Martin scorsese casino
Filmkritik zu Martin Scorseses Gangster-Drama-Klassiker Casino mit Robert De Angst () hatten die italienisch-stämmigen Martin Scorsese und sein Star. Nov. Und Casino. Und vielleicht auch schon Wolf of Wall Street. Martin Scorsese gehört zweifelsohne zu den einflussreichsten Filmemachern. Nov. Seit 50 Jahren führt Martin Scorsese Regie in Hollywood. Nun wird er Der nächste Film mit Robert de Niro ist bereits in Arbeit.
From the s Scorsese created a body of work that was ambitious, bold, and brilliant. But even his most acclaimed films are demanding, sometimes unpleasantly intense dramas that have enjoyed relatively little commercial success.
In terms of artistry, he was perhaps the most significant American director of the late 20th and early 21st centuries. His early interest in film returned after he tried unsuccessfully to enter the Roman Catholic priesthood, and he went on to earn undergraduate and graduate degrees in film from New York University , where he subsequently taught.
His student films showed a wide range of influences, from foreign classics to Hollywood musicals. The film earned Scorsese encouraging reviews, and he was offered the position of assistant director and supervising editor on Woodstock , which translated into converting the more than hours of raw footage of the rock concert into a 3-hour movie that won an Academy Award for best documentary.
Scorsese directed a less widely seen documentary about protests against the Vietnam War , Street Scenes , and he then worked as an editor on the concert films Medicine Ball Caravan and Elvis on Tour Producer Roger Corman invited him to direct Boxcar Bertha Scorsese made the most of the opportunity with an exciting if ultimately empty yarn about train robbers Barbara Hershey, David Carradine , and Bernie Casey wreaking havoc in the Depression -era South.
Filled with violent sequences, rapid-fire dialogue , and blaring rock music, the film was typical of his early work in its realistic detail and its naturalistic performances.
Brilliantly written by Paul Schrader, photographed by Michael Chapman, and scored by Bernard Herrmann his final film , this unsettling work is as fascinating as it is horrifying.
De Niro gave what is regarded as his definitive performance as the pathetically alienated but dangerously unhinged Travis Bickle, and Keitel exuded menace in the small but key role of the seductive pimp Sport, who keeps the year-old Iris Jodie Foster in thrall.
Perhaps the most controversial, and the most disturbing, Oscar nominee for best picture to date, Taxi Driver also earned Oscar nominations for De Niro, Foster, and Herrmann.
Deliberately stylized to evoke past screen triumphs by Vincente Minnelli and George Cukor , it featured De Niro as the cocky Jimmy Doyle, a novice saxophone player who works in a big band behind talented singer Francine Evans Liza Minnelli.
Their torrid love affair proves impossible to sustain, and the vain, self-destructive Jimmy drifts away from domestic bliss with the pregnant Francine.
De Niro was compelling in an unsympathetic part, and Minnelli evoked her mother Judy Garland with frightening authority.
While critical opinion was mixed, it was a commercial flop. However, the film later developed a cult following largely because of its obvious affection for old Hollywood.
Next came American Boy: A Profile of Steven Prince , in which Prince, a friend of Scorsese, recounted stories from his life as a road manager for singer Neil Diamond and as a heroin addict.
Scorsese then made the brutal but beautiful Raging Bull Loosely adapted by Schrader and Mardik Martin from the memoir of former middleweight boxing champ Jake La Motta, this vitriolic essay on the pleasurable pain of violence is immediately impressive for its stunning black-and-white cinematography by Michael Chapman and for its meticulous re-creation of s New York City.
Blissfully unaware of his profound lack of talent, Rupert practices his pathetic comedy routines to no avail. Finally he kidnaps reigning late-night TV star Jerry Langford Jerry Lewis in exchange for a minute stint on his program.
The film failed at the box office but later climbed in critical regard. After Hours was a minor but amusing diversion, with Griffin Dunne as a mild-mannered office worker who finds himself imperiled by a colourful variety of lunatics on one long, strange night.
