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Martin Charles Scorsese is an American film director, producer, screenwriter, and actor. One of the major figures of the New Hollywood era, he is widely regarded as one of the most significant and influential directors in film history. Scorsese's body of work explores themes such as Italian-American identity, Catholic concepts of guilt and redemption, faith, machismo, crime and tribalism. Many of his films are known for their depiction of violence, and the liberal use of profanity and rock music. In 1990, he founded The Film Foundation, a nonprofit organization dedicated to film preservation, in 2007 he founded the World Cinema Foundation and in 2017, he introduced the African Film Heritage Project.
Scorsese studied at New York University where he received a bachelor's degree in English Literature in 1964, and received a Masters in Fine Arts in film from NYU's Tisch School of the Arts in 1966. In 1967 Scorsese's first feature film Who's That Knocking at My Door was released and was accepted into the Chicago Film Festival, where critic Roger Ebert saw it and called it "a marvelous evocation of American city life, announcing the arrival of an important new director". Scorsese's mentors included John Cassavetes, whose chatty, improvisational style did much to influence Scorsese's scripts and production work, and who told him to "make films about what you know". In 1971 Scorsese moved to Hollywood, where he associated with some of the young directors who defined the decade, including Steven Spielberg, Francis Ford Coppola, Brian De Palma, and George Lucas. He directed Boxcar Bertha, a cut-rate Depression-era film for Roger Corman, and Mean Streets, a personal film about faith and redemption shot in Little Italy, starring Harvey Keitel and Robert De Niro.
He has established a filmmaking history involving repeat collaborations with actors and film technicians, including nine films made with Robert De Niro. His films with De Niro are the vigilante-thriller Taxi Driver, the biographical sports drama Raging Bull, the black comedy The King of Comedy, the musical drama New York, New York, the psychological thriller Cape Fear, and the crime films Mean Streets, Goodfellas, Casino and The Irishman. Scorsese has also been noted for his successful collaborations with actor Leonardo DiCaprio, having directed him in five films: the historical epic Gangs of New York, the Howard Hughes biography The Aviator, the crime thriller The Departed, the psychological thriller Shutter Island, and the Wall Street black comedy The Wolf of Wall Street. The Departed won Scorsese the Academy Award for Best Director, in addition to winning the award for Best Picture. Scorsese is also known for his long-time collaboration with film editor Thelma Schoonmaker, who has edited every Scorsese film beginning with Raging Bull. Scorsese's other film work includes the black comedy After Hours, the romantic drama The Age of Innocence, the historical adventure drama Hugo, and the religious epics The Last Temptation of Christ, Kundun and Silence.
With nine nominations for the Academy Award for Best Director, Scorsese is the most-nominated living director and is second only to William Wyler's twelve nominations overall. In 2007, Scorsese was presented with the Kennedy Center Honor at the John F. Kennedy Center for the Performing Arts for his influence in American culture. He also received a star on the Hollywood Walk of Fame in 2003, a British Film Institute Fellowship in 1995, and a BAFTA Fellowship in 2012. Scorsese is also a recipient of the AFI Life Achievement Award for his contributions to the cinema, and has won an Academy Award, a Palme d'Or, a Cannes Film Festival Award, a Silver Lion, a Grammy Award, three Primetime Emmy Awards, three Golden Globe Awards, three BAFTA Awards, and two Directors Guild of America Awards. Scorsese is also known for his work in television, including directing the pilot episodes of the HBO series Boardwalk Empire and Vinyl, the latter he also co-created. As a fan of rock music, he has directed several documentaries on the subject after editing Woodstock, including The Last Waltz, No Direction Home, Shine a Light, ', and '.
Martin Scorsese was born on November 17, 1942, in the Flushing area of New York City's Queens borough. His family moved to Little Italy in Manhattan before he started school. Both of Scorsese's parents, Charles Scorsese and Catherine Scorsese, worked in New York's Garment District. Charles was a clothes presser and an actor while Catherine was a seamstress and an actress. Both of them were of Italian descent: his paternal grandparents, Francesco Paolo and Teresa Scozzese, emigrated from Polizzi Generosa, while his maternal grandparents, Martino and Domenica Cappa, emigrated from Ciminna, both in the province of Palermo, Sicily. The original surname of the family was Scozzese, later changed to Scorsese because of a transcription error. Scorsese was raised in a predominantly Catholic environment.
As a boy, he had asthma and could not play sports or take part in any activities with other children, so his parents and his older brother would often take him to movie theaters; it was at this stage in his life that he developed a passion for cinema. As a teenager in the Bronx, Scorsese frequently rented Powell and Pressburger's The Tales of Hoffmann from a store that had one copy of the reel. Scorsese was one of only two people who regularly rented it; the other was future film director George A. Romero.
Scorsese has cited Sabu and Victor Mature as his favorite actors during his youth. He has also spoken of the influence of the 1947–48 Powell and Pressburger films Black Narcissus and The Red Shoes, whose innovative techniques later impacted his filmmaking. In his documentary titled A Personal Journey with Martin Scorsese Through American Movies, Scorsese said that he was enamored of historical epics in his adolescence, and at least two films of the genre, Land of the Pharaohs and El Cid, appear to have had a deep and lasting impact on his cinematic psyche. Scorsese also developed an admiration for neorealist cinema at this time. He recounted its influence in a documentary on Italian neorealism, and commented on how Bicycle Thieves, Rome, Open City and especially Paisà inspired him and influenced his view or portrayal of his Sicilian roots. In his documentary, Il Mio Viaggio in Italia, Scorsese noted that the Sicilian episode of Roberto Rossellini's Paisà, which he first saw on television with his relatives who were themselves Sicilian immigrants, had a significant impact on his life. He acknowledges owing a great debt to the French New Wave and has stated that "the French New Wave has influenced all filmmakers who have worked since, whether they saw the films or not." He has also cited filmmakers including Satyajit Ray, Ingmar Bergman, Michelangelo Antonioni, and Federico Fellini as major influences on his career. He attended the all-boys Cardinal Hayes High School in the Bronx, graduating in 1960. He had initially desired to become a priest, attending a preparatory seminary but failed after the first year. This gave way to cinema and consequently Scorsese enrolled in NYU's Washington Square College, where he earned a B.A. in English in 1964. He went on to earn his M.F.A., film, from New York University's School of the Arts in 1968, a year after the school was founded.
While attending the Tisch School of the Arts, Scorsese made the short films What's a Nice Girl Like You Doing in a Place Like This? and It's Not Just You, Murray!. His most famous short of the period is the darkly comic The Big Shave, which features Peter Bernuth. The film is an indictment of America's involvement in Vietnam, suggested by its alternative title Viet '67. Scorsese has mentioned on several occasions that he was greatly inspired in his early days at New York University by film professor Haig P. Manoogian.
In 1967, Scorsese made his first feature-length film, the black and white I Call First, which was later retitled Who's That Knocking at My Door, with his fellow students actor Harvey Keitel and editor Thelma Schoonmaker, both of whom were to become long-term collaborators. This film was intended to be the first of Scorsese's semi-autobiographical J. R. Trilogy, which would have included a later film, Mean Streets. Throughout his career, Scorsese has avoided comparing his own films to those of other filmmakers whom he considers to be his contemporaries after 1967 when his own career in films began. The single exception is Kubrick's 1968 film .
Scorsese became friends with the influential "movie brats" of the 1970s: Brian De Palma, Francis Ford Coppola, George Lucas and Steven Spielberg. It was De Palma who introduced Scorsese to Robert De Niro. During this period, Scorsese worked as the assistant director and one of the editors on the documentary Woodstock and met actor–director John Cassavetes, who became a close friend and mentor. In 1972, Scorsese made the Depression-era exploiter Boxcar Bertha for B-movie producer Roger Corman, who also helped directors such as Francis Ford Coppola, James Cameron, and John Sayles launch their careers. It was Corman who taught Scorsese that entertaining films could be shot with very little money or time, preparing the young director well for the challenges to come with Mean Streets. Following the film's release, Cassavetes encouraged Scorsese to make the films that he wanted to make, rather than someone else's projects.
Championed by influential film critic Pauline Kael, Mean Streets was a breakthrough for Scorsese, De Niro, and Keitel. By now the signature Scorsese style was in place: macho posturing, bloody violence, Catholic guilt and redemption, gritty New York locale, rapid-fire editing and a soundtrack with contemporary music. Although the film was innovative, its wired atmosphere, edgy documentary style, and gritty street-level direction owed a debt to directors Cassavetes, Samuel Fuller and early Jean-Luc Godard. In 1974, actress Ellen Burstyn chose Scorsese to direct her in Alice Doesn't Live Here Anymore, for which she won an Academy Award for Best Actress. Although well regarded, the film remains an anomaly in the director's early career as it focuses on a central female character. Returning to Little Italy to explore his ethnic roots, Scorsese next came up with Italianamerican, a documentary featuring his parents Charles and Catherine Scorsese.
Taxi Driver followed in 1976—Scorsese's dark, urban nightmare of one lonely man's gradual descent into insanity. The film established him as an accomplished filmmaker and also brought attention to cinematographer Michael Chapman, whose style tends towards high contrasts, strong colors, and complex camera movements. The film starred Robert De Niro as the troubled and psychotic Travis Bickle, and co-starred Jodie Foster in a highly controversial role as an underage prostitute, with Harvey Keitel as her pimp. Taxi Driver also marked the start of a series of collaborations between Scorsese and writer Paul Schrader, whose influences included the diary of would-be assassin Arthur Bremer and Pickpocket, a film by the French director Robert Bresson. Writer–director Schrader often returns to Bresson's work in films such as American Gigolo, Light Sleeper, and Scorsese's later Bringing Out the Dead. Already controversial upon its release, Taxi Driver hit the headlines again five years later, when John Hinckley Jr. made an assassination attempt on then-president Ronald Reagan. He subsequently blamed his act on his obsession with Jodie Foster's Taxi Driver character.
Taxi Driver won the Palme d'Or at the 1976 Cannes Film Festival, also receiving four Oscar nominations, including Best Picture. The critical and financial success of Taxi Driver encouraged Scorsese to move ahead with his first big-budget project: the highly stylized musical New York, New York. This tribute to Scorsese's home town and the classic Hollywood musical was a box-office failure. The film was the director's third collaboration with Robert De Niro, co-starring with Liza Minnelli. The film is best remembered today for the title theme song, which was popularized by Frank Sinatra. Although possessing Scorsese's usual visual panache and stylistic bravura, many critics felt its enclosed studio-bound atmosphere left it leaden in comparison with his earlier work. Despite its weak reception, the film is regarded positively by some critics. Richard Brody in The New Yorker wrote:
