Martin Scorsese, Director, Producer & Screenwriter, 10/10/22

thank you so much so welcome to all of you today both here at the Hilton Chicago hotel in downtown Chicago as well as those of you that are joining us virtually around the country again I'm Mary Dylan I'm the chair of the economic Club of Chicago and we are all joining here today to hear from our guest speaker Academy award-winning filmmaker Martin Scorsese [Applause] first let me introduce this evening's moderator I've had the honor to have known and to have worked with Jeffrey katzenberg for many years going way back to my McDonald's days when you might remember some incredible Global Happy Meal events and partnership with DreamWork DreamWorks so back in 2009 Jeffrey spoke to the club at a dinner meeting and DreamWorks had just released How to Train Your Dragon and members got to see the trailer in 3D remember that it was a big hit he spoke about animation and Innovation and how the transformation of any industry only comes by embracing change which has been the Hallmark of Jeffrey's career in the entertainment industry for over 40 years so after serving as president of production at Paramount Studios he became chairman of the Walt Disney Studios he then co-founded DreamWorks skg with Steven Spielberg and David Geffen and all of us who are parents and grandparents thank him for bringing Shrek Kung Fu Panda Madagascar and ants to the world and my daughter my youngest daughter is named Fiona and for the record she was named Fiona before Shrek came out but everywhere in the world we went they called her Princess Fiona so she thanks you for that really so Jeffrey is currently managing partner and co-founder of wonderco a holding company that invests in the choirs develops and operates consumer technology businesses so we really appreciate Jeffrey being here today what an honor and speaking of honors let's now talk about our very special guest speaker so born from Sicilian immigrants and living in Manhattan's Little Italy Charles and Catherine scorsese's young Son Marty was supposed to be a priest but fortunately thank you he did not do very well the Preparatory Seminary I'm not sure why uh he wasn't well I do know why he was expelled at 15 years old for being the class clown do you guys know that okay as a kid he couldn't play sports because of his asthma so his older brother took him to the movies most Saturdays so he found his way to cinema at NYU where he received a ba and an M.A in 1967 he wrote and directed his first film called I call First later retitled Who's That Knocking at my door debuting the young actor Harvey Keitel so it All Began Mean Streets Alice doesn't live here anymore Taxi Driver Raging Bull The Last Temptation Of Christ I'm going to keep going good Fellas the key of Comedy Age of Innocence Gangs of New York The Aviator wait there's more silence Casino The Departed Hugo The Wolf of Wall Street the Irishman and the upcoming killers of the flower Moon so has he has defined the modern gangster movie continually works with actors that are etched in all his films in all of our film memories right Joe Pesci Robert De Niro Harvey Keitel and Leonardo DiCaprio to name a few in 1990 Scorsese created the film Foundation which is a non-profit film organization that collaborates with film studios to restore prints of old and damaged films so the foundation has restored more than 925 films from around the world and conducts a pre-educational curriculum for young people on the language in the history and film so every month the foundation releases a newly restored classic film to the public so today if you were not here you could be watching Marlon Brando in one eye Jacks so next month the foundation will release John Houston's Moulin Rouge and there's a Cartier table of details about the foundation and how to watch Moulin Rouge on November 14th so please join me in welcoming to the stage Jeffrey katzenberg and Martin Scorsese I do want to say that you know when that train went out Marty went wow I like it yeah wow how do we do that so um you know I do have to just say uh regrettably um you know um our our um our Guardian Angel Melody is not here with us um tonight and um I'm here to be her Apprentice uh and um I'm actually very happy to be back here it was 2009 last time I was with you um so I think it's safe to say that that real uh you know blows us all away when we uh are reminded at how many unbelievable movie experiences this man has brought to us over years and decades and um [Applause] thank you [Music] [Applause] so I've had to struggle with um what would be the best way to tell the Marty uh story here and I I thought maybe I would do it in three acts and so I've tried to break this up act one is actually to um who you are act two is the filmmaker and Storyteller um act three is the film lover and finally as uh a um homage to Melody we will have a speed round because we always have to have a speed round and uh so that's that'll be our bonus round here in this so with that Marty maybe just uh to start with um we are in Chicago uh well yeah but Chicago is very uh instrumental a very very important um place in my life I know back in 1967 Michael uh kurtzka the Chicago Film Festival was was the place that showed my my first attempt at a feature at that time was called I call First and um uh the film critic Roger Ebert gave it a brave review uh and uh this sort of set us off on on a on a long journey later it became Who's That Knocking at my door I got to meet Roger and that sort of thing um uh we became friends uh Chicago was also a place where my uh daughter Dominica lives and my granddaughter Seraphina and her husband Tony um it's uh um very special place for me um we even made a film here Jeffrey together Color of Money yeah every other thing called the uh Scorsese katzenberg Trilogy it's a presentation of Christ The Color of Money and his acting uh uh in our movie Shark Tale Shark Tale for fish to me but I I I I have to just say a little about Roger and uh what he meant to me and uh I don't know you know the thing about it uh if I could just read a quote that he wrote about you know Irish Catholic guy right and okay so I'm Sicilian Catholic all right um but he wrote something about departed and it just stuck with me and he only he wrote departed was only about 10 years 12 years ago so all this time he says I've often thought that many of Scar says these critics and admirers don't realize