Shot on location by cinematographer Michael Ballhaus, this is an exhilarating, unusual illustration of what a Scorsese movie can be like when his only mission is fun.
He smells raw talent in callow pool shark Vincent Lauria Tom Cruise and takes him under his wing, sharing all his hard-earned knowledge about the game.
But they part ways and end up facing each other at an Atlantic City tournament. However, it reminded Hollywood that Scorsese could deliver a hit of at least modest proportions.
The evocative cinematography by Ballhaus and the neotraditional score by Peter Gabriel enlivened this variation on the Gospels, which earned Scorsese his second Oscar nomination.
Nick Nolte played a middle-aged bearish slob of a painter desperate to keep his restless paramour-disciple Rosanna Arquette from moving out.
Scorsese displayed his mastery of the medium in new and unexpected ways, especially in a much-studied tracking shot that followed Hill through a crowded restaurant.
Scorsese was again Oscar nominated, both for directing and, with Pileggi, for best adapted screenplay. The commercially successful Cape Fear was an ultraviolent remake of a suspenseful film.
Nolte starred as Sam Bowden, a Southern lawyer whose family is terrorized by ex-con Max Cady De Niro , who blames the lawyer for his prison conviction and seeks revenge.
With his most fluid camera work yet, Scorsese demonstrated that his sensibility—thought by some to be too coarse for such refined period themes and nuances—had an extremely wide range.
Scorsese and screenwriter Jay Cocks were Oscar nominated for best adapted screenplay. The s Las Vegas morality tale Casino marked the return of the GoodFellas talent pool, reuniting Scorsese with screenwriter Pileggi and actors De Niro and Pesci, but it did not receive the critical acclaim or commercial success of the earlier film.
Casino had an epic running time of just short of three hours, and the De Niro-Pesci pairing had little of the chemistry seen in GoodFellas.
Bringing Out the Dead starred Nicolas Cage as a New York paramedic who is beginning to crack under the stress of his job and offered some of the same surreal nighttime ambience as Taxi Driver.
Gangs of New York was a project Scorsese had sought to film since the late s. It had an epic canvas: Leonardo DiCaprio in the first of a number of films he did with Scorsese starred as Amsterdam Vallon, a young man seeking to avenge the death of his father at the hands of Bill the Butcher Day-Lewis at his most mordant , a kind of godfather to the unruly Five Points mobs.
Gangs of New York was nominated for 10 Oscars, including nods for best picture and director. The Aviator was a biopic of aviator and movie producer Howard Hughes , and Scorsese lavishly re-created s and s Hollywood.
As Hughes, DiCaprio gave an appropriately intense interpretation of a man driven by both his own genius and an acute case of obsessive-compulsive disorder.
The film was a box-office success and garnered 11 Oscar nominations, including best picture and director. Scorsese and cinematographer Robert Richardson did impressive work in replicating the various stages of colour-film technology that evolved over the years in which the film was set.
DiCaprio and Matt Damon starred as doppelgängers who live on opposite sides of the law—Billy DiCaprio as an undercover cop assigned the highly perilous task of penetrating the organization of crime lord Frank Costello Jack Nicholson , submitting one of his showiest performances as a psychopathic mastermind based on Boston mobster Whitey Bulger and Colin Damon as a Boston detective raised since childhood by Frank to become his mole.
Ace verblindt haar met de schoonheid van zijn luxe en kan haar zelfs overreden om met hem te trouwen. Ondertussen blijft Ginger contact houden met haar ex-pooier, Lester Diamond.
Lester is, in tegenstelling tot Ace, arm en verslaafd aan de drugs. Ace probeert Ginger weg te houden van Lester, maar lijkt daar niet echt in te slagen.
Ondertussen gaan de zaken in het casino steeds slechter. De bazen willen meer geld, Ace verdient steeds minder en Nicky zorgt bovendien nog voor een heleboel andere problemen.
Hij vermoordt mensen en trekt hierdoor de aandacht van de FBI. Wanneer Ace vervolgens ook nog officieel uit zijn casino wordt gezet, lijkt het einde nabij.
