Editing Martin Scorsese (section)

== Filmmaking style and technique ==
Several recurring filmmaking techniques are identifiable in many of Scorsese's films. He has established a filmmaking history which involves repeat collaborations with actors, screenwriters, film editors, and cinematographers, sometimes extending over several decades, such as that with recurring cinematographers [[Michael Ballhaus]], [[Robert Richardson (cinematographer)|Robert Richardson]], and [[Rodrigo Prieto]].

===Slow motion and freeze frame===
Scorsese is known for his frequent use of [[slow motion]], for example, in ''Who's That Knocking at My Door'' (1967) and ''Mean Streets'' (1973).<ref>[http://www.sensesofcinema.com/2002/great-directors/scorsese/ Martin Scorsese] {{webarchive|url=https://web.archive.org/web/20101225033838/http://www.sensesofcinema.com/2002/great-directors/scorsese/ |date=December 25, 2010 }} by Marc Raymond, ''Senses of Cinema'' (online), May 2002</ref> He is also known for using [[freeze frame shot|freeze frames]], such as: in the opening credits of ''The King of Comedy'' (1983), throughout ''Goodfellas'' (1990), ''Casino'' (1995), ''The Departed'' (2006), and in ''The Irishman'' (2019). His blonde leading ladies are usually seen through the eyes of the protagonist as angelic and ethereal; they wear white in their first scene and are photographed in slow motion—[[Cybill Shepherd]] in ''Taxi Driver''; [[Cathy Moriarty]]'s white bikini in ''Raging Bull''; Sharon Stone's white minidress in ''Casino''.<ref>[https://web.archive.org/web/20070513035400/http://www.frankiesfilms.com/html/martin_scorsese.html Martin Scorsese], ''Frankie's Films'' (online), January 2007</ref> This may be a nod to director Alfred Hitchcock.<ref>{{cite web |url=http://www.screenonline.org.uk/tours/hitch/tour8.html |title=Hitchcock and Women |publisher=Screenonline.org.uk |access-date=March 3, 2010 |url-status=live |archive-url=https://web.archive.org/web/20100211013832/http://www.screenonline.org.uk/tours/hitch/tour8.html |archive-date=February 11, 2010}}</ref> Scorsese often uses long tracking shots,<ref name="bostonglobe">{{Cite news |first=Jake |last=Coyle |url=https://www.boston.com/ae/movies/articles/2007/12/29/atonement_brings_the_long_tracking_shot_back_into_focus/?page=1 |title="Atonement" brings the long tracking shot back into focus |work=[[Boston Globe]] |date=December 29, 2007 |url-status=live |archive-url=https://web.archive.org/web/20090203044006/http://www.boston.com/ae/movies/articles/2007/12/29/atonement_brings_the_long_tracking_shot_back_into_focus/?page=1 |archive-date=February 3, 2009}}</ref> as seen in ''Taxi Driver'', ''Goodfellas'', ''Casino'', ''Gangs of New York'', and ''Hugo''. [[MOS (filmmaking)|MOS]] sequences set to popular music or voice-over are regularly seen in his films, often involving aggressive camera movement or rapid editing.<ref>[https://www.moviemaker.com/directing/article/martin_scorseses_comfortable_state_of_anxiety_3290/ Martin Scorsese's Comfortable State of Anxiety] {{Webarchive|url=https://archive.today/20121217163916/https://www.moviemaker.com/directing/article/martin_scorseses_comfortable_state_of_anxiety_3290/ |date=December 17, 2012 }}, by Timothy Rhys, ''[[MovieMaker Magazine]]'' (online), October 16, 2002</ref> Scorsese sometimes highlights characters in a scene with an iris, an homage to 1920s [[silent film]] cinema (as scenes at the time sometimes used this transition). This effect can be seen in ''Casino'' (it is used on Sharon Stone and Joe Pesci), ''Life Lessons'', ''The Departed'' (on Matt Damon), and ''Hugo''. Some of his films include references/allusions to Westerns, particularly ''[[Rio Bravo (film)|Rio Bravo]]'', ''[[The Great Train Robbery (1903 film)|The Great Train Robbery]]'', ''[[Shane (film)|Shane]]'', ''[[The Searchers]]'', and ''[[The Oklahoma Kid]]''. Slow motion flashbulbs and accented camera/flash/shutter sounds are often used, as is the song "[[Gimme Shelter]]" by The Rolling Stones heard in several of Scorsese's films: ''Goodfellas'', ''Casino'', and ''The Departed''.

