Scorsese Season 01 Episode 05
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Short filmTranscript
00:00:00By the time 1998 came around, again, I was at a low end.
00:00:11I was on the outside of the American film industry, so to speak.
00:00:15The last film that I got any real recognition, and that made some money at least, was Casino.
00:00:23They weren't considering me for anything, and there were certain projects I wanted to make.
00:00:30They weren't considering me for anything, and there were certain projects I wanted to make.
00:01:00And he had started his new company, and he came to me and said,
00:01:02I have this young actor in it, Lee DiCaprio, you should meet him.
00:01:05And I knew him through Bob De Niro.
00:01:08I said, watch this kid, he's interesting.
00:01:12How do you feel about being a sex symbol, as it were?
00:01:18Am I a sex symbol?
00:01:19The nominees for Actor in a Supporting Role are Leonardo DiCaprio in What's Eating Gilbert Gray.
00:01:29When did you first see one of Marty's films?
00:01:31I had done This Boy's Life with Robert De Niro, and I decided to watch Marty's entire catalog of movies.
00:01:39Certainly all the ones De Niro was in.
00:01:41I was kicking back on my couch watching VHS tapes.
00:01:46I believe you, Jerry, I'm very good.
00:01:48I'm really good.
00:01:48I'm dynamite.
00:01:51These films affected me profoundly at a young age.
00:01:56And then, after Titanic, I was no longer this indie sort of actor.
00:02:07I then became somebody that could finance my own projects.
00:02:11So it was, okay, what do you want to do?
00:02:13What do you want to do?
00:02:13I said, I want to work with Martin Scorsese.
00:02:15What does he have?
00:02:15What does he have?
00:02:16We put Leo and Marty together.
00:02:23Now, I'd met Marty, but hi and bye, right?
00:02:25But an official meeting.
00:02:27And he said he always wanted to do Gangs in New York, right?
00:02:29I was like, tell him I'll do it.
00:02:32I don't care what the script is.
00:02:33Let's do it.
00:02:33Let's do it.
00:02:35First time you found the book.
00:02:36January 1st, 1970.
00:02:38This was before you made Mean Streets.
00:02:40That's right.
00:02:41When I finished Raging Bull, I tried to get it financed, and we almost did, but couldn't get it financed.
00:02:45It was too expensive.
00:02:46He wanted to make the film for such a long time.
00:02:49I mean, it's the origin story, isn't it?
00:02:51The history of the city was fascinating to me, and the stories of the gangs.
00:02:56My father would talk about the 40 thieves.
00:02:59In effect, the society was being worked out in the streets, particularly the Five Points,
00:03:05which was termed the worst slum in the world at the time, in the 1850s.
00:03:11I thought I wanted to create that world that nobody's really ever seen before in film.
00:03:14In my neighborhood, I'd heard stories about all this for years, and I always thought what a great film it would make,
00:03:22and then I found out more about it and more about it.
00:03:25It wasn't really a city.
00:03:26It was a warring state.
00:03:27I'm my challenge.
00:03:30By the ancient laws of combat.
00:03:33I remember meeting with Daniel, and I had these images of the period, and as I opened the book, there's Bill the Butcher, and it looks just like him.
00:03:42I said, look at that.
00:03:43How could you not do this?
00:03:44All he needs is a mustache.
00:03:46Look, it's a classic.
00:03:48The historical figure was regarded as a genuine hero in the community.
00:03:54Bill the Butcher Pool lived in the Five Points and had a running battle with every Irishman he could find.
00:04:00Who holds sway over the Five Points?
00:04:02It was so prophetic, in a way, the telling of that story, because this ludicrous notion of nativism.
00:04:22You mother-whoring Irish nigger, whose man are you?
00:04:26We speak English in this country, whose man are you?
00:04:29You see this knife?
00:04:30I'm going to teach you to speak English with this fucking knife.
00:04:33I come from an immigrant group.
00:04:34I learned more and more about the welcome that the immigrants received.
00:04:40Go back to Ireland, you dumbass.
00:04:41Starting with the Irish.
00:04:43The Irish learned how to handle all this.
00:04:46They dealt with it, but they had to fight back.
00:04:51Fighting against the know-nothing.
00:04:53And the wide awakes.
00:04:56Which are names like now the Proud Boys.
00:05:01The Irish had to fight for their place.
00:05:04Archbishop Hughes, the firebrand.
00:05:06He said, you burn one Catholic church, we're going to burn the other Protestant churches.
00:05:10I mean, they had to fight back.
00:05:12They fought along the brick wall between Mulberry and Mott.
00:05:15Growing up, we were hanging out on their gravestones.
00:05:19So this was the ancient world to us.
00:05:22It looks like New York.
00:05:24It's great.
00:05:25It's like the science fiction in reverse.
00:05:27This is it.
00:05:28This is the five points here.
00:05:30Our vision was to create all of downtown New York at Chittichita Studios because of the
00:05:35Fellini films and Pasolini films that were made there.
00:05:38That meant so much to me, and I remember George Lucas coming down to see me, and he said, no one will ever make a picture like this again.
00:05:48This set will never be built like this again, these sets.
00:05:51You know, this was a multi-million dollar epic where they recreated turn of the century New York.
00:05:58And the sheer responsibility of that is like, oh my God, be careful what you wish for.
00:06:02This is an intimidating experience.
00:06:04This is the liver, the kidneys, the heart.
00:06:11Daniel and Marty had worked together beforehand, and I remember walking in the first day on set, and they were discussing how to cut the meat.
00:06:20And Daniel had a real butcher with him.
00:06:23And they spent quite a few hours while the whole set was sitting there talking about whether it would be chop or loin.
00:06:31This is a kill.
00:06:33This is a kill.
00:06:36In an artery, this is a kill.
00:06:40You try.
00:06:42That actor-director, intense collaboration I'd never seen to that degree before in my life.
00:06:50Martin is searching, and if you want to go further, he will always encourage you to go further.
00:06:55That he's just so full of glee, so full of encouragement, just to see how far you can take a thing.
00:07:06Whoopsie-daisy!
00:07:07And didn't you, isn't that the time you broke your nose?
00:07:11Yeah.
00:07:14There was so much blood all over my face that you couldn't really tell that most of it was my...
00:07:19It was all my idea.
00:07:21It was my own fault, so I paid the price for it, I suppose.
00:07:25What will it be then?
00:07:26Rib or chop?
00:07:28Loin or shank?
00:07:29I'll never have to go!
00:07:30Let's go!
00:07:36I've been so obsessed with that project for so many years that I put everything into it.
00:07:41And that meant going toe-to-toe with Harvey Weinstein.
00:07:43Harvey, he was a salesman and a thug.
00:07:50He's not an artist.
00:07:52But he wanted to be invited to the artist's table.
00:07:56And this was his way in.
00:07:58But Murray, he is so committed to getting it done.
00:08:01He's been able to work with these very difficult producers.
00:08:06And that's a great talent.
00:08:08Because you can't make these big movies unless you have that kind of finance.
