老娘愈來愈喜愛 Martin Scorsese這個導演囉
Martin Scorsese
今年以The Departed 神鬼無間
拿到
奧斯卡最佳導演
非常非常應該的啊
Martin Scorsese
From Wikipedia, the free encyclopedia
| Martin Scorsese | |
 Martin Scorsese at Cannes in 2002. |
|
| Birth name | Martin Marcantonio Luciano Scorsese |
| Born | November 17, 1942 (age 64) Flushing, New York, USA |
| Spouse(s) | Laraine Brennan Julia Cameron Isabella Rossellini (1979-1983) Barbara De Fina (1985-1991) Helen Morris (1999-) |
| Won: Best Director 2006 The Departed Nominated: Best Director 1980 Raging Bull 1988 The Last Temptation of Christ 1990 Goodfellas 2002 Gangs of New York 2004 The Aviator Nominated: Best Adapted Screenplay 1990 Goodfellas (with Nicholas Pileggi) 1993 The Age of Innocence (with Jay Cocks) |
|
| Best Director - Motion Picture 2003 Gangs of New York 2007 The Departed |
|
| Best Direction 1990 GoodFellas |
|
Martin Marcantonio Luciano Scorsese (IPA: AmE: [skɔɹˈsɛsi]; Ita: [lu'tʃaːno skoɾ'seːze]) (born November 17, 1942) is an Academy Award, Golden Globe, BAFTA, and Directors Guild of America award winner and critically acclaimed American film director.
Scorsese's body of work addresses such themes as Italian-American identity, Roman Catholic concepts of guilt and redemption,[1] machismo, and the violence endemic in American society. Scorsese is widely considered to be one of the most significant and influential American filmmakers of his era.[2] He earned an MFA in film directing from the prestigious NYU Film School. He won the Academy Award for Best Director for his film The Departed, which also won the Academy Award for Best Picture at the 79th Academy Awards in 2007. He was previously nominated for Best Director five times,[3] but had never won.
Contents[hide] |
Childhood
Martin Scorsese was born in New York City. His father, Luciano Charles Scorsese (1900–1993), and mother, Catherine Scorsese (1912–1997), both worked in New York's Garment District. It was at this stage in his life that he developed his passion for cinema.[4] Scorsese developed an admiration for neo-realist cinema. He recounted its influence in a documentary on Italian neorealism, and commented on how Bicycle Thieves inspired director Satyajit Ray, and how this influenced his view or portrayal of his Sicilian heritage.[5] His initial desire to become a priest was forsaken for cinema - the seminary traded for NYU Film School, where he received his MFA in film directing in 1966.
Early career
Although the Vietnam War had started at the time, Scorsese was able to avoid military service. He attended New York University's film school (B.A., English, 1963; M.F.A., film, 1966) making the short films What's a Nice Girl Like You Doing in a Place Like This? (1963) and It's Not Just You, Murray! (1964). His most famous short of the period is the darkly comic The Big Shave (1967), which featured an unnamed man who shaves himself until profusely bleeding, ultimately slitting his own throat with his razor. The film is an indictment of America's involvement in Vietnam, suggested by its alternative title Viet '67.[6]
Also in 1967, Scorsese made his first feature-length film, the black and white Who's That Knocking at My Door with fellow student, actor Harvey Keitel, and editor Thelma Schoonmaker both of whom were to become long term collaborators. This film was a precursor to his later Mean Streets. Even in embryonic form, the "Scorsese style" was already evident: a feel for New York Italian American street-life, rapid editing, an eclectic rock soundtrack and a troubled male protagonist.
1970s
From there he became a friend and acquaintance of the so-called "movie brats" of the 1970s: Francis Ford Coppola, Brian De Palma, George Lucas, and Steven Spielberg. It was De Palma who introduced actor Robert De Niro to Scorsese, and the two figures became close friends, working together on many projects. During this period the director worked as one of the editors on the movie Woodstock and met actor-director John Cassavetes, who would also go on to become a close friend and mentor.[7]
Mean Streets
In 1972 Scorsese made the Depression-era gangster film Boxcar Bertha for B-movie producer Roger Corman, who had also helped directors such as Francis Ford Coppola, James Cameron and John Sayles launch their careers. While it is widely considered a minor work, Boxcar Bertha nonetheless taught Scorsese how to make films cheaply and quickly, preparing him for his first film with De Niro, Mean Streets.
