WEBVTT 00:00:00.000 --> 00:00:02.899 Welcome back to the Deep Dive. Today, we're not 00:00:02.899 --> 00:00:04.879 just looking at a filmmaker. I mean, we are, 00:00:05.000 --> 00:00:07.540 but we're really diving into an entire cinematic 00:00:07.540 --> 00:00:12.080 history, all embodied by one towering figure, 00:00:12.679 --> 00:00:15.429 Martin Charles Scorsese. It's such an essential 00:00:15.429 --> 00:00:17.469 deep dive, you know, especially when you look 00:00:17.469 --> 00:00:19.649 at the sheer scope of the source material we 00:00:19.649 --> 00:00:22.309 have here. We're talking about a six decade career. 00:00:22.550 --> 00:00:25.730 Six decades. It's incredible. It really is. From 00:00:25.730 --> 00:00:29.329 his humble roots in New York's Little Italy, 00:00:29.429 --> 00:00:32.030 all the way through the explosion of New Hollywood 00:00:32.030 --> 00:00:35.229 to, well, to what he is now. A global preservationist. 00:00:35.270 --> 00:00:37.590 Yeah. One of the last true auteurs in American 00:00:37.590 --> 00:00:39.850 cinema. Exactly. And that's our mission today, 00:00:39.909 --> 00:00:42.149 right? To go far beyond just the greatest hits 00:00:42.149 --> 00:00:43.969 real. I mean, everybody knows the tracking. shot 00:00:43.969 --> 00:00:46.450 in goodfellas or that you talking to me of course 00:00:46.450 --> 00:00:48.369 yeah but we want to understand the foundational 00:00:48.369 --> 00:00:51.250 influences you know the sickness the religion 00:00:51.250 --> 00:00:55.350 the european art house films that really build 00:00:55.350 --> 00:00:57.829 his moral architecture and how all of those things 00:00:57.829 --> 00:01:00.869 those um those core elements consistently inform 00:01:00.869 --> 00:01:03.829 the techniques he uses to explore what you called 00:01:03.829 --> 00:01:06.569 american myth and moral turmoil the output is 00:01:06.569 --> 00:01:09.769 just It really does speak for itself. The critical 00:01:09.769 --> 00:01:12.650 acclaim is staggering. It is. He's got that Academy 00:01:12.650 --> 00:01:14.829 Award for Best Director for The Departed, which 00:01:14.829 --> 00:01:17.609 was so long deserved. So long. But it's beyond 00:01:17.609 --> 00:01:20.329 the hardware, you know, the BAFTAs, the Emmys, 00:01:20.349 --> 00:01:23.170 the Golden Globes. It's the institutional recognition. 00:01:23.530 --> 00:01:26.650 That's the key. I mean, he got the AFI Life Achievement 00:01:26.650 --> 00:01:30.170 Award way back in 1997. And then the Kennedy 00:01:30.170 --> 00:01:33.189 Center Honor in 2007, the BAFTA Fellowship in 00:01:33.189 --> 00:01:36.390 2012. He's been an institution for decades. And 00:01:36.390 --> 00:01:38.760 the cultural. impact is just, it's measurable. 00:01:38.959 --> 00:01:41.099 You can actually point to it. Four of his films. 00:01:41.219 --> 00:01:43.980 Four. It's amazing. Mean Streets, Taxi Driver, 00:01:44.219 --> 00:01:46.939 Raging Bull, and Goodfellas. They're not just 00:01:46.939 --> 00:01:49.780 beloved films. They've been officially inducted 00:01:49.780 --> 00:01:52.040 into the National Film Registry. Which means 00:01:52.040 --> 00:01:54.459 they are considered foundational. Culturally 00:01:54.459 --> 00:01:56.879 significant works that have to be preserved forever. 00:01:57.180 --> 00:02:00.000 Four pillars of modern American cinema, all from 00:02:00.000 --> 00:02:03.019 one man. That kind of stature, I think, it demands 00:02:03.019 --> 00:02:05.719 that we understand the soil he grew from. You 00:02:05.719 --> 00:02:08.080 can't really get the moral landscape of his films 00:02:08.080 --> 00:02:10.379 without the physical landscape of his youth. 00:02:10.599 --> 00:02:13.139 Let's start there then, the immediate environment 00:02:13.139 --> 00:02:16.099 that shaped his whole vision. Okay, so let's 00:02:16.099 --> 00:02:19.599 unpack it. Martin Charles Scorsese, born in Queens, 00:02:19.860 --> 00:02:23.080 1942. But his formative years, the ones that 00:02:23.080 --> 00:02:25.639 really matter for his art, were spent in the 00:02:25.639 --> 00:02:28.219 heart of Manhattan's Little Italy. And he was 00:02:28.219 --> 00:02:30.860 the child of Sicilian -American parents. That 00:02:30.860 --> 00:02:33.300 very tight, working class, Italian -American 00:02:33.300 --> 00:02:35.919 experience. That's the world he would later put 00:02:35.919 --> 00:02:38.879 on screen. It was his whole world. Vibrant, volatile, 00:02:39.180 --> 00:02:41.400 immediate. And that family environment didn't 00:02:41.400 --> 00:02:43.379 just give him the subject matter. It gave him 00:02:43.379 --> 00:02:45.919 the talent. His parents, Charles and Catherine 00:02:45.919 --> 00:02:48.379 Scorsese, they worked in the garment district. 00:02:48.659 --> 00:02:51.240 Right. Charles was a clothes presser. Catherine, 00:02:51.240 --> 00:02:53.740 a seamstress. But they were also actors. And 00:02:53.740 --> 00:02:56.039 they became these frequent, wonderful collaborators 00:02:56.039 --> 00:02:58.780 in his films. Which gives his early work this 00:02:58.780 --> 00:03:01.819 incredible, immediate authenticity. It's that 00:03:01.819 --> 00:03:04.539 real, unfiltered neighborhood voice. I think 00:03:04.539 --> 00:03:06.340 that inclusion, you know, having his own parents 00:03:06.340 --> 00:03:08.599 in the movies, it says everything about his approach. 00:03:08.840 --> 00:03:11.939 It wasn't about hiring polished actors to portray 00:03:11.939 --> 00:03:15.439 this life. No, it was about integrating his actual 00:03:15.439 --> 00:03:18.740 world into his art. Exactly. And that grounding 00:03:18.740 --> 00:03:21.259 gives his films a texture that you just you don't 00:03:21.259 --> 00:03:22.960 see in the films that try to copy his style. 