00:08:15He loved cinema.
00:08:16And he wanted to make it spectacular in the style of the 50s and 60s in terms of David Lean.
00:08:23And so did I, to a certain extent.
00:08:24But I do it my own way.
00:08:27I wanted to make something that had as much authenticity as possible, from what I can understand.
00:08:32From what I've been studying over the years and researching.
00:08:35He also needed to sell a picture.
00:08:38And the worst thing for him were the hats.
00:08:41He didn't want anybody wearing hats.
00:08:42Everybody wore hats.
00:08:43Everybody wore hats.
00:08:45What do you want from me?
00:08:46Everybody wore hats.
00:08:49Hey, just want to see your face, son.
00:08:52No harm intended.
00:08:53But at the same time, he didn't want to turn off the audience to something that looked alien.
00:08:59Or not beautiful.
00:09:00Yeah, exactly.
00:09:02You got a beautiful man.
00:09:03You got beautiful women in there.
00:09:04You want people to see them.
00:09:08You have to work with it.
00:09:10You're making a film together.
00:09:12And also, they're going to give you the money.
00:09:16It's bartering.
00:09:17It's bartering.
00:09:19Because you see that or not get the film made.
00:09:21When you go into this work, you give birth to yourself into a world of conflict and corruption
00:09:31that will always be that opposition between money, where the power is,
00:09:38and the creative people who are trying to tell stories with that money.
00:09:44I was shooting it a certain way, according to the way I made my drawings.
00:09:50You know, so it took me a little longer.
00:09:53So, Harvey got furious.
00:09:55He said, it's costing too much.
00:09:57And the studio, they didn't want to pay for some of it.
00:10:01I had to really focus on what I wanted to shoot, what I thought was important,
00:10:05in order to get control of what was remaining of the production.
00:10:08The pressure was so strong.
00:10:12But Martin's a cage fighter.
00:10:15He'll be the last one standing.
00:10:21I fought to get what I needed.
00:10:23But I had a weakness, which was that I kept changing the script.
00:10:27To this day, I don't have the story done.
00:10:30There was a lot of discussion about the screenplay.
00:10:33It definitely continued to evolve.
00:10:37In some cases, making it up has went along.
00:10:39In which case, a man, you know, people in charge will come in and say,
00:10:42what are you doing?
00:10:44There were a few writers drifting around.
00:10:47One of them was a spy for the Weinstein camp.
00:10:51And he was spying.
00:10:54Spying.
00:10:56Reporting back all our sort of misdemeanors and everything.
00:10:59But anyhow, Martin lost it at one point and threw his desk out of the window.
00:11:06It was on the third floor, as I remember it.
00:11:09I go in and I see these desks and I took the desk and fostered over.
00:11:14And his wife, the other associate with me, he said, that's not his desk.
00:11:23It was just volatile.
00:11:24You know, everybody was, um, it was tough.
00:11:32Martin Scorsese's long-anticipated epic Gangs of New York opens all across the country.
00:11:37Hello.
00:11:37Hello.
00:11:38How are you?
00:11:38The film went way over budget.
00:11:40I did have everything on the line, so I really did everything I could to get the publicity out there.
00:11:46Now, of course, the real reason Marty's here is to try and make some of that precious money back.
00:11:52Now, I don't even know what really sells the film.
00:11:55Apparently, being on television, talking about the picture, seeing that you're, you're, you know, you're friendly.
00:12:01Yeah.
00:12:03Gangs of New York opens next Friday.
00:12:05Please welcome Martin Scorsese.
00:12:08Luckily, they did very well.
00:12:11This was a big movie in terms of box office.
00:12:14And the critics, they loved it.
00:12:17But Gangs was something, was an obsession.
00:12:21And it was something that, uh, even if I got it done, it's never done.
00:12:26It just isn't done.
00:12:27It still isn't done.
00:12:28So, as far as I'm concerned, you know what, let's, it's, I, I got it out as best I could under these circumstances.
00:12:35Put it to rest.
00:12:36Take a deep breath.
00:12:37And that's what I finally was able to do.
00:12:41Because at that point in time in my life, I found a kind of steadiness.
00:12:47And that was Helen.
00:12:50Helen made contact with me before we ever met.
00:12:53She gave me this, sent me this book.
00:12:56This prayer book.
00:12:57There's a letter in it.
00:12:59I hadn't, I didn't know her.
00:13:00Sort of a fan.
00:13:02And I was, isn't that amazing?
00:13:03Because a year later we met, you know, and 10 a year after that, we met even more.
00:13:11I met Helen working in a book about the great British director, Michael Powell.
00:13:16I knew Helen when she was an editor at Random House.
00:13:19Helen was one of the great Random House editors.
00:13:21The young poet who lives in the, in a society that's been totally taken over by money and technology.
00:13:27And Helen is, you know, worlds away from where Marty grew up.
00:13:35You know, her great-great-great-grandfather signed the Declaration of Independence.
00:13:38She's from that world.
00:13:39So it was a different, different world.
00:13:41And it was sort of a fabulous union.
00:13:46Out of that came Francesca.
00:13:50November 16th, 1999.
00:13:53She was quite early.
00:13:54Like, I think, five weeks early.
00:13:56Oh, my gosh.
00:13:56Yeah, yeah.
00:13:59Well, we almost lost both of them.
00:14:01Um, at four in the morning.
00:14:05She had me at, like, 52.
00:14:07And it was a very difficult pregnancy.
00:14:11And so I was sort of, like, they called me their miracle baby.
00:14:14What a big girl.
00:14:17What a big young girl.
00:14:20Everything changed.
00:14:21My dad was just always, like, there for me.
00:14:28I remember him reading all of these books to me when I was younger.
00:14:31He read me the Bible.
00:14:32Every night, he would go up and read more and more.
00:14:35When he was younger, I think that he was just very impulsive.
00:14:40He was just trying to find his way.
00:14:42And I think he found that with my mom.
00:14:44But it took him a minute.
00:14:49After going through the purgatory of gangs in New York, I said, I want to make a movie now.
00:14:53I want to do something and feel free and make something spectacular, in a way.
00:15:00Start him out!
00:15:02And that's when the script of Aviator landed in my lap.
00:15:06Leo had this, read this Howard Hughes book.
00:15:08We had a really good, good script.
00:15:10It was about filmmaking, and the aviation, and a love story between Katharine Hepburn and him.
00:15:18And I thought, wow, Hollywood of the 20s and 30s.
00:15:21My God.
00:15:22The airplane sequences, action filmmaking.
00:15:27God damn it.
00:15:29The Aviator would be like, if I could be the director who just came in and did something.
00:15:34But, it has all these elements that I like, and that I can identify with.
00:15:38Why the hell do they look so slow?
00:15:40This isn't what it was like up there.
00:15:42They look like a bunch of god damn models.
00:15:46You could feel an affinity that Marty had with the character of Howard Hughes.
00:15:52Son of a bitch.
00:15:53He deeply understood the scale of his ambitions.
00:15:58Don't tell me it can't be done.
