Scorsese on Scorsese

by David Thompson, Martin Scorsese, Ian Christie

The interviews with the director Martin Scorsese which make up this book reveal a man with an unbridled passion for film. This revised edition contains material on GoodFellas, Cape Fear, The Age of Innocence, and other projects up to Casino.

Genres: Film, Nonfiction, Biography, Media Tie In, Art, Cultural, American

254 pages, Paperback

First published January 1, 1989

About the author

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There is more than one author in the Goodreads database with this name.
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Reviews

[Olivia · Rating 5 out of 5]

This book is filled with insights on Marty's filmmaking process. When I started reading this book, I decided to watch his films along the way. It was a slow but very fulfilling experience! While one may not like all of his films, one would still gain certain appreciation for these films having read his thought process.

Marty also frequently cited music and older films that became inspirations to his own films. This made reading the book a rich experience. One could go beyond this book and take his own journey in finding out more on film history. Marty's passion for films was apparent all over the book.

I highly recommend this book to anyone who is curious about filmmaking, or anyone who just loves films!

[Amen · Rating 4 out of 5]

Inspiring and chock-full of cool anecdotes

[Ben Samson]

Scorsese delving into the specifics of how he made all his films (up til Goodfellas, the book is quite out of date) with great warmth, detail and enthusiasm but in a very unpretentious and nuts and bolts way. Consistently very insightful and a blast as always to hear him discuss cinema.

Joseph Croskery will be interested to learn Scorsese claims to have had a hand in coming up with the Eric Clapton lyric “it’s the way that you use it” as well.

[Pavel · Rating 2 out of 5]

First time on Goodreads I looked through other reviews before giving mine, because I actually don't know if like it or not and basically I feel the same about Scrosese movies themselves. I learned a lot from Taxi Driver or Raging Bull or Mean Streets, but I never enjoyed them as a viewer. His later more mainstream Holywood ones like Casino, The Age of Innocence or Aviator are not covered here - the book was published in late 80s and covers Scorsese films up to Goodfellas.
Goodreads reviews are 4-5 star positive, but for me the book was very meager. The serie is always awesome when director invites you into his cook-room and shows all the in and outs, how the film went from intial conception to the final realization and how director's world reflected in all the stages of creation. In this case we rather see brief memoirs of main events in relationships with studios, screenwriters and producers. The most interesting and usefull part is a depiction of Scorsese work with actors mainly De Niro but not only. That's what kept my interest through the whole book.

[Rajdeep Chauhan · Rating 5 out of 5]

"I LOVE MOVIES - It's my whole life and that's it".

The book offers a very rich insight into the influences of Scorsese, his interest in antagonists and the part his religious inclination and tough neighborhood has played in shaping his movies.Scorsese talks in length about his journey from a once (wanna be) priest to a man obsessed with pictures (as he likes to call them).It doesn't talk about his private life as such but how his private highs and lows in life have found an expression through the films he has made right from MEAN STREETS(1973) to the controversial THE LAST TEMPTATION OF CHRIST(1988).

It's an essential read for anyone who has any interest in films (in general) or Scorsese (in particular).It is replete with behind the camera stories and Scorsese talks in length about the big old debate of 'art vs commerce' and how he manages the two.

(It'd be much more fun if it was updated post CASINO)

P.S - He played VAN GOGH once for Akira Kurosawa.

[David Sterritt]

“Scorsese on Scorsese,” edited by Christie and Thompson, serves up a generous amount of information about production histories and projects that never reached the screen, although the latest edition stops with “Gangs of New York,” so it’s hardly up to date. The book casts light on Marty’s unstoppable love of movies, his commitment to film preservation, and his complicated attitudes about life and love. On the downside, the many pages on “The Last Temptation of Christ” leave out a great deal of fascinating material that’s fortunately available elsewhere, so don’t rely on this volume for complete coverage, even where essential works are concerned. In all, a valuable book on America’s greatest living filmmaker.

