The end of the century of cinema, coinciding with the end of the twentieth century, encourages filmmakers to self-reflection. Trying, apparently, to figure out what he had been doing all his life, Martin Scorsese appeals to the experience of those contemporary directors whose work is highly appreciated.
Scorsese puzzles colleagues with five questions about cinema, and this questionnaire, which we reprint from the French magazine Cahiers du cinema, is of interest not only due to the answers of respected respondents, but also due to the questions of its compilerrecognized authority in the world of cinema, high-profile cinephile, classic continuing to amaze the author collecting the cash desk. For the free movies you can have the best choice for Scorsese films.
- Where is the movie going? Does it tend to disappear, does it invent something new for its rebirth, or is it undergoing a period of mutation?
- Do you draw inspiration from an old movie? If so, how and with which directors?
- What makes you make films?
- Have you won the battle to consider cinema a full-fledged art form? If so, what did it bring? And what else remains to be done to consolidate this victory?
- Was there a moment in your life when you, looking at the screen, thought: this is what a movie should be like?
Where is the movie going? Forward. Styles are changing, technology is developing, but the basicthree-actstructure of the Hollywood film remains. Independent films are now attracting a wider audience than they were a few years ago. The personal filmthat is, expressing the director’s individual lookis still alive.
- We find tremendous inspiration in old films. The work is imbued with the influence of Howard Hawks, Bunuel, Hitchcock, John Sturges, Orson Welles and many others.
- To put films is the only thing that he is fit for.
- A huge number of viewers do not take cinema as art and seriously for them it is only entertainment. However, there is a small percentage of people who recognize that some films may be considered works of art.
The moment that reveals to us the essence of the movie is the favorite scene of redemption in Rio Bravo: a hero reaching a truce with darkness. The song “Cut Throat”, designed to scare to death, causes the opposite reaction. In the great Hollywood style, this is the most daring moment.
Where is the movie going? It goes right on we just saw Get Shorty. For me, Elmore Leonard, the author of the novel on which the film was made, is, so to speak, Mark Twain of the damned twentieth century. He invited me to film Shorty, and viewers made the mistake of the century refused, because it was at the very moment when they gave me money for King of New York, and the situation was now or never. We saw the film three times on the plane, and for the fourth time we finally focused. What happened what was of interest in the novel disappeared from the film.