00:16:00The gyro forces are too much here.
00:16:02You send these planes into simultaneous firewalls, and then we'll make it, Howard.
00:16:05The god damn climax of the picture, Frank, all right?
00:16:06You make it work.
00:16:07The feeling of when he opened the script, and there's the movie Hell's Angel that Howard
00:16:11is directing.
00:16:12It says, year three.
00:16:14I think he certainly said, wow, this is my kind of guy.
00:16:17He would not stop until he got everything perfect.
00:16:20Howard Hughes is now editing some 25 miles per film.
00:16:25He's as obsessive as Howard Hughes.
00:16:27Marty's incredibly obsessive.
00:16:30Very meticulous.
00:16:31Not enough.
00:16:32Not enough.
00:16:34These rivets have to be completely flush.
00:16:36I want every screw and joint count or something.
00:16:39He has these storyboards in his mind.
00:16:42Sometimes they're insanely elaborate, where there's a certain scene that he is attached
00:16:48to shooting from every possible angle.
00:16:50I remember during the aviator, flying the Spruce Goose for the first time, hand on lever, face.
00:16:58Then hand on lever, right eyeball.
00:17:00Hand on lever, left eyeball.
00:17:02A cute close-up on my eyeballs.
00:17:05Above the head, wide shot.
00:17:07And it'd just be power coming up for two days.
00:17:09To the point where I almost felt like I was losing my mind.
00:17:15Oh, God.
00:17:16I'm going crazy.
00:17:18Howard Hughes is a megalomaniac, and also a genius of what he did.
00:17:22He has this little flaw in him, which takes him down.
00:17:28It's a lot to do with control.
00:17:29Right there, Bob.
00:17:31And in controlling...
00:17:33He missed it right there.
00:17:34How far do you go with control?
00:17:36Can you control everything?
00:17:39Did you get a sense that you might make more movies with Leo yet?
00:17:43Yeah, because we went through a long journey on that one.
00:17:46You know, you learn how to work with each other.
00:17:49On Gangs in New York, I just remember there was like, you know, okay, this is our first
00:17:52time working together.
00:17:53At that age, I think I was really possibly annoying with my questioning.
00:17:58I was asking about the ending of my character's motivation was...
00:18:02There was this point and this look in his eye where he's like, uh-huh.
00:18:09Mm-hmm.
00:18:10Mm-hmm.
00:18:11No, okay, okay.
00:18:12I got it.
00:18:13I got it.
00:18:14Then it took me a while after Gangs to realize he's letting you find these things for yourself.
00:18:21I like the desert.
00:18:22I remembered one specific scene.
00:18:25My character, who has OCD, is locked away in his screening room.
00:18:29People want to get him out of the screening room.
00:18:31And they send Captain Hepburn to talk to him.
00:18:33Howard, unlock this door immediately.
00:18:39But he can't see her.
00:18:40He can't let her in because of these imaginary germs that exist.
00:18:45I can't, sweetie.
00:18:46I remember I'd done 10, 20, maybe 30 takes.
00:18:50And something was dreadfully wrong.
00:18:51I don't know what it was.
00:18:52And he just had this look on his face.
00:18:54And he didn't want to tell me what to do.
00:18:56But it was, he basically said, something's wrong here.
00:18:59And this is not working.
00:19:02He kept playing on, oh, please, I need you.
00:19:06Oh, please, I'm suffering so much.
00:19:09Do you want her to come here?
00:19:10No.
00:19:10I said, don't, don't.
00:19:12And, you know.
00:19:14I can hear you, Katie.
00:19:15I could always hear you.
00:19:20Even in the cockpit with the engines on.
00:19:24That's because I'm so goddamn loud.
00:19:28And I realized, oh.
00:19:30Right.
00:19:31This is about becoming a man.
00:19:33I'm glad for you, Kate.
00:19:36Go away now.
00:19:37Would you do that?
00:19:38I do care about you.
00:19:39I do love you.
00:19:40But just not right now, sweetheart.
00:19:42Go away.
00:19:44Just for now.
00:19:45I'll see you soon.
00:19:46I was like, wow.
00:19:47That had never occurred to me.
00:19:49But it wasn't something that he told me to do.
00:19:51It was something that he knew instinctively was wrong.
00:19:55But he didn't want to tell me how to play it.
00:19:57He wanted me to find it for myself.
00:20:02It was a good shoot.
00:20:03And people really liked it.
00:20:06It was nominated for the Oscars.
00:20:08We got 11 Academy Award nominations.
00:20:10Yeah, it doesn't mean that.
00:20:11It doesn't mean that.
00:20:12We got a gaudy number of nominations.
00:20:15And there was a light shined on the fact that Marty never won.
00:20:19Martin Scorsese is an American master who has never won an Oscar for Best Director.
00:20:24Taxi Driver, Raging Bull, Goodfellas.
00:20:26The list goes on and on.
00:20:27No Oscar.
00:20:28I noticed that.
00:20:29Yeah.
00:20:30Mean Streets, who was completely ignored by Hollywood.
00:20:34Taxi Driver was even worse.
00:20:36It was very, very nasty.
00:20:38Schrader wasn't nominated.
00:20:39No was I.
00:20:40Raging Bull was different.
00:20:41Everyone thought Marty was going to win for Raging Bull.
00:20:43So that's why they had King the Door come out to give it to him.
00:20:46Because they knew he was like a mentor to Marty.
00:20:50And the winner is Robert Redfield.
00:20:53He should have had a bundle of Best Director awards.
00:20:57He got quite a few nominations.
00:20:59Very 11.
00:20:59Kevin Costner.
00:21:02Yes.
00:21:02Gangs was wonderful because we had 11 nominations.
00:21:06We lost all of them.
00:21:08It was for Roman Polanski.
00:21:11With Aviator, I thought maybe this time they were going to give him an Oscar.
00:21:17I'm, you know, looking forward to it with trepidation.
00:21:21Let's face it.
00:21:22This is a big picture.
00:21:23This is the kind of picture that the Academy hopefully will recognize.
00:21:25There's no doubt about that.
00:21:26If it would have come now, that would be really something very special.
00:21:30It was the first Academy Awards I'd ever gone to.
00:21:33And I was sitting right behind them.
00:21:36I remember it was like, Cate Blanchett wins.
00:21:38Cate Blanchett in the A-Brain.
00:21:40But Miss Spoonmaker wins.
00:21:41This is really as much yours as it is mine, Marty.
00:21:45Costume wins, right?
00:21:46Everything's winning, winning, winning.
00:21:47And the Oscar goes to...
00:21:52Clint Eastwood, $1 million baby.
00:21:56How badly do you want to get an Oscar for Duet, though?
00:21:58Me, personally, the time is gone, I think.
00:22:06I think it's partially because of violence, but also because he's very much against hitting anything on the nose.
00:22:15He doesn't want to tell you what to think, which a lot of movies do.
00:22:18A lot of movies tell you what to think.
00:22:20He doesn't want to do that.
