| Movie Directors |
| Martin Scorsese Born: 25 August 1958, Burbank, California, USA Birth Name: Timothy William Burton Salary • n/a Companies • Sikelia Productions Representation • Endeavor Talent Agency (talent agent) • Firm, The (manager) • Dart Group (publicist) Academy Awards, USA 2005 • Nominated, Oscar Best Achievement in Directing for The Aviator (2004) 2003 • Nominated, Oscar Best Director for Gangs of New York (2002) 1994 • Nominated, Oscar Best Writing, Screenplay Based on Material from Another Medium for The Age of Innocence (1993) Shared With: Jay Cocks 1991 • Nominated, Oscar Best Writing, Screenplay Based on Material from Another Medium for Goodfellas (1990) Shared With: Nicholas Pileggi • Nominated, Oscar Best Director for Goodfellas (1990) 1989 • Nominated, Oscar Best Director for The Last Temptation of Christ (1988) 1981 • Nominated, Oscar Best Director for Raging Bull (1980) Emmy Awards 2004 • Nominated, Emmy Outstanding Multi-Camera Picture Editing for a Miniseries, Movie or a Special for AFI Life Achievement Award: A Tribute to Robert De Niro (2003) Shared With: Michael Polito (editor), Adam 'Chip' Pauken (editor), Debra Light (editor), Ryan Polito (editor), Thelma Schoonmaker (editor), Yoram Tal (editor) • Nominated, Emmy Outstanding Nonfiction Series for The Soul of a Man (2003) Shared With: Paul G. Allen (executive producer), Jody Patton (executive producer), Ulrich Felsberg (executive producer), Peter Schwartzkopff (executive producer), Alex Gibney (series producer), Margaret Bodde (producer) 1995 • Nominated, Emmy Outstanding Cultural Program for Eric Clapton: Nothing But the Blues: An 'In the Spotlight Special' (1995) Shared With: David Horn (executive producer), John Beug (executive producer), Stephen 'Scooter' Weintraub (producer), Ken Ehrlich (producer) Another 62 wins & 43 nominations Brooklyn Lobster - Presenter 2005 Flat (short) - Special Thanks 2005 The Aviator - Director, Executive Producer (uncredited), Hell's Angels Projectionist/Man on Red Carpet (voice) (uncredited) 2004 Brides - Executive Producer 2004 Shark Tale - Sykes (voice) 2004 From the Classroom to the Streets: The Making of 'Who's That Knocking at My Door' (video documentary short) - Special Thanks 2004 Second Chances: The Making of 'Alice Doesn't Live Here Anymore' (video documentary short) - Special Thanks 2004 Something to Believe In (documentary) - Executive Producer 2004 Michael Jackson: Number Ones (video) - Director (video "Bad") 2003 The Soul of a Man (documentary) - Executive Producer 2003 Gangs of New York - Director, Wealthy Homeowner (uncredited) 2002 American Jedi (short) - Special Thanks 2002 Russian Ark - Special Thanks (for support) 2002 Deuces Wild - Executive Producer (uncredited) 2002 Rain - Executive Producer 2001 Fast Food (short) - Special Thanks 2000 Love's Labour's Lost - Presenter (US release) 2000 You Can Count on Me - Executive Producer 2000 Bringing Out the Dead - Director, Dispatcher (voice) 1999 Dogma - Special Thanks 1999 The Hi-Lo Country - Producer 1998 Drive (short) - Special Thanks 1998 Kundun - Director 1997 Kicked in the Head - Executive Producer 1997 Vertigo - Thanks (1996 restoration) 1996 Grace of My Heart - Executive Producer 1996 Casino - Director, Writer (screenplay) 1995 Clockers - Producer 1995 Rough Magic - Presenter 1995 Michael Jackson: Video Greatest Hits - HIStory (video documentary) - Director (video "Bad") 1995 Search and Destroy - Executive Producer, The Accountant 1995 Con gli occhi chiusi - Executive Producer 1994 Quiz Show - Martin Rittenhome 1994 The War Room (documentary) - Very Special Thanks 1993 The Age of Innocence - Director, Photographer (uncredited), Writer (screenplay) 1993 Mad Dog and Glory - Producer 1993 Naked in New York - Executive Producer 1993 Amazing Stories: Book Four (video) - Director (segment "Mirror, Mirror") 1992 Cape Fear - Director 1991 Guilty by Suspicion - Joe Lesser The Grifters - Producer, Opening Voice-over (voice) (uncredited) 1990 Goodfellas - Director, Writer (screenplay) 1990 Yume - Vincent Van Gogh 1990 Made in Milan (documentary short) - Director 1990 PoV (video) - Executive Producer 1990 Lawrence of Arabia - Presenter (1989 reconstruction and