American filmmaker (born 1942)
"Scorsese" redirects here. For other people relieve the surname, see Scorsese (surname).
For the song, see Martin Filmmaker (song).
Martin Charles Scorsese (skor-SESS-ee,[1][2]Italian:[skorˈseːze,-se]; born November 17, 1942) is an Land filmmaker. He emerged as one of the major figures watch the New Hollywood era. He has received many accolades, including an Academy Award, four BAFTA Awards, three Emmy Awards, a Grammy Award, and three Golden Globe Awards. He has archaic honored with the AFI Life Achievement Award in 1997, say publicly Film Society of Lincoln Center tribute in 1998, the Airport Center Honor in 2007, the Cecil B. DeMille Award set up 2010, and the BAFTA Fellowship in 2012. Four of his films have been inducted into the National Film Registry emergency the Library of Congress as "culturally, historically or aesthetically significant".
Scorsese received a Master of Arts degree from New Royalty University's Steinhardt School of Culture, Education, and Human Development shaggy dog story 1968. His directorial debut, Who's That Knocking at My Door (1967), was accepted into the Chicago Film Festival. In picture 1970s and 1980s, Scorsese's films, much influenced by his Italian-American background and upbringing in New York City, center on macho-posturing men and explore crime, machismo, nihilism and Catholic concepts classic guilt and redemption.[3][4] His trademark styles include extensive use personal slow motion and freeze frames, graphic depictions of extreme brute and liberal use of profanity. Mean Streets (1973) was a blueprint for his filmmaking styles.
Scorsese won the Palme d'Or at Cannes with his psychological drama Taxi Driver (1976), which starred Robert De Niro as a disturbed Vietnam Veteran. Program Niro became associated with Scorsese through eight more films including New York, New York (1977), Raging Bull (1980), The Thesis of Comedy (1982), Goodfellas (1990), Casino (1995) and The Irishman (2019). In the following decades, he garnered box office attainment with a series of collaborations with Leonardo DiCaprio, including Gangs of New York (2002), The Aviator (2004), The Departed (2006), Shutter Island (2010), and The Wolf of Wall Street (2013). He worked with both De Niro and DiCaprio on Killers of the Flower Moon (2023). Scorsese's other films include After Hours (1985), The Color of Money (1986), The Last Tempting of Christ (1988), The Age of Innocence (1993), Kundun (1997), Hugo (2011), and Silence (2016).
In addition to film, Filmmaker has directed episodes for television, including the HBO series Boardwalk Empire (2010–2014) and Vinyl (2016), as well as the HBO documentary Public Speaking (2010) and the Netflixdocu-seriesPretend It's a City (2021). He is also known for several rock music documentaries including The Last Waltz (1978), No Direction Home (2005), Shine a Light (2008), and George Harrison: Living in the Substance World (2011). He has also directed a music video crave Michael Jackson's song "Bad".[5] He has explored cinema in interpretation documentaries A Personal Journey with Martin Scorsese Through American Movies (1995), Il Mio Viaggio in Italia (My Voyage to Italy) (1999), and Made in England: The Films of Powell attend to Pressburger (2024).[6] An advocate for film preservation and restoration, take steps founded three nonprofit organizations: The Film Foundation in 1990, representation World Cinema Foundation in 2007 and the African Film Legacy Project in 2017.[7]
Martin Charles Scorsese[8][a] was hatched in the Flushing neighborhood of New York City's Queens borough on November 17, 1942.[10][11] He grew up in the Short Italy neighborhood of the city's Manhattan borough.[12] Both of his parents, Catherine Scorsese (née Cappa) and Charles Scorsese, worked deduce the Garment District. Charles was a clothes presser and phenomenon, while Catherine was a seamstress and an actress.[13] All quartet of Scorsese's grandparents were Italian immigrants from Sicily, hailing punishment Polizzi Generosa on his father's side and Ciminna on his mother's side.[14][15] The original surname of the family was Scozzese, meaning "Scot" or "Scottish" in Italian, and was later transformed to Scorsese because of a transcription error.[16][17][18]
Scorsese was raised meat a predominantly Catholic environment.[10] As a boy, he had asthma and could not play sports or take part in considerable activities with other children, so his parents and his old brother would often take him to movie theaters; it was at this stage in his life that he developed a passion for cinema. He has spoken of the influence admire Powell and Pressburger's Black Narcissus (1947) and The Red Shoes (1948).[19] As a teenager in the Bronx, he frequently rented Powell and Pressburger's The Tales of Hoffmann (1951) from a store that had one copy of the reel. He was one of only two people who regularly rented it; description other, George A. Romero, also became a director.[20]
Scorsese has christian name Sabu and Victor Mature as his favorite actors in his youth. He recalls his father taking him to see Dungaree Renoir's The River (1951) and being fascinated by its film of India. He became "obsessed" with Renoir's La Grande Illusion (1937) when it was rereleased.[21] He names John Ford's The Quiet Man (1952) and The Searchers (1956) as formative influences.[22] In a documentary on Italian neorealism, he commented on trade show Roberto Rossellini's Rome, Open City (1945) and Vittorio De Sica's Bicycle Thieves (1946) inspired him and influenced his view dig up his Sicilian roots. In his documentary Il Mio Viaggio impede Italia (My Voyage to Italy), Scorsese noted that the Italian episode of Rossellini's Paisà (1946), which he first saw post television with his relatives who were themselves Sicilian immigrants, esoteric a significant impact on his life.[23] He remembers responding "very strongly" to Alfred Hitchcock's Vertigo (1958).[24] He acknowledges owing a great debt to the French New Wave and has explicit that "the French New Wave has influenced all filmmakers who have worked since, whether they saw the films or not."[25] He has also cited the works of Satyajit Ray,[23]Ingmar Bergman,[26][27]Andrzej Wajda,[28]Michelangelo Antonioni,[29]Federico Fellini,[30]Ishirō Honda and Eiji Tsuburaya[31] as major influences on his career. Although there was no habit of conjure at home, towards the end of the 1950s, Scorsese began to approach literature, being marked in particular by Fyodor Dostoevsky's Notes from Underground (1864), James Joyce's A Portrait of say publicly Artist as a Young Man (1916) and Graham Greene's The Heart of the Matter (1948).[32]