00:03:23.139 --> 00:03:25.659 The authenticity is personal. It's not manufactured. 00:03:25.680 --> 00:03:28.020 And you can trace that lineage back even further. 00:03:28.319 --> 00:03:30.979 His grandparents were Sicilian immigrants from 00:03:30.979 --> 00:03:34.439 Polizzi Generosa and Simena. And this is where 00:03:34.439 --> 00:03:36.240 we find this fascinating little detail about 00:03:36.240 --> 00:03:39.099 the name. Yes. The original family name was actually 00:03:39.099 --> 00:03:42.539 Scudzessi. Which means Scotch or Scottish in 00:03:42.539 --> 00:03:44.319 Italian. It was a transcription error, right? 00:03:44.400 --> 00:03:47.340 When they arrived. Just a mistake. But it's such 00:03:47.340 --> 00:03:50.379 a small but powerful detail. It illustrates that 00:03:50.379 --> 00:03:53.199 kind of. foundational confusion, that shifting 00:03:53.199 --> 00:03:55.879 identity that's so central to the immigrant experience. 00:03:56.379 --> 00:03:58.280 And to his characters, who are always caught 00:03:58.280 --> 00:04:00.879 between two worlds. But his primary education, 00:04:01.259 --> 00:04:04.360 his real classroom, wasn't on the streets. The 00:04:04.360 --> 00:04:07.460 single most crucial, defining fact of his childhood 00:04:07.460 --> 00:04:10.180 wasn't community sports or street life. It was 00:04:10.180 --> 00:04:13.539 isolation. He had severe chronic asthma as a 00:04:13.539 --> 00:04:16.019 boy. And that illness is really the key to his 00:04:16.019 --> 00:04:18.779 whole artistic sensibility. Because he couldn't 00:04:18.779 --> 00:04:20.680 run around, he couldn't play sports, he couldn't 00:04:20.680 --> 00:04:22.079 do the rough and tumble stuff with the other 00:04:22.079 --> 00:04:25.220 kids. He was sidelined. He was forced to be an 00:04:25.220 --> 00:04:27.740 observer. So his family, to keep him occupied, 00:04:27.920 --> 00:04:30.139 they just took him to the movies. Constantly. 00:04:30.279 --> 00:04:33.459 So that's seclusion. It turned the cinema into 00:04:33.459 --> 00:04:36.319 his social and emotional laboratory. Think about 00:04:36.319 --> 00:04:38.860 that. He was learning about honor, violence, 00:04:39.040 --> 00:04:43.259 love, betrayal. Not from doing it, but from watching 00:04:43.259 --> 00:04:45.879 these heightened, stylized versions of life on 00:04:45.879 --> 00:04:48.180 a screen. It completely shaped his art. If he'd 00:04:48.180 --> 00:04:50.040 been out on the field, maybe he'd be making movies 00:04:50.040 --> 00:04:52.240 about teamwork. Right. Or external conflict. 00:04:52.480 --> 00:04:55.279 But because he was inside, watching. His films 00:04:55.279 --> 00:04:59.420 were all about the interior life. guilt, paranoia, 00:04:59.500 --> 00:05:02.259 the violence that brews inside a solitary man. 00:05:02.399 --> 00:05:04.740 Characters like Travis Bickle or Jake LaMotta, 00:05:04.920 --> 00:05:07.220 they're these intense loners, even when they're 00:05:07.220 --> 00:05:09.720 surrounded by people. That's the lens, the lens 00:05:09.720 --> 00:05:12.259 of this sick kid who became a cinephile. And 00:05:12.259 --> 00:05:14.439 that cinephilia wasn't just, you know, what was 00:05:14.439 --> 00:05:17.040 playing down the street. His passion ignited 00:05:17.040 --> 00:05:19.980 this ferocious appetite for all of film history, 00:05:20.139 --> 00:05:23.490 global film history. And his influences are so 00:05:23.490 --> 00:05:26.769 diverse, the tension between them, between high 00:05:26.769 --> 00:05:30.009 art and low genre, that's what creates his style. 00:05:30.230 --> 00:05:31.649 That's a great way to put it. So what were the 00:05:31.649 --> 00:05:34.250 big ones? The cornerstone foreign works that 00:05:34.250 --> 00:05:36.250 really shaped him in that theater? Well, he was 00:05:36.250 --> 00:05:39.209 deeply, deeply affected by British cinema, particularly 00:05:39.209 --> 00:05:42.470 the visual audacity of Powell and Pressburger. 00:05:42.750 --> 00:05:45.129 Black Narcissus and The Red Shoes. Especially 00:05:45.129 --> 00:05:47.449 The Red Shoes. It was like a blueprint for how 00:05:47.449 --> 00:05:50.449 you could use color and operatic melodrama to 00:05:50.449 --> 00:05:52.410 express. what's going on inside someone's head. 00:05:52.610 --> 00:05:55.329 He didn't just love them, he studied them. And 00:05:55.329 --> 00:05:58.149 he was committed, even as a teenager. The source 00:05:58.149 --> 00:06:00.230 material notes he would commute all the way to 00:06:00.230 --> 00:06:02.769 the Bronx. Just to rent a reel. A single reel 00:06:02.769 --> 00:06:05.949 of their even more obscure film, The Tales of 00:06:05.949 --> 00:06:08.230 Hoffman. And here's where the story gets kind 00:06:08.230 --> 00:06:11.149 of incredible. We know who the only other person 00:06:11.149 --> 00:06:13.970 was who was regularly renting that exact same 00:06:13.970 --> 00:06:16.980 rare reel. from that specific store. George A. 00:06:17.000 --> 00:06:18.899 Romero. George A. Romero. It's unbelievable. 