Championed by influential movie critic Pauline Kael, Mean Streets was a breakthrough for Scorsese, De Niro and Keitel.[8] By now the signature Scorsese style was in place: macho posturing, bloody violence, Catholic guilt and redemption, gritty New York locale, rapid-fire editing, and a rock soundtrack. Although the film was innovative, its wired atmosphere, edgy documentary style and gritty street-level direction owed a debt to directors Cassavetes and early Jean-Luc Godard.[9] (Indeed the film was completed with much encouragement from Cassavetes, who felt Boxcar Bertha was undeserving of the young director’s prodigious talent.)[7]
In 1974 actress Ellen Burstyn chose Scorsese to direct her in Alice Doesn't Live Here Anymore, for which she won an Academy Award for Best Actress. 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.
Taxi Driver
Two years later, in 1976, Scorsese sent shockwaves through the cinema world when he directed the iconic Taxi Driver, an unrelentingly grim and violent portrayal of one man's slow descent into insanity in a hellishly conceived Manhattan.
Scorsese's direction by now was highly accomplished, using jump cuts, expressionist lighting,[10] point of view shots and slow motion to reflect the protagonist's heightened psychological awareness. However Taxi Driver's immense power was due in part to Robert DeNiro's intense lead performance. The film co-starred Jodie Foster in a highly controversial role as an underage prostitute, and Harvey Keitel as her pimp, "Sport" Matthew.
Taxi Driver also marked the start of a series of collaborations with writer Paul Schrader. The film bears strong thematic links to (and makes several allusions to) the work of French director Robert Bresson, most explicitly Pickpocket (in essence the "diary" of a loner/obsessive who finds redemption). Writer/director Schrader often returns to Bresson's work in films such as American Gigolo, Light Sleeper and Scorsese’s later Bringing Out the Dead.[11]
Already controversial upon its release, Taxi Driver hit the headlines again five years later, when John Hinckley, Jr. made an assassination attempt on then-President Ronald Reagan. 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).[12]
Taxi Driver won the Palme d'Or at the 1976 Cannes film festival,[13] also receiving four Oscar nominations, including Best Picture, although all were unsuccessful.
Scorsese was subsequently offered the role of Charles Manson in the movie Helter Skelter and a part in Sam Fuller's war movie The Big Red One, but he turned both down. However he did accept the role of a gangster in exploitation movie Cannonball directed by Paul Bartel. In this period there were also several directorial projects that never got off the ground including Haunted Summer, about Mary Shelley and a film with Marlon Brando about the Indian massacre at Wounded Knee.
New York, New York and The Last Waltz
The critical success of Taxi Driver encouraged Scorsese to move ahead with his first big-budget project: the highly stylized musical New York, New York. This tribute to Scorsese's home town and the classic Hollywood musical was a box-office and critical failure.
New York, New York was the director's third collaboration with Robert De Niro, co-starring with Liza Minnelli (a tribute and allusion to her father, legendary musical director Vincente Minnelli). Although possessing Scorsese's usual visual panache and stylistic bravura, many critics felt its enclosed studio-bound atmosphere left it leaden in comparison to his earlier work. Often overlooked, it remains one of the director’s early key studies in male paranoia and insecurity (and hence is in direct thematic lineage with Mean Streets, Taxi Driver the later Raging Bull, and the director's most recent film, The Departed).
The disappointing reception New York, New York received drove Scorsese into depression. By this stage the director had also developed a serious cocaine addiction.[14] However, he did find the creative drive to make the highly regarded The Last Waltz, documenting the final concert by The Band. It was held at the Winterland Ballroom in San Francisco, and featured one of the most extensive lineups of prominent guest performers at a single concert. However, Scorsese's commitments to other projects delayed the release of the film until 1978. Another Scorsese-directed documentary entitled American Boy also appeared in 1978 focusing on Steve Prince, the cocky gun salesman who appeared in Taxi Driver. A period of wild partying followed, damaging the director’s already fragile health.
1980s
Raging Bull
By many accounts (Scorsese's included), Robert DeNiro practically saved his life when he persuaded him to kick his cocaine addiction to make what many consider his greatest film, Raging Bull (1980). Convinced that he would never make another movie, he poured his energies into making this violent biopic of middleweight boxing champion Jake La Motta, calling it a Kamikaze method of film-making.[15] The film is widely viewed as a masterpiece and was voted the greatest film of the 1980s by Britain's prestigious Sight & Sound magazine.[16][17] It received eight Oscar nominations, including Best Picture, Best Actor for Robert De Niro, and Scorsese's first for Best Director. De Niro won, as did Thelma Schoonmaker for editing, but best director went to Robert Redford for Ordinary People.