[Stewart Mitchell · Rating 4 out of 5]

This was a very interesting look into Martin Scorsese's films from the time he started making them up to 2002's Gangs of New York, the period that is undeniably his best. I really enjoyed hearing about the creation of these movies (Raging Bull, Taxi Driver, Goodfellas, Casino, etc.) in Scorsese's own words, even if I knew a good deal of the information already from being a trivia hound.

Obviously not recommended for anyone except film lovers or hardcore Scorsese fans, but as someone who falls into both of these categories, I loved it.

[Milo · Rating 4 out of 5]

Really loved this.

I’m a fan of Martin Scorsese - arguably the greatest American director ever - otherwise I wouldn’t have read this book. All the major works that I have seen - and loved - are covered here. It’s fascinating to hear him talk about his films (My favourite? Age of Innocence), and you really get an insight to why he is the way he is, why he believes what he does and his opinion that the films that matter are personal and works of art above products made for commercialism is something that he makes a clear case for and by the end you suspect he might be right.

[Ben · Rating 4 out of 5]

Sublime. An unfortunate kick in the head in regards to how little of his filmography I've actually seen, I particularly wish I had watched The Last Temptation of Christ and After Hours before checking this out, but its still a terrific insight into his process as a filmmaker, with plenty of supplementary storyboard sketches and on-set notes to back up the interviews, and an efficient charting of his childhood in New York right through his entire career up to the release of Casino. MOVIES!

[James Nixon · Rating 5 out of 5]

Incredible to read such insights, details and anecdotes from many of the absolute classics Scorsese has given us. I very desperately need a new version covering his latter films, though it was also great to read him talk about Silence (his best film) years before he would finally get to make it and see what a long term passion project it was for him.

[stefan · Rating 5 out of 5]

Wish this was longer tbh — utter bliss!

Only goes up to Goodfellas (which was still in production at the time of its publication so it’s info is brief on that), but the deep dive into all of his films up until them was pure joy for me to read, wish it was triple the length! Love this man so much ❤️❤️

[Paulo Mota · Rating 4 out of 5]

A nice night read before bed.
If you know the series by Faber and Faber you won't be disappointed, it has the same usual structure, and it is very well paced.
What can I say about Martin Scorcese? Well not a lot, actually. I don't know him and I have very few references of him talking, for some reason I was never intrigued into knowing the persona, by comparison with other film-makers, whose work I love, most are dead, but some are alive. I guess it is because it took me a long time to accept and even understand what Martin Scorcese was doing as an artist, I was always distracted with the entertainment part and the prodigious technicality of it all. Specially because I grew-up watching most of his films. I remember watching "The Departed" when it came out, and I have great memories from that screening, in fact I usually see that movie with some year-regularity, but it is due mostly to study the editing, Mrs. Schoonmaker is actually a genius, one of the best in the world. You can't distinguish both nowadays, there is no Scorcese without Mrs. Schoonmaker, it might be unfair to write this, but for me it is the truth.
I guess I started to take Scorcese as an artist after having watched "The Raging Bull" at the portuguese cinematheque. I was very moved by the film and I felt the artistry behind it, very well crafted. Then I became curious and I watched everything he has done since "Mean Streets". I guess I am not a big fan of his work but I can't look away, and I think it is a body of work that despite the fact that I don't love it I can re-watch it.
I know what I don't like about it, it usually is a slam dunk of fast paced scenes with a very dynamic approach that, for me, doesn't necessarily respects the material but works for a sense of plausibility, to make it work fast and efficiently. It is more about getting away with it than to face the real problems. But this is something that is very subjective. Of course.