restoration) (uncredited), Special Thanks (1989 reconstruction and restoration) 1989 Alien Space Avenger - Special Thanks 1989 New York Stories - Director (segment "Life Lessons"), Man Having Picture taken with Lionel Dobie (uncredited) 1989 The Last Temptation of Christ - Director 1988 Bad (video short) - Director 1987 The Color of Money - Director, Opening Voiceover (voice) (uncredited) 1986 'Round Midnight - Goodley 1986 After Hours - Director, Club Berlin Searchlight Operator (uncredited) 1985 Anna Pavlova - Gatti-Cassaza 1983 The King of Comedy - Director, TV Director 1983 Raging Bull - Director, Barbizon stagehand 1980 Pap'occhio, Il - TV director 1980 New York, New York - Director 1977 Cannonball! - Mafioso 1976 Taxi Driver - Director, Homicidal passenger in Travis' cab 1976 Alice Doesn't Live Here Anymore - Director 1974 Mean Streets - Director, Producer, Jimmy Shorts (uncredited), Writer (screenplay) (story) 1973 Unholy Rollers - Supervising Editor 1972 Elvis on Tour (documentary) - Montage Supervisor, Editor 1972 Boxcar Bertha - Director, Brothel Client (uncredited) 1972 Medicine Ball Caravan (documentary) - Associate Producer, Editor (uncredited) 1971 Woodstock (documentary) - Editor, Assistant Director 1970 Item 72-D: The Adventures of Spa and Fon (short) - Consulting Producer 1970 Bezeten - Het gat in de muur - Writer 1969 Who's That Knocking at My Door - Director, Gangster (uncredited), Writer 1967 The Big Shave (short) - Director, Producer, Writer, Editor 1967 It's Not Just You, Murray! (short) - Director, Writer 1964 Inesita - Photographer 1963 What's a Nice Girl Like You Doing in a Place Like This? (short) - Director, Writer 1963 Vesuvius VI (short) - Director The most renowned filmmaker of his era, Martin Scorsese virtually defined the state of modern American cinema during the 1970s and '80s. A consummate storyteller and visual stylist who lived and breathed movies, he won fame translating his passion and energy into a brand of filmmaking that crackled with kinetic excitement. Working well outside of the mainstream, Scorsese nevertheless emerged in the 1970s as a towering figure throughout the industry, achieving the kind of fame and universal recognition typically reserved for more commercially successful talents. A tireless supporter of film preservation, Scorsese has worked to bridge the gap between cinema's history and future like no other director. Channeling the lessons of his inspirations -- primarily classic Hollywood, the French New Wave, and the New York underground movement of the early '60s -- into an extraordinarily personal and singular vision, he has remained perennially positioned at the vanguard of the medium, always pushing the envelope of the film experience with an intensity and courage unmatched by any of his contemporaries. Scorsese was born on November 17, 1942, in Flushing, NY. The second child of Charles and Catherine Scorsese -- both of whom frequently made cameo appearances in their son's films -- he suffered from severe asthma, and as a result was blocked from participating in sports and other common childhood activities. Consequently, Scorsese sought refuge in area movie houses, quickly becoming obsessed with the cinema, in particular the work of Michael Powell. Raised in a devoutly Catholic environment, he initially studied to become a priest. Ultimately, however, Scorsese opted out of the clergy to enroll in film school at New York University, helming his first student effort, What's a Nice Girl Like You Doing in a Place Like This?, a nine-minute short subject, in 1963. Scorsese mounted his second student picture, the 15-minute It's Not Just You, Murray!, in 1964, the year of his graduation. His next effort was 1967's brief The Big Shave; finally, in 1969 he completed his feature-length debut, Who's That Knocking at My Door?, a drama starring actor Harvey Keitel, who went on to appear in many of the director's most successful films. The feature also marked the beginning of Scorsese's long collaboration with editor Thelma Schoonmaker, a pivotal component in the evolution of his distinct visual sensibility. After a tenure teaching film at N.Y.U. (where among his students were aspiring directors Oliver Stone and