💰 An Interview with Martin Scorsese | Commonweal Magazine

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Rare 9-Minute 1995 'Casino' interview w/ Martin Scorsese. Yogi Berra and Joe Pesci present Jack Nicholson into the NJ Hall of Fame 2010.


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While 'Boxcar Bertha' was Martin Scorsese's first film, 'Who's That Knocking At My Door' was the first Martin Scorsese film. Boxcar Bertha was only his second film and, to be fair, it often feels like it. I'm so confused by these statements. By all accounts, Who's That Knocking At My Door is Martin Scorsese's first film and IMO his worst.


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I'm looking for some kind of interview or anything where Scorsese comments on Quentin as a filmmaker and I can't find anything.
I remember when The Departed came out, I read an interview where they asked Scorsese about the violence in his movies.
He contrasted it with Tarantino's violence, saying that his Tarantino's violence was more fantastic and that in The Departed and other Scorsese movies, they tried to keep it more realistic.
I think it was a Rolling Stone interview, but don't hold me to that.
That is one thing that I don't like Tarantino's films.
There's not a whole lot of "real life" in them.
Sometimes that's just what I want.
The whole artifice and style of them is amazing.
But other times like Mean Streets or Taxi Driver, there's a lot of real life experience and stuff went into things like that.
Watching them sort of lets my soul breathe in a way.
I know that sounds totally wanky bo casino martin scorsese interview I'm hoping bo casino martin scorsese interview will understand what I mean.
In his interview with Christopher Nolan he basically said that if Jackie Brown is your favourite Tarantino movie, you're basically saying bo casino martin scorsese interview don't like "Tarantino" movies, which i found pretty funny.
Especially as it's my favourite of his next to Resevoir Dogs.
What if Jackie Https://reliance-pw.ru/casino/cache-creek-casino-bus-oakland.html is my favorite from him but Django comes in as a VERY CLOSE second favorite.
Does that still mean I don't like Tarantino movies?
I wonder what his answer would be.
I think Tarantino brings a sense of realism to his violence in the fact that a lot of the time, just click for source of the people in gun fights don't make it out alive.
And they tend to be short bursts of violence as opposed to a drawn out gunfight.
If one person shoots, everyone does, and nearly all of them die rather quickly.
They don't have a chance to duck behind cover or trade shots with their opponent.
That's the point of Tarantino movies, they are either set in the Tarantinoverse Pulp Fictionor they are set in the movie-world of the Tarantinoverse Kill Bill.
If you don't like it, watch something else, basically.
Reading that article, it seems like he was calling the Grindhouse film release a mistake, not his movie.
To me it's very clear that he is saying exactly this.
At one point he says " It was still worth doing," so the implication here is bo casino martin scorsese interview still likes it as a film, irrespective of financial concerns.
It's not my favorite, but I wouldn't call it a bo casino martin scorsese interview />I've found enjoyment in every QT movie.
Jackie Brown is probably my least favorite and it's still pretty damn good.
I've enjoyed every one of his movies as well including Jackie Brownexcept Death Proof.
I found no redeeming qualities in that movie.
The dialogue bo casino martin scorsese interview terrible unusual for Tarantinothe story was stupid, the payoff was not all that satisfying, I cared for none of the characters, and the whole thing was just a mess.
I actually watched it twice.
The first time, I hated it.
Later on, I gave it another chance maybe I was having a bad day or something and that bo casino martin scorsese interview my enjoyment of the moviebut nope, still hated it.
This is just my opinion.
If you liked it, good for you, I'm glad you enjoyed it.
But to me, the whole thing was just an abortion of a movie.
I have to say, I agree with Tarantino on this one.
See I enjoyed Death Proof.
It's no masterpiece, but I liked Kurt Russell in it.
I think it's an above average movie, but a below average QT movie.
I just watched it again in a QT marathon, and it's obviously not on par with the other amazing movies he's made, but I still enjoyed it.

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An Interview with Martin Scorsese | Commonweal Magazine
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Has Martin Scorsese ever talked about Quentin Tarantino? : movies
Visits
Dislikes
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I'm looking for some kind of interview or anything where Scorsese comments on Quentin as a filmmaker and I can't find anything.
I remember when The Departed came out, I read an interview where they asked Scorsese about the violence in his movies.
He contrasted it with Tarantino's violence, saying that his Tarantino's violence was more fantastic and that in The Departed and other Scorsese movies, they tried to keep it more realistic.
I think it was a Rolling Stone interview, but don't hold me to that.
That is one thing that I don't like Tarantino's films.
There's not a whole lot of "real life" in them.
Sometimes that's just what I bo casino martin scorsese interview />The whole artifice and style of them is amazing.
But other times like Mean Streets or Taxi Driver, there's a lot of real life experience and stuff went into things like that.
Watching them sort of lets my soul breathe in a way.
I know that sounds totally wanky but I'm hoping people will understand what I mean.
In his interview with Christopher Nolan he basically said that if Jackie Brown is your favourite Tarantino movie, you're basically saying you don't like "Tarantino" movies, which i found pretty funny.
Especially as it's my favourite of his next to Resevoir Dogs.
What if Jackie Brown is my favorite from him but Django comes in as a VERY CLOSE second favorite.
Does that still mean I don't like Tarantino movies?
I wonder what his answer would be.
I think Tarantino brings a sense of realism to his violence in the fact that a lot of the time, 80% bo casino martin scorsese interview the people in gun fights don't make it out alive.
And they tend to be short bursts of violence as opposed to a drawn out gunfight.
If one person shoots, everyone does, and nearly all of them die rather quickly.
They don't have a chance continue reading duck behind cover or trade shots with their opponent.
That's the point of Tarantino movies, they are either set in the Tarantinoverse Pulp Fictionor they are set in the movie-world of the Tarantinoverse Kill Bill.
If you don't like it, watch something else, basically.
Reading that article, it seems like he was calling the Bo casino martin scorsese interview film release a mistake, not his movie.
To me it's very clear that he is saying exactly this.
At one point he says " It was still worth doing," so the please click for source here is he still likes click the following article as a film, irrespective of financial concerns.
It's not my favorite, but I wouldn't call it a mistake.
I've found enjoyment in every QT movie.
Jackie Brown is probably my least favorite and it's still pretty damn good.
I've enjoyed every one of his movies as well including Jackie Brownexcept Death Proof.
I found no redeeming qualities in that movie.
The dialogue was terrible unusual for Tarantinothe story was stupid, the payoff was not all the pin up casino criticising satisfying, I cared for none of the characters, and the whole thing was just a mess.
I actually watched it twice.
The first time, I bo casino martin scorsese interview it.
Later on, I gave it another chance maybe I was having a bad day or something and that lessened my enjoyment of the movielink nope, still hated it.
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But parx casino me, the whole thing was just an abortion of a movie.
I have to say, I agree bo casino martin scorsese interview Tarantino on this one.
See I enjoyed Death Proof.
It's no masterpiece, but I liked Kurt Russell in it.
I think it's an above average movie, but a below average QT movie.
I just watched it again in a QT marathon, and it's obviously not on par with the other amazing movies he's made, but I still enjoyed it.