00:06:19.199 --> 00:06:22.000 Two future legends, one defined by internal violence, 00:06:22.079 --> 00:06:24.540 the other by external apocalypse, unknowingly 00:06:24.540 --> 00:06:27.040 sharing this one specific influential piece of 00:06:27.040 --> 00:06:30.959 art. Wow. That's a powerful origin story for 00:06:30.959 --> 00:06:33.519 that whole new Hollywood generation. But he was 00:06:33.519 --> 00:06:35.920 also absorbing the complete opposite end of the 00:06:35.920 --> 00:06:38.439 spectrum. Exactly. World cinema that was all 00:06:38.439 --> 00:06:41.300 about gritty, ground -level reality. You mean 00:06:41.300 --> 00:06:44.060 Italian neorealism. Precisely. You see the deep 00:06:44.060 --> 00:06:47.339 imprint of masters like Roberto Rossellini, his 00:06:47.339 --> 00:06:50.839 films Rome, Open City, and Paisa. And Isika's 00:06:50.839 --> 00:06:53.120 bicycle thieves. They showed him the power of 00:06:53.120 --> 00:06:55.519 authenticity, of using non -professional actors, 00:06:55.639 --> 00:06:58.040 shooting on location in the middle of all this 00:06:58.040 --> 00:07:01.500 social decay. And that tension between the artificial 00:07:01.500 --> 00:07:04.120 controlled expressionism of the Red Shoes and 00:07:04.120 --> 00:07:07.680 the raw observational truth of Rome, Open City. 00:07:08.060 --> 00:07:10.060 That's the whole Scorsese universe right there. 00:07:10.180 --> 00:07:12.620 It is. His films are basically Italian near -realist 00:07:12.620 --> 00:07:15.269 dramas. staged with the extreme lighting and 00:07:15.269 --> 00:07:17.509 color of Powell and Pressburger. You could literally 00:07:17.509 --> 00:07:19.689 see it. The documentary energy of mean streets 00:07:19.689 --> 00:07:22.370 next to the distorted psychological boxing scenes 00:07:22.370 --> 00:07:24.990 and raging bull. And he even made a documentary 00:07:24.990 --> 00:07:28.389 about it, Il mio viaggio, in Italia, where he 00:07:28.389 --> 00:07:31.149 traces that influence. He talks about watching 00:07:31.149 --> 00:07:33.709 the Sicilian episode of Paisa on TV with his 00:07:33.709 --> 00:07:36.389 family and how it felt like this direct connection 00:07:36.389 --> 00:07:39.129 to his heritage. He also loved the American masters, 00:07:39.189 --> 00:07:42.370 though. John Ford's westerns. Oh, yeah. The Quiet 00:07:42.370 --> 00:07:44.689 Man and especially The Searchers. And you can't 00:07:44.689 --> 00:07:46.470 talk about Taxi Driver without talking about 00:07:46.470 --> 00:07:49.230 The Searchers. Absolutely not. Ford's vision 00:07:49.230 --> 00:07:53.250 of the isolated man on a quest for redemption 00:07:53.250 --> 00:07:56.329 or vengeance in a corrupt world. That's a theme 00:07:56.329 --> 00:07:58.750 Scorsese comes back to over and over. And Alfred 00:07:58.750 --> 00:08:01.610 Hitchcock, of course. Vertigo. Which he said 00:08:01.610 --> 00:08:04.209 he responded to very strongly. It was a master 00:08:04.209 --> 00:08:07.269 class in controlled paranoia and visual subjectivity. 00:08:07.410 --> 00:08:09.290 So he's already operating like an academic here, 00:08:09.370 --> 00:08:11.350 which explains his next step, even though he 00:08:11.350 --> 00:08:13.350 had a very different plan at first. He did. He 00:08:13.350 --> 00:08:16.509 wanted to be a priest, attended preparatory seminary. 00:08:16.550 --> 00:08:18.730 But he failed out after the first year. It's 00:08:18.730 --> 00:08:21.170 hard to imagine American cinema without that 00:08:21.170 --> 00:08:25.310 one minor failure. The path to the pulpit closed 00:08:25.310 --> 00:08:27.850 and the path to the director's chair opened up. 00:08:28.149 --> 00:08:31.879 He went to NYU. Got a BA in English in 64 and 00:08:31.879 --> 00:08:35.899 an MA in film in 68. And NYU gave him key mentors, 00:08:36.100 --> 00:08:39.519 like Professor Haig P. Mnuchin. It also gave 00:08:39.519 --> 00:08:41.779 him hands -on experience, even if he wasn't a 00:08:41.779 --> 00:08:43.960 natural at everything. Right. He said he was 00:08:43.960 --> 00:08:45.919 terrible at judging focus when he was an assistant 00:08:45.919 --> 00:08:48.279 cameraman. But the learning was invaluable. He 00:08:48.279 --> 00:08:50.639 even worked as an editor for CBS News for a while 00:08:50.639 --> 00:08:52.899 before deciding to pursue his own vision. And 00:08:52.899 --> 00:08:55.120 that vision finally came together with his feature 00:08:55.120 --> 00:08:58.159 debut, Who's That Knocking at My Door, in 1967. 00:08:58.919 --> 00:09:01.899 And this film is essential, not just for what 00:09:01.899 --> 00:09:04.559 it is, but for who it introduced. Two of his 00:09:04.559 --> 00:09:07.480 most indispensable collaborators, Harvey Keitel. 00:09:07.580 --> 00:09:09.620 And most importantly, the editor, Thelma Schoonmaker. 00:09:09.840 --> 00:09:11.899 That film immediately signaled something was 00:09:11.899 --> 00:09:14.440 happening. Roger Ebert, in his first review of 00:09:14.440 --> 00:09:17.120 Scorsese, called it a great moment in American 00:09:17.120 --> 00:09:19.360 movies. And he recognized that mix of American 00:09:19.360 --> 00:09:21.720 sincerity with the raw freshness of the New York 00:09:21.720 --> 00:09:24.830 underground, like John Cassavetes. And Cassavetes 00:09:24.830 --> 00:09:27.990 was so important. He was a mentor who pushed 00:09:27.990 --> 00:09:30.669 Scorsese to make personal projects, the films 00:09:30.669 --> 00:09:32.789 he wanted to make. The irony, though, is that 00:09:32.789 --> 00:09:35.090 it was a commercial B -movie gig that taught 00:09:35.090 --> 00:09:38.350 him some crucial lessons. Roger Corman. Boxcar 00:09:38.350 --> 00:09:41.870 Bertha in 1972. Corman's school of filmmaking 00:09:41.870 --> 00:09:44.769 was simple. Make it entertaining, make it fast, 00:09:44.850 --> 00:09:46.970 and make it cheap. And that discipline proved 00:09:46.970 --> 00:09:49.629 invaluable later on. So he's got the European 00:09:49.629 --> 00:09:52.190 art house, the new realist grit, the American 00:09:52.190 --> 00:09:54.970 Western myth, the Catholic guilt and the Corman 00:09:54.970 --> 00:09:58.110 efficiency. That explosive cocktail finally came 00:09:58.110 --> 00:10:00.789 together in 1973. The official breakthrough. 00:10:00.990 --> 00:10:03.750 That era starts definitively with Mean Streets. 