how deeply the Catholic Church of pre-vatican II could burrow into the subconscious or and how many ways uh Catholicism in his films is so important okay um not that you have to know that but it seems to be there uh this movie is like this movie departed as like an examination of conscience when you stay up all night trying to figure out a way to tell the priest I know I know I know I done wrong father but oh Father what else was I going to do and at the end as you know that particular film a lot of people pay for it but he understood they couldn't do much more um but what do you what I'm getting at is that Roger gave me the Hope because he gave me support because he uh I think he uh he understood where I was coming from as a as a pre-vatican II Catholic so he was Catholic so whether he liked the film or not he was always constructive so maybe let's talk a little bit about those roots uh yeah you know your I've heard you talk about you know really sort of your introduction to movies where through your brother and your father my father right and so how tell us they couldn't do anything with me I was three years old we were living my mother and father were born on Elizabeth Street my father in 241 my mother in 232 that's between Prince and Houston the buildings are still there that cost a fortune now if you want to live in them but they were born uh you know not in a hospital in those rooms and uh they and when they were married in 1933 they moved out and moved to Corona Queens and I have an older brother Frank uh seven years older um and uh they also come from families and immigrant families where they had seven or eight children on each side so by 1933 they didn't want to be living with that group anymore so they had two children they all worked out three children you know that's what all the aunts and uncles kind of cut them down become Americanized you know um in any event uh I um uh grew up uh in Corona for a few years and then we were forced to move back to Elizabeth Street and Elizabeth Street at that time is not what it is now in New York which is a very chic neighborhood and it's very very different it was very rough and it was right next to the Bowery um with an L uh it was hellish you know the Bowery was called the devil to mile and we were on Elizabeth Street Mulberry Street was called Murder mile so I was in the middle I was eight years old I couldn't uh at three years old they they took me and took up my tonsils and next thing you know I got asthma and I almost died and so from that point they cuddled kind of coddled me and put me in rooms I couldn't laugh I couldn't run and I I certainly couldn't play with the other kids so there was nothing else I could do him he was taking the movies and so from 1946 to 56 basically my my experience was sharing these extraordinary emotions with either my father or my brother taking me to films so um that that was the place of of respite so to speak so about a bajillion people uh love movies but not a bajillion people actually know how to make movies why did you think having watched them that that was a career for you that what what made you think okay there's no way to do that there's no way that that was going to be a career that's not going to be an astronaut or something we were in uh you know lower working class family my family didn't have books in the house I started getting books um and uh the movies were fantasy there's no doubt but I saw reflected but particularly in the darker films even films like Sunset Boulevard or uh you know in a lonely place or the noir films which were normal films at the time they weren't called Noir they were regular films you went to see them kids were shown Gilda constantly Gilda it's a totally perverse film you know we saw it constant what is going on in this film it was amazing but than any in any event years later we figured out but in any event um the uh the scene to me that the expression of telling a story and I saw a people tell story that a great storytellers my father my mother kids on the corner some tough kids who would tell stories you were amazing and I learned about acting from them and how to tell a story from them and these stories were things you didn't see on the screen and the only way I knew if I wanted to tell a story the only way I knew to try to use a elements to tell were pictures so I made my own little drawings storyboards alone I didn't show them to anybody we're living in a very very small apartment the other the other way out of that life uh because it was a very rough area and let's face it it was it was it was uh mired in organized crime uh different apparently different crime families and different blocks I only learned this a few weeks ago too some people that that club was so and so I didn't really I didn't know that you know but I knew to stay away or to be respectful in certain ways the only way was to uh um uh either you know go into making films which was out of the question 1953. when did you get your first camera well I never got a camera we were too poor couldn't get one I borrowed from my friends whose family had a little more cash and I would borrow and shooter you know but the other way was this one priest who was a great influence on my life father Francis Principe was about 24 years old uh he was in the neighborhood of St Patrick's old Cathedral it was the first Catholic cathedral in New York so it's a very special place and uh he was he was the new man he would tell us you don't have to live like this you don't have to you know we see what goes on now you get and you get married you go to live in Staten Island you go you can maybe take advantage of Education and he started giving us books uh uh you know Dwight McDonald uh Graham Greene and I picked up James Joyce and we started getting crazy because the Irish culture was very very important to us through American Cinema let's say so the similarities were very very much there so these two things he did as I pointed at one point I told once to Gore Vidal who was doing a project I didn't realize you know gorby Douglas had quite a quite a wit about him um I said you know my neighborhood I was joking my neighborhood you could be one of two things either priest or a gangster he says good you became both yes all right well just a little side track there so you've got thrown out of Seminary is is that something that you could share why and how in Mixed companies obviously none of that no