Nicky en Ace maken voortdurend ruzie en op de koop toe slaapt nu ook Nicky met Ginger. Ace roept de hulp in van de gangsterbazen, maar dan is het al te laat.
De FBI grijpt in en arresteert de maffiabazen. Nicky laat een bom plaatsen in de auto van Ace, maar de bom is niet krachtig genoeg om Ace te doden.
Nicky zelf wordt ook zwaar aangepakt. De maffiabazen nemen het hem kwalijk dat hij de aandacht van de FBI heeft opgezocht. In ruil voor die fout wordt hij vermoord door zijn eigen mannen.
Ginger heeft Ace verlaten en sterft in de gang van een goedkoop hotel aan een vergiftigde dosis drugs. Uit Wikipedia, de vrije encyclopedie.
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Ginger then kidnaps their daughter, Amy, takes her to Los Angeles, and plans to flee to Europe with her and Lester. Sam convinces Ginger to come back with Amy, and then scolds her for stealing his money and kidnapping their daughter.
After he overhears Ginger talking on the phone about killing him, Sam kicks her out of the house, but soon relents. Ginger then approaches Nicky for help in getting her valuables from her and Sam's shared safety deposit box, and the two start an affair.
Sam discovers this after finding Amy tied to her bed by Ginger, who is with Nicky at his restaurant. Sam disowns Ginger, as does Nicky.
A furious and drunk Ginger crashes her car into Sam's driveway, making a scene, and retrieves the key to their deposit box after distracting the attending police.
Even though she succeeds in taking all of the money from the safety deposit box, she is arrested by the FBI as a material witness. The FBI moves in and closes the casino.
Green decides to cooperate with the authorities. Piscano dies of a heart attack in front of his wife upon observing federal agents discover his notebook.
Nicky flees Las Vegas before he can be caught. The bosses are arrested and put on trial and decide to eliminate anyone involved in the scheme to prevent them from testifying.
Among those killed are three casino executives, Teamsters head Andy Stone, and money courier John Nance. Ginger travels to Los Angeles and ultimately dies of a drug overdose in a motel.
Sam himself is almost killed by a car bomb and suspects Nicky was behind it. Before Sam can take revenge, Nicky and Dominick are ambushed by Frankie and their own crew, beaten, and buried alive in a cornfield, the bosses' having had enough of Nicky's behavior and suspecting his role in Sam's car bombing.
With the Mob now out of power, the old casinos are purchased by big corporations and demolished. The corporations build new and gaudier attractions, which Sam laments are not the same as when the Mafia was in control.
Sam subsequently retires to San Diego and continues to live as a sports handicapper for the Mob, in his own words, ending up "right back where I started".
The research for Casino began when screenwriter Nicholas Pileggi read a report from the Las Vegas Sun about a domestic argument between Frank "Lefty" Rosenthal , a casino figure, and his wife Geri McGee , a former topless dancer.
Argent was owned by Allen Glick, but the casino was believed to be controlled by various organized crime families from the Midwest. This skimming operation, when uncovered by the FBI, was the largest ever exposed.
Pileggi contacted Scorsese about taking the lead of the project, which became known as Casino. Scorsese and Pileggi collaborated on the script for five months, towards the end of Some characters were combined, and parts of the story were set in Kansas City instead of Chicago.
His work in television includes the pilot episodes of the HBO series Boardwalk Empire and Vinyl , the latter of which he also co-created.
With eight Best Director Oscar nominations, he is the most nominated living director and is tied with Billy Wilder for the second-most nominations overall.
Living in the Material World His father was a clothes presser and an actor, and his mother was a seamstress and an actress.
Scorsese was raised in a devoutly Catholic environment. As a teenager in the Bronx, Scorsese frequently rented Powell and Pressburger 's The Tales of Hoffmann from a store that had one copy of the reel.
Scorsese was one of only two people who regularly rented that reel; the other was future Night of the Living Dead director George A. Scorsese has cited Sabu and Victor Mature as his favorite actors during his youth.