In 1977 he directed the Broadway musical The Act, starring Liza Minnelli. The disappointing reception that New York, New York received drove Scorsese into depression. By this stage the director had developed a serious cocaine addiction. However, he did find the creative drive to make the highly regarded The Last Waltz, documenting the final concert by The Band. It was held at the Winterland Ballroom in San Francisco on American Thanksgiving Day, November 25, 1976, and featured one of the most extensive lineups of prominent guest performers at a single concert, including Bob Dylan, Neil Young, Ringo Starr, Muddy Waters, Joni Mitchell, Van Morrison, Paul Butterfield, Neil Diamond, Ronnie Wood, and Eric Clapton. However, Scorsese's commitments to other projects delayed the release of the film until 1978. Another Scorsese-directed documentary, titled , also appeared in 1978, focusing on Steven Prince, the cocky gun salesman who appeared in Taxi Driver. A period of wild partying followed, damaging the director's already fragile health. Scorsese helped provide footage for the documentary Elvis on Tour.
By several accounts, Robert De Niro saved Scorsese's life when he persuaded him to kick his cocaine addiction to make his highly regarded film Raging Bull. Writing for The New Yorker in March 2000, Mark Singer summarized Scorsese's condition stating:
He was more than mildly depressed. Drug abuse, and abuse of his body in general, culminated in a terrifying episode of internal bleeding. Robert De Niro came to see him in the hospital and asked, in so many words, whether he wanted to live or die. If you want to live, De Niro proposed, let's make this picture—referring to Raging Bull, an as-told-to book by Jake La Motta, the former world middleweight boxing champion, that De Niro had given him to read years earlier.
Convinced that he would never make another movie, he poured his energies into making this violent biopic of middleweight boxing champion Jake LaMotta, calling it a kamikaze method of film-making. The film is widely viewed as a masterpiece and was voted the greatest film of the 1980s by Britain's Sight & Sound magazine. It received eight Oscar nominations, including Best Picture, Best Actor for Robert De Niro and Scorsese's first for Best Director. De Niro won, as did Thelma Schoonmaker for editing, but Best Director went to Robert Redford for Ordinary People. From this work onwards, Scorsese's films are always labeled as "A Martin Scorsese Picture" on promotional material. Raging Bull, filmed in high contrast black and white, is where Scorsese's style reached its zenith: Taxi Driver and New York, New York had used elements of expressionism to replicate psychological points of view, but here the style was taken to new extremes, employing extensive slow-motion, complex tracking shots, and extravagant distortion of perspective. Thematically too, the concerns carried on from Mean Streets and Taxi Driver: insecure males, violence, guilt, and redemption.
Although the screenplay for Raging Bull was credited to Paul Schrader and Mardik Martin, the finished script differed extensively from Schrader's original draft. It was rewritten several times by various writers including Jay Cocks. The final draft was largely written by Scorsese and Robert De Niro. The American Film Institute chose Raging Bull as the number one American sports film on their list of the top 10 sports films. In 1997, the Institute ranked Raging Bull as the twenty-fourth greatest film of all time on their AFI's 100 Years ... 100 Movies list. In 2007, they ranked Raging Bull as the fourth greatest film of all time on their AFI's 100 Years ... 100 Movies list.
Scorsese's next project was his fifth collaboration with Robert De Niro, The King of Comedy. It is a satire on the world of media and celebrity, whose central character is a troubled loner who ironically becomes famous through a criminal act. The film was an obvious departure from the more emotionally committed films he had become associated with. Visually, it was far less kinetic than the style Scorsese had developed previously, often using a static camera and long takes. Here the expressionism of his previous work gave way to moments of almost total surrealism. It still bore many of Scorsese's trademarks, however. The King of Comedy failed at the box office, but has become increasingly well regarded by critics in the years since its release. German director Wim Wenders numbered it among his 15 favorite films. Also, in 1983, Scorsese made a brief cameo appearance in the film Anna Pavlova, originally intended to be directed by one of his heroes, Michael Powell. This led to a more significant acting appearance in Bertrand Tavernier's jazz film Round Midnight. He also made a brief venture into television, directing an episode of Steven Spielberg's Amazing Stories.
With After Hours, Scorsese made an esthetic shift back to a pared-down, almost "underground" film-making style. Filmed on an extremely low budget, on location, and at night in the SoHo neighborhood of Manhattan, the film is a black comedy about one increasingly misfortunate night for a mild New York word processor and features cameos by such disparate actors as Teri Garr and Cheech and Chong. Along with the 1987 Michael Jackson music video "Bad", in 1986 Scorsese made The Color of Money, a sequel to the much admired Robert Rossen film The Hustler with Paul Newman, which co-starred Tom Cruise. Although adhering to Scorsese's established style, The Color of Money was the director's first official foray into mainstream film-making. The film finally won actor Paul Newman an Oscar and gave Scorsese the clout to finally secure backing for a project that had been a longtime goal for him: The Last Temptation of Christ.
In 1983, Scorsese began work on this long-cherished personal project. The Last Temptation of Christ, based on the 1955 novel written by Nikos Kazantzakis, retold the life of Christ in human rather than divine terms. Barbara Hershey recalls introducing Scorsese to the book while they were filming Boxcar Bertha. The film was slated to shoot under the Paramount Pictures banner, but shortly before principal photography was to start, Paramount pulled the plug on the project, citing pressure from religious groups. In this aborted 1983 version, Aidan Quinn was cast as Jesus, and Sting was cast as Pontius Pilate. However, following his mid-1980s flirtation with commercial Hollywood, Scorsese made a major return to personal filmmaking with the project, which was ultimately released in 1988. Even prior to its release, the film caused a massive furor, with worldwide protests against its perceived blasphemy effectively turning a low-budget independent film into a media sensation. Most of the controversy centered on the final passages of the film, which depicted Christ marrying and raising a family with Mary Magdalene in a Satan-induced hallucination while on the cross.
Looking past the controversy, The Last Temptation of Christ gained critical acclaim and remains an important work in Scorsese's canon: an explicit attempt to wrestle with the spirituality underpinning his films up until that point. The director went on to receive his second nomination for a Best Director Academy Award. As a separate film project, and along with directors Woody Allen and Francis Ford Coppola in 1989, Scorsese provided one of three segments in the portmanteau film New York Stories, called "Life Lessons".
After a decade of films considered by critics to be mixed results, some considered Scorsese's gangster epic Goodfellas his return to directorial form, and his most confident and fully realized film since Raging Bull. De Niro and Joe Pesci offered a virtuoso display of Scorsese's bravura cinematic technique in the film and re-established, enhanced, and consolidated his reputation. After the film was released, Roger Ebert, a friend and supporter of Scorsese, named Goodfellas "the best mob movie ever". It is ranked No. 1 on Ebert's movie list for 1990, along with those of Gene Siskel and Peter Travers', and is widely considered one of the director's greatest achievements. The film was nominated for six Academy Awards, including Best Picture and Best Director, and Scorsese earned his third Best Director nomination but again lost to a first-time director, Kevin Costner. Joe Pesci earned the Academy Award for Best Supporting Actor for his performance. Scorsese and the film also won a number of other awards, including five BAFTA Awards, a Silver Lion and more. The American Film Institute placed Goodfellas at No. 94 on the AFI's 100 Years ... 100 Movies list. On the 2007 updated version, they moved Goodfellas up to No. 92 on the AFI's 100 Years ... 100 Movies list and put Goodfellas at No. 2 on their list of the top 10 gangster films.
In 1990, he released his only short-form documentary: Made in Milan about fashion designer Giorgio Armani. The following year brought Cape Fear, a remake of a cult 1962 movie of the same name and the director's seventh collaboration with De Niro. Another foray into the mainstream, the film was a stylized thriller taking its cues heavily from Alfred Hitchcock and Charles Laughton's The Night of the Hunter. Cape Fear received a mixed critical reception and was lambasted in many quarters for its scenes depicting misogynistic violence. However, the lurid subject matter gave Scorsese a chance to experiment with visual tricks and effects. The film garnered two Oscar nominations. Earning $80 million domestically, it stood as Scorsese's most commercially successful release until The Aviator, and then The Departed. The film also marked the first time Scorsese used wide-screen Panavision with an aspect ratio of 2.39:1.
In 1990, Scorsese acted in a small role as Vincent van Gogh in the film Dreams by Japanese director Akira Kurosawa. Scorsese's 1994 cameo appearance in the Robert Redford film Quiz Show is remembered for the telling line: "You see, the audience didn't tune in to watch some amazing display of intellectual ability. They just wanted to watch the money." De Fina-Cappa was the production company he formed that same year with producer Barbara De Fina. In the early 1990s, Scorsese also expanded his role as a film producer. He produced a wide range of films, including major Hollywood studio productions, low-budget independent films, and even the foreign film.
The Age of Innocence was a significant departure for Scorsese, a period adaptation of the Edith Wharton novel about the constrictive high society of late-19th century New York. It was highly lauded by critics upon its original release but was a box office bomb, making an overall loss. As noted in Scorsese on Scorsese by editor–interviewer Ian Christie, the news that Scorsese wanted to make a film about a failed 19th-century romance raised many eyebrows among the film fraternity; all the more when Scorsese made it clear that it was a personal project and not a studio for-hire job.
Scorsese was interested in doing a "romantic piece", and he was strongly drawn to the characters and the story of Wharton's text. Scorsese wanted his film to be as rich an emotional experience as the book was to him rather than the traditional academic adaptations of literary works. To this end, Scorsese sought influence from diverse period films that had had an emotional impact on him. In Scorsese on Scorsese, he documents influences from films such as Luchino Visconti's Senso and his Il Gattopardo as well as Orson Welles's The Magnificent Ambersons and also Roberto Rossellini's La prise de pouvoir par Louis XIV. Although The Age of Innocence was ultimately different from these films in terms of narrative, story, and thematic concern, the presence of a lost society, of lost values as well as detailed re-creations of social customs and rituals continues the tradition of these films. It came back into the public eye, especially in countries such as the UK and France, but still is largely neglected in North America. The film earned five Academy Award nominations, winning the Costume Design Oscar. This was his first collaboration with the Academy Award-winning actor Daniel Day-Lewis, with whom he would work again on Gangs of New York. This was Scorsese's first film to be shot on Super 35 format.
