Martin Scorsese, New York, San Francisco Film Society discussed on The Kitchen Sisters Present
The films of Martin Scorsese are astounding as are his efforts to preserve the history and heritage of American cinema through his groundbreaking film foundation. Martin Artan score says he is a keeper a steward of American and global cinema one of our heroes. The sound mix of raging bull was one of are great. Inspirations and had a big impact on the kind of mixes we thought were possible for a fledgling kitchen sister stories in the soundtracks. The way the man waves music into a stories or doesn't leave it just shocks you with Pierce's with it clubs with his scores is an soundtracks are like new orders and then there are his documentaries his nonfiction films starting with Italian American portrait of his own parents and family the last waltz rolling stones shine a light and his most recent documentary but not quite documentary. Three Bob Dylan's rolling Thunder Revue The San Francisco Film Society invited Mr Scorsese here to honor his nonfiction film. Work and premieres latest feature took the Irishman about the teamster union. Boss Jimmy Hoffa. We were so taken by his own state conversation that we begged the film society to give us a copy the recording. So we can make podcasts of it for you. Were kind enough to say yes today. The kitchen sisters present. Martin Scorsese testing. Hey thank you so much. Thank you that the Castro why you've talked about how formative film was for you and I'm wondering if you could talk a little bit about the nonfiction aspect act of that early documentary films that you saw either in the movie theater on your sixteen inch. RCA television at home. That's interesting because most of the early years that I was viewing films. They took me a movie theater. All the time where narrative films of supposedly supposedly narrative fiction films and the sense of non-fiction sort of slipped in slowly. I think by the late forties early fifties. I I think really something happened again. It's a whole thing about me. Having Asthma Nineteen forty-six I wasn't allowed to play sports or war. Run around or be near animals of any kind and trees and I was allergic to everything no laughing because kids would get into a spasmodic laughter laughter and then turn blue and it was very bad until always taken to the movie theaters. I think the closest thing I could think of that was overlapping a little bit into nonfiction with the film. Wars and this is slightly be misunderstood. Because as the whole thing that goes back to the forties and fifties and early sixties if it's black and white and grainy that means it's real and that comes from newsreels now with the younger people today of course. The perception is Cameron on a iphone. So it's a whole different perception of what reality could be. In any event event we had a television in nineteen forty eight and they were. These Italian film shown once a week on Friday night but Italian American community in New York and and we saw the neorealist films I five or six for me. Look at the film's Grainy Black and white. TV and subtitled ELT. I know who is still cinema but it had another immediacy to adding to that was the fact that the people in the film particularly pies. Aw Cellini found. That begins insisted that my grandparents came to the apartment and watching it when my family and how they were speaking in the film was the way they were speaking speaking. Thank you and I guess that state line that way but ultimately I couldn't really see a difference difference between the two and then of course we became very very aware of the nonfiction film in the fifties particularly films from the WPA. A Leo Hurwitz Parallel Ryan's and all of that so that became something we could see them. A theater in New York called the value in the theater was very small and the screen was tiny and it was a no nonsense every day in the summer. They got double bill every day. They changed it and so many documentaries their first episode Eisenstein film just walked in the middle and so this led to the awareness of this kind of film making when I started taking film courses at Nyu in one thousand nine hundred sixty by that time. There's Penny Baker. There's Lecoq there's the maizels surely Clark and John Kesse these shadows and shadows. And Shirley Clark's a cool world. There was no difference between what what I saw on television. And what I saw and we'll be zoll one and it could be done is. He's so in a sense they're interrelated so much that once I saw shadow's even window it's another world for me culturally. I was very very much Coming from a little Kinda Sicilian village in a way But when I saw shadows I told my friends at night. I said there's no more excuses we can do. It depends on what you have to say. You know so we started doing everything we could even if we didn't have anything to say just but we knew that the pictures could be made and the documentary. Element was there all all the time. Our Teacher The Hague Manooghian. It wasn't school the arts that was a couple of classes it was not like Nyu now but he was only intent. Untung showing US or inspiring us to make documentaries anybody who made narrative films one thousand nine hundred eighty nine sixty. That was out here in the West Coast. There was very little to New York Independent. Were you resistant to that idea. Or because I think you also said that you were more interested in making more stylized narrative films at the time. We're absolutely. Yeah but the thing was that it seemed that how should I put. It should be a film. It shouldn't be a documentary or fiction. Film should be a film. There should be no difference. I mean that is happening now to not really shouldn't be pigeonholed into saying well. The documentary should be this way. And that's nonfiction. And what if it's altogether. What if you could pull from everything and experiment with it? And that was the idea that ultimately became mean streets. Really how do you choose your documentary subjects subjects. How do you decide what is worthy of spending the time and effort? I think the key one was Italian American when I made eighty my mother and father that was nineteen seventy six was the bicentennial maybe doing the PBS series. The storm of strangers was called and they had for each ethnic group a half hour film and they asked me to the Italian when I suggested that instead of doing be traditional or colonel logical obvious. Way of going about explaining the immigration battalions. So why don't we just go to my mother and father's apartment on Elizabeth Street. We'll have dinner okay but like really. You're sitting down there okay. Why why are you down there? What he wants from me? We got in there her myself from the kitchen memoir you and Martic and I started shooting my doing so far. It's about to ask a question but I saw that. My mother took over the scene. You what should I say you know. You want me to tell you how how how learn how to make. Why don't ask me the question? Don't you hear that. Then I mean if you would ask me a question I would answer GonNa. I'm GONNA save now. I WANNA know how you learn how to make sauce. We'll talk to you. How long I mean how many two years I'm going to use it and doing it and I want to see you do it? Well you know. My father was greg resistant. And she started arguing with him can mean Charlie Book. The way you're talking to we know that's what I mean. I'm an actress. I'm not putting on any as you want to fight or something. Talk Talk to me when you talk to your son. My mother and father by that point it was that they were never went to school. There were working in the garment district but kit started make these movies. They thought I was completely crazy but they participated data because their son is doing and I know I wanted to start you. You're going to tell us about the sauce. You'RE GONNA show us how to do the source. By the time I finished. which was the next day three hours three hours? The next eating with them at the table by that time I realized that they had a whole life before me. Wow I didn't realize what really like in the tenements in nineteen twenty two. You know I remember as a little boy we used to have Wallis. I mean people loved us. We.