00:22:21He wants you to feel it.
00:22:22Lack of moral closure is his signature as a filmmaker.
00:22:25He's not really interested in telling you the moral of the story.
00:22:33His movies are about the stuff without analysis that we will never understand about ourselves.
00:22:39But he puts it out there.
00:22:40He just says, this is how I feel.
00:22:42This is what I'm feeling right now.
00:22:43And he puts these characters out there.
00:22:45And we get to sort it out.
00:22:46We get to make sense of it.
00:22:47And it's like, I remember New York, New York.
00:22:51When I was doing the ending, I had them walk away from each other.
00:22:55And George Lucas looked at it.
00:22:56He said, well, there's another $10 million at the box office if they're together.
00:23:00He's right.
00:23:01He's dead right.
00:23:02But I can't say that I'll give you a happy ending.
00:23:07I don't know.
00:23:09And so, you know, Hollywood don't belong there.
00:23:12I don't have that mindset as much as I admire.
00:23:16There's so much a part of me that wanted to be that.
00:23:18But I don't come from that sort of thing.
00:23:20I don't know what the hell I, you know, I do what I do.
00:23:23Yeah, go ahead.
00:23:24Next time.
00:23:26All right.
00:23:27That's good, kids.
00:23:28That's very good, kids.
00:23:29Okay.
00:23:30Okay.
00:23:32I got this script, and it really got me.
00:23:39It was this crazy gangster thing that you brought in.
00:23:42And it's about, it's about informers.
00:23:45And based in the Boston, the world of Boston police and Boston underworld.
00:23:51Jack Nicholson plays the gangster.
00:23:55And it's, I guess it's like the other movies I made.
00:23:58And Jack, I know him over the years, but we never worked together.
00:24:04When I gave him the script, he called me back.
00:24:07He said, first thing he said was, give me something to play.
00:24:11And I realized, of course, the character, the way it was written, was pretty much, I'm the boss.
00:24:17You know, first thing he was, oh, we'd be elegantly dressed.
00:24:19Well, not.
00:24:20Let's not go there.
00:24:21Let's make him bearish.
00:24:23A man could look at anything and make something out of it.
00:24:28Departed.
00:24:29It's a lot to do with moral conflicts and a sense of trust in who you can trust.
00:24:33Because by that point, we had gone to war on the basis of trumped-up charges.
00:24:39The Iraqi regime has plotted to develop anthrax.
00:24:43It was called a moral ground zero.
00:24:45And nuclear weapons.
00:24:46And Departed reflects that.
00:24:48Everybody's informing on each other.
00:24:51He is giving information to the FBI.
00:24:54I was going to talk to the FBI.
00:24:57Do they know who I am?
00:24:58Because, you know, I think they have enough morality to know they're immoral.
00:25:03And Departed, it's even beyond amoral.
00:25:10And we had the test screening in Chicago.
00:25:13It couldn't have gone better.
00:25:13It was like a rock concert.
00:25:14They were laughing in the right places, screaming in the right places.
00:25:21It was one of the great experiences of my life.
00:25:24That one night.
00:25:27But then the studio came in, they didn't like it.
00:25:30They really wanted one of them to live.
00:25:34Yeah.
00:25:34They felt that Billy, Leo's character, should live.
00:25:38Marty was adamant that could not happen.
00:25:40I said, well, why would they want one to live?
00:25:42And said, well, they have a franchise.
00:25:42That didn't go well.
00:25:45That didn't go well.
00:25:46Marty just said, you don't want him to die at the end.
00:25:50Well, you know, when I read this script, that's what I really love most about it.
00:25:54They all died.
00:25:55I thought that was great.
00:25:56And I thought, I want to make this movie.
00:25:58Me, Marty, Marty Scorsese.
00:26:00Are you sure that you want Marty Scorsese to make this movie?
00:26:03Everybody was laughing by that time.
00:26:06Point one.
00:26:07And he got his ending.
00:26:09Just fucking kill me.
00:26:10It isn't like, oh, we won.
00:26:13We beat you.
00:26:14It wasn't that.
00:26:15It was just sad.
00:26:17I am killing you.
00:26:18The studio just didn't like the picture at all.
00:26:22They wanted the franchise.
00:26:23I get it.
00:26:24I get it.
00:26:24I get it.
00:26:25And I couldn't give it to them.
00:26:28And I wouldn't give it to them.
00:26:29And they really were mad at me.
00:26:31I felt terrible about all that.
00:26:32I realized, look, there's no way I can make films with studios anymore.
00:26:36But we were nominated for the Oscars.
00:26:40I was surprised.
00:26:42Because it's a tough, crazy, nasty movie.
00:26:45The three of us are here because we know what a great feeling it is to win an Academy Award for directing.
00:26:52Oscar night of The Departed.
00:26:54You know, you have Francis and Stephen and George Lucas, who he grew up with in the business, presenting the award.
00:27:01I'm like, what's going on?
00:27:02And the Oscar goes to Martin Scorsese.
00:27:31Please.
00:27:32Please.
00:27:35Could you double check the envelope?
00:27:39I mean, I'm overwhelmed with this honor of the Academy.
00:27:43I mean, also, I was totally surprised by the acceptance of that particular film.
00:27:48But the problem was I kept showing up.
00:27:51And where's the wood around here?
00:27:54They kept looking around saying, he's here again.
00:27:55What?
00:27:55Oh, no.
00:27:56So many people over the years have been wishing this to me.
00:27:58Some strangers, you know, I go, I went walking in the street.
00:28:00People say something to me.
00:28:01I go in a doctor's office.
00:28:02I go in a whatever.
00:28:04Elevators.
00:28:04People saying, I wish you should win.
00:28:05You should win.
00:28:06I go for an X-ray.
00:28:07You should win one.
00:28:07And I'm saying, thank you.
00:28:09Yeah, I don't know what happened, quite honestly.
00:28:12I really don't know.
00:28:12But it happened.
00:28:15When your name was called, was the word finally is what popped into your mind?
00:28:23It's a good question.
00:28:24In a funny way, thank God I hadn't received it earlier.
00:28:26Because I think my own weakness of hubris would have come into, kicked in.
00:28:31I don't know if I was strong enough if I had gotten it before, quite honestly.
00:28:34You know, and I'm glad that it went this way.
00:28:36And when I saw that smile on his face, Stephen's face, I said, oh, you know, something's up, you know.
00:28:44But I'm glad, I'm glad, I'm glad it's taken this long.
00:28:46It's been worth it.
00:28:47Formally, with the departed, the movie business, in a sense, came to him.
00:28:57He's making these movies that keep him going, and Leo has this lucky confluence of talent and commercial viability
00:29:11that gave Marty a commercial foothold that he never really had.
00:29:18It's a rare thing to have somebody who's this popular and is this good.
00:29:27He wasn't afraid, he just kept going into these areas, you know.
00:29:32And he had no limit that way.
00:29:36The emotional nature of what developed in departed, that was a key.
00:29:41And having done that, we decided we wanted to do one more picture together.
