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TAXI DRIVER Gala TAXI DRIVER TAXI DRIVER G-6914:G_ 30.01.2011 13:53 Uhr Seite 124 Berlinale 2011 Martin Scorsese Berlinale Special TAXI DRIVER Gala TAXI DRIVER TAXI DRIVER USA 1976 Darsteller Travis Bickle Robert De Niro Länge 114 Min. Betsy Cybill Shepherd Format DCP 4K Iris Jodie Foster Farbe Wizard Peter Boyle Charles Palantine Leonard Harris Stabliste Mathew, „Sport“ Harvey Keitel Regie Martin Scorsese Fahrgast Martin Scorsese Buch Paul Schrader Waffenverkäufer Steven Price Kamera Michael Chapman Tresenbedienung Diahnne Abbot Kameraführung Fred Schuler Wütender Kameraassistenz Alec Hirshfeld Schwarzer Frank Adu Bill Johnson Melio Vic Argo Ron Zarilla Polizist Gino Ardito Schnitt Tom Rolf Iris’ Freundin Garth Avery Melvin Shapiro Tom Albert Brooks Schnittassistenz George Trirogoff Taxifahrer in William Weber Bellmore Harry Cohn Ton Les Lazarowitz Prostituierte Roger Pietschman im Taxi Copper Cunningham Mischung Tex Rudloff Robert De Niro Dick Alexander Frau in Soap Opera Brenda Dickson Vern Moore Schichtführer Harry Fischler Musik Bernard Herrmann TAXI DRIVER Ausstattung Herbert Mulligan Vor 35 Jahren kam TAXI DRIVER in den USA in die Kinos. Wut und Wahn des Art Director Charles Rosen Taxifahrers Travis Bickle zu erleben, der sich durch die Stadt „wie eine Ratte Kostüm Ruth Morley durch die Abwasserkanäle“ (Drehbuchautor Paul Schrader) bewegt, ge hört Maske Irving Buchman noch immer zu den beunruhigendsten Kinoerlebnissen, die es gibt. Regieassistenz Peter R. Scoppa Ralph Singleton Wolfram Schütte, am 3.11.1976 in der Frankfurter Rundschau: „Ein höchst William Eustace merk würdiger, … bedenklicher und faszinierender Film; synkretistisch, Amy Jones schil lernd, ein lauerndes Reptil, chamäleonhaft seine Farbe wechselnd, ins Casting Juliet Taylor Mystische gesteigert und synthetisches Amalgam widersprüchlichster Ein - Produzenten Michael Phillips flüsse, Tendenzen und metaphysischer Ansprüche: komisch, nervös, hys - Julia Phillips terisch.“ Die Faszination ist ungebrochen. Für die Restaurierung Bei der Restaurierung im Frühjahr 2010 wurde das Original 35mm-Negativ Leitung Grover Crisp mit einem hochauflösenden 4K-Scanner eingelesen, so dass schließlich ein Kamera Michael Chapman Master in 4K-Qualität vorlag. Auch die Farb korrek tur und digitale Bearbei - Farbkorrektur Scott Ostrowsky tung wurde in 4K vorgenommen. Grover Crisp betreute federführend die digitale Restau rierung für Sony Pictures in Kalifornien. Scott Ostrowsky stell- te unter Lei tung von TAXI DRIVER-Kamera mann Michael Chapman eine von Martin Scorsese abgenommene Farbbestimmung her. Anschließend wurden die 4K-Files von MTI Film in Los Angeles einem digitalen Clean-up unterzogen, bei dem Kratzer, Flecken, Laufstreifen entfernt wurden, die auf dem Ur sprungs negativ waren. Diese Gebrauchsspuren mussten besonders vorsichtig bearbeitet werden, um das darunterliegende Bild nicht zu verän- dern, was bei Gesichtern besonders schwierig war. Ähnlich aufwendig war die Tonbearbeitung, zu der ein Mehrspur-Stereo-Soundtrack gehörte, der aus den Original auf nah men neu produziert wurde. Die Abnahme der end- gültigen Fassung durch Martin Scorsese fand im Januar 2011 statt. Produktion TAXI DRIVER Sony Pictures TAXI DRIVER first hit US cinema screens thirty-five years