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Martin Scorsese, Director: Taxi Driver. Martin Charles Scorsese was born on November 17, in Queens, New York City, to Catherine Scorsese (née Cappa).
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Filmmuseum - Honorary President
Scorsese wrote the script for Mean Streets along with his friend and fellow NYU student, Mardik Martin with whom he collaborated with previously on some of his short films. During the filming of Boxcar Bertha Scorsese tried to interest Corman into financing his next film.
However, Corman would agree only if Marty changed all the characters to black. Fortunately, for all he found other financing from Jonathan Taplin, then a road manager for the rock group, The Band. NOTE: For educational and research purposes only. Absolutely our highest recommendation.
The film producer, Jonathan T. Taplin , sends Martin Scorsese a copy of their contract, signed by the director. Both were recorded separately and their remarks were edited together for this non-screen-specific track. Unsurprisingly, Scorsese dominates with a broad and expansive discussion. He discusses the personal roots of the movie and gets into his initial interest in films as well as his early days as a director and how this led to Streets.
I would love to maybe, try something of eventually something on mythic scale end of the West rather than ultra realistic.
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It makes a person act in a certain way. There were certain characters who act in certain ways. Some personalities came out of the West. Just when I was about fourteen. That happened. How did your parents react when you first started making movies and finished completed projects, the early projects, Boxcar Bertha, Mean Streets? Mean Streets was an ordeal. My father saw it the night at the New York Film Festival. His first reaction was never again to sit through because he had the same anxiety I had sitting through it. Are they going to be nervous here?
Are they going to boo this? Are they going to be against that, that sort of thing? Did they react in anyway to how violent and rugged and, in many ways, unconventional those films were?
We never use that language at home. We never did in the home. It was never used. In the street, that language was used. That was it. The two elements I like best about movies are the sense of motion and performance. I love the way the camera moves. I love the cut from one moving shot to the next, or a cut from a moving shot to a static shot.
The light comes second to me in that area. Usually the inspiration is always the point of view of the lens.
Sometimes when it all comes together on the set, and especially when it comes together in the cutting room, at a certain point, you can actually feel it go through you in your body. It just seeps out of your body.
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I think what I try to do is create an atmosphere in which they can try anything, try anything. I cover a certain way with camera, I do certain things in cutting, I try to have an actor come out as best as possible. Saul Bass has created some of the most iconic opening sequences in film history. He met his wife Elaine working on the opening credits of Spartacus. They married in and work as a team for the rest of their careers, designing credits for films like West Side Story and Walk on the Wild Side.