Jonathan Kaplan), Scorsese released Street Scenes, a documentary account of the May 1970 student demonstrations opposing the American military invasion of Cambodia. He soon left New York for Hollywood, working as an editor on films ranging from Woodstock to Medicine Ball Caravan to Elvis on Tour and earning himself the nickname "the Butcher." For Roger Corman's American International Pictures, Scorsese also directed his first film to receive any kind of widespread distribution, 1972's low-budget Boxcar Bertha, starring Barbara Hershey and David Carradine. With the same technical crew, he soon returned to New York to begin working on his first acknowledged masterpiece, the 1973 drama Mean Streets. A deeply autobiographical tale exploring the interpersonal and spiritual conflicts facing the same group of characters first glimpsed in Who's That Knocking at My Door?, Mean Streets established many of the thematic stylistic hallmarks of the Scorsese oeuvre: his use of outsider antiheroes, unusual camera and editing techniques, dueling obsessions with religion and gangster life, and the evocative use of popular music. It was this film that launched him to the forefront of a new generation of American cinematic talent. The film also established Scorsese's relationship with actor Robert DeNiro, who quickly emerged as the central onscreen figure throughout the majority of his work. For his follow-up, Scorsese traveled to Arizona to begin shooting 1974's Alice Doesn't Live Here Anymore, a response to criticism that he couldn't direct a "women's film." The end result brought star Ellen Burstyn a Best Actress Oscar at the year's Academy Awards ceremony, as well as a Best Supporting Actress nomination for co-star Diane Ladd. Next up was 1974's Italianamerican, a film Scorsese often claimed as his personal favorite among his own work. A documentary look at the experience of Italian immigrants as well as life in New York's Little Italy, it starred the director's parents, and even included Catherine Scorsese's secret tomato sauce recipe. Upon his return to New York, Scorsese began work on the legendary Taxi Driver in the summer of 1974. Based on a screenplay by Paul Schrader, the film explored the nature of violence in modern American society, and starred DeNiro as Travis Bickle, a cabbie thoroughly alienated from humanity who begins harboring delusions of assassinating a Presidential candidate and saving a young prostitute (Jodie Foster) from the grip of the streets. Lavishly acclaimed upon its initial release, Taxi Driver won the Palme d'Or at the 1976 Cannes Film Festival. Five years later, it became the subject of intense scrutiny when it was revealed that the movie was the inspiration behind the attempted assassination of Ronald Reagan by John Hinckley, who had become obsessed with the film as well as Foster herself. Scorsese's next feature was New York, New York, a lavish 1977 musical starring DeNiro and Liza Minnelli. The first of his major films to receive less-than-glowing critical acclaim, it was widely considered a failure by the Hollywood establishment. Despite doubts about his artistry, Scorsese forged on, and continued work on his documentary of the farewell performance of The Band, shot on Thanksgiving Day of 1976. Complete with guest appearances from luminaries ranging from Muddy Waters to Bob Dylan to Van Morrison, the concert film The Last Waltz bowed in 1978, and won raves on the festival circuit as well as from pop-music fans. American Boy: A Profile of Steven Prince, a look at the raconteur who appeared as the gun salesman in Taxi Driver, followed later that same year. In April 1979, after years of preparation, Scorsese began work on Raging Bull, a film based on the autobiography of boxer Jake LaMotta. Filmed in black-and-white, the feature was his most ambitious work to date, and is widely regarded as the greatest movie of the 1980s. DeNiro won the Best Actor Oscar for his portrayal of LaMotta, while newcomer Cathy Moriarty won a Best Actress nomination for her work as LaMotta's second wife. (Additionally, Thelma Schoonmaker won an Academy Award for editing). Scorsese and DeNiro again reunited for the follow-up, 1983's The King of Comedy, a