85 films qui ont marqué Martin Scorsese

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"This Billy Wilder film was so tough and brutal in its cynicism that it died a sudden death at the box office, and they re-released it under the title Big Carnival, which didn't help. Chuck Tatum is a reporter who's very modern--he'll do anything to get the story, to make up the story! He risks not only his reputation, but also the life of this guy who's trapped in the mine."

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Scorsese is a big fan of many Frank Capra movies, and this Cary Grant vehicle is one of several that he's enjoyed with his family at his office screening room.

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"It's my favorite of the Vincente Minnelli musicals. I love the storyline that combines Faust and a musical comedy, and the disaster that results."

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One of Scorsese's fears about directing a remake of this film was that, "The original was so good. I mean, you've got Gregory Peck, Robert Mitchum, Polly Bergen, it's terrific!"

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"There are certain styles I had trouble with at first, like some of Max Ophuls' films. It took me till I was into my thirties to get The Earrings of Madame de..., for example. But I didn't have trouble with this one, which I saw in a theater and which is kind of based on Howard Hughes [protagonist of The Aviator]."

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"Orson Welles was a force of nature, who just came in and wiped the slate clean. And Citizen Kane is the greatest risk-taking of all time in film. I don't think anything had even seen anything quite like it. The photography was also unlike anything we'd seen. The odd coldness of the filmmaker towards the character reflects his own egomania and power, and yet a powerful empathy for all of them. It still holds up, and it's still shocking. It takes storytelling and throws it up in the air."

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When discussing the creation of Hugo, Scorsese referred to this Hitchcock film as an example of other directors who have tangled with 3-D over the years.

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Spike Lee's film was the kind of risky production that drew Scorsese to Universal Pictures when it was run by Casey Silver and Tom Pollack. "Then Pollock left," says Scorsese, "and it all changed."

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Scorsese went to see this movie, which some critics called "Lust in the Dust", when he was 4 years old.

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"After making The Flowers of St. Francis, Rossellini asked, what would a modern day saint be like? I think they based it on Simone Weil, and Ingird Bergman played the part. It really takes everything we're dealing with today, whether it's revolutions in other countries or people trying to change their lifestyles, and it's all there in that film."

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"when Faces showed at the New York Film Festival, it absolutely trumped everything that was shown at the time. Cassavetes is the person who ultimately exemplifies independence in film."

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"This Rossellini movie and Europa '51 are two of the best films about the part of being human that yearns for something beyond the material. Rossellini used real monks for this movie. It's very simple and beautiful."

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"Roberto Rossellini always felt he had an obligation to inform. He was the first one to do a story about compassion for the enemy, in this film--it's always been hard to find, but now there's a Criterion edition. It's a very disturbing picture. He was the first one to go there after the war, to say we all have to live together. And he felt cinema was the tool that could do this, that could inform people."

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"I saw this when I was 10 or 11, I had some sort of funny reaction to her, I tell you! Me and my friends didn't know what to do about Rita Hayworth, and we didn't really understand what George McCready was doing to her. Can you imagine? Gilda at age 11. But that's what we did. We went to the movies."

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"Gordon Willis did the same dark filming trick on The Godfather as he had done on Klute. And now audiences accepted it, and went along with it, and every director of photography and now every director of photography of the past 40 years owes him the greatest debt, for changing the style completely--until now, of course, with the advent of digital."