===Cameo appearances===
Scorsese usually has a quick cameo in his films (''Who's That Knocking at My Door'', ''Boxcar Bertha'', ''Mean Streets'', ''Alice Doesn't Live Here Anymore'', ''Taxi Driver'', ''The King of Comedy'', ''After Hours'', ''The Last Temptation of Christ'' (albeit hidden under a hood), ''The Age of Innocence'', ''Gangs of New York'', ''Hugo'', ''Killers of the Flower Moon''), he is also known to contribute his voice to a film without appearing on screen (e.g. as in ''The Aviator'' and ''The Wolf of Wall Street''). In ''The Age of Innocence'', for example, he appears in the non-speaking role of a [[large format]] portrait photographer in one of the passing scenes of the film. He provides the opening voice-over narration in ''Mean Streets'' and ''The Color of Money''; plays the off-screen dressing room attendant in the final scene of ''Raging Bull'', and provides the voice of the unseen ambulance dispatcher in ''Bringing Out the Dead''.<ref>[http://www.filmsite.org/directorcameos1.html Most Famous Film Director Cameos] {{webarchive|url=https://web.archive.org/web/20080510072224/http://www.filmsite.org/directorcameos1.html |date=May 10, 2008 }} by Tim Dirks, [[Filmsite.org]] (online), 2008</ref> He also appears as the director of fictional newly formed Vatican Television in the Italian comedy ''[[In the Pope's Eye]]''.

===Religious guilt===
Guilt is a prominent theme in many of his films, as is the role of [[Catholicism]] in creating and dealing with [[Guilt (emotion)|guilt]] (''Who's That Knocking at My Door'', ''Mean Streets'', ''Raging Bull'', ''Bringing Out the Dead'', ''The Departed'', ''Shutter Island'', and ''The Irishman''). In a similar manner, Scorsese considered ''Silence'' a "passion project": it had been in development since 1990, two years after the release of his film ''The Last Temptation of Christ'', which also contained strongly religious themes.<ref>"[https://www.independent.co.uk/arts-entertainment/films/news/silence-release-date-us-uk-martin-scorsese-liam-neeson-oscars-2017-adam-driver-andrew-garfield-a7332221.html Silence release date sets Martin Scorsese's passion project up for Oscars] {{webarchive|url=https://web.archive.org/web/20161201020834/http://www.independent.co.uk/arts-entertainment/films/news/silence-release-date-us-uk-martin-scorsese-liam-neeson-oscars-2017-adam-driver-andrew-garfield-a7332221.html |date=December 1, 2016 }}". ''The Independent.'' September 27, 2016.</ref> When asked why he retained interest in a project dealing with strong theological themes for over 26 years, Scorsese said,<blockquote>As you get older, ideas go and come. Questions, answers, loss of the answer again and more questions, and this is what really interests me. Yes, the cinema and the people in my life and my family are most important, but ultimately as you get older, there's got to be more&nbsp;... ''Silence'' is just something that I'm drawn to in that way. It's been an obsession, it has to be done&nbsp;... it's a strong, wonderful true story, a thriller in a way, but it deals with those questions.<ref name="Emmett Furla">{{cite web|url=https://deadline.com/2013/04/martin-scorsese-to-make-noise-on-silence-at-cannes-emmettfurla-films-funding-the-film-479101 |title=Martin Scorsese to Make Noise on 'Silence' at Cannes; Emmett/Furla Funding The Film |website=Deadline Hollywood |date=April 19, 2013 |access-date=January 16, 2016 |url-status=dead |archive-url=https://web.archive.org/web/20160219231833/http://deadline.com/2013/04/martin-scorsese-to-make-noise-on-silence-at-cannes-emmettfurla-films-funding-the-film-479101/ |archive-date=February 19, 2016 }}</ref></blockquote>

===Political corruption===
More recently, his films have featured corrupt authority figures, such as policemen in ''The Departed''<ref>[https://www.boston.com/news/globe/editorial_opinion/oped/articles/2006/10/11/revisiting_southies_culture_of_death/ "Revisiting Southie's culture of death"] {{webarchive|url=https://web.archive.org/web/20090202061132/http://www.boston.com/news/globe/editorial_opinion/oped/articles/2006/10/11/revisiting_southies_culture_of_death/ |date=February 2, 2009 }}, Michael Patrick MacDonald, ''[[The Boston Globe]]'' (online), October 11, 2006</ref> and politicians in ''Gangs of New York''<ref>[http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20021220/REVIEWS/212200304/1023 "Gangs of New York Review"] {{webarchive|url=https://web.archive.org/web/20091023005939/http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=%2F20021220%2FREVIEWS%2F212200304%2F1023 |date=October 23, 2009 }}, [[Roger Ebert]], ''[[Chicago Sun-Times]]'' (online), December 20, 2002</ref> and ''The Aviator''.<ref>[https://www.newyorker.com/archive/2004/12/20/041220crci_cinema "High Rollers"] {{webarchive|url=https://web.archive.org/web/20080616114916/http://www.newyorker.com/archive/2004/12/20/041220crci_cinema |date=June 16, 2008 }}, David Denby, ''[[The New Yorker]]'' (online), December 20, 2004</ref> He is also known for his liberal usage of profanity, [[dark humor]], and violence.<ref>{{cite web |last=Swindle |first=David |date=October 9, 2006 |title=Martin Scorsese Retrospective |url=http://www.wthr.com/story/5515074/martin-scorsese-retrospective |url-status=dead |archive-url=https://web.archive.org/web/20160429090833/http://www.wthr.com/story/5515074/martin-scorsese-retrospective |archive-date=April 29, 2016 |access-date=February 26, 2016 |work=wthr.com}}</ref>