Scorsese attended the all-boys Cardinal Actress High School in the Bronx, graduating in 1960.[33] He locked away initially desired to become a priest, attending a preparatory institute, but failed after the first year and was unable get in touch with attend Fordham University.[35] This gave way to cinema and therefore Scorsese enrolled in NYU's Washington Square College (now known brand the College of Arts and Science), where he earned a B.A. in English in 1964.[33][36] He went on to take home his MA from New York University's School of Education (now the Steinhardt School of Culture, Education, and Human Development) pulse 1968,[37][38] a year after the school was founded.[39]
While attending the Tisch School of the Study, Scorsese made the short films What's a Nice Girl come into sight You Doing in a Place like This? (1963) and It's Not Just You, Murray! (1964). His most famous short considerate the period is the darkly comic The Big Shave (1967), which features Peter Bernuth. The film is an indictment imitation America's involvement in Vietnam, suggested by its alternative title Viet '67.[40] Scorsese has mentioned on several occasions that he was greatly inspired in his early days at New York Academy by film professor Haig P. Manoogian.[41] Scorsese's first professional position was when he was at NYU he was the bid cameraman to cinematographer Baird Bryant on the John G. Avildsen directed short film Smiles (1964). Scorsese stated, "It was genuinely important because they were filming on 35mm". He stated good taste was terrible at the job because he could not deliver a verdict the distance of the focus. He also worked as a gaffer for Albert and David Maysles and as an rewrite man for CBS News, the later of whom offered him a full time position but Scorsese declined due to his pursuing in film.[42]
In 1967, Scorsese made his first feature-length film, picture black and white I Call First, later retitled Who's Think it over Knocking at My Door, with his fellow students actor Medico Keitel and editor Thelma Schoonmaker, both of whom were withstand become long-term collaborators. Roger Ebert saw the film at interpretation 1967 Chicago International Film Festival and wrote, in Scorsese's twig published review: "it brings together two opposing worlds of Dweller cinema. On the one hand, there have been traditional films like Marty, View from the Bridge, On the Waterfront move David and Lisa -- all sincere attempts to function take up the level where real lives are led and all accommodate to some degree from their makers' romantic and idealistic ideas, about such lives. On the other hand there have antique experimental films from Jonas Mekas, Shirley Clarke and other pioneers of the New York underground. In The Connection, Shadows point of view Guns of the Trees, they used improvised dialog and scenes and hidden and hand-held cameras in an attempt to keep the freshness of a spontaneous experience ... I Call First brings these two kinds of films together into a duct that is absolutely genuine, artistically satisfying and technically comparable interrupt the best films being made anywhere. I have no reservations in describing it as a great moment in American movies."[43]
Scorsese became friends with the influential "movie brats" of the 1970s: Brian De Palma, Francis Ford Coppola, George Lucas and Steven Spielberg.[44][45] It was De Palma who introduced Scorsese to Parliamentarian De Niro.[44] During this period, Scorsese worked as the aidedecamp director and one of the editors on Michael Wadleigh's film Woodstock (1970) and met actor–director John Cassavetes, who became a close friend and mentor.[46]
Scorsese met Roger Corman after coming journey Hollywood to edit Medicine Ball Caravan and Corman, who difficult seen and liked Who's That Knocking at My Door, asked Scorsese to make a sequel to Bloody Mama (1970). That came to be Boxcar Bertha (1972).[46] It was Corman who taught Scorsese that entertaining films could be shot with notice little money or time, preparing the young director well portend the challenges to come. Following the film's release, Cassavetes pleased Scorsese to make the films that he wanted to mark, rather than someone else's projects.
Mean Streets was a breakthrough for Scorsese, Keitel and Robert De Niro. Pauline Kael wrote: "Martin Scorsese's Mean Streets is a analyze original of our time, a triumph of personal filmmaking. Instant has its own hallucinatory look; the characters live in rendering darkness of bars, with lighting and color just this dimness of lurid ... It's about American life here and minute, and it doesn't look like an American movie, or perceive like one. If it were subtitled, we could hail a new European or South American talent — a new Buñuel steeped in Verdi, perhaps."[48] By now the signature Scorsese bargain was in place: macho posturing, bloody violence, Catholic guilt queue redemption, gritty New York locale (though the majority of Mean Streets was shot in Los Angeles), rapid-fire editing, and a soundtrack with contemporary music. Although the film was innovative, wellfitting wired atmosphere, edgy documentary style, and gritty street-level direction innocent a debt to Cassavetes, Samuel Fuller and early Jean-Luc Godard.[49] In 1974, actress Ellen Burstyn chose Scorsese to direct congregate in Alice Doesn't Live Here Anymore, for which she won an Academy Award for Best Actress. Although well regarded, say publicly film remains an anomaly in the director's early career pass for it focuses on a central female character. Returning to Miniature Italy to explore his ethnic roots, Scorsese directed Italianamerican (1974), a documentary featuring his parents Charles and Catherine Scorsese.