In the book Scorcese actually doesn't surprise, because you know by watching most of his films that he understands very well what he is doing, and not just technically. He is very good at showing what he wants and knows how to deal with actors. But the things is, for me, you understand that he knows what he wants, how it works, and how to show it - he achieves this without effort, it is amazing - but the solution is always the same, it is a naturalistic approach. Paradoxically here emerges a problem, because the things only work because there is a narration or in the scene before the guy had a Freudian lapse. You catch me on this ? He uses reality as an alibi to promote what is real, but that alibi is, of course, an amputation of what reality really is. So I take things very lightly. It is a defense mechanism that I have, I don't buy it, but I am able to follow it. I rarely identify myself with what is going on. The only time this happened, in fact, this happened twice. In the short story of the omni-bus, "New York Stories" and in "Raging Bull", because I identified myself with the main characters, they have traits that are very close to my own personality, so I bought it a little more.
In the book, for example, he talks a lot about two of his major failures (then again, for me) in the 90s, "The Age of Innocence" and "Casino". Both of these films, that are very different, extremely well shot, and edited (beyond the beyond, just by writing this I know that I want to re-watch Casino). Brave moves from Scorcese, specially "The Age of Innocence" - but the narration technique, just doesn't do it for me. Because you can use a voice-over to link anything, this for me is obvious, but he likes it, a lot. It is a problem solver. And Scorcese needs to solve problems this way, because both of this films barely have a plot. In fact, in the book he says, bluntly, "Casino doesn't have a plot, it only has a story", and from my recollection of it, it is so. In the case of "The Age of Innocence", it is quite the opposite, to contradict myself, it relies a lot on plot, dramatic, theatrical plot. The classic dialog staged scenes were everything is said and done. But Scorcese, like he talked about in this book, wanted more, and he did get more. The solution? Over-the-top narration. I respect it, but it is a wall for me.
Throughout the book I noticed that he talked about many things that I easily recollected from watching his own films, narrative choices, what a character felt, why it was so (although I have to say he doesn't focus that much on this, I expected more), but then I also reminded myself of something else, that they were there, these moments, but they were so fast and also justified (most of them) with voice-overs and easy alibis. I am the guy that wants more. The guy that wants the trip to the underworld. This is why I always crave for Scorsese to use a poetic voice-over, or something like that.
It is no surprise that my favorite film of his, in reality must be "Silence" (2016). Because he literally avoids his "new ways", and gives himself space to focus deeply on something, without using the voice-over pastiche technique.
The book ends with "Casino" (1995), but I wanted to talk about some good things since I've been slamming some of his stuff (sorry about that, it is just attached to feelings that emerged after having read this). The book talks a lot about his early stage, which is a very good thing. I love the film "Alice Doesn't Live Here Anymore", in fact, the only thing I don't like about it is the beginning, because it doesn't work, for me, it is out of tone, literally (I am aware that it represents the interior world of the main character, it just doesn't do it for me, that is all). But the rest of the film is amazing.
Unfortunately he doesn't talk much about dealing with actors and situations in the early days, he could have talked about a bunch of stuff, but he stayed on the surface of those things. The film "Taxi Driver", had to be talked about with some extent, I understand, it is his most famous film. A film that I love, actually, but I know that I love it so much more because of Bernard Hermann's score. When I was younger I felt different, I was into this type of "dark" stuff. Nowadays this "dark" stuff is mostly fluff for me. I can see the lies in the alienation and the conflict isn't appealing. In fact, many times it bores me and doesn't shock me, at all.
I was very surprised to read many things about "New York, New York", it is probably my second favorite film from Martin Scorcese. It is an amazing film, I love his choices, and I love the music. I love Jazz, I love the "broadway" stuff, I love the mood, I love the period, I just love it very much.
Scorcese said many things that felt honest about this film, I was intrigued by many things.

Above all a good book to read, nice night read. And I guess it made me have more peace with his work, I have to add this. It is true. I understand that I usually neglect that he is an Artist that has a plight to survive in the worst place an Artist has to survive, in Hollywood. We are in debt with Martin Scorcese, this is the truth, he is fighting a very good fight, for more than 40 years, to make films that aren't usual in the system. Usual in the sense of the story telling and what is being shown. One can't neglect this.
Of course Scorcese is bound to make the same mistake Hitchcock made, it is very obvious. Hitchcock was trapped inside the idea that he had created for himself and worse of all, that others had of his own work. Hitchcock for many is just an entertainer. And Scorcese is a guy, that no matter how well intended, he makes Gangsters sound appealing and fun. It is true. I saw "The Goodfellas" and I thought that the guys were having a ball, that it was fun to be a Gangster. And this was not his own intention.
Clearly he has grown, "The Wolf of Wall Street" for example is amazing at slaming you down that pain hole. It was very effective. "The Wolf of Wall Street" works in ways that "Casino" never did, and they are built with the same technique, but in 2013, Scorcese and Mrs. Schoonmaker had a very well oiled machine. A machine that even made better with the film "The Irishman", it is the truth. Scorcese by now is very well calibrated. But can he move on? I would love to see the filmmaker that did the film "Silence" to move on. I would really love that. But one never knows.

