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NICK NORTON THE CINEMA OF SCORSESE BLU-RAY BOX SET FORM INSPIRATION THE CINEMA OF SCORSESE BLU-RAY BOX SET

NICK NORTON | 330 861 8068 | nicknorton.design AESTHETIC INSPIRATION THE CINEMA OF SCORSESE BLU-RAY BOX SET

NICK NORTON | 330 861 8068 | nicknorton.design CATEGORIZATION INFOGRAPHIC THE CINEMA OF SCORSESE BLU-RAY BOX SET

Section Title & Year Visual Style Spot Color

MEAN STREETS 1973 THE SEVENTIES 1976

RAGING BULL 1980

THE EIGHTIES THE KING OF COMEDY 1982

AFTER HOURS 1985

GOODFELLAS 1990

THE NINETIES CASINO 1995

BRINGING OUT THE DEAD 1999

THE DEPARTED 2006

THE NEW MILLENIUM THE WOLF OF WALL STREET 2013

THE IRISHMAN 2019

NICK NORTON | 330 861 8068 | nicknorton.design RESEARCH & SKETCHES THE CINEMA OF SCORSESE BLU-RAY BOX SET

Project Overview Packaging Form Sketches

The Cinema of Scorsese is a packaging design project, a Blu-Ray box set of 11 To begin designing, prototype sketches were made in order to gain a general selected films from acclaimed director . The curated list was selected understanding of the layouts and design elements that would be required for from Scorsese’s entire career filmography, 25 narrative feature films distilled down the final package assembly. The final packaging consists of a booklet containing to the 11 films most representative Scorsese as a director, which display not only a wide a foldout section for each film featuring a brief overiew, technical credits, cast breadth of work, but a thematic congruence and evolving philosopohy of filmmaking list, technical specifications, chapter list, and blu-ray disc. Also included in the across a 52 year career. This is an essential set for any collector or film fanatic which booklet is an overview and foldout timeline of Scorsese’s career, as well as 4 demands a design solution that pays reverence not only to Scorsese’s career, but section breaks containing essays detailing key points in Scorsese’s career, all to each film’s own unique identity. custom designed and written specifically for this set. The booklet is housed within a a slipcase designed for on shelf display. The design process began with research. First came an assesment of modern trends in box set packaging design, with primary inspiration being taken from booklet style With technical aspects determined, the design phase proper could begin. It was box sets produced by . Next came a close viewing of each determined that the general organization and typographic style should remain selected film in order to identify stylistic parallels and the unique visual identity of consistent throughout. The typography of the piece was based upon title cards each film, as well as autogbiographical research which would be incorporated into essays and credits sequences used throughout Scorsese’s filmography which feature that make up the written content of the design. Films were categorized into sections, white sans-serif typography on a black background. A spot color was assigned seperated by era in order to give viewers an idea of the evolution of Scorsese’s approach to each film to be used in combination with movie stills in order to create a as a filmmaker and growth from a budding young director to a celebrated auteur visual distinction between films while retaining a sense of individuality, making over the span of 5 decades. each feel like a cohesive part of a larger whole.

Selected Filmography

WHO’S THAT KNOCKING AT MY DOOR (1967) (1986) THE AVIATOR (2004)

BOXCAR BERTHA (1972) THE LAST TEMPTATION OF CHRIST (1988) (2006)

MEAN STREETS (1973) (1990) SHUTTER ISLAND (2010)

ALICE DOESN’T LIVE HERE ANYMORE (1974) CAPE FEAR (1991) HUGO (2011)

TAXI DRIVER (1976) THE AGE OF INNOCENCE (1993) THE WOLF OF WALL STREET (2013)

NEW YORK, (1977) CASINO (1995) SILENCE (2016)

RAGING BULL (1980) (1997) (2019)

THE KING OF COMEDY (1982) (1999)

AFTER HOURS (1985) (2002)

NICK NORTON | 330 861 8068 | nicknorton.design TYPOGRAPHY THE CINEMA OF SCORSESE BLU-RAY BOX SET

Headline Style Explorations Final Headline & Body Copy

GOOD GOODFELLAS GOODFELLAS goodfellas A MARTIN SCORSESE PICTURE FELLAS GOODFELLAS

GOODFELLAS GOODFELLAS GOODFELLAS 1990 a martin scorsese pciture GOODFELLAS GOODFELLAS

Body Copy Style Explorations GOODFELLAS 1990 A MARTIN SCORSESE PICTURE

AS FAR BACK AS I CAN REMEMBER, I always wanted to be a . As far back as I can remember, I always wanted to be a gangster. AS FAR BACK AS I CAN REMEMBER, I always wanted to be a gangster. To me, being a gangster was better than being President of the . To me, being a gangster was better than being President of the United Even before I first wandered into the cabstand for an afterschool job I knew States. Even before I first wandered into the cabstand for an afterschool To me, being a gangster was better than being President of the United States. Even I wanted to be a part of them. job I knew I wanted to be a part of them. before I first wandered into the cabstand for an afterschool job I knew I wanted to be a part of them.

As far back as I can remember, I always wanted to be a gangster. To me, AS FAR BACK AS I CAN REMEMBER, I always wanted to be a gangster. being a gangster was better than being President of the United States. To me, being a gangster was better than being President of the United States. Even Even before I first wandered into the cabstand for an afterschool job before I first wandered into the cabstand for an afterschool job I knew I wanted I knew I wanted to be a part of them. to be a part of them.

AS FAR BACK AS I CAN REMEMBER, I always wanted to be a gangster. AS FAR BACK AS I CAN REMEMBER, I always wanted to be a gangster. To me, being a gangster was better than being President of the United States. Even To me, being a gangster was better than being President of the United States. Even before I first wandered into the cabstand for an afterschool job I knew I wanted before I first wandered into the cabstand for an afterschool job I knew I wanted to be a part of them. to be a part of them.