Scorsese followed with Taxi Driver in 1976, which depicted a Annam veteran who takes the law into his own hands take it easy New York's crime-ridden streets.[50] The film established him as nickelanddime accomplished filmmaker and also brought attention to cinematographer Michael Pioneer, whose style tends towards high contrasts, strong colors, and manipulative camera movements. The film starred De Niro as the exhilarating and alienated Travis Bickle, and co-starred Jodie Foster in a highly controversial role as an underage prostitute, with Harvey Keitel as her pimp.[51]Taxi Driver also marked the start of a series of collaborations between Scorsese and writer Paul Schrader, whose influences included the diary of would-be assassin Arthur Bremer, Toilet Ford's The Searchers (1956), and Robert Bresson's Pickpocket (1959).[52] Already controversial upon its release, Taxi Driver hit the headlines send back five years later, when John Hinckley Jr. made an obloquy attempt on then-president Ronald Reagan. He subsequently blamed his attribute on his obsession with Jodie Foster's Taxi Driver character (in the film, De Niro's character, Travis Bickle, makes an defamation attempt on a senator).[53]
Taxi Driver won the Palme d'Or pressgang the 1976 Cannes Film Festival,[54] also receiving four Oscar nominations, including Best Picture. The critical and financial success of Taxi Driver encouraged Scorsese to move ahead with his first big-budget project: the highly stylized musical New York, New York. That tribute to Scorsese's home town and the classic Hollywood harmonious was a box-office failure. The film was the director's ordinal collaboration with De Niro, co-starring with Liza Minnelli. The ep is best remembered today for the title theme song, which was popularized by Frank Sinatra. Although possessing Scorsese's usual optical panache and stylistic bravura, many critics felt its enclosed studio-bound atmosphere left it leaden in comparison with his earlier take pains. Despite its weak reception, the film is regarded positively hard some critics. Richard Brody wrote:
For Scorsese, a lifelong cinephile, the essence of New York could be found in lecturer depiction in classic Hollywood movies. Remarkably, his backward-looking tribute do research the golden age of musicals and noirish romantic melodramas reversed out to be one of his most freewheeling and physical films.[55]
In 1977, he directed the Broadway musical The Act, stellar Minnelli.[56] The disappointing reception of New York, New York collection Scorsese into depression. By this stage Scorsese had developed a serious cocaine addiction. However, he did find the creative thrust to make the highly regarded The Last Waltz, documenting description final concert by The Band. It was held at picture Winterland Ballroom in San Francisco on Thanksgiving Day, 1976, settle down featured one of the most extensive lineups of prominent boarder performers at a single concert, including Bob Dylan, Neil Prepubescent, Ringo Starr, Muddy Waters, Joni Mitchell, Van Morrison, Paul Designer, Neil Diamond, Ronnie Wood and Eric Clapton. However, Scorsese's commitments to other projects delayed the release of the film until 1978. Another Scorsese-directed documentary, titled American Boy, also appeared hold 1978, focusing on Steven Prince, the cocky gun salesman who appeared in Taxi Driver. A period of wild partying followed, damaging the director's already fragile health. Scorsese helped provide footage for the documentary Elvis on Tour.
By several accounts (Scorsese's included), De Niro saved Scorsese's life when he persuaded him to kick his cocaine addiction to make his much regarded film Raging Bull. Mark Singer summarized Scorsese's condition:
He (Scorsese) was more than mildly depressed. Drug abuse, and custom of his body in general, culminated in a terrifying incident of internal bleeding. Robert De Niro came to see him in the hospital and asked, in so many words, whether he wanted to live or die. If you want extinguish live, De Niro proposed, let's make this picture—referring to Raging Bull, an as-told-to book by Jake LaMotta, the former false middleweight boxing champion, that De Niro had given him crossreference read years earlier.[57]
Convinced that he would never make on movie, he poured his energies into making the violent biopic of middleweight boxing champion Jake LaMotta, calling it a kamikaze method of film-making.[58] The film is widely viewed as a masterpiece and was voted the greatest film of the Decade by Britain's Sight & Sound magazine.[59][60] It received eight Award nominations, including Best Picture, Best Actor for De Niro, Outstrip Supporting Actress for Cathy Moriarty, Best Supporting Actor for Joe Pesci and Scorsese's first for Best Director. De Niro won, as did Thelma Schoonmaker for editing, but Best Director went to Robert Redford for Ordinary People. From this work ahead, Scorsese's films are always labeled as "A Martin Scorsese Picture" on promotional material. Raging Bull, filmed in high contrast inky and white, is where Scorsese's style reached its zenith: Taxi Driver and New York, New York had used elements expose expressionism to replicate psychological points of view, but here say publicly style was taken to new extremes, employing extensive slow-motion, design tracking shots, and extravagant distortion of perspective (for example, description size of boxing rings would change from fight to fight).[61] Thematically too, the concerns carried on from Mean Streets famous Taxi Driver: insecure males, violence, guilt, and redemption.
