Spoke Art has taken over New York’s Bold Hype Gallery for Scorsese: An Art Show Tribute, featuring work based on films such as Goodfellas, Raging Bull, Taxi Driver, The Departed, Gangs of New York, Casino and many more. Artists such as Scott Campbell, Joshua Budich, Dave Perillo, Fernando Reza, Jayson Weidel, Jessica Deahl, Jon Smith, New Flesh, Paul Shipper, Rhys Cooper, Rich Pellegrino and Sam Smith have all contributed to the show, which is open Friday April 19 through Sunday April 21.
Scorsese: An Art Show Tribute takes place April 19-21 at the Bold Hype Gallery, 547 West 27th Street, 5th floor, New York, NY. The hours are 6 p.m.-close April 19 and 11 a.m.-5 p.m. April 20-21. Check out some of the prints here and on the official facebook page HERE
Scorsese is now working with his Gangs of New York distributor Miramax (or the current version of Miramax, at least) to develop a TV series based on the 2002 film.
The idea is not just to explore the area of early New York covered in the film, but to look at gangs in cities such as Chicago. And while the show would no doubt lack the commanding presence of the film’s top-level cast, this seems like a much better idea than a Goodfellas show, which was originally planned a few years back. By expanding the scope, the creators would have ample opportunity to break away from what we saw in the film. And while Goodfellas is a look at a single iconic character in the sweep of American crime history, Gangs offers the potential to craft an on-going story that would not affect or diminish the better aspects of the film. After his success with the superlative Boardwalk Empire, this looks promising.
In short, Gangs of New York is great material, but while the film has incredible aspects, it was not exactly an exceptional exploration of the story. There’s a lot more to play with.
Via Variety, Scorsese said in a release,
This time and era of America’s history and heritage is rich with characters and stories that we could not fully explore in a two hour film. A television series allows us the time and creative freedom to bring this colorful world, and all the implications it had and still does on our society, to life.
Current Miramax head Richard Nanula said,
No one better exemplifies what the new Miramax is and will be better than Martin Scorsese. His dedication to quality and the art of storytelling continues to excite everyone that works with him and watches his films and television programs. We could not think of a better partner for this project than the creator of the wonderful film on which it is based.
DEADLINE NEWS: Charlize Theron will star in an adaptation of Park Chan-wook’s Sympathy For Lady Vengeance, the last in Park’s revenge trilogy. The original 2005 film centered on a woman who for reasons of her own completes a prison term for a murder she did not commit, re-emerging to punish the killer and avenge the dead. “This will be very American — and very unexpected,” said scriptwriter William Monahan in the release announcing the deal. “Park is a genius; it’s the Everest of adaptations and I’ve got blood in my teeth to do it.”
Monahan, recently completed the screenplay for The Gambler for Martin Scorsese at Paramount and Robert Rodriguez’s Sin City: A Dame To Kill For.
DEADLINE: Cable company TNT has put in development Frankenstein, a drama series from Lionsgate Television and 1019 Entertainment based on the five Frankenstein novels by Dean Koontz, which have sold more than 20 million copies.
Feature writer James V. Hart (Dracula, Hook) and his son Jake Hart will write the project, a modern-day reworking of the classic Frankenstein mythology. It is set in present-day New Orleans and follows Victor Helios (Frankenstein) and his creation 200 years after they thought they killed each other in a battle in the Arctic. The creature has survived and Victor has used science to keep himself alive — and they’re now in the same city unbeknownst to each other. Victor has engineered a new race of bizarre beings who answer to him, and when the creature learns that Victor is alive, an epic war ensues built on 200 years of pent-up rage, with New Orleans caught in the middle. James Hart will executive produce alongside Koontz, whose books have sold more that 450 million copies worldwide, and 1019 Entertainment principals Terry Botwick and Ralph Winter. 1019 Entertainment acquired rights to Koontz’s Frankenstein book series in 2010 for what was originally envisioned as a feature franchise series.
Koontz’s Frankenstein actually originated on TV with the 2004 original movie/backdoor pilot Frankenstein on USA based on his concept, which was executive produced by Martin Scorsese, directed by Marcus Nispel and starred Parker Posey, Vincent Perez and Thomas Kretschmann. It didn’t go to series, and a year later, Koontz launched his book series with Prodigal Son.