NICK NORTON | 330 861 8068 | nicknorton.design WORDMARK THE CINEMA OF SCORSESE BLU-RAY BOX SET

Wordmark Sketches Primary Wordmark

THE CINEMA OF SCORSESE

Secondary Wordmark

Wordmark Digital Explorations THE CINEMA OF

THE CINEMA OF THE CINEMA OF THE CINEMA OF THE CINEMA OF SCORSESE SCORSESE SCORSESE THE ESSENTIALS SCORSESE SCORSESE

NICK NORTON | 330 861 8068 | nicknorton.design COVER DESIGN THE CINEMA OF SCORSESE BLU-RAY BOX SET

Cover Design Explorations Final Slipcover Design

THE CINEMA OF THE CINEMA OF THE CINEMA OF MEAN STREETSMEAN 1973 STREETSMEAN 1973 STREETS 1973 TAXI DRIVERTAXI 1976 DRIVERTAXI 1976 DRIVER 1976 RAGING BULLRAGING 1980 BULLRAGING 1980 BULL 1980

THE CINEMA OF THE CINEMA OF THE CINEMA OF THE CINEMA OF SCORSESE SCORSESE THE KING THEOF COMEDY KING THEOF 1982 COMEDY KING OF 1982 COMEDY 1982 SCORSESE O THETHE CINEMATHE CINEMA CINEMA OF OF OF AFTER HOURSAFTER 1985 HOURSAFTER 1985 HOURS 1985

GOODFELLASGOODFELLAS 1990 GOODFELLAS 1990 1990 SCORSESE SCORSESE SCORSESE SCORSESESCORSESESCORSESE CASINO 1995CASINO 1995CASINO 1995 BRINGINGBRINGING OUT THE DEADBRINGING OUT THE 1999 DEAD OUT THE 1999 DEAD 1999 THE DEPARTEDTHE DEPARTED 2006THE DEPARTED 2006 2006 THE WOLFTHE OF WALL WOLF STREETTHE OF WALL WOLF 2013 STREET OF WALL 2013 STREET 2013 THE IRISHMANTHE IRISHMAN 2019THE IRISHMAN 2019 2019

THE CINEMA OF THE CINEMA OF THE CINEMA OF O Final Book Cover Design SCORSESE SCORSESE SCORSESE

THE CINEMA OF MEAN STREETS 1973

EEE EET F TAXI DRIVER 1976 RAGING BULL 1980 THE KING OF COMEDY 1982 THETHE CINEMA CINEMA OF OF AFTER HOURS 1985

GOODFELLAS 1990 SCORSESE THE CINEMA OF THE CINEMA OF SCORSESE CASINO 1995 THE CINEMA OF O SCORSESE SCORSESE SCORSESE BRINGING OUT THE DEAD 1999 THE DEPARTED 2006 THE CINEMA OF THE WOLF OF WALL STREET 2013 SCORSESE THE IRISHMAN 2019 EEE EET F

NICK NORTON | 330 861 8068 | nicknorton.design DISCS THE CINEMA OF SCORSESE BLU-RAY BOX SET

Design Explorations

THE CINEMA OF MEAN STREETS MEAN STREETS SCORSESE MEAN STREETS MEAN STREETS

THE CINEMA OF MEAN STREETS MEAN STREETS MEAN STREETS SCORSESE

MEAN STREETS THE CINEMA OF SCORSESE

Final Design

THE CINEMA OF THE CINEMA OF THE CINEMA OF THE CINEMA OF THE CINEMA OF SCORSESE TAXI DRIVER SCORSESE RAGING BULL SCORSESE THE KING OF COMEDY SCORSESE AFTER HOURS SCORSESE GOODFELLAS

THE CINEMA OF SCORSESE MEAN STREETS

THE CINEMA OF THE CINEMA OF THE CINEMA OF THE CINEMA OF THE CINEMA OF SCORSESE CASINO SCORSESE BRINGING OUT THE DEAD SCORSESE THE DEPARTED SCORSESE THE WOLF OF WALL STREET SCORSESE THE IRISHMAN

NICK NORTON | 330 861 8068 | nicknorton.design INTERIOR SPREADS THE CINEMA OF SCORSESE BLU-RAY BOX SET

Interior Spread Sketches

Final Interior Spread Design

SCREENPLAY BY CHAPTERS A MARTIN SCORSESE PICTURE CINEMATOGRAPHY BY MICHAEL CHAPMAN TAXI DRIVER 1976 Opening Titles 1 EDITED BY , , MELVIN SHAPIRO Job Application 2

A Real Rain 3

Dirty Movie Theater 4 WIDESPREAD ATTENTION was garnered by Scorsese for his efforts on Taxi Driver. CAST Previously, his work had been generally overlooked despite positive critical reception, Enter Betsy 5 but Taxi Driver was a different story. Early critical buzz came when the film was awarded First Date 6

the Palme d'Or, the highest honor at the , a momentum that would IRIS Charles Palantine 7 carry on into the general awards season and recieve Oscar nominations for both Robert BETSY Twenty Dollars 8 De Niro and Jodie Foster's performances as well as for its soundtrack, a nomination for Second Date 9 best picture, and numerous other awards. TOM A Sick Passenger 10 SPORT / MATTHEW On top of critical praise, Taxi Driver was Scorsese's most succesful film financially to Cry for Help 11 that point, earning over 28 million dollars at the box office. The film was able to capture Leonard Harris CHARLES PALANTINE Buying Guns 12 the cultural zeitgeist, attributed primarily to De Niro's depiction of a confused and lonely WIZARD Getting in Shape 13 Vietnam vet, isolated by society, teetering on the brink of insanity, and ready to explode DOUGHBOY Sleeve Gun 14 at any moment. While sex and violence was no strange concept in film in the 70s, Taxi Driver pushed the envelope by providing a shockingly realistic portrayal of mental illness Martin Scorsese SICK PASSENGER You Talkin to Me 15 that is arguably even more relevant in today's cultural climate of mass shootings and Meeting Iris 16