00:29:48It was a tough screenplay to crack, because it was existential, and it had to do with dreams.
00:29:54It's okay.
00:29:59And one's own nightmares entering the mind of somebody that was clinically insane, but the audience didn't know it.
00:30:06It was this insane collage of different things that were happening and different characters coming in and out.
00:30:14Tell me how they got you here.
00:30:15They knew.
00:30:16Hey, don't you get it?
00:30:19Everything you were robbed of, your whole planet, this is a game.
00:30:24All of this is for you.
00:30:27You're not investigating anything.
00:30:29You're a fucking rat in a maze.
00:30:32It was a very disturbing movie to make.
00:30:35We didn't know whether we were telling the truth of the story, or was it imagination?
00:30:40Was it a fantasy?
00:30:41Was it an illusion of his?
00:30:43We didn't know anymore.
00:30:44As the actors went through their dialogue and realized, wait a minute, this line can mean three different things.
00:30:50It just made me, I had a, I had a, I had a kind of, uh, um, prolonged panic attack.
00:31:01Come on.
00:31:02I could not take a shirt off, I could not take a shirt off, a hanger to put it on.
00:31:07I'd start to feel as if it was going to get a heart attack.
00:31:09And then I sat down, and you feel like you're going to get, you can't breathe, and you can't, and it would happen, uh, oh, many times during the day.
00:31:23And you weren't able to work.
00:31:24It was like a semi-breakdown of some kind, because the world had put me in.
00:31:33I wanted to get out of there.
00:31:34I do remember his mood shifting dramatically.
00:31:40It was almost like one of those Peanuts characters where they have a rain cloud over them.
00:31:45I understand it very well.
00:31:46It's a very isolating experience making a movie.
00:31:49You're in your own head thinking about, you know, one single project day in and day out.
00:31:56That's why he's such a good director, you see, because he's living it.
00:32:00He's feeling the pain, and, um, very intensely.
00:32:06You can tell that he gets so wrapped up in these movies.
00:32:11You know, you can see he's almost like a method director in that regard.
00:32:15I've seen pictures of him on the set of Goodfellas or Casino, where he's dressed up like a, like a gangster.
00:32:22You know, I've seen pictures of him on the set of Alice, and he's dressed in, like, a cowboy shirt.
00:32:27You see that in almost every movie.
00:32:31He's aligning himself with the work, and it's dangerous to do that.
00:32:35It's totally dangerous.
00:32:37When we did Shudder, that one went deeper for some reason.
00:32:41I don't know if it's a good or bad movie.
00:32:42I'm just saying it went deeper.
00:32:44And maybe things in my personal life are working a certain way, too.
00:32:50You know, people are sick.
00:32:52Your child is growing.
00:32:53You're getting older.
00:32:54There's, there's, uh, responsibilities now of a certain kind that you hadn't thought about.
00:32:59Um, all of this coming together.
00:33:02That, um, you know, the fear takes over and grabs at you, you know.
00:33:08And so that really did something.
00:33:12Finally got out of it.
00:33:14He finally got out of it.
00:33:15How did he get out of it?
00:33:16We finished it.
00:33:18Working with him on a number of different films.
00:33:20I don't take any of it personally.
00:33:22But, yeah, he was in a, he was in a, he was in a, in the worst mood doing that movie.
00:33:28And then the best mood doing Wolf of Wall Street.
00:33:31One, two, three!
00:33:35My name is Jordan Belfort.
00:33:38Not him.
00:33:39Me.
00:33:40That's right.
00:33:41For the first time, we were given the opportunity to do a large-scale film about debauchery and excess.
00:33:48This time period, the late 80s, early 90s, Wall Street, it was like a Roman Empire, gone Orion.
00:33:55It was almost like a modern-day Caligula.
00:33:58It's about these types of people that are completely focused on capitalism and making more money.
00:34:06Money doesn't just buy you a better life, better food, better cars, better pussy.
00:34:11It also makes you a better person.
00:34:13And it was real.
00:34:15A real person.
00:34:16He said, he's showing you his house.
00:34:19And he comes out, he has a glass of orange juice or whatever.
00:34:23I take quaaludes 10 to 15 times a day for my back pain.
00:34:27He asked, what do I do with the glass of orange juice?
00:34:29He said, toss it away.
00:34:32You don't care about the orange juice.
00:34:35We pitched it to every studio.
00:34:39No one could agree on the version that Leo and Marty wanted to make.
00:34:42They were passing on it for whatever reason.
00:34:44And I think it had something to do with the, you know, some of the content.
00:34:49But everyone looked at us like we were crazy.
00:34:52But Leo was able to get it financed independently.
00:34:56And so we were unencumbered by major studio issues, executives that just don't like what you're doing from the very beginning.
00:35:07I said, they're giving us this opportunity to do whatever we want.
00:35:11Let's go for it.
00:35:12He's like, absolutely, kid.
00:35:13Let's do it.
00:35:14Let's roll the dice.
00:35:16Can you give one example?
00:35:17I mean, yeah.
00:35:18I mean, the opening sequence, it's, you know, it's a woman's buttocks.
00:35:23And I have cocaine.
00:35:25And I'm...
00:35:27Oh, yeah.
00:35:28Oh, you like it?
00:35:29We wanted to push the boundaries almost to the point of being absurd at times.
00:35:35You would come into work and there would be a monkey on roller skates or there would be a naked marching band.
00:35:40Just insanity all around you.
00:35:42It was crazy and chaotic and fun and debauchery.
00:35:45Oh, God.
00:35:47Fuck off, Rocky.
00:35:48Definitely amongst the cast, the feeling of, like, everyone was trying to one-up each other.
00:35:52You know, someone would be like, I heard Jonah just ate a goldfish in his scene.
00:35:57And then you'd see someone kind of being like, he did?
00:36:00And you could see their brain ticking of, I'm going to do something crazier than that.
00:36:03Go, go, go, go, go, go, go, go, go, go.
00:36:06That sense of anything goes.
00:36:09Once Leo comes in and he tells Marty, hey, remember one time Jordan Belfort told me a prostitute stuck a candle up his ass?
00:36:17And I'm like, oh, that's funny.
00:36:19Very funny.
00:36:20Wow, yeah.
00:36:21And then I realize he's actually proposing to do this.
00:36:24Venice.
00:36:25There's Leo, and I'm lining up a shop.
00:36:28Leo's bucked with a cambo.
00:36:31Owie, owie, ah.
00:36:33All you'd hear is this.
00:36:36Off camera all day long.
00:36:41He was 70 when we did Wolf of Wall Street,
00:36:44and we were doing sometimes like 20-hour days.
00:36:47He just goes and goes and goes,
00:36:50and he's laughing, and he's so free.
00:36:53If you're passionate about a way to play a scene
00:36:56or a different direction in which the movie should go,
00:36:59and I'm like, let's change this entire scene.
00:37:01He's like, okay, let's give it a try.
00:37:03He and Leo are just incredible collaborators,
00:37:07but I never felt excluded from it.