Scorsese's interest in political corruption as depicted in his films was expanded further in his 2019 film ''The Irishman''. [[Richard Brody]] writing for ''[[The New Yorker]]'' found the main interpretation of the film to be a dark allegory of a realist reading of American politics and American society stating:<blockquote> The real-life Hoffa... (was) a crucial player in both gangland politics and the actual practical politics of the day, and the movie's key through line is the inseparability of those two realms. ''The Irishman'' is a sociopolitical horror story that views much of modern American history as a continuous crime in motion, in which every level of society—from domestic life through local business through big business through national and international politics—is poisoned by graft and bribery, shady deals and dirty money, threats of violence and its gruesome enactment, and the hard-baked impunity that keeps the entire system running.<ref>"Watching ''The Irishman'' on Netflix Is the Best Way to See It." By Richard Brody. December 2, 2019. ''The New Yorker''. [https://www.newyorker.com/culture/the-front-row/watching-the-irishman-on-netflix-is-the-best-way-to-see-it] {{Webarchive|url=https://web.archive.org/web/20191203115510/https://www.newyorker.com/culture/the-front-row/watching-the-irishman-on-netflix-is-the-best-way-to-see-it|date=December 3, 2019}}.</ref></blockquote>

=== Frequent collaborators ===
{{Further|Martin Scorsese and Robert De Niro|Martin Scorsese and Leonardo DiCaprio}}
{{See also|List of film director and actor collaborations}}

Scorsese often casts the same actors in his projects, particularly Robert De Niro, who has collaborated with Scorsese on ten feature films and one short film. Included are the three films (''Taxi Driver'', ''Raging Bull'', and ''Goodfellas'') that made AFI's 100 Years&nbsp;... 100 Movies list. Scorsese has often said he thinks De Niro's best work under his direction was Rupert Pupkin in ''The King of Comedy''. After the turn of the century, Scorsese found a new muse with younger actor Leonardo DiCaprio, collaborating on six feature films and one short to date.<ref>{{cite web |url=http://movies.go.com/moviesproxy/tipster?id=922715 |title=Leo & Marty: Yes, Again! |publisher=Movies.go.com |access-date=March 3, 2010 |url-status=dead |archive-url=https://web.archive.org/web/20080401160435/http://movies.go.com/moviesproxy/tipster?id=922715 |archive-date=April 1, 2008}}</ref> Several critics have compared Scorsese's new partnership with DiCaprio with his previous one with De Niro.<ref>{{cite web |url=http://www.contactmusic.net/martin-scorsese/news/martin-scorsese-robert-de-niro-introduced-me-to-leonardo-dicaprio_6275540 |title=Scorsese Likens DiCaprio To De Niro |access-date=June 1, 2016 |archive-url=https://web.archive.org/web/20190502000140/http://www.contactmusic.net/martin-scorsese/news/martin-scorsese-robert-de-niro-introduced-me-to-leonardo-dicaprio_6275540 |archive-date=May 2, 2019 |url-status=dead }}</ref><ref>{{cite magazine |url=https://ew.com/article/2007/11/30/successful-hollywood-duos/ |title=Successful Hollywood Duos |magazine=[[Entertainment Weekly]] |date=November 30, 2007 |access-date=March 3, 2010 |url-status=live |archive-url=https://web.archive.org/web/20090703225354/http://www.ew.com/ew/article/0%2C%2C20164049%2C00.html |archive-date=July 3, 2009}}</ref> Frequent collaborators also include: [[Victor Argo]] (6), Harvey Keitel (6), [[Harry Northup]] (6), [[J. C. MacKenzie]] (5), Murray Moston (5), [[Illeana Douglas]] (4), Joe Pesci (4), [[Frank Vincent]] (3), [[Barry Primus]] (3), and [[Verna Bloom]] (3). Others who have appeared in multiple Scorsese projects include Daniel Day-Lewis, who had become very reclusive to the Hollywood scene, [[Alec Baldwin]], Willem Dafoe, Ben Kingsley, Jude Law, [[Dick Miller]], Liam Neeson, Emily Mortimer, [[Jesse Plemons]], [[John C. Reilly]], [[David Carradine]], Barbara Hershey, [[Kevin Corrigan]], [[Jake Hoffman (actor)|Jake Hoffman]], [[Frank Sivero]], [[Ray Winstone]] and [[Nick Nolte]]. Before their deaths, Scorsese's parents, Charles Scorsese and [[Catherine Scorsese]], appeared in bit parts, walk-ons or supporting roles, such as in ''Goodfellas''.<ref name="Casillo2006">{{cite book|chapter-url=https://books.google.com/books?id=H6FYOa4GLlUC&q=%22martin+scorsese%22+cappa&pg=PA3|chapter=The Immigrant Generations: ''Italianamerican''|title=Gangster Priest: The Italian American Cinema of Martin Scorsese|first=Robert|last=Casillo|publisher=University of Toronto Press|date=2006|isbn=9780802091130|access-date=January 21, 2020|archive-url=https://web.archive.org/web/20190514223323/https://books.google.com/books?id=H6FYOa4GLlUC&pg=PA3&lpg=PA3&dq=%22martin+scorsese%22+cappa&source=web&ots=XuM9FK0JmH&sig=y_dlnLLiNhkpzQDa1U1SITHmqNo|archive-date=May 14, 2019|url-status=live}}</ref>