00:10:03.769 --> 00:10:06.350 And it wasn't just a win for Scorsese. It was 00:10:06.350 --> 00:10:08.549 the breakthrough for him, for Keitel and for 00:10:08.549 --> 00:10:11.250 Robert De Niro. Their first true collaboration. 00:10:11.429 --> 00:10:13.870 It established everything. And this is where 00:10:13.870 --> 00:10:16.110 the Scorsese style just hits you in the face. 00:10:16.110 --> 00:10:18.990 The macho posturing, the raw language, the bursts 00:10:18.990 --> 00:10:21.769 of violence. And that undeniable sense of Catholic 00:10:21.769 --> 00:10:24.129 guilt just simmering under everything. It's so 00:10:24.129 --> 00:10:26.110 funny, you know, the sources remind us that most 00:10:26.110 --> 00:10:28.570 of it was actually shot in L .A. But it feels 00:10:28.570 --> 00:10:31.389 so intensely New York. It's the editing and the 00:10:31.389 --> 00:10:33.330 soundtrack that made it revolutionary, though. 00:10:34.029 --> 00:10:37.580 Pauline Kael called it A triumph of personal 00:10:37.580 --> 00:10:39.759 filmmaking. She said that if it had subtitles, 00:10:40.019 --> 00:10:42.879 critics would be praising a new European or South 00:10:42.879 --> 00:10:46.279 American talent. A new Buñol. She was pointing 00:10:46.279 --> 00:10:48.620 out that this level of personal kinetic art was 00:10:48.620 --> 00:10:50.799 usually only associated with foreign auteurs, 00:10:50.799 --> 00:10:53.440 not some young American working in a genre film. 00:10:53.539 --> 00:10:55.539 The rock and roll. It's not just background music. 00:10:55.600 --> 00:10:57.759 It's like a third character. The slow motion 00:10:57.759 --> 00:11:00.960 walk into the bar set to Be My Baby. It turns 00:11:00.960 --> 00:11:03.519 a simple entrance into this moment of cinematic 00:11:03.519 --> 00:11:08.179 ecstasy and preordained doom. That set the blueprint 00:11:08.179 --> 00:11:11.120 for the next 50 years. But then he took a detour 00:11:11.120 --> 00:11:12.960 with Alice Doesn't Live Here Anymore. Right. 00:11:13.000 --> 00:11:15.580 A female -centric film that won Ellen Burstyn 00:11:15.580 --> 00:11:18.639 an Oscar. It showed he had range. But his definitive 00:11:18.639 --> 00:11:22.639 statement was next. Taxi Driver. 1976. The ultimate 00:11:22.639 --> 00:11:25.200 expression of the isolated observer. Won the 00:11:25.200 --> 00:11:27.860 Palme d 'Or at Cannes. This is where his other 00:11:27.860 --> 00:11:30.039 crucial collaboration begins with the writer 00:11:30.039 --> 00:11:32.059 Paul Schrader. And Schrader's script had this 00:11:32.059 --> 00:11:34.480 layered origin. It drew from the diary of Arthur 00:11:34.480 --> 00:11:37.279 Bremmer, the guy who shot George Wallace. And 00:11:37.279 --> 00:11:40.840 significantly, John Ford's The Searchers. Yes. 00:11:41.320 --> 00:11:44.139 The isolation of Travis Bickle driving through 00:11:44.139 --> 00:11:47.230 this polluted city. It mirrors John Wayne's Ethan 00:11:47.230 --> 00:11:50.169 Edwards, the obsessive outsider trying to save 00:11:50.169 --> 00:11:52.809 a girl from a system he despises. That blend 00:11:52.809 --> 00:11:56.669 of high art existentialism and low pulp vigilante 00:11:56.669 --> 00:12:00.350 fantasy is what made it so electric. And tragically, 00:12:00.350 --> 00:12:02.960 so controversial five years later. When John 00:12:02.960 --> 00:12:05.200 Hinckley Jr., who was obsessed with the film, 00:12:05.299 --> 00:12:07.720 tried to assassinate Ronald Reagan. It forced 00:12:07.720 --> 00:12:09.840 a really uncomfortable conversation about cinematic 00:12:09.840 --> 00:12:12.120 influence. And it's something Scorsese has always 00:12:12.120 --> 00:12:15.259 taken seriously. But after that peak, he stumbled. 00:12:15.580 --> 00:12:19.419 New York, New York in 1977. The big budget musical. 00:12:19.840 --> 00:12:21.980 And its commercial failure was devastating for 00:12:21.980 --> 00:12:24.059 him. On top of that, he was suffering from a 00:12:24.059 --> 00:12:26.639 serious cocaine addiction, which led to depression 00:12:26.639 --> 00:12:28.860 and internal bleeding. He was in the hospital. 00:12:29.019 --> 00:12:31.419 He hit rock bottom. The story of him being in 00:12:31.419 --> 00:12:33.960 the hospital convinced he was going to die. It's 00:12:33.960 --> 00:12:36.240 legendary. And this is where the redemption narrative 00:12:36.240 --> 00:12:38.700 starts. It really is. Robert De Niro essentially 00:12:38.700 --> 00:12:40.759 saved his life. He came to him with the script 00:12:40.759 --> 00:12:43.240 for Raging Bull. The violent biopic of boxer 00:12:43.240 --> 00:12:46.539 Jake LaMotta. And he urged Scorsese to channel 00:12:46.539 --> 00:12:49.580 all his physical and psychological despair into 00:12:49.580 --> 00:12:53.139 this brutal character study. Scorsese called 00:12:53.139 --> 00:12:56.059 it a kamikaze method of filmmaking. He thought 00:12:56.059 --> 00:12:58.340 it might be his last movie. It turned out to 00:12:58.340 --> 00:13:01.120 be anything but. Raging Bull is considered a 00:13:01.120 --> 00:13:04.200 masterpiece. The greatest film of the 1980s. 00:13:04.460 --> 00:13:06.779 According to Sight and Sound, it was the zenith 00:13:06.779 --> 00:13:08.860 of his style. We have to talk about the technical 00:13:08.860 --> 00:13:11.299 choices here because they're the emotional content. 