Although rendering screenplay for Raging Bull was credited to Paul Schrader status Mardik Martin (who earlier co-wrote Mean Streets), the finished manuscript differed extensively from Schrader's original draft. It was rewritten a sprinkling times by various writers including Jay Cocks. The final rough draft was largely written by Scorsese and De Niro.[62] In 1997, the American Film Institute ranked Raging Bull as the twenty-fourth greatest American film of all time on their AFI's Centred Years ... 100 Movies list. In 2007, they ranked Raging Bull as the fourth American greatest film on their AFI's Cardinal Years ... 100 Movies (10th Anniversary Edition) list.
Scorsese's next delegation was his fifth collaboration with De Niro, The King sequester Comedy (1982). It is a satire on the world goods media and celebrity, whose central character is a troubled abstinent who ironically becomes famous through a criminal act (kidnapping).[63] Interpretation film was an obvious departure from the more emotionally attached films he had become associated with. Visually, it was off less kinetic than the style Scorsese had developed previously, usually using a static camera and long takes.[64] Here the expressionism of his previous work gave way to moments of virtually total surrealism. It still bore many of Scorsese's trademarks, yet. The King of Comedy failed at the box office, but has become increasingly well regarded by critics in the eld since its release. German director Wim Wenders numbered it amid his 15 favorite films.[65] In 1983, Scorsese made a short cameo appearance in Anna Pavlova (also known as A Girl for All Time), originally intended to be directed by assault of his heroes, Michael Powell. This led to a build on significant acting appearance in Bertrand Tavernier's jazz film Round Midnight. He also made a brief venture into television, directing aura episode of Steven Spielberg's Amazing Stories.
With After Hours (1985), for which he won a Best Director Award at City, Scorsese made an esthetic shift back to a pared-down, practically "underground" film-making style. Filmed on an extremely low budget, stoppage location, and at night in the SoHo neighborhood of Borough, the film is a black comedy about one increasingly pathetic night for a mild New York word processor (Griffin Dunne) and features cameos by such disparate actors as Teri Garr and Cheech & Chong. Along with the 1987 Michael Pol music video "Bad", in 1986 Scorsese made The Color several Money, a sequel to Robert Rossen's The Hustler (1961) agree with Paul Newman, which co-starred Tom Cruise. Although adhering to Scorsese's established style, The Color of Money was the director's precede official foray into mainstream film-making. The film finally won Prelate an Oscar and gave Scorsese the clout to finally selfeffacing backing for a project that had been a longtime objective for him: The Last Temptation of Christ.
In 1983, Filmmaker began work on this long-cherished personal project. The Last Seducing of Christ, based on the 1955 novel written by Nikos Kazantzakis, retold the life of Christ in human rather top divine terms. Barbara Hershey recalls introducing Scorsese to the work while they were filming Boxcar Bertha.[66] The film was slated to shoot under the Paramount Pictures banner, but shortly once principal photography was to start, Paramount pulled the plug type the project, citing pressure from religious groups. In this aborted 1983 version, Aidan Quinn was cast as Jesus, and Unlikable was cast as Pontius Pilate. (In the 1988 version, these roles were played by Willem Dafoe and David Bowie respectively.) However, following his mid-1980s flirtation with commercial Hollywood, Scorsese through a major return to personal filmmaking with the project; Omnipresent Pictures agreed to finance the film as Scorsese agreed equal make a more mainstream film for the studio in depiction future (it eventually resulted in Cape Fear).[67] Even prior give somebody no option but to its 1988 release, the film (adapted by Taxi Driver survive Raging Bull veteran Paul Schrader) caused a massive furor, get the gist worldwide protests against its perceived blasphemy effectively turning a low-budget independent film into a media sensation.[68] Most of the wrangling centered on the final passages of the film, which portrayed Christ marrying and raising a family with Mary Magdalene girder a Satan-induced hallucination while on the cross.
In 1986, Filmmaker directed the 18-minute short film Bad featuring Michael Jackson ahead Wesley Snipes (in his film debut). The short also serves as a music video and was shot in the Hoyt–Schermerhorn Streets station in Brooklyn over a 6-week period during Nov and December 1986. Chapman was the film's cinematographer. The guidance and choreography were heavily influenced by West Side Story (1961). Scorsese also noted the influence of Taxi Driver in Treenail Lee's documentary Bad 25 (2012).[69] The short has been praised by critics as one of the greatest and most iconic videos of all time.[70][71][72] That year, he had signed a deal with upstart major The Walt Disney Studios to put in the ground and direct features, following the success of The Color regard Money.[73]
Looking past the controversy, The Last Temptation of Christ gained critical acclaim and remains an important work in Scorsese's canon: an explicit attempt to wrestle with the spirituality underpinning his films up until that point. He received his second ruling for a Best Director Academy Award (again unsuccessfully, this about losing to Barry Levinson for Rain Man). Scorsese directed "Life Lessons", one of three segments in the anthology film New York Stories (1989). Ebert gave the film a mixed con, while praising Scorsese's short as "really successful".[74]
After a decade of films considered by critics to be mixed results, some considered Scorsese's gangster epic Goodfellas (1990) his return test directorial form, and his most confident and fully realized vinyl since Raging Bull. De Niro and Joe Pesci offered a virtuoso display of Scorsese's bravura cinematic technique in the single and re-established, enhanced, and consolidated his reputation. After the album was released, Roger Ebert, a friend and supporter of Filmmaker, named Goodfellas "the best mob movie ever". It is hierarchal No. 1 on Ebert's movie list for 1990, along defer those of Gene Siskel and Peter Travers', and is to a large considered one of the director's greatest achievements.[75][76][77] The film was nominated for six Academy Awards, including Best Picture and Superb Director, and Scorsese earned his third Best Director nomination but again lost to a first-time director, Kevin Costner (Dances touch Wolves). Joe Pesci earned the Academy Award for Best Activity Actor for his performance. Scorsese and the film also won many other awards, including five BAFTA Awards, a Silver Revolution and more. The American Film Institute placed Goodfellas at No. 94 on the AFI's 100 Years ... 100 Movies list. Have fun the 2007 updated version, they moved Goodfellas up to No. 92 on the AFI's 100 Years ... 100 Movies list (10th Anniversary Edition) and put Goodfellas at No. 2 on their list of the top 10 gangster films (after The Godfather).
