, many of them from the big band swing era and Django Reinhardt, which is the first music I remember, really imagining things—images—from listening to improvisations of him. The music started giving me impressions of movement; it just burst my imagination open. So music for me always came first, in a way. When I grew up with my brother and my parents, there was not a tradition of reading. There were no books, but there was lots of visual storytelling, lots of arguments, lots of discussions, and lots of music. Music, whether it was Bing Crosby or classical music, always was on the background in my life around me. I have always been associating certain things with songs and with pieces of music. That’s why I’ve tried to use musical scores that way since “Mean Streets” [1973].

Robert De Niro and Leonardo DiCaprio are two actors who are very instrumental in your career. Is there an explanation for that? What do they have in common?

Trust. With Robert De Niro and myself in 1972, we were both on the same level; I was not working with a big movie star then. So we just stayed together; this was a professional relationship that was tested many times, sometimes not well, other times we overcame whatever problems. Then it took many years before I was lucky enough to find someone else who had the same sense of trust, and that was Leo DiCaprio. It helped that he liked the movies I had made back in the 1970s and early 1980s. So after “Gangs of New York” [2002], and certainly after “The Aviator” [2004], I found that he was somebody I liked to work with, someone who I could keep finding the way it was with De Niro who could keep pushing me and I could push him, and we’d find something that we’d think that was interesting. Leo too, very much so, finding, twisting, turning, and he’s working with friends. Even though I am thirty years older, he would come to me and say, ‘Listen to this record, isn’t it Louis Jordan?’ And I’d say, ‘Of course, it’s Louis Jordan!’ And he’d be playing The Mills Brothers to me, and so it’s interesting. I like being with Bob and with Leo. Daniel Day-Lewis also, although we only did “The Age of Innocence” [1993] and “Gangs of New York” [2002] together. There are a number of others, but primarily with De Niro and DiCaprio, I think we brought a lot out in each other.

What did you think about the exhibition when it was first proposed to you, and how does it feel now to be the central character of the exhibition?

This is the first time I’ve seen it; I was unable to go to the Berlin exhibition [2013]. This has been a very lucky coincidence to take the time out and being here in Paris and then go out to Lyon. I didn’t expect the scale of it to see so many personal items—I wondered where they all were [laughs]. But to see so many personal items of my mother, my father, my friends, and myself, it’s very overwhelming. I am very moved by it. In the beginning, I thought, ‘An exhibition with the dining table of my parents?’ [Laughs.] By the way, that was the dining table that they bought in 1971, the table and the chairs which they used for dinner when everybody came over like, of course, De Niro, and also Francis Ford Coppola, Cassavetes, Peter Falk… And when my parents moved to an apartment on the 17th floor, an apartment block with an elevator because it was hard for them to climb up the stairs, the first people who came over for dinner were Sergio Leone and Elio Petri. So a lot happened around that table.

Cinémathèque française, Paris
October 12, 2015


I CALL FIRST, a.k.a. WHO’S THAT KNOCKING AT MY DOOR (1967) DIR – SCR Martin Scorsese PROD Joseph Weill, Betzi Manoogian, Haig Manoogian CAM Richard Coll, Michael Wadleigh ED Thelma Schoonmaker CAST Harvey Keitel, Zina Bethune, Anne Collette, Lennard Kuras, Michael Scala, Catherine Scorsese, Martin Scorsese

REFLECTIONS (1969) DIR – PROD – SCR – CAM John Mavros ED Martin Scorsese, John Mavros MUS Peter Caramis, Nick Zacharopoulos CAST Susan Wallack, E.V. Ellis, Tony Champi, Richard Monier, Zito Kerras, Dan Halleck

BEZETEN: HET GAT IN DE MUUR, a.k.a. BESESSEN: DAS LOCH IN DER WAND (1969) DIR Pim der la Parra PROD Wim Verstappen, Dieter Geissler SCR Martin Scorsese, Pim de la Parra, Wim Verstappen CAM Frans Bromet, Hubertus Hagen ED Henri Rust MUS Bernard Herrmann CAST Alexandra Stewart, Dieter Geissler, Tom van Beek, Marijke Boonstra, Vibeke Løkkeberg, Donald Jonesd, Fons Rademakers