00:13:11.419 --> 00:13:14.159 Shooting in high contrast, black and white, that 00:13:14.159 --> 00:13:16.419 wasn't just for show. No, it strips away the 00:13:16.419 --> 00:13:18.960 glamour of boxing and forces you to confront 00:13:18.960 --> 00:13:21.909 the ugliness of LaMotta's life. What's so amazing 00:13:21.909 --> 00:13:24.149 is that right after the operatic chaos of Raging 00:13:24.149 --> 00:13:26.809 Bull, he makes a film as static and restrained 00:13:26.809 --> 00:13:29.230 as the king of comedy. Was that a deliberate 00:13:29.230 --> 00:13:31.309 rejection of his own style? I think it was a 00:13:31.309 --> 00:13:33.629 profound reaction. For the king of comedy, he 00:13:33.629 --> 00:13:35.669 had deliberately shifted to a static camera. 00:13:35.789 --> 00:13:38.789 Long takes. It was perfect for the subject. Rupert 00:13:38.789 --> 00:13:41.190 Pupkin is trapped in the static frame of celebrity 00:13:41.190 --> 00:13:44.190 media. He's literally incapable of moving beyond 00:13:44.190 --> 00:13:46.590 the fantasy of fame. And Scorsese himself says 00:13:46.590 --> 00:13:49.309 De Niro's performance as Pupkin is the best work 00:13:49.309 --> 00:13:52.149 they ever did together. High praise. And it was 00:13:52.149 --> 00:13:55.009 after Raging Bull that his film started getting 00:13:55.009 --> 00:13:57.750 labeled a Martin Scorsese picture. It became 00:13:57.750 --> 00:13:59.690 a brand. After the commercial disappointment 00:13:59.690 --> 00:14:02.250 of King of Comedy, he took on a few other projects. 00:14:02.629 --> 00:14:05.669 After Hours, which won him Best Director at Cannes, 00:14:05.669 --> 00:14:08.590 and The Color of Money with Paul Newman. Which 00:14:08.590 --> 00:14:11.169 was a clear commercial play to finance his real 00:14:11.169 --> 00:14:13.909 passion project. The Last Temptation of Christ 00:14:13.909 --> 00:14:17.700 in 1988. He had tried to make it for years, but 00:14:17.700 --> 00:14:19.580 Paramount pulled the plug because of pressure 00:14:19.580 --> 00:14:22.059 from religious groups. So Universal made a deal 00:14:22.059 --> 00:14:24.840 with him? They'd finance it, but only if he agreed 00:14:24.840 --> 00:14:27.940 to direct the more mainstream thriller Cape Fear 00:14:27.940 --> 00:14:30.679 for them later. And the resulting film was hugely 00:14:30.679 --> 00:14:33.360 controversial, with protests and bomb threats. 00:14:33.960 --> 00:14:36.460 It really showed he was willing to risk his career 00:14:36.460 --> 00:14:39.580 for a deeply personal theological exploration. 00:14:40.100 --> 00:14:42.740 It was a necessary step on the road to his later 00:14:42.740 --> 00:14:45.580 masterpiece, Silence. Which brings us right into 00:14:45.580 --> 00:14:47.980 the core of his work, the themes that bind all 00:14:47.980 --> 00:14:50.659 these films together. Let's start with Religious 00:14:50.659 --> 00:14:52.840 Guilt. It's probably the single most prominent 00:14:52.840 --> 00:14:55.779 theme in his work. It flows right from his Catholic 00:14:55.779 --> 00:14:57.899 upbringing and his failure to become a priest. 00:14:58.220 --> 00:15:00.879 It's not just Catholic imagery either. It's an 00:15:00.879 --> 00:15:04.059 explicit examination of how Catholicism creates 00:15:04.059 --> 00:15:06.639 and deals with this deep, crippling sense of 00:15:06.639 --> 00:15:09.600 sin. It's everywhere, from Charlie in Mean Streets 00:15:09.600 --> 00:15:11.779 burning his fingers to Atone for His Cousin's 00:15:11.779 --> 00:15:14.259 Debts to the internal struggles in nearly every 00:15:14.259 --> 00:15:17.220 film. It's a cinema of confession and penance. 00:15:17.340 --> 00:15:19.820 And that theme really comes to a head with his 00:15:19.820 --> 00:15:21.820 later work, confirming that his relationship 00:15:21.820 --> 00:15:24.120 with his faith has only gotten deeper. Absolutely. 00:15:24.769 --> 00:15:27.409 Silence, which came out in 2016, was a passion 00:15:27.409 --> 00:15:29.750 project he'd been developing for over 26 years. 00:15:29.970 --> 00:15:33.210 It deals directly with a crisis of faith, apostasy, 00:15:33.389 --> 00:15:35.669 the silence of God in the face of suffering. 00:15:35.889 --> 00:15:38.429 And in discussing that film, Scorsese explicitly 00:15:38.429 --> 00:15:41.730 said, I am most comfortable as a Catholic. A 00:15:41.730 --> 00:15:44.350 big shift from his earlier identity as a lapsed 00:15:44.350 --> 00:15:46.210 Catholic. So you have the internal battle of 00:15:46.210 --> 00:15:48.710 sin and grace. But the external world in his 00:15:48.710 --> 00:15:51.210 films is just as morally compromised. It's systemic 00:15:51.210 --> 00:15:53.549 rot. It's not just a few bad apples. His films 00:15:53.549 --> 00:15:56.169 are full of corrupt police, politicians, business 00:15:56.169 --> 00:15:58.850 leaders. His early films focused on the individual 00:15:58.850 --> 00:16:01.850 gangster. But as he moved into films like Goodfellas 00:16:01.850 --> 00:16:04.809 and Casino, the critique became much more sociological. 00:16:05.009 --> 00:16:07.470 And then with The Irishman, Richard Brody called 00:16:07.470 --> 00:16:10.490 it a sociopolitical horror story. Wow. Because 00:16:10.490 --> 00:16:13.409 it showed every level of society poisoned by 00:16:13.409 --> 00:16:16.350 graft and impunity. The mobsters aren't outside 00:16:16.350 --> 00:16:19.250 the system. They are the system. They influence 00:16:19.250 --> 00:16:22.490 elections, control unions. The horror isn't the 00:16:22.490 --> 00:16:25.509 violence. It's the spiritual void created by 00:16:25.509 --> 00:16:28.350 society where sin is just another word for power. 00:16:28.590 --> 00:16:31.409 Exactly. And in that system, there's no redemption 00:16:31.409 --> 00:16:33.870 because the entire structure is corrupt. OK, 00:16:33.909 --> 00:16:36.649 let's get into the mechanics. The visual fingerprints 00:16:36.649 --> 00:16:39.370 that make a Scorsese picture instantly recognizable. 