Desperate Redemption

A MARTIN SCORSESE FILM FESTIVAL FESTIVAL CATALOG

TABLE OF CONTENTS THE DIRECTOR

04

Martin Luciano Scorsese

06

An Interview with Marty

08

The Film Foundation

10

COLLABORATORS

12

Robert De Niro

14

Leonardo DiCaprio

16

Thelma Schoomaker

18

THE FILMS

20

Shutter Island

22

The Departed

26

Gangs of New York

30

Casino

34

Goodfellas

38

Taxi Driver

42

THE FESTIVAL

46

About the Film Festival

48

Schedule & Details

50

CITY OF NEW YORK

52

History of Tribeca, NY

54

Attractions & Hotels

56

02 TABLE OF CONTENTS

THE DIRECTOR

04 THE DIRECTOR

MARTIN LUCIANO SCORSESE Marty was born in 1942 in Queens, New York. He attended a Catholic High School in the Bronx and his passion for cinema began as a child going to the local movie theater with his parents. He studied at New York University and received a Master’s in Film Directing. He is known for rapid editing, long tracking shots, and close ups.

Starting with Mean Streets and then Taxi Driver, Marty established his close relationship with Robert De Niro. Scorsese directed New York, New York a musical about his hometown which failed at the box office and drove him into a state of depression and cocaine use. He then directed some documentaries but rebounded when Raging Bull was released. During the filming of Raging Bull, De Niro helped Scorsese kick his cocaine addiction.

The Color of Money was his first main stream film, which allowed him to find enough financial backing for his deeply religious project, The Last Temptation of Christ, a movie he had been trying to make since the 1970s. He then directed his two mood movies Goodfellas and Casino which are thought of as the best of his career. He filmed Kundun which confused his fans and had bad reviews which lead him to be banned from the country of Tibet.

FEATURE FILMS Shutter Island (2010) The Departed (2006) The Aviator (2004) Gangs of New York (2002) Bringing Out the Dead (1999) Kundun (1997) Casino (1995) The Age of Innocence (1993) Cape Fear (1991) Goodfellas (1990) The Last Temptation of Christ (1988) The Color of Money (1986) After Hours (1985) The King of Comedy (1983) Raging Bull (1980)

Gangs of New York was a film he had a personal passion for and was his first film with Leonardo DiCaprio, who is now labeled as Scorsese’s muse. Their collaboration has lasted a total of four feature films including, The Aviator, The Departed, and Shutter Island.

New York, New York (1977)

The Departed awarded him with his first Academy Award for Best Director as well as an Oscar for Best Director in 2006. He was voted 4th Best Film Director of all Time by Entertainment Weekly and was the only living member of the Top 5. He is the Honorary President of the Austrian Film Museum in Vienna.

Mean Streets (1973)

06 THE DIRECTOR

Taxi Driver (1976) Alice Doesn’t Live Here Anymore (1974) Boxcar Bertha (1972) Who’s That Knocking at My Door (1968)

AN INTERVIEW WITH MARTY “I think that the impulse is the same all the time it is to tell the story, or to share with an audience a story. I think it goes back to seeing things happen in daily life but also being part of a group listening to a person tell a story, just the story teller whether on a street corner or at the dinner table, in a church, I don’t know where but storytellers, some have a way of telling a story that grabs the audience and the audience is wrapped with attention. But the impulse is to record that and to share it with other people. I think one looks back at I guess the beginning of motion picture imagery whether that was on celluloid now its on video. But I think the first impulse is to record it, or interpret it, yanno. And in a funny way one who is to record it is a documentary and to interpret it is dramatic fiction. For me I guess I have not really seen the difference the emotional and psychological affect it has on the audience, I don’t see the difference between the two. I think its the same, I think yes one can say this is a documentary film as a non-fiction, etc. but that’s just the surface. I think in a way the line is blurred for me between the two. And I’m constantly going between that impulse to record something so that we can share it with others and other generations to come can learn from it or to interpret it and sometimes you do both.

Well I think this is the most important element of the moving image and that is to record history or at least to be a witness to history some how. For me I think I’m just fascinated by history and fascinated by diaries, from whether it goes back to the Middle Ages or the Renaissance or, 19 th century or 20 th century, because it records the daily life and how people really lived. It brings us in touch with those of the past and in order to learn the past, I mean its important for us to know the past in order for us to be able to form the future. I think we owe it to the generations to come, it’s the old story those who don’t know the past are doomed to repeat it in the future and maybe in a bad way.

See I grew up in that area, that was the five points that became the Little Italy and Chinatown. So I sorta grew up around that church in fact that cathedral, St. Patrick ’s Old Cathedral that was where I went to church. There’s something about the cobblestones, the walls, the nature of the buildings even though some of them were built around the turn of the century the backyard tenements there was something about that area that was just reeking with story. Not just the sanitized ones this was stuff that showed really how people lived and suffered and struggled, immigrants coming to New York and settling there and it was not a great place. People tend to romanticize it but what was nice was the sense of the neighborhood itself, where you have a tailor shop, you’ve got three groceries, you have a funeral parlor, you have a pork store, you have a fish store you have this sort of things and there was always a church.

08 THE DIRECTOR

DOCUMENTARIES Public Speaking (2010) A Letter to Elia (2010) Shine a Light (2008) No Direction Home: Bob Dylan (2005) Lady by the Sea: The Statue of Liberty (2004) The Blues (2003) The Concert for New York City (2001) My Voyage to Italy (1999) A Personal Journey with Martin Scorsese Through American Movies (1995) American Boy: A Profile of: Steve Prince (1978) The Last Waltz (1978) Italianamerican (1974) Street Scene (1970)

Two blocks away there were synagogues, there was the Jewish area right from the Bowery, 3 rd Avenue and 2 nd Avenue. Jewish and Italians were all mixed together it was quite something and Chinese. In the midst of all of that at that time it was the end of the gay 90s of the Bowery it was the end of it, I must say it wasn’t the best part of it, it was like skid row basically. And so growing up seeing all of that it was all compacted into 3 or 4 blocks and made you aware of a lot of different groups, ethnic groups, races and religions.