bitter satire exploring the nature of celebrity and fame. Since the age of ten, Scorsese had dreamed of mounting a filmed account of the life of Jesus; finally, in 1983 it appeared that his adaptation of Nikos Kazantzakis' novel The Last Temptation of Christ was about to come to fruition. Ultimately, just four weeks before shooting was scheduled to begin, funding for the project fell through. Scorsese was forced to enter a kind of work-for-hire survival period, accepting an offer to direct the 1985 downtown New York comedy After Hours. In the spring of 1986, he began filming The Color of Money, the long-awaited sequel to Robert Rossen's 1961 classic The Hustler. Star Paul Newman, reprising his role as pool shark "Fast" Eddie Felson, won his first Academy Award for his work, while co-star Mary Elizabeth Mastrantonio scored a Best Supporting Actress nomination. The Color of Money was Scorsese's first true box-office hit; thanks to its success, he was finally able to film The Last Temptation of Christ. Starring Willem Dafoe in the title role, the feature appeared in 1988 to considerable controversy over what many considered to be a blasphemous portrayal of the life and crucifixion of Christ. Ironically, the protests helped win the film a greater foothold at the box office, while making its director a household name. After contributing (along with Francis Ford Coppola and Woody Allen) to the 1989 triptych New York Stories, Scorsese teamed with DeNiro for the first time since The King of Comedy and began working on his next masterpiece, 1990's Goodfellas. Based on author Nicholas Pileggi's true-crime account Wiseguy, the film dissected the New York criminal underworld in absorbing detail, helping actor Joe Pesci earn an Oscar for his supporting role as a crazed mob hitman. As part of the deal with Universal Pictures which allowed him to make Last Temptation, Scorsese had also agreed to direct a more "commercial" film. The result was 1991's Cape Fear, an update of the classic Hollywood thriller. The follow-up, 1993's The Age of Innocence, was a dramatic change of pace; based on the novel by Edith Wharton, the film looked at the New York social mores of the 1870s, and starred Daniel Day-Lewis and Michelle Pfeiffer. In 1995, Scorsese resurfaced with two new films. The first, Casino, documented the rise and decline of mob rule in the Las Vegas of the 1970s, while A Century of Cinema -- A Personal Journey With Martin Scorsese Through American Cinema examined the evolution of the Hollywood filmmaking process. In 1997, he completed Kundun, a meditation on the formative years of the exiled Dalai Lama. That same year he received the American Film Institute's Lifetime Achievement honor. In 1998, he participated in the American Film Institute's AFI's 100 Years...100 Movies, once again doing his part to help bridge the films of the past with those of the future. Scorsese returned to the director's chair in 1999 with Bringing Out the Dead. A medical drama starring Nicolas Cage as an emotionally exhausted paramedic, it marked the director's return to New York's contemporary gritty milieu. Scorsese began the new century making his first film for Miramax. Gangs of New York, a drama about New York gangs set during the Civil War, had been on his mind for over a quarter century by the time it finally was released in December of 2002. The film garnered multiple Oscar nominations including Best Picture and another Best Director nod for Scorsese, but the film went home without any hardware. Gangs of New York was co-scripted by Kenneth Lonergan, leading to Scorsese acting as an executive producer on his directorial debut, You Can Count on Me. Scorsese followed up his historical epic with yet another period piece. The Aviator was a biopic of multi-millionaire Howard Hughes that focused on his younger days as a Hollywood mogul and playboy. Both Gangs and The Aviator found Scorsese casting Leonardo Di Caprio in the lead role after his most famous collaborator, Robert De Niro, recommended the Titanic star to the director. 2004 saw the release of Shark Tale, an animated film for which Scorsese voiced one of the characters. |
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