00:37:09I remember this big sequence.
00:37:11We rewrote it the night before.
00:37:13Leo, Marty, and me went into a room,
00:37:15and we're like, oh,
00:37:17oh, we're shooting that scene tomorrow
00:37:18where my character comes in and asks for a divorce,
00:37:20and like, it feels a bit,
00:37:23it doesn't feel right now
00:37:24that she just comes in and asks for a divorce
00:37:26and then disappears from the movie.
00:37:28And we pulled the books out and all that kind of stuff,
00:37:30and okay, what if this happened
00:37:31and this happened and this happened?
00:37:32We did that till like 3 in the morning.
00:37:34What happened in the script originally,
00:37:36I think I came in, put down divorce papers
00:37:38and said I want a divorce,
00:37:39and then that was kind of it.
00:37:40And what it ended up being is that we...
00:37:45Oh, God.
00:37:46Oh, God.
00:37:49Oh, God.
00:37:51Oh.
00:37:52Jordan and Naomi are on the bed.
00:37:54They end up having this like really strange sex.
00:37:58Oh, baby.
00:38:00That was so fucking great.
00:38:02Oh, God.
00:38:03They finish, and she's just like hating him.
00:38:05That was the last time.
00:38:08When you made me.
00:38:10I mean, that was the last time we ever had sex.
00:38:14She's like, I want a divorce,
00:38:16and he's like, what?
00:38:17And then she's like,
00:38:17and they get him to a massive fight.
00:38:19I got news for you,
00:38:19and you're not fucking taking my children
00:38:21and your vicious fucking cunt.
00:38:24Fuck you, you fucking bitch.
00:38:25We were not afraid to do certain things in that film,
00:38:29including domestic violence,
00:38:32which everyone said,
00:38:33don't do it, don't do this now.
00:38:34It's going to go all the way with this guy.
00:38:36It's what happens.
00:38:38She gets in the lane, punches her.
00:38:39Why don't you fucking touch me?
00:38:43Sweetheart.
00:38:44I'm not a trick.
00:38:45Daddy, you all right?
00:38:46He's now in a coke rage.
00:38:47He runs out, goes to grab our daughter,
00:38:49grabs her.
00:38:50I'm chasing after.
00:38:53I'm banging down the door,
00:38:55and then he starts the car.
00:38:58I get a chrome bar, smash that.
00:39:05And so, yeah, slightly different than what it was originally going to be.
00:39:19And that was the night before.
00:39:20It's just, yeah, it was crazy.
00:39:25The way he was able to portray these characters
00:39:30and be so honest about the dark side of the human condition,
00:39:35Marty thinks that there's those parts to all of us.
00:39:38And I don't think he judges them.
00:39:42And he has no fear when it comes to exploring that dark side.
00:39:47It's meant to be provocative.
00:39:56I'm sorry, it just is.
00:39:57It's meant to be provocative.
00:39:58Because all we care about is getting fucking rich.
00:40:01Because that's who we are.
00:40:03That is who we really could be.
00:40:05We have to accept that part of human nature
00:40:07is to take what the other person has
00:40:10instead of sharing.
00:40:11Name of the game?
00:40:13Move the money from your client's pocket
00:40:14into your pocket.
00:40:16Right.
00:40:17But if you can make a client's money at the same time,
00:40:19it's advantageous to everyone, correct?
00:40:22No.
00:40:23The problem is the glamour of it.
00:40:25The glamour of being able to do anything you want
00:40:27because you know how to screw people over for money.
00:40:30Ow!
00:40:32But it's not about money.
00:40:34It's not about sex.
00:40:35And it isn't about what the woman wants.
00:40:38It's what the man wants in his power.
00:40:39It's about power.
00:40:41It's always about power.
00:40:45The Wolf of Wall Street controversy
00:40:47happened in the social media era.
00:40:51It was argued out minute by minute online.
00:40:54But by the time the movie came out
00:40:57and played its run,
00:40:59a lot of people went.
00:41:03There's such an indecency
00:41:05about the way they behaved about money
00:41:06and what they've done to people.
00:41:08The film should be that way.
00:41:09It should reflect that state of mind.
00:41:11We wanted to make a portrait of, you know,
00:41:14our culture today.
00:41:17The Wolf of Wall Street was a huge...
00:41:19Yes, it was.
00:41:21Yeah.
00:41:21Somehow we understood how screwed up everything was.
00:41:26And we were just watching this unfold.
00:41:27A lot of these people who decimated our economy
00:41:31ultimately got bonuses, you know?
00:41:34Into the fucking strategy!
00:41:37Shortly after it came out,
00:41:39Leo and I had to go to Paris.
00:41:40And these young kids are walking by him
00:41:42doing the McConaughey.
00:41:45We were so blown away.
00:41:47That movie did so well in France.
00:41:49It was Leo's biggest movie ever in France.
00:41:51So think about that.
00:41:52Bigger than Titanic and bigger than Inception,
00:41:54which were massive commercial movies.
00:41:57To this day, box office-wise,
00:41:58it's Marty's most successful movie.
00:42:00Wolf of Wall Street is something...
00:42:03Like, people in my generation
00:42:05will literally have no idea who he is,
00:42:07but then I feel like,
00:42:07well, he directed Wolf of Wall Street.
00:42:09They're like, oh, he's the director of Wolf of Wall Street.
00:42:11You know, like, that sort of thing.
00:42:12Then was when it got a little bit crazier.
00:42:15Please welcome Martin Scorsese!
00:42:16He doesn't like to get noticed, usually.
00:42:33Like, we stopped going out to dinners
00:42:35because people would just, like,
00:42:37come up to us in the middle of dinner.
00:42:39But there was one time when he actually came out with me
00:42:41and we just walked across the street and got pizza.
00:42:44And I've never forgotten it,
00:42:45and it was, like, the highlight of my life.
00:42:48And I will always remember just sitting there,
00:42:51eating our pizza.
00:42:52Nobody bothered us.
00:42:54And I took a picture of him with his little hat,
00:42:56and it was great.
00:42:59But yet, there was really no privacy,
00:43:01and so I think it's sort of, like,
00:43:02home or the office or work.
00:43:11You know, he's always doing something.
00:43:13He's never not doing something.
00:43:16Even when he says he's doing nothing,
00:43:18that's not true.
00:43:19We have to talk later.
00:43:20I have three minutes with you to just get this.
00:43:22Yeah, yeah, yeah.
00:43:22So this is the very first draft of the board.
00:43:24It's very rough.
00:43:25Get any revisions, and then we'll polish it,
00:43:27and then turn them around.
00:43:29He's producing an enormous amount of things.
00:43:31Filmmakers that he's found and likes
00:43:32and wants to help.
00:43:34Friends of his.
00:43:35We've got anywhere from 20 to 40 projects
00:43:38that Marty is also producing,
00:43:40exec producing.
00:43:41That's interesting.
00:43:42And then there's the Film Foundation.
00:43:44There was never a time that Marty wasn't advocating for film.