Documentary when I think of the very first films they were documentaries quote on quote right, I mean Lumiére brothers in France, photographed the daily life in a way, they photographed the train coming into the station, they photographed workers leaving a factory, Jean-Luc Godard said they were the last Impressionist in a way. But you look at that footage now and really time, the whole 100 years comes to life so that’s just the camera in one position photographing a daily activity so imagine now add the story to that or add an event.

I just think that I come from a time when the documentary and the narrative film were one. People were accepting the documentary particularly in the late 50s early 60s to late 60s as feature films to be shown in theaters. Alongside the latest film by Hitchcock at the time at the end of his career and there were other people coming out of Hollywood but around the corner you had Alan David’s Salesman playing at Cinema 1 and Fredrick Iseman’s Titicut Follies they were feature films you go to see on a Friday or Saturday or Sunday afternoon. So for me to relegate documentaries to a small screen or as a sub division I think is doing a disservice. Back in the early 50s and mid 50s my friends and I, we dreamed of going into a store and picking up a film the way you pick up a book. Could you imagine, you have a whole Theodore Driser here, Shakespeare there but imagine if you have A lmoly here, John Ford there, Robert Flaherty, Penny Baker. To be able to look at these films from time to time it changes the experience no doubt, you choosing to see a film at a certain time in your own home is very different from saying a film is being played in a theater for two days and you make the time to go see it. I think its better in a way. Yet I must say its a debatable situation because I saw some of the greatest films ever made I saw them first on T V, Citizen Cane with commercials, the Third Man with commercials, documentaries, things like this. So when I got to see them on a big screen it didn’t necessarily change, in fact it enhanced it but I would have loved to see those pictures on the big screen first there’s no doubt about it. When you can’t its not bad on the small screen.”

OTHER FILMOGRAPHY Boardwalk Empire (TV Series 2010) The Key to Reserva (Short 2007) Made in Milan (Short 1990) New York Stories (Segment 1989) Michael Jackson Music Video Bad (Short 1987) Amazing Stories- Mirror, Mirror (TV Series 1986) The Big Shave (Short 1968) It’s Not Just you, Murray!

(Short 1964) What’s a Nice Girl Like You Doing in a Place Like This?

(Short 1963) Vesuvius VI (Short 1959)

—Martin Scorsese at SILVERDOCS 2006 in Silver Spring, MD.

THE DIRECTOR 09

THE FILM FOUNDATION The Film Foundation is a nonprofit organization established in 1990 by Martin Scorsese, dedicated to protecting and preserving motion picture history by providing annual support for preservation and restoration projects at the leading film archives. Since its inception, the foundation has been instrumental in raising awareness of the urgent need for film preservation and has helped to save over 545 motion pictures.

In addition, the film foundation also creates innovative educational programs such as The Story of Movies, an interdisciplinary curriculum designed to teach students about the cultural, artistic, and historical significance of film.

The Film Foundation’s member archives propose projects annually, outlining and prioritizing the films that are in the most dire need. The foundation’s Board of Directors reviews the proposals and allocates funding to projects, weighing several factors including the physical condition and scarcity of the elements as well as the cultural and historical significance of the films.

10 THE DIRECTOR

The complexity and cost of a restoration varies widely according to the condition of the film, its length, and the unique technical specifications of the film. Generally, the cost of a black and white feature film with sound ranges from $50,000 –$100,000. For a color feature with sound, the costs can range from $80,000 to $150,000 to restore using traditional photochemical process, to several hundred thousand dollars for a 2K or 4K digital restoration. In both instances, whether photochemical or digital, new f ilm elements are created and archived to serve as the long-term preservation element.

Preservation and restoration is an ongoing process, films that were preserved 20 years ago must be upgraded to better f ilm stock, or to benef it from improvements in digital technology. As technology changes and improves, preservation is ongoing. And the cost of restoration, particularly, extensive digital restoration, is a challenge but then you see the magnificent results.

“ Movies touch our hearts, and awaken our vision, and change the way we see things. They take us to other places, they open doors and minds. Movies are the memories of our lifetime.

We need to keep them alive.”

—Martin Scorsese

COLLABORATORS

ROBERT DE NIRO THE BEST OF WHAT I’VE LEARNED If you don’t do it the right way now, it’ll never be what it should be— and it’s there forever.

It’s always the same old story— the fine line between the money and quality. Do we have to spend this for this? Well, yeah, because if we don’t...

If there’s a shortcut taken when you’re building a hotel, people are going to notice and feel cheated out of something.

It’s kind of like a movie: Cumulatively, all the shortcuts and cheats take away from the texture.

Sometimes if you have financial restraints, it’s a benefit.

It forces you to come up with a more creative way.

I just go to the theater. Nobody bothers me. I don’t even get recognized. I do it a certain way.

As long as you’ve got kids, there’s gonna be a problem.

I don’t know if I’ve been taught anything by my kids.

But things are revealed to me. They unfold. Now you’re a grand-father. And your kids are giving you advice.

I might laugh more now than when I was younger. I’m less judgmental.

I’ve kept my father’s studio for the last seven-teen years— since he passed away. I’ve kept it just about the way it was. At one point I was thinking of letting it go. Then I had a gathering of family and friends— you know, to see it for the final time.

Videotape it. But I realized it’s different in person than it is on video. It’s another experience. So I’ve held on to it.

Be brave, but not reckless.

Shows you how primitive things used to be: We had to set up a tripod to videotape Marlon’s scenes in the screening room at Paramount so I could study his movements. I played it on a little reel-to-reel.

Marlon and I never talked about our performances in The Godfather. What was he going to say? We knew each other.

I spent time on his island with him. But you don’t talk about acting. You talk about anything but acting. I guess the admiration is unspoken.

Reality is this moment.

It’s interesting when your kids give you advice. I had a conversation with my oldest son the other day. He was saying, “You should do this and this and this.” Not that I agreed with him on everything. But it was a good feeling.

Some people understand what it is to create something special, and others are thinking what they can get out of it.

Situations come up that you’ve been through and you can see where they’re gonna go.

