Here’s a link to http://www.powell-pressburger.org/Famous.html
Which lists the influences Michael Powell and Emeric Pressburger have had on his films. Even his editor Thelma Schoonmaker was married to Michael Powell. If you have never seen any Powell & Pressburger film deduct ten points from yourself.
[quote=“Clinton Morgan”]
Which lists the influences Michael Powell and Emeric Pressburger have had on his films. Even his editor Thelma Schoonmaker was married to Michael Powell.[/quote]
Cool Link! I loved ‘Elusive Pimpernel’ and i watched ‘Ill met by moonlight’ a couple of days ago, great films! Not suprised they are influences on Scorsese
Who’s knoking at my door?(1969), Mean Streets(1973), Taxi Driver(1976), New York New York(1977), Raging Bull(1980),
New York Stories(1989), Casino(1995), Gangs of New York(2002) are some of the best movie by MS. Personnaly its one of my favorites with QT, RR, JW and BdP. What is your favorite movie by MS?
Did you see that there is already a topic about him with several pages !
http://www.tarantino.info/forum/index.php?topic=2949.0
Hope you’ll enjoy it 8)
[quote=“cyber-lili”]
Did you see that there is already a topic about him with several pages !
http://www.tarantino.info/forum/index.php?topic=2949.0
Hope you’ll enjoy it 8)
[/quote]
Thanx for the help 
I merged the new one with this.
For those of you who can parlez Francais* here is an old edition of Cahiers Du Cinema.
http://www.archives-cahiersducinema.com/cdc-n-500.htm
[size=80]*Sadly, I cannot.[/size]
[quote=“Clinton Morgan”]
For those of you who can parlez Francais* here is an old edition of Cahiers Du Cinema.
http://www.archives-cahiersducinema.com/cdc-n-500.htm
[size=80]*Sadly, I cannot.[/size]
[/quote]
Thx 
I’m French, so thx again for the articles !
For English speakers a person who writes under the name of sanndevil on the forum at http://www.britmovie.co.uk/ has via the use of ‘O’ Level French and Babelfish translation has translated Martin Scorsese’s article on British Cinema into English. I have cut and pasted it onto here.
ABOUT ENGLISH CINEMA
The English cinema always had a specific importance to me. It all started from elements as fundamental as light or the design used for the titles and the credits which associated the writing, the actors and the setting of the scene, and gave me a new vision, and another way of looking at the world.
English Cinema is particularly dear to me. It exerted a great influence on my early years and on my oevre. My first memory of an English film was in 1948 when my father bought our first television set – many British films were broadcast in the last forties and the early fifties. I watched some films many times over. In fact, my cinematographic culture consisted of British films and of course American, without forgetting some neo-realist Italian films which I discovered at the end of the Forties.
But English cinema always had for me a specific importance – this started from fundamental elements such as the use of light or the calligraphy used in the titles and credits which was brilliant in the Powell-Pressberger THE RED SHOES, and the writing, the acting and the mise-en-scene which gave me a new vision, another way of looking at the World. Later, at Film School I started to study English films in a much more systematic way; the films of Carol Reed and David Lean. Then, in the sixties and seventies the British Film Institute started to restore the feature films of Powell and Pressberger, and some aspects of these films began to appear in the films I made. Some examples: the use of the narrative voice-over - with its humour and its understatements – can be found in a short film which I made at the New York University IT’S NOT JUST YOU, MURRAY (1965), and which in turn was used in another of my films 25 years later – GOODFELLAS, and then with THE AGE OF INNOCENCE. When I think about it, the understated humour in the voice-over is directly inspired by a very beautiful film, KIND HEARTS AND CORONETS directed in the forties by Robert Hamer. There is a fabulous sequence in THE LIFE AND DEATH OF COLONEL BLIMP (Powell-Pressberger) where Roger Livesey and Anton Walbrook prepare for a duel – when they cross swords, the camera moves through the sunbeams – the actual dual is not as important to the director as the preparation. It is even-handed, because after the dual Roger Livesey and Anton Walbrook become friends. That particular scene inspired a scene in RAGING BULL- when Jake La Motta enters the boxing ring there is a long pan using a steadicam.