00:43:48He will always be thinking about
00:43:51what films need to be restored,
00:43:53and it's not like work for him.
00:43:54It's just, you know, kind of a second nature.
00:43:57Marty saved.
00:43:58Val Pressbrooker Films from Extinction
00:44:00dedicated himself to it.
00:44:02He's still doing it today.
00:44:04Film Foundation's been part of at least 900 films so far.
00:44:08There's also the World Cinema Project,
00:44:09which is a similar thing,
00:44:10only for films made in countries around the world
00:44:14that don't have access
00:44:14or have the ability to restore, preserve,
00:44:17and that sort of thing.
00:44:19It's like imagining lost paintings
00:44:21that just disappeared, that nobody kept,
00:44:24nobody put up on a wall,
00:44:25that just disappear for all time.
00:44:26And his life's work, as well as making movies,
00:44:29is about making the next generation
00:44:32truly understand what an important art form cinema is.
00:44:37We also need to coordinate with George Lucas's office.
00:44:42We've got the Film Foundation.
00:44:44There's feature films.
00:44:45There's documentaries.
00:44:46We're now working on commercials.
00:44:48There's travel.
00:44:49Ah, and that dentist.
00:44:52You love that dentist.
00:44:53I know, I like him.
00:44:54He's a nice man.
00:44:55It's the only place I get some rest.
00:44:56Give me a root canal, will you please?
00:45:00No.
00:45:01Seriously, you can't do anything.
00:45:02You're in a root canal, you're in a chair,
00:45:03and they, you know, they numb it and everything.
00:45:05It's a pain in the neck.
00:45:06But, oh, just for an hour and a half,
00:45:09it's like, that's it.
00:45:11I'm out of here.
00:45:12When I first started working for Marty as his assistant,
00:45:17I mean, he had a temper, right?
00:45:19I mean, he would get really frustrated.
00:45:22You used to get so angry in the making of a movie
00:45:24that you would smash telephones.
00:45:26It's kind of satisfying.
00:45:26What do you do?
00:45:27You just smash them and break them?
00:45:28I mean, yeah, no, years ago I used to do it a lot
00:45:30because, but then it, you know, it was ridiculous
00:45:32because I needed to use the phone.
00:45:33Quite honestly.
00:45:36It was not a happy place sometimes,
00:45:39especially mornings when the car didn't show up
00:45:42and he was late and, you know,
00:45:44I mean, it was kind of, it could be very tense.
00:45:49But the evolution was when we were working
00:45:54on living in the material world.
00:45:55People always say, I'm the beetle who changed the most,
00:45:58but really that's what I see life is about.
00:46:01The point is, unless you're God conscious,
00:46:06then you have to change because...
00:46:08I learned about meditation
00:46:09when we were doing the George Harrison film.
00:46:13Pulling back and quieting the anger, quieting it.
00:46:18The anger's still going to be there.
00:46:20Keep, keep the shouting down in the back of your head.
00:46:23Say, okay, okay, we're going to do this, you know.
00:46:28And, of course, through love.
00:46:29That's the key, yeah.
00:46:31Look at this little trickery.
00:46:32It's definitely a deco.
00:46:35Kathy, Francesca, and I, we each had a different dad.
00:46:40Just based in terms of where he was in his life.
00:46:45When I was little, he had this beard.
00:46:49The big, scary beard and the intent,
00:46:51and he would roll his eyebrows.
00:46:53Sort of the angry, like, here I am.
00:46:56And he's still got that.
00:46:58You know, anger feeds the work.
00:47:00But now there's more...
00:47:03He's more here.
00:47:06Get those hearts away from my head.
00:47:08You know, he tries, like, during family dinner,
00:47:17he tries to just, like, be more present.
00:47:19And, you know, family dinner for us is really important.
00:47:21Mom, we have to hide you.
00:47:26No, no, don't hide her.
00:47:27And then we'd go in our family room, like, for a couple hours after that,
00:47:31maybe watch a movie or just talk and spend time together.
00:47:34Yeah.
00:47:34Would you want to be a vampire?
00:47:37It may be that I assume you could be wonderful.
00:47:41You hear that?
00:47:41No, no, no.
00:47:43Ow.
00:47:44Oh, you hear that?
00:47:46Yeah.
00:47:46The anger could consume you, and it had over the years.
00:47:49It has.
00:47:50It has.
00:47:50Just some miracle.
00:47:51Well, I came out of it.
00:47:53You know, you can't live with yourself.
00:47:54So the thing is, you're going to have to live with yourself if you want to live.
00:47:59He's gotten a lot calmer.
00:48:01He's gotten older.
00:48:02But he worries a lot about me,
00:48:05and I think that he also is just prone to worrying a bit because of my mom.
00:48:11I'm going to go back in hiding.
00:48:12Not many people know that my mom is sick.
00:48:16She did get Parkinson's when she was 30, I think.
00:48:19So she had early-onset Parkinson's.
00:48:22That was before she met my dad.
00:48:25You would be around that office, right?
00:48:27And then at one point, you must, I think, told me that you had sent sort of a,
00:48:32I won't say a fan letter, but come on.
00:48:36It's obviously what it is.
00:48:37You were chasing me around.
00:48:43I was not chasing you around, damn it.
00:48:45No, no, it's true.
00:48:46You were, like, in the way, man.
00:48:49I mean, I'm just trying to make a film.
00:48:50We're making films here.
00:48:52People see, I mean, they look at him and they see, like, his films and they see awards and whatever,
00:49:01but my mom's a big part of his life.
00:49:06When I was younger, it wasn't really progressed.
00:49:11And then as I got older, it just got a lot worse and, like, you know, she couldn't really walk.
00:49:18I mean, there's been moments where he was on set and, like, she'd fall and he would have to stop shooting and go to the hospital.
00:49:27He would get so hopeless.
00:49:29They're so close.
00:49:37What do you need?
00:49:38I wanted to do things like cats and, um...
00:49:50The counter?
00:49:51The catalogs.
00:49:58The catalogs.
00:50:04Oh, the catalogs.
00:50:05But do you have it here in this room?
00:50:08That goddamn disease is so hard, you know, but he doesn't act like it's hard.
00:50:15He seems to take it in stride.
00:50:17He said, I think it would be fair to say that if Marty hadn't gone through all that back in the day,
00:50:24he wouldn't be able to be present in this way and so fully.
00:50:29And he learned that an artist can be selfish about his art,
00:50:35but doesn't have to be selfish necessarily in his life.
00:50:39After I had done The Last Intention of Christ, I had to go deeper.
00:50:46I read Silence.
00:50:47In September of 89, I said, I've got to make this.
00:50:51The question is the whole idea of what is the essence of this revolutionary, uh,
00:50:56thinking of Christianity.
00:51:00It's a true story about the 17th century in southern Japan.
00:51:04Where there was a great conflict between Catholic missionaries and the Japanese government,
00:51:11resulting in maybe 35,000 mortars, people killed ultimately.
00:51:21What happens with, uh, Rodriguez, a missionary, is something else.