public hysteria. Palantine's Speech 17

1976 Shootout 18 The cultural impact of Taxi Driver is undeniable. It defined a modern film archetype, the 114 MINUTES COLOR unhinged protagonist who's arc is a downward spiral, ever present in modern films such DOLBY SR Epilogue 19 ENGLISH as Nightcrawler, and both notable in their own right TAXI DRIVER 1976 1.85:1 ASPECT RATIO End Credits 20

NICK NORTON | 330 861 8068 | nicknorton.design PAGINATION THE CINEMA OF SCORSESE BLU-RAY BOX SET

SCREENPLAY BY MARTIN SCORSESE & CHAPTERS A MARTIN SCORSESE PICTURE CINEMATOGRAPHY BY KEN L. WAKEFORD THE CINEMA OF AFTER HOURS 1985 CASINO 1995 THE SEVENTIES MEAN STREETS 1973 The Streets 1 EDITED BY SIDNEY LEVIN Opening Titles 2

Tony & Michael 3

SCORSESE RAGING BULL 1980 Johnny Boy 4 SCORSESE'S FIRST FEATURE was released in 1967, a sort of Frankenstein of a film, AN EARLY ACIEVEMENT in Scorsese's extensive career was the release of his 1973 film CAST THE DEPARTED 2013 THE IRISHMAN 2019 The Pain of Hell 5 Who's That Knocking at My Door was shot on and off over the course of several years, Mean Streets. His fourth feature film, Mean Streets was received somewhat modestly Harvey Keitel CHARLIE MEAN STREETS 1973 altered for studio approval, and jerry rigged together into a final cut. It wasn't until at the time of its initial release but today is regarded as an invaluably influential piece Tell Me 6 1973, after the general failure of his first two projects that Scorsese came into his of filmmaking, even being cited by as the primary inspiration for his Robert De Niro JOHNNY BOY Penance 7 COLLECTED WORKS CAPE FEAR 1991 own with Mean Streets, a slice of life style film dedicated to the day to day life of low own breakout film Pulp Ficiton. David Proval TONY Giovanni 1972 ALICE DOESN'T LIVE HERE ANYMORE 1974 THE COLOR OF MONEY 1986 KUNDUN 1997 THE AVIATOR 2004 SHUTTER ISLAND 2010 8 level mafiosos. The film contained a level of introspection not present in previous films, 1970S 1980S 1990S 2000S Though not Scorsese's first film, Mean Streets is commonly cited as a career landmark. Amy Robinson TERESA Firecrackers 9 drawing from Scorsese's own life experiences and Italian American culture to create MEAN STREETS RAGING BULL GOODFELLAS THE DEPARTED 1965 2020 Mean Streets sees the start of Scorsese's ongoing collaboration with actor Robert De Niro, Mooks 10 a film that was both deeply personal and widely relatable. Richard Romanus MICHAEL TAXI DRIVER THE KING OF COMEDY CASINO THE WOLF OF WALL STREET as well as the examination of themes that would eventually be regarded as staples for Big 11 WHO'S THAT KNOCKING ON MY DOOR 1967 NEW YORK, NEW YORK 1977 THE LAST TEMPTATION OF CHRIST 1988 THE AGE OF INNOCENCE 1993 GANGS OF NEW YORK 2002 HUGO 2011 SILENCE 2016 Cesare Danova GIOVANNI AFTER HOURS BRINGING OUT THE DEAD THE IRISHMAN Scorsese's career continued with his next film Alice Doesn't Live Here Anymore, a the filmmaker including the thematic exploration of isolation, damaged masculinity, Bathroom Hit 12 moderate success, but it wasn't until his fifth feature Taxi Driver that Scorsese would the human capacity for violence, and complex internal struggles of morality. The film George Memmoli JOEY Teresa 13 TAXI DRIVER 1976 be skyrocketed into international acclaim and success. The film made Martin Scorsese is based heavily upon personal experiences of Scorses's own upbringing in New York's Martin Scorsese JIMMY SHORTS Francis of Assisi 14 a household name, elevating him to a status among the great directors of the seventies, Little Italy, and focuses on the personal conflicts and day to day life of small time Few filmmakers, since the inception of video recording technology, can claim the level DRUNK Rubber Biscuit THE WOLF OF WALL STREET 2013 in competition and cooperation with the likes of Steven Speilberg, , criminals in an honest and unconcerned portrait of the mafioso lifestyle. 15 of influence as director Martin Scorsese. With 25 films to date, Scorsese has made his , and George Lucas. Scorsese was certainly at home among the Hangover 16 mark not only on the world of filmmaking, but on popular culture the world over, his style THE KING OF COMEDY 1982 Mean Streets in many ways was a proving ground for Scorsese, a chance to demonstrate group of young directors, who challenged the standards and established conventions Target Practice 17 and inspiration felt in the work of his predecessors and colleagues alike. In the realm of his filmmaking capabilities: despite a frenzied and difficult production and a minimal of film and sought to elevate the medium to new heights. Though The Seventies were 1972 Graveyard 18 style, Scorsese is second to none, being cited as a major career inspiration for legendary budget of $500,00 Scorsese was able to thrive, pioneering techniques in handheld 112 MINUTES not where Scorsese began his career, the decade served as an important era COLOR directors like Quentin Tarantino, Paul Thomas Anderson, and Bong Joon Ho. This GOODFELLAS 1990 BRINGING OUT THE DEAD 1999 cinematography which are still utilized today by emerging filmmakers and seasoned MONAURAL One Last Chance 19 of exploration for Scorsese and saw him begin find his voice as a filmmaker... ENGLISH set includes eleven career landmarks, films which define a career that is unmatched. MEAN STREETS 1973 veterans alike. 1.85:1 ASPECT RATIO End Credits 20