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Martin Scorsese and Spike Lee were not only both raised in the city, but they’ve built a close friendship while comparing notes over the years. Lee’s most recent film is the searing drama Miracle at St. Anna , which follows a troop of African-American soldiers in the heart of Italy during World War II.


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An Interview with Martin Scorsese | Commonweal Magazine
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I'm looking for some kind of interview or anything where Scorsese comments on Quentin as a filmmaker and I can't find anything.
I remember when The Departed came out, I read an interview where they asked Scorsese about the violence in his movies.
He contrasted it with Tarantino's violence, saying that his Tarantino's violence was more fantastic and that in The Departed and other Scorsese movies, bo casino martin scorsese interview tried to keep it more realistic.
I think it was a Rolling Stone interview, but don't hold me to that.
That is one thing that I don't like Tarantino's films.
There's not a whole lot of "real life" in them.
Sometimes that's just what I want.
The whole artifice and style of them is amazing.
But other times like Mean Streets or Taxi Driver, there's a lot of real life experience and stuff went into things like that.
Watching them sort of lets my soul breathe in a way.
I know that sounds totally wanky but I'm hoping people will understand what I mean.
In his interview with Christopher Nolan he bo casino martin scorsese interview said that if Jackie Brown is your favourite Tarantino movie, you're basically saying you don't like "Tarantino" movies, which i found pretty funny.
Especially as it's my favourite of his next to Resevoir Dogs.
What if Jackie Brown is my favorite from him but Django comes in as a VERY CLOSE second favorite.
Does that still mean I don't like Tarantino movies?
I wonder what his answer would be.
I think Tarantino brings a sense of realism to his violence in the fact that a lot of the time, 80% of the people in gun fights don't this web page it out alive.
And they tend to be short bursts of violence as bo casino martin scorsese interview to a drawn out gunfight.
If one person shoots, everyone does, and nearly all of them die rather quickly.
They don't have a chance to duck behind cover or trade shots with their opponent.
That's the point of Tarantino movies, they are either set in the Tarantinoverse Pulp Fictionor they are set in the movie-world of the Tarantinoverse Kill Bill.
If you don't like it, watch something else, basically.
Reading that article, it seems like he was calling the Grindhouse film release a mistake, not his movie.
To me it's very clear that he is saying exactly this.
At one point he says " It was still worth doing," so the implication here is he still likes it as a film, irrespective of financial concerns.
It's not my favorite, but I wouldn't call it a mistake.
I've found enjoyment in every QT movie.
Jackie Brown is probably my least favorite and it's still pretty damn good.
I've enjoyed every one of his movies as well including Jackie Brownexcept Death Proof.
I found no redeeming qualities in that movie.
The dialogue was terrible unusual for Tarantinothe story was stupid, the payoff was not all that satisfying, I cared for none of the characters, and the whole thing was just a mess.
I actually watched it twice.
The first time, I hated it.
Later on, I gave it another chance maybe I was having a https://reliance-pw.ru/casino/casino-paris-16-rue-de-la-pompe.html day or something and that lessened my enjoyment of the movie bo casino martin scorsese interview, but nope, still hated it.
This is just my opinion.
If you liked it, good for you, I'm glad you enjoyed it.
But to me, the whole thing was just an abortion of a movie.
I have to say, I agree with Tarantino on this one.
See I enjoyed Death Proof.
It's no masterpiece, but I liked Kurt Russell in it.
I think it's an above average movie, but a below average QT movie.
I just watched it again in a QT marathon, and it's obviously not on par with the other amazing movies he's made, but I still enjoyed it.

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U.S. director Martin Scorsese poses on the red carpet before the opening ceremony of Studio City and the premiere of the short film "The Audition" in Macau, China, October 27, 2015 REUTERS/Tyrone Siu


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In a 23-minute video interview, Martin Scorsese discusses the roots of his faith as a child in New York City and how that brought him to make 'Silence'.


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Scorsese by Ebert offers the first record of America’s most respected film critic’s engagement with the works of America’s greatest living director, chronicling every single feature film in Scorsese’s considerable oeuvre, from his aforementioned debut to his 2008 release, the Rolling Stones documentary Shine a Light.


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The Spence Interview

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Martin Scorsese Talks AFTER HOURS

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On January 10, 2019, Chris Willman from Variety reported that the long-anticipated documentary of Bob Dylan's 1975 tour, the Rolling Thunder Revue, would be released by Netflix: "Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese captures the troubled spirit of America in 1975 and the joyous music that Dylan performed during the fall.


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The Modern Lessons Of Martin Scorsese's 17th-Century Epic, 'Silence' The director's new film follows a pair of Portuguese Jesuit priests in Japan. He says he's been trying to make it since the.


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Has Martin Scorsese ever talked about Quentin Tarantino? : movies
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Has Martin Scorsese ever talked about Quentin Tarantino? : movies
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I'm looking for some kind of interview or anything where Scorsese comments on Quentin as a filmmaker and I can't find anything.
I remember when The Departed came out, I read an interview where they asked Scorsese about the violence in his movies.
He contrasted it with Tarantino's violence, saying that his Tarantino's violence was more fantastic and that in The Departed and other Scorsese movies, they tried to keep it more realistic.
I think it was a Rolling Stone interview, but don't hold me to that.
That is one thing that I don't like Tarantino's films.
There's not a whole lot of "real life" in them.
Sometimes that's just what I want.
The whole artifice and style of them is amazing.
But other times like Mean Streets or Taxi Driver, there's a lot of real life bo casino martin scorsese interview and stuff went into things like that.
Watching them sort of lets my soul breathe in a way.
I know that sounds totally wanky but I'm hoping people will understand what I mean.
In his interview with Christopher Nolan he basically said that if Jackie Brown is your favourite Tarantino movie, you're basically saying you don't like "Tarantino" movies, which i found pretty funny.
Especially as it's my favourite of his next to Resevoir Bo casino martin scorsese interview />What if Jackie Brown is my favorite from him but Django comes in as a VERY CLOSE second favorite.
Does that still mean I don't like Tarantino movies?
I wonder what his answer would be.
I think Tarantino brings a sense of realism to his violence in the fact that a lot of think, crown casino china not time, 80% of the bo casino martin scorsese interview in gun fights don't make it out alive.
And they tend to be short bursts of violence as opposed to a drawn out gunfight.
If one person shoots, everyone does, and nearly all of them die rather quickly.
They don't have a chance to duck behind cover or trade shots with their opponent.
That's the point of Tarantino movies, they are either set in the Tarantinoverse Pulp Fictionor they are set in the movie-world of the Tarantinoverse Kill Bill.
If you don't like it, watch something else, bo casino martin scorsese interview />Reading that article, it seems like he was calling the Grindhouse film release a mistake, not his movie.
To me click very clear that he is saying exactly this.
At one point he says " It was still worth doing," so the implication here is he still likes it as a film, irrespective of financial concerns.
It's not my favorite, but I wouldn't call it a mistake.
I've found enjoyment in every QT movie.
Jackie Brown is probably my least favorite and it's still pretty damn good.
I've enjoyed every one of his movies as well including Jackie Brownexcept Death Proof.
I found no redeeming qualities in that movie.
The dialogue was terrible unusual for Tarantinothe story was stupid, the payoff was not all that satisfying, I cared for none of the characters, and the whole thing was just a mess.
I actually watched it twice.
The first time, I hated it.
Later on, I gave it another chance maybe I was having a article source day or something and that lessened my enjoyment of the moviebut nope, still hated it.
This is just my opinion.
If you liked it, good for you, I'm glad you enjoyed it.
But to me, the whole thing was just an abortion of a movie.
I have to say, I agree with Tarantino on this one.
See I enjoyed Death Proof.
It's no masterpiece, but I liked Kurt Shuttle cascades casino in it.
I think it's an above average movie, but a below bo casino martin scorsese interview QT movie.
I just watched it again in a QT marathon, and it's obviously not on par with the other amazing movies he's made, but I still enjoyed it.

