Martin Scorsese and Leonardo DiCaprio - Wikipedia
Yet the DiCaprio/Scorsese relationship has become enormously productive for both artists, helping to define both of their careers for over a. The pair's relationship is one of the most successful collaborations in film industry , bringing a total of $ billion earnings from their. Martin Scorsese and Leonardo DiCaprio Talk THE WOLF OF WALL actor Leonardo DiCaprio, on behalf of their working relationship. Having.
There have been run-ins with the studios, such as Disney's decision to pull out of Gangs of New York because of its violence, and Paramount's surrender to the religious right in pulling out of The Last Temptation of Christ just weeks before the start of filming.Martin Scorsese In the Green Room HD
When he didn't have the studios on his back, he suffered the opposite problem: And sod's law decrees that when he does make a successful film, The Colour of Money for instance, he's accused of selling out to the studios. Nor have his peers offered him formal recognition. Despite the superhuman efforts he has poured into his most intimately conceived films - Gangs of New York took him 23 years to wrestle on to the screen - he has not won the Oscar for best director, an honour he has unashamedly coveted and for which he has been nominated five times for Raging Bull, The Last Temptation of Christ, Goodfellas, Gangs of New York and The Aviator.
When Goodfellas lost to Dances with Wolves inthat hurt. The common thread in these disparate troubles is the dilemma of the movie director: Several of his s films were both hugely popular and lauded for their art. More recently, he's ticked one or other box, seldom both. So has Martin Scorsese come any closer to combining commerce and art with his new film, The Departed? Given the record of the past 30 years, he has reason to be nervous about its reception, and sure enough he is puffing on his asthma inhaler as our encounter begins.
His body language is not good. He has pressed himself tightly into the corner of the sofa, both arms and legs crossed, in a textbook portrayal of Anxious Man. As soon as the first question is asked, though, he relaxes, like someone coming up for air. He starts talking in a broad, slightly high-pitched New York accent and grows more and more animated. What's got him going is the acting of his current cinematic muse, Leonardo DiCaprio.
The Departed is Scorsese's third major film in a row with DiCaprio and the relationship between the two men has clearly grown into a central element of his work.
But the Scorsese noughties belong to DiCaprio. The baton has been passed, as Scorsese implicitly recognises when he talks about the intense experiences he has had with DiCaprio over the past seven years: There's a great deal emotionally going on inside of him. For me it was interesting - I felt comfortable with the emotional process he was going through, and it reminded me very much of De Niro.
It was a different frame of reference: I'm 30 years older, but he approached emotional subjects in a very similar way and he also thinks about things in life the way I do. DiCaprio plays an undercover police officer who has infiltrated one of the city's most notorious gangs.
He gives an intense performance, thoroughly putting behind him the baby-faced Leo so beloved of teenaged girls and replacing it with a mature Leonardo capable of conveying layers of anger and darkness unthinkable in the younger man.
In short, DiCaprio has grown up, and he has done so under Scorsese's tutelage. But when he did Howard Hughes in The Aviator, that changed everything. His hands are moving as excitedly as he is speaking. One second his fingers meet as if in prayer, the next he is open-armed and embracing the world.
Martin Scorsese, Leonardo DiCaprio Talk Wolf of Wall Street and Other Collaborations | Collider
He is conducting the conversation as he might, well, direct a movie. And then there are his eyes, which have their own power, framed by two shockingly black eyebrows set behind his red and thick-rimmed glasses. Even in a blank hotel room you feel his force. He is a hurricane of energy, a breaker of levees. So when did this transformation in DiCaprio take place?
Scorsese's flurry of words is briefly halted, but after a pause he starts to talk again at bullet speed about the moment of metamorphosis. It was during the filming of a key scene in The Aviator, in which Hughes has locked himself into his movie screening room and is descending into madness.
Something happened that night. They filmed take after take of the scene, Scorsese explains, but something just didn't feel right. What do you want her to do?
And a lot of people were in character, constantly. Marty, Leo and Daniel Day-Lewis are two great actors with very different approaches. How did you deal with that?
You just do both.
I remember one of the first days, Daniel Day-Lewis and Marty were getting their feet wet in the whole process, and Daniel wanted to know how to cut the meat.
They got a big piece of meat and they sat there, almost the whole nine hours, discussing how to cut the meat. My brother used to work in a butcher shop.
The butcher was very, very important. The biggest issue was choosing the right knife. He had a few. We had to get him out of retirement. He was a cobbler. Before that film, he was making shoes for six years, in Italy. He was unsure whether he was going to start acting again. So, I had a big conversation with him, about one of the greatest actors of our time, if not ever, getting back into the industry.
It was a pretty interesting conversation. Leo, as an actor, do you prefer doing more takes per scene, or do you like to shoot quickly? I do prefer doing more takes.
More details come out, in the way another actor says something. You come further and further to the truth, the more you escalate. Maybe it peaks around the 5th or 6th take. You get into a groove, and then you can become automatic again and start to do a routine.
And then, sometime around the 12th or 13th take, you can come back to something more organic again. But, I like to do a lot of takes. I have a hunger for it. We just try to stay in touch with that, every day. How did The Aviator come about?
Basically, we did Gangs of New York and had a really great working relationship there. I had picked up a book, when I was 21, about Howard Hughes, and I really became obsessed with playing him. He was the most fascinating character I had come across, in a long time. I had actually developed a script with Michael Mann for awhile, and then he went off to do Ali. So, that was encouraging. That, to me, is one of the most nostalgic memories I have, of really making a movie. And then, we created it and did a makeshift Hollywood in Montreal.
Martin Scorsese and Leonardo DiCaprio
We did an investigation into who this character was, and this fascinating look into his mind through this screening room and the confinement of that.
It was really a miraculous part of my life. I had never submerged myself and really focused on absolutely nothing but that film, for eight or nine months of my life.
I was so dedicated to that process. I felt a real responsibility for a movie, for the first time. When you grow up in the industry, the director is your father. I get very nostalgic for history. It was really almost like being a journalist. I went back and meant with Jane Russell and Terry Moore, and did an account of everyone I knew that had ever met him.
I did a road trip, of sorts. I lived with somebody with OCD. I met the doctor who is a professor on the subject matter. When you create a character on your own, you have to make up that history. I prefer playing people who have actually existed, or who have some grain of truth to them, because it gives you a lot more research to do.
A history of violence
Oftentimes, history is just so much more fascinating than the shit you can make up in your own mind. This guy was an incredible genius and a brave man. He flew in a little tin tube with heavy turbulence and crash-landed. I had always shied away from the Howard Hughes story. I knew that Steven Spielberg had wanted to make it for many years, and Warren Beatty.
Martin Scorsese on The Departed and DiCaprio | Film | The Guardian
But, he was like an ancient Greek king, in a way, or an old myth. He was like Icarus. Leo, when you get so immersed in a role, does it affect you personally, at least temporarily? The truth is, you shut down the rest of your life. Everything goes on hold. I locked myself in my hotel room, for the entirety of that shoot. It was a role that fit him.
He is the picture. I had no doubts he would be there, every time I needed Howard.