BOXCAR BERTHA (1972) DIR Martin Scorsese PROD Roger Corman SCR John William Corrington, Joyce H. Corrington CAM John Stephens ED Buzz Feitshans MUS Gib Guilbeau, Thad Maxwell CAST Barbara Hershey, David Carradine, Barry Primus, Bernie Casey, John Carradine, Victor Argo, David R. Osterhout, Martin Scorsese

MEAN STREETS (1973) DIR Martin Scorsese PROD Jonathan T. Taplin SCR Martin Scorsese, Mardik Martin (story by Martin Scorsese) CAM Ken Wakeford ED Sid Levin CAST Robert De Niro, Harvey Keitel, David Proval, Amy Robinson, Richard Romarus, Cesare Danova, David Carradine, Robert Carradine, Martin Scorsese

ALICE DOESN’T LIVE HERE ANYMORE (1974) DIR Martin Scorsese PROD Audrey Maas, David Susskind SCR Robert Getchell CAM Kent L. Wakeford ED Marcia Lucas CAST Ellen Burstyn, Kris Kristofferson, Billy Green Bush, Alfred Lutter, Diane Ladd, Jodie Foster, Harvey Keitel, Vic Tayback, Valerie Curtain, Laura Dern, Harry Northup, Mia Bendixsen

TAXI DRIVER (1976) DIR Martin Scorsese PROD Michael Phillips, Julia Phillips SCR Paul Schrader CAM Michael Chapman ED Tom Rolf, Melvin Shapiro MUS Bernard Herrmann CAST Robert De Niro, Cybill Shepherd, Harvey Keitel, Jodie Foster, Albert Brooks, Leonard Harris, Peter Boyle, Joe Spinell, Harry Northup, Martin Scorsese, Don Stroud

CANNONBALL (1976) DIR Paul Bartel PROD Samuel W. Gelfman SCR Paul Bartel, Donald C. Simpson CAM Tak Fujimoto ED Morton Tubor MUS David A. Axelrod CAST David Carradine, Veronica Hamel, Bill McKinney, Gerrit Graham, Robert Carradine, Belinda Balaski, Judy Canova, Carl Gottlieb, James Keach, Dick Miller, John Herzfeld, Allan Arkush, Roger Corman, Joe Dante, Michael Finnell, Jonathan Kaplan, Martin Scorsese, Sylvester Stallone

NEW YORK, NEW YORK (1977) DIR Martin Scorsese PROD Robert Chartoff, Irwin Winkler SCR Earl Mac Rauch, Mardik Martin (story by Earl Mac Rauch) CAM Laszlo Kovacs ED B. Lovitt, Tom Rolf, David Ramirez CAST Liza Minnelli, Robert De Niro, Lionel Stander, Barry Primus, Mary Kay Place, Georgie Auld, Dick Miller, Diahnne Abbott, Casey Kasem, Harry Northup, Jack Haley, Larry Kert, Christopher Riordian, Julia Phillips

IL PAP’OCCHIO (1980) DIR – MUS Renzo Arbore PROD Mario Orfini SCR Luciano De Creszenzo (story by Renzo Arbore) CAM Luciano Tovoli ED Claudia Vivenzio, Alfredo Muschietti, Anna Rosa Napoli CAST Diego Abatantuono, Silvia Annichiarico, Renzo Arbore, Roberto Benigni, Isabella Rossellini, Martin Scorsese

RAGING BULL (1980) DIR Martin Scorsese PROD Robert Chartoff, Irwin Winkler SCR Paul Schrader, Mardik Martin (book by Jake La Motta) CAM Michael Chapman ED Thelma Schoonmaker MUS Pietro Mascagni CAST Robert De Niro, Cathy Moriarty, Joe Pesci, Frank Vincent, Nicholas Colasanto, Theresa Saldana, Charles Scorsese, Martin Scorsese, John Turturro

THE KING OF COMEDY (1982) DIR Martin Scorsese PROD Arnon Milchan SCR Paul D. Zimmerman CAM Fred Schuler ED Thelma Schoonmaker CAST Robert De Niro, Jerry Lewis, Diahnne Abbott, Sandra Bernhard, Ed Herlihy, Lou Brown, Catherine Scorsese, Ellen Foley, Joyce Brothers, Martin Scorsese, Tony Randall, Charles Scorsese