You go through a lot of different phases in life. I used to have dessert all the time as a kid. Now I don’t eat dessert much. Except when I’m in special restaurants and I tell myself, Well, I’m here. I have to have the dessert.

Good advice can save you a little aggravation.

I just had my twins here, they’re fifteen. When I was a teenager, there were less restrictions than I put on my kids.

But I know those restrictions are important. Yet they have to have room. It’s a delicate balance. You say, I survived it.

How could they? And yet they do. With a little luck.

14 COLLABORATORS

I’m not going to read all the books I want to read.

Now is now. Then is then. And the future will be what the future will be. So enjoy the moment while you’re in it. Now is a great time.

— Esquire Magazine by Cal Fussman on December 14 th, 2010.

LEONARDO DICAPRIO MARTIN SCORSESE’S WORK

TWO CHARACTERS IN THE DEPARTED

Well, I’m a fan of his work, number one. The truth is I suppose, for me anyway, that it all started about wanting to work with him doing This Boy’s Life with Robert De Niro and getting sort of familiar with Robert De Niro’s work, and obviously that means Martin Scorsese’s work as well. I became a fan of his work at a very early age. If you asked me who I wanted to work with starting out in the business, it would have been this guy right here [pointing to Scorsese].

They’re two sides of the same coin, it’s true. They’re products of their environment. They make certain choices early on in their own lives that affect everything that goes on in the film.

I think the working experience was interesting because it was almost like we were shooting two entirely different films.

Of course they intersected at moments, but they were two different films and they were entirely completely different experiences. It was interesting to intersect the different pieces and Marty was the segue for that. ‘What was Matt doing in that scene and how does that affect me here?’ ‘Well, let’s rewrite the entire scene then, okay?’ But the moments that I did have with him, he’s an unbelievable actor, he really is. I enjoyed them. I think there’s a lot of really, really interesting characters in this film. That’s what I love about Mr. Scorsese’s work is that he not only gives the same appreciation to the entire film and the construct of the film, but he really lets the audience engage with every character. No matter how small they are, each character is fulfilling. I don’t know how I got on that tangent, but that’s the point I wanted to make.

I got fortunate enough to work with him on Gangs of New York in 2000 and I think just from there we, I don’t have an exciting term for it other than we have a good time working together and we have similar tastes as far as the films we like.

He certainly has broadened my spectrum as far as films that are out there in the history of cinema and the importance of cinema. It really brought me to different levels as an actor. I look at him as a mentor.

WORKING WITH JACK NICKOLSON You know, we’re all professional actors and we’re all playing roles, but for me playing this character of this guy that has to relay to the audience this constant 24-hour panic attack that I’m going through for my life, surrounded by people that would literally blow my head off if I gave them any indication of who I was, coupled with the fact that I’m sitting across the table from a homicidal maniac that will maybe light me on fire. It gives you, I don’t want to say as an actor a sense of fear, but as a character a whole new dynamic. It completely altered and shifted the scene in a completely different direction.

I think we all knew that if he came on board that he would have to sort of grab the reins with this character and let him be freeform. We all were completely ready for that every day that we walked up on the set. You know, he had a short run.

He filmed his scenes and then he left, but those were some of the most intense moments of the film for me, certainly. And as a human being, as a person, there were some memories that I will never forget.

GETTING TO KNOW BOSTON No matter where we grew up, we all experienced violence in one way or another in our lives. For me, it was about getting to meet some of the real guys from South Boston, and I got to spend time with a guy in Los Angeles who knew the streets and the tragedy of the streets. He told me about the tragedies of what was going on when he grew up and the gang violence and that sort of whole underworld, and that was not just to get acquainted with the accent. But it’s an entirely different place. I’d never spent any time in Boston and it was important for me to spend some time in Boston and hear the real stories and real accounts of what really went down, and meet some of the real characters.

—Leonardo DiCaprio Talks About The Departed by Rebecca Murray, About.com

COLLABORATORS 17

THELMA SCHOOMAKER BECOMING AN EDITOR

SCENE MOST PROUD OF

It was just by accident, I was born from American expatriates who just happened to be living in Paris, my father worked for an oil company so I grew up abroad and when I came back to the States I wanted to become a diplomat, but after I’d passed all the exams I was told I was too politically liberal to be happy in the foreign service. So I went to graduate school at Columbia University and then saw an ad in the New York Times for an editor, which never happens, but there it was. I answered it, because I loved watching old movies on television, and I took this job for a horrible hack who was butchering the great films of Godard and Truffaut for late-night television. It was awful, but I learned enough to know maybe I should pursue it, so I went to the NY U for a summer film course, met Scorsese and that was how I became a film editor.

Well, the beautiful fight sequences for which ‘Raging Bull’ won the editing Oscar were really Marty. I helped him pull it together, but he had designed them so beautifully. But there’s one scene that I had to work on for a long time because it was improvisation between De Niro and Joe Pesci, and Marty couldn’t get two cameras in the room because we were working in a small, very cramped location. So because he didn’t have two cameras, Pesci would go off on some wonderful improvisation and I wouldn’t have a reaction from De Niro, or De Niro would go off on a wonderful improvisation and I wouldn’t have the reaction from Pesci, so it took me a long time to put that together and make it work dramatically as a scene. But the whole f ilm for me is like my baby. It was a stunning piece of work, a complete and utter joy to work on, and I’m very proud of it.

THE SPECIAL RELATIONSHIP WITH SCORSESE

RAGING BULL’S GROWING REPUTATION

All of us, from the day we met him, could see he was going to be great. His student films were remarkable— he just had a grip on things much earlier than the rest of us. We were still learning, so we knew he was going to be good. An artist like that needs someone to support them and bring their vision to the screen, and I immediately worked extremely well with him in that we didn’t argue. I was on his team, learning from him constantly, and I was able to bear a lot of the load for him in the editing room, which is sometimes important for a director— organization and things like that. Marty was always a very gifted editor, but gradually what happened over the years is that I became more proficient and he began to rely on me more. But we’ve always had a collaborative relationship it’s never been ego-driven. And we’ve shared so much together— Woodstock, Michael Powell— that the relationship gets stronger and stronger as the years go by.