This marks the series debut of James V. Hart, who has adapted the works of several big-name authors to the big screen, Bram Stoker (Dracula), Robert Louis Stevenson (Muppet Treasure Island) and Carl Sagan (Contact). This is not the first time he has tackled Frankenstein. Hart has a story credit on the 1994 feature Frankenstein, based on Mary Shelley’s novel, which he also produced. Meanwhile, James Hart credits his son Jake for coming up with the idea for the Peter Pan sequel Hook.
Jackie Earle Haley (born Jack Earle Haley, July 14, 1961) is an American actor, perhaps best known for his roles as pedophile Ronnie McGorvey in Little Children, the vigilante Rorshach in Watchmen, and horror icon Freddy Krueger in the awful remake of A Nightmare on Elm Street.
Haley was born and raised in Northridge, California, the son of Haven Earle “Bud” Haley, a radio show host/disc jockey and actor. Haley was a well known child actor and appeared in numerous films, including The Day of the Locust, The Bad News Bears (and 2 sequels), Damnation Alley, Breaking Away, and Losin’ It.
It has been rumored that in 1984, Haley’s friend Johnny Depp accompanied him to auditions for Wes Craven’s A Nightmare on Elm Street; instead of Haley being chosen for a role, it was Depp who was spotted by director Craven, who asked him if he would like to read for a part. Whether true or not, Haley struggled to find many good roles throughout the 1990s and early 2000s, when he moved to San Antonio, Texas, and eventually turned to directing, finding success as a producer and director of television commercials.
With the recommendation of Sean Penn, Haley returned to acting in 2006, first appearing in Steven Zaillian’s All the King’s Men (2006) alongside Penn as Sugar Boy, his bodyguard, before giving a critically acclaimed performance as a recently paroled sex offender in Todd Field’s Little Children (2006). He stated that his preparation for the role was greatly influenced by the relationship shared between his mother and his brother True, who battled a heroin addiction before he died of an overdose. Haley was nominated for an Academy Award for Best Supporting Actor for this portrayal.
In 2008, he appeared in Semi-Pro and starred in Winged Creatures with Kate Beckinsale, Guy Pearce and Dakota Fanning. He also co-starred in Zack Snyder’s 2009 adaptation of the Alan Moore graphic novel, Watchmen, as Rorshach, a masked vigilante working to find the identity of a costumed hero killer, a role which earned Haley praise from many reviewers. The film also reunited him with Little Children co-star Patrick Wilson who played Nite Owl II, former partner of Rorschach.
In 2010, Haley appeared in Shutter Island, directed by Martin Scorsese, playing a patient of a hospital for the criminally insane. That same year Haley played the role of Freddy Krueger in the A Nightmare on Elm Street remake. He has apparently signed on to play the role in three installments in the series.
He played Willie Loomis in the 2012 film adaptation of Dark Shadows, directed by Tim Burton, and will play Alexander H.. Stephens in the forthcoming Lincoln, directed by Steven Spielberg.
Griffin Dunne (born June 8, 1955) is an American actor and film director. Dunne was born Thomas Griffin Dunne in New York City, New York, the son of Ellen Beatriz (née Griffin) Dunne and Dominick Dunne. His mother founded the victims’ rights organization Justice for Homicide Victims and his father was a producer, writer, and actor. He is the older brother of slain actress Dominique Dunne and the nephew of John Gregory Dunne and Joan Didion.
Dunne had a couple of minor support roles in the late 70’s before he co-starred with David Naughton in the classic An American Werewolf in London (1981). The film starts with two young Americans, David (played by Naughton) and Jack, (played by Dunne) on a backpacking holiday in England. Following an awkwardly tense visit to a village pub, the two men venture deep into the moors at night. They are attacked by a werewolf, which results in Jack’s death and David being taken to a London hospital. Through apparitions of his dead friend and disturbing dream sequences, David becomes informed that he is a werewolf and will transform at the next full moon.
Critics generated mostly favourable reviews for the film. The film won the 1981 Saturn Award for Best Horror Film and an Academy Award for Outstanding Achievement in Make-up by Rick Baker. The film was one of three high-profile wolf-themed horror films released in 1981, alongside The Howling and Wolfen. Over the years, the film has accumulated a cult following and has been referred to as a cult classic, and is still the best werewolf movie ever made.
Dunne followed up with the under-rated comedy Johnny Dangerously (1984). The movie stars Michael Keaton as an honest, good-hearted man, Johnny Kelly, who is forced to turn to a life of crime to finance his neurotic mother’s skyrocketing medical bills and to put his younger brother Tommy (Dunne) through law school.