SCREENPLAY BY PAUL SCHRADER CHAPTERS SCREENPLAY BY PAUL SCHRADER & MARDIK MARTIN CHAPTERS A MARTIN SCORSESE PICTURE CINEMATOGRAPHY BY MICHAEL CHAPMAN A MARTIN SCORSESE PICTURE CINEMATOGRAPHY BY MICHAEL CHAPMAN TAXI DRIVER 1976 Opening Titles 1 THE EIGHTIES RAGING BULL 1980 Opening Titles 1 EDITED BY MARCIA LUCAS, TOM ROLF, MELVIN SHAPIRO EDITED BY Job Application 2 , 1964 2

A Real Rain 3 Jimmy Reeves Fight 3

Dirty Movie Theater 4 Cooking Steak 4 WIDESPREAD ATTENTION was garnered by Scorsese for his efforts on Taxi Driver. CAST SCORSESE'S MOMENTUM that had been gathered throughout the Seventies built REIMAGINING A GENRE is a task too daunting for even the most confident of filmmakers, CAST Enter Betsy 5 Salvy Batts 5 Previously, his work had been generally overlooked despite positive critical reception, to a climax with the release of Raging Bull in 1980. Despite a mixed initial response from however, with Raging Bull Scorsese sought to do just this. Only four years prior Robert De Niro TRAVIS BICKLE Robert De Niro JAKE LAMOTTA but Taxi Driver was a different story. Early critical buzz came when the film was awarded First Date 6 critics, the film would go on to be considered classic, a tour de force in filmmaking from took the world by storm, setting the benchmark for movies centered around professional Meeting Vickie 6 the Palme d'Or, the highest honor at the Cannes film festival, a momentum that would Jodie Foster IRIS Charles Palantine 7 its carefully crafted cinematography to its unrivaled pace in editing. This was the second boxing and putting definition to the sport, interweaving it with values of honor and JOEY LAMOTTA The Wedding 7 carry on into the general awards season and recieve Oscar nominations for both Robert Cybill Shepherd BETSY Twenty Dollars 8 collaboration and first of 22 consecutive feature collaborations to date with editor perseverance in the eyes of the viewing public. With Raging Bull Scorsese took those Cathy Moriarty VICKIE LAMOTTA Homecoming 8 De Niro and Jodie Foster's performances as well as for its soundtrack, a nomination for Thelma Schoonmaker, who's editing style is now synonymous with Scorsese's work. established notions of and flipped the whole thing on its head. Where Rocky is the Albert Brooks TOM Second Date 9 Nicholas Colasanto TOMMY COMO Beating Sugar Ray 9 best picture, and numerous other awards. inspirational story of a down on his luck boxer who overcomes the odds and triumphs, A Sick Passenger 10 The future of Scorsese's career seemed uncertain in the early Eighties. His next film Jake & Vickie 10 Harvey Keitel SPORT / MATTHEW Raging Bull is the story of a fall from grace, a champion who is unable to overcome his Theresa Saldana LENORA LAMOTTA On top of critical praise, Taxi Driver was Scorsese's most succesful film financially to Cry for Help 11 The King of Comedy was largely misunderstood by critics; a dark comedy that sought Sugar Ray Wins 11 own violent and selfish nature and suffers for it. that point, earning over 28 million dollars at the box office. The film was able to capture Leonard Harris CHARLES PALANTINE to explore the discomfort and awkwardness of fame and obsession it challenged the Frank Vincent SALVY BATTS Buying Guns 12 Heart to Heart 12 the cultural zeitgeist, attributed primarily to De Niro's depiction of a confused and lonely status quo of films released at the time, but in a way that audiences were much less Raging Bull is rendered in the same vision as his previous films, taking the themes Peter Boyle WIZARD Getting in Shape 13 Lori Anne Flax IRMA LAMOTTA LaMotta vs Janiro 13 Vietnam vet, isolated by society, teetering on the brink of insanity, and ready to explode receptive to at the time. of isolation and damaged masculinity previously utilized in both Mean Streets and Harry Northup DOUGHBOY Sleeve Gun 14 Coley Wallace JOE LOUIS Domestic Spat 14 at any moment. While sex and violence was no strange concept in film in the 70s, Taxi Taxi Driver and applies it to the framework of a bipoic based around the life of troubled Scorsese spent much of the Eighties working on off-kilter, low budget passions projects Driver pushed the envelope by providing a shockingly realistic portrayal of mental illness Martin Scorsese SICK PASSENGER You Talkin to Me 15 boxing champion Jake LaMotta. This is Scorsese's first foray into non-fiction and Scorsese Johnny Barnes LaMotta vs Cerdan 15 such as 1985's After Hours, his most comedic and impersonal outing. The film is that is arguably even more relevant in today's cultural climate of mass shootings and Meeting Iris 16 himself had little interest in boxing, but was attracted to the , penned by Questioning 16 archetypical Eighties Scorsese, a blatant challenge to established ideas about his filmmaking public hysteria. Palantine's Speech 17 former collaborators Paul Schrader and Mardik Martin because of the emotional and Things Fall Apart 17 style and career trajectory. Further releases throughout the decade like The Color of 1976 Shootout 18 thematic content, gravitating more toward the tumultuous personal life of the main 1980 Jake Loses 18 The cultural impact of Taxi Driver is undeniable. It defined a modern film archetype, the 114 MINUTES Money and The Last Temptation of Christ would garner acclaim and fair returns, but 129 MINUTES COLOR character, allowing boxing scenes to function as a visual representation of the character's BLACK & WHITE unhinged protagonist who's arc is a downward spiral, ever present in modern films such DOLBY SR Epilogue 19 it wouldn't be until the following decade that Scorsese would be able to truly capture DOLBY STEREO Afterlife 19 ENGLISH inner turmoil rather than an overtly realistic or technical depiction. ENGLISH as Nightcrawler, and First Reformed both notable in their own right TAXI DRIVER 1976 1.85:1 ASPECT RATIO End Credits 20 the cultural zeitgeist again... RAGING BULL 1980 1.85:1 ASPECT RATIO End Credits 20 THE KING OF COMEDY 1982