Because it’s so truthful, it’s burned into the screen. It was a very interesting point in Marty’s life, and he used that to drive the f ilm. We recently had the 25th Anniversary screening in New York, and the audience was riveted and the reaction after was just as strong as ever.

18 COLLABORATORS

THE FILMS SHUTTER ISLAND THE DEPARTED GANGS OF NEW YORK CASINO GOODFELLAS TAXI DRIVER

20 THE FILMS

SHUTTER ISLAND STARRING Leonardo DiCaprio as Teddy Daniels Ben Kingsley as Dr. John Cawley Mark Ruffalo as Chuck Aule

WRITERS Laeta Kalogridis (screenplay) Dennis Lehane (novel)

RELEASE YEAR February 19 th , 2010

22 THE FILMS

PRODUCERS Brad Fischer Mike Medavoy Arnold Messer Martin Scorsese

CO-PRODUCERS Joseph P Reidy Emma Tillinger Koskoff

EXECUTIVE PRODUCERS Chris Bringham Laeta Kalogridis Dennis Lehane Gianni Nunnari Louis Phillips

CINEMATOGRAPHY Robert Richardson

FILM EDITOR Thelma Schoonmaker

CASTING

OVERVIEW Set in 1954, an up-and-coming U.S. Marshal, Teddy Daniels, is assigned to investigate the disappearance of a patient from Boston’s Shutter Island Ashecliffe Hospital. Teddy has been pushing for an assignment on the island for personal reasons. But before long he wonders whether he hasn’t been brought there as part of a twisted plot by hospital doctors whose radical treatments range from unethical to illegal to downright sinister. Teddy’s shrewd investigating skills soon provide a promising lead, but the hospital refuses him access to records he suspects would break the case wide open. As a hurricane cuts off communication with the mainland, more dangerous criminals “escape” in the confusion, and the puzzling, improbable clues multiply, Teddy begins to doubt everything— his memory, his partner, even his own sanity.

REVIEW BY ROGER EBERT Scorsese, the craftsman chips away at reality piece by piece. Flashbacks suggest Teddy’s traumas in the decade since World War II. That war and aftermath, supplied the dark undercurrent of classic f ilm noir. The term post-traumatic shock syndrome was not then in use, but its symptoms could be seen in men attempting to look conf ident in their facades of unstyled suits, subdued ties, heavy smoking and fedoras pulled low against the rain. DiCaprio and Ruffalo both affect this look, but DiCaprio makes it seem more like a hopeful disguise.

AWARDS WON 2010 NBR Award for Best Production Design/ Art Direction, Dante Ferretti 2010 SDFCS Award for Best Production Design, Dante Ferretti 2010 Teen Choice Award Choice Movie Actor: Horror/Thriller Leonardo DiCaprio

Ellen Lewis

ART DIRECTION Max Biscoe Robert Guerra Christina Ann Wilson

FILM LOCATIONS Bar Harbor, ME, Sharon, MA, Boston, MA, Hull, MA, Medfield, MA, Taunton, MA, Ipswich, MA, Taunton, MA, Dedham, MA.

24 THE FILMS

TRIVIA The ball-point pen Teddy uses in the film is a Parker Jotter, it was released in 1954 (the year the film takes place) and was the first successful and reliable ball-point pen to hit the market, which quickly drove fountain pens into obsolescence. Over 3.5 million pens were sold that year and the Parker Jotter dominated the ball-point pen market during that decade.

Scenery from Peddocks Island (initial island approach), Acadia National Park in Maine, Medf ield State Hospital in Medf ield, M A, and the R ice Estate at Turner Hill Country Club in Ipswich, MA were combined via CGI to create the imagery of Shutter Island as a whole. The large mountainous area of the island seen during the ferry approach was added in post-production and does not exist, but the decaying brick buildings on the lowlands are real ruins from Peddocks Island.

You know, this place makes me wonder which would be worse— to live as a monster or to die as a good man?

THE DEPARTED STARRING Leonardo DiCaprio as Billy Costigan Matt Damon as Colin Sullivan Jack Nicholson as Frank Costello Mark Wahlberg as Staff Sgt. Dignam Martin Sheen as Captain Queenan Alec Baldwin as Captain Ellerby

WRITERS William Monahan (screenplay) Alan Mak & Felix Chong (2002 screenplay)

RELEASE YEAR October 6 th , 2006

26 THE FILMS

I know he’s gonna find out who I am and he’s gonna fucking kill me.

PRODUCERS Brad Grey Graham King Brad Pitt

CO-PRODUCERS Michael Aguilar Joseph P. Reidy Rick Schwartz

EXECUTIVE PRODUCERS G. Mac Brown Doug Davison Kristin Hahn Roy Lee Gianni Nunnari

ORIGINAL MUSIC Howard Shore

CINEMATOGRAPHY Michael Ballhaus

FILM EDITOR Thelma Schoonmaker

OVERVIEW In South Boston, the state police force is waging war on the Irish-American mafia.

The young undercover cop, Billy Costigan is assigned to go undercover and infiltrate the mob syndicate run by gangland chief Frank Costello. While Billy quickly gains Costello’s confidence, Colin Sullivan, a hardened young criminal who has infiltrated the state police as an informer for Costello, is rising to a position of power in the Special Investigation Unit. Each man becomes deeply consumed by his double life, gathering information about the plans and counter-plans of the operations he has penetrated. But when it becomes clear to both the mob and the police that there’s a rat in their midst, Billy and Colin are suddenly in danger of being caught and exposed to the enemy. The two race to uncover the identity of the other man, in time to save himself.

REVIEW BY ROGER EBERT The Departed is about two men trying to live public lives that are the radical opposites of their inner realities. Their attempts threaten to destroy them, either by implosion or fatal betrayal. The telling of their stories involves a moral labyrinth, in which good and evil wear each other’s masks.

AWARDS WON 2007 Oscar for Best Achievement in Directing, Martin Scorsese, Best Achievement in Editing, Thelma Schoomaker, Best Motion Picture of the Year, Graham King, Best Writing Adapted Screenplay, William Monahan.

