A Trip to the Moon (and Five Other Free Films) by Georges Méliès, the Father of Special Effects

in Film | August 7th, 2013

If you’ve tak­en a film stud­ies course, you’ve almost cer­tain­ly seen the work of Georges Méliès. His 1902 short A Trip to the Moon, at the top, which some cin­e­ma schol­ars cite as the pic­ture where spe­cial effects as we know them began, has a par­tic­u­lar­ly impor­tant place in cin­e­ma his­to­ry. Nobody who watch­es that four­teen-minute pro­duc­tion ever for­gets the image of the moon’s con­ster­na­tion after the pro­tag­o­nists’ space­craft crash­es into it. And the rest of the movie, if nar­ra­tive­ly shaky, still has an impres­sive visu­al pow­er. If any­body had both suf­fi­cient imag­i­na­tion and suf­fi­cient know-how to com­mit such a voy­age to that cut­ting-edge medi­um known as motion film over a cen­tu­ry ago, the the­ater own­er and sea­soned illu­sion­ist Méliès did. Charged by the cin­e­mat­ic pio­neer­ing of his coun­try­men the Lumière broth­ers, he began doing it in 1896, and con­tin­ued until 1913, which makes A Trip to the Moon a mid-career high­light.

A mid-career high­light, that is, along­side 1904’s The Impos­si­ble Voy­age (just above), which con­tin­ues in the same vein of Jules Verne-style fan­tas­ti­cal sci­ence fic­tion. This time, in fact, Méliès took not just the sen­si­bil­i­ty from Verne but, in part, a sto­ry, draw­ing inspi­ra­tion from Verne’s play Jour­ney Through the Impos­si­ble about a young Dan­ish baron tempt­ed to trav­el to far-off lands, plan­ets, and real­i­ties. He wrote into this sequel, of sorts, a nat­ur­al des­ti­na­tion: the sun. MUBI.com’s “pub­lic domain greats” page offers a list of these and oth­er Méliès films avail­able free to watch online, the likes of which inspired Mar­tin Scors­ese to adapt Bri­an Selznick­’s Méliès-cen­tric nov­el The Inven­tion of Hugo Cabret into Hugo, a film visu­al­ly inven­tive by the ear­ly 21st cen­tu­ry’s stan­dards just as A Voy­age to the Moon excelled by the ear­ly 20th cen­tu­ry’s. Those films cur­rent­ly avail­able include:

They will all be added to our col­lec­tion of 550 Free Movies Online.

Relat­ed Con­tent:

The Pow­er of Silent Movies, with The Artist Direc­tor Michel Haz­anavi­cius

The Birth of Film: 11 Firsts in Cin­e­ma

The Ear­ly Days of Ani­ma­tion Pre­served in UCLA’s Video Archive

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on lit­er­a­ture, film, cities, Asia, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall.

by | Permalink | Make a Comment ( 5 ) |

Francis Ford Coppola’s Handwritten Casting Notes for The Godfather

in Film | August 7th, 2013

godfather casting notes

Lau­rence Olivi­er as Vito Cor­leone? Dustin Hoff­man as Michael? Those are two of the intrigu­ing options direc­tor Fran­cis Ford Cop­po­la was appar­ent­ly mulling over when he jot­ted down these notes while prepar­ing to make his clas­sic 1972 film The God­fa­ther.

The cast­ing of The God­fa­ther was a noto­ri­ous­ly con­tentious affair. Exec­u­tives at Para­mount Pic­tures thought Mar­lon Bran­do — Cop­po­la’s first choice to play Mafia “God­fa­ther” Vito — was too dif­fi­cult to work with. They thought Al Paci­no was too short to play his son Michael.

“The war over cast­ing the fam­i­ly Cor­leone was more volatile than the war the Cor­leone fam­i­ly fought on screen,” writes for­mer Para­mount head of pro­duc­tion Robert Evans in his mem­oir, The Kid Stays in the Pic­ture. At one point the stu­dio want­ed Dan­ny Thomas to play Vito and War­ren Beat­ty to play Michael. A long list of lead­ing Hol­ly­wood actors were con­sid­ered for the role of Michael, includ­ing Robert Red­ford, Ryan O’Neal and Jack Nichol­son.

