Martin Scorsese spent much of 2019 propagating a debate over whether or not comic book movies are cinema, with the legendary director planted firmly in the "no" camp. Ironically, Todd Phillips's box-office breaking Joker was executive produced by Marty, and there were even rumours that he had thought about directing it. But don't chalk those up as a win for the comic book camp, because Scorsese sounds completely indifferent toward the project.
The director is the subject of a new New York Times profile, where he discusses the highs and lows of his entire career, including his recent Netflix hit The Irishman.
When asked about Joker and the way it borrows so heavily from his own films The King of Comedy and Taxi Driver, Scorsese revealed that he hasn't even watched the movie. "I saw clips of it," he said. "I know it. So it's like, why do I need to [see it]? I get it. It's fine."
Elsewhere, Scorsese revealed that his 2004 film The Aviator was a breaking point for his relationship with big studios as he butted heads over the film's runtime.
"The last two weeks of editing and mixing The Aviator, I said if this is the way you have to make films then I'm not going to do it anymore," he said. "It's like being in a bunker and you're firing out in all directions. You begin to realize you're not speaking the same language anymore, so you can't make pictures anymore."
Read the full New York Times profile here.
The director is the subject of a new New York Times profile, where he discusses the highs and lows of his entire career, including his recent Netflix hit The Irishman.
When asked about Joker and the way it borrows so heavily from his own films The King of Comedy and Taxi Driver, Scorsese revealed that he hasn't even watched the movie. "I saw clips of it," he said. "I know it. So it's like, why do I need to [see it]? I get it. It's fine."
Elsewhere, Scorsese revealed that his 2004 film The Aviator was a breaking point for his relationship with big studios as he butted heads over the film's runtime.
"The last two weeks of editing and mixing The Aviator, I said if this is the way you have to make films then I'm not going to do it anymore," he said. "It's like being in a bunker and you're firing out in all directions. You begin to realize you're not speaking the same language anymore, so you can't make pictures anymore."
Read the full New York Times profile here.