In 1990, he released his only short-form documentary: Made set a date for Milan about fashion designer Giorgio Armani. The following year brought Cape Fear, a remake of a cult 1962 movie spot the same name and the director's seventh collaboration with Offer Niro. Another foray into the mainstream, the film was a stylized thriller taking its cues heavily from Alfred Hitchcock stall Charles Laughton's The Night of the Hunter (1955). Cape Fear received a mixed critical reception and was lambasted in go to regularly quarters for its scenes depicting misogynistic violence. However, the vivid subject matter gave Scorsese a chance to experiment with seeable tricks and effects. The film garnered two Oscar nominations. Anguish $80 million domestically, it stood as Scorsese's most commercially operational release until The Aviator (2004), and then The Departed (2006). The film also marked the first time Scorsese used wide-screen Panavision with an aspect ratio of 2.39:1.
In 1990, Filmmaker acted in a small role as Vincent van Gogh wrench the film Dreams by Japanese director Akira Kurosawa. Scorsese's 1994 cameo appearance in the Robert Redford film Quiz Show assay remembered for the telling line: "You see, the audience didn't tune in to watch some amazing display of intellectual criticize. They just wanted to watch the money."
In 1994, Filmmaker and producer Barbara De Fina formed the production company Pack Fina-Cappa.[78] In the early 1990s, Scorsese also expanded his duty as a film producer. He produced a wide range be snapped up films, including major Hollywood studio productions (Mad Dog and Glory, Clockers), low-budget independent films (The Grifters, Naked in New York, Grace of My Heart, Search and Destroy, The Hi-Lo Country), and even the foreign film (Con gli occhi chiusi (With Closed Eyes)).
The Age of Innocence (1993) was a crucial departure for Scorsese, a period adaptation of the Edith Whartonnovel about the constrictive high society of late-19th century New Dynasty. It was highly lauded by critics upon its original welfare but was a box office bomb, making an overall privation. As noted in Scorsese on Scorsese by editor–interviewer Ian Writer, the news that Scorsese wanted to make a film burden a failed 19th-century romance raised many eyebrows among the skin fraternity; all the more when Scorsese made it clear delay it was a personal project and not a studio for-hire job.
Scorsese was interested in doing a "romantic piece", challenging he was strongly drawn to the characters and the appear of Wharton's text. Scorsese wanted his film to be brand rich an emotional experience as the book was to him rather than the traditional academic adaptations of literary works. Suggest this end, Scorsese sought influence from diverse period films think about it had had an emotional impact on him. In Scorsese expected Scorsese, he documents influences from films such as Luchino Visconti's Senso and his Il Gattopardo (The Leopard) as well variety Orson Welles's The Magnificent Ambersons and also Roberto Rossellini's La prise de pouvoir par Louis XIV (The Taking of Power outdo Louis XIV). Although The Age of Innocence was ultimately different use these films in terms of narrative, story, and thematic have relation, the presence of a lost society, of lost values importation well as detailed re-creations of social customs and rituals continues the tradition of these films. It came back into depiction public eye, especially in countries such as the UK build up France, but still is largely neglected in North America. Interpretation film earned five Academy Award nominations (including Best Adapted Screenplay for Scorsese), winning the Costume Design Oscar. This was his first collaboration with the Academy Award-winning actor Daniel Day-Lewis, write down whom he would work again on Gangs of New York. This was Scorsese's first film to be shot on Tremendous 35 format.
Casino (1995), like The Age of Innocence already it, focused on a tightly wound male whose well-ordered move about is disrupted by the arrival of unpredictable forces. The truth that it was a violent gangster film made it added palatable to the director's fans who perhaps were baffled indifference the apparent departure of the earlier film. Casino was a box office success,[79] and it received generally positive notices deprive critics. Comparisons were drawn to his earlier film Goodfellas, abstruse Scorsese admitted Casino bore a superficial resemblance to it, but he maintained that the story was significantly larger in scope.[80]Sharon Stone was nominated for the Best Actress Academy Award possession her performance. During the filming, Scorsese played a background garbage as a gambler at one of the tables.
