Talking Stone Film

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♪ ♪ – What I do is I’m
able to express myself in visual images in
narrative cinema. That’s what I do. ♪ ♪ There are certain tools you use. Those tools become
part of a vocabulary. Tracking in or out. Panning left and right. The use of a close-up as
opposed to medium shot. How do you use all
these elements to make an emotional,
psychological point to a millions? To tell the story. ♪ ♪ My enjoyment is really
shooting in New York. The sense of life in the city. Shooting in the streets
for me is very special. But it’s also part of who
I am and where I’m from. “- Will you sit down there? Why he’s out there? Why you’re so far from me?” I grew up in a very
sequestered area it was almost like a little Sicilian
Village on Elizabeth Street in New York. For me, that was the world. So it’s something
that I draw upon. “- Oh, that’s the flavour.” “- How I’m doing so far?
– Terrific.” The idea of the
sauce was important because the nature of the
Italian-America, we’re in case Sicilians. In a Sunday afternoon
you had family dinner and that all revolved
around the sauce itself. “- Yeah,
I was cooking dinner that night. I had to start breaking the beef, pork
butt and veal shanks for the tomato sauce.” – Take a spoon,
few spoons full of tomato. Throw them in here because your
meatballs remain very soft.” – People come in, have something,
no, no I can’t, I just ate. What are you got?
Alright, bring this in. So it was a constant
flurry of people. ♪ ♪ It’s trying to harness
these emotions. – Talk to me the way you’re talking
to me now that’s what I mean. – You looking for a
fight or something? – The energy of it and put
on to stories narratives. ♪ ♪ Yes, there are certain words
I know better than others. But ultimately it’s the people. ♪ ♪ It’s the characters that carry me through. – Marty never is interested
in the villain or the hero. He’s interested in where most
people are which is in the middle. ♪ ♪ – He’s always trying to grasp
the humanity of these people, the flawed nature
of these characters. “- Sick man. – Fuck you. I told you not
taking my fucking kids.” – Yeah, people always say, well, interested in the
antagonist in my movies. Well, the point is that
they’re also human. Negative parts of who they are is also maybe something in us and something not to be
afraid of but to explore. – The number-one thing with any
director, any good directors, you gotta make people feel
that they can try anything. And Marty gets a certain
spontaneity out of everybody. – We started doing the business
with the gun, which scripted, “Come on. I got you.” “- Don’t try it, you fuck.” And then something
got into a rhythm. Particularly,
“Are you talking to me?” “- You talking to me? You talking to me?” And I remember saying
again, again. “- You talking to me?” And I really knew we had
something when he said, I know you talk to me because
I’m the only one here. “- Well, I’m the only one here. Who the fuck do you
think you’re talking to? Oh, yeah. Okay.” The actor, of course. The actors have to be
tapped into that emotion. “- Smell a rat.” And the passion doesn’t
necessarily have to be explosive. And that’s very interesting. Passion that’s held back. That’s restrained. “- Okay.” Tension. – You got something
you wanna ask me?” See create the atmosphere… “- It’s funny, you know.
It’s a good story. You’re a funny guy.” …and can you make it as easy as
possible for them to take their time if they’re onto something. “- Maybe I’m a little fucked up. But, I’m funny, how?
Funny like a clown? I amuse you? I make you laugh? I’m here to fucking amuse you? What do you mean funny?
Funny how? How am I funny? – You know,
how you tell a story. – No, I don’t know. You said it. How do I know?
You said I’m funny. How the fuck am I funny? What the fuck is
so funny about me? Tell me. Tell me what’s funny? – Get the fuck out of
here, Tommy. – You’re motherfucker!
I almost had him!” – The key factor is to be
authentic as much as possible to the characters and the
world that they’re in. – You know, he’s very careful to
make sure that it’s believable. He was very obsessed
about the collars that the mafia wear where they’re almost
closed over the tie. – He tied my tie every day. The way he wanted the
knot was very specific and I guess from when
he was growing up and every day he would tie my
tie and get the knot right. – I watch it, I said, oh, I just gave it an
authenticity to detail. – There’s something
about the way he connects you as
an audience member and envelops you completely
into another world that you become entranced by it. ♪ ♪ – I’m fascinated by what
happens to groups of people stuck in a situation, oppressed,
politically, economically. And what form do they take? A gang because really
in a sense like a tribe. “- On my challenge…” – Fighting becomes
part of the culture. The violence itself is
a matter of expression and it’s the way of life. And if it’s the way of
life for these people, you got to be as truthful
to that as possible. The violence of my
films is not pleasant. It’s not pleasant. Where I came from all those
good hard-working people trying to raise a
family respectively, there was a lot
of organized crime and I saw a lot of
violence where I grew up. I just saw it,
it was part of me. – His mother has told me that if there was
going to be a mafia killing on the street that mothers would all be told take your
children off the street at three o’clock and then they would all come in
and then somebody would be shot and here we go back
out to play again. – You reap what you sow in the stories I’m
trying to tell. And I don’t know any
other way to show it. – When we were writing
there’s that scene where Bob De Niro is standing
at the bar with a cigarette and he’s looking at Manny
and he’s going to kill him and you know,
he’s gonna kill him and as I’m typing that stuff
because I’m the typist, he says, putting
cream, putting cream. I said, what cream? He says just right that,
right down “Cream.” Well, it turns out while
we’re typing that scene, he’s already listening
to the music. So that you can’t, I can’t interpret
that, I can’t tell you where at, it’s all intuitive. It’s all happens
in Marty’s head. ♪ ♪ “FBI! Everybody sit down. Put your hands
where they can be seen and shut up.” ♪ ♪ – The music is always tied
to camera shots for me. ♪ ♪ ♪ ♪ – Marty has a genius for
putting music to film. He has carried around in his
head for years pieces of music that he’s wanted
to use in a film and then eventually finds
just the right spot for it. “- Where you going? – Come on, John.
The city is burning.” ♪ ♪ – I’ve compiled music
over the past 30-35 years and I may have 26
tapes from A to Z and 12 from 1960s. I have 15 from the 50s alone and a duck tapes that there’s
44 songs in each tape. ♪ ♪ It’s almost like dance,
like choreography. It’s the imagining of one-shot
being cut to the other and the emotional and
psychological impact of that cut. ♪ ♪ – My director is a
wonderful editing director. He edited several of
his early films himself. – Let’s see that head entail and
see which has the most movement. – “The Casino” particularly is a
film that Marty had thought out very carefully all of his
camera moves he had designed, so they would cut together, they were very specific. “- In Vegas, everybody’s got
to watch everybody else.” When he has the montage where he shows how everybody’s
watching everybody. He had already planned out how he was going to go from
the boxman to the dealer. To the pit boss.
They were all swish pans. And all I had to do is
cut off the end of it, stick it together and
it worked beautifully. “- The shift bosses are
watching the pit bosses. The casino manager is
watching the shift bosses. I’m watching the casino manager and the eye in the sky
is watching us all.” – I see things quickly and I’ve tried to
formulate it into a style. How do you point
the audience’s eye to look where you
want them to look and to get the point,
the emotional psychological point that you want to
get across to them? “- This is no ordinary place. It is a place where many roads
and many lives intersect.” – To make movies from
where I came from is like saying you’re
going to the Moon, you know,
there was no such thing. Our fathers and mothers they
were from a different world. They couldn’t afford to send us the school,
they didn’t have that kind of money. As long as we ate
and we were healthy, that’s all that counted. She was always telling
me, you know, one thing goes wrong,
the other thing will open up. Get over it, get going. There’s another way.
Always had that hope. So I got was something that I always still
hear in my head. One has to begin to reach
younger people at an earlier age how to use this
very powerful tool because we know film,
the image can be so strong. Young person wants
to express themselves and take a video camera and go. They’re going to find that
they have to frame the image. They’re going to find that
they have to interpret what they want to
say to an audience. They can have to
make that decision. That embracing and that inspiration
again, that’s spirit. It’s still inspires me to try to continue
working on pictures, try to make pictures. What can I mind that
is newer for me? What can I find that
is worth me doing? I don’t know yet. Because you never know
what you’re going to find. – Now that’s enough for
today, Marty. – Okay. That’s it. – I hope my sister’s don’t get act
to me because I have five sisters. Is he still taking this? Oh, Marty, you won’t get
out of this house alive. ♪ ♪