He has also spoken of the influence of the Powell and Pressburger film Black Narcissus , whose innovative techniques later impacted his filmmaking.
Scorsese also developed an admiration for neorealist cinema at this time. He went on to earn his M. His most famous short of the period is the darkly comic The Big Shave , which features Peter Bernuth.
The film is an indictment of America's involvement in Vietnam , suggested by its alternative title Viet ' In , Scorsese made his first feature-length film, the black and white I Call First , which was later retitled Who's That Knocking at My Door with his fellow students actor Harvey Keitel and editor Thelma Schoonmaker , both of whom were to become long-term collaborators.
This film was intended to be the first of Scorsese's semiautobiographical J. Trilogy, which also would have included a later film, Mean Streets.
Scorsese became friends with the influential "movie brats" of the s: During this period he worked as the assistant director and one of the editors on the documentary Woodstock and met actor—director John Cassavetes , who would also go on to become a close friend and mentor.
Following the film's release, Cassavetes encouraged Scorsese to make the films that he wanted to make, rather than someone else's projects.
By now the signature Scorsese style was in place: Although the film was innovative, its wired atmosphere, edgy documentary style, and gritty street-level direction owed a debt to directors Cassavetes, Samuel Fuller and early Jean-Luc Godard.
Although well regarded, the film remains an anomaly in the director's early career as it focuses on a central female character.
Returning to Little Italy to explore his ethnic roots, Scorsese next came up with Italianamerican , a documentary featuring his parents Charles and Catherine Scorsese.
The film established Scorsese as an accomplished filmmaker and also brought attention to cinematographer Michael Chapman , whose style tends towards high contrasts, strong colors, and complex camera movements.
The film co-starred Jodie Foster in a highly controversial role as an underage prostitute, and Harvey Keitel as her pimp, Matthew, called "Sport".
Taxi Driver also marked the start of a series of collaborations between Scorsese and writer Paul Schrader , whose influences included the diary of would-be assassin Arthur Bremer and Pickpocket , a film by the French director Robert Bresson.
He subsequently blamed his act on his obsession with Jodie Foster's Taxi Driver character in the film, De Niro's character, Travis Bickle , makes an assassination attempt on a senator.
The critical and financial success of Taxi Driver encouraged Scorsese to move ahead with his first big-budget project: This tribute to Scorsese's home town and the classic Hollywood musical was a box-office failure.
The film is best remembered today for the title theme song, which was popularized by Frank Sinatra. Although possessing Scorsese's usual visual panache and stylistic bravura, many critics felt its enclosed studio-bound atmosphere left it leaden in comparison with his earlier work.
Despite its weak reception, the film is positively regarded by some critics. Richard Brody in The New Yorker wrote:.
For Scorsese, a lifelong cinephile, the essence of New York could be found in its depiction in classic Hollywood movies.
Remarkably, his backward-looking tribute to the golden age of musicals and noirish romantic melodramas turned out to be one of his most freewheeling and personal films.
By this stage the director had also developed a serious cocaine addiction. However, he did find the creative drive to make the highly regarded The Last Waltz , documenting the final concert by The Band.
However, Scorsese's commitments to other projects delayed the release of the film until Another Scorsese-directed documentary, titled American Boy , also appeared in , focusing on Steven Prince, the cocky gun salesman who appeared in Taxi Driver.
A period of wild partying followed, damaging the director's already fragile health. Scorsese also helped provide footage for the documentary Elvis on Tour.
By several accounts Scorsese's included , Robert De Niro practically saved Scorsese's life when he persuaded Scorsese to kick his cocaine addiction to make his highly regarded film Raging Bull.
Convinced that he would never make another movie, he poured his energies into making this violent biopic of middleweight boxing champion Jake LaMotta , calling it a kamikaze method of film-making.
From this work onwards, Scorsese's films are always labeled as "A Martin Scorsese Picture" on promotional material.