Dunne’s last great role was that of Paul Hackett in After Hours (1985), a black comedy film directed by Martin Scorsese. Paul Hackett, a New Yorker, experiences a series of adventures and perils in trying to make his way home from a night out in SoHo. Though it was not received well by audiences, it was given positive reviews at the time and went on to be considered an “underrated” Scorsese film, and a cult classic in its own right. The film did, however, garner Scorsese the Best Director Award at the 1986 Cannes Film Festival and allowed the director to take a hiatus from the tumultuous development of The Last Temptation of Christ.
As of 2004, he has appeared in nearly 40 films and TV movies. He has produced and/or directed more than 10 other features and has made numerous TV appearances. In 1995, Griffin Dunne was nominated for an Academy Award for Best Live Action Short Film for Duke of Groove, which he directed and co-wrote. He shared the nomination with producer Thom Colwell. He is also a known producer along with his producing partner, actress Amy Robinson (Mean Streets) for producing After Hours, Running on Empty and Game 6.
Harvey Keitel (born May 13, 1939) is an American actor. Some of his most notable starring roles were in Martin Scorsese’s Mean Streets and Taxi Driver, Ridley Scott’s The Duellists and Thelma & Louise, Quentin Tarantino’s Reservoir Dogs and Pulp Fiction, Jane Campion’s The Piano, Abel Ferrara’s Bad Lieutenant, James Mangold’s Cop Land, and Nicolas Roeg’s Bad Timing.
Keitel grew up in the Brighton Beach section of Brooklyn, with his sister, Renee, and brother, Jerry. At the age of sixteen, he decided to join the United States Marine Corps, a decision that took him to Lebanon, during Operation Blue Hat (to bolster the pro-Western Lebanese government of President Camille Chamoun against internal opposition and threats from Syria and Egypt). After his return to the United States, he was a court reporter for several years and was able to support himself before beginning his acting career.
Keitel studied under both Stella Adler and Lee Strasberg, eventually landing roles in Off-Broadway productions. During this time, Keitel auditioned for filmmaker Martin Scorsese and gained a part in Scorsese’s student production, Who’s That Knocking at My Door? Since then, Scorsese and Keitel have worked together on several projects. Keitel had the starring role in Scorsese’s Mean Streets, which also proved to be Robert De Niro’s breakthrough film. He later appeared with De Niro in Taxi Driver, playing the role of Jodie Foster’s pimp ‘Sport’.
Originally cast as Captain Willard in Francis Ford Coppola’s Apocalypse Now, Keitel was involved with the first week of principal photography in the Philippines. Coppola was not happy with Keitel’s take on Willard, stating that the actor “found it difficult to play him a passive onlooker”. After viewing the first week’s footage, Coppola made the difficult decision to replace Keitel with a casting session favourite, Martin Sheen.
Keitel drifted into obscurity through most of the 1980s, taking mainly supporting roles in some good movies such as Bad Timing (1981) by Nicolas Roeg, The Border (1982) by Tony Richardson and Falling in Love (1984) with Robert De Niro and Meryl Streep. He continued to do work on both stage and screen, but usually in the stereotypical thug roles. In 1987 he again worked with Scorsese as Judas in The Last Temptation of Christ (1988). Another supporting role to Jack Nicolson in The Two Jakes (1990) before Ridley Scott cast Keitel as the sympathetic policeman in Thelma & Louise in 1991. That same year, he landed a role in Bugsy, for which he received an Academy Award nomination for Best Supporting Actor.
Keitel’s career revival continued when he starred in Quentin Tarantino’s debut Reservoir Dogs (which he co-produced) in 1992, where his performance as “Mr. White” took his career to a different level. Since then, Keitel has chosen his roles with care, seeking to change his image and show off a broader acting range. One of those roles was the title character in Abel Ferarra’s Bad Lieutenant (1992), about a self-loathing, drug- addicted police lieutenant trying to redeem himself. He also appeared in the movie The Piano in 1993, and played an efficient clean-up expert Winston “The Wolf” Wolfe in Tarantino’s Pulp Fiction (1994).
Keitel was back in a big way, he starred in Smoke and Clockers (both 1995), then in 1996 he had a major role in Quentin Tarantino and Robert Rodriguez’s film, From Dusk Till Dawn, as the religious father of two, whose camper van is hijacked by Seth (George Clooney) and his twisted brother Richard (Quentin Tarantino). In 1997 he starred in the excellent crime drama Cop Land, which also starred Sylvester Stallone, Ray Liotta, and long-time collaborator Robert De Niro.