88 thoughts on “How Martin Scorsese Directs a Movie | The Director’s Chair

  1. And this video truly does justice about his statement about marvel movies are not cinema..i believe only true film lover will understand what he meant ❤️❤️❤️

  2. I like how you silently slipped in the subscribe and notification thing, so subtle and that's the right way to do it! Also love your channel learning so much 💕

  3. This reminds me of the greatest film maker, genius Andrei Tarkovsky's words "Nowadays everyone makes movies, everybody thinks they can make movies, you see?
    Anyone that is not too lazy, .. It's not hard to learn how to glue the film, how to work a camera… But the advice I can give to beginners is not to separate their work, their movie, their film from the life they live. Not to make the difference between the movie and their own life"! https://www.youtube.com/watch?v=3_3rJ15H5g0

  4. That one long take from Goodfellas through the kitchen into the restaurant.. i always thought that it would be hard to retake it as it should be as natural as possible and manage to prevent any person unintentionally look into the camera

  5. and here I thought scorcese directed movies by shitting on hardworking actors, directors and crews who made entertainment intended for children.

  6. that circle with the passing of time in the lower left hand are annoying! I want to watch a video without constantly thinking about the passing of time. remove that.

  7. There is so much similarity between an Auteur and a Master chef. Both are particular about the temperature be it color or the oil…Frames are like the plates 🙂

  8. StudioBinder u have no idea what great u guys are doing ….u r inspiring future filmmakers , future actors , future cinematographers etc etc. Great work !!!

  9. Tarantino and now Martin Scorcesse…Covering up all the legends..Thank you for your efforts to educate us 🙏❤️. They don't create a FILM, they express it.

  10. "When I was your age they would say we can become cops, or criminals. Today, what I'm saying to you is this: when you're facing a loaded gun, what's the difference?"

  11. Just watched The Irishman last night at Belasco, truly a masterpiece! Recommend everyone to see it in theater if you are in New York area.

  12. That opening titles sequence… haha… you've got all these amazing directors and their great movies… and then Wonder Woman.

  13. All his films are ranked from Great to a Masterpiece!!
    Thank you so much StudioBinder for the insight
    looking forword for more

  14. I can relate to him saying "where i come from making movies is like going to the moon" truly impossible. But hopefully a year from now you'll be seeing my first feature film. And, oh yeah, it's pretty gangster.

  15. Love your guys's videos, especially this series! Here are some other filmmakers to consider doing a video on for this series:
    – Tim Burton
    – Alfred Hitchcock
    – Steven Spielberg
    – Guillermo del Toro
    – Stanley Kubrick
    – Spike Lee
    – Edgar Wright
    – David Fincher
    – Paul Thomas Anderson
    – The Coen Brothers
    – Ridley Scott
    – David Lynch

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