Raging Bull, filmed in high contrast black and white, is where the director's style reached its zenith: Taxi Driver and New York, New York had used elements of expressionism to replicate psychological point 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).[18] Thematically too, the concerns carried on from Mean Streets and Taxi Driver: insecure males, violence, guilt, and redemption.
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. It was re-written several times by various writers including Jay Cocks (who went on to co-script later Scorsese films The Age of Innocence and Gangs of New York). The final draft was largely written by Scorsese and Robert De Niro.[19]
The King of Comedy
Scorsese’s next project was his fifth collaboration with Robert De Niro, The King of Comedy (1983). An absurdist satire on the world of media and celebrity, it was an obvious departure from the more emotionally committed films he had become associated with. Visually too it was far less kinetic than the style the director had developed up until this point, often using a static camera and long takes.[20] The expressionism of his recent work here gave way to moments of almost total surrealism. However it was still an obvious Scorsese work, and apart from the New York locale, it bore many similarities to Taxi Driver, not least of which was its focus on an obsessed troubled loner who ironically achieves iconic status through a criminal act (murder and kidnapping, respectively).[21]
The King of Comedy failed at the box office but has become increasingly well regarded by critics in the years since its release. It is arguable that its themes of vacuous showbusiness and celebrity obsession are more pertinent today than when the film was originally released.
Next Scorsese made a brief cameo appearance in the movie Pavlova: A Woman for All Time, originally intended to be directed by one his heroes, Michael Powell. This led to a more significant role in Bertrand Tavernier's jazz movie Round Midnight.
In 1983 Scorsese began work on a long-cherished personal project, The Last Temptation of Christ, based on the 1951 book written by Nikos Kazantzakis (who was introduced to the director by actress Barbara Hershey when they were both attending New York University in the late 1960s). The movie was slated to shoot under the Paramount Studios banner, but shortly before principal photography was to commence, Paramount pull
貼一篇今天96.4.18的網誌
哈哈哈哈
今天老娘又過的非常的開心
為什麼呢？
因為今天晚上老娘和芹菜爸爸出門約會啦
上個星期三老娘的網誌
這麼說
↓
哈哈哈哈
今天終於是好天氣啦
真的是不敢相信啊
這次下雨實在是下的太久了啦
如果沒有記錯的話
從上個星期一就開始一直下雨
整整下了一個星期
連春假4天都逃不了下雨的魔咒
老娘非常討厭雨天
終於
終於
今天太陽出來啦
因為好不容易太陽出來
所以我和芹菜爸爸的約會提前
今天晚上星期三先舉行
免得明天萬一又下雨
壞了出門的興致啦
今天晚上
2個老人
依舊是去簡單生活餐廳
芹菜爸爸吃牛腩噲飯和熱烏龍茶
老娘喝歐蕾鮮奶油咖啡
還是要謝謝上帝
謝謝上帝一直照顧我們家的一切
AMEN!
↑
今天全部照抄
哈哈哈哈
完全都符合啦
〈昨天有下大雨喔〉
今晚老娘和芹菜爸爸聊天聊了2個小時
芹菜爸爸說了許多許多
他心底的話與感想
嗯
老娘必須說
我們家的爸爸真的是非常特別的爸爸喔
他有許多的思想和別人非常的不同喔
我會再找時間寫下來
今晚老娘這麼說：
「美國人非常喜歡找心理醫生談話
他們幾乎每個人都非常需要找心理醫生談話
心理醫生一個小時的談話要收費至少2000元以上
而且
都是病人自己在說
心理醫生只是一直聽
隨便附和幾個字
例如：
嗯
喔
為什麼
你的感受是什麼
...........................
爸爸
謝謝你每個禮拜固定和我約會
謝謝你每個禮拜固定聽我講話
謝謝你每個禮拜固定聽我講心底的真正感受
這對我的心靈健康與憂鬱症
有非常大的幫助」
芹菜爸爸這麼回答：
「對啊
心理醫生那裡懂得我們真正的想法？
心理醫生那裡懂得我們的成長環境與背景？
很多時候
我們必須要靠我們自己
才能幫助我們自己啊」
老娘很喜歡感謝上帝
還是忍不住要感謝上帝
人生
很多時候
就是必須要靠上帝
我們才會走的過來啊
今天下午看到一部非常棒的好電影
Casino (1995)
賭城風雲
留言列表
我愛寫信給女兒 !!! ^^ 