SCREENPLAY BY PAUL D. ZIMMERMAN CHAPTERS SCREENPLAY BY JOSEPH MINION CHAPTERS SCREENPLAY BY NICHOLAS PILEGGI & MARTIN SCORSESE CHAPTERS A MARTIN SCORSESE PICTURE CINEMATOGRAPHY BY FRED SCHULER A MARTIN SCORSESE PICTURE CINEMATOGRAPHY BY A MARTIN SCORSESE PICTURE CINEMATOGRAPHY BY MICHAEL BALLHAUS THE KING OF COMEDY 1982 Outside the Show 1 AFTER HOURS 1985 Opening Titles 1 THE NINETIES GOODFELLAS 1990 Late Night Drive 1 EDITED BY THELMA SCHOONMAKER EDITED BY THELMA SCHOONMAKER EDITED BY THELMA SCHOONMAKER Opening Titles 2 Data Entry 2 Opening Titles 2

Cab Ride with Jerry 3 Meeting Marcy 3 The Cab Stand 3

Fantastical Musings 4 Phone Call 4 The Irishman 4 TREMENDOUSLY MISUNDERSTOOD at the time of its release, viewing audiences CAST A SIGNIFICANT DEPARTURE from Scorsese's previous work, After Hours is Scorsese CAST A CAREER DEFINING DECADE, The Nineties saw Scorsese elevated from his status SCORSESE'S MASTERPIECE is a title that could be applied to many of the director's CAST Romancing Rital Crazy Cab Ride Henry Grows Up expected a picture more in line with the sensibilities of Taxi Dirver or Raging Bull. Scorsese 5 at his most comedy adjacent. To define After Hours purely as a comedy would be an 5 as an acclaimed filmmaker to a place in contention for the title of greatest director works; he is one of the most accomplished directors of all time, and his wide body of 5 Robert De Niro RUPERT PUPKIN Griffin Dunne PAUL HACKETT Ray Liotta HENRY HILL however intended to build thematically upon what he'd already explord through Taxi Driver, An Appointment 6 oversimplification of genre. Though After Hours does feature a more comedic tone than Sculptures 6 of all time. In 1990 the release of Goodfellas made waves; it was a film unlike any of its work has more than a few films of note, however, if any single film would be considered Funny How 6 implying a far subtler approach to the downward spiral of his protagonist. Where Taxi Driver JERRY LANGFORD Fighting with Masha 7 any of Scorsese's other films, it is comedy used as a means to convey many of the same Rosanna Arquette MARCY FRANKLIN Awkward Situations 7 predecessors, combining every lesson of filmmaking learned through a 23 year long Scorsese's mangum opus it would certainly be Goodfellas. Robert De Niro JIMMY CONWAY Light a Match 7 career in directing. The film was immediately lauded as a masterpiece, a benchmark looks most directly at the immediate danger posed by someone pushed to the edge by Audition Tape 8 themes featured in more serious works like Mean Streets or Taxi Driver, such as damaged Verna Bloom JUNE Columbian Pot 8 Joe Pesci TOMMY DEVITO Shinebox 8 Sandra Bernhard MASHA Goodfellas is Scorsese's twelfth film, the result of twenty three years of filmmaking, society, The King of Comedy examines the social discomfort presented by a man who's life masculinity and a cruel fatalistic outlook. Its the same idea, here played for laughs rather for filmmaking that many would try to reach, always met with inevitable failure. RITA KEENE Waiting Game 9 Tommy Chong PEPE Paul Dips Out 9 refining and honing his craft to create what is considered by many to be a perfect film. Lorraine Bracco KAREN HILL A Quick Stop 9 exists mostly in his own fantastical musings. than dramatic tension. Stuck with It 10 Trying the Subway 10 Five years later, Scorsese would do it again, this time with his hit Casino. The film was In Goodfellas Scorsese combines the lessons of the eleven previous films from his canon, Relocating the Body 10 Shelley Hack CATHY LONG Linda Fiorentino KIKI BRIDGES Paul Sorvino PAUL CICERO The lack of violence or real threat of violence came as a shock from Scorsese, who had Absolutely Honesy 11 After the tremendous commercial failure of The King of Comedy, Scorsese was burnt out At the Bar 11 an immediate success, and though it wasn't met with quite the critical adoration as carefully assembling every frame, cut, and music cue to create a vibrant, fast paced story Trip to Tampa 11 Teri Garr JULIE Frank Sivero FRANKIE CARBONE established himself as a filmmaker defined by a characteristic focus on violence in human Frederick De Cordova BERT THOMAS creatively, frustrated with the widespread misunderstanding of the film, and struggling Scorsese's