00:16:40.029 --> 00:16:42.190 First, you have the pacing devices, extensive 00:16:42.190 --> 00:16:44.750 use of slow motion, freeze frames and voiceover 00:16:44.750 --> 00:16:46.590 narration. Let's talk about the freeze frame. 00:16:46.669 --> 00:16:49.870 It's so specific to his crime epics. It is. You 00:16:49.870 --> 00:16:52.549 see it in Goodfellas, Casino, The Irishman. And 00:16:52.549 --> 00:16:54.970 what it does is it strips agency from the character 00:16:54.970 --> 00:16:57.629 and documents their fate. It's like the film 00:16:57.629 --> 00:17:00.529 is saying, stop. This moment right here, this 00:17:00.529 --> 00:17:03.149 is where it all went wrong. It's a godlike perspective 00:17:03.149 --> 00:17:06.630 documenting the fall from grace. When Jimmy Conway 00:17:06.630 --> 00:17:09.049 is frozen at the end of Goodfellas, his fate 00:17:09.049 --> 00:17:11.609 is sealed. It's a historical record of failure. 00:17:11.910 --> 00:17:14.210 And then there's the specific visual trope of 00:17:14.210 --> 00:17:17.589 the angelic wand. Yes, the angelic wand. It's 00:17:17.589 --> 00:17:20.269 a visual signature, a subtle nod to Hitchcock, 00:17:20.309 --> 00:17:23.789 maybe. His blonde leading ladies are always introduced 00:17:23.789 --> 00:17:26.910 as angelic and ethereal. Usually wearing white, 00:17:26.990 --> 00:17:29.529 usually in slow motion. Exactly. Think of Kathy 00:17:29.529 --> 00:17:31.789 Moriarty in her white bikini in Raging Bull. 00:17:31.930 --> 00:17:35.009 A vision of impossible purity in a brutal black 00:17:35.009 --> 00:17:37.490 and white world. Or Sharon Stone in her white 00:17:37.490 --> 00:17:40.559 mena dress in Casino. They represent this potential 00:17:40.559 --> 00:17:43.079 for escape that the self -destructive male protagonist 00:17:43.079 --> 00:17:45.839 always ends up corrupting or ruining. They're 00:17:45.839 --> 00:17:47.980 more symbol than character. But maybe his most 00:17:47.980 --> 00:17:51.240 famous device is the aggressive camera movement, 00:17:51.380 --> 00:17:54.140 the long tracking shot set to popular music. 00:17:54.339 --> 00:17:56.500 The Copacabana entrance in Goodfellas is the 00:17:56.500 --> 00:17:59.480 classic example, but he uses it to convey this 00:17:59.480 --> 00:18:02.779 rush of power and euphoria in so many films. 00:18:03.000 --> 00:18:04.819 It violently immerses you in the character's 00:18:04.819 --> 00:18:07.400 headspace during a moment of supreme confidence. 00:18:07.880 --> 00:18:09.759 You're dragged along, sharing their adrenaline 00:18:09.759 --> 00:18:13.220 rush, and the music choice is so crucial. Often 00:18:13.220 --> 00:18:15.539 it's the Rolling Stones' Gimme Shelter. He uses 00:18:15.539 --> 00:18:17.819 it in Goodfellas Casino and The Departed. It's 00:18:17.819 --> 00:18:21.059 a leitmotif for impending chaos. It instantly 00:18:21.059 --> 00:18:23.559 signals that the glamour is about to collide 00:18:23.559 --> 00:18:26.940 violently with reality. And for the real Sinfophiles... 00:18:27.130 --> 00:18:30.150 You can't overlook his constant visual homages 00:18:30.150 --> 00:18:33.089 to film history. The iris transition, that black 00:18:33.089 --> 00:18:35.589 circle closing in on the screen. That's a direct 00:18:35.589 --> 00:18:39.319 homage to 1920s silent films. He uses it strategically 00:18:39.319 --> 00:18:42.460 in Casino and Hugo. It's a formal nod that reminds 00:18:42.460 --> 00:18:44.960 you this film is part of a much longer conversation. 00:18:45.359 --> 00:18:47.299 He's reminding you that the language you're watching 00:18:47.299 --> 00:18:50.759 has a century vocabulary behind it. And that's 00:18:50.759 --> 00:18:53.140 why his collaborations are so critical. He needs 00:18:53.140 --> 00:18:55.519 a team that speaks his language. You have two 00:18:55.519 --> 00:18:58.819 major actor dynasties. First, the iconic partnership 00:18:58.819 --> 00:19:01.500 with Robert De Niro. Ten feature films. De Niro's 00:19:01.500 --> 00:19:04.059 characters for Scorsese are generally... Volatile, 00:19:04.319 --> 00:19:07.119 self -destructive, driven by this internal madness. 00:19:07.519 --> 00:19:10.039 Jake LaMotta, Kravis Pickle, Jimmy Conway. And 00:19:10.039 --> 00:19:12.960 then you have the new muse for the 21st century, 00:19:13.200 --> 00:19:15.500 Leonardo DiCaprio. Six feature films so far. 00:19:15.700 --> 00:19:18.240 It's an interesting contrast. It is. While De 00:19:18.240 --> 00:19:20.720 Niro often played the raw, street -level guy, 00:19:21.000 --> 00:19:23.880 DiCaprio often plays the character who is constrained 00:19:23.880 --> 00:19:26.440 by the system. The detective in The Departed. 00:19:26.519 --> 00:19:28.799 The financial manipulator in The Wolf of Wall 00:19:28.799 --> 00:19:31.359 Street. DiCaprio's characters are ambitious figures 00:19:31.359 --> 00:19:34.240 trying to fit into or break a powerful institution, 00:19:34.619 --> 00:19:37.019 whereas De Niro's were often outside of them 00:19:37.019 --> 00:19:40.299 completely. Which suggests a shift in Scorsese's 00:19:40.299 --> 00:19:44.279 own focus, maybe from the lone madman to systemic 00:19:44.279 --> 00:19:46.700 corruption. And beyond the actors, the crew is 00:19:46.700 --> 00:19:49.480 irreplaceable. Thelma Schoonmaker, his editor. 00:19:49.700 --> 00:19:52.500 She's arguably his most essential collaborator. 00:19:52.720 --> 00:19:55.359 Three Oscars for his films. She's the rhythm 00:19:55.359 --> 00:19:57.619 and the violence of his movies. Without her editing, 00:19:57.759 --> 00:20:00.380 the Scorsese... style just doesn't exist. And 00:20:00.380 --> 00:20:02.420 the cinematographers are just as important. Michael 00:20:02.420 --> 00:20:04.779 Ballhouse, Robert Richardson, Rodrigo Prieto. 