AFTER HOURS (1985) DIR Martin Scorsese PROD Griffin Dunne, Robert F. Colesberry, Amy Robinson SCR Joseph Minion CAM Michael Ballhaus ED Thelma Schoonmaker MUS Howard Shore CAST Griffin Dunne, Rosanna Arquette, Verna Bloom, Thomas Chong, Linda Fiorentino, Teri Garr, John Heard, Cheech Marin, Catherine O’Hara, Dick Miller, Will Patton, Catherine Scorsese, Charles Scorsese, Martin Scorsese

THE COLOR OF MONEY (1986) DIR Martin Scorsese PROD Irving Axelrad, Barbara De Fina SCR Richard Price (novel by Walter Tevis) CAM Michael Ballhaus ED Thelma Schoonmaker MUS Robbie Robertson CAST Paul Newman, Tom Cruise, Mary Elizabeth Mastrantonio, Helen Shaver, John Turturro, Bill Cobbs, Robert Angis, Charles Scorsese, Forest Whitaker, Martin Scorsese

‘ROUND MIGNIGHT (1986) DIR Bertrand Tavernier PROD Irwin Winkler SCR Bertrand Tavernier, David Rayfiel CAM Bruno de Keyzer ED Armand Psenny MUS Herbie Hancock CAST Dexter Gordon, François Cluzet, Gabrielle Haker, Sandra Reaves-Phillips, Lonette McKee, Herbie Hancock, Bobby Hutcherson, John Berry, Martin Scorsese, Philippe Noiret

THE LAST TEMPTATION OF CHRIST (1988) DIR Martin Scorsese PROD Barbara De Fina SCR Paul Schrader (novel by Nikos Kazantzakis) CAM Michael Ballhaus ED Thelma Schoonmaker MUS Peter Gabriel CAST Willem Dafoe, Harvey Keitel, Barbara Hershey, Harry Dean Stanton, David Bowie, Verna Bloom, Andre Gregory, Juliette Caton, Roberts Blossom, Irvin Kershner, Nehemiah Persoff, Barry Miller

NEW YORK STORIES (1989) DIR Martin Scorsese [only segment “Life Lessons”], Woody Allen, Francis Ford Coppola PROD Robert Greenhut SCR Richard Price, Woody Allen, Francis Ford Coppola, Sofia Coppola CAM Néstor Almendros, Sven Nykvist, Vittorio Storaro ED Thelma Schoonmaker, Barry Malkin, Susan E. Morse MUS Carmine Coppola CAST Nick Nolte, Rosanna Arquette, Steve Buscemi, Peter Gabriel, Deborah Harry, Heather McComb, Talia Shire, Giancarlo Giannini, Don Novello, Carole Bouquet, Woody Allen, Mia Farrow, Julie Kavner, Adrien Brody, Illeana Douglas, Kirsten Dunst

GOODFELLAS (1990) DIR Martin Scorsese PROD Irwin Winkler SCR Martin Scorsese, Nicholas Pileggi (book ‘Wiseguy’ by Nicholas Pileggi) CAM Michael Ballhaus ED Thelma Schoonmaker, James Kwei CAST Robert De Niro, Ray Liotta, Joe Pesci, Lorraine Bracco, Paul Sorvino, Frank Sivero, Tony Darrow, Mike Starr, Frank Vincent, Catherine Scorsese, Charles Scorsese, Illeana Douglas, Samuel L. Jackson, Stella Keitel

DREAMS, a.k.a. AKIRA KUROSAWA’S DREAMS (1990) DIR – SCR Akira Kurosawa PROD Hisao Kurosawa, Mike Y. Inoue CAM Takao Saitô, Shôji Ueda ED Tome Minami MUS Shinichirô Ikebe CAST Akira Terao, Mutsiko Baisho, Mieko Harada, Chishu Ryu, Hisashi Igawa, Mitsunori Isaki, Toshihiko Nakano, Yoshitaka Zushi, Martin Scorsese

THE GRIFTERS (1990) DIR Stephen Frears PROD Martin Scorsese, Jim Peinter, Robert A. Harris SCR Donald E. Westlake (novel by Jim Thompson) CAM Oliver Stapleton ED Mick Audsley MUS Elmer Bernstein CAST Anjelica Huston, John Cusack, Annette Bening, Pat Hingle, Henry Jones, Michael Laskin, Eddie Jones, Juliet Landau, Martin Scorsese (opening voice over only)