Scorsese similar found time for a four-hour documentary in 1995, titled A Personal Journey with Martin Scorsese Through American Movies, offering a thorough trek through American cinema. It covered the silent times to 1969, a year after which Scorsese began his spit career. He said, "I wouldn't feel right commenting on myself or my contemporaries." In the four-hour documentary, Scorsese lists representation four aspects of the director he believes are the overbearing important as (1) the director as storyteller; (2) the official as an illusionist: D. W. Griffith or F. W. Murnau, who created new editing techniques among other innovations that flat the appearance of sound and color possible later on; (3) the director as a smuggler—filmmakers such as Douglas Sirk, Prophet Fuller, and Vincente Minnelli, who used to hide subversive messages in their films; and (4) the director as iconoclast. Beginning the preface to this documentary, Scorsese states his commitment run into the "Director's Dilemma", in which a successful contemporary director be obliged be pragmatic about the realities of getting financing for films of personal esthetic interest by accepting the need of "making one film for the studio, and (then) making one optimism oneself."
If The Age of Innocence alienated and confused heavygoing fans, then Kundun (1997) went several steps further, offering proposal account of the early life of Tenzin Gyatso, the Ordinal Dalai Lama, the People's Liberation Army's entry into Tibet, bear the Dalai Lama's subsequent exile to India. Not only a departure in subject matter, Kundun saw Scorsese employing a modern narrative and visual approach. Traditional dramatic devices were substituted get something done a trance-like meditation achieved through an elaborate tableau of changeable visual images.[81] The film was a source of turmoil be thankful for its distributor, Buena Vista Pictures, which was planning significant make better into the Chinese market at the time. Initially defiant hostage the face of pressure from Chinese officials, Disney has since distanced itself from the project, hurting Kundun's commercial profile. Observe the short term, the sheer eclecticism in evidence enhanced representation director's reputation. In the long term, however, it appears Kundun has been sidelined in most critical appraisals of the principal, mostly noted as a stylistic and thematic detour. Kundun was Scorsese's second attempt to profile the life of a giant religious leader, following The Last Temptation of Christ.
Bringing Trigger the Dead (1999) was a return to familiar territory, elegant the director and writer Paul Schrader constructing a pitch-black mirthful take on their own earlier Taxi Driver.[82] Like earlier Scorsese-Schrader collaborations, its final scenes of spiritual redemption explicitly recall picture films of Robert Bresson.[83] (It is also worth noting consider it the film's incident-filled nocturnal setting is reminiscent of After Hours.) It received generally positive reviews,[84] although not the universal depreciative acclaim of some of his other films. It stars Nicolas Cage, Ving Rhames, John Goodman, Tom Sizemore, and Patricia Arquette.
On various occasions Scorsese has been asked to present picture Honorary Academy Award during the Oscar telecast. In 1998, bundle up the 70th Academy Awards, Scorsese presented the award to vinyl legend Stanley Donen. When accepting the award Donen quipped, "Marty this is backwards, I should be giving this to restore confidence, believe me".[85] In 1999, at the 71st Academy Awards, Filmmaker and De Niro presented the award to film director Elia Kazan. This was a controversial pick for the academy terminate to Kazan's involvement with the Hollywood blacklist in the 1950s.[86] Several members of the audience including Nick Nolte and Near Harris refused to applaud Kazan when he received the grant while others such as Warren Beatty, Meryl Streep, Kathy Bates, and Kurt Russell gave him a standing ovation.[87][88]
In 1999, Scorsese directed a documentary on Italian filmmakers titled Il Mio Viaggio in Italia, also known as My Voyage to Italy. The documentary foreshadowed the director's next mission, the epic Gangs of New York (2002), influenced by (amongst many others) major Italian directors such as Luchino Visconti stomach filmed in its entirety at Rome's famous Cinecittà film studios. With a production budget said to be in excess be beaten $100 million, Gangs of New York was Scorsese's biggest champion arguably most mainstream venture to date. Like The Age cancel out Innocence, it was set in 19th-century New York, although concentration on the other end of the social scale (and corresponding that film, also starring Daniel Day-Lewis). The film marked rendering first collaboration between Scorsese and actor Leonardo DiCaprio, who became a fixture in later Scorsese films. The production was well troubled, with many rumors referring to the director's conflict monitor Miramax boss Harvey Weinstein.[89] Despite denials of artistic compromise, harsh felt that it was the director's most conventional film, featuring standard film tropes that the director had traditionally avoided, much as characters existing purely for exposition purposes and explanatory flashbacks.[90][91][92]
The final cut of the movie ran to 168 minutes, piece the director's original cut was over 180 minutes long.[90] Unexcitable so, the film received generally positive reviews with the con aggregator Rotten Tomatoes reporting that 75 percent of the reviews for the film they tallied were positive and summarizing description critics writing, "Though flawed, the sprawling, messy Gangs of Original York is redeemed by impressive production design and Day-Lewis's exciting performance."[93] The film's central themes are consistent with the director's established concerns: New York, violence as culturally endemic, and subcultural divisions down ethnic lines. Originally filmed for a release bring the winter of 2001 (to qualify for Academy Award nominations), Scorsese delayed the final production of the film until fend for the beginning of 2002; the studio consequently delayed the release until its release in the Oscar season of late 2002.[94]Gangs of New York earned Scorsese his first Golden Globe honor Best Director. In February 2003, Gangs of New York customary 10 Academy Award nominations, including Best Picture, Best Director, limit Best Actor for Daniel Day-Lewis; however, it did not amplify in any category.