Later, in the sixties, Saturday Night and Sunday Morning, Albert Finney looks at himself in the mirror and says, “What Am I�? – this scene directly inspired the pre-credits sequence in MEAN STREETS when Harvey Keitel awakes from a nightmare and thinks exactly the same thing. There is also the anti-hero of THIS SPORTING LIFE by Lindsay Anderson which is the precursor to RAGING BULL. In a more general way, the techniques used in TOM JONES proved very liberating and like the pictures of the New Wave, they released us students of film in the 60s from the structure of traditional narrative flow. But the most important impact of English cinema, and one of my first cinematography experiments, I return to a film called THE MAGIC BOX. THE MAGIC BOX, directed by John Boulting and produced by Ronald Neame (who was also a big film director too – THE HORSES MOUTH, TUNES OF GLORY and many others) is as far as I know, the only film about the invention of cinema. It was also the contribution of the English Cinematography Industry to the festival of Britain in 1951, which coincided with the 50th anniversary of British cinema. The discovery of this film for me was extraordinary: I was ten years old, my father had taken me to see it at the Academy of Music in New York in 1953. The film told the story of the British Inventor William Friese-Greene, one of the ignored pioneers of the motion camera. It was a revelation! There is a scene where Friese-Greene explains the concept of retinal persistence is explained – and this is the essence of cinema! He describes it to his girlfriend while quickly making some outline drawings in the margin of a book – all these images are separated, static, but when you flick them quickly they move miraculously! It was the first time I understood films. Films, for a ten year old kid, had captivated since I had memories, and suddenly I understood how you could make them. Since then, nothing has been the same. But this film also showed the life of Friese-Greene and showed the suffering of a man whilst inventing an incredible machine which was going to open up new horizons with the spirit and heart of humanity, and left an indelible mark on me. It was crucial that my father took me to see this film, and it represented the origin of my vocation. My father could not be called a scholar – there were no books in the house; he was a printer but he adored the cinema. This doesn’t stop me wondering why he took me to see THE MAGIC BOX. I was asthmatic but that didn’t stop my parents taking me to the cinema – I like Westerns and I was often invited to see double-bills where the second feature was the western. The top billed films – like SUNSET BOULEVARD and THE BAD AND THE BEAUTIFUL were for adults but I got to see them at the same time. But THE MAGIC BOX; I did some research fifteen days ago to see what was playing at the Academy of Music at the same time – it was SECRET FLIGHT, another British film, directed by Peter Ustinov – I thus found it particularly moving that my father – a workman – would have wanted to see a film about the birth of cinema. This makes me think of the universality of cinema and its capacity to cross borders of all kinds and to address itself to everyone on the planet. It goes without saying that it impossible to underestimate the impact this medium has upon me. I never stop thinking about film. Finally, what do I find so astonishing? Is it the beautiful colours? His style? Was it the battle to discover the techniques which make it possible to make films? Was it the history of this man, or the fights of the Friese-Greene family? Or was it the actor, Robert Donat, because I had seen THE GHOST GOES WEST many times on television and had adored it. Perhaps it was a little of all those things. Because if you put everything back together you end up recomposing the obsession of Friese-Greene. It is an obsession which, since then, I have made mine. It is the same amazement that I discovered when watching the retinal persistence scene in THE MAGIC BOX. And I must acknowledge that the amazement I felt then, I still feel today in the cutting room with Thelma as I watch the images unravel. It is nevertheless incredible. Let me explain – you take two film ends, one moves, the other moves, and when they are stuck together, you get a totally different thing. The cut creates another type of movement. It is a movement for the eye of the spirit. But, this is a collective spirit, insofar the audience shares the experience, an emotion, a memory. Finally, it is a communion, one moment of the spirit. I have always thought that the film represents the answer to an old question that humanity has posed: the desire to share a common memory, a heritage. For that reason, cinema is a universal art. The capacity of what Friese-Greene contributed to invent is so immense that is not surprising that this invention is so obsessed about. It has a kind of respect bound by its own creation. It has found the key to an alternative reality, another level of human experience. We enter the second century of cinema and English cinema remains my major reference, the films of Two Cities of Del Guidice, with London Films of Korda, Rank, Ealing, and additionally Gainsborough, Hammee, Woodfall, Goldcrest, Handmade of course without forgetting The Archers productions of Powell and Pressberger. The tradition of British cinema is such that it never stops being renewed, tradition is its foundation upon which one can build and rebuild.