Cop­po­la even­tu­al­ly set­tled on Paci­no as the cere­bral Michael and the lit­tle-known Carmine Cari­di as Michael’s tough-guy old­er broth­er, Son­ny. Evans told the direc­tor he could have one but not both. In a pas­sage from the book, quot­ed in Mark Seal’s 2009 Van­i­ty Fair piece, “The God­fa­ther Wars,” Evans describes a tense meet­ing with Cop­po­la:

“You’ve got Paci­no on one con­di­tion, Fran­cis.”

“What’s that?”

“Jim­my Caan plays Son­ny.”

“Carmine Caridi’s signed. He’s right for the role. Any­way, Caan’s a Jew. He’s not Ital­ian.”

“Yeah, but he’s not six five, he’s five ten. This aint Mutt and Jeff. This kid Paci­no’s five five, and that’s in heels.”

“I’m not using Caan.”

“I’m not using Paci­no.”

Slam went the door. Ten min­utes lat­er, the door opened. “You win.”

For more on the cast­ing of The God­fa­ther, includ­ing excerpts from screen tests and remem­brances from Cop­po­la and oth­ers, see our ear­li­er post “A Behind-the-Scenes Look at the Cast­ing of The God­fa­ther with Cop­po­la, De Niro & Caan.”

via A.V. Club

by | Permalink | Make a Comment ( 1 ) |

10 Tips From Billy Wilder on How to Write a Good Screenplay

in Film, Writing | August 6th, 2013

billy wilder tips

There’s an old sto­ry — Orson Welles called it “the great­est Hol­ly­wood one-lin­er ever made” — that when some­one attend­ing the 1958 funer­al of Har­ry Cohn, the fear­some pres­i­dent of Colum­bia Pic­tures, asked how it was pos­si­ble that such a huge crowd would show up for Cohn’s funer­al, Bil­ly Wilder quipped: “Well, give the peo­ple what they want.”

The sto­ry is almost cer­tain­ly apoc­ryphal. The line may have been spo­ken by some­one else, at a dif­fer­ent Hol­ly­wood mogul’s funer­al. But the fact that it is so often attrib­uted to Wilder says some­thing about his rep­u­ta­tion as a man with a razor-sharp wit and a firm grasp of the imper­a­tives of pop­u­lar movie-mak­ing. In films like Sun­set Boule­vard, Some Like it Hot, Dou­ble Indem­ni­ty and Sab­ri­na, Wilder used his for­mi­da­ble craft as a direc­tor to tell sto­ries in a clear and effi­cient way. It was an eth­ic he picked up as a screen­writer.

Wilder was born in Aus­tria-Hun­gary and moved as a young man to Ger­many, where he worked as a news­pa­per reporter. In the late 1920s he began writ­ing screen­plays for the Ger­man film indus­try, but he fled the coun­try soon after Adolf Hitler became chan­cel­lor in 1933. Wilder made his way to Hol­ly­wood, where he con­tin­ued to write screen­plays. He co-wrote a num­ber of suc­cess­ful films in the 30s, includ­ing Ninotch­ka, Hold Back the Dawn and Ball of Fire. In the ear­ly 40s he got his first chance to direct a Hol­ly­wood movie, and a long string of hits fol­lowed. In 1960 he won three Acad­e­my Awards for pro­duc­ing, writ­ing and direct­ing The Apart­ment.

Wilder was 90 years old when the young direc­tor Cameron Crowe approached him in 1996 about play­ing a small role in Jer­ry Maguire. Wilder said no, but the two men formed a friend­ship. Over the next sev­er­al years they talked exten­sive­ly about film­mak­ing, and in 1999 Crowe pub­lished Con­ver­sa­tions with Wilder. One of the book’s high­lights is a list of ten screen­writ­ing tips by Wilder. “I know a lot of peo­ple that have already Xerox­ed that list and put it by their type­writer,” Crowe said in a 1999 NPR inter­view. “And, you know, there’s no bet­ter film school real­ly than lis­ten­ing to what Bil­ly Wilder says.”