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Martin Scorsese's The Wolf of Wall Street-- a rollicking three-hour black comedy based on the true story of debaucherous con man Jordan Belfort -- has become one of the most controversial films in.


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Silence takes off from the history of an actual Portuguese Jesuit priest, Cristóvão Ferreira, who in 1633 apostatized after being tortured, then joined Japanese society, marrying, accepting Buddhism, and assuming a Japanese identity.
Replete with crucifixions, burnings, and water tortures, Silence explores the persistence of faith amid fathomless hardship.
Martin Scorsese read Silence in the late 1980s, and has been trying to make a movie of it ever since.
Scorsese has been on a roll in recent years, with five of his last six films nominated for Best Picture Oscars, and Silence stars Liam Neeson as the lost Fr.
Ferreira, with Andrew Garfield and Adam Click to see more as Rodrigues and Garrpe, his pursuers.
Silence is a big departure for a director celebrated for chronicles of urban American mayhem—the wiseguy romps, set to raucous popular music, of such as Mean Streets, Goodfellas, and Casino.
Shot by cinematographer Rodrigo Prieto Amores Perros,his new film possesses a somber, brooding simplicity well suited to its austere subject matter.
Their conversation follows in full below.
RAND RICHARDS COOPER: Martin Scorsese, thanks for sitting down today to talk about your click to see more, Silence.
MARTIN SCORSESE: Well, in August of 1988, we had a screening of Last Temptation of Christ, here in New York—a screening of the unfinished film, for religious groups that were complaining about it, or concerned about it, or angry about it.
We screened the film, and that evening, a bunch of us got together at a hotel nearby: Tom Pollock, the head of Universal, and Casey Silver, I think Sean Daniels, myself, the producer, my editor Thelma Schoonmaker, and her husband Michael Powell, and a friend of mine, Fr.
Stationed may not be the right word.
I have to be careful with your magazine.
In any event, that gentleman was Paul Moore.
RRC: The Episcopal Archbishop of New York at that time.
He came with his wife.
We had a wonderful talk that night.
He talked about his work with inmates in prison.
He talked about the importance of ritual.
I was talking against that; he pointed out certain issues that I should take into consideration.
It was the kind of dialogue that I hoped that The Last Temptation of Christ would create.
So I got the book.
RRC: What happened then?
Kurosawa had met me once; he liked the way I spoke, fast, and he imagined Van Gogh speaking that way.
And I had a beard.
So I was studying his script while we were shooting Goodfellas, because it was a six- or seven-page scene, with lots of dialogue.
I do acting, but I usually play myself!
So two days after our shooting was completed, we got on a plane to Japan.
In fact I finished reading the book on the bullet train from Tokyo to Kyoto.
And I immediately felt that this was the road to take, in terms of a more profound understanding of faith.
But the Endo novel took it all much further.
How could I make a film in Japan, on Japanese culture, which I adore and learned a great deal from?
RRC: Why did it take eighteen years?
One of the big issues is the apostasy, of course, and the voice of Jesus, and Rodrigues giving up his faith to gain his faith, the paradox of that.
We tried writing the script.
I got the rights to the book —the Cecchi Goris got it for me, Vittorio and his father, Mario.
And Mario happened to be an authority on that period.
So was Jacques Chirac, by the way.
You met Jacques Chirac, the president of France, and he talked about this book?
Or about this period?
MS: The book and the period.
This was around 2004 bo casino martin scorsese interview 2005.
I was in France for Chirac wanted to meet us and say hello.
He was the president at the time.
And his wife was something of a Chinese and Japanese scholar.
And then Jay Cocks and I tried to write a version of it, and we got about a third of the way through, and I got too bogged down by the details.
Well, how do I show that nature?
After that failed attempt at writing the script, I got involved in making other films.
RRC: Just quickly, to tie up Last Temptation.
Andrew Greeley wrote back then, in the Times, that those who protested your portraying a Jesus subject to doubt, fear, and desire were guilty of a heresy, the heresy of Docetism.
Greeley called it a misguided attempt to protect Jesus from participating in human fallenness.
The beauty and the gift of our existence, the gift of our lives, is the temptation.
And I always thought that was quite beautiful.
RRC: What do you make, thirty years later, of the big flap over this film?
MS: I think it started here in America.
It had to do with evangelical power at that time.
Remember Tammy Faye Bakker and Jim Bakker?
They had these theme parks going.
They had television stations going.
All of them had great power, and a great influence on American culture.
Then they fell from grace, and when they did, there was a period where it was a little easier for me to get the film made.
But before that they in effect stopped the making of the film, back in 1983.
They stopped Salah Hassanein, who was the head of the UA theater chain, the biggest theater chain in America, from showing the film.
MS: So I realized that the picture had to be a cut-down budget.
I was fine with that.
And Mike Ovitz, my agent, was the one who really pulled it together in 1986.
He had me meet Tom Pollock over at Universal.
Tom made a deal with Garth Trebinski of Cineplex Odeon Theaters.
Garth said that his theaters would play the film, and that started it.
RRC: With all that in the background, is there nervousness now about a film as intensely religious as Silence?
MS: I think nervousness only in the sense that, is there an audience for it?
Getting back to Last Temptation, though, I think there may have been a kind of reflex action against the picture through rumor.
We were shooting the film, and things were manchester ct g grosvenor casino didsbury />Editing the film, and things were fine.
RRC: How did that strike you, to be accused of having no respect for the Christian religion?
MS: I was pretty devastated.
The press conference at the Venice Film Festival was quite an extraordinary experience.
People were yelling, demonstrations were going on, pro and against.
It was Italy, you know!
RRC: Did you appreciate being in the middle of all that, as a spectacle, or were you just annoyed and overwhelmed?
MS: Look, I felt the conviction was there on my part.
This could be ego speaking, but at that time I knew—how should I put it?
I felt I could argue it reasonably, with reasonable people, as long as they were open to serious discussion.
But, not to be egotistical, I did feel strongly connected to that material, and to that way of thinking about it—and to changing the image of the Jesus that I had grown up watching.
The popular representation of Jesus in the mind of the average moviegoer was coming out of Cecil B.
Pretty much all films made on religious subject matter were biblical epics.
I had realized you could start making films with 16-millimeter black-and-white, because of John Cassavetes doing Shadows, and I had a dream that I could maybe make a film someday.
And immediately I thought of making a film of the Gospel, but set on the Lower East Side, in the tenements, in modern dress.
And the crucifixion would be on the West Side docks, and in black-and-white.
What about the people who were dying in front of me, the alcoholics who were dying in the streets?
What about the underworld?
What if we bo casino martin scorsese interview a film, and Jesus is here, on 8 th Avenue?
At that time, 8 th and 9 th Avenue was pretty bad.
It is a different planet now.
I was in the atmosphere.
RRC: So this idea of Jesus in contemporary New York—that never came to fruition?
Once I saw Gospel According to Matthew, it just changed everything.
And he kneels down.
Give your father a hug.
Give your father a hug.
Who is that person?
And how could Jesus love a wretch like this?
In Silence that wretch is Kichijiro.
RRC: You said about Last Temptation that the challenge was for you to get to know Jesus better and take his ideas seriously.
Ideas about love, about loving God, loving your neighbor.
What does Silence represent, in terms of perhaps a somewhat different or updated menu of challenges, compared with what you were after back then?
Like a film like Aviator, for example, which was just a joy to make.
Appreciating the moments of grace that I received during those years, to be able to make certain films and meet certain people.
Careening and stumbling through a personal life, and still trying to deal with—how should I put it?
The values are tough.
RRC: Making Silence did that?
It kept me going, because I knew that stripping away everything ultimately comes down to God and you.
The priest can be there to help, to guide, to sustain; an institution of the church.
It can be very helpful.
And it comes down to the examination of what is God, who is God?
The silence of God; your voice is in the silence, which also is in the Old Testament, I believe.
RRC: Loneliness and solitude in just click for source film are very intense.
MS: Well, I usually spend a lot of my time alone.
I was terrified of being alone for such a long time, because of my asthma.
I had to have people around me all the time.
At any rate, Silence kept me on track over the years.
I had to do different things along the way.
I had to do different pictures.
We were fortunate to have a child, Helen and I, in 1999.
I have two older daughters and a granddaughter.
I just wondered what was really important in life.
RRC: Silence has been called one of the great historical novels of our time.
What are the challenges of making a story set four hundred years ago?
Watching your film, I found myself wondering, what are the humps that a twenty-first century American viewer has to get over https://reliance-pw.ru/casino/casinos-close-to-detroit.html order to comprehend this very different mindset?
Did you think about this?
In my mind it was very clear.
The priests in Silence belonged to the Society of Jesus, so they belonged to a group, a religious institution.
Something has happened to their mentor.
They go to look for him.
That means the way people speak, and their body language, and every aspect of how they live: how they write, if they do write; how they drink water, inside a kind of bamboo thermos, so to speak.
How they live with nature around them.
And their perception of the world and the universe around them.
I had to let it happen through, for example, the behavior of the inquisitor and the behavior of the interpreter.
The interpreter has no name.
Is he even really an interpreter?
I did get bogged down at first in trying to write this script, and trying to explain a different world and different time, but I realized I had to let it play out.
A lot of it is though the pacing.
How to find the pacing that is appropriate for that world, without losing an audience?
RRC: How did you do that?
In writing the script with Jay Cocks, I cut away as much as possible, in terms of visuals.
To show the hut, I just shot the thatched roof with the rain hitting it.
The life of the animals, the life of the insects, the subconscious harmony of the world.
The only thing to do is to hold it, and let it sink in a bit, the way it had to sink into them.
RRC: With terrible things happening beyond.
So a meditative reality can be lacerating.
And he may even be responsible.
In any event, we got all of this first through the visualizing of the picture on the page, in a hotel.
MS: Silence, every scene!
Visualizing even where the light was coming from, what source of light.
So when it says they land on the beach—well, in my mind, they land.
The boat pulls up to docks near the beach, and they walk https://reliance-pw.ru/casino/gant-casino-drive-rodez-onet-le-chteau.html, right?
