It is a very sad admission, especially coming from a filmmaker with absolutely legendary cinephilia. In an interview with the Cinema critic Peter Travers of the ABC channel, the director confesses no longer going to the cinema due to multiple nuisances.
If there is a filmmaker embodying better than anyone the most absolute cinephilia, it is Martin Scorsese. His knowledge of cinema and its authors is truly encyclopedic. A passion that again goes back to childhood. Cherish and asthmatic child, he is regularly taken to the cinema by his father.
It was precisely at this time that he will discover his favorite films: Duel in the sun, the Jean Renoir river, and especially the red slippers of Michael Powell and Emeric Pressburger. These two filmmakers will have a major influence on Martin Scorsese. As early as 1982, Scorsese was interested in the preservation of heritage films, then in their restoration later when he created his Film Foundation In 1990. Since then, she saved a number of films; True goalkeeper and living memory of an art so dear to Scorsese.
“He was unleashed on spectators who chat on the phone during the film”
It is in the light of these few considerations that we discover, with a tight heart, a very sad admission on his part, alas also completely symptomatic of our time. The site World of Reel Relates a recent exchange between the filmmaker and the film critic Peter Travers, which covered cinema news for the ABC channel for 40 years. He has also become a friend of the filmmaker.
Scorsese then makes him this admission: he will no longer see the movies indoors. And it is not because he owns (obviously …) his own home cinema, or even because he also has a projection room in his offices in New York. So why?
“I asked the maestro why he couldn't see any more movies in the cinema and he was unleashed on spectators who chat on the phone during the film, who are absent to order snacks and soda bottles, and who keep a sound level high enough to stifle the actors.” Come, Marty “, I said,” We could not be silent when we were children. “Yes, perhaps”, he concedes, “but when we were talking, it was always about the film and the pleasure that we had to dissect the details”.
For Scorsese, the cinema is a sacred temple. Not just for him, but for many other spectators. Therefore, it is easy to understand that it is annoyed, not to say more, by the incivility of spectators, spoiling the pleasure of others …
