81 years old, Martin Scorsese continues to think about cinema, conveys ideas through scenarios that sound like music, and still I’m not ready to stop working. He measures his life by movies, not years, and he still has his feet on the ground.
Because the New Yorker does not forget that she was lucky that Paul Newman offered to shoot with her, but there were other times when it was not so easy. “There were times when no one answered the phone“, Don’t forget.
Scorsese visits Spain after Apple Original Films’ latest film ‘The Moon Killers’; The film earned 10 Oscar nominations, including best picture, best direction and best leading actress for Lily Gladstone, who accompanied the maestro on this trip to Madrid. She didn’t go with him to the Film Academy this Friday, where he chatted about cinema with Spanish director Rodrigo Cortés.
The harsh conditions imposed by Apple, the organizer of the visit, with limited invitations and an explicit ban on audio or video recording of the event, turned the speech into an object of desire that excluded many followers, academics and academics from the event. . .
Scorsese’s ease and impeccable memory,’Moon Killers‘ in a masterclass in film history.
The American director started talking about cinema, life and music, which are almost the same for him, and eventually told anecdotes with his favorite actors Robert De Niro and Leonardo Di Caprio.
He put it in his bag during his first shoot with Al Pacino: “He repeated and repeated, I said: we have it, but he continued -laughs-. If an actor enjoys working, I leave it alone, even if there are things I won’t use, although I may use them later.“.
“I’m talking about movies, not years”
The director of the movie ‘One of Ours’ 27 movies – “If it’s 27, I’m not counting” – “each one has been a journey to create something like a universe. This also affects you in your private life. Because each one requires a different effort. I’m not talking about years, but movies.”
“I realize that I’ve explored the technique as much as I can; it has to do with camera movement and some structure in storytelling, and that’s why I’ve replaced fiction with documentaries.” Although he doesn’t really like the term, because he notes that it does to them “the same thing as in the narrated movies.”
“I am trying setting boundariesI don’t like to be constrained by what passes for narrative. The hardest thing for me is the plot, the story. Why does the public have to know everything? “I can’t follow the plot, I still don’t know what happened in ‘The Departed’ and I guess the writer doesn’t know either,” he joked, once again drawing laughter from the audience.
He has declared himself a lover of Soviet cinema since the age of 20 – in ‘One of Ours’ (…) he talks about ‘Battleship Potemkin’, which he researched. “The superimposition of images that emerged in the ‘underground’ movement of cinema in New York seemed to me to come from a working-class environment, that is, from my own environment. I had been fascinated by blackouts for years, until I read this by Otto Preminger. I hated them,” he said, returning to smile. .
“I don’t need pyrotechnics in my cinema anymore”
“There was no CGI (computer generated imagery) back then; you couldn’t ‘stitch’ shots together to look like a single image, but now you can. So, If images have no meaning, we’ll have to reinvent them. I’m trying to rethink and feel something different, I’m not interfering to show that I can do pyrotechnics with sound and camera. “I don’t need pyrotechnics in my cinema anymore,” he said.
The master’s intelligence and agility in opening himself up to new audiovisual trends are astonishing.
If audiences are going to watch a movie, let’s not upset them with long credits, he thinks, and although he’s nostalgic for those beautiful presentations – I did that with ‘Alice Doesn’t Live Here Anymore’ – that’s not the case anymore.” That’s right, it’s another world, Now audiences want the movie to start fast.”
He attaches great importance to the first scene, saying, “It’s the way it starts, the pacing, that draws you into the story: an image that has to grab the public’s attention is as risky and difficult as a good montage.”
And he described how he felt guilty at the end of ‘Assassins of the Moon’ and wanted to be the one to personally address the audience and ask for forgiveness during re-runs of radio shows with “bad scripts”. ”
“I didn’t think it would be such an emotional moment for me.”“, he said in one of his few moments of seriousness. The film is a story of the pardoned apologizing for the abuses committed against Native Americans, personified in the Osage Indians.