Well, it turns out that big boats cannot do that.
They have to get in a little boat, then get in the water, and then walk through the water and swim to shore, which changes everything, in terms of my visual concepts.
I also had to be very aware of having enough in the frame to tell the story, to explain to the viewer the narrative action of that moment.
It was down to basics, down to the basics of how you tell a story.
I had designed editing sequences, all edited beforehand.
The wide shot, with the floor in front of him.
We even lengthened it, to isolate him more, to show the boatman that way.
It was almost claustrophobic, in a way.
RRC: Paraiso, the Japanese Christians call it.
So when we got to the tops of these mountains, very often I had some shots planned.
I tried to work out the thought, and I thought about it with my cinematographer, Rodrigo Prieto.
MS: All over Taiwan, which is a very similar landscape to Kyushu.
RRC: Can you talk about the importance of devotional objects in the movie?
I was struck by how much time the camera spends on rosary beads, hand-fashioned crosses, and of course the fumie.
MS: Well, the people have nothing.
Rodrigues observes that they really want devotional objects, and he provides what he can.
They are nowhere, and have nothing.
And is a bowl of rice good?
So to have an image that makes these people understand that, as human beings, they have value—that they have souls, and that the trials of this life are something that will pass—and that there is such a thing as salvation: well, this image reminds them of that.
So the Madonna of the Snows has become very important, and the Madonna herself is very important, because as Endo writes in A Life of Jesus, the Japanese fear four things: earthquakes, lightning—oh, God; I forget.
Earthquakes, lighting, fire, and fathers.
And the Madonna of the Snows is very important to Japanese painting.
At one point, one of the Christians, Ichizo, lifts some sort of a straw mat, and under it is a picture, and he lifts it up.
And I know that the faith continued in Japan, if you follow the arc of history after the close of the story you tell in Silence.
RRC: Japan is closed for two hundred years, and then comes the nineteenth century.
MS: Gunboats are sent in to do trade.
RRC: And it turns out that at least some permutation of Christian faith has persisted for two hundred years?
The hidden Christians, out on Goto and those islands.
You have a very long close-up of that.
What were you trying to do with that?
The reverence of it, I think, is really important.
They had nothing else, but they had this faith.
Rodrigues has toward these people.
He has difficulty communicating with them.
There are moments when he even seems physically repulsed by them.
MS: Well, part of this is a story I always wanted to make about a priest, a young man who becomes a priest.
I always talk about the one priest who had a great influence on me, Francis Principe, who was a diocesan priest at St.
He was very young.
This was in 1953.
I was eleven, so from eleven to seventeen, he was a very important figure.
The Power and the Glory.
I reread that while we were shooting the picture.
Principe gave us Greene to read, he gave us Dwight Macdonald, the critic.
He made us really think differently.
He was a formative figure for us during those very formative years.
I wanted to be a priest; I wanted to be like him.
And I wound up in a prep seminary, but I was thrown out.
Like they say, many are called, but few are chosen.
And that led me to think about the modern-day saint.
How could you be a saint in the modern world?
Can being a cleric be closer to sainthood?
How does one become selfless, in a world like this?
At one point Ferreira tells him, You know, they have humility.
Do you view this as another kind of temptation?
As a voice of truth?
You have to deal with it.
He did give in.
There was talk in that century that he came back; that he renounced his apostasy on his deathbed.
Ferreira was the strong man there; he was the scout.
Is that something you were consciously thinking of?
I reread that about ten years ago.
Did Ferreira really lose his faith?
We talked about that a lot.
That drama hinges on whether the priest will renounce his religion by stepping on the fumie, on the image of Christ.
RRC: But he will save people, and moreover we understand, in effect, that a gun is being held to his head.
We understand those statements are https://reliance-pw.ru/casino/casino-in-brockton-massachusetts.html />A gun is being held to your head; it is a formality.
So how do you address this problem?
MS: I think it points us toward what the depth of the religion, the depth of the faith, really is.
If you strip away everything, what really matters?
Your belief, your faith, and how that faith has you relate to the people around you.
And if you fall—if you commit what the Japanese called korobu—you have to learn to forgive yourself.
Which is a problem.
Was it just another?
He got to the very heart of what Christianity is, and Jesus.
I think he really did.
RRC: By doing what?
Ultimately, those are taken away.
He was in the Resistance during the war, and was sent to Buchenwald.
Here was a man who was blind and yet somehow was able to comfort the other prisoners.
How do you do that in a concentration camp?
How do you comfort so many others around you?
How do you give them hope when there is none?
Contemporary viewers are liable to resolve this pragmatically—that you do whatever you have to do to save these people.
That can be hard for us to understand, how that public declarative aspect is so important a part of the faith.
MS: Right, and was the faith being introduced into a culture with the specifics of that culture in mind?
Do they know enough about the people?
Do they know enough about how they think?
That is a big issue.
How do we set up some ideal over there, where people have lived just click for source different way?
The mind works so differently.
RRC: And he points to the sun.
Because it potentially introduces a powerful note of futility into the mission.
MS: Yes, but that makes it stronger.
That makes it more important to proceed.
Do you remember the ending?
They argue about all these different things, including God, throughout the picture, which was shot, by the way within the click at this page frame of winter light, the real winter light, in Casino quotes famous went every day and shot in those two hours.
Anyway, at the end, the pastor comes out with his robes, and he approaches the altar.
And what does he do?
He begins the ceremony.
There you have it.
RRC: And the voice gives him permission, in effect a theological permission, to apostatize.
It is to be trampled on by you that I am here.
RRC: It all fits together theologically.
MS: But faith is a continual process, as we see with Kichijiro.
You lose it; you gain it.
There is no catharsis.
But in life, there is none of that.
This is who we are.
Yes, there are many people who are strong.
But there are more who are weak.
What do you do with that?
RRC: Kichijiro makes that into a lament.
MS: Yeah, but not only that.
Why was I born now?
I would have been a good Christian.
RRC: This idea also affects the priests, Rodrigues and Garrpe.
You bring to bear an implicit notion of serendipity of place and time.
If Rodrigues and Garrpe had stayed in Europe, they would have had a certain kind of career.
MS: Yes, it would have been a great career.
They would have been fine.
RRC: So faith is a lot easier in some circumstances than in others.
We have to know ourselves.
Ferreira is described as having a servile smile.
Rodrigues is afraid of groveling contemptibly like a dog for his life.
Can you shed some light?
There were many films at that time with this Red-Scare theme, and particularly frightening was the idea of the Communists taking your soul.
Almost like Protestants and Catholics in the Thirty Years War.
They were frightening because it looked like they had lost their hearts, that they were no longer able to love.
And they had lost their souls; they became soulless.
There is that attitude towards them, I think.
MS: It was actually a dough, kind of a pie made with sausage.
That was for the Immaculate Conception.
December 8, I think it is, yeah.
MS: Yes, well, we did.
RRC: In Last Temptation and Silence, on the other hand, concerns of faith are explicit.
So how, over the many decades of your filmmaking, do you see your films reflecting issues of faith and religion?
And how important has Catholicism in particular been to you as a movie maker?
Issues of right and wrong, and how that shifts under certain circumstances.
Issues of responsibility, where you try, you fail, and then you try to deal with that.
I saw my father and my other relatives dealing with issues of obligation and family and responsibility.
I saw it acted out all the time.
My father and his younger brother—it took years for me to realize that Mean Streets is really about them.
Because he had a relationship with his brother that was similar, where the younger brother was problematic—in and out of jail, all kinds of things—and my father would be the one to take care of it.
The stories from Mean Streets to Raging Bull really deal with all of that.
He wants bo casino martin scorsese interview to be merciful with ourselves.
Until the very end.
That same predicament, in a different key, is in Silence.
And an absolute bottoming-out of despair.
It was just awful.
RRC: That scene is still hard to watch.
MS: It was hard to shoot.
I had two cameras, and we worked it out so that we just felt when we could start rolling.
We just started rolling the cameras, Michael Chapman, my cameraman, and I.
And Bob just went into his thing.
We felt that was the nadir.
And then later Jake is able to look at himself in the mirror.
Quoting the scene from On the Waterfront.
So all these things connect over the years.
The next film for me after Raging Bull was going to be Last Temptation.
But we ended up doing King of Comedy.
That was Bobby again.
He wanted me to do that.
RRC: I read somewhere about the two of you sometimes doing nineteen takes of a scene.
It was terribly underappreciated.
MS: Oh, they hated it!
There were three or four good reviews in the major papers, the Times, and Time Magazine, and even the LA Times.
But after making King of Comedy I realized I could only stay with the themes that I want to stay with, and that was Temptation of Christ.
So I was going on to that, but at the end of that year, 1983—on Thanksgiving Day—it was cancelled.
And so I was adrift, cast out.
Cast out of Hollywood, out of the American cinema, so to speak.
The bigger pictures came in, the spectacles, the theme-park films.
Bob went off on his own things.
And so I started all over again.
I made After Hours, which was a totally independent film, and it was completely ignored by the industry.
RRC: What was the budget on that film?
Then, with Color of Money, Mike Ovitz came into my life, and he changed everything.
I was able to work with Paul Newman, Tom Cruise.
After Color of Money is when Ovitz connected with Last Temptation, so I was back on track there.
RRC: Do you see yourself making movies ten years from now?
DeNiro is talking to me.
He was about seventy-four years old; we happen to be seventy-four.
It takes place in the 1960s.
So here we are.
With any movie, the question is, do you really want to be there?
You really have to have a story that you want to tell and that you feel you could tell.
And also people that you want to be with.
Life gets to be too short.
Ultimately, the one thing I thought I could do in life was—how should I put it?
I thought I could nurture the gift I was given by God, the gift of creativity.
Is there anything more to mine there?
Take the analogy about fishing and the intellectual waters.
How deep can you fish, you know?
How deep can you do it?
What do you want this film to do to people?
Yes, there are many problems with organized religions.
It is the spiritual.
What follows is a heady tale of guilt, loneliness, and pain.
So why did her book leave me not quite satisfied?