Casino, like The Age of Innocence before it, focused on a tightly wound male whose well-ordered life is disrupted by the arrival of unpredictable forces. The fact that it was a violent gangster film made it more palatable to the director's fans who perhaps were baffled by the apparent departure of the earlier film. Casino was a box office success, but the film received mixed-to-positive notices from critics. In large part this was due to its significant stylistic similarities to his earlier Goodfellas, and its excessive violence, which garnered it a reputation as possibly the most violent American gangster film. Indeed, many of the tropes and tricks of the earlier film resurfaced more or less intact, most obviously the casting of both Robert De Niro and Joe Pesci, with Pesci once again playing an unbridled psychopath. Sharon Stone was nominated for the Best Actress Academy Award for her performance. During the filming, Scorsese played a background part as a gambler at one of the tables.
Scorsese still found time for a four-hour documentary in 1995, titled A Personal Journey with Martin Scorsese Through American Movies, offering a thorough trek through American cinema. It covered the silent era to 1969, a year after which Scorsese began his feature career. He said, "I wouldn't feel right commenting on myself or my contemporaries." In the four-hour documentary, Scorsese lists the four aspects of the director he believes are the most important as the director as storyteller; the director as an illusionist: D. W. Griffith or F. W. Murnau, who created new editing techniques among other innovations that made the appearance of sound and color possible later on; the director as a smuggler—filmmakers such as Douglas Sirk, Samuel Fuller, and Vincente Minnelli, who used to hide subversive messages in their films; and the director as iconoclast. In the preface to this documentary, Scorsese states his commitment to the "Director's Dilemma", in which a successful contemporary director must be pragmatic about the realities of getting financing for films of personal esthetic interest by accepting the need of "making one film for the studio, and making one for oneself."
If The Age of Innocence alienated and confused some fans, then Kundun went several steps further, offering an account of the early life of Tenzin Gyatso, the 14th Dalai Lama, the People's Liberation Army's entry into Tibet, and the Dalai Lama's subsequent exile to India. Not only a departure in subject matter, Kundun saw Scorsese employing a fresh narrative and visual approach. Traditional dramatic devices were substituted for a trance-like meditation achieved through an elaborate tableau of colorful visual images. The film was a source of turmoil for its distributor, Buena Vista Pictures, which was planning significant expansion into the Chinese market at the time. Initially defiant in the face of pressure from Chinese officials, Disney has since distanced itself from the project, hurting Kunduns commercial profile. In the short term, the sheer eclecticism in evidence enhanced the director's reputation. In the long term, however, it appears Kundun has been sidelined in most critical appraisals of the director, mostly noted as a stylistic and thematic detour. Kundun was the Scorsese's second attempt to profile the life of a great religious leader, following The Last Temptation of Christ.
Bringing Out the Dead was a return to familiar territory, with the director and writer Paul Schrader constructing a pitch-black comic take on their own earlier Taxi Driver. Like earlier Scorsese-Schrader collaborations, its final scenes of spiritual redemption explicitly recall the films of Robert Bresson. It received generally positive reviews, although not the universal critical acclaim of some of his other films. It stars Nicolas Cage, Ving Rhames, John Goodman, Tom Sizemore, and Patricia Arquette.
On various occasions Scorsese has been asked to present the Honorary Academy Award during the Oscar telecast. In 1998, at the 70th Academy Awards, Scorsese presented the award to film legend Stanley Donen. When accepting the award Donen quipped, "Marty this is backwards, I should be giving this to you, believe me". In 1999, at the 71st Academy Awards, Scorsese and De Niro presented the award to film director Elia Kazan. This would be a controversial pick for the Academy due to Kazan's past history regarding his involvement with the Hollywood Blacklist in the 1950s. Several members of the audience including Nick Nolte and Ed Harris refused to applaud Kazan when he received the award while others such as Warren Beatty, Meryl Streep, Kathy Bates, and Kurt Russell gave him a standing ovation.
In 1999, Scorsese produced a documentary on Italian filmmakers titled Il Mio Viaggio in Italia, also known as My Voyage to Italy. The documentary foreshadowed the director's next project, the epic Gangs of New York, influenced by major Italian directors such as Luchino Visconti and filmed in its entirety at Rome's famous Cinecittà film studios. With a production budget said to be in excess of $100 million, Gangs of New York was Scorsese's biggest and arguably most mainstream venture to date. Like The Age of Innocence, it was set in 19th-century New York, although focusing on the other end of the social scale. The film marked the first collaboration between Scorsese and actor Leonardo DiCaprio, who became a fixture in later Scorsese films. The production was highly troubled, with many rumors referring to the director's conflict with Miramax boss Harvey Weinstein. Despite denials of artistic compromise, some felt that Gangs of New York was the director's most conventional film, featuring standard film tropes that the director had traditionally avoided, such as characters existing purely for exposition purposes and explanatory flashbacks.
The final cut of the movie ran to 168 minutes, while the director's original cut was over 180 minutes long. Even so, the film received generally positive reviews with the review aggregator Rotten Tomatoes reporting that 75 percent of the reviews for the film they tallied were positive and summarizing the critics writing, "Though flawed, the sprawling, messy Gangs of New York is redeemed by impressive production design and Day-Lewis's electrifying performance." The film's central themes are consistent with the director's established concerns: New York, violence as culturally endemic, and subcultural divisions down ethnic lines. Originally filmed for a release in the winter of 2001, Scorsese delayed the final production of the film until after the beginning of 2002; the studio consequently delayed the film until its release in the Oscar season of late 2002. Gangs of New York earned Scorsese his first Golden Globe for Best Director. In February 2003, Gangs of New York received 10 Academy Award nominations, including Best Picture, Best Director, and Best Actor for Daniel Day-Lewis; however, it did not win in any category.
The following year, Scorsese completed production of The Blues, an expansive seven-part documentary tracing the history of blues music from its African roots to the Mississippi Delta and beyond. Seven film-makers including Wim Wenders, Clint Eastwood, Mike Figgis, and Scorsese himself each contributed a 90-minute film. In the early 2000s, Scorsese produced several films for up-and-coming directors, such as You Can Count on Me, Rain, Lymelife and The Young Victoria. At that time, he established Sikelia Productions. In 2003, producer Emma Tillinger Koskoff joined the company. Scorsese also produced several documentaries, such as The Soul of a Man and Lightning in a Bottle.
Scorsese's film The Aviator is a lavish, large-scale biopic of eccentric aviation pioneer and film mogul Howard Hughes and reunited Scorsese with actor Leonardo DiCaprio. The film received highly positive reviews. The film was a widespread box office success and gained Academy recognition. The Aviator was nominated for six Golden Globe awards, including Best Motion Picture-Drama, Best Director, Best Screenplay, and Best Actor-Motion Picture Drama for Leonardo DiCaprio. It won three, including Best Motion Picture-Drama and Best Actor-Motion Picture Drama. In January 2005 The Aviator became the most-nominated film of the 77th Academy Awards nominations, nominated in 11 categories including Best Picture. The film also garnered nominations in nearly all the other major categories, including a fifth Best Director nomination for Scorsese. Despite having the most nominations, the film won only five Oscars. Scorsese lost again, this time to director Clint Eastwood for Million Dollar Baby.
No Direction Home is a documentary film by Scorsese that tells of the life of Bob Dylan, and his impact on American popular music and the culture of the 20th century. The film does not cover Dylan's entire career; it focuses on his beginnings, his rise to fame in the 1960s, his then-controversial transformation from an acoustic guitar-based musician and performer to an electric guitar-influenced sound and his "retirement" from touring in 1966 following an infamous motorcycle accident. The film was first presented on television in both the United States and the United Kingdom on September 26 to 27, 2005. A DVD version of the film was released the same month. The film won a Peabody Award and the Grammy Award for Best Long Form Music Video. In addition, Scorsese received an Emmy nomination for it.
Scorsese returned to the crime genre with the Boston-set thriller The Departed, based on the Hong Kong police drama Infernal Affairs. The film continued Scorsese's collaboration with Leonardo DiCaprio and was the first time he worked with Matt Damon, Jack Nicholson, Mark Wahlberg, and Martin Sheen.
The Departed opened to widespread critical acclaim, with some proclaiming it as one of the best efforts Scorsese had brought to the screen since 1990's Goodfellas, and still others putting it at the same level as Scorsese's most celebrated classics Taxi Driver and Raging Bull. With domestic box office receipts surpassing million, The Departed was Scorsese's highest-grossing film until 2010's Shutter Island.
The Departed earned Scorsese a second Golden Globe for Best Director, as well as a Critics' Choice Award, his first Directors Guild of America Award, and the Academy Award for Best Director. Presented with the latter, Scorsese poked fun at his track record of nominations, asking, "Could you double-check the envelope?" The award was presented by his longtime friends and colleagues Francis Ford Coppola, George Lucas and Steven Spielberg. The Departed also received the Academy Award for the Best Motion Picture of 2006, Best Adapted Screenplay, and Best Film Editing by longtime Scorsese editor Thelma Schoonmaker; her latter's win for a Scorsese film.
Shine a Light captures rock and roll band The Rolling Stones' performing at New York City's Beacon Theater on October 29 and November 1, 2006, intercut with brief news and interview footage from throughout their career. The film was initially scheduled for release on September 21, 2007, but Paramount Classics postponed its general release until April 2008. Its world premiere was at the opening of the 58th Berlinale Film Festival on February 7, 2008. "Marty did an amazing job of making us look great…" observed drummer Charlie Watts. "It's all in the edits and the cuts. That's a movie maker rather than a guy just shooting a band onstage… It's not Casablanca, but it's a great thing to have from our point of view, not being egotistical. It's a document."
In 2009, Scorsese signed a petition in support of director Roman Polanski, calling for his release from custody after he was detained in relation to his 1977 sexual abuse charges.
On October 22, 2007, Daily Variety reported that Scorsese would reunite with Leonardo DiCaprio on a fourth picture, Shutter Island. Principal photography on the Laeta Kalogridis screenplay, based on the novel of the same name by Dennis Lehane, began in Massachusetts in March 2008. In December 2007, actors Mark Ruffalo, Max von Sydow, Ben Kingsley, and Michelle Williams joined the cast, marking the first time these actors had worked with Scorsese. The film was released on February 19, 2010. On May 20, 2010, the film became Scorsese's highest-grossing film. In 2010, The Wall Street Journal reported that Scorsese was supporting the David Lynch Foundation's initiative to help 10,000 military veterans overcome posttraumatic stress disorder through Transcendental Meditation; Scorsese has publicly discussed his own practice of TM.
Scorsese directed the series premiere for Boardwalk Empire, an HBO drama series, starring Steve Buscemi and Michael Pitt, based on Nelson Johnson's book Boardwalk Empire: The Birth, High Times and Corruption of Atlantic City. Terence Winter, who wrote for The Sopranos, created the series. In addition to directing the pilot, Scorsese also served as an executive producer on the series. The series premiered on September 19, 2010, and was broadcast for five seasons.