CAPE FEAR (1991) DIR Martin Scorsese PROD Barbara De Fina SCR Wesley Strick (screenplay CAPE FEAR [1962] by James R. Webb; novel ‘The Executioners’ by John MacDonald) CAM Freddie Francis ED Thelma Schoonmaker CAST Robert De Niro, Nick Nolte, Jessica Lange, Juliette Lewis, Joe Don Baker, Robert Mitchum, Gregory Peck, Martin Balsam, Illeana Douglas, Fred Donald Thompson, Catherine Scorsese, Charles Scorsese

GUILTY BY SUSPICION (1991) DIR – SCR Irwin Winkler PROD Arnon Milchan CAM Michael Ballhaus ED Priscilla Nedd-Friendly MUS James Newton Howard CAST Robert De Niro, Annette Bening, George Wendt, Patricia Wettig, Sam Wanamaker, Luke Edwards, Chris Cooper, Martin Scorsese, Barry Primus, Tom Sizemore, Margo Winkler, Illeana Douglas

THE AGE OF INNOCENCE (1993) DIR Martin Scorsese PROD Barbara De Fina SCR Martin Scorsese, Jay Cocks (novel ‘The Age of Innocence’ by Edith Wharton) CAM Michael Ballhaus ED Thelma Schoonmaker MUS Elmer Bernstein CAST Daniel Day-Lewis, Michelle Pfeiffer, Winona Ryder, Richard E. Grant, Alec McCowen, Geraldine Chaplin, Mary Beth Hurt, Catherine Scorsese, Charles Scorsese, Martin Scorsese, Joanne Woodward (narration only)

NAKED IN THE CITY (1993) DIR Daniel Algrant PROD Frederick Zollo EXEC PROD Martin Scorsese SCR Daniel Algrant, John Warren CAM Joey Forsyte ED Bill Pankow MUS Angelo Badalamenti CAST Eric Stoltz, Mary-Louise Parker, Ralph Macchio, Jill Clayburgh, Tony Curtis, Timothy Dalton, Kathleen Turner, Whoopi Goldberg, Roscoe Lee Browne, Colleen Camp, Griffin Dunne, Luis Guzmán, Arthur Penn

MAD DOG AND GLORY (1993) DIR John McNaughton PROD Martin Scorsese, Barbara De Fina SCR Richard Price CAM Robby Müller ED Elena Maganini MUS Elmer Bernstein, Terphe Rypdal CAST Robert De Niro, Uma Thurman, Bill Murray, David Caruso, Mike Starr, Tom Towles, Kathy Baker

QUIZ SHOW (1994) DIR Robert Redford PROD Robert Redford, Michael Nozik, Michael Jacobs, Julian Krianin SCR Paul Attanasio (book ‘Remembering America: A Voice from the Sixties’ by Richard N. Goodwin) CAM Michael Ballhaus ED Stu Linder MUS Mark Isham CAST John Turturro, Rob Morrow, Ralph Fiennes, Paul Scofield, David Paymer, Hank Azaria, Christopher McDonald, Mira Sorvino, Griffin Dunne, Martin Scorsese, Barry Levinson, Illeana Douglas, Ethan Hawke

CON GLI OCCHI CHIUSI (1994) DIR Francesca Archibugi PROD Guido De Laurentiis, Leo Pescarolo, Fulvio Lucisano EXEC PROD Martin Scorsese, Donatella Ibba SCR Francesca Archibugi (novel by Federigo Tozzi) CAM Giuseppe Lanci ED Roberto Perpignani MUS Battista Lena CAST Marco Messeri, Stefania Sandrelli, Debora Caprioglio, Alessia Fugardi, Gabrielle Bocciarelli, Fabio Modesti

SEARCH AND DESTROY (1995) DIR David Salle PROD Dan Lupovitz, Ruth Charny, Elie Cohn EXEC PROD Martin Scorsese SCR Michael Almereyda (play by Howard Korder) CAM Michael Spiller, Bobby Bukowski ED Lawrence Blume, Michelle Gorchow MUS Elmer Bernstein CAST Griffin Dunne, Rosanna Arquette, Illeana Douglas, Ethan Hawke, Dennis Hopper, John Turturro, Christopher Walken, Martin Scorsese