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Scorsese by Ebert offers the first record of America’s most respected film critic’s engagement with the works of America’s greatest living director, chronicling every single feature film in Scorsese’s considerable oeuvre, from his aforementioned debut to his 2008 release, the Rolling Stones documentary Shine a Light.


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Martin Scorsese Does His Best Robert De Niro Impression

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On January 10, 2019, Chris Willman from Variety reported that the long-anticipated documentary of Bob Dylan's 1975 tour, the Rolling Thunder Revue, would be released by Netflix: "Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese captures the troubled spirit of America in 1975 and the joyous music that Dylan performed during the fall.


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Has Martin Scorsese ever talked about Quentin Tarantino? : movies
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I'm looking for some kind of interview or anything where Scorsese comments on Quentin as a filmmaker and I can't find anything.
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Does that still mean I don't like Tarantino movies?
I wonder what his answer would be.
I think Tarantino brings a sense of realism to his violence in the fact that a lot of the time, 80% of the people in gun fights don't make it out alive.
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If one person shoots, everyone does, and nearly all of them die rather quickly.
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That's the point of Learn more here movies, they are either set in the Tarantinoverse Pulp Fictionor they are set in the movie-world of the Tarantinoverse Kill Bill.
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I've found enjoyment in every QT movie.
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I have to say, I agree with Tarantino on this one.
See I enjoyed Death Proof.
It's no masterpiece, but I liked Kurt Russell in it.
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An exclusive interview with James Martin, S.J. and Martin Scorsese, the director of "Silence." Exclusive: Martin Scorsese discusses his faith, his struggles, his films and "Silence." | America.