He’s been incredibly busy through the last decade, featuring in a lot of movies… can someone please give him another gritty leading role to get his teeth in to..?
Saul Bass was born on May 8, 1920, in the Bronx, New York, to Eastern European Jewish immigrant parents. He graduated from James Monroe High School in the Bronx and studied part-time at the Art Students League in Manhattan until attending night classes with György Kepes at Brooklyn College. He began his time in Hollywood during the 1940s doing print work for film ads, until he collaborated with filmmaker Otto Preminger to design the film poster for his 1954 film Carmen Jones. Preminger was so impressed with Bass’s work that he asked him to produce the title sequence as well. This was when Bass first saw the opportunity to create something more than a title sequence, but to create something which would ultimately enhance the experience of the audience and contribute to the mood and the theme of the movie within the opening moments. Bass was one of the first to realize the creative potential of the opening and closing credits of a movie.
Bass became widely known in the film industry after creating the title sequence for Otto Preminger’s The Man with the Golden Arm (1955). The subject of the film was a jazz musician’s struggle to overcome his heroin addiction, a taboo subject in the mid-’50s. Bass decided to create a controversial title sequence to match the film’s controversial subject. He chose the arm as the central image, as the arm is a strong image relating to drug addiction. The titles featured an animated, white on black paper cut-out arm of a heroin addict. As he expected, it caused quite a sensation.
For Alfred Hitchcock, Bass provided effective, memorable title sequences, inventing a new type of kinetic typography, for North by Northwest (1959), Vertigo (1958), working with John Whitney, and Psycho (1960). It was this kind of innovative, revolutionary work that made Bass a revered graphic designer. Before the advent of Bass’s title sequences in the 1950s, titles were generally static, separate from the movie, and it was common for them to be projected onto the cinema curtains, the curtains only being raised right before the first scene of the movie.
Bass once described his main goal for his title sequences as being to ‘’try to reach for a simple, visual phrase that tells you what the picture is all about and evokes the essence of the story”. Another philosophy that Bass described as influencing his title sequences was the goal of getting the audience to see familiar parts of their world in an unfamiliar way.
He designed title sequences for more than 40 years, and employed diverse film making techniques, from cut-out animation for Anatomy of a Murder (1958), to fully animated mini-movies such as the epilogue for Around the World in 80 Days (1956), and live action sequences. His live action opening title sequences often served as prologues to their films and transitioned seamlessly into their opening scenes.
Toward the end of his career, he was rediscovered by Martin Scorsese who had grown up admiring his film work. For Scorsese, Saul Bass (in collaboration with his wife Elaine Bass) created title sequences for Goodfellas (1990), Cape Fear (1991), The Age of Innocence (1993), and Casino (1995), his last title sequence. His later work with Scorsese saw him move away from the optical techniques that he had pioneered and move into the use of computerized effects. Bass’s title sequences featured new and innovative methods of production and startling graphic design.
Saul Bass designed emblematic movie posters that transformed the visuals of film advertising. Before Bass’s seminal poster for The Man with the Golden Arm (1955), movie posters were dominated by depictions of key scenes or characters from the film, often both juxtaposed with each other. Bass’s posters, however, typically developed simplified, symbolic designs that visually communicated key essential elements of the film. For example, his poster for a Man with a Golden Arm, with a jagged arm and off-kilter typography, starkly communicates the protagonist’s struggle with heroin addition. Bass’s iconic Vertigo (1958) poster, with its stylized figures sucked down into the nucleus of a spiral vortex, captures the anxiety and disorientation central to the film. His poster for Anatomy of a Murder (1959), featuring the silhouette of a corpse jarringly dissected into seven pieces, makes both a pun on the film’s title and captures the moral ambiguities within which this court room drama is immersed.
He did great work for Stanley Kubrick, Hitchcock, Otto Preminger and Billy Wilder among other. His last commissioned film poster was created for Steven Spielberg’s Schindler’s List (1993), but it was never distributed. His poster work spanned five decades and inspired numerous other poster and graphic designers. Bass’s film posters are characterized by a distinctive typography and minimalistic style.