00:20:04.940 --> 00:20:07.200 These are the artists who translated his Catholic 00:20:07.200 --> 00:20:09.720 guilt into high contrast imagery. And you have 00:20:09.720 --> 00:20:12.299 to mention Saul and Elaine Bass, who did the 00:20:12.299 --> 00:20:14.579 title design for Hitchcock. They brought that 00:20:14.579 --> 00:20:18.460 graphic genius to Goodfellas, Casino, Cape Fear. 00:20:18.700 --> 00:20:20.900 We also often see the director himself, right? 00:20:21.349 --> 00:20:24.109 He frequently makes cameos or provides narration. 00:20:24.309 --> 00:20:26.410 He's always in there somewhere. He's the off 00:20:26.410 --> 00:20:28.369 -screen ambulance dispatcher in Bringing Out 00:20:28.369 --> 00:20:30.829 the Dead. Yeah. A non -speaking photographer 00:20:30.829 --> 00:20:33.750 in The Age of Innocence. And his voice opens 00:20:33.750 --> 00:20:37.049 mean streets and guides the color of money. And, 00:20:37.109 --> 00:20:38.910 of course, the cameos from his parents, which 00:20:38.910 --> 00:20:41.589 further blurs that line between his life and 00:20:41.589 --> 00:20:44.109 his art. Moving into his later career, we see 00:20:44.109 --> 00:20:45.990 him applying these themes to more mainstream 00:20:45.990 --> 00:20:49.430 projects, which leads to massive success and, 00:20:49.490 --> 00:20:51.809 finally, that Oscar. It all started with The 00:20:51.809 --> 00:20:55.309 Departed in 2006, an adaptation of the Hong Kong 00:20:55.309 --> 00:20:57.990 thriller Infernal Affairs, but set in Boston. 00:20:58.170 --> 00:21:00.289 It became his highest -grossing film at the time, 00:21:00.309 --> 00:21:02.890 and, crucially, it finally got him the Best Director 00:21:02.890 --> 00:21:05.569 Oscar. What's fascinating about this later era, 00:21:05.630 --> 00:21:08.369 though, is his willingness to experiment. In 00:21:08.369 --> 00:21:11.289 2011, he directs Hugo, a family adventure film, 00:21:11.430 --> 00:21:15.089 in 3D, a huge departure. But the 3D was intentional. 00:21:15.349 --> 00:21:17.089 It's a film about the magic of cinema, about 00:21:17.089 --> 00:21:19.750 George Melies. He used the technology to create 00:21:19.750 --> 00:21:22.150 a sense of wonder. It got 11 Oscar nominations. 00:21:22.670 --> 00:21:25.289 He followed that up with two massive collaborations 00:21:25.289 --> 00:21:28.390 with DiCaprio, The Wolf of Wall Street in 2013. 00:21:28.589 --> 00:21:30.710 And then The Reunion of Titans, The Irishman 00:21:30.710 --> 00:21:34.230 in 2019. Which brought back De Niro, Pesci and 00:21:34.230 --> 00:21:38.059 Al Pacino for this. sprawling reflective epic. 00:21:38.299 --> 00:21:40.759 And it used another technological leap, de -aging 00:21:40.759 --> 00:21:43.940 technology, to explore memory, regret, and the 00:21:43.940 --> 00:21:47.160 slow decay of old age. Ten Oscar nominations 00:21:47.160 --> 00:21:50.200 for that one. And most recently, Killers of the 00:21:50.200 --> 00:21:53.940 Flower Moon in 2023. This later period just proves 00:21:53.940 --> 00:21:57.269 he's still restless. Still urgent. And beyond 00:21:57.269 --> 00:21:59.549 the narrative features, his documentary work 00:21:59.549 --> 00:22:02.190 is formidable, especially with music. His work 00:22:02.190 --> 00:22:05.170 with music is so key. He directed The Last Waltz, 00:22:05.170 --> 00:22:07.369 the film about the band's final concert. And 00:22:07.369 --> 00:22:09.390 No Direction Home about Bob Dylan, which won 00:22:09.390 --> 00:22:11.569 him a Grammy. He treats rock musicians with the 00:22:11.569 --> 00:22:14.009 same deep respect he gives gangsters and priests. 00:22:14.430 --> 00:22:16.490 The Rolling Stones drummer said Marty did an 00:22:16.490 --> 00:22:18.829 amazing job of making us look great in Shine 00:22:18.829 --> 00:22:21.160 a Light. And he brought that aesthetic to TV, 00:22:21.240 --> 00:22:23.859 too. Won an Emmy for directing the pilot of Boardwalk 00:22:23.859 --> 00:22:26.119 Empire. Plus the acclaimed documentaries about 00:22:26.119 --> 00:22:28.400 Fran Lebowitz, Public Speaking and Pretend It's 00:22:28.400 --> 00:22:31.039 a City. But maybe his most profound legacy, the 00:22:31.039 --> 00:22:33.700 one that affects all of film history, is his 00:22:33.700 --> 00:22:36.740 relentless advocacy for film preservation. This 00:22:36.740 --> 00:22:39.140 is monumental. And it ties right back to him 00:22:39.140 --> 00:22:41.599 as that isolated kid who revered the Red Shoes. 00:22:41.819 --> 00:22:44.880 In 1990, he co -founded the Film Foundation with 00:22:44.880 --> 00:22:48.200 Coppola, Lucas, Spielberg, all the big names. 00:22:48.400 --> 00:22:50.720 And what are the results of that? As of 2020, 00:22:51.099 --> 00:22:53.680 the foundation has helped restore well over 850 00:22:53.680 --> 00:22:57.960 films worldwide. Without this work, massive portions 00:22:57.960 --> 00:23:01.740 of global film history would just vanish. He 00:23:01.740 --> 00:23:03.700 spearheaded the restoration of the Red Shoes 00:23:03.700 --> 00:23:06.720 himself, didn't he? He did, painstakingly restoring 00:23:06.720 --> 00:23:09.210 the Technicolor palette. He was saving a key 00:23:09.210 --> 00:23:11.190 part of his own history and cinema's history 00:23:11.190 --> 00:23:13.910 at the same time. Then he expanded that mission 00:23:13.910 --> 00:23:16.609 globally in 2007 with the World Cinema Project. 00:23:16.890 --> 00:23:19.410 Which specifically targets marginalized films 00:23:19.410 --> 00:23:21.650 from regions that don't have the money or technology 00:23:21.650 --> 00:23:24.049 to preserve their own history. It's about making 00:23:24.049 --> 00:23:26.349 sure global voices aren't erased. The impact 00:23:26.349 --> 00:23:29.150 here is so tangible. They've restored masterpieces 00:23:29.150 --> 00:23:31.470 like Ousmane Simbin's Black Girl from Senegal. 