Raging Bull , filmed in high contrast black and white, is where Scorsese's style reached its zenith: Taxi Driver and New York, New York had used elements of expressionism to replicate psychological points of view, but here the style was taken to new extremes, employing extensive slow-motion, complex tracking shots, and extravagant distortion of perspective for example, the size of boxing rings would change from fight to fight.
Although the screenplay for Raging Bull was credited to Paul Schrader and Mardik Martin who earlier co-wrote Mean Streets , the finished script differed extensively from Schrader's original draft.
The final draft was largely written by Scorsese and Robert De Niro. It is a satire on the world of media and celebrity, whose central character is a troubled loner who ironically becomes famous through a criminal act kidnapping.
Visually, it was far less kinetic than the style Scorsese had previously developed, often using a static camera and long takes.
It still bore many of Scorsese's trademarks, however. The King of Comedy failed at the box office, but has become increasingly well regarded by critics in the years since its release.
German director Wim Wenders numbered it among his 15 favorite films. With After Hours Scorsese made an aesthetic shift back to a pared-down, almost "underground" film-making style.
Filmed on an extremely low budget, on location, and at night in the SoHo neighborhood of Manhattan, the film is a black comedy about one increasingly misfortunate night for a mild New York word processor Griffin Dunne and featured cameos by such disparate actors as Teri Garr and Cheech and Chong.
Although adhering to Scorsese's established style, The Color of Money was the director's first official foray into mainstream film-making.
The film finally won actor Paul Newman an Oscar and gave Scorsese the clout to finally secure backing for a project that had been a longtime goal for him: The Last Temptation of Christ.
In , Scorsese began work on a long-cherished personal project, The Last Temptation of Christ , based on the novel written by Nikos Kazantzakis that retold the life of Christ in human rather than divine terms.
Barbara Hershey recalls introducing Scorsese to the book while they were filming Boxcar Bertha. In the version, these roles were played respectively by Willem Dafoe and David Bowie.
However, following his mids flirtation with commercial Hollywood, Scorsese made a major return to personal filmmaking with the project, which was ultimately released in Even prior to its release, the film adapted by Taxi Driver and Raging Bull veteran Paul Schrader caused a massive furor, with worldwide protests against its perceived blasphemy effectively turning a low-budget independent film into a media sensation.
Looking past the controversy, The Last Temptation of Christ gained critical acclaim and remains an important work in Scorsese's canon: The director went on to receive his second nomination for a Best Director Academy Award again unsuccessfully, this time losing to Barry Levinson for Rain Man.
Scorsese made a brief cameo appearance in the film Anna Pavlova also known as A Woman for All Time , originally intended to be directed by one of his heroes, Michael Powell.
This led to a more significant role in Bertrand Tavernier 's jazz film Round Midnight. He also made a brief venture into television, directing an episode of Steven Spielberg 's Amazing Stories.
After a decade of mostly mixed results, gangster epic Goodfellas was a return to form for Scorsese and his most confident and fully realized film since Raging Bull.
De Niro and Joe Pesci offered a virtuoso display of the director's bravura cinematic technique in the film and re-established, enhanced, and consolidated his reputation.
After the film was released Roger Ebert , a friend and supporter of Scorsese, named Goodfellas "the best mob movie ever" and is ranked No.
On the updated version, they moved Goodfellas up to No. In , he also released his only short-form documentary: Made in Milan about fashion designer Giorgio Armani.
The following year brought Cape Fear , a remake of a cult movie of the same name and the director's seventh collaboration with De Niro.
Another foray into the mainstream, the film was a stylized thriller taking its cues heavily from Alfred Hitchcock and Charles Laughton 's The Night of the Hunter Cape Fear received a mixed critical reception and was lambasted in many quarters for its scenes depicting misogynistic violence.
However, the lurid subject matter gave Scorsese a chance to experiment with visual tricks and effects. The film garnered two Oscar nominations.
The film also marked the first time Scorsese used wide-screen Panavision with an aspect ratio of 2. The Age of Innocence was a significant departure for Scorsese, a period adaptation of the Edith Wharton novel about the constrictive high society of lateth century New York.
