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Martin Scorsese

October 4, 2011 | By Randy Lewis, Los Angeles Times
When Martin Scorsese and Olivia Harrison first sat down about five years ago to strategize about a documentary on the life of George Harrison, both quickly zeroed in on a letter the young Beatle wrote to his family at the height of Beatlemania. "It was a letter George had written when he was not more than 22," Harrison said of the man to whom she was married for 23 years before his death from cancer a decade ago. "It was in 1965, and the Beatles would have been really cresting at that point.
June 5, 2011 | By Nicole Sperling and Melissa Maerz, Los Angeles Times
After years writing television shows such as "Starsky and Hutch," "Vegas" and "Crime Story" and producing the series "Miami Vice," Michael Mann left television for film with little intention of returning. The director of such movies such as "The Insider, "The Last of the Mohicans" and most recently "Public Enemies," Mann had fully embraced the world of film: Its long shooting schedules, big budgets and creative autonomy were a perfect fit for his exacting personality. Then a new HBO script, set in the world of horse racing and penned by David Milch ("Deadwood," "NYPD Blue")
March 7, 2011 | By Betsy Sharkey, Los Angeles Times Film Critic
Above all else, Martin Scorsese is a character. Brilliant, brazen, engaging, esoteric, reverent, irreverent, ironic ? all are qualities that have forged the 68-year-old director into an unqualified master. Much revered, once reviled, Scorsese has created some of the most extraordinary work in modern cinema: the gangster leitmotif of "Mean Streets," "Goodfellas," "Casino" and "The Departed"; the awakening feminism of "Alice Doesn't Live Here Anymore"; the brutal anger of "Taxi Driver" and "Raging Bull"; the unsettling treatise on fame in "The King of Comedy"; the respectful religious provocation of the much-maligned "The Last Temptation of Christ"; and on it goes.
October 4, 2010 | By Susan King, Los Angeles Times Staff Writer
As a kid growing up asthmatic and poor in the Bronx, Martin Scorsese took refuge in movie theaters. When he was about 12, the future director of "The Departed," "Taxi Driver" and "Raging Bull" saw Elia Kazan's Academy Award-winning masterpiece "On the Waterfront," a gritty drama shot on the streets of Hoboken, N.J., about dock workers that starred Marlon Brando, Eva Marie Saint, Rod Steiger and Karl Malden. The following year, 1955, he went to see Kazan's "East of Eden," which marked James Dean's first starring role, as a troubled young man with a "good" twin brother and a judgmental father.
September 17, 2010 | By Robert Lloyd, Los Angeles Times Television Critic
The participation of Martin Scorsese as an executive producer and the director of its pilot episode would make HBO's big new "Boardwalk Empire" — which premieres Sunday — an event, regardless of whether it were any good. (As it happens, it is good, though perhaps not great; cable shows make their meaning known slowly, and even the six episodes I've seen seem too few to know.) Scorsese is not the first famous director of Filmland to have worked on the small screen, but among his generation he is the weightiest, and the pairing of the maker of "Goodfellas" and "Casino" with a writer from "The Sopranos" — Terence Winter, that series' busiest writer after its creator, David Chase — would seem as natural as that of spaghetti and meatballs.
February 19, 2010 | By Ben Fritz
Paramount Pictures looks to have something on its hands this weekend that has become a rare commodity in Hollywood: a hit R-rated drama. The release of the Martin Scorsese-directed thriller "Shutter Island," which stars Leonardo DiCaprio, was delayed from October to Friday because of financial concerns at Paramount. The postponement, which came after some marketing materials had already released, doesn't seem to have hurt the movie's chances, however. Pre-release surveys of potential moviegoers show "Shutter Island" generating healthy interest among all audience segments, according to people who have seen the data.
February 19, 2010 | By Betsy Sharkey, Film Critic >>>
In "Shutter Island," director Martin Scorsese has created a divinely dark and devious brain tease of a movie in the best noir tradition with its smarter than you'd think cops, their tougher than you'd imagine cases to crack and enough nods to the classic genre for an all-night parlor game. It's 1954, the heart of the Cold War, with a conspiracy theory around every corner, when Leonardo DiCaprio's U.S. Marshal Teddy Daniels and his new partner, played by Mark Ruffalo, are dispatched to an asylum for the criminally insane to investigate a dicey disappearance.
February 18, 2010 | By John Horn
Movies can be like wine: Once uncorked, they don't often last long on the shelf. But Hollywood history could be a lot kinder to the postponed "Shutter Island," and the movie's last-minute date change might actually work to the thriller's advantage. Just six weeks before director Martin Scorsese's adaptation of Dennis Lehane's novel about the criminally insane was scheduled to hit theaters last October, Paramount Pictures pulled the Leonardo DiCaprio-starring movie from its year-end lineup.
February 14, 2010
'Wolves' owes debt to 'Arrow' William Royce in his letter of last week ("Feedback," Feb. 7) correctly points out that "Avatar" owes a lot, narratively speaking, to "Dances With Wolves." But "Dances With Wolves" is itself a complete rip-off of Samuel Fuller's vivid, raw, altogether masterful 1957 western "Run of the Arrow." I don't inherently mind similar stories being retold, but I do wish that filmmakers would at least acknowledge the originals. Jeremy Arnold Los Angeles Wrong man on a pedestal That was quite a tribute to Martin Scorsese ("Mean Straits," Feb. 7)
February 7, 2010 | By Scott Timberg
Martin Scorsese stands out for his commitment to, and knowledge of, film history. So it's appropriate that a director steeped in Italian neo-realism, film noir and other styles would expose his "Shutter Island" cast and crew to films of the past: "Laura": Scorsese showed this Otto Preminger-directed noir from 1944 to Leonardo DiCaprio and Mark Ruffalo, who play federal marshals. "It was the nature of Dana Andrews' behavior, his body language, and then his falling in love with a ghost," Scorsese says of the actor, who plays a police detective investigating a murder.
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