Here are Wilder’s ten rules of good film­mak­ing:

1: The audi­ence is fick­le.
2: Grab ’em by the throat and nev­er let ’em go.
3: Devel­op a clean line of action for your lead­ing char­ac­ter.
4: Know where you’re going.
5: The more sub­tle and ele­gant you are in hid­ing your plot points, the bet­ter you are as a writer.
6: If you have a prob­lem with the third act, the real prob­lem is in the first act.
7: A tip from Lubitsch: Let the audi­ence add up two plus two. They’ll love you for­ev­er.
8: In doing voice-overs, be care­ful not to describe what the audi­ence already sees. Add to what they’re see­ing.
9: The event that occurs at the sec­ond act cur­tain trig­gers the end of the movie.
10: The third act must build, build, build in tem­po and action until the last event, and then — that’s it. Don’t hang around.

Note: Read­ers might also be inter­est­ed in Wilder’s 1996 Paris Review inter­view. It’s called The Art of of Screen­writ­ing.

Don’t miss any­thing from Open Cul­ture. Sign up for our Dai­ly Email or RSS Feed. And we’ll send qual­i­ty cul­ture your way, every day.

via Gotham Writ­ers’ Work­shop

Relat­ed Con­tent: 

Tarkovsky’s Advice to Young Film­mak­ers: Sac­ri­fice Your­self for Cin­e­ma

Watch Ray­mond Chandler’s Long-Unno­ticed Cameo in Dou­ble Indem­ni­ty

Film­mak­ing Advice from Quentin Taran­ti­no and Sam Rai­mi (NSFW)

by | Permalink | Make a Comment ( 11 ) |

Jurassic Park Tells You Everything You Need to Know About the Dangers of Global Capitalism

in Comedy, Current Affairs, Economics, Film, Philosophy | August 6th, 2013

For­get putting a bird on it. Put on a dinosaur on it for a sure­fire hit in our mar­ket-dri­ven econ­o­my. Direc­tor Stephen Spiel­berg cer­tain­ly did­n’t skimp on the “ter­ri­ble lizards” when adapt­ing Michael Crich­ton’s Juras­sic Park for the screen, and things turned out pret­ty well for him.

Mike Rugnetta, the fast-talk­ing host of PBS’s Idea Chan­nel, the­o­rizes that the 20-year-old film is a great, pos­si­bly inad­ver­tent com­men­tary on the dan­gers of glob­al mar­ket cap­i­tal­ism. His mer­ry spoil­er-packed video touch­es on such phe­nom­e­na as risky invest­ments, the sub­prime mort­gage cri­sis, and the hav­oc that can be wreaked by a dis­grun­tled employ­ee. He hales both Richard Atten­bor­ough’s park own­er char­ac­ter and Direc­tor Spiel­berg as ego­tis­ti­cal mad­men chas­ing mon­strous prof­its. His kitchen sink approach inevitably leads to appear­ances by both Bar­ney and Sloven­ian philoso­pher and cul­tur­al crit­ic Slavoj Žižek.

Rugnetta is quick (of course) to point out that he could come up with sim­i­lar hypothe­ses for such com­par­a­tive­ly fresh releas­es as World War Z (wage slav­ery), Iron Man (glo­ry be to the world-sav­ing entre­pre­neur), and Pacif­ic Rim (the glob­al mar­ket will unite us all)… but why, when Juras­sic Park’s got endur­ing, mar­ket-test­ed crowd-pleasers?

Relat­ed Con­tent:

Does Math Objec­tive­ly Exist, or Is It a Human Cre­ation? A New PBS Video Explores a Time­less Ques­tion

Hen­ry Rollins: Edu­ca­tion is the Cure to “Dis­as­ter Cap­i­tal­ism”

Intel­li­gent YouTube Chan­nels

Ayun Hal­l­i­day final­ly got around to see­ing this movie last spring. Fol­low her @AyunHalliday 