[Muzzlehatch · Rating 4 out of 5]

Like other books in this series that I've read, this is done mostly in conversational style, clips from interviews originally, in most cases. Ordered chronologically by film, with a final brief chapter on "Goodfellas", barely released at the date of publication for the edition I have. My favorite sections are those on "The Last Temptation of Christ" and "Raging Bull." Scorsese is uber-knowledgeable about film of course, and can usually be counted on to point out examples from many other directors whose work has influenced him.

[Julieta Andrade · Rating 5 out of 5]

Siempre me atrajo la gente apasionada o comprometida con distintos intereses o causas, que, mediante la comunicación -y aunque personalmente su mensaje te atraiga o no- logren de alguna forma atravesarte o cuestionarte algo. Pero es el doble de hermoso cuando además utilizan su talento para expresar su pasión y le dedican casi toda una vida a ello. Te amo Marty seguí haciendo películas y bardeando a los de Marvel
Pd: no se si sé entendió algo pero hoy dormí 5 horas y de pedo puedo hilar tres oraciones seguidas

[Ian Robinson · Rating 5 out of 5]

not just a personal insight into the films and the film maker himself, but into film as a life, as a love.

[David · Rating 4 out of 5]

It's really made me want to revisit a lot of his films - especially Casino, The Last Temptation of Christ and - perhaps surprisingly - The Age of Innocence.

[Jacob Kelly · Rating 4 out of 5]

Read this twice now. Been years since I last picked it up and it only made me admire it more. Firstly, knowing the influences he talks about. Being able to conceptualise where each development belongs in film history. Understanding what he's really saying about some so called masterpieces imperfections. The very nature of criticism. The tools he's picked up along the way. From the movies he grew up with and his own environment. Even having been to his childhood home and the Little Italy he describes (although it is very different now).

Knowing his relationship with Paul made this a whole lot funnier. The two of them are literally my favourite filmmakers who seem to collaborate well because one's a master of control and the other a nut. Yet I don't think Scorsese would reach the same dark depths of the soul without Paul. Scorsese has the questions, Paul has the answers. Then Scorsese has the tools to show. Always thought the majority of their conversations are like "Paul pack that in" when he goes too far. So it amuses me greatly to see the part where originally the last temptation script was supposed to have loads of heavier content in and Scorsese just had to say, "Paul, come on now". Had me in stitches. Oh Paul. Never change.

Talking about last temptation, that's what made me admire it the most. First I read it maybe when I was about 17, nearly 10 years I was disappointed there wasn't more on Goodfellas. That was the one for me back then. All I wanted to hear about was either that or Mean Streets. Don't think it even occurred to me that when this book was written in 1989 before Goodfellas was even released. To me it still his a vital part of his story. The reinvention of the mob movie with his pop songs, relentlessly paced editing and moving camera inspired by old musical numbers.

However, I don't think I was even able to visualise the different phases in his career or understand it in that sense. I was born in a world where Goodfellas and Casino just existed and were already classics. It's well documented that Scorseses reviews weren't as strong in the '80s and some thought he was a spent force by then. So to go back and take each one at a time. Raging Bull a high. Then a few I don't care about. And finally he finishes with another masterpiece The Last Temptation. A film which I'd forgotten how long it took to make and how controversial it was. Only gets better in my mind in what it was trying to do. Humanising christ and making him accessible to anyone. One of the boldest endeavours in cinema. Plus it could well be the only auteur film about Jesus Christ ever.