2007 Eddie for Best Edited Feature Film Dramatic, Thelma Schoomaker 2007 Critics Choice Award Best Director, Martin Scorsese 2007 COFCA Award for Best Actor, Leonardo DiCaprio, Best Director, Martin Scorsese, Best Ensemble, Best Screenplay Adapted, William Monahan.

2007 Golden Globe Best Director, Martin Scorsese

CASTING Ellen Lewis

TRIVIA

Teresa Carriker-Thayer

Mark Wahlberg based his performance on the police officers who’d arrested him about two dozen times in his youth, and the reactions of his parents who had to come bail him out with their grocery money.

FILM LOCATIONS

This movie uses of the word fuck and its derivatives 237 times.

ART DIRECTION

Boston, MA, Brooklyn, NY, Charlestown, MA, Lynn, MA, New York, NY, Qincy, MA,

Matt Damon worked with a Massachusetts State Police unit out of Boston for research on his character. He accompanied them on routine patrols, participated in a drug raid and was taught proper police procedures.

Bronx, NY, White Plains, NY.

THE FILMS 29

GANGS OF NEW YORK STARRING Leonardo DiCaprio as Amsterdam Vallon Daniel Day-Lewis as Bill ‘The Butcher’ Cutting Cameron Diaz as Jenny Everdeane Jim Broadbent as William ‘Boss’ Tweed

WRITERS Jay Cocks (story & screenplay) Steven Zaillian (screenplay) Kenneth Longergan (screenplay)

RELEASE YEAR December 20 th , 2002

30 THE FILMS

PRODUCERS Alberto Grimaldi Harvey Weinstein

CO-PRODUCERS Laura Fattori Joseph P. Reidy

CO-EXECUTIVE PRODUCERS Graham King Rick Schwartz

EXECUTIVE PRODUCERS Maurizio Grimaldi

OVERVIEW Set in 1863, America was born in the streets. Amsterdam Vallon returning to the Five Points of America to seek vengeance against the psychotic gangland kingpin Bill the Butcher who murdered his father years ago. With an eager pickpocket by his side and a whole new army, Vallon fights his way to seek vengeance on the Butcher and restore peace to the area.

REVIEW BY ROGER EBERT Gangs of New York rips up the postcards of American history and reassembles them into a violent, blood-soaked story of our bare-knuckled past. The New York it portrays in the years between the 1840s and the Civil War is, as a character observes, “the forge of hell,” in which groups clear space by killing their rivals.

Competing fire brigades and police forces fight in the streets, audiences throw rotten fruit at an actor portraying Abraham Lincoln, blacks and Irish are chased by mobs, and Navy ships fire on the city as the poor riot against the draft.

Michael Hausman Barbara Phillips Marco Michael Ovitz Bob Weinstein Rick Yorn

ORIGINAL MUSIC Howard Shore

CINEMATOGRAPHY Michael Ballhaus

FILM EDITOR Thelma Schoonmaker

CASTING Ellen Lewis

ART DIRECTION Alessandro Alberti Maria-Teresa Barbasso Dimirtri Capuani

FILM LOCATIONS Rome, Italy, Queens, NY.

32 THE FILMS

AWARDS WON 2003 Eddie Award for Best Edited Feature Film Dramatic, Thelma Schoomaker 2003 BAFTA Film Award Best Performance by an Actor in a Leading Role, Daniel Day-Lewis 2003 Critics Choice Award Best Actor, Daniel Day-Lewis 2003 COFCA Award Best Actor, Daniel Day-Lewis 2003 CFCA Best Actor, Daniel Day-Lewis 2003 FFCC Award for Best Actor, Daniel Day-Lewis, Best Director, Martin Scorsese 2003 Golden Globe Best Director Motion Picture, Martin Scorsese, Best Original Song, Bono, The Edge, Adam Clayon & Larry Mullen Jr. 2003 KCFCC Award Best Actor, Daniel Day-Lewis 2003 Sierra Award Best Actor, Daniel Day-Lewis, Best Song U2, Best Supporting Actor, John C. Reily.

TRIVIA

Most of the gangs mentioned by name were real 19 th century New York gangs.

Bill “The Butcher” Cutting is based largely on real-life New York gang leader Bill Poole, who also was known as “The Butcher.”

Leonardo DiCaprio accidentally broke Daniel Day-Lewis’ nose while filming a fight scene. Day-Lewis continued to film the scene despite the injury.

Martin Scorsese hired “The Magician,” an Italian man famous for a 30-year career as a pickpocket, to teach Cameron Diaz about the art of picking pockets.

When you kill a king, you don’t stab him in the dark.

You kill him where the entire court can watch him die.

CASINO STARRING Robert De Niro as Sam ‘Ace’ Rothstein Sharon Stone as Ginger McKenna Joe Pesci as Nicky Santoro James Woods as Lester Diamon Frank Vincent as Frank Marino

WRITERS Nicholas Pileggi (screenplay) Martin Scorsese (screenplay)

RELEASE YEAR November 22 nd , 1995

34 THE FILMS

The longer they play, the more they lose, and in the end, we get it all.

PRODUCER Barbara De Fina

ASSOCIATE PRODUCER Joseph P. Reidy

CINEMATOGRAPHY Robert Richardson

FILM EDITOR Thelma Schoonmaker

CASTING Ellen Lewis

ART DIRECTION Jack G. Taylor Jr.

FILM LOCATIONS

OVERVIEW This film depicts Las Vegas as glittering and glamorous but also shows the cruel side. Ace Rothstein and Nicky Santoro, mobsters who move to Las Vegas to make their mark and who live and work in this paradoxical world. Seen through their eyes, each as a foil to the other, the details of mob involvement in the casinos of the 1970s are revealed. Ace is the smooth operator of the Tangiers casino, while Nicky is his boyhood friend and tough strongman, robbing and shaking down the locals. However, they each have a tragic f law— Ace falls in love with a hustler, Ginger, and Nicky falls into an ever-deepening spiral of drugs and violence. But in the end their gangster lifestyle’s catch up with them.