by | Permalink | Make a Comment ( None ) |

Andy Warhol Shoots “Screen Tests” of Nico, Bob Dylan & Salvador Dalí

in Art, Film | August 6th, 2013

Just the oth­er day, I had a chat with a well-known poet who laid out for me his the­o­ry that Andy Warhol invent­ed our con­cep­tion of mod­ern Amer­i­ca. When we think about this coun­try, the poet explained, we think about this coun­try broad­ly in the way that Warhol (and thus his dis­ci­ples) envi­sioned it. We here at Open Cul­ture have cov­ered sev­er­al of the forms in which the artist pro­mul­gat­ed his dis­tinc­tive brand of Amer­i­cana, and today, for the 85th anniver­sary of his birth, we’ve round­ed up a few of his famous “screen tests,” the short films he made between 1963 and 1968 that offer por­traits of hun­dreds of fig­ures, famous and oth­er­wise, who hap­pened to pass through his studio/social club/subcultural hot zone, The Fac­to­ry. Just above, you can watch Warhol’s screen test with Nico, the Ger­man singer who would become an inte­gral part of the Fac­to­ry-formed band the Vel­vet Under­ground.

Lit­tle-heard at the time but ulti­mate­ly high­ly influ­en­tial, the Vel­vet Under­ground’s sound shaped much Amer­i­can pop­u­lar music — and giv­en pop­u­lar music’s cen­tral­i­ty back then, much of Amer­i­can cul­ture to come. You may not nec­es­sar­i­ly buy that argu­ment, but sure­ly you can’t argue against the influ­ence of a cer­tain singer-song­writer by the name of Bob Dylan, Warhol’s screen test with whom appears just above.

Com­ing from a Pol­ish immi­grant fam­i­ly, and seem­ing­ly ded­i­cat­ed to the cul­ti­va­tion of his own out­sider sta­tus his entire life, Warhol under­stood the impor­tance of for­eign­ers to the vital­i­ty of Amer­i­can cul­ture. Nat­u­ral­ly, he did­n’t miss his chance to shoot a screen test with Sal­vador Dalí, below, when the Span­ish sur­re­al­ist came to the Fac­to­ry.

See also our pre­vi­ous post on Warhol’s screen tests with Lou Reed, Den­nis Hop­per, Edie Sedg­wick, and oth­ers. When you’ve watched them all, con­sid­er con­tin­u­ing your cel­e­bra­tion of life in Andy Warhol’s 85th birth­day with the Earth­Cam and The Warhol Muse­um’s col­lab­o­ra­tion Fig­ment. It offers live cam­era feeds of not only his grave but the church where he was bap­tized. Com­par­isons to the view­ing expe­ri­ence of Empire are encour­aged.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Three “Anti-Films” by Andy Warhol: Sleep, Eat & Kiss

Andy Warhol’s One Minute of Pro­fes­sion­al Wrestling Fame (1985)

Roy Licht­en­stein and Andy Warhol Demys­ti­fy Their Pop Art in Vin­tage 1966 Film

A Sym­pho­ny of Sound (1966): Vel­vet Under­ground Impro­vis­es, Warhol Films It, Until the Cops Turn Up

The film Andy Warhol: A Mir­ror of the Six­ties has been added to our list of 550 Free Movies Online.

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on lit­er­a­ture, film, cities, Asia, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall.

by | Permalink | Make a Comment ( 3 ) |

Woody Allen Lists the Greatest Films of All Time: Includes Classics by Bergman, Truffaut & Fellini

in Film | August 2nd, 2013

woody allen clarinet

Image by Col­in Swan, via Wiki­me­dia Com­mons

We’ve looked this week at the favorite movies select­ed by such respect­ed film­mak­ers as Stan­ley Kubrick and Mar­tin Scors­ese. Today we round out this trio of emi­nent direc­tors with the great­est films of all time accord­ing to Woody Allen, vot­ing in the almighty Sight and Sound poll. The direc­tor of Annie Hall, Crimes and Mis­de­meanors, and Mid­night in Paris select­ed, in no par­tic­u­lar order, the fol­low­ing:

  • The 400 Blows (François Truf­faut, 1959)
  • 8½ (Fed­eri­co Felli­ni, 1963)
  • Amar­cord (Fed­eri­co Felli­ni, 1972)
  • The Bicy­cle Thieves (Vit­to­rio de Sica, 1948)
  • Cit­i­zen Kane (Orson Welles, 1941)
  • The Dis­creet Charm of the Bour­geoisie (Luis Buñuel, 1972)
  • Grand Illu­sion (Jean Renoir, 1937)
  • Paths of Glo­ry (Stan­ley Kubrick, 1957)
  • Rashomon (Aki­ra Kuro­sawa, 1950)
  • The Sev­enth Seal (Ing­mar Bergman, 1957)