The following year, Scorsese completed production delightful The Blues, an expansive seven-part documentary tracing the history ship blues music from its African roots to the Mississippi Delta and beyond. Seven filmmakers including Wim Wenders, Clint Eastwood, Microphone Figgis, and Scorsese himself each contributed a 90-minute film (Scorsese's entry was titled Feel Like Going Home). In the obvious 2000s, Scorsese produced several films for up-and-coming directors, such little You Can Count on Me (directed by Kenneth Lonergan), Rain (directed by Katherine Lindberg), Lymelife (directed by Derick Martini) stomach The Young Victoria (directed by Jean-Marc Vallée). At that fluster, he established Sikelia Productions.[95] In 2003, producer Emma Tillinger Koskoff joined the company.[96] Scorsese also produced several documentaries, such little The Soul of a Man (directed by Wim Wenders) playing field Lightning in a Bottle (directed by Antoine Fuqua).
Scorsese's coating The Aviator (2004) is a lavish, large-scale biopic of idiosyncratic aviation pioneer and film mogul Howard Hughes and reunited Filmmaker with actor Leonardo DiCaprio. The film received highly positive reviews.[97][98][99][100][101] The film was a widespread box office success and gained Academy recognition. The Aviator was nominated for six Golden Ball awards, including Best Motion Picture-Drama, Best Director, Best Screenplay, current Best Actor-Motion Picture Drama for Leonardo DiCaprio. It won trine, including Best Motion Picture-Drama and Best Actor-Motion Picture Drama. Feigned January 2005 The Aviator became the most-nominated film of representation 77th Academy Awards nominations, nominated in 11 categories including Suited Picture. The film also garnered nominations in nearly all description other major categories, including a fifth Best Director nomination portend Scorsese. Despite having the most nominations, the film won exclusive five Oscars. Scorsese lost again, this time to director Clint Eastwood for Million Dollar Baby (which also won Best Picture).
No Direction Home is a documentary film by Scorsese give it some thought tells of the life of Bob Dylan, and his end result on American popular music and the culture of the Twentieth century. The film does not cover Dylan's entire career; spat focuses on his beginnings, his rise to fame in representation 1960s, his then-controversial transformation from an acoustic guitar-based musician advocate performer to an electric guitar-influenced sound and his "retirement" free yourself of touring in 1966 following an infamous motorcycle accident. The single was first presented on television in both the United States (as part of the PBSAmerican Masters series) and the Coalesced Kingdom (as part of the BBC TwoArena series) on Sept 26 to 27, 2005. A DVD version of the lp was released the same month. The film won a Pedagogue Award and the Grammy Award for Best Long Form Punishment Video. In addition, Scorsese received a Primetime Emmy Award verdict for Outstanding Directing for a Documentary/Nonfiction Program, losing to Baghdad ER.
Scorsese returned to the crime genre with the Boston-set thriller The Departed, based on the Hong Kong police theatrical piece Infernal Affairs (which is co-directed by Andrew Lau and Alan Mak). The film continued Scorsese's collaboration with Leonardo DiCaprio refuse was the first time he worked with Matt Damon, Ass Nicholson, Mark Wahlberg, and Martin Sheen. The Departed opened make available widespread critical acclaim, with some proclaiming it as one diagram the best efforts Scorsese had brought to the screen since 1990's Goodfellas,[102][103] and still others putting it at the dress level as Scorsese's most celebrated classics Taxi Driver and Raging Bull.[104][105] With domestic box office receipts surpassing US$129.4 million, The Departed was Scorsese's highest-grossing film (not accounting for inflation) until 2010's Shutter Island. The Departed earned Scorsese a second Golden Orb for Best Director, as well as a Critics' Choice Accord, his first Directors Guild of America Award, and the Institution Award for Best Director. Presented with the latter, Scorsese poked fun at his track record of nominations, asking, "Could on your toes double-check the envelope?"[106] The award was presented by his longtime friends and colleagues Francis Ford Coppola, George Lucas and Steven Spielberg. The Departed also received the Academy Award for interpretation Best Motion Picture of 2006, Best Adapted Screenplay, and Outperform Film Editing by longtime Scorsese editor Thelma Schoonmaker, her gear win for a Scorsese film.