ago. Even today, [email protected] watching angry, delusional taxi driver Travis Bickle as he moves about the Weltvertrieb city ‘like a rat through the sewers’ (so screenwriter Paul Schrader) remains Park Circus Ltd one of cinema’s most disturbing experiences. As Wolfram Schütte, writing [email protected] in the ‘Frankfurter Rundschau’ newspaper on 3.11.1976, puts it: “A very 124 G-6914:G_ 30.01.2011 13:53 Uhr Seite 125 strange … alarming and fascinating film; syncretic, iridescent, a furtive rep- Filmografie tile, constantly changing its colours like a chameleon, soaring towards the 1963 WHAT’S A NICE GIRL LIKE YOU mystical; a synthetic amalgam of the most contradictory influences, ten- DOING IN A PLACE LIKE dencies and metaphysical aspirations: comic, nervous and hysterical.” The THIS? Kurzfilm film never fails to fascinate. 1964 IT’S NOT JUST YOU, MURRAY In order to restore the film in spring 2010, the original 35mm negative was Kurzfilm first read by a high resolution 4K scanner. The film was also re-graded and 1967 THE BIG SHAVE digitally restored in 4K: the media files were restored by Sony Pictures in Kurzfilm California under the supervision of Grover Crisp; Scorsese’s cinematograph- 1969 WHO’S THAT KNOCKING AT MY DOOR (WER KLOPFT DENN er Michael Chapman supervised Scott Ostrowsky as he created a colour DA AN MEIINE TÜR) matched version that was approved by Scorsese. The 4K files were subse- 1972 BOXCAR BERTHA quently given a digital clean up by MTI film in Los Angeles. This involved (DIE FAUST DER REBELLEN) removing scratches, stains and tread marks from the archived 1973 MEAN STREETS negative. Some scratches proved especially difficult to remove without (HEXENKESSEL) 1974 ALICE DOESN’T LIVE HERE altering the underlying imagery, particularly the faces of characters. The ANYMORE (ALICE LEBT HIER restoration of the sound was equally extensive and involved the production NICHT MEHR) of a new multi-track stereo soundtrack from the film’s original recordings. 1975 ITALIANAMERICAN Martin Scorsese The final version of the restored film was approved by Martin Scorsese in Dokumentarfilm January 2011. 1976 TAXI DRIVER (TAXI DRIVER) 1977 NEW YORK, NEW YORK Biografie (NEW YORK, NEW YORK) Geboren am 17.11.1942 in New York. TAXI DRIVER 1978 THE LAST WALTZ (THE BAND) Arbeitete 1970/72 als Cutter bei den Il y a trente-cinq ans, TAXI DRIVER sortait en salles aux Etats-Unis. Ressentir Dokumentarfilm Musikfilmen WOODSTOCK und ELVIS AMERICAN BOY: PROFILE OF ON TOUR. 1972 Hollywood-Debüt mit la rage et la folie du chauffeur de taxi Travis Bickle qui se déplace dans la STEVEN PRINCE der Roger-Corman-Produktion BOXCAR ville « comme un rat dans les égouts » (dixit le scénariste Paul Schrader) fait (AMERICAN BOY) BERTHA. Seit MEAN STREETS (1973) toujours partie des expériences de cinéma les plus inquiétantes qui soient. Dokumentarfilm einer der profiliertesten Vertreter des Wolfram Schütte dans le quotidien « Frankfurter Rundschau » du 3-11- 1979 RAGING BULL „New Hollywood“. 