In some sense, all modern opening title sequences that introduce the mood or theme of a film can be seen as a legacy of Saul Bass’s innovative work. In particular, though, title sequences for some recent movies and television series, especially those whose setting is during the 1960s, have purposely emulated the graphic style of his animated sequences from that era. Some examples of title sequences that pay homage to Bass’s graphics and animated title sequences are Catch Me If You Can (2002), X-Men: First Class (2011), and the opening to the AMC series Mad Men.
Check out some iconic Saul Bass opening titles HERE
In his career, Ferretti has worked with many great directors, in America and hos native Italy; such as Pier Paolo Pasolini, Federico Fellini, Terry Gilliam, Franco Zefferelli, Martin Scorsese, Francis Ford Coppola, Anthony Minghella and Tim Burton. He frequently collaborates with his wife, set decorator Francesca lo Schiavo. Ferretti was a protégé of Federico Fellini, and worked under him for five films. He also had a five collaboration with Pier Paolo Pasolini and later developed a very close professional relationship with Martin Scorsese, designing seven of his last eight movies.
Among his major triumphs include the movies: Salò, or the 120 Days of Sodom, commonly referred to as Salò, a controversial 1975 Italian film written and directed by Italian director Pier Paolo Pasolini. It is based on the book The 120 Days of Sodom by the Marquis de Sade. Because of its scenes depicting intensely graphic violence, sadism, and sexual depravity, the movie was extremely controversial upon its release, and remains banned in several countries to this day. It was Pasolini’s last film; he was murdered shortly before Salò was released.
The Name of the Rose, a 1986 film directed by Jean-Jacques Annaud, based on the book of the same name by Umberto Eco. Sean Connery is a Franciscan friar who are called upon to solve a deadly mystery in a medieval abbey. The sets add to the sense of dread and deception.
Bram Stoker’s Dracula, a 1992 American Gothic-horror-romance directed and co-produced by Francis Ford Coppola, based on the novel by Bram Stoker. Gary Oldman apart, the movie is laden with wooden performances, however the sets and look of the movie are exceptional.
Interview with the Vampire: The Vampire Chronicles is a 1994 American horror-drama directed by Neil Jordan, based on the 1976 novel by Anne Rice. The film focuses on the homo-erotic relationship between vampires Lestat and louis, beginning with Louis’ transformation into a vampire by Lestat in 1791. The film chronicles their time together, and their turning of a twelve year old Creole girl, Claudia, into a vampire. The narrative is framed by a present day interview, in which Louis tells his story to a San Francisco reporter. Once again, beautiful art direction and sets dominate the film.
Gangs of New York is a 2002 historical drama set in the mid-19th century in the Five Points district of New York City directed by Martin Scorsese. Made in Cinecitta Studios in Rome, and nominated for numerous awards, including the Academy Award for Best Picture. In order to create the sets that Scorsese envisioned, the production was filmed on the largest stages in Cinecitta. Production designer Dante Ferretti recreated over a mile of mid-nineteenth century New York buildings, consisting of a five-block area of Lower Manhattan, including the Five Points slum, a section of the East River waterfront including two full-sized sailing ships, a thirty-building stretch of lower Broadway, a patrician mansion, and replicas of Tammany Hall, a church, a saloon, a Chinese theater, and a gambling casino. For the Five Points, Ferretti recreated George Catlin’s painting of the area.
Ferretti won two Academy Awards for Best Art Direction for The Aviator and Sweeney Todd: The Demon Barber of Fleet Street. He is nominated at this years awards for Hugo, he has had nine previous nominations. In addition, he was nominated for Best Costume Design for Kundun.
Hugo is always being chased by the train station policeman and his dog. Hugo always gets away but gets caught outside a cafe when two dogs find him hiding.
Hugo has a clockwork robot that can draw. He can’t make it work but he meets a girl called Isabelle in the station and she has a key for the robot. When the robot gets the key it draws a moon with a rocket in it’s eye. The moon with the rocket in it’s eye is from an old movie that the guy from the toy shop made.
SPOILER ALERT At the end, Hugo sees the movie with the moon and the rocket and goes to live with the old guy and Isabelle.
PARENTS NOTE. The ‘guy from the toy shop’ is Georges Méliès, the legendary French filmmaker and cinemagician.
Check out the Golden Globes Nominees and download your own ballot form.