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Silence takes off from the history of an actual Portuguese Jesuit priest, Cristóvão Ferreira, who in 1633 apostatized after being tortured, then joined Japanese society, marrying, accepting Buddhism, and assuming a Japanese identity.
Replete with crucifixions, burnings, and water tortures, Silence explores check this out persistence of faith amid fathomless hardship.
Martin Scorsese read Silence in the late 1980s, and has been trying to make a movie of it ever since.
Scorsese has been on a roll in recent years, with five of his last six films nominated for Best Picture Oscars, and Silence stars Liam Neeson as the lost Fr.
Ferreira, with Andrew Garfield and Adam Driver as Rodrigues and Garrpe, his pursuers.
Silence is a big departure for a director celebrated for chronicles of urban American mayhem—the wiseguy romps, set to raucous popular music, of such as Mean Streets, Goodfellas, and Casino.
Shot by cinematographer Rodrigo Prieto Amores Perros,his new film possesses a somber, brooding simplicity well suited to its austere subject matter.
Their conversation follows in full below.
RAND RICHARDS COOPER: Martin Scorsese, thanks for sitting down today to talk about your film, Silence.
MARTIN SCORSESE: Well, in August of 1988, we had a screening of Last Temptation of Christ, here in New York—a screening of the unfinished film, for religious from mohegan sun casino uncasville ct 06382 united states excellent that were complaining about it, or concerned about it, or angry about it.
We screened the film, and that evening, a bunch of us got together at a hotel nearby: Tom Pollock, the head of Universal, and Casey Silver, I think Sean Daniels, myself, the producer, my editor Thelma Schoonmaker, and her husband Michael Powell, and a friend of mine, Fr.
Stationed may not be the right word.
I have to be careful with your magazine.
In any event, that gentleman was Paul Moore.
RRC: The Episcopal Archbishop of New York at that time.
He came with his wife.
We had a wonderful talk that night.
He talked about his work with inmates in prison.
He talked about the importance of ritual.
I was talking against that; he pointed out certain issues that I should take into consideration.
It was the kind of dialogue that I hoped that The Last Temptation of Christ would create.
So I got the book.
RRC: What happened then?
Kurosawa had met me once; he liked the way I spoke, fast, and he imagined Van Gogh speaking that way.
And I had a beard.
So I was studying his script while we were shooting Goodfellas, because it was a six- or seven-page scene, with lots of dialogue.
I do acting, but I usually play myself!
So two days after our shooting was completed, we got on a plane to Japan.
In fact I finished reading the check this out on the bullet train from Tokyo to Kyoto.
And I immediately felt that this was the road to take, in terms of a more profound understanding of faith.
But the Endo novel took it all much further.
How could I make a film in Japan, on Japanese culture, which I adore and learned a great deal from?
RRC: Why did it take eighteen years?
One of the big issues is the apostasy, of course, and the voice of Jesus, and Rodrigues giving up his faith to gain his faith, the paradox of that.
And the epilogue was difficult.
We tried writing the script.
I got the rights to the book —the Cecchi Goris got it for me, Vittorio and his father, Bo casino martin scorsese interview />And Mario happened to be an authority on that period.
So was Jacques Chirac, by the way.
You met Jacques Chirac, the president of France, and he talked about this book?
Or about this period?
MS: The book and the period.
This was around 2004 or 2005.
I was in France for Chirac wanted to meet us and say hello.
He was the president at the time.
And his wife was something of a Chinese and Japanese scholar.
And then Jay Cocks and I tried to write a version of it, and we got about a third of the way through, and I got too bogged down by the details.
Well, how do I show that nature?
After that failed attempt at writing the script, I got involved in making other films.
RRC: Just quickly, to tie up Last Temptation.
Andrew Greeley wrote back then, in the Times, that those who protested your portraying a Jesus subject to doubt, fear, and desire were guilty of a heresy, the heresy of Docetism.
Greeley called it a misguided attempt to protect Jesus from participating in human fallenness.
The beauty and the gift of our existence, the gift of our lives, is the temptation.
And I always thought that was quite beautiful.
RRC: What do you make, thirty years later, of the big flap over this film?
MS: I think it started here in America.
It had to do with evangelical power at that time.
Remember Tammy Faye Bakker and Jim Bakker?
They had these theme parks going.
They had television stations going.
All of them had great power, and a great influence on American culture.
Then they fell from grace, and when they did, there was a period where bo casino martin scorsese interview was a little easier for me to get the film made.
But before that they in effect stopped the making of the film, back in 1983.
They stopped Salah Hassanein, who was the head of the UA theater chain, the biggest theater chain in America, from showing the film.
MS: So I realized that the picture had to be a cut-down budget.
I was fine with that.
And Mike Ovitz, my agent, was the one who really pulled it together pity, treasure bay casino biloxi katrina with 1986.
He had me meet Tom Pollock over at Universal.
Tom made a deal with Garth Trebinski of Cineplex Odeon Theaters.
Garth said that his theaters would play the film, and that started it.
RRC: With all that in the background, is there nervousness now about a film as intensely religious as Silence?
MS: I think nervousness only in the sense that, is there an audience for it?
Getting back to Last Temptation, though, I think there may have been a kind of reflex action against the picture through rumor.
We were shooting the film, and things were fine.
Editing the film, and things were fine.
RRC: How did that strike you, to be accused of having no respect for the Christian religion?
MS: I was pretty devastated.
The press conference at the Article source Film Festival was quite an extraordinary experience.
People were yelling, demonstrations were going on, pro and against.
It was Italy, you know!
RRC: Did you appreciate being in the middle of all that, as a spectacle, or were you just annoyed and overwhelmed?
MS: Look, I felt the conviction was there on my part.
This could be ego speaking, but at that time I knew—how should I put it?
I felt I could argue it reasonably, with reasonable people, as long as they were open to serious discussion.
But, not to be egotistical, I did feel strongly connected to that material, and to that way of thinking about it—and to changing the image of the Jesus that I had grown up watching.
The popular representation of Jesus in the mind of the average moviegoer was coming out of Cecil B.
Pretty much all films made on religious subject matter were biblical epics.
I had realized you could start making films with 16-millimeter black-and-white, because of John Cassavetes doing Shadows, and I had a dream that I could maybe make a film someday.
And immediately I thought of making a film of the Gospel, but set on the Lower East Side, in the tenements, in modern dress.
And the crucifixion would be on the West Side docks, and in black-and-white.
What about the people who were dying in front of me, the alcoholics who were dying in the streets?
What about the underworld?
What if we kingsman sugar casino a film, and Jesus is here, on 8 th Avenue?
At that time, 8 th and 9 th Avenue was pretty bad.
It is a different planet now.
I was in the atmosphere.
RRC: So this idea of Jesus in contemporary New York—that never came to fruition?
Once I saw Gospel According to Matthew, it just changed everything.
And he kneels down.
Give your father a hug.
Give your father a hug.
Who is that person?
And how could Jesus love a wretch like this?
In Silence that wretch is Kichijiro.
RRC: You said about Last Temptation that the challenge was for you casino niagara entertainment get to know Jesus better and take his ideas seriously.
Ideas about love, about loving God, loving your neighbor.
