If mr. Scorsese’s film was twice as long, and it wouldn’t be enough

Rebecca Miller has a clear thesis in Mr. Scorsese: There will never be another Martin Scorsese. Over the course of five episodes of the Apple TV+ docuseries, Miller bolsters this argument through interviews with Scorsese and people from his life—childhood friends, frequent collaborators like editor Thelma Schoonmaker and actor Robert De Niro, and relatives including his three daughters—and selected clips from his decades of work. Each time Miller directs a split screen to trace common themes between Scorsese’s various films and their influences (such as the comparison between battles in… Raging bull And the stabbing scene in the bathroom mental patient), she demonstrated her deep understanding of Scorsese as an artist. Mr. Scorsese It’s an amazing and deeply moving viewing experience, one that had me crying within the first three minutes of the first episode. And, at a running time of 287 minutes, it’s not nearly enough. no! almost! enough!

Mr. Scorsese Convincing in its suggestion that Scorsese is perhaps the defining American director of his time, one whose abiding interest in masculinity, money, and the corrupting influence of both on our morals is a mirror of our national identity. The docuseries hits these points so well that I wanted to see more of the connections Miller was making; Scorsese’s career is rich and diverse enough Mr. Scorsese Could it have been, I don’t know, five more episodes? Ten more episodes? An episode published weekly until the end of time? I think I’m conservative and reasonable! Here are 12 items from Mr. Scorsese Just begging for more screen time.

Mr. Scorsese It’s chronological, so the premiere of “Stranger in a Strange Land” has him spending time with the men he grew up with on the Bowery. Scorsese’s bickering with Joe Morrall and Robert Urricola about how they met is sweet and warm, contrasting with the discussion of the violence in their neighborhood. These men provide real color to Scorsese’s autobiographical details, such as how his asthma led his father to take him to movie theaters for air conditioning, which helped ignite the director’s early love of cinema. Two men are particularly involved: childhood neighbor Dominic Ferraro, who talks about a fight they had at a West Side club, and Euricola’s cousin Sally, who inspired De Niro’s character in the film. I mean the streets. Ferraro’s description of Scorsese’s reaction after the fight is golden (“Scorsese turns around and says, ‘I wish I had a camera.’ I said, ‘This damned man wants a camera, I want a gun'”), and Sally deserves a memoir of her own. When he asked Miller if he had actually blown up a mailbox, as shown in the photo I mean the streetsHis casual confession and shrug saying, “Let them arrest me now” is laughable.

Real people know that Scorsese’s editor, Thelma Schoonmaker, is the main reason his films look good and move well. Mr. Scorsese Pieces together of how Scorsese and Schoonmaker met and were separated for nearly a decade after he was excised from the 1970 documentary Woodstockthen they reunited in the 1980s Raging bull They have stayed together ever since. Schoonmaker is an unparalleled figure in the history of American cinema, and while I enjoyed Miller’s behind-the-scenes information on how she cut Raging bull Jump cuts became popular in the 1990s GoodFellasIt was great to see a joint interview with her and Scorsese sharing memories of past projects.

Scorsese’s career has long focused on the different layers of the American myth and why it tempts and traps us. Mr. Scorsese This line is approached from two different directions. The first is the story of Luis Frezza, a friend of Scorsese who died at the age of 18 of cancer and was buried in a Queens cemetery, above which a giant Continental Cannes banner loomed. The ubiquity of capitalism in what should have been a place of faith disgusted Scorsese: “I was thinking, What is life? Damn you. I will not work for Continental Cannes. …I couldn’t do it. “I won’t do that,” he says now. Criticism of capitalism and imperialism that undermine individual dignity draws much of his work from the 1967 anti-Vietnam War short film. Great shave To his origin story in New York City in 2002 Gangs of New YorkScorsese’s comparison of the indigenous gang in this film to the Proud Boys is thought to be provocative. I hope Mr. Scorsese It’s allowed him to cook a little longer about the political angles of his work.

Mr. Scorsese It doesn’t feel particularly damaged by the director’s involvement, but there are moments throughout the series where it feels like certain things are only hinted at. Did Scorsese have an affair with Liza Minnelli? 1977 New York, New York? Did he and Harvey Keitel fall out and that’s why they didn’t work together for 30 years? What about Stephen Prince, the subject of Scorsese’s 1978 documentary? American boy? Prince was an actor who worked as Scorsese’s assistant during the cocaine era and partly inspired the character of Eric Stoltz in Quentin Tarantino’s film. Pulp Fiction. Five years ago, it was a long topic The New Yorker Introductory account About which Scorsese declined to be interviewed; It would be great to get his perspective on that period in Scorsese’s life. Mr. Scorsese He didn’t necessarily have to be a mess, but this guy lived his life. Can we please have some gossip?

This is how you talk about your ex: with warm affection and a sly read.

She’s right: sometimes it’s easier to think about lunch! Please, more Isabella lightly teasing Marty about his tendency to beat himself up while contemplating the suffering of the human condition.