For his crew, Scorsese frequently worked with editors [[Marcia Lucas]]<ref>{{Cite web|url=https://uproxx.com/hitfix/martin-scorsese-looks-at-the-changing-face-of-oscar-season-over-four-decades/|title=Martin Scorsese looks at the changing face of Oscar season over four decades|last=uproxx|date=February 25, 2014|website=UPROXX|access-date=December 24, 2019|archive-url=https://web.archive.org/web/20191224193801/https://uproxx.com/hitfix/martin-scorsese-looks-at-the-changing-face-of-oscar-season-over-four-decades/|archive-date=December 24, 2019|url-status=live}}</ref> and Thelma Schoonmaker,<ref>{{cite magazine |last=Labrecque |first=Jeff |title='Wolf of Wall Street's Thelma Schoonmaker on her historic partnership with Martin Scorsese |url=http://insidemovies.ew.com/2014/02/11/wolf-of-wall-street-dicaprio-scorsese-thelma-schoonmaker/ |magazine=[[Entertainment Weekly]] |date=February 11, 2014 |url-status=live |archive-url=https://web.archive.org/web/20140418234422/http://insidemovies.ew.com/2014/02/11/wolf-of-wall-street-dicaprio-scorsese-thelma-schoonmaker/ |archive-date=April 18, 2014}}</ref> cinematographers [[Michael Ballhaus]],<ref>{{cite web |last=Bosley |first=Rachael K. |url=http://www.theasc.com/magazine/jan03/native/index.html |title=Michael Ballhaus, ASC takes on Martin Scorsese's ''Gangs of New York'', a 19th-century tale of vengeance and valor set in the city's most notorious neighborhood |publisher=Theasc.com |access-date=March 3, 2010 |url-status=live |archive-url=https://web.archive.org/web/20101018023027/http://www.theasc.com/magazine/jan03/native/index.html |archive-date=October 18, 2010}}</ref> [[Robert Richardson (cinematographer)|Robert Richardson]], Michael Chapman and [[Rodrigo Prieto]], screenwriters Paul Schrader, Mardik Martin, Jay Cocks, Terrence Winter, [[John Logan (writer)|John Logan]] and [[Steven Zaillian]], costume designer [[Sandy Powell (costume designer)|Sandy Powell]], production designers [[Dante Ferretti]] and Bob Shaw, music producer [[Robbie Robertson]], and composers [[Howard Shore]]<ref>{{cite web |url=http://www.scorsesefilms.com/aviator.htm |title=The Aviator |publisher=Scorsese Films |access-date=March 3, 2010 |url-status=usurped |archive-url=https://web.archive.org/web/20100212233258/http://www.scorsesefilms.com/aviator.htm |archive-date=February 12, 2010}}</ref> and [[Elmer Bernstein]].<ref>{{cite web |last=Jeffries |first=Stuart |url=http://www.elmerbernstein.com/news/haynes_scorsese.html |title=Some You Win |publisher=Elmerbernstein.com |date=January 6, 2003 |access-date=March 3, 2010 |url-status=dead |archive-url=https://web.archive.org/web/20090721035752/http://www.elmerbernstein.com/news/haynes_scorsese.html |archive-date=July 21, 2009}}</ref> Schoonmaker, Richardson, Powell, and Ferretti have each won Academy Awards in their respective categories on collaborations with Scorsese. Elaine and [[Saul Bass]], the latter being Hitchcock's frequent title designer, designed the opening credits for ''Goodfellas'', ''The Age of Innocence'', ''Casino'' and ''Cape Fear''.