previous mob biopic, it was a tremendous financial success, and cemented of triumph and failure as we follow the true story of protagonist Henry Hill through his Kicked Out 12 Broken Register 12 Getting Pinched 12 nature. The film was also notably more comedic tone than his previous work which had to secure financing. He decided rather than immediately dive back into the thematically John Heard TOM SCHORR Scorsese as a master of the cinematic epic. rise and fall in the New York mafia, brilliantly highlighted by Scorsese's meticulous eye for Tony Darrow SONNY BUNZ Edgar Scherick WILSON CROCKETT Visiting Jerry 13 The Apology 13 Dinner in Prison 13 for the most part been rather serious, often being designated as a black comedy rather than darker, more dramatic films he'd become known for that he would create a lower budget, detail and period accuracy in costuming, set design, and soundtrack. Kim Chan JONNO Kidnapping 14 Cheech Marin NEIL Paul Dips Again 14 As the decade drew to a close, Scorsese was now widely regarded as one of the most Frank Vincent BILLY BATTS The Lufthansa Heist 14 a straightforward drama like Taxi Driver or Raging Bull. The film represents a stylistic shift lower stakes film as a sort of palette cleanser after the disappointment that he had faced beloved filmmakers of his generation. Even his once misunderstood flops were open Goodfellas was an immediate and outstanding triumph, elevating Scorsese from his for Scorsese, that he would tap into throughout the 80s and 90s, particularly with After Hours Catherine Scorsese RUPERT'S MOM Phone Call Ransom 15 with the reception of his previous film. Catherine O'Hara GAIL Bad News 15 Chuck Low MORRIS KESSLER Dealing with Stacks 15 for reconsideration, and films like The King of Comedy and After Hours were counted status as an acclaimed filmmaker to one of the all time greats. The film was nominated and Bringing Out the Dead. Wholesome Act 16 Running Away 16 The Coverup 16 After Hours, like many of Scorsese's films, was not immediately recognized critically, among his masterworks. With the favor of the public and major studios, Scorsese had for six accademy award, and was awarded one for Joe Pesci's portrayal of the unhinged Taped Up 17 Mohawk Night 17 May 11, 1980 17 Despite lukewarm critical reception and commercial failure, The King of Comedy has gone despite a modest success at the box office. Just as many previous films like Mean Streets free reign to pursue any project he saw fit, and in 1999 released Bringing Out The Dead gangster Tommy DeVito. The film was only a mild success at the box office despite rave 1982 Rupert's Act 18 1985 Ice Cream Truck 18 1990 Meeting with Jimmy 18 on to receive a cult following, and retroactive critical praise. Many critics agree that the 109 MINUTES and The King of Comedy, After Hours didn't truly find its audience until its home video 97 MINUTES a low-budget darkly comedic film which harkened back to his more experimental critical reception, but followed the trend of Scorsese's other films and found great success 146 MINUTES COLOR COLOR COLOR film was ahead of its time in the sense that it fares much better thematically in the modern MONAURAL Epilogue 19 release, which saw it gain cult noteriety, even being cited by modern directorial pair MONAURAL Back to Work 19 efforts in the Eighties. All said and done, Scorsese would enter the new millenium as a home video release. The film has redefined the crime genre and served as inspiration DOLBY SR Now It's All Over 19 ENGLISH ENGLISH ENGLISH a seasoned veteran of the trade... era than it did at the time of its release. 1.85:1 ASPECT RATIO End Credits 20 AFTER HOURS 1985 The Safdie Brothers as a chief inspiration for their directorial style. 1.85:1 ASPECT RATIO End Credits 20 GOODFELLAS 1990 for nearly every director working today. 1.85:1 ASPECT RATIO End Credits 20

SCREENPLAY BY NICHOLAS PILEGGI & MARTIN SCORSESE CHAPTERS SCREENPLAY BY PAUL SCHRADER CHAPTERS A MARTIN SCORSESE PICTURE CINEMATOGRAPHY BY ROBERT RICHARDSON A MARTIN SCORSESE PICTURE CINEMATOGRAPHY BY ROBERT RICHARDSON CASINO 1995 Love and Trust 1 BRINGING OUT THE DEAD 1999 Opening Titles 1 THE NEW MILLENIUM EDITED BY THELMA SCHOONMAKER EDITED BY THELMA SCHOONMAKER Opening Titles 2 First Call 2