It comes as no shock that Ing­mar Bergman makes the list, giv­en Allen’s well-doc­u­ment­ed and open­ly admit­ted enthu­si­asm for (and, in cas­es like Inte­ri­ors, direct imi­ta­tion of) the man who made The Sev­enth Seal. If that vote rep­re­sents Allen’s con­tem­pla­tive, moral­ly seri­ous side, then the vote for Luis Buñuel’s endur­ing­ly fun­ny sur­re­al­ist farce The Dis­creet Charm of the Bour­geoisie rep­re­sents his well-known predilec­tion for humor, often class-based, which occa­sion­al­ly melts into silli­ness.

Like Scors­ese, Allen includes Kubrick, though for his ear­ly Paths of Glo­ry rather than the more wide­ly-seen 2001. Like both Scors­ese and Kubrick, he picks a Felli­ni — two, in fact — and all three of their lists illus­trate that it would take a con­trar­i­an film­go­er indeed to deny Orson Welles’ Cit­i­zen Kane a vote. Kubrick, you’ll recall, also had great praise for Vit­to­rio de Sica and François Truf­faut, and their ear­ly pic­tures show up among Allen’s selec­tions. Take Kubrick, Scors­ese, and Allen’s lists togeth­er, and you have a few prin­ci­ples to guide your view­ing: con­cen­trate on the mid­cen­tu­ry mas­ters. Cit­i­zen Kane real­ly does mer­it all those acco­lades. And above all, make sure you watch your Felli­ni. But which films did Felli­ni love?

Relat­ed Con­tent:

Mar­tin Scors­ese Reveals His 12 Favorite Movies (and Writes a New Essay on Film Preser­va­tion)

Stan­ley Kubrick’s List of Top 10 Films (The First and Only List He Ever Cre­at­ed)

How Woody Allen Dis­cov­ered Ing­mar Bergman, and How You Can Too

Woody Allen Answers 12 Uncon­ven­tion­al Ques­tions He Has Nev­er Been Asked Before

Meetin’ WA: Jean-Luc Godard Meets Woody Allen

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on lit­er­a­ture, film, cities, Asia, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall.

by | Permalink | Make a Comment ( 27 ) |

The Masterful Polaroid Pictures Taken by Filmmaker Andrei Tarkovsky

in Film, Photography | August 1st, 2013

Tarkovskypol1

Today, dig­i­tal­ly empow­ered to take, view, and share a pho­to­graph in the span of sec­onds, we think noth­ing of the phrase “ïnstant cam­era.” But to cel­e­brat­ed Russ­ian film­mak­er Andrei Tarkovsky, who died in 1986 after liv­ing almost his entire life in the Sovi­et Union, the tech­nol­o­gy came as a rev­e­la­tion. He had, of course, to use a prim­i­tive Polaroid cam­era, but, Tarkovsky being Tarkovsky, his aes­thet­ic sense still came through its lit­tle square, self-devel­op­ing frames loud and clear — or rather, it came through, rich, pen­sive, solemn, and autum­nal.

tark photo

In 2006, Thames & Hud­son pub­lished Instant Light, a book col­lect­ing “a selec­tion of col­or Polaroids the film­mak­er took from 1979 to 1984 of his home, fam­i­ly, and friends in Rus­sia and of places he vis­it­ed in Italy,” and you can see some of these images on the blog Poe­mas del río Wang, or on this Face­book page.

Tarkovskypol2

The post quotes Tarkovsky’s friend Toni­no Guer­ra, remem­ber­ing the auteur’s Polaroid peri­od: “In 1977, on my wed­ding cer­e­mo­ny in Moscow, Tarkovsky appeared with a Polaroid cam­era. He had just short­ly dis­cov­ered this instru­ment and used it with great plea­sure among us. [ … ] Tarkovsky thought a lot about the ‘flight’ of time and want­ed to do only one thing: to stop it — even if only for a moment, on the pic­tures of the Polaroid cam­era.”

tark photo2

Now that we find our­selves in a new wave of Polaroidism — you can even buy the cam­eras and their film at Urban Out­fit­ters — we’d do well to study these pic­tures tak­en by a man who mas­tered their form just as thor­ough­ly as he mas­tered cin­e­ma. And if you want evi­dence of the lat­ter, look no fur­ther than our col­lec­tion of Tarkovsky films free online.