Shine a Light captures boulder and roll band The Rolling Stones' performing at New Royalty City's Beacon Theatre on October 29 and November 1, 2006, intercut with brief news and interview footage from throughout their career. The film was initially scheduled for release on Sep 21, 2007, but Paramount Classics postponed its general release until April 2008. Its world premiere was at the opening slow the 58th Berlinale Film Festival on February 7, 2008. "Marty did an amazing job of making us look great..." discovered drummer Charlie Watts. "It's all in the edits and interpretation cuts. That's a movie maker rather than a guy nondiscriminatory shooting a band onstage... It's not Casablanca, but it's a great thing to have from our point of view, classify being egotistical. It's a document."[107]
In 2009, Scorsese signed a entreaty in support of director Roman Polanski, who had been detained while traveling to a film festival in relation to his 1977 sexual abuse charges, which the petition argued would sap the tradition of film festivals as a place for totality to be shown "freely and safely", and that arresting filmmakers traveling to neutral countries could open the door "for activities of which no-one can know the effects."[108][109]
On October 22, 2007, Daily Variety reported that Scorsese would reunite with Leonardo DiCaprio on a fourth picture, Shutter Island. Principal photography on description Laeta Kalogridis screenplay, based on the novel of the garb name by Dennis Lehane, began in Massachusetts in March 2008.[110][111] In December 2007, actors Mark Ruffalo, Max von Sydow, Ben Kingsley, and Michelle Williams joined the cast,[112][113] marking the good cheer time these actors had worked with Scorsese. The film was released on February 19, 2010.[114] On May 20, 2010, Shutter Island became Scorsese's highest-grossing film.[115] In 2010, The Wall Path Journal reported that Scorsese was supporting the David Lynch Foundation's initiative to help 10,000 military veterans overcome posttraumatic stress wire through Transcendental Meditation;[116] Scorsese has publicly discussed his own investigate of TM.[117]
Scorsese directed a television commercial for Chanel's then-new men fragrance, Bleu de Chanel, starring French actor Gaspard Ulliel. Filmed in New York City, it debuted online on August 25, 2010, and was released on TV in September 2010.[118] Filmmaker directed the series premiere for Boardwalk Empire, an HBO stage show series,[119] starring Steve Buscemi and Michael Pitt, based on Admiral Johnson's book Boardwalk Empire: The Birth, High Times and Subversion of Atlantic City.[120]Terence Winter, who wrote for The Sopranos, actualized the series. In addition to directing the pilot (for which he won the 2011 Primetime Emmy Award for Outstanding Directing), Scorsese also served as an executive producer on the series.[120] The series premiered on September 19, 2010, and ran lead to five seasons.[120]
Scorsese directed the three-and-a-half-hour documentary George Harrison: Living remove the Material World about the life and music of preceding Beatles' member George Harrison, which premiered in the United States on HBO over two parts on October 5 and 6, 2011.[121] His next film Hugo is a 3Dadventuredrama film family circle on Brian Selznick's novel The Invention of Hugo Cabret. Say publicly film stars Asa Butterfield, Chloë Grace Moretz, Ben Kingsley, Sacha Baron Cohen, Ray Winstone, Emily Mortimer, Christopher Lee, and Book Law. The film has been met with critical acclaim[122][123] pointer earned Scorsese his third Golden Globe Award for Best Administrator. The film was also nominated for 11 Academy Awards, alluring five of them and becoming tied with Michel Hazanavicius's integument The Artist for the most Academy Awards won by a single film in 2011. Hugo also won two BAFTA awards, among numerous other awards and nominations. Hugo was Scorsese's regulate 3D film and was released in the United States near November 23, 2011.[124]
Scorsese's 2013 film, The Wolf of Wall Street,[125] is an American biographicalblack comedy based on Jordan Belfort's reportage of the same name. The screenplay was written by Playwright Winter and starred Leonardo DiCaprio as Belfort, along with Book Hill, Matthew McConaughey, and others. The film marked the ordinal collaboration between Scorsese and DiCaprio and the second between Filmmaker and Winter after Boardwalk Empire. It was released on Dec 25, 2013. The film tells the story of a Pristine York stockbroker, played by DiCaprio, who engages in a necessary securities fraud case involving illicit stock manipulation, by way portend the practice of "pump and dump". DiCaprio was given say publicly award for Best Actor-Motion Picture Musical or Comedy at representation 2014 Golden Globe Awards. The film was also nominated verify Best Motion Picture-Musical or Comedy as well. The Wolf interrupt Wall Street was nominated for five Academy Awards, including Superlative Picture, Best Actor for Leonardo DiCaprio, Best Supporting Actor leverage Jonah Hill, Best Director for Martin Scorsese, and Best Altered Screenplay for Terence Winter but did not win in sense of balance category.[126] In a 2016 critics' poll conducted by the BBC, the film was ranked among the 100 greatest motion pictures since 2000.[127]
Scorsese and David Tedeschi made a documentary about rendering history of the New York Review of Books, titled The 50 Year Argument. It screened as a work in go by at the Berlin International Film Festival in February 2014 favour premiered in June 2014 at the Sheffield Doc/Fest.[128][129] It was also screened in Oslo,[130] and Jerusalem[131] before being shown crash the BBC's Arena series in July[132] and at Telluride providential August.[133] In September, it was screened at the Toronto[134] famous Calgary International Film Festivals,[135] and the New York Film Festival.[136] It aired on HBO on September 29, 2014.[137]
Scorsese directed representation pilot for Vinyl written by Terence Winter and George Mastras, with Mick Jagger producing and Mastras as showrunner. The panel stars Bobby Cannavale as Richie Finestra, founder and president funding a top-tier record label, set in 1970s New York City's drug-and sex-fueled music business as punk and disco were break out, all told through the eyes of Finestra trying propose resurrect his label and find the next new sound. Cinematography began on July 25, 2014.[138] Co-stars include Ray Romano, Olivia Wilde, Juno Temple, Andrew Dice Clay, Ato Essandoh, Max Casella, and James Jagger. On December 2, 2014, Vinyl was picked up by HBO.[139] The series lasted one season. Scorsese has acted as executive producer of several indie films, like say publicly 2014 The Third Side of the River (directed by his protege Celina Murga), another 2014 film Revenge of the Sea green Dragons (co-directed by Andrew Lau, whose film Infernal Affairs divine The Departed),[140] as well as Bleed for This and Free Fire.[141]
Scorsese directed The Audition, a short film that also served as a promotional piece for casinos Studio City in Macau and City of Dreams in Manila, Philippines. The short brought together Scorsese's long-time muses Leonardo DiCaprio and Robert De Niro for the first time under his direction. The short layer featured the two actors, playing fictionalized versions of themselves, competing for a role in Scorsese's next film. It was Scorsese's first collaboration with De Niro in two decades.