Martin Scorsese on Framing

July 27, 2019 posted by

(light pop music) – I like credits. They promise something, like posters, they promise something, you know. Because, for me, credit sequences are sometimes more important than the movie, I don't know, because they present the picture a certain way. I tend to get impatient with the title sequences that
are unimaginative… that are just showing up
with shots of people driving, going in their house and… I think in that case, don’t do that. In that case, put white on black, put some music over
it, and it’s even nicer. It’s much more honest about it. Then get the story started because you’re wasting story time. – The thing that I heard
about was sketch drawings that you did when you were a kid. – [Martin] Oh yes, yeah. I was eight, eight or nine. And I started playing around with frames, and the frames for me were moving frames, although, because it was still, you know, but they were moving in my mind because then the next image would be this, the next image would be that. I did a lot of them and I
threw a lot of them away. Then when I was about eleven or twelve, I think I started
earnestly in a bigger way. I was fascinated by the
biblical spectacles, or the spectacles of an ancient world. I was framing, especially learning how
to use the wide frame, then I would do some in one, three, three. I would do others normal– – [T.J.] So you were storyboarding? – [Martin] Storyboarding, yeah. I didn’t realize what it was, but… They were movies to me. They weren’t comic books,
they weren’t movies, but they were something in between. – Westerns were your favorite movies. – Yeah, I liked westerns a lot. I think a lot of it
had to do with the fact that I was here in the city, and loved the idea of horses and loved the idea of open spaces, to which I would probably
never get to see. Although I was not physically
made for that sort of thing, to live that way, I had I guess certain dreams about it. – [T.J.] What would a Martin Scorsese western be like now? – [Martin] I, I don't know. There are possibilities. I would love to, maybe, try something on mythic
scale again about West rather than ultra realistic. Something, rather than revisionist, I would like to try to see what made some of these people tick and a sense of honor
and some sort of a code. Because being there, part of the frontier, dealing with death and life every second, it makes a person act in a certain way. Some personalities came out of the West. I’m interested in those personalities. (dramatic music) – [T.J.] When were you in
the seminary, what year? – Oh, just when I was about fourteen. Just a preparatory seminary. Mid '50s. '56, '57. One doesn’t realize, you know, one doesn’t need to become a priest or doesn’t need to have
a third or fourth person to be able to talk to God. If you want to talk to
him, direct communication. Making of the first short
films that I did at NYU, that’s when I decided that
I would probably fare better in what I wanted to do making movies. I didn’t set out specifically and say, "Well, I can put whatever
emotions or passions "I had for the priesthood
into filmmaking." That happened. – How did your parents react when you first started making movies and you finished completed projects, the early projects, Boxcar
Bertha, Mean Streets? – [Martin] Mean Streets was, it was, you know, an ordeal. My father saw it the night
at the New York Film Festival and his first reaction was never again. Of course, he had the same
anxiety I had sitting through it, are they’re going to laugh here, are they going to be nervous here, are they going to boo this, are they going to be against that? – [T.J.] Did they react in any way to how violent and
rugged and, in many ways, unconventional those films were? – [Martin] Well, my mother
was concerned that that night, for example, the New York Film
Festival when she came out, somebody said, "Oh,
that’s your son’s film." She said, "I just want you to understand, "we never use that language at home. "We never use that language at home." Which is true, we never did in the home. It was never used. But in the street, that language was used. That was it. (light pop music) The two elements I like best about movies are the sense of motion and performance. I love the way the camera moves, I love the cut from one
moving shot to the next, or a cut from a moving
shot to a static shot. The light comes second to me. I don't say it's not important, but, usually, the inspiration is always the point of view of the lens. Sometimes when it all
comes together on the set, and especially when it comes
together in the cutting room, at a certain point you can
actually feel it go through you, your body, it's a part of you. It's like it just seeps out of your body. You become, you become
the film you're making. (light pop music) – [T.J.] Why, every time, when I pick up an interview with an actor, and they all say, young and old, "I would love to make
a movie with Scorsese." What, what do you think, what do you– – [Martin] (chuckling) This is crazy. – [T.J.] What do you think it is– – [Martin] that they're talking about? I don't know. – [T.J.] And it's true, it's true, right? – [Martin] Okay, I've seen a few, but they haven't worked
with me, how do they know? Maybe it gets to a point where they think I'm very,
very good with actors, so they come in and they do
their best without me asking. I think what I try to do
is create an atmosphere in which they can try anything. As long as we're talking about the same movie and the same scene, we'll be okay. I cover a certain way with camera, I do certain things in cutting, I try to have an actor come
out as best as possible. (light pop music) Subtitles by the community


22 Replies to “Martin Scorsese on Framing”

  1. fox b5 says:

    Could've been longer

  2. Peter Fountotos says:

    This is off-topic but the use of the intermezzo from Cavalleria Rusticana in Raging Bull was just brilliant.

  3. mifunetoshiro says:

    Beautiful animation! Sound mix not so great, the music is far too loud, especially taking into consideration the poor quality of the original audio of the interview, lots of noise in it already. The music makes it too hard to understand the words clearly in my opinion.

    But still, thanks!

  4. mawoj93 says:

    Now I really want a Martin Scorsese western.

  5. Dylan Reese Marshall says:

    Totally cool presentation of a brilliant little interview. Nice. Thank you for sharing with us.

  6. Sérgio Gomes Oliveira says:

    Outstanding concept! What about Stephen King? It would be really nice.

  7. Kojote says:

    A true artist.

  8. Giri Ramgopal says:

    Scorcese sounds exactly like the boss he is.

  9. Mitchell Horoho says:

    your films are shit just like Martin's child's book about some dumb fucking rabbit. ya pedofile.

  10. MICHAEL CRASH says:

    I love this animator so much but Marty is a fucking rambling old cogger fuck this hasbeen and his genius eyebrows

  11. Nandha Kumar Ettikkan says:

    Thalaivaa you are great

  12. tenochik says:

    What about L Ron Hubbard??, would be fun… 🤣😁👌😆 what do you think?? Do it please

  13. Dylan White says:

    Really great animations and content!

  14. Terry Nonam says:

    Such an accurate and sharp representations of the famous people, their personalities . Your animation is a beautiful art filled with love and respect.

  15. PJ Singh says:

    real shitty sound

  16. JayoJay says:

    When Scorcese talks, I listen

  17. BadFellas 01 says:

    One of my favourite directors of all time. The introduction of Casino is his greatest work in intros

  18. Dante Murch says:

    Beautifully produced animation!

  19. hey u mr says:

    Sweet stuff. Could use a dynamic equaliser on the audio. Keeps people from spilling there coffee when the trumpets make an apperance. Lol

  20. Mounted Dragoon says:

    One of the things I like about the westerns, besides the beautiful settings, is that you can make your hero do impressive "heroic" things without the morality of good or bad attached to it. He just does those things because he does them.

  21. cloudtx says:

    Legendary director. My all-time favorite along with Ridley Scott. A true visionary.

  22. Tommy Daly says:

    What's the tune at 4:16? Very catchy.

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