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Scorsese Season 1 Episode 5
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FunTranscript
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, 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 now 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 candle.
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 and we were doing sometimes like 20 hour days.
00:36:47He just goes and goes and goes and he's laughing and he's so free.
00:36:53If you're passionate about a way to play a scene or a different direction in which the movie should go,
00:36:59and I'm like this, 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, but I never felt excluded from it.
00:37:09I remember this big sequence.
00:37:11We like rewrote it the night before.
00:37:13Leo, Marty and me went into a room and, you know, we're like, oh, we're shooting that scene tomorrow where my character comes in and asks for a divorce.
00:37:20And, like, it feels a bit, it doesn't feel right now that she just comes in, asks for a divorce and 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 and this happened and this happened?
00:37:32We did that till, like, three in the morning.
00:37:34What happened in the script originally, I think I came in, put down divorce papers and 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.
00:38:06It was the last time.
00:38:07Oh, baby.
00:38:09I 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, and they get him to a massive fight.
00:38:19I got news for you.
00:38:19You're not fucking taking my children, you vicious fucking cunt.
00:38:24Fuck you, you fucking bitch.
00:38:25We were not afraid to do certain things in that film, including domestic violence.
00:38:32Which everyone said, don't do it.
00:38:34Don't do it.
00:38:34We better go all the way with this guy.
00:38:36That's what happens.
00:38:37She gets in the late, 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, grabs her.
00:38:50I'm chasing after.
00:38:53I'm banging down the door.
00:38:55And then he starts the car.
00:38:56I get a chrome bar.
00:39:00Smash that.
00:39:09Oh, my!
00:39:11Oh, my head goes on the neck of me.
00:39:14And 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.
00:39:25You all right?
00:39:26You all right?
00:39:27The way he was able to portray these characters and be so honest about the dark side of the human condition.
00:39:35Marty thinks that there's those parts to all of us.
00:39:39And I don't think he judges them.
00:39:41And he has no fear when it comes to exploring that dark side.
00:39:55It'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 is to take what the other person has instead of sharing.
00:40:11Name of the game?
00:40:13Move the money from your client's pocket into your pocket.
00:40:16Right.
00:40:17But if you can make a client's money at the same time, it's advantageous to everyone.
00:40:21Correct?
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.
00:40:40It's about power.
00:40:41It's always about power.
00:40:45The Wolf of Wall Street controversy happened in the social media era.
00:40:50It was argued out minute by minute online.
00:40:54But by the time the movie came out and played its run, a lot of people went.
00:41:01There's such an indecency about the way they behaved about money and 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, our culture today.
00:41:17The Wolf of Wall Street was a huge...
00:41:18A lot of these people who decimated our economy ultimately got bonuses, you know?
00:41:34It's a motherfucking strategy!
00:41:37Shortly after it came out, Leo and I had to go to Paris.
00:41:40And these young kids are walking by him doing the McConaughey.
00:41:44We 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, which were massive commercial movies.
00:41:57To this day, box office-wise, it's Marty's most successful movie.
00:42:00Wolf of Wall Street is something...
00:42:03Like, people in my generation will literally have no idea who he is.
00:42:07But then I feel like, well, 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!
00:42:16Thank you!
00:42:30He doesn't like to get noticed, usually.
00:42:33Like, we stopped going out to dinners because people would just, like, come up to us in the middle of dinner.
00:42:39But there was one time when he actually came out with me and we just walked across the street and got pizza.
00:42:44And I've never forgotten it.
00:42:46And it was, like, the highlight of my life.
00:42:48And I will always remember just sitting there, eating 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, home or the office or work.
00:43:04You know, he's always doing something.
00:43:13He's never not doing something.
00:43:16Even when he says he's doing nothing, that'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.
00:43:24Get any revisions and then we'll polish it and then turn them around.
00:43:29He's producing an enormous amount of things.
00:43:31Filmmakers that he's found and likes and wants to help.
00:43:33Friends of his.
00:43:35We've got anywhere from 20 to 40 projects that Marty is also producing, exec 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 what films need to be restored.
00:43:52And it's not, like, work for him.
00:43:54It's just, you know, kind of a second nature.
