This is not a documentary about the making of Midnight Cowboy. It is about a humane and groundbreaking masterpiece and the flawed but gifted people who made it. It is about a troubled era of cultural ferment, social and political change, about broken dreams and strivers, then and now. It is about an era that made a movie and a movie that made an era.
A portrait of Ennio Morricone, the most popular and prolific film composer of the 20th century, the one most loved by the international public, a two-time Oscar winner and the author of over five hundred unforgettable scores.
A documentary on the life and career of one of the most influential film directors of all time, Steven Spielberg.
An intimate conversation between filmmakers, chronicling De Palma’s 55-year career, his life, and his filmmaking process, with revealing anecdotes and, of course, a wealth of film clips.
The very first full-length documentary on Scorsese offers an invaluable look at how he was perceived by his colleagues, and himself, in 1977. Catching Scorsese while he was in post-production on New York, New York and editing The Last Waltz, British filmmaker Peter Hayden gets the manically hyper Scorsese to comment on his youth, his relation to his lead characters, and most importantly, his approach to direction. The doc doesn’t quite move at the pace of Scorsese’s revved-up speed-talking, but it does offer some real insight into his productivity in the 1970s, thanks to an impressive array of talking heads. Included are Scorsese’s collaborators Jay Cocks, Mardik Martin, Brian De Palma, Steven Prince (who co-produced this doc), and his mentor John Cassavetes. Also the performers, who discuss his working methods in detail — Jodie Foster, Liza Minnelli, and, of course, Robert De Niro.
Brian Russell De Palma is an American film director and writer. In a career spanning over forty years, he is probably best known for his suspense and crime thriller films. De Palma was a leading member of the New Hollywood generation of film directors. His direction often makes use of quotations from other films or cinematic styles, and bears the influence of filmmakers such as Alfred Hitchcock, Jean-Luc Godard, and Michelangelo Antonioni. His work has been criticized for its violence and sexual content, but has also been championed by American critics such as Roger Ebert and Pauline Kael.
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