What does Silence represent, in terms click to see more perhaps a somewhat different or updated menu of challenges, compared with what you were after back then?
Like a film like Aviator, for example, which was just a joy to make.
Appreciating the moments of grace that I received during those years, to be able to make certain films and meet certain people.
Careening and stumbling through a personal life, and still trying to deal https://reliance-pw.ru/casino/vesper-casino-royale-monologue.html should I put it?
The values are tough.
RRC: Making Silence did that?
It kept me going, because I knew that stripping away everything ultimately comes down to God and you.
The priest can be there to help, to guide, to sustain; an institution of the church.
It can be very helpful.
And it comes down to the examination of what is God, who is God?
The silence of God; your voice is in the silence, which also is in the Old Testament, I believe.
RRC: Loneliness and solitude in this film are very intense.
MS: Well, I usually spend a lot of my time alone.
I was terrified of being alone for such a long time, because of my asthma.
I had to have people around me all the time.
At any rate, Silence kept me on track over the years.
I had to do different things along the way.
I had to do different pictures.
We were fortunate to have a child, Helen and I, in 1999.
I have two older daughters and a granddaughter.
I just wondered what was really important in life.
RRC: Silence has been called one of the great historical novels of our time.
What are the challenges of making a story set four hundred years ago?
Watching your film, I found myself wondering, what are the humps that a twenty-first century American viewer has to get over in order to comprehend this very different mindset?
Did you think about this?
In my mind it was very clear.
The priests in Silence belonged to the Society of Jesus, so they belonged to a group, a religious institution.
Something has happened to their mentor.
They go to look for him.
That means the way people remarkable, casino shore leiths think, and their body language, and every aspect of how they live: how they write, if they do christchurch casino how they drink water, inside a kind of bamboo thermos, so to speak.
How they live with nature around them.
And their perception of the world and the universe around them.
I had to let it happen through, for example, the behavior of the inquisitor and the behavior of the interpreter.
The interpreter has no name.
Is he even casino de portugal an interpreter?
I did get bogged down at first in trying to write this script, and trying to explain a different world and different time, but I realized I had to let it play out.
A lot of it is though the pacing.
How to find the pacing that is appropriate for that world, without losing an audience?
RRC: How did you do that?
In writing the script with Jay Cocks, I cut away as much as possible, in terms of visuals.
To show the hut, I just shot the thatched roof with the rain hitting it.
The life of the animals, the life of the insects, the subconscious harmony of the world.
The only thing to do is to hold it, and let louisiana casinos close to sink in a bit, the way it had to sink into them.
RRC: With terrible things happening beyond.
So a meditative reality can be lacerating.
And he may even be responsible.
In any event, we got all of this first through the visualizing of the picture on the page, in a hotel.
MS: Silence, every scene!
Visualizing even where the light was coming from, what source of light.
So when it says they land on the beach—well, in my mind, they land.
The boat pulls up to docks near the beach, and they walk over, right?
Well, it turns out that big boats cannot do that.
They have to get in a little boat, then get in the water, and then walk through the water and swim to shore, which changes everything, in terms of my visual concepts.
I also torrent casino hd to be very aware of having enough in the frame to tell the story, to explain to the viewer the narrative action of that moment.
It was down to basics, down to the basics of how you tell a story.
I had designed editing sequences, all edited beforehand.
The wide shot, with the floor in front of him.
We even lengthened it, to isolate him more, to show the boatman that way.
It was almost claustrophobic, in a way.
RRC: Paraiso, the Japanese Christians call it.
So when we got to the tops of these mountains, very often I had some shots planned.
I tried to work victory cruise casino cape canaveral the thought, and I thought about it with my cinematographer, Rodrigo Prieto.
MS: Bo casino martin scorsese interview over Taiwan, which is a very similar landscape to Kyushu.
RRC: Can you talk about the importance of devotional objects visit web page the movie?
I was struck by how much time the camera spends on rosary beads, hand-fashioned crosses, and of course the fumie.
MS: Well, the people have nothing.
Rodrigues observes that they really want devotional objects, and he provides what he can.
They are nowhere, and have nothing.
And is a bowl of rice good?
So to have an image that makes these people understand that, as human beings, they have value—that they have souls, and that the trials of this life are something that will pass—and that there is such a thing as salvation: well, this image reminds them of that.
So the Madonna of the Snows has become very important, and the Madonna herself is very important, because as Endo writes in A Life of Jesus, the Japanese fear four things: earthquakes, lightning—oh, God; I forget.
Earthquakes, lighting, fire, and fathers.
And the Madonna of the Snows is very important to Japanese painting.
At one point, one of the Christians, Ichizo, lifts some sort of a straw mat, and under it is a picture, and he lifts it up.
And I know that the faith continued in Japan, if you follow the arc of history after the close of the story you tell in Silence.
RRC: Japan is closed for two hundred years, and then comes the nineteenth century.
MS: Gunboats are sent in to do trade.
RRC: And it turns out that at least some permutation of Christian faith has persisted for two hundred years?
The hidden Christians, out on Goto and those islands.
You have a very long close-up of that.
What were you trying to do with that?
The reverence of it, I think, is really important.
They had nothing else, but they had this faith.
Rodrigues has toward these people.
He has difficulty communicating with them.
There are moments when he even seems physically repulsed by them.
MS: Well, part of this is a story I always wanted to make about a priest, a young man who becomes a priest.
I always talk about the one priest who had a great influence on me, Francis Principe, who was a diocesan priest at St.
He was very young.
This was in 1953.
I was eleven, so from eleven to seventeen, he was a very important figure.
The Power and the Glory.
I reread that while we were shooting the picture.
Principe gave us Greene to read, he gave us Dwight Macdonald, the critic.
He made us really think differently.
He was a formative figure for us during those very formative years.
I wanted to be a priest; I wanted continue reading be like him.
And I wound up in a prep seminary, but I was thrown out.
Like they say, many are called, but few are bo casino martin scorsese interview />And that led me to think about the modern-day saint.
How could you be a saint in the modern world?
Can being a cleric be closer to sainthood?
How does one become selfless, in a world like this?
At one point Ferreira tells him, You know, they have humility.
Do you view this as another kind of temptation?
As a voice of truth?
You have to deal with it.
He did give in.
There was talk in that century that he came back; that he renounced his apostasy on his deathbed.
Ferreira was the strong man there; he was the scout.
Is that something bo casino martin scorsese interview were consciously thinking of?
I reread that about ten years ago.
Did Ferreira really lose his faith?
We talked about that a lot.
That drama hinges on whether the priest will renounce his religion by stepping on the fumie, on the image of Christ.
RRC: But he will save people, and moreover we understand, in effect, that a gun is being held to his head.
We understand those statements are meaningless.
A gun is being held to your head; it is a formality.
So how bo casino martin scorsese interview you address this problem?
