Martin Scorsese Phone Number, Email ID, Address, Fanmail, Tiktok and More

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Martin Scorsese Wiki/Bio

American filmmaker Martin Scorsese, whose birth name was Martin Marcantonio Luciano Scorsese and who was born on November 17, 1942, in Queens, New York, is well-known for his representations of American culture as harsh and violent. Scorsese began making films in the 1970s, and his output was ambitious, audacious, and great.

Even his critically acclaimed films, however, are labor-intensive dramas with uneven emotional payoffs. Due to his work with enormous budgets and Hollywood’s top stars, Scorsese has earned the reputation of a cult director. He was one of the most important American filmmakers of the late 20th and early 21st centuries, both artistically and commercially.

Scorsese grew up in the Italian-American district of Little Italy on the Lower East Side of Manhattan as a sickly asthmatic child. After a failed attempt to enter the Roman Catholic priesthood, his early love in film reappeared, and he went on to receive a bachelor’s (1964) and a master’s (1966) in film from New York University, where he would later teach. From foreign classics to Hollywood musicals, his college films revealed a wide range of influences on him as a filmmaker. It’s Not Just You, Murray! (1963) and What’s a Nice Girl Like You Doing in a Place Like This? (1964).

In 1967, Scorsese directed his debut feature film, Who’s That Knocking at My Door?, an intimate look at life in the Little Italy neighborhoods of New York City. As Scorsese’s alter ego, Harvey Keitel played a streetwise but sensitive Italian American Catholic who is haunted by the idea that his lover (Zina Bethune) was raped.

Keitel went on to perform five more films with Scorsese in the 1970s and 1980s. Following the film’s successful premiere, Scorsese was hired as an assistant director and supervising editor for Woodstock (1970), a role in which he was responsible for editing more than 100 hours of raw concert material into a three-hour documentary that won an Academy Award.


After directing Street Scenes (1970), a documentary on anti-Vietnam War rallies, and serving as an editor on Medicine Ball Caravan (1971) and Elvis on Tour (1972), Scorsese returned to concert films as a director and editor (1972). Boxcar Bertha producer Roger Corman enlisted his services to helm the film (1972). For Scorsese, this was a golden opportunity to tell what could only be described as an exhilarating but ultimately pointless yarn about three Depression-era Southern train robbers causing mayhem in the 1930s.

Scorsese’s reworking of the ideas from Who’s That Knocking at My Door, Mean Streets (1973), was far more influential. It was characteristic of his early work in its realistic detail and genuine performances, with violent scenes, rapid-fire conversation, and loud rock music. He played a small-time mafia collector in Little Italy, tormented by guilt over his affair with Teresa (Amy Robinson), his epileptic girlfriend, and exasperated by his inability to manage his dangerously deranged friend (and Teresa’s brother) Johnny Boy (played by Michael Shannon) (Robert De Niro, who did eight films with Scorsese between 1973 and 1995). Scorsese’s evocative locations, brutally open language, explosive violence, and spectacular camera style all contributed to making this low-budget film a masterpiece.

Scorsese’s first mainstream studio production was the milder Alice Doesn’t Live Here Anymore (1974), which had less of the pyrotechnic innovation of Mean Streets, after he made the documentary Italianamerican (1974) about his parents.

A more subdued drama about a widowed Alice (Ellen Burstyn) and her adolescent son who flee New Mexico for California after the death of their abusive spouse was Alice Doesn’t Live Here Anymore (Alfred Lutter). The fact that Burstyn won the Academy Award for best actress helped to solidify Scorsese’s place in Hollywood’s upper crust.

By making a rather conventional movie first, Scorsese stunned moviegoers with Taxi Driver (1976), a terrible journey into the bizarre psychosis of a troubled Vietnam veteran. Bernard Herrmann’s final film score graces Paul Schrader’s brilliant screenplay, which was shot and edited by Michael Chapman with music by Schrader himself.