Scorsese directed the three-and-a-half-hour documentary ' about the life and music of former Beatles' member George Harrison, which premiered in the United States on HBO over two parts on October 5 and 6, 2011. His next film Hugo is a 3D adventure drama film based on Brian Selznick's novel The Invention of Hugo Cabret. The film stars Asa Butterfield, Chloë Grace Moretz, Ben Kingsley, Sacha Baron Cohen, Ray Winstone, Emily Mortimer, Christopher Lee, and Jude Law. The film has been met with critical acclaim and earned Scorsese his third Golden Globe Award for Best Director. The film was also nominated for 11 Academy Awards, winning five of them and becoming tied with Michel Hazanavicius's film The Artist for the most Academy Awards won by a single film in 2011. Hugo also won two BAFTA awards, among numerous other awards and nominations. Hugo was Scorsese's first 3D film and was released in the United States on November 23, 2011.
Scorsese's 2013 film, The Wolf of Wall Street, is an American biographical black comedy based on Jordan Belfort's memoir of the same name. The screenplay was written by Terence Winter and starred Leonardo DiCaprio as Belfort, along with Jonah Hill, Matthew McConaughey, and others. The film marked the fifth collaboration between Scorsese and DiCaprio and the second between Scorsese and Winter after Boardwalk Empire. It was released on December 25, 2013. The film tells the story of a New York stockbroker, played by DiCaprio, who engages in a large securities fraud case involving illicit stock manipulation, by way of the practice of "pump and dump". DiCaprio was given the award for Best Actor-Motion Picture Musical or Comedy at the 2014 Golden Globe Awards. The film was also nominated for Best Motion Picture-Musical or Comedy as well. The Wolf of Wall Street was nominated for five Academy Awards, including Best Picture, Best Actor for Leonardo DiCaprio, Best Supporting Actor for Jonah Hill, Best Director for Martin Scorsese, and Best Adapted Screenplay for Terence Winter but did not win in any category. In a 2016 critics' poll conducted by the BBC, the film was ranked among the 100 greatest motion pictures since 2000.
Scorsese and David Tedeschi made a documentary about the history of the New York Review of Books, titled The 50 Year Argument. It screened as a work in progress at the Berlin International Film Festival in February 2014 and premiered in June 2014 at the Sheffield Doc/Fest. It was also screened in Oslo, and Jerusalem before being shown on the BBC's Arena series in July and at Telluride in August. In September, it was screened at the Toronto and Calgary International Film Festivals, and the New York Film Festival. It aired on HBO on September 29, 2014.
Scorsese directed the pilot for Vinyl written by Terence Winter and George Mastras, with Mick Jagger producing and Mastras as showrunner. The series stars Bobby Cannavale as Richie Finestra, founder and president of a top-tier record label, set in 1970s New York City's drug-and sex-fueled music business as punk and disco were breaking out, all told through the eyes of Finestra trying to resurrect his label and find the next new sound. Filming began on July 25, 2014. Co-stars include Ray Romano, Olivia Wilde, Juno Temple, Andrew Dice Clay, Ato Essandoh, Max Casella, and James Jagger. On December 2, 2014, Vinyl was picked up by HBO. The series lasted one season. Scorsese has acted as executive producer of several indie films, like the 2014 The Third Side of the River, another 2014 film Revenge of the Green Dragons, as well as Bleed for This and Free Fire.
Scorsese directed The Audition, a short film that also served as a promotional piece for casinos Studio City in Macau and City of Dreams in Manila, Philippines. The short brought together Scorsese's long-time muses Leonardo DiCaprio and Robert De Niro for the first time under his direction. The short film featured the two actors, playing fictionalized versions of themselves, competing for a role in Scorsese's next film. It was Scorsese's first collaboration with De Niro in two decades. The film premiered in October 2015 in conjunction with the grand opening of Studio City.
Scorsese had long anticipated filming an adaptation of Shūsaku Endō's novel Silence, a drama about the lives of two Portuguese Jesuit priests in Japan during the 17th century. He had originally planned Silence as his next project following Shutter Island. On April 19, 2013, financing was secured for Silence by Emmett/Furla Films, and filming began in January 2015. By November 2016, the film had completed post-production. It was written by Jay Cocks and Scorsese, based on the novel, and stars Andrew Garfield, Liam Neeson, and Adam Driver. The film was released on December 23, 2016. Scorsese was recognized as an Italian citizen by jus sanguinis in 2018.
On January 10, 2019, Varietys Chris Willman reported that Scorsese's long-anticipated documentary of Bob Dylan's 1975 tour, the Rolling Thunder Revue, would be released by Netflix: "' captures the troubled spirit of America in 1975 and the joyous music that Dylan performed during the fall of that year. Part documentary, part concert film, part fever dream, Rolling Thunder is a one of a kind experience, from master filmmaker Martin Scorsese." On April 25, 2019, it was announced that the documentary would be released on Netflix on June 12, 2019, with a concurrent theatrical engagement in twenty American, European, and Australian cities the night before, and an extended theatrical schedule in Los Angeles and New York so that the film will qualify for award consideration. After years of development, principal photography on Scorsese's crime film The Irishman began in August 2017, starring Robert De Niro, Joe Pesci, and Al Pacino. The film had its world premiere at the 57th New York Film Festival on September 27, 2019. It received a limited theatrical release on November 1, 2019, followed by digital streaming on November 27, 2019, on Netflix. In January 2020, The Irishman received ten Academy Award nominations, including for Best Picture, Best Director, Best Adapted Screenplay, and Best Supporting Actor for Pacino and Pesci.
In July 2019, Scorsese started scouting locations in preparation for the 2020 filming of his next film Killers of the Flower Moon, a film adaptation of the book of the same name by David Grann. Scorsese will be teaming up with Leonardo DiCaprio for the sixth time and Robert De Niro for the tenth time. In December 2019, Scorsese's frequent cinematographer Rodrigo Prieto confirmed that Flower Moon was gearing up to start principal photography in March 2020.
Filmmaking style and technique
Several recurring filmmaking techniques are identifiable in many of Scorsese's films. He has established a filmmaking history which involves repeat collaborations with actors, screenwriters, film editors, and cinematographers, sometimes extending over several decades, such as that with recurring cinematographers Michael Ballhaus, Robert Richardson, and Rodrigo Prieto.
Slow motion and freeze frame
Scorsese is known for his frequent use of slow motion, for example, in Who's That Knocking at My Door and Mean Streets. He is also known for using freeze frames, such as: in the opening credits of The King of Comedy, throughout Goodfellas, Casino, The Departed, and in The Irishman. His blonde leading ladies are usually seen through the eyes of the protagonist as angelic and ethereal; they wear white in their first scene and are photographed in slow motion—Cybill Shepherd in Taxi Driver; Cathy Moriarty's white bikini in Raging Bull; Sharon Stone's white minidress in Casino. This may be a nod to director Alfred Hitchcock. Scorsese often uses long tracking shots, as seen in Taxi Driver, Goodfellas, Casino, Gangs of New York, and Hugo. MOS sequences set to popular music or voice-over are regularly seen in his films, often involving aggressive camera movement and/or rapid editing. Scorsese sometimes highlights characters in a scene with an iris, an homage to 1920s silent film cinema. This effect can be seen in Casino, Life Lessons, The Departed, and Hugo. Some of his films include references/allusions to Westerns, particularly Rio Bravo, The Great Train Robbery, Shane, The Searchers, and The Oklahoma Kid. Slow motion flashbulbs and accented camera/flash/shutter sounds are often used, as is the song "Gimme Shelter" by The Rolling Stones heard in several of Scorsese's films: Goodfellas, Casino, and The Departed.
Scorsese usually has a quick cameo in his films, he is also known to contribute his voice to a film without appearing on screen. In The Age of Innocence, for example, he appears in the non-speaking role of a large format portrait photographer in one of the passing scenes of the film. He provides the opening voice-over narration in Mean Streets and The Color of Money; plays the off-screen dressing room attendant in the final scene of Raging Bull, and provides the voice of the unseen ambulance dispatcher in Bringing Out the Dead. He also appears as the director of fictional newly formed Vatican Television in the Italian comedy In the Pope's Eye.
Religious guilt
Guilt is a prominent theme in many of his films, as is the role of Catholicism in creating and dealing with guilt. In a similar manner, Scorsese considered Silence a "passion project": it had been in development since 1990, two years after the release of his film The Last Temptation of Christ, which also contained strongly religious themes. When asked why he retained interest in a project dealing with strong theological themes for over 26 years, Scorsese said,
As you get older, ideas go and come. Questions, answers, loss of the answer again and more questions, and this is what really interests me. Yes, the cinema and the people in my life and my family are most important, but ultimately as you get older, there's got to be more ... Silence is just something that I'm drawn to in that way. It's been an obsession, it has to be done ... it's a strong, wonderful true story, a thriller in a way, but it deals with those questions.
Political corruption
More recently, his films have featured corrupt authority figures, such as policemen in The Departed and politicians in Gangs of New York and The Aviator. He is also known for his liberal usage of profanity, dark humor, and violence.
Scorsese's interest in political corruption as depicted in his films was expanded further in his 2019 film The Irishman. Richard Brody writing for The New Yorker found the main interpretation of the film to be a dark allegory of a realist reading of American politics and American society stating:
The real-life Hoffa... a crucial player in both gangland politics and the actual practical politics of the day, and the movie's key through line is the inseparability of those two realms. The Irishman is a sociopolitical horror story that views much of modern American history as a continuous crime in motion, in which every level of society—from domestic life through local business through big business through national and international politics—is poisoned by graft and bribery, shady deals and dirty money, threats of violence and its gruesome enactment, and the hard-baked impunity that keeps the entire system running.
Frequent collaborators
Scorsese often casts the same actors in his films, particularly Robert De Niro, who has collaborated with Scorsese on nine feature films and one short film. Included are the three films that made AFI's 100 Years ... 100 Movies list. Scorsese has often said he thinks De Niro's best work under his direction was Rupert Pupkin in The King of Comedy. After the turn of the century, Scorsese found a new muse with younger actor Leonardo DiCaprio, collaborating on five feature films and one short to date. Several critics have compared Scorsese's new partnership with DiCaprio with his previous one with De Niro. Frequent collaborators also include: Victor Argo, Harvey Keitel, Harry Northup, Murray Moston, Illeana Douglas, J. C. MacKenzie, Joe Pesci, Frank Vincent, Barry Primus, and Verna Bloom. Others who have appeared in multiple Scorsese films include Daniel Day-Lewis, who had become very reclusive to the Hollywood scene, Alec Baldwin, Willem Dafoe, Ben Kingsley, Jude Law, Dick Miller, Liam Neeson, Emily Mortimer, John C. Reilly, David Carradine, Barbara Hershey, Kevin Corrigan, Jake Hoffman, Frank Sivero, Ray Winstone and Nick Nolte. Before their deaths, Scorsese's parents, Charles Scorsese and Catherine Scorsese, appeared in bit parts, walk-ons or supporting roles, such as in Goodfellas.