00:43:57Marty saved Val Pressburger 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.
00:44:07There's also the World Cinema Project, which is a similar thing, only for films made in countries around the world that don't have access or have the ability to restore, preserve, and that sort of thing.
00:44:18It's like imagining lost paintings that just disappeared, that nobody kept, nobody put up on a wall, that just disappear for all time.
00:44:27And his life's work, as well as making movies, is about making the next generation truly understand what an important art form cinema is.
00:44:36Um, we also need to coordinate with George Lucas's office.
00:44:41And we've got the Film Foundation.
00:44:43And we've got the Film Foundation.
00:44:43And there's feature films.
00:44:45There's documentaries.
00:44:46We're now working on commercials.
00:44:47There's travel.
00:44:48There's travel.
00:44:49Yeah.
00:44:50There's travel.
00:44:51There's travel.
00:44:52There's travel.
00:44:53No, I like him.
00:44:54He's a nice man.
00:44:55It's the only place I get some rest.
00:44:57Give 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.
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, it's like, that's it.
00:45:10I'm out of here.
00:45:12When I first started working for Marty as his assistant, I mean, he had a temper, right?
00:45:18I mean, he would get really frustrated.
00:45:21You used to get so angry in the making of a movie that you would smash telephones.
00:45:25It's kind of satisfying.
00:45:26What do you do?
00:45:27You just smash them and break them?
00:45:28Yeah.
00:45:29Years ago, I used to do it a lot because, but then it, you know, it was ridiculous because
00:45:32I needed to use the phone.
00:45:33Quite honestly.
00:45:35It was not a happy place sometimes, especially mornings when the car didn't show up and he
00:45:42was late and, you know, I mean, it was kind of, it could be very tense.
00:45:49But the evolution was when we were working on 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.
00:46:00The point is, unless you got conscious, then you have to change.
00:46:07Because I learned about meditation when we were doing the George Harrison film.
00:46:12Pulling back and quieting the anger, quieting it.
00:46:17The anger is still going to be there.
00:46:19Keep, keep the shouting down in the back of your head.
00:46:22Say, okay, okay.
00:46:23We're going to do this.
00:46:24You know.
00:46:25And of course, through love.
00:46:28That's the key.
00:46:29Yeah.
00:46:30Ah, ah, ah.
00:46:31Look at this little cigarette.
00:46:32It's, it's definitely a deco.
00:46:34Kathy, Francesca, and I, we each had a different dad.
00:46:39Just based in terms of where he was in his life.
00:46:44When I was little, he had this beard.
00:46:47The big, scary beard.
00:46:49And the intent, and he would roll his eyebrows.
00:46:52Sort of the angry, like, here I am.
00:46:55And he's still got that.
00:46:56You know, anger feeds the work.
00:46:59But now there's more, he's more here.
00:47:04Get those hearts away from my head.
00:47:05You know, he tries, like, during family dinner, he tries to just, like, be more present.
00:47:18And, you know, family dinner for us is really important.
00:47:21What?
00:47:22Mom!
00:47:23We have to hide you.
00:47:25No, no, don't hide her.
00:47:26Get her to her.
00:47:27And then we'd go in our family room, like, for a couple hours after that.
00:47:30Maybe watch a movie or just talk and spend time together.
00:47:33Yeah.
00:47:35Would you want to be a vampire?
00:47:36It may be that I assumed that you want.
00:47:40You hear that?
00:47:41No, no, no.
00:47:42Ow!
00:47:44Oh, you hear that?
00:47:45Yeah?
00:47:46The anger could consume you.
00:47:47And it had over the years.
00:47:48It has.
00:47:49It has.
00:47:50It's just some miracle.
00:47:51I came out of it.
00:47:52You know, you can't live with yourself.
00:47:53So the thing is, you're going to have to live with yourself if you want to live.
00:47:58He's gotten a lot calmer.
00:48:00He's gotten older.
00:48:02But he worries a lot about me.
00:48:04And I think that he also is just prone to worrying a bit because of my mom.
00:48:11Not many people know that my mom is sick.
00:48:15She did get Parkinson's when she was 30, I think.
00:48:19So she had early onset Parkinson's.