REVIEW BY ROGER EBERT Martin Scorsese’s fascinating new film Casino knows a lot about the Mafia’s relationship with Las Vegas. It’s based on a book by Nicholas Pileggi, who had full access to a man who once ran four casinos for the mob, and whose true story inspires the movie’s plot. The film makes us feel like eavesdroppers in a secret place. The movie opens with a car bombing, and the figure of Sam Ace Rothstein f loating through the air. The movie explains how such a thing came to happen to him. The first hour plays like a documentary; there’s a narration, by Rothstein and others, explaining how the mob skimmed millions out of the casinos.

Las Vegas, NV, Mojave Desert, CA, Hanford, CA, Henderson, NV, Sandy Valley, NV, Jean, NV, Overton, NV.

AWARDS WON 1996 Golden Globe Best Performance by an Actress in a Motion Picture Drama, Sharon Stone 1997 Silver Ribbon Best Dubbing, Gigi Proietti

TRIVIA The word fuck is said 422 times, including in the narration— 2.4 times per minute on average. The film also holds the Guinness world record for the most swearing.

The blackjack cheats were using a technique known as “spooking.” Nevada courts have mostly ruled it to be legal because it merely takes advantage of hold card information exposed by sloppy dealers.

To avoid the continuity problems that accompany a chain-smoking character, Robert De Niro always held his cigarettes the same distance from the lit end so that their lengths never appear to change.

Martin Scorsese hired actual parolees from that era as plot consultants, as well as various F.B.I. agents who had busted same parolees.

THE FILMS 37

GOODFELLAS STARRING Robert De Niro as Jimmy Conway Ray Liotta as Henry Hill Joe Pesci as Tommy DeVito Lorraine Bracco as Karen Hill Paul Sorvino as Paul Cicero Frank Sivero as Frankie Carbone Frank Vincent as Billy Batts

WRITERS Nicholas Pileggi & Martin Scorsese (screenplay) Nicholas Pileggi (book)

RELEASE YEAR September 19 th , 1990

38 THE FILMS

PRODUCER

OVERVIEW

Irwin Winkler

This film views the mob lives of three pivotal figures in the 1960s in New York.

Henry Hill is a local boy turned gangster in a neighborhood full of the roughest and toughest. Tommy Devito is a pure bred gangster, who turns out to be Henry’s best friend. Jimmy Conway puts the two of them together, and they run some of the biggest hijacks and burglaries the town has ever seen. After an extended jail sentence, Henry must sneak around the back of the local mob boss, Paulie Cicero, to live the life of luxury he has always dreamed of. In the end, the friends end up in a hell of a jam, and must do anything they can to save each other, and stay alive.

ASSOCIATE PRODUCER Bruce S. Pustin

EXECUTIVE PRODUCER Barbara De Fina

CINEMATOGRAPHY Michael Ballhaus

FILM EDITORS Thelma Schoonmaker James Y. Kwei

CASTING Ellen Lewis

ART DIRECTION Maher Ahmad

FILM LOCATIONS Queens, NY, New York, NY, Long Island, NY, Chicago, IL, Fort Lee, NJ, Hudson River, NY,

REVIEW BY ROGER EBERT A movie about the trade craft and culture of organized crime in New York, where there are rewards of unearned privilege. The story arc follows Henry’s movement up into the mob and then down into prison sentences and ultimate betrayal. At first the mob seems like an opening-up of his life, but later, after he starts selling drugs, there is a claustrophobic closing-in.

AWARDS WON 1991 Oscar for Best Actor in a Supporting Role, Joe Pesci 1991 BAFTA Film Award for Best Costume Design, Richard Bruno, Best Direction, Martin Scorsese, Best Editing, Thelma Schoomaker, Best Film Irwin Winkle & Martin Scorsese, Best Screenplay Adapted Nicholas Pileggi.

1991 BSFC Award Best Director, Martin Scorsese, Best Film.

1991 CFCA Award Best Director Martin Scorsese, Best Picture, Best Screenplay Nicholas Pileggi & Martin Scorsese, Best Supporting Actor Joe Pesci, Best Supporting Actress Lorraine Bracco.

1990 LAFCA Best Cinematography Michael Ballhaus, Best Director Martin Scorsese, Best Picture, Best Supporting Actor Joe Pesci, Best Supporting Actress Lorraine Bracco.

TRIVIA The word fuck is used 296 times, about half of them are said by Joe Pesci.

It was claimed that at the time the real life gangster Jimmy Burke was so happy to have Robert De Niro play him that he phoned him from prison to give him a few pointers. The associates of the actual people the film is based on were always on the set of the film, giving helpful and essential information about the life, people, settings and moods.

Director Martin Scorsese’s mother, Catherine Scorsese, plays Tommy’s mother.

She and the cast ad-libbed the dinner scene. Scorsese’s father, Charles Scorsese, plays the prisoner who puts too many onions in the tomato sauce.

40 THE FILMS

As far back as I can remember, I always wanted to be a gangster.

TAXI DRIVER STARRING Robert De Niro as Travis Bickle Jodie Foster as Iris Cybil Shepherd as Betsy Albert Brooks as Tom Peter Boyle as Wizard

WRITERS Paul Schrader (screenplay)

RELEASE YEAR February 8 th , 1976

42 THE FILMS

Now I see this clearly my whole life is pointed in one direction. There never has been a choice for me.

PRODUCERS Julia Phillips Michael Phillips

ASSOCIATE PRODUCER Phillip M. Goldfarb

ORIGINAL MUSIC Bernard Hermann

CINEMATOGRAPHY

OVERVIEW Travis Bickle is an ex-Marine and Vietnam War veteran living in New York City.

As he suffers from insomnia, he spends his time working as a cabbie at night, watching porn movies at seedy cinemas during the day, or thinking about how the world, New York in particular, has deteriorated into a cesspool. He’s a loner who has strong opinions about what is right and wrong with mankind. For Travis, the one bright spot in New York humanity is Betsy, a worker on the presidential nomination campaign of Senator Charles Palatine. Travis becomes obsessed with Betsy. After an incident with Betsy, Travis believes he has to do whatever he needs to make the world a better place in his opinion. One of his priorities is to be the savior for Iris, a twelve year old runaway and prostitute who he believes wants out of the profession and under the thumb of her pimp and lover Matthew.