For his crew, Scorsese frequently worked with editors Marcia Lucas and Thelma Schoonmaker, cinematographers Michael Ballhaus, Robert Richardson, Michael Chapman and Rodrigo Prieto, screenwriters Paul Schrader, Mardik Martin, Jay Cocks, Terrence Winter, John Logan and Steven Zaillian, costume designer Sandy Powell, production designers Dante Ferretti and Bob Shaw, music producer Robbie Robertson, and composers Howard Shore and Elmer Bernstein. Schoonmaker, Richardson, Powell, and Ferretti have each won Academy Awards in their respective categories on collaborations with Scorsese. Elaine and Saul Bass, the latter being Hitchcock's frequent title designer, designed the opening credits for Goodfellas, The Age of Innocence, Casino and Cape Fear.
In 1965, Scorsese married his first wife Laraine Marie Brennan, and they remained together for six years between 1965 and 1971; they have a daughter, Catherine, who was named after his mother. Following their divorce in 1972, Scorsese has had four subsequent wives and identifies himself as a lapsed Roman Catholic as a result of the Church's doctrinal position against divorce. As Scorsese has commented, "I'm a lapsed Catholic. But I am Roman Catholic; there's no way out of it."
In 1976, Scorsese married the writer Julia Cameron, his second marriage; they have a daughter, but the marriage lasted only a year. The divorce was acrimonious and served as the basis of Cameron's first feature, the dark comedy God's Will, which also starred their daughter, Domenica. She had a small role in Cape Fear using the name Domenica Scorsese and has continued to act, write, direct, and produce.
Before the end of 1979, Scorsese married actress Isabella Rossellini, and they stayed together for four years until their divorce in 1983.
Scorsese married producer Barbara De Fina in 1985, his fourth of five marriages; their marriage ended in divorce in 1991. Throughout the early 1990s until 1997, Scorsese actively dated actress Illeana Douglas following his fourth divorce.
In 1999, Scorsese married his current spouse of twenty years, Helen Schermerhorn Morris. They have a daughter, Francesca, who appeared in The Departed and The Aviator.
, Scorsese has directed a total of 25 full-length films and 16 full-length documentary films.
Year Title Distributor
1967 Who's That Knocking at My Door Joseph Brenner Associates
1972 Boxcar Bertha American International Pictures
1973 Mean Streets Warner Bros.
1974 Alice Doesn't Live Here Anymore Warner Bros.
1976 Taxi Driver Columbia Pictures
1977 New York, New York United Artists
1980 Raging Bull United Artists
1982 The King of Comedy 20th Century Fox
1985 After Hours Warner Bros.
1986 The Color of Money Buena Vista Distribution
1988 The Last Temptation of Christ Universal Pictures
1990 Goodfellas Warner Bros.
1991 Cape Fear Universal Pictures
1993 The Age of Innocence Columbia Pictures
1995 Casino Universal Pictures
1997 Kundun Buena Vista Pictures
1999 Bringing Out the Dead Paramount Pictures / Buena Vista Pictures
2002 Gangs of New York Buena Vista Distribution
2004 The Aviator Warner Bros. Pictures / Miramax
2006 The Departed Warner Bros. Pictures
2010 Shutter Island Paramount Pictures
2011 Hugo Paramount Pictures
2013 The Wolf of Wall Street Paramount Pictures / Universal Pictures
2016 Silence Paramount Pictures
2019 The Irishman Netflix
2021 Killers of the Flower Moon Paramount Pictures / Apple TV
In 2012, Scorsese participated in the Sight & Sound film polls of that year. Held every ten years to select the greatest films of all time, contemporary directors were asked to select ten films of their choice. Scorsese, however, picked 12, which are listed below, in alphabetical order:
Ashes and Diamonds
The Leopard
Paisà
Salvatore Giuliano
Ugetsu
The Film Foundation
Scorsese had been at the forefront in film preservation and restoration ever since 1990, when he created The Film Foundation, a non-profit film organization which collaborates with film studios to restore prints of old or damaged films. Scorsese launched the organization with Woody Allen, Robert Altman, Francis Ford Coppola, Clint Eastwood, Stanley Kubrick, George Lucas, Sydney Pollack, Robert Redford, and Steven Spielberg, who all sat on the foundation's original board of directors. In 2006, Paul Thomas Anderson, Wes Anderson, Curtis Hanson, Peter Jackson, Ang Lee and Alexander Payne joined them. In 2015, Christopher Nolan also joined the board. The foundation has restored more than 800 films from around the world and conducts a free educational curriculum for young people on the language and history of film. For his advocacy in film restoration he received the Robert Osborne Award at the 2018 TCM Film Festival. The award was given to Scorsese as "an individual who has significantly contributed to preserving the cultural heritage of classic films".
The World Cinema Project
In 2007, Scorsese established the World Cinema Project with the mission, to preserve and present marginalized and infrequently screened films from regions generally ill equipped to preserve their own cinema history. Scorsese's organization has worked with the Criterion Collection to not only preserve the films but to allow them to be released on DVD and Blu-ray boxsets and on streaming services such as The Criterion Channel. Films in the WCP include Ousmane Sembène's Black Girl, and Djibril Diop Mambéty's Touki Bouki.
The Criterion Collection so far has released two Vol. boxsets on DVD and Blu-ray, titled, Martin Scorsese's World Cinema Project. The first Volume includes 6 titles, Touki Bouki, Redes, A River Called Titas, Dry Summer, Trances and The Housemaid. The second volume also includes 6 titles, Insiang, Mysterious Object at Noon, Revenge, Limite, Law of the Border, and Taipei Story.
The African Film Heritage Project
In 2017, Scorsese also introduced The African Film Heritage Project, which is a joint initiative between Scorsese's non-profit The Film Foundation, UNESCO, Cineteca di Bologna, and the Pan African Federation of Filmmakers. The project aims to locate and preserve 50 classic African films, some thought lost and others beyond repair, with hopes to make them available to audiences everywhere. In an interview with Cinema Escapist in 2018, Scorsese talked about the ambitious collaboration saying, "Our first goal is to launch and conduct a thorough investigation in film archives and laboratories around the world, in order to locate the best surviving elements—original negatives, we hope—for our first 50 titles." He also stated that "Restoration is always the primary goal, of course, but within the initiative, it's also a starting point of a process that follows through with exhibition and dissemination in Africa and abroad. And of course, our restoration process always includes the creation of preservation elements."
In 2019, the AFHP, announced that they would screen restorations of four African films on their home continent for the first time as part of the 50th anniversary of the Pan African Film Festival of Ouagadougou. The movies in question are Med Hondo's Soleil Ô, Mohammed Lakhdar-Hamina's Chronique des années de braise, Timité Bassori's La Femme au couteau, and Jean-Pierre Dikongue-Pipa's Muna Moto.
Scorsese's films have been nominated for numerous awards both nationally and internationally, with an Academy Award win for The Departed. In 1997, Scorsese received the AFI Life Achievement Award. In 1998, the American Film Institute placed three Scorsese films on their list of the greatest American movies: Raging Bull at #24, Taxi Driver at #47, and Goodfellas at #94. For the tenth-anniversary edition of their list, Raging Bull was moved to #4, Taxi Driver was moved to #52, and Goodfellas was moved to #92. In 2001, the American Film Institute placed two Scorsese films on their list of the most "heart-pounding movies" in American cinema: Taxi Driver at #22 and Raging Bull at #51. At a ceremony in Paris, France, on January 5, 2005, Martin Scorsese was awarded the French Legion of Honour in recognition of his contribution to cinema. On February 8, 2006, at the 48th Annual Grammy Awards, Scorsese was awarded the Grammy Award for Best Long Form Music Video for No Direction Home.
In 2007, Scorsese was listed among Time magazine's 100 Most Influential People in The World. In August 2007, Scorsese was named the second-greatest director of all time in a poll by Total Film magazine, in front of Steven Spielberg and behind Alfred Hitchcock. In 2007, Scorsese was honored by the National Italian American Foundation at the nonprofit's thirty-second Anniversary Gala. During the ceremony, Scorsese helped launch N.I.A.F.'s Jack Valenti Institute in memory of former foundation board member and past president of the Motion Picture Association of America Jack Valenti. The Institute provides support to Italian film students in the U.S. Scorsese received his award from Mary Margaret Valenti, Jack Valenti's widow. Certain pieces of Scorsese's film-related material and personal papers are contained in the Wesleyan University Cinema Archives, to which scholars and media experts from around the world may have full access. On September 11, 2007, the Kennedy Center Honors committee, which recognizes career excellence and cultural influence, named Scorsese as one of the honorees for the year. On June 17, 2008, the American Film Institute placed two of Scorsese's films on the AFI's 10 Top 10 list: Raging Bull at number one for the Sports genre and Goodfellas at number two for the Gangster genre. In 2013, the staff of Entertainment Weekly voted Mean Streets the seventh greatest film ever made.
, Martin Scorsese, Diana Ross, Brian Wilson and Steve Martin with President George W. Bush and Laura Bush in 2007
On January 17, 2010, at the 67th Golden Globe Awards, Scorsese was the recipient of the Golden Globe Cecil B. DeMille Award. On September 18, 2011, at the 63rd Primetime Emmy Awards, Scorsese won the Primetime Emmy Award for Outstanding Directing for a Drama Series for his work on the series premiere of Boardwalk Empire. In 2011, Scorsese received an honorary doctorate from the National Film School in Lodz. At the awards ceremony he said, "I feel like I'm a part of this school and that I attended it," paying tribute to the films of Wajda, Munk, Has, Polanski and Skolimowski. King Missile wrote "Martin Scorsese" in his honor. On February 12, 2012, at the 65th British Academy Film Awards, Scorsese was the recipient of the BAFTA Academy Fellowship Award.
On September 16, 2012, Scorsese won two Emmy Awards for Outstanding Directing for Nonfiction Programming and Outstanding Nonfiction Special for his work on the documentary George Harrison: Living in the Material World. In 2013, the National Endowment for the Humanities selected Scorsese for the Jefferson Lecture, the U.S. federal government's highest honor for achievement in the humanities. He was the first filmmaker chosen for the honor. His lecture, delivered on April 1, 2013, at the John F. Kennedy Center for the Performing Arts, was titled "Persistence of Vision: Reading the Language of Cinema". Scorsese was awarded the Polish Gold Medal for Merit to Culture – Gloria Artis on April 11, 2017, in recognition of his contribution to Polish cinema.
with Scorsese at the Peabody Awards in 2006
Scorsese has also garnered favorable responses from numerous film giants including Ingmar Bergman, Frank Capra, Jean-Luc Godard, Werner Herzog, Elia Kazan, Akira Kurosawa, David Lean, Michael Powell, Satyajit Ray, and François Truffaut. He was awarded an Honorary Doctorate from the University of Oxford on June 20, 2018. As of 2019, five of Scorsese's film have been selected by the Library of Congress for preservation in the National Film Registry for being "culturally, historically, or aesthetically significant". In commenting on Scorsese's 2019 film The Irishman, Guillermo del Toro cited Scorsese's ability as a director for the depiction of character development comparable to the films of "Renoir, Bresson, Bergman, Oliveira or Kurosawa". Sam Mendes, in his acceptance speech after winning the 2020 Golden Globe Award for Best Director for 1917, praised Scorsese's contribution to cinema, stating, "There's not one director in this room, not one director in the world, that is not in the shadow of Martin Scorsese... I just have to say that." Bong Joon-ho, in his acceptance speech for the 2020 Academy Award for Best Director for Parasite, said, "When I was young and studying cinema, there was a saying that I carved deep into my heart, which is, the most personal is the most creative." He then said that this quote had come from Scorsese, which prompted the audience to give Scorsese a standing ovation.