Running the Casino 3 Enter Emergency 3

The Top Boss 4 Noel 4 REVISITING THE GENRE that Scorsese had defined through Goodfellas, Casino is CAST A LESSER KNOWN PICTURE in Scorsese's filmography is his seventeenth feature, 1999's CAST A VETERAN FILMMAKER already at the start of the start of the 2000s, Scorsese spent Who Watches Chronic Caller often misunderstood or dismissed as simply a Las Vegas version of Goodfellas despite 5 Bringing Out the Dead. The filmis often overlooked as it falls outside of Scorsese's typical 5 the next 20 years further cementing himself as a director with no equal. A sense of Robert De Niro ACE ROTHSTEIN FRANK PIERCE Scorsese's best efforts to the contrary. In Casino, Scorsese sought to build upon many Ginger Mckenna 6 wheelhouse, existing more in line with pictures like After Hours and The King of Comedy Dead for too Long 6 gravitas was now associated with the director, as well as an expectation of both quality of the visual tropes and editing techniques that defined Goodfellas, magnifying their Sharon Stone GINGER MCKENNA Cheater's Justice 7 for its dark yet comedic tone, more personal and less showy than a film like Goodfellas MARY BURKE Falling Asleep 7 and scope. Scorsese's reputation was defined by Goodfellas and Casino, and with the The Departed he faced those expectations head on, crafting a crime thriller that both essence by creating an even more fast paced and stylistically kinetic picture through Joe Pesci NICKY SANTORO Lucky All Week 8 or Casino, the likes of which had come to be expected from Scorsese. John Goodman LARRY Gunshot Wound 8 quick cuts, dramatic zooms, and Scorsese's signature use of popular music as a period fulfilled audience expecations and avoided treading new ground. For his efforts he was James Woods LESTER DIAMOND Slot Scam 9 Bringing Out the Dead saw the reunion of Scorsese and screenwriter Paul Schrader, who's Ving Rhames MARCUS Morning Comes 9 specific soundtrack throughout. awarded his first Oscar for directing. Don Rickles BILLY SHERBERT Lester Diamond 10 previous collaborations on Taxi Driver and Raging Bull had gained widespread critical Tom Sizemore TOM WOLLS Fire Me 10 Casino is also a significant thematic departure from Goodfellas as it features a far more The Boss 11 acclaim. Similar to Taxi Driver and Raging Bull Schrader's screenplay was centered around Resurrection 11 Later into the decade, Scorsese decided to again revist his definitive style with 2013's Alan King ANDY STONE Mark Anthony NOEL sympathetic, yet still flawed, lead character in Robert De Niro's Ace Rothstein. The a protagonist, isolated by society through circumstance and his own self destructive The Wolf of Wall Street, a subtler approach to the criminal biopic. The film was a commercial Butting Heads 12 Memories of Rose 12 passage of time is felt far less in Casino as opposed to Goodfellas, taking place over the Kevin Pollak PHILLIP GREEN behavior, this time framed through the protagonist Frank Pierce's occupation as an ambulance Cliff Curtis CY COATES success among his greatest, likened to a modernized version of Goodfellas, the focus Playing Golf 13 Ambulance Crash 13 span of just six years rather than Goodfellas' thirty. For this reason Casino reads much driver who is unable to save any lives. shifted from the extravagance and violent nature of mob life to the consuming greed that Dick Smothers SENATOR Wire Taps 14 NURSE CONSTANCE The Oasis 14 more as an examination of a specific time period and its implications to the characters plagues modern America. The film has been lauded for its combination of accurate portrayal of emergency procedures that exist within it, rather than as a long form examination of an entire career in the mafia. Frank Vincent FRANK MARINO Desert Meeting 15 Aida Tuturro NURSE CRUPP Waking Up 15 in combination with a dreamlike, surrealist depiction of New York City, coming across Scorsese's final film of the 2010s decade, The Irishman builds upon Scorsese's canon, Ginger Returns 16 A Pathetic Attempt 16 From the good graces that Scorsese had won with Goodfellas through critical admiration as a median between the grim, sickly New York depicted in Taxi Driver and the twisted, relying on the viewers knowledge of Scorsese's indulgent style in order to subvert audience Shootouts 17 Saving a Life 17 and tremendous DVD sales, he was able to turn Casino into an international box office manic vision of the city as portrayed in After Hours. Despite being one of Scorsese's expectation and create a a nuanced look at the less glamourous side of mob life, in an 1995 Why Take a Chance 18 1999 Taking a Life 18 hit, earning over $100 million, Scorsese's greatest financial success to that point. Despite 178 MINUTES most overlooked films, Bringing Out the Dead should be counted among his best, weaving 121 MINUTES examination of old age the closely parallels his own life. Through the culmination of his COLOR COLOR comparissons to Goodfellas, the film was able to find a life and audience of its own and DTS STEREO Corn Field 19 a personal, intriguing, and at times quite humorous narrative without concern for the DTS Respite 19 entire career, Scorsese metaphorically puts to bed the crime genre which he had built ENGLISH ENGLISH and defined, and which defined him. CASINO 1995 is regarded as one of Scorsese's best. 2.39:1 ASPECT RATIO End Credits 20 BRINGING OUT THE DEAD 1999 grandiose scale of his other offerings. 2.39:1 ASPECT RATIO End Credits 20 THE DEPARTED 2006

SCREENPLAY BY CHAPTERS SCREENPLAY BY TERRENCE WINTER CHAPTERS SCREENPLAY BY STEVEN ZAILLIAN CHAPTERS A MARTIN SCORSESE PICTURE CINEMATOGRAPHY BY MICHAEL BALLHAUS A MARTIN SCORSESE PICTURE CINEMATOGRAPHY BY A MARTIN SCORSESE PICTURE CINEMATOGRAPHY BY RODRIGO PRIETO THE DEPARTED 2006 Opening Titles 1 THE WOLF OF WALL STREET 2013 Opening Titles 1 THE IRISHMAN 2019 Retrospective 1 EDITED BY THELMA SCHOONMAKER EDITED BY THELMA SCHOONMAKER EDITED BY THELMA SCHOONMAKER A Brief History 2 Stratton Oakmont 2 Opening Titles 2