00:48:21That was before she met my dad.
00:48:23You would be around that office, right?
00:48:26And then at one point you must, I think, told me that you had sent sort of a, I won't say a fan letter, but come on, it's obviously what it is.
00:48:36You were chasing me around you all.
00:48:42I was not chasing you around, damn it.
00:48:44No, no, it's true.
00:48:45You were like in, like in the way, man.
00:48:47I mean, I'm just trying to make a film.
00:48:49We're making films here.
00:48:51People see, I mean, they look at him and they see like his films and they see awards and whatever, but my mom's a big part of his life.
00:49:03When I was younger, it wasn't really progressed.
00:49:10And then as, as I got older, it just got a lot worse.
00:49:13And like, you know, she couldn't really walk.
00:49:16I 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.
00:49:26He would get so hopeless.
00:49:33They're so close.
00:49:37What do you mean?
00:49:38I wanted to see the cat and the cat and the catalogs, the cat and the catalogs.
00:50:03Oh, 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.
00:50:18So I think it would be fair to say that if Marty hadn't gone through all that back in the day, he 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, but doesn't have to be selfish necessarily in his life.
00:50:39After I had done Last Intention of Christ, I had to go deeper.
00:50:44I read Silence.
00:50:46In September of 89, I said, I've got to make this.
00:50:49This questions the whole idea of what is the essence of this revolutionary thinking 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, resulting in maybe 35,000 mortars, people killed ultimately.
00:51:17What happens with, uh, Rodriguez, a missionary, is something else.
00:51:26And I was interested in the way that some of the main missionaries that went there originally apostatized, which meant that they gave up their religion.
00:51:34If you don't apostatize, the prisoners will be hung over the pit until you do, their lives bleeding away, drop by drop.
00:51:44Silence, more than just about like any film, wrestles with the question of what it truly means to be Christian.
00:51:51As long as you don't apostatize, they cannot be saved.
00:51:54Our main character, who is very arrogant, insisted to never apostatize.
00:51:59But he did it to save other people.
00:52:02It's the only Christ-like gesture that character makes in the entire film is to apostatize.
00:52:09I think he realizes the depth of what Jesus is asking for, asking him to do, or to be who he's gonna be.
00:52:19Here'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.
00:52:28So what is that?
00:52:31It's also the loss of his pride, isn't it?
00:52:33Oh, the whole key is ultimately humility.
00:52:38That's the learning of humility.
00:52:40That's the beauty of that story.
00:52:43One thing that I think is really notable about the film is the epilogue,
00:52:47where the film ends as this, like, love story between the priest and Kiki Jiro, who's this wretch.
00:52:55He does terrible things.
00:53:01He's a traitor, right?
00:53:03And, uh, selfish.
00:53:09This guy keeps doing the same thing over and over again, you know?
00:53:15Keeps, uh, wanting to be out there and to be a Christian and then rats on everybody, including the priest.
00:53:24And it's also the Johnny Boy kind of character, right?
00:53:30Exactly.
00:53:31Well, that's Judas too, the Johnny Boy.
00:53:34You know, Kiki Jiro, Johnny Boy.
00:53:36He's the center.
00:53:37Yeah.
00:53:38I am sorry for being so weak.
00:53:42I think Marty identifies with Kiki Jiro more than with the other characters in the film.
00:53:48Mi padre, take away the sin.
00:53:51And Jesus said, you know, why should I be hanging out with the high priests and everybody?
00:53:54They're all fine.
00:53:55The ones who really need the help are the sinners.
00:53:57You see it in Mean Streets.
00:54:00You see it in Raging Bull.
00:54:02You see it in Goodfellas.
00:54:04And then I think it reaches a sort of apogee with silence of extending that kind of sympathy on such a wretched person.
00:54:14Kiki Jiro.
00:54:15Kiki Jiro.
00:54:16He's the one who teaches.
00:54:18Because, uh, by the end, it's almost as if, um, Jesus works through him to teach Rodriguez of what love really is.
00:54:31Do you still think of yourself as a Christian?
00:54:44Yes, I think so.
00:54:46I really believe so, yeah.
00:54:48I had to reject it, find it, reject it again, try to find it.