These two permitted building lots are being offered TOGETHER for a fantastic price. The upper lot (#4) is permitted for a 4BR home, while the lot along RTE 14 (#3) could also be built upon with a 3BR home, kept as a buffer, held as an investment or saved for a future adjoining family parcel. Both lots are serviced by underground power to preserve the sight lines and are only 6-7 miles from both Barre and Montpelier. Distant mountain peaks beyond rolling pastures form your views and paved roadways keep your travels quick and easy. For a pair of lots worthy of your future plans, you will be hard-pressed to find a value like this anywhere in this market area.


"For those who lived, there is still the nightmare of remembering"
Four days after a wedding hall in Jerusalem collapsed killing 23 guests, the bride and groom and their families are struggling not only with their physical wounds and grief but also with terrible guilt.
Alisa Dror, the mother of the groom, is receiving treatment at Sha'are Tzedek Hospital in Jerusalem, for a crushed leg. She was not able to attend the funerals of her father, her brother, her brother-in-law, her sister-in-law and two of her sister-in-law's sons.
"I feel guilty," she was quoted as saying by the Israeli daily, Ma'ariv. "Both my son and I are suffering terrible guilt. After all, this was a place we hired for the occasion. How will we look them [the guests] in the eyes? We've ruined their families."
The bride, Keren Yosef Dror, and the groom, Assaf Dror, wanted their wedding to be the happiest in the world. But in a flash, the floor caved in, bringing revellers crashing down through two stories. Both families lost several members at once.
After the crash, Assaf and Keren were taken to the Bikur Holim hospital in Jerusalem. Assaf, who was only slightly injured, wandered from ward to ward where guests were being treated and apologised to them.
Friends and relatives who visited Keren, who had suffered serious pelvic injuries and was recovering from surgery, said she had apologised to them, too.
Keren, 26, and Assaf, 24, met over two years ago, working at a Fiat agency in Jerusalem. She was in sales and he was a mechanic. A little over a year later, Assaf proposed to her by hanging up a huge sign across the Begin Road, a highway that crosses Jerusalem, which read: "Keren, will you marry me?" And Keren agreed.
They planned the wedding for six months.
"We looked for a large wedding hall, one that would contain all of the guests," said Assaf's mother, Alisa. "At first we thought of Ramat Rachel [a kibbutz on the outskirts of Jerusalem] but we were concerned about the proximity to Beit Jala, so we ended up choosing the Versailles Hall, because it wasn't dangerous."
Beit Jala has seen some of the worst of eight months of Israeli-Palestinian violence.
The eldest among those killed was Yosef Shriki, the 80-year-old grandfather of the groom, and the clan's patriarch. The youngest victim was a three-year-old second cousin of the groom.
As 23 funerals took place over the weekend, stories unfolded of those who had miraculously cheated death.
Rotem Shriki, a cousin of the groom, was relatively lucky. He celebrated his sixth birthday on Friday in a children's surgery ward after breaking his jaw and hurting a leg.
The Shriki family members are among the 130 still in hospital in Jerusalem after the tragedy. Eight of the victims are still considered in a "serious" condition, according to the Ha'aretz daily.
Bat-Sheva Shriki, the groom's aunt, who had travelled from Holland for the wedding, was catching up with cousins when suddenly, "the floor just opened up and swallowed me".
"I felt a little girl hanging onto my neck," she told the news website, Ynet. "Only later did I realise that it was my cousin's daughter. The fall was long, and I was sure that was it, that I was going to die.
"I had to get out of there, because I was afraid everything would collapse on top of me. I grabbed the girl and found my mother, and we crawled out to where the rescue teams were.
"I knew my brother Nissim, was in there, but because of his name [which means miracles in Hebrew], I believed he would be okay, and that he and my father would be found alive. But suddenly the house is filled with mourners. If I hadn't made it to the wedding, and had seen all this on TV in Holland, I would never have been able to forgive myself."
Michael Shukrun, who could be seen in the video of the fateful accident, dancing with his little daughter, Re'ut, is recovering in the Sha'are Tzedek hospital in Jerusalem.
"I took my girl to the dance floor and suddenly I felt myself falling. Within less than a second I hit the ground, and Re'ut just flew out of my arms. I started looking for her like crazy. After a few seconds I heard her cry. It was a God-sent cry right next to me.
"I felt around in the dark until I found her. I was so scared that something had happened to her - I remember hugging and kissing her, covering her in blood from my wounds. In the paper it looked like she had been wounded, but the blood was only from my kisses of joy."
David Dror, the groom's brother, is still in a state of shock. He underwent surgery on his leg, which was crushed, and is suffering from back injuries. Luckily, he and his wife, Liat, had decided to leave their eight-month-old daughter at home. Their son was with them.
"I was on the dance floor, and relatives were lifting my son and me in the air in our chairs - it was great. Then I wanted him to dance next to me, but he insisted on being held in my arms. Suddenly the floor just opened up, and the boy nearly fell out of my hands.
"I grabbed him by his hair and by his shirt. By the time we landed, everything was dark and full of dust. My son survived. An ambulance took us to the hospital," Mr Dror was quoted by Ynet as saying.
His father-in-law was killed in the disaster.
Jerusalem police have arrested nine people in connection with the disaster: the four owners of the banquet hall, the building and renovation contractors, the building engineer, and the manufacturer of the flooring used in the hall.


