Martin Scorsese defends the cinema, its rooms and says that nobody teaches to make a film – Current

Martin Scorsese defends the cinema, its rooms and says that nobody teaches to make a film - Current



"It's indifferent to the film school that goes to school, this has to come from the student," Scorsese said Wednesday during a meeting with the public, held at the Jovellanos Theater in Gijón, Spain, as part of the tribute to the director, distinguished with the Princess of Asturias Award for the Arts, which will be delivered Friday in Oviedo.

"If they need to say something," they'll always find "way to do it" through the movies, Scorsese said.

At the event, organized by screenwriter and director Sergio Sánchez, the director of "The Aviator" (2004) recounted his childhood in the Little Italy neighborhood of New York, where the suffering caused by asthma attacks was, and continues to be, a limiting factor in your life.

"I've had a lot of asthma attacks and taken me to the movies a lot," he said, before saying that sharing those experiences with his family made the seventh art a "reality" for him.

In fact, Martin Scorsese was an advocate of the classic cinema format, projected on a large screen and seen with company, showing concern for living in a time when the future of cinema, the technological revolution and the emergence of platforms such as Netflix or Amazon.

Just as there are people who prefer to order food delivered to the home and others who prefer to continue to go to the restaurant, there is an audience that, like the American director, opts to enjoy the "cinema experience", a "key issue" that we need to protect to safeguard their future, he said.

The author of "Mean Streets" and "Taxi Driver" (1976) stated that movies continue to be shown in theaters before being sold to be seen at home through platforms such as Netflix, which has been funding his latest film, "The Irishman," in which three of its longtime actors: Robert de Niro, Joe Pesci and Al Pacino.

"The cinema where I come from, and that I intend to maintain, restore and respect must be seen with the public," said the filmmaker, who confesses that he is not "very well informed" about the Internet but can not ignore the new consumption model of movies, especially on the part of the younger ones, as it proves with one of his daughters.

Recent films like "Dunkirk", "The First Man" or "Moonlight" are meant to be seen in this format, "for large audiences, to see them with family or friends," and it is necessary to ensure their debut in theaters, although, as in the case of "The Irishman", they are funded by the Netflix platform, due to the inability of traditional studios to do so.

In his new film, Scorsese retakes a new story about gangsters, a reflection of the world in which he grew up, the New York borough of Queens, where not all were criminals and violent, where he had a family of Italian immigrants who gave him a lot of affection and a "very demanding" Catholic church to overcome the first phase of the seminary.

"No, I did not spend the afternoon with the Mafia, we were kids playing in the street where there were dangerous people!" He said, although he recognized that the basis of his work "comes from there."

The Oscar winner ("The Departed", 2006), as best director, among many other awards, now joined by the Princess of Asturias for the Arts, explained that as a young man " the crime was part of the lifestyle "of that time and that the" only retreat "possible was the church, where he was acolyte and discovered" the sense of tranquility and peace. "

"Dreams existed in the church and in theaters," he said, noting the importance that religious vocation and "spiritual life" had for him.

Two days before she received the Asturias Princess Award for the Arts as an "undisputed figure of contemporary cinema," Scorsese acknowledged that her first major public success, "Mean Streets", was what changed everything and was the "best moment" professional life.

"Mean Streets" is his first film with Robert De Niro, the director's third feature film, completed in 1973 after "I Call First" / "Who's Knoking at my Door" (1967) and "Boxcar Bertha "/" A Woman on the Street "(1972), directed when she was already adding" short films "and" New York City … Melting Point "(1966) and" Street Scenes "(1970).

Martin Scorsese said he was "very lucky" to have worked with actor Robert de Niro, with whom he has a "telepathic" relationship, and the "only one who really knows" its origin, and Leonardo DiCaprio, who took "a new energy".

The filmmaker also emphasized that Francis Ford Coppola was "the father of the new filmmakers" of his time, "a group of guys who did odd jobs to get money for the movies," a generation that became known as "The Movie Brats" the first one dedicated to the cinema, which has grown with television – and which involved names like Scorsese, Steven Spielberg, George Lucas, Paul Schrader, Peter Bogdanovich and Coppola himself.

At age 75, the author of "Enraged Bull" (1980) and "The Age of Innocence" (1993), also said that documentaries helped him tell the stories in a different way "and to find" a new narrative " .

"Cinema educates in relation to the cultures of the whole world. We must find the soul of the environment that is created", emphasized the director of films like "All Good Boys" (1990) and "Gangs of New York" (2002).

Without his traditional mass spectacles, Scorsese in Gijón warned that the violence of action films in the last 25 years is represented in an "abstract" way and "the impact is not felt."

"This keeps the public distant and dulls it. The news is more violent," he said.

The filmmaker will receive the Asturias Princess Award for the Arts on Friday for his dozens of films, which are part of the history of cinema, a long-sought aspiration that represents a "great honor" and a "Sort of dream".

Martin Scorsese joins the list of other filmmakers who have also received this award, such as Francis Ford Coppola (2015), Michael Haneke (2013), Woody Allen (2002) and Luis Garcia Berlanga (1986).

"Silent" (2016), "The Wall Street Wolf" (2013), "The Invention of Hugo" (2011), "Kundun" (1997), "Casino" (1995), "The Last Temptation of Christ" 1988), "The Color of Money" (1986), "New York Out of Hours" (1985) and "The King of Comedy" (1982) are other films in Scorsese's career, alongside films and documentary series such as dedicated to film, popular music and its heroes, or to publications such as The New Yorker (2013).



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