De Niro was outstanding as the hopelessly isolated yet dangerously deranged Travis Bickle, and Harvey Keitel radiated dread in the minor but crucial role of suave pimp Sport, who seduces 12-year-old Iris (Jodie Foster). Taxi Driver got Oscar nods for De Niro, Foster, and Herrmann in addition to best picture. The film is contentious and unpleasant. The film won the Palme d’Or at Cannes for Scorsese’s modest but telling cameo as a murderously jealous husband. Many people consider it to be one of Scorsese’s best films.

Martin Scorsese Phone Number

Career

As a result of the success of Casino (1977), Scorsese’s willingness to take artistic risks had been validated. However, his reign as Hollywood’s newest enfant terrible had only just begun. deliberately styled in order to recall Vincente Minnelli and George Cukor’s successes of the past. De Niro played the arrogant Jimmy Doyle who works with wonderful vocalist Francine Evans in the big band (Liza Minnelli). Their fling is doomed to failure as Jimmy’s egotistical, self-destructive behavior causes him to leave Francine and her unborn child behind.

Even in an unfavorable role, De Niro held the audience’s attention, while Liza Minnelli’s mother (Judy Garland) loomed largely. It received mixed reviews from critics, but it was a financial failure. A cult following arose, however, partly due to the film’s clear fondness for classic Hollywood.

Because of this setback, Scorsese turned his film of The Band’s farewell concert in November 1976 into the well-received rockumentary The Last Waltz (1978), which featured legendary performances by Bob Dylan, Joni Mitchell, Van Morrison, Muddy Waters, and Eric Clapton. With American Boy: A Profile of Steven Prince (1978), Scorsese told experiences from his life as a road manager for Neil Diamond and heroin user Steven Prince, who was also a friend of his.

After that, Scorsese created the gruesome yet stunning film Raging Bull (1980). It is loosely based on the biography of former middleweight boxing champion Jake La Motta and is a fiery essay on the pleasant pain of violence, shot in black and white by Michael Chapman and set in 1940s New York City with meticulous re-creation by Schrader and Mardik Martin.

The acting was excellent as well, especially Joe Pesci’s portrayal of Jake’s faithful brother Joey and Cathy Moriarty’s portrayal of Jake’s mistreated wife Vickie. One of the film’s most powerful performances is that of Robert De Niro as the self-destructive and self-centered lamentable character known only as La Motta. One of Martin Scorsese’s best films, Raging Bull has gained a lot of acclaims.

De Niro played Rupert Pupkin, a self-styled stand-up TV comic, in The King of Comedy (1982), another completely distinctive portrayal. Rupert prepares his terrible comic routines in vain, blissfully unaware of his fundamental lack of skill. Finally, he kidnaps Jerry Langford (Jerry Lewis), the reigning late-night television star, in exchange for a 10-minute appearance on his show.

The movie was a financial failure, yet it was well-received by critics after its release. In After Hours (1985), Griffin Dunne played a mild-mannered office worker who is threatened by a colorful assortment of lunatics over one long, odd night. The film was a tiny bit of funny diversion. This exciting, unexpected example of what a Scorsese film might be like when his main aim is pleasure was shot on location by cinematographer Michael Ballhaus.

Adapted from Walter Tevis’ sequel The Hustler, The Color of Money was released in 1986. (1959, film 1961). Newman, reprising his Oscar-nominated role as “Fast Eddie,” is no longer competing. Seeing potential in young pool shark Vincent Lauria (Tom Cruise), he takes him under his wing and mentors him, teaching him everything he knows.


They eventually part ways, and their paths eventually cross again at an Atlantic City poker tournament. On the commercial and conventional side of things, this was Scorsese’s last movie. It did, however, serve as a reminder to Hollywood that Scorsese is capable of delivering a small smash.

