Martin Scorsese: Renowned filmmaker Martin Scorsese has undoubtedly etched his name among the cinematic giants of the past half-century, achieving remarkable heights in a career filled with groundbreaking works. Yet, it appears that he might be somewhat resistant to acknowledging the evolving landscape of the movie industry, a realm he holds dear. Notably, his recent directorial ventures, “The Irishman” and “Killers of the Flower Moon,” are, in all practicality, akin to limited series designed for streaming platforms, signifying a shift in his own approach to storytelling.
The spark that ignited this discussion was Scorsese’s 2019 proclamation that Marvel movies, a behemoth of the modern film industry, were not “cinema” in the sense of providing “aesthetic, emotional, and spiritual revelation.” In a follow-up New York Times op-ed, he elaborated on the concept, recognizing the transformation that had swept through the film world, with multiplexes overflowing with franchise productions. He did express gratitude to Netflix for allowing him to craft “The Irishman” according to his vision, but there remained an underlying longing for the traditional movie theater experience, a sentiment shared by many filmmakers.
Scorsese, however, seems to be working within the constraints of an outdated Hollywood paradigm, one that suggests, borrowing from a classic adage, “When you take the king’s money, you give the king his due.” In his case, the king’s money comes from streaming services, first Netflix and now Apple TV+, enabling him to create lengthy historical dramas such as “The Irishman” and “Killers of the Flower Moon.” These are works that would likely face an uphill battle in traditional theaters, particularly in today’s box office-centric environment, where shorter runtimes are often encouraged.
Practically speaking, this means that following an extended theatrical release for awards consideration a move driven by the prestige attached to it, which motivated both Netflix and Apple “Killers of the Flower Moon” will eventually find its home on streaming platforms, where audiences can consume it from the comfort of their living rooms. With a runtime akin to that of a four-part limited series, most viewers will experience the historical drama with intermittent pauses, possibly even taking breaks that weren’t artistically intended.
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But does this altered mode of consumption diminish the artistic value or narrative impact of these films? Certainly not from an entertainment perspective. In fact, the limited series format has emerged as a fertile ground for some of the most innovative and creatively compelling storytelling in recent years, regardless of screen size.
What this evolution reflects is that Scorsese’s notion of what constitutes “cinema” now carries a somewhat outdated resonance. Over time, the boundaries between traditional film and television have blurred significantly, hastened by the dual forces of streaming platforms and a global pandemic that reshaped viewing habits. Other directors have adapted to this shifting landscape, embracing the freedom of longer runtimes offered by streaming services. Examples include Zack Snyder’s four-hour cut of “Justice League” and Baz Luhrmann’s forthcoming “Faraway Downs,” an extended and reimagined version of his 2008 film “Australia,” now expanded into a six-episode series.
Looking back to 2018, one of Scorsese’s contemporaries and a close friend, Steven Spielberg, expressed skepticism about whether streaming films deserved full recognition at the Oscars. He remarked, “Once you commit to a television format, you’re a TV movie. I don’t believe that films given token qualifications, with a limited theatrical release of less than a week, should be eligible for Academy Award nominations.”
However, the landscape has shifted significantly in just a few short years. Multiple streaming films have secured Best Picture nominations, with some even winning the coveted award. Films like “Nomadland” (streamed on Hulu) and “CODA” (on Apple TV+) not only secured nominations but emerged as winners. Despite initial concerns about where and how they were viewed, these movies achieved critical acclaim and success.
In summary, while Scorsese’s initial stance wasn’t merely the rant of an “old man yelling at a cloud,” as some Marvel fans dismissed it, he need not apologize for finding a way to continue creating films on his own terms. Nevertheless, it’s worth noting that his recent projects have inadvertently contributed to erasing the once-distinct lines he sought to draw around the concept of “cinema.” These lines have only become blurrier with time, as the kind of films he champions undergo a transformation in response to the evolving landscape of the industry.
Our Reader’s Queries
What is Martin Scorsese best movie?
Tomatometer has ranked all Martin Scorsese movies, with “The Last Waltz” taking the top spot at 98%. “The Irishman” follows closely behind at 95%, while “Mean Streets” and “Goodfellas” tie for third place at 94%. “Killers of the Flower Moon” and “Hugo” both received a 93% rating, with “Raging Bull” and “Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese” rounding out the list at 92%. Scorsese’s films have consistently received high ratings, cementing his status as a master filmmaker.
What was Martin Scorsese famous for?
Martin Scorsese, an American filmmaker born on November 17, 1942 in Queens, New York, is renowned for his gritty and intense portrayals of American culture. Throughout the 1970s, Scorsese crafted a collection of films that were daring, audacious, and masterful. His unique style and vision have made him a true icon in the world of cinema.
How many movies did Martin Scorsese do?
Martin Scorsese, an American film director, producer, screenwriter, actor, and film historian, has been in the industry for over fifty years. He has directed twenty-six narrative films, seventeen documentary films, and co-directed one anthology film. Scorsese’s extensive career showcases his talent and passion for the art of filmmaking.
What college did Martin Scorsese go to?
In 1968, Scorsese completed his Master of Arts degree from New York University. He later taught at the university’s undergraduate filmmaking program. In recognition of his contributions to the field, Scorsese was awarded an honorary degree from NYU in 1992. Today, he remains an active member of the Tisch School of the Arts Dean’s Council.