00:54:52And then finally find some kind of comfort with it.
00:54:56Yeah, I think we all have doubt, fear.
00:55:02But by the time you understand your faith, you'll be dead.
00:55:06So really it's, it's, it's moving around a room and touching and trying to find, in the dark.
00:55:14The only thing is, you keep making progress.
00:55:21More and more his films feel really haunted to me.
00:55:25I mean, especially the Irishman.
00:55:27I hadn't worked with De Niro from Casino to the Irishman's a long time.
00:55:32But Casino was the last of that type of thing.
00:55:35Because Irishman is different.
00:55:37Even if the milieu is similar.
00:55:39It's a different thing.
00:55:44Marty looks for material that allows him to bring all of himself to it.
00:55:50And you could see it with the Irishman as the, this outsider, retiring and about to die.
00:55:59The most memorable stuff is Bob seeing his kids abandon him.
00:56:04Peggy, 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.
00:56:16And there you see the toll.
00:56:22Bob De Niro, all by himself, alone in an old age home.
00:56:27Doesn't even know when Christmas is.
00:56:29He's alone.
00:56:31And he's paid for it.
00:56:33His mercy.
00:56:34His mercy endures forever.
00:56:35His mercy endures forever.
00:56:36All right, Frank.
00:56:37I'll be back to visit.
00:56:38Okay?
00:56:39Very soon.
00:56:40Probably after the, the Christmas holiday.
00:56:42Oh, well.
00:56:43Okay.
00:56:44Frank.
00:56:45God bless you.
00:56:46You too.
00:56:49It's Christmas?
00:56:51Almost.
00:56:53I go nowhere.
00:56:54When Bob first gave me the book, he sort of broke down and cried.
00:56:58People getting older.
00:56:59That's what the book had in it.
00:57:01I said, you know.
00:57:03That all this, all they went through, that ultimately we all have to face the same thing.
00:57:08We have to face our extinction.
00:57:16The Irishman was working on me in sort of a parallel theme the whole time.
00:57:22To see these wonderful people, after all these years, doing this work together.
00:57:32The things we've done together, I'm so grateful for that we happen to be.
00:57:37When you think about it, we were two kids who kind of were aware of each other in downtown
00:57:42and all of a sudden this whole thing happened.
00:57:45It's kind of amazing.
00:57:47I think Marty just has a real commitment to that, to what he's doing.
00:58:00It's not going to change for him.
00:58:02God bless him.
00:58:03Look, there's a lot of great filmmakers out there, but I think he would do it for free.
00:58:16You know?
00:58:18I think he would be a filmmaker no matter what.
00:58:21The cinema consumed him at such an early age and it never left him.
00:58:27There is a lot of great filmmakers out there.
00:58:28Yeah.
00:58:29That's all there.
00:58:30That's all there, everyone.
00:58:31That's all there.
00:58:36do you feel like now that each that each film has a different um you know you can't give all
00:58:52of yourself to every film that's sort of in the same way or you would probably well that's what
00:58:57my doctor told me that dr klein yeah he told me that 20 years ago i said well you know he said
00:59:05you can't do that every time you won't survive it i found it very difficult to be without
00:59:14directing or without creating a movie for long periods of time
00:59:18where we're going from the same place
00:59:28sure yeah yeah yeah yeah okay
00:59:32what's that okay here we go you ready that was set okay yeah
00:59:39yeah
00:59:41yeah
00:59:45yeah
00:59:47yeah
00:59:53yeah
00:59:57Yeah, yeah, yeah
00:59:59You look like this red light
01:00:09But I'm out in the night of the rain
01:00:12Give me, give me a shout-out
01:00:17I'm the one gonna play the way
01:00:20Oh, dear
01:00:23It's just a shot of work
01:00:27It's just a shot of work
01:00:29It's just a shot of work
01:00:31It's just a shot of work
01:00:33It's just a shot of work
01:00:35I tell you, love
01:00:38It's just a kiss of work
01:00:43It's just a kiss of work
01:00:45It's just a kiss of work
01:00:47It's just a kiss of work
01:00:49It's just a kiss of work
01:00:51Get away, get away.
01:01:21Get away.
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