It’s simply funny to watch Scorsese and screenwriter Jay Cocks talk about Harvey Weinstein, who produced the film. Gangs of New York He was constantly butting heads with Scorsese. I’ve seen this scene many times where Scorsese complains in an exasperated tone and with pinched fingers about how Weinstein wanted to cut the film’s wardrobe budget because he didn’t understand why so many characters wore hats. I’ll hear a million more of his complaints about Weinstein.

Scorsese’s films have been nominated for more than 100 Oscars, but he has only received one personal win for directing the 2006 films. The departed. Clip from The pilot The 2004 press tour shows Scorsese’s bland answer to an interviewer’s question about whether he wants an Oscar (“Me personally? Time’s up, I guess”), but I refuse to accept that One Oscar Enough for this man. Billie Eilish is 23 years old and has two kids! I don’t care that the categories are different; It is the principle of the thing. Rebecca Miller, please call everyone you know in the Oscars directors branch and ask them why Scorsese was left out. I’ll happily await that accompanying docuseries in which each of Scorsese’s peers is questioned for their disrespect.

Taxi driver It was a shot in the arm for American cinema: a very dark film about a man lost in his delusions and obsessions with access to guns and a strict moral code that he is willing to die to defend. The MPAA originally gave it an X rating, and the film studio asked Scorsese to lower it to an R rating, otherwise they would do it. A classic story of artists versus masters – one that took a fitting turn Taxi driver When Scorsese threatened to kill the studio head. Steven Spielberg and Brian De Palma describe Scorsese telling them he’s going to get a gun, and the contrast between their confused telling of this story and Scorsese’s aggressive look and laughter about the threat is quite amusing. He now seems to be downplaying the sincerity of his huge reaction, but it’s interesting that Scorsese says, “Violence is scary, to yourself,” because he admits he was willing to defend his art. Hearing more about whether Scorsese felt driven to violence to defend his other films would have been compelling as well.

Scorsese’s 1970s cocaine addiction was clearly not a good time – Rossellini talks about how he once woke up to find himself black and blue all over, then learned in hospital that he was bleeding internally from his excessive drug use, which is horrific. Further details on this may seem voyeuristic. However, there is an interesting connection between Scorsese’s near-death experience and his relationship with De Niro, who asked him in the hospital if he really wanted to “die like this” and urged him to improve and guide him. Raging bull. I cried when Scorsese quietly said of De Niro’s offer: “I looked at it and said, ‘Okay,'” but how grateful (or indebted) was Scorsese to De Niro? When they worked together on films, Scorsese says he didn’t particularly enjoy them (King of comedy(or not sure of the full work)Cape of fearDid Scorsese agree to the concerts because De Niro was by his side during his worst moments? More discussion of how hitting rock bottom affected his work relationships would have helped bring this section to a close.

Scorsese has been famous for a long time. He has been protected by the FBI twice, after protecting John Hinckley Jr Taxi driver– Inspired the attempted assassination of President Ronald Reagan and after his release The last temptation of Christ. You may have seen at least one of his daughter Francesca Viral TikTok videos or Instagram photos of her father. We might think we know Scorsese, or at least the version of him that comedians love He played Kyle Mooney on Saturday Night Live — which makes his discomfort with fame worth hearing more about. His daughters talk about this often, with Francesca mentioning a time when he would only leave their apartment to go to his office. But how does Scorsese feel about it? He doesn’t talk much about how the ebbs and flows of fame affect him, but I’d like to know how he deals with not being able to experience New York City as casually as he once did.

You probably know that people were very angry The last temptation of Christwhere Willem Dafoe plays Jesus Christ having sex, and Mr. Scorsese It traces how the increasingly powerful religious right in the United States led protests against the film, but what about it? Condon? Scorsese’s film about the Dalai Lama was only briefly discussed in terms of its amateurish cast and received as “beautiful but boring”. Missing context is that Disney severely curtailed the film’s release due to the Chinese government reaction. Michael Eisner, then CEO of Disney, publicly apologized for the film, saying, “The bad news is that the movie was made, the good news is that no one saw it.” Condon It remained extremely difficult to find – its physical media release was limited, it was not broadcast in the United States, and Repertory performances are rare. Why not dig into any of this?

1991 Cape of fear1999 Bringing out the deadand 2011 Hugo They all only get a line or so of commentary and a short montage clip, so if one of these is your Scorsese favorite, you won’t get much. And if one of your favorites is Moonflower Killerslike It’s mineWell, we weren’t so lucky either. Although KOTFM It is also produced by Apple TV. Mr. Scorsese Moves it down to just a few minutes at the end of the Method Manager. There are shots of Scorsese setting up a few huge corkboards and directing scenes, but no real discussion of his motivations for tackling the film. maybe Mr. Scorsese It was completed sometime before the film’s release, but the series could have done a much better job of encouraging people who already pay for Apple TV+ to shoot it up. KOTFM. Eliding Scorsese’s latest film comes to a truly surprising end and leaves Mr. Scorsese Feeling undeservedly incomplete. Where are you, Lily Gladstone?

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