1976 Gol dene Pal - 1976 : « Un film extrêmement étrange, (…) inquiétant et fascinant ; syncré- (WIE EIN WILDER STIER) me für TAXI DRIVER. Zuvor schon von 1982 THE KING OF COMEDY der Director’s Guild of America zum tique, diapré, un reptile à l’affût qui change de couleur comme un camé- (THE KING OF COMEDY) „bedeutendsten aktiven Filme macher léon, un amalgame synthétique, exacerbé dans le mysticisme, d’influences 1985 AFTER HOURS Amerikas“ ernannt, erhält er 2007 den et de tendances contradictoires et d’exigences métaphysiques : comique, (DIE ZEIT NACH MITTERNACHT) Regie-Oscar für THE DEPARTED. nerveux, hystérique. » La fascination est intacte. 1986 THE COLOR OF MONEY Pour sa restauration, au printemps 2010, le négatif d’origine en 35mm fut (DIE FARBE DES GELDES) Biography 1988 THE LAST TEMPTATION OF Born in New York on 17.11.1942. He numérisé au moyen d’un scanner 4K à haute résolution. La correction des CHRIST (DIE LETZTE VERSU- spent 1970-72 working as an editor on couleurs et la restauration numérique furent aussi réalisées en 4K. Les don- CHUNG CHRISTI) the music films WOODSTOCK and ELVIS nées furent restaurées par procédé numérique chez Sony Pictures, en 1989 NEW YORK STORIES. EPISODE: ON TOUR. In 1972 he made his Holly - Californie, sous la direction de Grover Crisp. C’est là que Scott Ostrowsky LIFE LESSONS (NEW YORK wood debut with the Roger Corman réalisa sous la direction de Michael Chapman, chef opérateur de TAXI DRI- STORIES) production, BOXCAR BERTHA. Since 1990 GOODFELLAS (GOODFELLAS) MEAN STREETS (1973) he has made a VER, un tirage en couleurs agréé par Martin Scorsese. Les données en 4K 1991 CAPE FEAR (KAP DER ANGST) name for himself as one of the most subirent ensuite un nettoyage numérique chez MIT Film à Los Angeles pour 1993 THE AGE OF INNOCENCE celebrated proponents of “New Holly - éliminer les rayures, les taches, les traînées qui se trouvaient sur le négatif (DIE ZEIT DER UNSCHULD) wood”. In 1976 he received the Golden des archives. Ces dégradations concernaient plusieurs séquences et il fallait 1995 CASINO (CASINO) Palm for TAXI DRIVER. Named by the procéder avec une extrême minutie pour ne pas altérer les images sous les A PERSONAL JOURNEY WITH Director’s Guild of America as MARTIN SCORSESE “America’s most significant active film- rayures, ce qui est particulièrement délicat quand il s’agit de visages. Le trai- THROUGH AMERICAN maker”, he re ceived an Academy tement du son était également complexe ; une bande sonore stéréo mul- MOVIES Award for Best Director in 2007 for THE tipiste fut produite à partir des enregistrements d’origine. La réception de la TV-Dokumentation DEPARTED. version définitive par Martin Scorsese eut lieu en janvier 2011. 1997 KUNDUN (KUNDUN) 1999 BRINGING OUT THE DEAD Biographie (BRINGING OUT THE DEAD) Né le 17-11-1942 à New York. Travaille IL MIO VIAGGIO IN ITALIA de 1970 à 1972 comme monteur des (MEINE ITALIENISCHE REISE) films musicaux WOODSTOCK et ELVIS Dokumentarfilm ON TOUR. Débute à Hollywood en 2002 GANGS OF NEW YORK 1972 avec la production de Roger 2003 THE BLUES: FEEL LIKE GOING Corman BOXCAR BERTHA. Depuis HOME MEAN STREETS (1973), il est l’un des Dokumentarfilm représentants les plus marquants du 2004 THE AVIATOR (AVIATOR) courant « New Hollywood ». Palme 2005 NO DIRECTION HOME: d’Or en 1976 pour TAXI DRIVER. Déjà BOB DYLAN nommé auparavant « cinéaste en acti- Dokumentarfilm vité le plus important d’Amérique » 2006 THE DEPARTED par la Director’s Guild of Ame rica. 2007 SHINE A LIGHT Lauréat de l’Oscar 2007 de la meilleure 2010 SHUTTER ISLAND mise en scène pour THE DEPARTED. 125.
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