Martin Charles Scorsese (born November 17, 1942) is an American film director, screenwriter, producer, actor, and film historian. In 1990 he founded The Film Foundation, a nonprofit organization dedicated to film preservation, and in 2007 he founded the World Cinema Foundation. He is a recipient of the AFI Life Achievemant Award for his contributions to cinema, and has won awards from the Oscars, Emmys, Golden Globe, BAFTA and the Directors Guild of America. He won the Academy Award for Best Director for ‘The Departed’ , having been nominated a previous five times.
Scorsese’s body of work addresses such themes as Italian American identity, Roman Catholic concepts of guilt and redemption, machismo, modern crime and violence. Scorsese is hailed as one of the most significant and influential American filmmakers of all time, directing landmark films such as ‘Mean Streets’, ‘Taxi Driver’, ‘Raging Bull’ and ‘Goodfellas’ – all of which he collaborated on with actor and close friend Robert De Niro.
Martin Scorsese was born in New York City; where he was raised in a devoutly Catholic environment. As a boy, he had asthma and couldn’t play sports or do any activities with other kids and so his parents and his older brother would often take him to movie theaters; it was at this stage in his life that he developed passion for cinema. His initial desire to become a priest while attending Cardinal Hayes High School in the Bronx gave way to cinema, and, consequently, Scorsese enrolled in NYU’s University College of Arts and Science, (now known as the College of Arts and Science), where he earned a B.A. in English in 1964. He went on to earn his M.F.A. from NYU’s Tisch School of the Arts in 1966, a year after the school was founded.
Scorsese attended New York University’s film school (B.A., English, 1964; M.F.A., film, 1966) making the short films ‘What’s a Nice Girl Like You Doing in a Place Like This?’ (1963) and ‘It’s Not Just You, Murray!’ (1964). His most famous short of the period is the darkly comic ‘The Big Shave’ (1967), which features Peter Bernuth. The film is an indictment of America’s involvement in Vietnam, suggested by its alternative title Viet ’67.
Also in 1967, Scorsese made his first feature-length film, the black and white ‘I Call first’, which was later retitled ‘Who’s That Knocking at My Door?’ with fellow student, actor Harvey Keitel, and editor Thelma Schoonmaker, both of whom were to become long-term collaborators. Even in embryonic form, the “Scorsese style” was already evident: a feel for New York Italian American street-life, rapid editing, an eclectic rock soundtrack, and a troubled male protagonist.
From there he became friends with the influential “movie brats” of the 1970s: Francis Ford Coppola, Brian De Palma, George Lucas and Steven Spielberg. It was Brian De Palma who introduced Scorsese to Robert De Niro. During this period he worked as the assistant director and one of the editors on the documentary film ‘Woodstock’ and met actor-director John Cassavetes, who would also go on to become a close friend and mentor.
In 1972 Scorsese made the Depression-era exploition flick, ‘Boxcar Bertha’ for B-movie producer Roger Corman, who has also helped directors such as Francis Ford Coppola, James Cameron and John Sayles launch their careers. It was Corman who taught Scorsese that entertaining films could be shot with next to no money or time, preparing the young director well for the challenges to come with ‘Mean Streets’ (1973). following the film’s release, Cassavetes encouraged Scorsese to make the films that he wanted to make, rather than someone else’s projects.
Championed by influential movie critic Pauline Kael, Mean Streets was a breakthrough for Scorsese, De Niro, and Keitel. By now the signature Scorsese style was in place: macho posturing, bloody violence, Catholic guilt and redemption, gritty New York locale (though the majority of Mean Streets was actually shot in Los Angeles), rapid-fire editing, and a rock soundtrack. Although the film was innovative, its wired atmosphere, edgy documentary style, and gritty street-level direction owed a debt to directors Cassavetes, Samuel Fuller, and early Jean-Luc Godard. The film was completed with much encouragement from Cassavetes, who felt Boxcar Bertha was undeserving of the young director’s prodigious talent.
In 1974, after the success of ‘The Exorcist’, actress Ellen Burstyn was allowed to choose whoever she wanted to direct her next project; she chose Scorsese to direct her in ‘Alice Doesn’t Live Here Anymore’, for which she won an Academy Award for Best Actress. Although well regarded, the film remains an anomaly in the director’s early career, as it focuses on a central female character. It is a film that is used regularly as a rebuttal to those who maintain that Scorsese only makes macho movies.
Returning to Little Italy to explore his ethnic roots, Scorsese next came up with ‘Italianamerican’, a documentary featuring his parents, Charles and Catherine Scorsese. He would return with his greatest triumph…