Tarkovskypol3

Relat­ed Con­tent:

Tarkovsky’s Advice to Young Film­mak­ers: Sac­ri­fice Your­self for Cin­e­ma

Tarkovsky’s Solaris Revis­it­ed

Andrei Tarkovsky’s Very First Films: Three Stu­dent Films, 1956–1960

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on lit­er­a­ture, film, cities, Asia, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall.

by | Permalink | Make a Comment ( 3 ) |

Martin Scorsese Reveals His 12 Favorite Movies

in Film | July 31st, 2013

kubrick listCin­e­ma as we’ve almost always known it — “Edi­son, the Lumière broth­ers, Méliès, Porter, all the way through Grif­fith and on to Kubrick”  — has “real­ly almost gone.” So writes Mar­tin Scors­ese in his recent essay for the New York Review of Books, “The Per­sist­ing Vision: Read­ing the Lan­guage of Cin­e­ma.” He argues that tra­di­tion­al film forms have “been over­whelmed by mov­ing images com­ing at us all the time and absolute­ly every­where, even faster than the visions com­ing at the astro­naut” in Kubrick­’s 2001: A Space Odyssey. “We have no choice but to treat all these mov­ing images com­ing at us as a lan­guage. We need to be able to under­stand what we’re see­ing and find the tools to sort it all out.” Only nat­ur­al that Scors­ese, as one of the best-known, high­est-pro­file auteurs alive, would ref­er­ence Kubrick, his gen­er­a­tional pre­de­ces­sor in the untir­ing fur­ther­ance of cin­e­mat­ic vision and craft.

We just yes­ter­day fea­tured a post about Kubrick­’s 1963 list of ten favorite films. Scors­ese, for his part, has impressed many as one of the most enthu­si­as­ti­cal­ly cinephilic direc­tors work­ing in Amer­i­ca today: his essays about and appear­ances on the DVDs of his favorite movies stand as evi­dence for the sur­pris­ing breadth of his appre­ci­a­tion. Today, why not have a look at Scors­ese’s list, which he put togeth­er for Sight and Sound mag­a­zine, and which begins with the Kubrick selec­tion you might expect:

In “The Per­sist­ing Vision,” he cham­pi­ons com­pre­hen­sive film preser­va­tion, cit­ing the case of Hitch­cock­’s Ver­ti­go, the final entry on his list, now named the great­est film of all time by Sight and Sound’s crit­ics poll. “When the film came out some peo­ple liked it, some didn’t, and then it just went away.” When, after decades of obscu­ri­ty, Ver­ti­go came back into cir­cu­la­tion,  the col­or was com­plete­ly wrong,” and “the ele­ments — the orig­i­nal pic­ture and sound neg­a­tives — need­ed seri­ous atten­tion.” A restora­tion of the “decay­ing and severe­ly dam­aged” film even­tu­al­ly hap­pened, and “more and more peo­ple saw Ver­ti­go and came to appre­ci­ate its hyp­not­ic beau­ty and very strange, obses­sive focus.” I, per­son­al­ly, could­n’t imag­ine the world of cin­e­ma with­out it — nor with­out any of the oth­er pic­tures Scors­ese calls his favorites.

Relat­ed Con­tent:

Mar­tin Scors­ese Makes a List of 85 Films Every Aspir­ing Film­mak­er Needs to See

Mar­tin Scors­ese Cre­ates a List of 39 Essen­tial For­eign Films for a Young Film­mak­er

Revis­it Mar­tin Scorsese’s Hand-Drawn Sto­ry­boards for Taxi Dri­ver

Mar­tin Scorsese’s Very First Films: Three Imag­i­na­tive Short Works

Mar­tin Scors­ese Brings “Lost” Hitch­cock Film to Screen in Short Faux Doc­u­men­tary

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on lit­er­a­ture, film, cities, Asia, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall.

by | Permalink | Make a Comment ( 21 ) |

« Go Back — More in this category... »
Quantcast