MS: I think it points us toward what the depth of the religion, the depth of the faith, really is.
If you strip away everything, what really matters?
Your belief, your faith, and how that faith has you relate to the people around you.
And if you fall—if you commit what the Japanese called korobu—you have to learn to forgive yourself.
Which is a problem.
Was it just another?
He got to the very heart of what Christianity is, and Jesus.
I think he removed salton sea casino what did.
RRC: By doing what?
Ultimately, those are taken away.
He was in the Resistance during the war, and was sent to Buchenwald.
Here please click for source a man who was blind and yet somehow was able to comfort the other prisoners.
How do you do that in a concentration camp?
How do you comfort so many others around you?
How do you give them hope when there is none?
Contemporary viewers are liable to resolve this pragmatically—that you do whatever you have to do to save these people.
That can be hard for us to understand, how that public declarative aspect is so important a part of the faith.
MS: Right, and was the faith being introduced into a culture with the specifics of that culture in mind?
Do they know enough about the people?
Do they know enough about how they think?
That is a big issue.
How do we set up some ideal over there, where people have lived a different way?
The mind works so differently.
RRC: And he points to the sun.
Because it potentially introduces a powerful note of futility into the mission.
MS: Yes, but that makes it stronger.
That makes it more important to proceed.
Max von Sydow is in it, and Gunnar Björnstrand.
Do you remember the ending?
They argue about all these different things, including God, throughout the picture, which was shot, by the way within the two-hour frame of winter light, the real winter light, in Sweden—Bergman went every day and shot in those two hours.
Anyway, at the end, the pastor comes out with his robes, and he approaches the altar.
And what does he do?
He begins the ceremony.
There you have it.
RRC: And the voice gives him permission, in effect a theological permission, to apostatize.
It is to be trampled on by you that I am here.
RRC: It all fits together theologically.
MS: But faith is a continual process, as we see with Kichijiro.
You lose it; you gain it.
There is no catharsis.
But in life, there is none of that.
This is who we are.
Yes, there are many people who are strong.
But there are more who are weak.
What do you do with that?
RRC: Kichijiro makes that into a lament.
MS: Yeah, but not only that.
Why was I born now?
I would have been a good Christian.
RRC: This idea also affects the priests, Rodrigues and Garrpe.
You bring to bear an implicit notion of serendipity of place and time.
If Rodrigues and Garrpe had stayed in Europe, they would have had a certain kind of career.
MS: Casino perla programma dicembre, it would have been a great career.
They would have been fine.
RRC: So faith is a lot easier in some circumstances than in others.
We have to know ourselves.
Ferreira is described as having a servile smile.
Rodrigues is afraid of groveling contemptibly like a dog for his life.
Can you shed some light?
There were many films at that time with this Red-Scare theme, and particularly frightening was the idea of the Communists taking your soul.
Almost like Protestants and Catholics in the Thirty Years War.
They were frightening because it looked like they had lost their hearts, that they were no longer able to love.
And they had lost their souls; they became soulless.
There is that attitude towards them, I think.
MS: It was actually a dough, kind of a pie made with sausage.
That was for the Immaculate Conception.
December 8, I think it is, yeah.
MS: Yes, well, we did.
RRC: In Last Temptation and Silence, on the other hand, concerns of faith are explicit.
So how, over the many decades of your filmmaking, do you see your films reflecting issues of faith and religion?
And how important has Catholicism in particular been to you as a movie maker?
Issues of right and wrong, and how that shifts under certain circumstances.
Issues of responsibility, where you try, you fail, and then you try to deal with that.
I saw my father and my other relatives dealing with issues of obligation and family and responsibility.
I saw it acted out all the time.
My father and his younger brother—it took years for me to realize that Mean Streets is really about them.
Because he had a relationship with his brother that was similar, where the younger brother was problematic—in and out of jail, all kinds of things—and my father would be the one to take care of it.
The stories from Mean Streets to Raging Bull really deal with all of that.
He wants us to be merciful with ourselves.
Until the very end.
That same predicament, in a different key, is in Silence.
And an absolute bottoming-out of despair.
It was just awful.
RRC: That scene is still hard to watch.
MS: It was hard to shoot.
I had two cameras, and we worked it out https://reliance-pw.ru/casino/queen-victoria-casino-indiana.html that we just felt when we could start rolling.
We just started rolling the cameras, Michael Chapman, my cameraman, and I.
And Bob just went into his thing.
We felt that was the nadir.
And then later Jake is able to look at himself in the mirror.
Quoting the scene from On the Waterfront.
So all these things connect over the years.
The next film for me after Raging Bull was going to be Last Temptation.
But we ended up doing King of Comedy.
That was Bobby again.
He wanted me to do that.
RRC: I read somewhere about the two of you sometimes doing nineteen takes of a scene.
It was terribly underappreciated.
MS: Oh, they hated it!
There were three or four good reviews in the major papers, the Times, and Time Magazine, and even the LA Times.
theme midway casino in delaware are after making King of Comedy I realized I could only stay with the themes that I want to stay with, and that helena largest casino mt in Temptation of Christ.
So I was going on to that, but at the end of that year, 1983—on Thanksgiving Day—it was cancelled.
And so I was adrift, cast out.
Cast out of Hollywood, out of the American cinema, so to speak.
The bigger pictures came in, the spectacles, the theme-park bo casino martin scorsese interview />Bob went off on his own things.
And so I started all over again.
I made After Hours, which was a totally independent film, and it was completely ignored by the industry.
RRC: What was the budget on that film?
Then, with Color of Money, Mike Ovitz came into my life, and he changed everything.
I was able to work with Paul Newman, Tom Cruise.
After Color of Money is casino poipet cambodia Ovitz connected with Last Temptation, so I was back on track there.
RRC: Do you see yourself making movies ten years from now?
DeNiro is talking to me.
He was about seventy-four years old; we happen to be seventy-four.
It takes place in the 1960s.
So here we are.
With any movie, the question is, do you really want to be there?
You really have to have a story that you want to tell and that you feel you could tell.
And also people that you want to be with.
Life gets to be too short.
Ultimately, the one thing I thought I could do in life was—how should I put it?
I thought I could nurture the gift I was given by God, the gift of creativity.
Is there anything more to mine there?
Take the analogy about fishing and the intellectual waters.
How deep can you fish, you know?
How deep can you do it?
What do you want this film to do to people?
Yes, there are many problems with organized religions.
It is the spiritual.
What follows is a heady tale of guilt, loneliness, and pain.
So why did her book leave me not quite satisfied?

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Director Martin Scorsese talks about his latest film, "Casino," and the unique acting talent of Robert De Niro.


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Martin Scorsese read Silence in the late 1980s, and has been trying to make a movie of it ever since. Having finally untied “an extraordinarily complex legal and financial Gordian knot,” the director began shooting the film in January 2015, from a script he co-wrote with Jay Cocks, his collaborator on Gangs of New York and The Age of Innocence.


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