Michael Chapman

FILM EDITORS Tom Rolf Melvin Shapiro

CASTING Juliet Taylor

ART DIRECTION Charles Rosen

FILM LOCATION New York, NY.

REVIEW BY ROGER EBERT Taxi Driver shouldn’t be taken as a New York film; it’s not about a city but about the weathers of a man’s soul, and out of all New York he selects just those elements that feed and reinforce his obsessions. The man is Travis Bickle composer of dutiful anniversary notes to his parents, taxi driver, and killer. The movie rarely strays very far from the personal, highly subjective way in which he sees the city and lets it wound him.

AWARDS WON 1977 BAFTA Film Award Best Supporting Actress Jodie Foster, Most Promising Newcomer to Leading Film Roles Jodie Foster.

1977 Palme d’Or Award Martin Scorsese 1977 Special David to Jodie Foster 1977 KCFCC Award Best Supporting Actress Jodie Foster 1976 LAFCA Award Best Actor Robert De Niro, Best Music Bernard Herrmann 1977 NYFCC Award Best Actor Robert De Niro 1977 WGA Award Best Drama Written for Screen Paul Schrader

TRIVIA Robert De Niro worked twelve hour days for a month driving cabs as preparation for this role. He also studied mental illness.

In this film, Jodie Foster plays a woman held captive by the villain, played by Harvey Keitel. Robert De Niro’s actions in this film provoked John Hinckley, who was obsessed with Foster, to try to get her attention by shooting President Ronald Reagan. The opportunity to reverse her role in this film, and also distance herself from Hinckley, is in part what inspired Foster to take the role of the heroine and rescuer in The Silence of the Lambs. Ironically, Harvey Keitel would play her future mentor in the prequel, Red Dragon.

THE FILMS 45

THE FESTIVAL

46 THE FESTIVAL

ABOUT THE FILM FESTIVAL Martin Scorsese has been making films since the 1960s. He had a shaky start but he has proven time and time again that he is one of the best directors of our time. He loves telling stories and shedding light on some stories we wouldn’t have otherwise read. This film festival includes six of Marty’s best films which have touched us all in a profound way. The festival pairs movies together on certain days to compliment story lines and bring your favorites together in one great weekend. The festival will also include the 70th Birthday Celebration of Marty and he wants everyone to be there. The festival highlights different activities for the movie goers including a Casino Night, Tour of Little Italy, Rolling Stones Performance, Sunday Mass, and the Birthday Celebration.

LOCATION

This is a once in a lifetime film festival because no other event such as this has been held before. All the stars will be coming to celebrate this genius in the film insdustry. The festival is held in New York because that is where Marty grew up, went to NYU for film directing, as well as the set for many of his films. Marty a native New Yorker who still holds an office there wants to celebrate his heritage and history by bringing you to his home town.

Films always start at 4pm

Tribeca Performing Arts Center 199 Chambers Street, New York, NY

DATES Friday– Sunday November 15– 17 th

TIME

WEBSITE desperateredemption.com

EMAIL info@desperateredemption.com

PHONE 212.220.1459

48 THE FESTIVAL

FRIDAY NOVEMBER 15TH 4pm Taxi Driver 630pm Shutter Island 9pm Cocktail Party 9:30pm Casino Night

SATURDAY NOVEMBER 16TH 2pm Tour of Little Italy 4pm Gangs of New York 715pm The Departed 10pm Dropkick Murphy’s 1030pm The Rolling Stones

50 THE FESTIVAL

COCKTAIL PARTY & CASINO NIGHT The two feature f ilms on Friday are Taxi Driver and Shutter Island these two movies show how a man is driven crazy by a woman or girl’s actions. Taxi Driver is a man on the fringe of society driven to free a young prostitute and Shutter Island is where a man goes crazy as the way to deal with the guilt of his wife’s actions.

After the conclusion of the two movies everyone is invited to join Marty and Robert De Niro at the Cocktail Party for drinks and appetizers. After a few drinks everyone is encouraged to gamble at the Casino Night a recreation of the Tangiers Casino from Scorsese’s movie Casino, all prof its will be donated to The Film Foundation. There will be all of your favorite casino games such as Texas Hold‘Em Poker, 5-card poker, Blackjack, Roulette, and Craps. Cocktail waitresses will be at your service all night and will be asking for your generous donations. The Film Foundation was started to preserve old movies and restore them to be viewed by generations in the future. The Film Foundation needs your help so enjoy cocktails and the re-creation of the Tangier Casino at Casino Night.

LITTLE ITALY & THE ROLLING STONES Saturday will start off with a walking tour of Manhattan’s Little Italy. This is the area that Martin Scorsese grew up in and where many Italians f irst settled when they came to America. The walking tour will be an hour and will introduce you to the history of the area, while walking by the historic f ive points, and highlight the most famous restaurants and hot spots. The tour will conclude at Cafe Napoli where you can enjoy some Coffee and Italian pastries, the best in New York. The films will begin at 4pm and you will be taken back to the historic view of the f ive points in the f ilm Gangs of New York. This films takes us through the life of a pick-pocket who wants to get revenge on his father’s killer. Through betrayal and trickery you are kept on the edge of your seat waiting for the moment he will get his revenge. The next film is another look into the life of gangs in Boston where two men are both undercover living a double life. The Departed is a suspenseful film where you are waiting for one man to uncover the other with a twist ending.

Featured in The Departed, the theme song by Dropkick Murphy’s will be performed following the film. This will be the opening band for The Rolling Stones who will be performing the hit Give Me Shelter which is featured in The Departed, Goodfellas, and Casino. This hour long performance by the band will excite you and a cocktail bar will be open for your enjoyment.