There's also the fact if the likes of King of Comedy, after hours and the colour of money are weaker efforts meant to be in his worst run of form then that's just proof he's the best to ever do it. Lesser Scorsese fans even name some of those as their favourite of his catalogue. Above all, though this book really communicates the struggle. The best director of all time having made Taxi Driver and Raging Bull at that point compromising and making commercial films just to stay alive and above water in the industry. So a real battle here of art vs commerce and the games played with the studios.

Only annoys me more that some people would criticise Casino then. I feel like in the 90s he finally had a rhythm he never had before doing exactly what he wanted (minus Cape Fear which was his deal with Warner Bros for getting Goodfellas backed). You could definitely almost re-do this book in a sense with what happened with Silence. Made a huge movie that was well acclaimed and then needed Netflix to save him to get The Irishman made. It really does blow my head off how many times this guys had to fucking play the game. I don't know whether to be happy or rather depressed about that. Like the number of times the goat has had to fight to survive. If any filmmaker should be immune to fearing how their next movie will be financed its Martin Scorsese. Glad I read this again though because it's made me realise in a sense that you can really romanticise that 80s period and what he achieved. I usually ignore it more than I should. The fact he was supposedly "failing" or "on the decline" or "making bland commercial movies" or "unable to get his dream project about jesus made" and still turned out masterpieces makes the period in some ways more interesting than all the run of forms he's had in other decades.

[CJ Wood · Rating 5 out of 5]

Personal takes on great movies by their directors can be fascinating, and Scorsese is a master of every part of his process. Having been enthralled by his movies since I was in my teens, seeing something of the mindset that goes into such excellent and diverse work is mesmerising.

Until he got into transcendental meditation in the last 20 years, the guy couldn't bear to sit through any of his movies - bar The Last Temptation of Christ - in public. Imagine making Taxi Driver and sitting there gurning through every frame because you just see the mistakes? Well, if you want to know the level of care and expertise that goes into such pieces, this is a very compelling matter.

A small word of caution - if you think you know anything about cinema, encountering Scorsese's view on the matter will probably shatter your ego. I remember watching ten minutes of his guide to American movies and feeling an utter fool. He is a master, and for so many reasons this book is worth reading.

[Connor Smook · Rating 5 out of 5]

Love these Director on Director books! Hearing completely different perspectives of directors. I've read this and Godard's, next up is Herzog, though I've got other books to finish first! Scorsese is one of my biggest influences, and here, we get to pick a good amount of his brain, here how he related his personal feelings to his movies! Mean Streets, Alice Doesn't Live Here Anymore, Raging Bull, Taxi Driver, After Hours, The King Of Comedy, The Last Temptation Of Christ, he goes in detail. While he does continue to work on big studios past the '70s and although experiment less, he manages to stay true to himself and make honest work in this American studio system where business holds art captive, although some better than others and never even close matching the quality of his older movies, not making dishonest garbage. Very insightful! Love it!

[Matthew Frederickson · Rating 5 out of 5]

Reading this was a wonderful experience. It ends with a little coda about GoodFellas being his next movie, which is cool because these are the words of an artist on the cusp transcending to legend status.

Many, many great anecdotes which include, but are not limited to:
-George Lucas being miserable and already being completely over the industry by the mid-70s
-Multiple instances where Marty has to tell Paul Schrader to essentially "be serious" about something in a first draft
-A Catholic priest taking teenage Marty to a movie about the life of Christ at The Roxy (hey! I've been there!)

Beautiful, moving words from one of the finest living American artists.

[Isaac Le Vin · Rating 5 out of 5]

A great insight into the early workings of Scorsese. Although transcripts from lectures and interviews, you would never know that Scorsese’s words weren’t designed for the page. The editor’s notes provide useful context and information to further create a more legitimate memoiresque formatting to the book which may not have been there otherwise. Over the few months it took me to read this I completed a full rewatch of all of Scorsese’s narrative films. The pairing of cinema and literature worked perfectly.
Also, I love that, as this was published in 1989, the final editor note contemplates what ‘Goodfellas’ might be like. Who knows? Might be a pretty good film? Not for me to say.