The Last Temptation of Christ (1988) was a well-received adaptation of Nikos Kazantzákis’ epic novel (adapted by Schrader) about Jesus’ self-doubts as he fulfills his mission, despite some concerns from fundamentalist Christians before its release. Even though Willem Dafoe’s portrayal of Jesus was excellent, the unexpected selection of Harvey Keitel as Judas, Haley Lu Richardson as Mary Magdalene, and Harry Dean Stanton as Paul caused considerable consternation among reviewers. Ballhaus’ evocative cinematography and Peter Gabriel’s neo-traditional score enlivened this retelling of the Gospels, earning Scorsese his second Oscar nod for the director.

New York Stories (1989) included the vivid “Life Lessons” of Scorsese, partially inspired by Fyodor Dostoyevsky’s Igrok (The Gambler) (which also contained segments by Woody Allen and Francis Ford Coppola). To discourage his restless lover-disciple (Rosanna Arquette) from moving out, Nick Nolte played a gruff slob of a painter in his forties.

As for the acclaimed film GoodFellas, it was based on a different type of New York story: the kind that helped build Martin Scorsese’s reputation in the city (1990). The film was based on Nicholas Pileggi’s nonfiction book Wiseguy, and it was the most genuine Scorsese work since Raging Bull in its depiction of small-time Brooklyn mobster Henry Hill’s life and actions.

He played Hill, while the rest of the cast included Paul Sorvino, Joe Pesci, Lorraine Bracco, and Robert De Niro, who won an Oscar for his depiction of Hill’s irritable friend Tommy DeVito. A well-studied tracking shot following Hill through a packed restaurant showed Scorsese’s mastery of the medium in fresh and unexpected ways. Another Oscar nomination went to Scorsese this time around, this time for directing as well as a best-adapted screenplay (together with Pileggi).

Facts About Martin Scorsese :

Birthday/Birth Date: 17 November 1942
Birth Place: Flushing, New York, United States
Children:
Age: 78 Years old
Official TikTok:
Occupation: director
Height: 1.63 m
Popular Friends: NA

Business Facts:

Salary of Martin Scorsese: NA
Net worth: NA
Total TikTok Fans/Followers: NA
Facebook Fans:  2.3M followers
Twitter Followers: 38.3K Followers 
Total Instagram Followers: 1.4M followers
Total YouTube Followers: NA

Some Important Facts About Martin Scorsese:

1. Martin Scorsese was born on 17 November 1942 (age 78 years), Flushing, New York, United States

2. His age is 78 years.

3. His birth sign is Scorpio.

4. His height is 1.63 m

5. His net worth is $100 Million.

Martin Scorsese Fan Mail address:

Martin Scorsese, The Film Foundation,

Inc., 7920 W Sunset Blvd., 6th Floor,

Los Angeles, CA 90046-3334, USA.

Martin Scorsese Phone Number, Email Address, Contact Info, Texting Number, Fanmail, and More Details

Martin Scorsese Phone Number, Email ID, Address, Fanmail, Tiktok and More 
Email AddressNA
Facebookhttps://www.facebook.com/scorsese
House address (residence address) Flushing, New York, United States
Instagramhttps://www.instagram.com/martinscorsese_
Office addressNA
Office NumberNA
Official WebsiteNA
Phone Number(323) 436-5060.
Snapchat IdNA
TicTok IdNA
TwitchNA
Twitterhttps://twitter.com/scorsesemartin?lang=en
Whatsapp No.NA

Martin Scorsese Phone Number:

Martin Scorsese Address:  Flushing, New York, United States

Martin Scorsese Phone Number: (323) 436-5060.

Martin Scorsese Whatsapp Number: NA

Martin Scorsese Email ID/ Email Address: NA


Martin Scorsese Social Profiles

Martin Scorsese Facebook Fan Page: https://www.facebook.com/scorsese

Martin Scorsese Twitter Handle: https://twitter.com/scorsesemartin?lang=en

Martin Scorsese Instagram Profile: https://www.instagram.com/martinscorsese_

Martin Scorsese Snapchat Profile: NA

Martin Scorsese YouTube Channel: NA

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