text:
Le millepertuis androsème ou androsème officinal (Hypericum androsaemum L.) est une plante herbacée vivace de la famille des Clusiacées selon la classification classique (ou des Hypéricacées selon la classification phylogénétique).

Description
 Hauteur : 40-
 Période de floraison : juin à août
 Formation biologique : chaméphyte frutescent
 Zone d'habitat : aulnaies, bords ombragés des cours d'eau, suintement (espèce plutôt acidophile)
 Pollinisation : entomogame et parfois autogame
 Dissémination : endozoochorie
 Type de fruit : baie charnue à maturité ; lorsqu'elle persiste sur la plante après celle-ci, elle se dessèche et ressemble alors à une capsule à trois valves.

Protection
Plante protégée en région Limousin Article 4 (1989) et en région Rhône-Alpes Article 1 (1990).

Galerie

Source

Liens externes

 Site canope.ac-besancon.fr

Flore (nom vernaculaire)
Clusiaceae (Cronquist)
Hypericaceae

redpajama_set_name: RedPajamaWikipedia


Story: The Aliens are coming to attack earth again "The bastards" Your mission is to stop them!
Mission (1) Destroy the main power generator, disabling all the ships weaponry.
Mission (3) Deploy missiles into the ship.


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Home / News / Animal charities beg people not to use sky lanterns during clap for carers
Animal charities beg people not to use sky lanterns during clap for carers
By Will Bennett / News / 1 Comment / 16th April 2020
Animal charities and farmers have blasted the growing use of sky lanterns and fireworks during weekly tributes to NHS and care workers.
The lanterns have been sold for use in the Clap For Carers initiative taking place every Thursday, but are blamed for causing serious harm to livestock and wildlife. Fireworks have been known to trigger fatal heart attacks and blindness in dogs, yet both are being used by people seeking theatrical ways to mark the celebrations.
The risk posed by sky lanterns was highlighted in January when they were suspected to have caused a fire at a zoo in Germany that killed dozens of monkeys, bats and birds. The RSPCA released this picture of an owl seriously injured after colliding with a sky lantern
Ren Shilcock, the RSPCA's officer for the #EndSkyLitter campaign, said: 'Though sky lanterns might look pretty in the sky, they pose a serious danger to horses, farm animals and wildlife. Sadly, many people are unaware of the potentially deadly consequences the release of sky lanterns can have for animals. 'Not only are they a serious fire hazard, animals can suffer through ingestion, entanglement and entrapment, or simply the sight of a lit lantern in the sky can be terrifying for them and cause them to bolt and harm themselves.
A spokesperson for the National Farmers Union added: 'We have heard from dozens of farmers over many years about the gruesome injuries sky lanterns have caused to their livestock and other animals, as well as devastating fire damage on farm to hay, straw and farm buildings. 'We would also ask people to think about the heightened and unnecessary strain this will cause our already stretched emergency services who need to focus on the national response to the coronavirus outbreak.'
The calls echo those made by the National Fire Chiefs Council (NFCC) who say lanterns are also a fire hazard to crops, thatched houses and hazardous chemical sites.
Patriotically decorated lanterns have been promoted for use in the weekly NHS tributes Meanwhile, experts have repeatedly warned the public against using fireworks in built-up areas due to the intense stress they cause to animals.
Jenna Kiddie, Head of Canine Behaviour at Dogs Trust, said: 'Dogs have approximately four times more sensitive hearing than humans, so the loud cracks and bangs of fireworks can often be a terrifying and confusing experience for them. 'Fireworks also tend to be sudden, unpredictable and bright. This combination can be distressing and have a lasting impact on dogs. 'This is why we believe fireworks should only be used at public, licensed displays at certain times of the year, and at organised events, such as weddings.' Dogs Trust has published a list of guidelines for owners to follow if they expect fireworks to be let off in the neighbourhood, including making sure pets are walked and have a place to hide if necessary.

redpajama_set_name: RedPajamaCommonCrawl


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We also offer both free estimates and site visits, and would have pleasure in discussing your specific requirements. Should you simply require information on superstructure repair works, helifix, piling or reinforced concrete works, we again would have pleasure in providing free of charge assistance to help you find a solution to your particular scheme, or alternatively download a technical data sheet from our website.
Contact us today on 01543 467477 or by email.
If your property has been damaged by either fire or flood damage, we work closely with the insurance appointed loss adjustors to accurately quantify the extent of the works. As well as fire & floor repair works and underpinning systems, we also provide a full superstructure repair service. We construct a significant number of extensions per year, whether on more traditional footings, or piled foundations. A variety of piling techniques can be provided dependant upon your specific circumstances, i.e. project layout / access restrictions / ground conditions etc. In association with the varying piling techniques available by us, these incorporate into the underpinning service we provide. As well as carrying out piling works for domestic extensions and underpinning works, we also install piled foundations for new build properties.


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Ex-Dutch boxer who fought Ali still riding punches in Bulgaria
Lubbers
KOSHARITSA, Bulgaria, Feb 4, (RTRS): Former Dutch boxing champion Rudi Lubbers, who lost to Muhammad Ali on points in a 12-round heavyweight fight in Jakarta four and a half decades ago, is back on his feet again after taking one of the heaviest punches of his life.
The 73-year-old and his partner Ria have been living in poverty in southeastern Bulgaria for the last two months, only to receive help after his story grabbed huge attention in the Netherlands following a TV documentary shown last Sunday.
They survived the freezing conditions in a broken-down van, lacking electricity, water and sanitary facilities, and looking after stray dogs, but Ria's health deteriorated suddenly and she was rushed to hospital on Friday in critical condition.
Lubbers said her condition had improved slightly but she would remain in hospital for a few more days at least.
"The most important (thing) now is that my girlfriend returns in good condition and can see the dogs again," Lubbers told Reuters just outside the dilapidated van in the countryside near the village of Kosharitsa.
"In Bulgaria it's impossible to live in a house with so many dogs. It's possible if you have three or four dogs but at one moment I had 16 dogs with babies.
"I would live a normal life but I don't know if I can live in a house. I'm more like a camper."
Lubbers, who represented the Netherlands at the 1964 and 1968 Olympic Games before turning professional in 1970, said his fight with former world champion Ali, for which he earned $125,000, made him mentally stronger.
"I've learned from the fight, so I could survive here," he said, adding that he and Ria had received food and clothes from local people as well as Bulgarian mastika (strong anise-flavoured drink) to keep them warm in the freeze.
Many in the Netherlands were shocked to see their boxing hero in such a desperate situation and more than 12,500 euros was collected after a crowd-funding campaign was launched.
Rudi's son Marco, who hasn't been in touch with his dad for two years, arrived in Bulgaria after watching the documentary while Dutch people, living in the Balkan country, arranged a temporary shelter for the dogs.
Lubbers worked at funfairs with Ria for several years after retiring but became homeless after she was declared bankrupt in 1999 and they lived in Lebanon, Morocco, Egypt, United Arab Emirates and Portugal before arriving in Bulgaria a few years ago.
Lubbers said he had remained friends with Ali who fought him in 1973 as he prepared for a rematch with his great rival Joe Frazier.
"Years after the fight, he (Ali) came to Holland," said Lubbers who revealed that Ali had told him something he would remember forever.
"Ali told me: `Rudi, you're the only white man from whom I ever learned something'."
Lubbers, never beaten by a Dutch opponent during his career, said he still watched boxing but was disappointed by modern techniques.
"I love boxing but boxing has changed," said Lubbers, who has suffered from asthma all his life. "It's more fighting now."
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Engineering Students Create Out-of-This-World Project
| Published: January 07, 2019
CORPUS CHRISTI, Texas – A team of four Texas A&M University-Corpus Christi engineering students is hoping to make a difference in outer space.
The team already has enjoyed success, creating a prototype for a NASA-sponsored competition that's designed to help astronauts maintain their muscle mass.
Last semester, Michael Martinez, Randolph Coles, Donald Berthelot and Tristan Norton researched, invented and designed a system for astronauts during space travel as their final capstone project. Coles, Berthelot and Norton graduated in December, and Martinez plans to graduate in the spring.
The team researched severe negative impacts on astronauts, including loss of muscle mass and bone density, and developed a motorized device that converts into various exercise equipment for strength and cardiovascular training.
"This work will benefit people in the future with space travel. We have a prototype and it works, but the work doesn't stop there. We can make it smaller, stronger and safe," Martinez said.
Studies have shown that astronauts lose up to 20 percent of muscle mass on spaceflights lasting up to 11 days. To counteract the effects, astronauts on the International Space Station spend 2.5 hours a day exercising, according to NASA.
NASA sponsors the Texas Space Grant Consortium Design Challenge each year and asks students to research and invent solutions to overcome issues astronauts face. In September, the A&M-Corpus Christi team traveled to Houston to compete against 23 Texas university teams and presented its research and prototype. The team placed fourth overall and received $1,200 for their work.
"It was awesome being at the competition event. We got to talk to other teams and planned future collaborations," Martinez said.
He said the process challenged his skill set and took him out of his comfort zone. The experience taught him time management, performing various kinds of analyses, modeling, in depth programming and communicating their work to nonengineers.
Dr. Jose Baca, an engineering assistant professor, mentored the engineering capstone team and encouraged the students to participate in the challenge.
"This is a good opportunity for them to push their limits and to let them know what they learned here can be used to solve a real problem," Dr. Baca said. "If they are always in their comfort zone, then they don't use their whole potential. We were working on something new, and it was even harder. We weren't replicating something that already exists; they were building something new."
Martinez, who is studying electrical engineering, said his career goal is to work at NASA as a researcher and appreciated the opportunity this first step provides.
"People at NASA are just like us. You respect the work they do, and you hold them to a really high standard, but they all started somewhere, and they worked hard to be there," he said. "We are on the same path and journey, just as they once were. That's something very personal to me."
Berthelot will start his career in a few weeks as an electrical engineer for Celanese, a global technology and specialty materials company in Houston. He described the project learning experience with NASA as invaluable and looks forward to utilizing some of those same tools
"It's sounds a little corny, but anything is possible if you put in the time and effort," he said. "We put in 50 hours a week and we got really good results, and it's encouraging to to see that we were even capable of something like that."
Baca and the team plan to continue their research and test the exercise prototype. The group is writing a scientific article that it plans to submit to an international conference on intelligent robots and systems later this year.
High-Tech Research Vessel Will Launch New Opportunities for Island University Researchers, Students
Thu, September 19, 2019