CASINO (1995) DIR Martin Scorsese PROD Barbara De Fina SCR Martin Scorsese, Nicholas Pileggi (book by Nicholas Pileggi) CAM Robert Richardson ED Thelma Schoonmaker CAST Robert De Niro, Sharon Stone, Joe Pesci, James Woods, Don Rickles, Alan King, Kevin Pollack, Catherine Scorsese, Cathy Scorsese, Charles Scorsese

CLOCKERS (1995) DIR Spike Lee PROD Martin Scorsese, Spike Lee, Jon Kilik SCR Spike Lee, Richard Price (book by Richard Price) CAM Malik Hassan Sayeed ED Sam Pollard MUS Terence Blanchard CAST Harvey Keitel, John Turturro, Delroy Lindo, Mekhi Phifer, Isaiah Washington, Keith David

GRACE OF MY HEART (1996) DIR – SCR Allison Anders PROD Ruth Charny, Daniel Hassid EXEC PROD Martin Scorsese CAM Jean-Yves Escoffier ED Thelma Schoonmaker, James Y. Kwei, Harvey Rosenstock MUS Larry Klein CAST Illeana Douglas, Matt Dillon, Eric Stoltz, John Turturro, Bridget Fonda, Jennifer Leigh Warren, Bruce Davison, Patsy Kensit, Peter Fonda (voice only)

KUNDUN (1997) DIR Martin Scorsese PROD Barbara De Fina SCR Melissa Mathison CAM Roger Deakins ED Thelma Schoonmaker MUS Philip Glass CAST Tenzin Thuthob Tsarong, Gyurme Tethong, Tulku Jamyang Kunga Tenzin, Tenzin Yeshi Paichang, Tencho Gyalpo, Tsewang Migyur Khangsar

KICKED IN THE HEAD (1997) DIR Matthew Harrison PROD Barbara De Fina EXEC PROD Martin Scorsese SCR Matthew Harrison, Kevin Corrigan CAM Howard Krupa, John Thomas ED Michael Berenbaum MUS Stephen Endelman CAST Kevin Corrigan, Linda Fiorentino, Michael Rapaport, Lili Taylor, James Woods, Burt Young, Olek Krupa

THE HI-LO COUNTRY (1998) DIR Stephen Frears PROD Martin Scorsese, Barbara De Fina, Tim Bevan, Eric Fellner SCR Walon Green (novel by Max Evans) CAM Oliver Stapleton ED Masahiro Hirakubo MUS Carter Burwell CAST Woody Harrelson, Billy Crudup, Patricia Arquette, Sam Elliott, Cole Hauser, Penélope Cruz, Darren Burrows, Katy Jurado

BRINGING OUT THE DEAD (1999) DIR Martin Scorsese PROD Barbara De Fina, Scott Rudin SCR Paul Schrader (novel by Joe Connelly) CAM Robert Richardson ED Thelma Schoonmaker MUS Elmer Bernstein CAST Nicolas Cage, Patricia Arquette, John Goodman, Ving Rhames, Tom Sizemore, Marc Anthony, Mary Beth Hurt, Queen Latifah, Martin Scorsese (voice only)

THE MUSE (1999) DIR Albert Brooks PROD Herb Nanas SCR Albert Brooks, Monica Johnson CAM Thomas Ackerman ED Peter Teschner MUS Elton John CAST Albert Brooks, Sharon Stone, Andie MacDowell, Jeff Bridges, Mark Feuerstein, Steven Wright, Bradley Whitford, Cybill Shepherd, Lorenzo Lamas, Jennifer Tilly, Rob Reiner, Martin Scorsese

YOU CAN COUNT ON ME (2000) DIR – SCR Kenneth Lonergan PROD Barbara De Fina, Larry Meistrich EXEC PROD Martin Scorsese, Morton Swinsky, Donald C. Carter, Steve Carlis CAM Stephen Kazmiersky ED Anne McCabe MUS Lesley Barber CAST Laura Linney, Mark Ruffalo, Matthew Broderick, Rory Culkin, Jon Tenney, Gaby Hoffmann, Amy Ryan

