Ian Christie (1) (1945–)

The two editors gathered material from Scorsese's interviews over many years on individual films--up to and including Gangs of New York. If you've watched Mean Streets, Taxi Driver, Casino, etc., many times, as I have, it's all very interesting. I immediately watched Casino and Goodfellas to examine his choices anew. Next: Age of Innocence, probably my favorite.

There are even comments about his early student films, documentaries and Italian ads, which I haven't seen.

Then of course there is show more Scorsese's well-known deep knowledge and references to classic films from Italy and everywhere else. These are very much on display in this book because, whatever the question, he keeps coming back to the structure of a film, the shooting and lighting of individual scenes, editing and music. He has frequently gotten ideas, particularly for shots, from old films he has stored in his amazingly detailed memory. I guess my only complaint is that I wanted more! If I were an editor, I would cut out a lot of the remarks on those very early films in favor of more details about Cape Fear, Kundun, King of Comedy and Bringing out the Dead.

However, you won't get many clues about his views re performances or various actors' methods. And Scorsese never says anything bad about anyone--be it actors, studios or money men. Well, some hints about the of studio heads. But, really, not a shred of gossip. You can see why he is so loved and why he has survived. show less

If it wasn't for my presentation devoted to Wharton's "The Age of Innocence" and its movie adaptation, probably I'd never pick this book up.Thankfully, this book turn out to be not only a great source of information on the movie and the whole movie-making process but also a fascinating journey into Scorsese's mind.

excellent for what it is, but certainly not the last word on Scorsese's films and their impact on American culture as well as on movies themselves