Police Academy 3 Pond Scum 3 Truck Stop 3

Assignments 4 Meeting Mr. Hanna 4 Angelo Bruno 4 MUCH DESERVED RECOGNITION was directed toward Scorsese upon the release of CAST A MODERN REIMAGINING of the tropes that defined Goodfellas is the primary force at CAST A RETROSPECTIVE look at the gangster genre that Scorsese redefined with Goodfellas, CAST Deep Cover Pink Sheets Frank's Rage his twentieth film The Departed. By the time of its release in 2006, Scorsese was already 5 work in The Wolf of Wall Street. Here, Scorsese takes what worked so well in Goodfellas 5 The Irishman is far more notable for its intentional thematic departure from the status 5 Leonardo DiCaprio BILLY COSTIGAN Leonardo DiCaprio Robert De Niro FRANK SHEERAN known as one of the most consistent filmmakers of the previous millenium. As far as Elevator Talk 6 and Casino, the frantic pace, meticulous attention to detail, broad scope, and application Diamond Donnie 6 quo established by Goodfellas and Casino. Where Goodfellas and Casino seek to depict Whispers 6 many were concerned, The Departed was a pleasant offering, but also what had come COLIN SULLIVAN Interrogation 7 of period specific soundtrack to create a film in the vein of his previous, adapted to a more Jonah Hill DONNIE AZOFF Boiler Room 7 the appeal of the gangster genre through fast pacing and flashy camera movement, JIMMY HOFFA Bowling Alley 7 to be expected; Scorsese didn't make bad movies, and was now continuing to thrive in this FRANK COSTELLO Meetings 8 modern audience. Margot Robbie NAOMI LAPAGLIA The Script 8 The Irishman is slow, plodding and mournful, a look back at a wasted life. Joe Pesci RUSSEL BUFALINO Painting Houses 8 modern era. SEAN DIGNAM Microprocessors 9 A lot had changed since the release of Goodfellas in 1990, though Scorsese remained Kyle Chandler PATRICK DENHAM Taking Notice 9 The Irishman builds upon Scorsese's common themes of damaged masculinity, isolation, Ray Romano BILL BUFALINO Eggplant 9 The Departed is a remake of a 2002 Hong Kong film entitledInfernal Affairs, reimagined Honesty 10 the same consistent visionary he had always been, the world around him was changing. Steve Madden 10 societal disillusion, and the human capacity for violence by blanketing them all in a Half-Mast 10 Martin Sheen OLIVER QUEENAN Rob Reiner MAX BELFORT Bobby Cannavale SKINNY RAZOR in classic Scorsese style. Though The Departed follows the same basic plot structure as Making a Deal 11 Consumer culture was now more active than ever; the inception of new media through Naomi 11 more encompassing and prevelant thematic investigation of mortality. The story sees Crazy Joe Gallo 11 Jon Bernthal BRAD BODNICK Anna Paquin PEGGY SHEERAN , the two films share little else. Stylistically, Scorsese felt that the remake Ray Winstone ARNOLD FRENCH smartphones had vastly changed the pop culture landscape and given rise to a cultural Scorsese's reunion with Robert De Niro after a two decade hiatus. De Niro portrays Frank Portrait of Christ 12 Bachelor Party 12 Meeting 12 would only be worthwhile if it has value as a standalone picture. Scorsese was not interested obsession with materialism and sex, which Scorsese puts thematically front and center Matthew McConaughey MARK HANNA Sheeran, an aging mobster who after half a century finds himself entirely alone after his Stephen Graham TONY PRO Vera Farmiga MADOLYN MADDEN Dirty Theater 13 Buy or Die 13 Appreciation Night 13 in simply bringing story to an American audience, but reimagining it, loosely based around in The Wolf of Wall Street through his his exposition on the actions and motivation of stock family disowns him, and his friends and cohorts have all been killed or died of natural Alec Baldwin GEORGE ELLERBY Queenan Killed 14 AUNT EMMA Yacht 14 Harvey Keitel ANGELO BRUNO Convincing Jimmy 14 the framework of the original, and recontextualizing events to create a parallel but broker and con-artist Jordan Belfort, based on his real life memoir, and portrayed skillfully causes. It is a bleak examination of both the fear of death and the fear of divine judgement thematically and visually fresh take on the story. Anthony Anderson TROOPER BROWN Revelations 15 by frequent Scorsese collaborator Leonardo DiCaprio. Cristin Milioti TERESA PETRILLO Swiss Banks 15 for the troubled and violent life he'd lead. Jesse Plemons CHUCK O'BRIEN The New Plan 15 Costello's End 16 Lemmons 16 Phone Call 16 Unlike so many of Scorsese's films, The Departed was an immediate success, winning The Wolf of Wall Streets is at home among Scorsese's best, the vision of an obviously seasoned It is no coincidence that Scorsese chose to make this film at the age of seventy-seven, Rooftop 17 I'm Not Leaving 17 Growing Old 17 Scorsese his first best picture from the Accademy awards, as well as his first best director director, marked with his signature style and rendered with the confidence of one of the after a long and storied career. The film is told through the lens of old age, and it is clear 2006 Aftemath 18 2013 House Arrest 18 1990 Coffins 18 win, well deserved after an incredibly consistent fourty years of filmmaking. Thelma 151 MINUTES most acclaimed filmmakers of all time. Scorsese's shift from to crooked stock 180 MINUTES that questions of mortality and judgement are now more prevalent to Scorsese than ever, 209 MINUTES COLOR COLOR COLOR Schoonmaker also received an Oscar for her editing of the film, as well as an Oscar being DOLBY DIGITAL Revenge 19 brokers creates a welcome and timely inclusion to Scorsese's greater canon which DATASAT The Chickens Roost 19 and it was only from this vantage point that he is able to truly do justice to the source DOLBY ATMOS The End 19 ENGLISH ENGLISH ENGLISH awarded for William Monahan's screenplay. 2.39:1 ASPECT RATIO End Credits 20 THE WOLF OF WALL STREET 2013 is certain to be remembered. 2.39:1 ASPECT RATIO End Credits 20 THE IRISHMAN 2019 material and real life story of Frank Sheeran. 1.85:1 ASPECT RATIO End Credits 20

NICK NORTON | 330 861 8068 | nicknorton.design FINAL DESIGN SHOWCASE THE CINEMA OF SCORSESE BLU-RAY BOX SET

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