It was highly lauded by critics upon original release, but was a box office bomb , making an overall loss. As noted in Scorsese on Scorsese by editor—interviewer Ian Christie, the news that Scorsese wanted to make a film about a failed 19th-century romance raised many eyebrows among the film fraternity; all the more when Scorsese made it clear that it was a personal project and not a studio for-hire job.
Scorsese was interested in doing a "romantic piece". His friend Jay Cocks gave him the Wharton novel in , suggesting that this should be the romantic piece Scorsese should film as Cocks felt it best represented his sensibility.
In Scorsese on Scorsese he noted that. Although the film deals with New York aristocracy and a period of New York history that has been neglected, and although it deals with code and ritual, and with love that's not unrequited but unconsummated—which pretty much covers all the themes I usually deal with—when I read the book, I didn't say, "Oh good, all those themes are here.
Scorsese, who was strongly drawn to the characters and the story of Wharton's text, wanted his film to be as rich an emotional experience as the book was to him rather than the traditional academic adaptations of literary works.
To this aim, Scorsese sought influence from diverse period films that made an emotional impact on him. Although The Age of Innocence was ultimately different from these films in terms of narrative, story, and thematic concern, the presence of a lost society, of lost values as well as detailed re-creations of social customs and rituals continues the tradition of these films.
It came back into the public eye, especially in countries such as the UK and France, but still is largely neglected in North America.
Casino , like The Age of Innocence before it, focused on a tightly wound male whose well-ordered life is disrupted by the arrival of unpredictable forces.
The fact that it was a violent gangster film made it more palatable to fans of the director who perhaps were baffled by the apparent departure of the earlier film.
Casino was a box office success,  but the film received mixed notices from critics. In large part this was due to its huge stylistic similarities to his earlier Goodfellas , and its excessive violence that garnered it a reputation as possibly the most violent American gangster film ever made.
Indeed, many of the tropes and tricks of the earlier film resurfaced more or less intact, most obviously the casting of both Robert De Niro and Joe Pesci, Pesci once again playing an unbridled psychopath.
During the filming Scorsese played a background part as a gambler at one of the tables. Scorsese still found time for a four-hour documentary in , titled A Personal Journey with Martin Scorsese Through American Movies , offering a thorough trek through American cinema.
It covered the silent era to , a year after which Scorsese began his feature career, stating, "I wouldn't feel right commenting on myself or my contemporaries.
Murnau, who created new editing techniques among other innovations that made the appearance of sound and color possible later on; 3 the director as a smuggler—filmmakers such as Douglas Sirk, Samuel Fuller, and Vincente Minnelli, who used to hide subversive messages in their films; and 4 the director as iconoclast.
If The Age of Innocence alienated and confused some fans, then Kundun went several steps further, offering an account of the early life of Tenzin Gyatso, the 14th Dalai Lama , the People's Liberation Army 's entering of Tibet , and the Dalai Lama's subsequent exile to India.
Not least a departure in subject matter, Kundun also saw Scorsese employing a fresh narrative and visual approach. Traditional dramatic devices were substituted for a trance-like meditation achieved through an elaborate tableau of colorful visual images.
In the short term, the sheer eclecticism in evidence enhanced the director's reputation. In the long term, however, it generally appears Kundun has been sidelined in most critical appraisals of the director, mostly noted as a stylistic and thematic detour.
Kundun was the director's second attempt to profile the life of a great religious leader, following The Last Temptation of Christ. Bringing Out the Dead was a return to familiar territory, with the director and writer Paul Schrader constructing a pitch-black comic take on their own earlier Taxi Driver.
It received generally positive reviews,  although not the universal critical acclaim of some of his other films. Scorsese's cameo appearance in the Robert Redford film Quiz Show is remembered for the telling line: They just wanted to watch the money.
Since the s, Scorsese has increased his role as a film producer. Like The Age of Innocence , it was set in 19th-century New York, although focusing on the other end of the social scale and like that film, also starring Daniel Day-Lewis.