00:51:27And I was interested in the way that some of the main missionaries that went there originally
00:51:31apostatized, which meant that they gave up their religion.
00:51:36If you don't apostatize, the prisoners will be hung over the pit.
00:51:40Until you do, their lives bleeding away, drop by drop.
00:51:45Silence, more than just about, like, any film,
00:51:48wrestles with the question of what it truly means to be Christian.
00:51:53As long as you don't apostatize, they cannot be saved.
00:51:55Our main character, who is very arrogant, insisted to never apostatize.
00:52:00But he did it to save other people.
00:52:03It's the only Christ-like gesture that character makes in the entire film, is to apostatize.
00:52:11I think he realizes the depth of what Jesus is asking for, asking him to do, or to be who he's going to be.
00:52:20Here's a story where a guy, by the end of the story, denies Christianity he is preaching.
00:52:25And in so doing, he finds the real Christianity.
00:52:30So what is that?
00:52:32It's also the loss of his pride, isn't it?
00:52:34Oh, the whole key is ultimately humility.
00:52:39That's the learning of humility.
00:52:41That's the beauty of that story.
00:52:43One thing that I think is really notable about the film is the epilogue.
00:52:48Like, the film ends as this, like, love story between the priest and Kiki Jiro, who's this wretch.
00:52:57He does terrible things.
00:53:02He's a traitor, right?
00:53:04And, uh, selfish.
00:53:05This guy keeps doing the same thing over and over again, you know?
00:53:16Keeps, uh, wanting to, to, to be out there and to be a Christian and then rats on everybody.
00:53:23Including the priest.
00:53:24And it's also the Johnny Boy kind of character, right?
00:53:32Well, that's Judas, too, the Johnny Boy.
00:53:35You know, Kiki Jiro, Johnny Boy.
00:53:37The sinner.
00:53:38Yeah.
00:53:38I am sorry for being so weak.
00:53:43I think Marty identifies with Kiki Jiro more than with the other characters in the film.
00:53:48Yeah, mi padre, take away the sin.
00:53:51And Jesus said, you know, why should I be hanging out with the high priests and everybody?
00:53:55They're all fine.
00:53:56The ones who really need the help are the sinners.
00:54:00You see it in Mean Streets.
00:54:01You see it in Raging Bull.
00:54:03You see it in Goodfellas.
00:54:05And then I think it reaches a sort of apogee with silence.
00:54:10Of extending that kind of sympathy on such a wretched person.
00:54:16Kiki Jiro.
00:54:16He's the one who teaches.
00:54:17Because by the end, it's almost as if Jesus works through him to teach Rodriguez of what love really is.
00:54:32And forgiveness and compassion.
00:54:34Do you still think of yourself as a Christian?
00:54:45Yes, I think so.
00:54:46I really believe so, yeah.
00:54:49I had to reject it, find it, reject it again, try to find it.
00:54:53And then finally find some kind of comfort with it.
00:54:56Yeah, I think we all have doubt, fear.
00:55:03But by the time you understand your faith, you'll be dead.
00:55:07So really it's, it's, it's moving around a room and touching and trying to find, in the dark.
00:55:15The only thing is, you keep making progress.
00:55:17More and more his films feel really haunted to me.
00:55:26I mean, especially The Irishman.
00:55:29I hadn't worked with De Niro from Casino to The Irishman's a long time.
00:55:33But Casino was the last of that type of thing.
00:55:36Because Irishman is different.
00:55:38Even if the milieu is similar.
00:55:40Marty looks for material that allows him to bring all of himself to it.
00:55:52And you could see it with The Irishman, this outsider, retiring and about to die.
00:56:00The most memorable stuff is Bob seeing his kids abandon him.
00:56:05Peggy, Peggy, I just want to talk.
00:56:09I mean, the price you pay for that idiotic, vanglorious life that he thought he was living.
00:56:20And there you see the toll.
00:56:23Bob De Niro, all by himself, alone in an old age home.
00:56:27Doesn't even know when Christmas is.
00:56:30He's alone.
00:56:32And he's paid for it.
00:56:34His mercy endures forever.
00:56:36All right, Frank, I'm going to be back to visit, okay, very soon.
00:56:40Probably after the Christmas holiday.
00:56:42Oh, well, it's okay.
00:56:44Frank, God bless you.
00:56:45You too.
00:56:47It's Christmas?
00:56:52Almost.
00:56:53I go nowhere.
00:56:55When Bob first gave me the book, he sort of broke down and cried.
00:56:59People getting older.
00:57:00That's what the book had in it, I said, you know.
00:57:04That all this, all they went through, that ultimately we all have to face the same thing.
00:57:09We have to face our extinction.
00:57:11The Irishman was working on me in sort of a parallel theme the whole time.
00:57:24You see these wonderful people, after all these years, doing this work together.
00:57:31The things we've done together, I'm so grateful for that we happen to be.
00:57:38When you think about it, we were two kids who kind of were aware of each other in downtown,
00:57:43and all of a sudden, this whole thing happened.
00:57:46It's kind of amazing.
00:57:48I think Marty just has a real commitment to that, to what he's doing.
00:58:01It's not going to change for him.
00:58:03God bless him.
00:58:11Look, there's a lot of great filmmakers out there, but I think he would do it for free.
00:58:16You know?
00:58:19I think he would be a filmmaker no matter what.
00:58:23Cinema consumed him at such an early age, and it never left him.
00:58:26Do you feel like now that each film has a different...
00:58:48You know, you can't give all of yourself to every film that's sort of in the same way,
00:58:55or you would probably...
00:58:57Well, that's what my doctor told me.
00:58:58...die.
00:59:00Dr. Plain, yeah, he told me that 20 years ago.
00:59:04I said, well, you know, he said, you can't do that every time.
00:59:07You won't survive it.
00:59:08And then we're going to move it according to the drive.
00:59:10The whole music.
00:59:10I found it very difficult to be without directing or without creating a movie for long periods of time.
00:59:18Three, two, one, and two.
00:59:21We got it all.
00:59:22Yeah, yeah, yeah.
00:59:23No, no, no.
00:59:26Where are we going?
00:59:27From the same place?
00:59:29Do I go for the right?
00:59:31Sure, yeah, yeah.
00:59:32Yeah, yeah.
00:59:32Okay.
00:59:35What's that?
00:59:35Okay, here we go.
00:59:36You ready?
00:59:37That one's set.
00:59:38Okay, yeah.
00:59:39Action!
00:59:39You look like there's a friend.
01:00:09You look like there's a friend.
01:00:13Give me, give me a shout out.
01:00:17Oh, I'm going to play the world.
01:00:22Oh, Jesus.
01:00:23It's just a shot of work.
01:00:27It's just a shot of work.
01:00:33It's just a shot of work.
01:00:35I'll tell you, love, just love, it's just a kiss away, it's just a kiss away, it's just a kiss away, it's just a kiss away, it's just a kiss away, it's just a kiss away, it's just a kiss away, it's just a kiss away, it's just a kiss away.
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