SUNDAY NOVEMBER 17TH 1245pm Sunday Mass 2pm Birthday Celebration 4pm Casino 730pm Goodfellas 10pm Closing Reception

SUNDAY MASS & 70TH BIRTHDAY The last day of the festival will start off with Sunday Mass held at Old St. Patrick’s Cathedral. This is the church featured in Gangs of New York and the church that Marty was an alter boy growing up in Little Italy. The hour long mass will help you purge your sins, this is a Catholic Mass so all of the lapsed Catholic including Marty should get to this special Mass. Following the Mass everyone is invited to come celebrate Marty’s 70th Birthday. All of Marty’s best friends will be at the event including Robert De Niro, Leonardo DiCaprio, and Joe Pesci. The Birthday celebration will include Italian food as well as a giant chocolate cake. The films featured on Sunday are the two mafia hits, Casino and Goodfellas. You will get up close and personal with these mobsters and feel like you are part of their crew.

Casino takes you into the mafia run Tangiers Casino in Las Vegas, where a life of excess is in store. The small taste of the mafia lifestyle will leave you wanting more and Goodfellas the ultimate mafia movie will fulfill your taste buds. Goodfellas takes you into the life of a New York mafia family who pull off some of the biggest heists in history. Following the two mafia films there will be a closing reception and the stars will be there to sign autographs and discuss their roles in the f ilms.

Make sure to bring you camera and whatever you want autographed so you can capture this once in a lifetime experience.

THE FESTIVAL 51

THE CITY OF NEW YORK

52 THE CITY OF NEW YORK

HISTORY OF TRIBECA, NY New York City is one of the busiest cities in the world. This metropolis is the perfect setting for a one of a kind festival such as this one. The island of Manhattan is one of the five boroughs of New York which includes The Bronx, Brooklyn, Queens and Staten Island. Manhattan is a major commercial and financial center of the United States and the world, anchored by Wall Street in Lower Manhattan home of the New York Stock Exchange and NASDAQ. Many of the leading television, communication, newspaper, and magazine companies are headquartered in Manhattan. The name Manhattan derives from the word Mannahata which was written in a logbook by Robert Juet in 1609. A map made in 1610 depicts the name as Mannahata and translated is means the island of many hills from the Lenape language.

The island was inhabited by the Lenape Indians in the 1500s.

In 1609 the Englishman Henry Hudson who worked for the Dutch East India Company mapped the area and traveled up the river now called the Hudson river. European settlers came to the island and built Fort Amsterdam which protected the new city. In 1664 the British conquered the settlement and named it New York. In the 1700s the rise of the Americans against the British and was one of the first capitals under the Constitution of the United States. In 1883 the Brooklyn Bridge was opened connecting Manhattan to Brooklyn over the East River. In 1904 New York saw the construction of the New York Cit y Subway and in the 1920s the Harlem Renaissance occurred as many African-Americans moved to New York from the South. In the 1930s some of the largest sky scrappers were built despite the Great Depression, these include the Empire State Building and the Chrysler Building.

Tribeca is one of the many neighborhoods in Manhattan and stands for Triangle below Canal Street. This neighborhood was one of the first residential neighborhoods developed in Colonial times but transformed into a commercial center with many stores and lofts in the 1850s. In the 1970s many artists were attracted to the area because of the commercial space and in the 80s the area saw another transformation to an upscale residential area. The Tribeca Open Artist Studio Tour was opened in 1996, the goal of this artist-run organization was to empower working artists and educate the public on the importance of art.

The Tribeca Film Festival established in 2002 by Robert De Niro and Jane Rosenthal, was founded to contribute to the long-term recovery of lower Manhattan after the 9/11 attacks and celebrates New York as a major f ilmmaking center. The World Trade Center is located only three blocks from the Tribeca Performing Arts Center. This film festival will be held in the same space as the Tribeca Film Festival and will pay tribute to Martin Scorsese who started his film career in the same area. Tribeca is a culturally rich area on the rise and will showcase this beautiful neighborhood.

THE CITY OF NEW YORK 55

ATTRACTIONS & HOTELS Tribeca is dominated by former industrial buildings which have been converted to lofts. The notable buildings include the neo-Renaissance Textile Building built in 1901, the Powell Building from 1892, a row of neo-Renaissance White Buildings built at the end of the Civil War in 1865, the New York Telephone Company building which is a Mayan-inspired Art Deco building. Tribeca includes many attractions such as the Holland Tunnel which connects New York to New Jersey.

Washington Market Park is popular with children because of its large playground and community gardens. The area is home to many schools such as the Metropolitan College of New York, New York Law School and the Borough of Manhattan Community College. The Hudson River Park runs through Tribeca which is the second largest park in the city.

If you are looking for a place to stay during the festival there are many different options. If you are looking to stay in the wonderful neighborhood of Tribeca here are some of the best hotels that we recommend.

Tribeca Grand Hotel 2 Avenue of the Americas 212.519.6600 tribecagrand.com Smyth TriBeCa 85 West Broadway 212.587.7000

The Tribeca Grand Hotel opened in May 2000 marked the arrival of the first New York luxury hotel in Tribeca, making the neighborhood a one-stop destination for the downtown Manhattan culture. Tribeca Grand is one of the finest downtown New York hotels, and is also located just a short distance from New York attractions such as Wall Street, Ground Zero, and Times Square. The area of Tribeca has become of the most fashionable and desired neighborhoods and is known for its celebrity residents, as you walk through this great area you may spot some notable stars such as Edward Burns, Jennifer Connelly, Daniel Craig, KiD CuDi, Robert De Niro, Leonardo DiCaprio, James Gandolfini, Heather Graham, Josh Hartnett, Jay-Z, Derek Jeter, Scarlet Johansson, Harvey Keitel, David Letterman, Adriana Lima, Gwyneth Paltrow, Jon Stewart, Meryl Streep, and Kate Winslet.

56 THE CITY OF NEW YORK

thompsonhotels.com Hilton Garden Inn Tribeca 6 York Street 212.966.4091 hiltongardeninn.com

DESIGNED & WRITTEN BY Christina Connolly christina.connolly29@yahoo.com 518.253.9788

SCHOOL Academy of Art University MFA Graphic Design

CLASS GR 612 Integrated Communications

INSTRUCTOR Hunter Wimmer

TYPEFACES Avenir & Garamond

PAPER Epson Premium Presentation Paper

PRINTED Epson Stylus Pro 3800

BOUND Christina Connolly