RAIN (2001) DIR – SCR Katherine Lindberg PROD Jordi Ross EXEC PROD Martin Scorsese, Andrés Vicente Gómez SCR CAM Vanja Cernjul ED Carolyn Dysinger MUS Clint Mansell CAST Melora Walters, Kris Park, Diane Lane, Jamey Sheridan, Jo Anderson, Ellen Mutch

GANGS OF NEW YORK (2002) DIR Martin Scorsese PROD Harvey Weinstein, Alberto Grimaldi SCR Jay Cocks, Kenneth Lonergan, Steven Zillian (story by Jay Cocks) CAM Michael Ballhaus ED Thelma Schoonmaker MUS Howard Shore CAST Leonardo DiCaprio, Daniel Day-Lewis, Cameron Diaz, Jim Broadbent, John C. Reilly, Henry Thomas, Liam Neeson, Brenda Gleeson, Gary Lewis, David Hemmings, Martin Scorsese

THE AVIATOR (2004) DIR Martin Scorsese PROD Michael Mann, Sandy Climan, Graham King, Charles Evans, Jr. SCR John Logan CAM Robert Richardson ED Thelma Schoonmaker MUS Howard Shore CAST Leonardo DiCaprio, Cate Blanchett, Kate Beckinsale, John C. Reilly, Alec Baldwin, Alan Alda, Ian Holm, Danny Huston, Gwen Stefani, Jude Law, Edward Herrmann, Willem Dafoe, Martin Scorsese

NYFES (2004) DIR Pantelis Voulgaris PROD Barbara De Fina, Pantelis Voulgaris, Terry Dougas EXEC PROD Martin Scorsese SCR Ioanna Karystiani CAM Giorgos Arvanitis ED Takis Giannopoulos MUS Stamatis Spanoudakis CAST Damian Lewis, Victoria Haralabidou, Andréa Ferréol, Evi Saoulidou, Dimitris Katalifos, Irene Iglessi, Steven Berkoff

SHARK TALE (2004, animated) DIR Rob Letterman, Bibo Bergeron, Vicky Jenson PROD Janet Healy, Allison Lyon Segan, Bill Damaschke SCR Rob Letterman, Michael J. Wilson ED Nick Fletcher MUS Hans Zimmer CAST (voices only) Will Smith, Robert De Niro, Renée Zellweger, Jack Black, Angelina Jolie, Martin Scorsese, Ziggy Marley, Peter Falk, Katie Couric

THE DEPARTED (2006) DIR Martin Scorsese PROD Brad Pitt, Gianni Nunnari, Brad Grey, Graham King SCR William Monahan (screenplay of MOU GAAN DOU [2002] by Felix Chong, Alan Mak) CAM Michael Ballhaus ED Thelma Schoonmaker MUS Howard Shore CAST Leonardo DiCaprio, Matt Damon, Jack Nicholson, Mark Wahlberg, Martin Sheen, Ray Winstone, Vera Fermiga, Alec Baldwin

LYMELIFE (2008) DIR Derick Martini PROD Alec Baldwin, Steven Martini, Michele Tayler, Angela Somerville SCR Derick Martini, Steven Martini CAM Frank Godwin ED Derick Martini, Steven Martini, Mark Yoshikawa MUS Steven Martini CAST Alec Baldwin, Kieran Culkin, Rory Culkin, Jill Hennessey, Timothy Hutton, Cynthia Nixon, Emma Roberts

THE YOUNG VICTORIA (2009) DIR Jean-Marc Vallée PROD Martin Scorsese, Graham King, Tim Headington SCR Julian Fellowes CAM Hagen Bogdanski ED Jill Bilcock, Matt Garner MUS Ilan Eshkeri CAST Emily Blunt, Rupert Friend, Paul Bettany, Miranda Richardson, Jim Broadbent, Thomas Kretschmann, Mark Strong, Jesper Christensen, Julian Glover

SHUTTER ISLAND (2010) DIR Martin Scorsese PROD Martin Scorsese, Mike Medavoy SCR Leata Kalogridis (novel by Dennis Lehane) CAM Robert Richardson ED Thelma Schoonmaker CAST Leonardo DiCaprio, Mark Ruffalo, Ben Kingsley, Michelle Williams, Emily Mortimer, Max von Sydow, Patricia Clarkson, Jackie Earle Haley