[Jack Mansfield · Rating 5 out of 5]

This is such a fantastic book of interviews from Scorsese, giving us insight into his filmography up to and including Casino (and I’m gutted he hasn’t revisited this format in the 30 years since, given his continued success with films equally as well-crafted.)

I haven’t seen all of the films referenced in this book, but I’m very keen to revisit those chapters as I now go and seek them out. I’m also especially interested in rewatching The Last Temptation of Christ, given that I had no idea of the level of controversy it raised upon its release.

Marty, if you’re reading this, PLEASE consider giving us a revised edition a thousand pages long!

[Daniel · Rating 5 out of 5]

The book I read Scorsese on Scorsese was filled with so much information and always wanted me to read on. I liked how there was a picture on reach page and the reading portion on the other page. They both went together and told the experience and story about the topic. The book talked about all the movies in chronological order from his first ones to his latest movies. Overall, I highly recommend this book to anyone wanting to learn about Martin Scorsese and looking for a good movie to watch.

[Seth Carlson · Rating 4 out of 5]

The edition I read of this book was up to Shutter Island, but I can't seem to find it on Goodreads. Oh well. A pretty engrossing and enlightening book, and Scorsese comes across as both a passionate and delightfully down-to-Earth subject, even in his wilder days in the late 70s. What surprised me most was how sensitive he was to criticism--not in a defensive, egotistical way, just that negative reviews seemed to genuinely hurt his feelings. The final interview, shortly after the release of Shutter Island, finds Scorsese outright despondent over the movie's mediocre reception.

[Patrick Howard · Rating 5 out of 5]

Talk about a good read©️

Would kill for an updated edition considering this book ends in the midst of a ‘low’ point in Scorsese’s career, Gangs of New York - The Aviator, which directly preceded a new peak of nearly 2 decades and some of his greatest work (Silence, Irishman, KotFM).

Hard to overstate Scorsese’s lack of egotism, his fervent curiosity & his adoration of cinematic history. He’s just a thoughtful charismatic little guy. Nice sections detailing his entire career, including The Age of Innocence which may be my favorite of his films. I could read 1,000 pages of this.

[Santiago Ramírez · Rating 4 out of 5]

Sobre textos de cine, me gustan aquellos que son narrados en primera persona desde la experiencia. Leer sobre el involucramiento del creador con sus proyectos resulta muy provechosos para los lectores que desean informarse y aprender.

Scorsese hace un recorrido de todos sus proyectos, comparte el desarrollo de escritura, financiación, realización y anécdotas de sus películas. Un texto que no sólo nos deja ver su profesión como director de cine, sino también el amor que tiene por este arte.

[Hogfather]

This is an essential autobiography. The removal of the interview format makes it feel a lot more personal, but does nothing to diminish Scorsese's inimitable voice. He is clear, intelligent, well-spoken, though he clearly could say a lot more than he does. HIs intelligence and experience makes the book a remarkably powerful read.

[Ayee Curio · Rating 5 out of 5]

muy interesante conocer los métodos, técnicas, herramientas y pensamientos de uno de los mas grandes directores contemporáneos de la época. Desde la construcción de cada pelicula en su etapa de pre producción hasta sus recaudaciones y recibimientos en la audiencia. Scorsese es una gran persona dotada de muchas características artísticas que supo usar a su favor y regalarnos parte de ella.

[Alex Perez · Rating 4 out of 5]

He's passionate about music, about art, about history, about storytelling, about film preservation, about Italian cinema. He care deeply about the projects he works on, and it shows. We should be as lucky to live the life of an artist as Scorsese does.

[John Albers · Rating 4 out of 5]

a well researched history of Scorsese's films. Scorsese is probably the best American director the last 50 years, who has studied films and film history as much as anyone who has made movies and is a great writer and story teller, and the book is a great way to study his career.