00:23:31.730 --> 00:23:33.990 They've fundamentally rewritten the canon of 00:23:33.990 --> 00:23:37.289 global film history. And then in 2017, the African 00:23:37.289 --> 00:23:40.329 Film Heritage Project, a joint initiative with 00:23:40.329 --> 00:23:43.690 UNESCO dedicated to locating and preserving 50 00:23:43.690 --> 00:23:46.849 classic African films. This elevates him from 00:23:46.849 --> 00:23:49.529 a great director to an essential cultural archivist. 00:23:49.589 --> 00:23:52.109 And the industry knows it. Sam Mendes at the 00:23:52.109 --> 00:23:54.509 Golden Globes said there's not one director in 00:23:54.509 --> 00:23:56.829 this room that is not in the shadow of Martin 00:23:56.829 --> 00:23:59.940 Scorsese. And Bong Joon -ho. When he won his 00:23:59.940 --> 00:24:03.000 Oscar for Parasite, quoted Scorsese, the most 00:24:03.000 --> 00:24:05.279 personal is the most creative. And the whole 00:24:05.279 --> 00:24:08.359 room gave Scorsese a standing ovation. It was 00:24:08.359 --> 00:24:11.140 this recognition that his personal vision legitimized 00:24:11.140 --> 00:24:14.019 deeply felt non -commercial filmmaking for everyone. 00:24:14.240 --> 00:24:15.940 Before we wrap up, we have to mention the sense 00:24:15.940 --> 00:24:18.380 of urgency he feels right now. He said it in 00:24:18.380 --> 00:24:21.220 an interview. I'm old. I want to tell stories 00:24:21.220 --> 00:24:23.059 and there's no more time. And that urgency is 00:24:23.059 --> 00:24:25.660 fueling a huge pipeline of projects. A Grateful 00:24:25.660 --> 00:24:28.480 Dead biopic. a reunion with DiCaprio for The 00:24:28.480 --> 00:24:31.119 Wager. And, most sellingly, a new film about 00:24:31.119 --> 00:24:33.980 Jesus based on another book by Shusaku Endu, 00:24:34.079 --> 00:24:36.799 the author of Silence. He's returning to the 00:24:36.799 --> 00:24:38.619 theological questions that have haunted his whole 00:24:38.619 --> 00:24:41.460 career. It's an exhausting slate for a filmmaker 00:24:41.460 --> 00:24:44.119 who feels time is slipping away, but it speaks 00:24:44.119 --> 00:24:46.960 to his relentless drive. Let's briefly touch 00:24:46.960 --> 00:24:49.339 on some of the personal details. He's been married 00:24:49.339 --> 00:24:51.720 five times currently to Helen Schermerhorn Morris 00:24:51.720 --> 00:24:55.000 since 1999. Three children. And two of his daughters, 00:24:55.160 --> 00:24:57.400 Domenica and Francesca, are involved in film. 00:24:57.960 --> 00:25:00.019 Francesca has appeared in The Departed and Hugo. 00:25:00.220 --> 00:25:03.119 It keeps that family connection going. We also 00:25:03.119 --> 00:25:05.640 tracked his evolving religious identity from 00:25:05.640 --> 00:25:10.000 lapsed Catholic to declaring in 2016, I am most 00:25:10.000 --> 00:25:12.420 comfortable as a Catholic. And in terms of politics, 00:25:12.759 --> 00:25:15.640 he has been public with his opinions. He opposed 00:25:15.640 --> 00:25:18.799 the Iraq war. In 2025, he criticized the Trump 00:25:18.799 --> 00:25:21.119 administration for what he saw as a lack of compassion. 00:25:21.420 --> 00:25:23.400 We just report that as fact. We also have to 00:25:23.400 --> 00:25:26.400 note he recently settled a 2024 lawsuit brought 00:25:26.400 --> 00:25:28.700 by a screenwriter over a World War II project 00:25:28.700 --> 00:25:31.160 that he didn't follow through on. A reminder 00:25:31.160 --> 00:25:33.940 that even legends navigate the murky waters of 00:25:33.940 --> 00:25:36.539 Hollywood financing. So we've traced this journey 00:25:36.539 --> 00:25:39.200 from an isolated boy watching shadows on a screen 00:25:39.200 --> 00:25:41.960 to an architect of American myth and a global 00:25:41.960 --> 00:25:44.660 preservationist. That preservation work is so 00:25:44.660 --> 00:25:47.039 crucial, especially the World Cinema Project, 00:25:47.359 --> 00:25:50.240 rescuing films from the Philippines, Senegal, 00:25:50.519 --> 00:25:53.599 Turkey. Voices that would otherwise be lost. 00:25:53.940 --> 00:25:56.059 And that leads us directly to the final thought 00:25:56.059 --> 00:25:58.680 we want to leave you with. Given Scorsese's career 00:25:58.680 --> 00:26:01.240 -long dedication to restoration, from saving 00:26:01.240 --> 00:26:03.920 his favorite film, The Red Shoes, to his global 00:26:03.920 --> 00:26:06.819 mission to find and rescue neglected films. We 00:26:06.819 --> 00:26:09.700 have to ask ourselves, beyond the classics he's 00:26:09.700 --> 00:26:12.640 selecting, what contemporary, marginalized films 00:26:12.640 --> 00:26:15.359 being made right now are we not protecting? When 00:26:15.359 --> 00:26:17.779 a future viewer tries to understand our culture, 00:26:17.980 --> 00:26:21.440 what are the next Black Girl? or tukibuki that 00:26:21.440 --> 00:26:23.839 are being ignored by archives and festivals today. 00:26:23.980 --> 00:26:25.880 Films that speak essential truths about our world, 00:26:25.940 --> 00:26:28.160 but lack the studio backing to guarantee their 00:26:28.160 --> 00:26:30.299 survival. The question isn't just about what 00:26:30.299 --> 00:26:32.779 Scorsese is saving. It's about what films we, 00:26:32.920 --> 00:26:36.059 as a culture, are overlooking right now. Who 00:26:36.059 --> 00:26:38.579 is documenting our present? And who will be the 00:26:38.579 --> 00:26:40.900 Scorsese of the future, saving the cinematic 00:26:40.900 --> 00:26:42.980 treasures we are currently ignoring? Something 00:26:42.980 --> 00:26:45.460 to mull over. Thank you for joining us for this 00:26:45.460 --> 00:26:45.980 deep dive.