The film also marked the first collaboration between Scorsese and actor Leonardo DiCaprio , who since then has become a fixture in later Scorsese films.
The production was highly troubled, with many rumors referring to the director's conflict with Miramax boss Harvey Weinstein.
The final cut of the movie ran to minutes, while the director's original cut was over minutes in length. New York, violence as culturally endemic, and subcultural divisions down ethnic lines.
Originally filmed for a release in the winter of to qualify for Academy Award nominations , Scorsese delayed the final production of the film until after the beginning of ; the studio consequently delayed the film for nearly a year until its release in the Oscar season of late The following year Scorsese completed production of The Blues , an expansive seven-part documentary tracing the history of blues music from its African roots to the Mississippi Delta and beyond.
Scorsese's film The Aviator is a lavish, large-scale biopic of eccentric aviation pioneer and film mogul Howard Hughes and reunited Scorsese with actor Leonardo DiCaprio.
The film received highly positive reviews. In January The Aviator became the most-nominated film of the 77th Academy Awards nominations, nominated in 11 categories including Best Picture.
Despite having a leading tally, the film ended up with only five Oscars: No Direction Home is a documentary film by Martin Scorsese that tells of the life of Bob Dylan , and his impact on American popular music and culture of the 20th century.
The film does not cover Dylan's entire career; it focuses on his beginnings, his rise to fame in the s, his then- controversial transformation from an acoustic guitar—based musician and performer to an electric guitar—influenced sound and his "retirement" from touring in following an infamous motorcycle accident.
A DVD version of the film was released that same month. In addition, Scorsese received an Emmy nomination for it. The Departed opened to widespread critical acclaim, with some proclaiming it as one of the best efforts Scorsese had brought to the screen since s Goodfellas ,   and still others putting it at the same level as Scorsese's most celebrated classics Taxi Driver and Raging Bull.
While being presented with the award, Scorsese poked fun at his previous track record of nominations, asking "Could you double-check the envelope?
Shine a Light is a concert film of rock and roll band The Rolling Stones ' performances at New York City's Beacon Theater on October 29 and November 1, , intercut with brief news and interview footage from throughout the band's career.
The film was initially scheduled for release on September 21, , but Paramount Classics postponed its general release until April After the Filming Video documentary short special thanks.
The Cast and Characters Video documentary short special thanks. The Look Video documentary short special thanks. The Story Video documentary short special thanks.
Making 'After Hours' Video documentary short special thanks. The Making of 'GoodFellas' Video documentary short special thanks. Out of the Shadows Bernard Herrmann Documentary thanks.
King of the Underdogs Documentary Himself. The Last Samurai Documentary Himself. A Filmmaker's Influence Documentary short Himself.
Volume Five Documentary Himself. Show all 6 episodes. Himself - Director, 'Mean Streets'. Himself - Director, 'Taxi Driver'.
This Is Us Documentary Himself uncredited. The Untold Story Documentary Himself. Role of a Lifetime Video short Himself uncredited. The Making of 'Hugo' Video documentary short Himself.
After the Academy Awards The Music Never Ends The Filmmaker and the Legend Show all 8 episodes. Exploits of a Hollywood Rebel Documentary Himself.
Making the African Queen Video documentary Himself. Scenografo italiano Documentary Himself. Behind the Shutters Video documentary short Himself.
Into the Lighthouse Video documentary short Himself. Hitchcock's Signature Style Video documentary Himself.
Hitchcock's Maestro Video short Himself. Hitchcock's Legacy Video documentary Himself. Through the Eyes of the Master Video documentary Himself.
Title Champ Video short Himself. Himself - Director segment "Alec Baldwin". Baghdad to Hollywood Documentary Himself.
The Inspiration Video documentary short Himself. Himself - Oscar Winner. Facing a Loaded Gun Gettin' Fishy with It The Immigrant's Hero Video documentary short Himself.
An Appreciation Video short Himself. Enemies of the Public Video documentary short Himself.