HUGO (2011) DIR Martin Scorsese PROD Martin Scorsese, Johnny Depp, Tim Headington, Graham King SCR John Logan (book ‘The Invention of Hugo Cabret’ by Brian Selznick) CAM Robert Richardson ED Thelma Schoonmaker MUS Howard Shore CAST Ben Kingsley, Asa Butterfield, Chloë Grace Moretz, Sacha Baron Cohen, Jude Law, Christopher Lee, Helen McCrory, Emily Mortimer, Ray Winstone, Edmund Kingsley, Francesca Scorsese, Martin Scorsese, Brian Selznick

THE WOLF OF WALL STREET (2013) DIR Martin Scorsese PROD Martin Scorsese, Leonardo DiCaprio, Riza Aziz, Joey McFarland, Emma Tillinger Koskoff SCR Terence Winter (book by Jordan Belfort) CAM Rodrigo Prieto ED Thelma Schoonmaker CAST Leonardo DiCaprio, Jonah Hill, Margot Robbie, Kyle Chandler, Matthew McConaughey, Jean Dujardin, Rob Reiner, Joanna Lumley

THE FAMILY (2013) DIR Luc Besson PROD Ryan Kavanaugh EXEC PROD Martin Scorsese, Tucker Tooley, Jason Beckman SCR Luc Besson, Michael Caleo (book by Tonino Benacquista) CAM Thierry Arbogast ED Julien Rey MUS Evgueni Galperine, Sacha Galperine CAST Robert De Niro, Michelle Pfeiffer, Tommy Lee Jones, Dianna Agron, John D’Leo, Domenick Lombardozzi

CAMPUS CODE (2013) DIR Cathy Scorsese, Kenneth M. Waddell PROD Cathy Scorsese, Kenneth M. Waddell SCR Kenneth M. Waddell, Michael Simon CAM Peter Fernberger ED Kenneth M. Waddell CAST Jack Falahee, Hannah Hodson, Alice Kremelberg, Conor Leslie, Jessie McCartney, Ritesh Rajan, Ray Liotta, Martin Scorsese, Jay Devore

LA TERCERA ORILLA (2014) DIR Celina Murga PROD Celina Murga, Juan Villegas EXEC PROD Martin Scorsese, Ineke Kanters SCR Celina Murga, Gabriel Medina CAM Diego Poleri ED Eliane D. Katz CAST Alian Devetac, Daniel Veronese, Gabriela Ferrero, Irina Wetzel, Tomás Omacini, Dylan Agostini Vandenbosch

REVENGE OF THE GREEN DRAGONS (2014) DIR Andrew Loo, Wai-Keung Lau PROD Allen Bain, Jesse Scolaro, Stuart Ford, Ara Katz EXEC PROD Martin Scorsese, Steven Squillante, Art Spigel, Claudie Chung Jan, Michael Bassick, Steven Chao, Alan Pao, Corey Large SCR Andrew Loo, Michael Di Jiacomo CAM Martin Ahlgren ED Michelle Teroso MUS Mark Kilian CAST Justin Chon, Kevin Wu, Harry Shum Jr., Eugenia Yuan, Leonard Wu, Jin Auyeung, Jon Kit Lee

THE WANNABE (2015) DIR – SCR Nick Sandow PROD Michael Gasparro, Vincent Piazza, Lizzie Nastro EXEC PROD Martin Scorsese, Douglas R. Stone, Maren Olson, Rick Genow, Dean Devlin CAM Brett Pawlak ED Melody London MUS Nathan Larson CAST Patricia Arquette, David Zayas, Michael Imperioli, Vincent Piazza, Domenick Lombardozzi, Nick Sandow, Mike Starr

SILENCE (2016) DIR Martin Scorsese PROD Martin Scorsese, Barbara De Fina, Irwin Winkler, Vittorio Cecchi Gori, Randall Emmett, Emma Tillinger Koskoff SCR Jay Cocks (novel by Shûsaka Endô) CAM Rodrigo Prieto ED Thelma Schoonmaker MUS Howard Shore CAST Liam Neeson, Andrew Garfield, Adam Driver, Ciarán Hinds, Tadanobu Asano, Shin’ya Tsukamoto