Martin Scorsese on Michael Powell in the ‘Michael and Martin’ documentary broadcast BBC Radio 4 on June 30th 2004
<LINK_TEXT text=“http://www.bbc.co.uk/radio/aod/radio4_a … and_martin”>http://www.bbc.co.uk/radio/aod/radio4_aod.shtml?radio4/michael_and_martin</LINK_TEXT>
Sad, sad news.
There are several sources reporting the same thing. Here’s one:
<LINK_TEXT text=“http://www.contactmusic.com/new/xmlfeed … 0hollywood”>http://www.contactmusic.com/new/xmlfeed.nsf/mndwebpages/scorsese%20to%20quit%20hollywood</LINK_TEXT>
Looks like Silence may be his last or one of his last feature films. He had to have been misquoted. He probably just meant he doesn’t want to make any more big budget films. Maybe he’ll still do low budget films. If he doesn’t, I guess documentaries and short films would be pretty cool.
i think we could of expected this, the Academy will probably give him a shitty Memorial Award, if i was him i wouldn’t even accept it, i would say stick it up your ass, you should of given me 5 others instead
anyway, if he retires (it isnt official) it would be the end of an era
Scorsese has said that he feels if a director has nothing really he NEEDS to tell in a film he should just quit and do something else. I agree. Why make films for the studios if youre heart isnt into it? I hope Scorsese works for many more years, but to be totally honest I think hes on the down side of his career as a director now.
I was just reading some of my early posts as Toothpick Vic Vega and Im lmao at some of the stuff I said. We really used to get into heavy discussions back in the day didnt we? haha.
i think Scorsese should to a lot more of producing indie flicks and helping unknown people up and stuff
[quote=“Seb (admin)”]
i think Scorsese should to a lot more of producing indie flicks and helping unknown people up and stuff
[/quote]
Yeah, that would be a good idea !
[quote=“WinslowLeach”]
I was just reading some of my early posts as Toothpick Vic Vega and Im lmao at some of the stuff I said. We really used to get into heavy discussions back in the day didnt we? haha.
[/quote]
Yeah, you guys always used to scare me :-X
[quote=“Seb (admin)”]
how can scorsese agree to a remake. i dont get that.
[/quote]
He remade J. Lee Thompson’s ‘Cape Fear’. Remakes are like cover versions, if you’re lucky you’ll get Joe Cocker singing ‘With A Little Help From My Friends’ if you’re unlucky you’ll get Wet Wet Wet singing ‘With A Little Help From My Friends’. Don’t forget Sergio Leone made Clint Eastwood a megastar by remaking Kurosawa’s ‘Yojimbo’.
wtf is wrong with remakes?? alot were better than the original, and The Departed will probably be one of em
[quote=“WinslowLeach”]
Scorsese has said that he feels if a director has nothing really he NEEDS to tell in a film he should just quit and do something else. I agree. Why make films for the studios if youre heart isnt into it? I hope Scorsese works for many more years, but to be totally honest I think hes on the down side of his career as a director now.
I was just reading some of my early posts as Toothpick Vic Vega and Im lmao at some of the stuff I said. We really used to get into heavy discussions back in the day didnt we? haha.
[/quote]
When spitting through some topics I lmao about some of those discussions! kentucky fried motherfucker comes to mind…
Does anyone know the reason for him using the song Gimme Shelter by The Rolling Stones in both Goodfellas, Casino and The Departed? What is his relationship to this song?