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Why Is Workers' Compensation Important?
By Jim Adler March 17, 2016
Photo by Tyler Karaszewski (Flickr)
One of the first calls a worker makes after being injured on the job is to a workers' comp attorney, and that is because the worker wants to make sure that their rights are protected and their side of the story is heard. If you have ever dealt with workers' compensation in your state, then you understand how difficult the process can be. But for many people, workers' compensation is a necessary way to protect their families if they are ever injured on the job. The idea of workers' compensation has been around since ancient times, which means that the idea of protecting injured workers is nothing new. But why is workers' compensation insurance so important, and why do so many people hire workers' comp lawyers when they are injured? Workers' compensation is a form of insurance that all employers must carry and is regulated differently in each state. In some states, the process for being approved for workers' compensation is extremely easy. In other states, it takes a good workers' comp attorney to make sure that every worker gets a fair settlement. The reason that some states are more difficult than others when it comes to workers' comp is because some states experience a high level of worker fraud that costs employers billions of dollars each year. When there is a high level of fraud in a workers' comp system, then the state is forced to take the side of the employers in each case. This creates the need for workers' comp lawyers and creates an unnecessarily difficult process for honest employees with real injuries. Workers' compensation insurance is important because it provides three important things for employees who are injured. It provides an income to help pay bills, it provides medical coverage to take care of the cost of recovering, and it opens up the door to other programs that can help an injured employee until they can get back to work. In most states, an injured employee must use their employer's workers' compensation insurance when they are injured and not their standard health insurance. While this can help to reduce costs for the health insurance providers, it adds another layer of confusion to the entire workers' compensation system. There are several parts to workers' compensation insurance, and one part that especially interests employees is something called the "fellow servant" rule. While it is no longer referred to as the "fellow servant" rule by most states, its concept remains the same. This rule implies that if the injury was caused in any way by another worker, then the company does not have to pay workers' compensation. In these instances, a workers' comp attorney may get involved and either sue for compensation from the company's workers' comp insurance or sue the negligent worker for compensation. Without workers' compensation insurance, families would be devastated by an injury sustained on the job. Unfortunately, fraud has made it extremely difficult for honest people to get workers' compensation in some states. But the system does exist as a way to financially protect workers in the event of a work-related accident.
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The death of the corporate data center may be a bit premature. Yes, enterprises are going cloud, but the data center could become decentralized via "micro data centers."
Schneider Electric, an analytics and hardware company that aims to optimize power consumption, has been cooking up reference designs for racks and data center gear. Schneider Electric's focus is typically power and electric consumption savings, but increasingly its EcoStruxture platform is gaining traction.
You'll be forgiven for your initial reaction to the micro data center concept. At first, I smirked a bit since it sounds like another way for hardware vendors to sell servers, storage and networking systems. Yes, we know hyperconverged systems are a big deal, but micro data centers?!? Wouldn't everything go cloud eventually?
What are the use cases? Retail is one use case because low latency compute is needed for everything from personalized marketing to IT on site to network resiliency. "Any situation where you need more resiliency on site can be used for micro data centers," said Brown. In addition, micro data centers are more reliable and low touch so local staff doesn't have to manage it. A local bank branch is another venue for a micro data center approach.
Energy wild cards. Brown noted that most of the low-hanging fruit when it comes to power efficiency in data centers has been handled. Ultimately, efficiency will become a topic for micro data centers. "At some point the edge will consume more power than centralized data centers," said Brown.
The ecosystem. Brown said that his company has partnerships with the big data center gear companies such as HPE, Cisco and Dell Technologies. The biggest hurdle has been integrating supply chains and support. A micro data center is shipped with all the parts together in many cases or delivered via channel partners. "For us it's not about where the compute resides. Anywhere there is electricity and mission critical workloads there's a case for a micro data center at the edge," said Brown.
In other words, there's a case to be made for micro data centers. The hybrid cloud approach may wind up becoming decentralized in a hurry.


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Home Entertainment Television SDCC'15: WB Television reveals panel line-up including DC's Legends of Tomorrow on-stage...
SDCC'15: WB Television reveals panel line-up including DC's Legends of Tomorrow on-stage and a Supergirl premiere
Kyle Pinion
Warner Bros. television has just announced its full line-up for this year's San Diego Comic Con, and it's looking quite packed. With the Supergirl pilot premiering on Wednesday, July 8th during the vaunted "Preview Night" along with a screening of Lucifer's pilot, as well as the pilots for Containment, Blindspot, and a new episode of Teen Titans Go!, their programming is opening up in a cracking fashion.
All of that excitement will then be followed by panel programming over the next few days that will surely be attention grabbing, particularly the Saturday night 8 pm slot in Hall H that sees what they refer to as "Superhero Saturday Night" which, among other features, will includes Q&A's with the stars of Gotham, The Flash, Arrow, and DC's Legends of Tomorrow.
You know I'll be trying to fight my way in there! Wish me luck!
Here's the full schedule that was released today:
10:00–11:00 a.m. The Big Bang Theory (Season 9 Premieres September 21, Mondays 8/7c on CBS): The Big Bang Theory writers are returning to San Diego, to once again solve the comedy equation and take you behind the scenes of TV's #1 comedy! Ballroom 20
11:30 a.m.–12:30 p.m. Lucifer (Midseason on FOX): Sexy, dark and irreverent, Lucifer makes its Comic-Con debut with a screening of the complete pilot episode, followed by a Q&A with series stars Tom Ellis, Lauren German, Lesley-Ann Brandt and DB Woodside and executive producers. Room 6BCF
Time TBA Mike Tyson Mysteries (New Episodes Fall 2015 on Adult Swim): With a knockout appearance last year,Iron Mike Tyson is taking on Comic-Con again and this rematch is sure to live up to the hype. After a hilarious season of solving mysteries, the Mike Tyson Mystery Team will be back in the ring with all-new episodes on Adult Swim this fall. Join voice cast Mike Tyson and Rachel Ramras (MAD), and producer Hugh Davidson (The Looney Tunes Show) for a first look at the upcoming season and a Q&A discussion. Location TBA
12:30–1:30 p.m. The 100 (Midseason on The CW): Following the lethal events of the season finale, join The 100 stars along with executive producer Jason Rothenberg as they return to San Diego for their third appearance at Comic-Con.Ballroom 20
1:00–2:00 p.m. Teen Titans Go! (Thursdays 6/5c Cartoon Network): No trip to Comic-Con is complete without spending some time with the liveliest and craziest super hero team on television. Find out what new adventures, food fights and staring contests await Robin, Starfire, Beast Boy, Cyborg and Raven in season three of this hit animated series. Join producers Michael Jelenic (Batman: The Brave and The Bold) and Aaron Horvath (MAD) and members of the voice cast as they screen a brand-new episode, as well as take questions on all things Titans! Room 6A
4:30–5:30 p.m. The Originals (Thursdays 9/8c on The CW): The Originals will be returning for more sexy, supernatural intrigue, romance, alliances, betrayals and bloodshed in New Orleans this fall. Join executive producers Julie Plec and Michael Narducci along with series stars Joseph Morgan, Daniel Gillies, Phoebe Tonkin, Leah Pipes, Danielle Campbell and Charles Michael Davis for a special video presentation followed by a Q&A. Ballroom 20
5:45–6:45 p.m. iZOMBIE (Tuesdays 9/8c on The CW): The brainy hit iZOMBIE returns to San Diego for its sophomore appearance at Comic-Con. After the shocking events in the season finale, be among the first to get the scoop on what's in store for season two with executive producers Rob Thomas and Diane Ruggiero-Wright, along with series stars Rose McIver, Malcolm Goodwin, Rahul Kohli, Robert Buckley and David Anders. Ballroom 20
11:15 a.m.–12:15 p.m. Blindspot (Mondays 10/9c on NBC): The new one-hour action-thriller Blindspot makes its Comic-Con debut with a screening of the complete pilot episode, followed by a Q&A with star Jaimie Alexander (Thor films) and executive producers Greg Berlanti, Sarah Schechter and Martin Gero. Room 6A
5:15 p.m.–6:15 p.m. Person of Interest (Midseason on CBS): Person of Interest returns to San Diego for the fifth year! Join the discussion, as the science "fiction" of Person of Interest stays one step ahead of real-world events. Find out highly confidential intel when executive producers Jonathan Nolan, Greg Plageman and Denise Thé join series stars Jim Caviezel, Michael Emerson, Kevin Chapman and Amy Acker undergo a Comic-Con interrogation with a special video presentation and Q&A. Room 6BCF
6:15–7:15 p.m. Containment (Midseason on The CW): When a mysterious and deadly epidemic breaks out in Atlanta, a vast urban quarantine is quickly enforced, forcing those stuck on the inside to fight for their lives while local and federal officials desperately search for a cure. Containment makes its Comic-Con debut with a special screening of the entire pilot episode, followed by a Q&A with series stars David Gyasi, Christina Moses, Chris Wood, Claudia Black and Kristen Gutoskie, along with executive producers Julie Plec, Matt Corman and Chris Ord. Room 6BCF
8:00–11:00 p.m. Warner Bros. Television & DC Entertainment Present: Super Hero Saturday Night Offers Fans a Look Inside the Worlds of Arrow, The Flash and Gotham, plus a Pilot Screening of Supergirl and Video Presentations of DC's Legends of Tomorrow and Vixen: DC fans … get ready for another Super Hero Saturday Night! Warner Bros. Television and DC Entertainment will again welcome fans into the worlds of some of DC Comics' greatest characters during a three-hour super-experience in Hall H. The exclusive evening will feature a pilot screening of the highly anticipated new action series Supergirl, followed by a Q&A with stars and producers; plus, individual special video presentations and Q&As with stars and producers from Arrow, The Flash and Gotham. Also, don't miss a special Q&A with cast and producers of DC's Legends of Tomorrow and a peek at the new digital series Vixen. Hall H
10:00–11:00 a.m. The Vampire Diaries (Thursdays 8/7c on The CW): The cast and creative team behind The Vampire Diaries return to San Diego — for the first time in Hall H — for a sizzling seventh appearance at Comic-Con. Series stars Ian Somerhalder, Paul Wesley, Kat Graham, Candice Accola and Michael Malarkey will join executive producers Julie Plec and Caroline Dries on stage for a video screening and Q&A session. Hall H
11:15 a.m.–12:15 p.m. Supernatural (Wednesdays 9/8c The CW): Join series stars Jared Padalecki, Jensen Ackles, Misha Collins and Mark A. Sheppard, along with executive producer Jeremy Carver, as they return to answer questions from the audience about what's in store for the eleventh season of this exciting series! Fans will also be treated to an exclusive video presentation featuring series highlights, as well as special features from the upcoming Supernatural: The Complete Tenth Season DVD and Blu-ray™ release on September 8. Hall H
1:00–2:00 p.m. Childrens Hospital (New Episodes in 2016 on Adult Swim): Adult Swim's two-time Emmy®-winning live-action comedy returns to Comic-Con for a sixth year! Creator and star Rob Corddry and executive producer David Wain will be joined onstage by select cast for a lively (and medically accurate!) Q&A. Room 25ABC
SDCC '15
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Kyle is a Film Critic for The Beat. His work can also be found at ScreenRex.com and can be heard on the ScreenRex podcast. He really loves the Legion of Super-Heroes a lot. He's also the Vice-President of the Southeastern Film Critics Association and a founding member of the Atlanta Film Critics Circle.
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