it was rock and roll that did it it was you know in the beginning right of my 78s of Chuck Berry and Fats Domino no I thought I wanted to be like this priest I wanted to be like him he knew the way and he also knew the way spiritually he had us think about how one should live live one's life how you should treat other people my mother and father are very good about that but what I saw in the street was very different very different so let's let's do let me read you a quote here um So Mean Street which obviously draws pretty significantly from those observations of growing up on on the streets of New York City but you wrote here uh our quote from you is I don't think I've ever sat down and watched Mean Streets from beginning to end again too hard yeah it is why I would like Francesca to see the picture but uh I don't I like watching the beginning I like the music and uh uh The Ronettes uh and and others but uh my problem was that I realized that the way out through a uh religious order was not about yourself it was about helping other people it was about giving yourself up to other people they didn't know that and I wasn't prepared for it and you can't do that just because you want to be like somebody who meant something to you right you have to find your own way so I pulled together over a period of years the story of Mean Streets was based on a real thing I mean I got out of the car myself my friend we got out of the car at two in the morning on Friday night and we missed the bullets the car got shot up at Astor Place over some stupid Macho argument between some half a psycho and crazy Butch and another guy and I said to myself the next morning we my friend and I said this is ridiculous we're on borrowed time I said I know and I was at NYU at the time and so I wondered what the hell is it all about what does it all mean how could this life be this way and then a friend of mine a friend of ours was eight it's 18 years old he died of 16 actually he died of cancer and I don't forget we went out to the Long Island cemetery and um uh thousands of Graves and there was the Continental Can Company overlooking it and I looked around I said is this what it is there must be something more to life that we could maybe pull out of this madness you know this poor kid and that was cancer he had it was a different thing but the bullets for the stupid argument that is it that and I said that's where the film should begin we take that as the ending and then we go to the beginning as to how each uh element of the story built to the point where there was no more talking it was just shooting over nothing by the way insults a pride you brisk so how do you take this quintessential New York story and shoot it in Los Angeles well that was Roger Corman right we shot seven days and nights in New York right okay with a student crew and then uh Corman so that's why I did boxcar Bertha before that Roger told me uh I mean boxcar Bertha I learned how to make a movie because I learned how to be on schedule that was six days a week get up at a certain time you don't feel like shooting too bad shoot you know bring in the footage you know uh 24 days that was it and so prior to that we're making student films or Independent films when you've got a camera when the actor was available you were able to shoot but you know things didn't match you couldn't you were blowing the lights you know and um here there was a steady Pro and that's what he told me later he said you want to make this film this is the group The Crew you work with and they said we can make this in La the Interiors in LA with our crew that we debaced car with and make it cheaper and faster and that's what we wound up doing your parents ever see me in streets well yes my parents uh finally in 73 they talk to you again after they saw they spoke to me again yes after seeing it um uh they they were at the the there's no I mean just in The Score says a household there was no such thing as four letter words cursing no uh this is interesting because later on I see movies about Italian Americans they're using the f word and MF and what is it with these people if we had used I'm not kidding we had ever even there was this soup we get hit you wouldn't that you you were you actually wouldn't get hit the emotional violence the threat of it was enough my father was really and my mother how how dare you you know Mom I didn't say anything you know and I didn't you were going to say it no I wasn't and um none of that no c words none of that um and so uh and Mean Streets I said we're gonna make a film with the binocular the vernacular the gutter talk because it I don't know if anybody's gonna see the film anyway you know and so we put it together and my mother and father they're the opening night at the Mean Streets at New York Film Festival and they're sitting there and the curtain goes up and we suddenly realized oh my God people are going to see this you know the other short films and things like that yeah yeah but no this is the feature people are going to see this damn thing and after it was over it was a it was quite a quite a reaction a good reaction and because my mother had come to the festival a few times because I had short films there she went out into the lobby of Alice Tully Hall and uh people were walking up as as she went by each person says I just want you to know we never use that word in the house but she was right and she won the next person but don't you your son's filmed it doesn't matter I never use that word all right moving on Scorsese the Storyteller so you've made 27 feature films 16 documentaries seven TV shows seven short films two music videos and eight commercials that adds up to 67. so when you're making a film is there a moment that you can actually tell movie Magic is happening is there is there that that moment is it in the I I feel it I feel that sometimes Jeff with the actors yeah I I come out of the like people said you go to acting school no I didn't study any acting I I was immersed at the age of 14 13 and 14 with the films of Ilia Kazan on the waterfront in East of Eden particularly uh and then facing the crowd but those two were the ones and I I on the waterfront and East of Eden and if I somehow I was I didn't really say it until later but I thought my God imagine being on on the set when a magic like that happens between actors and something is not a film anymore it's not theater it becomes a kind of universal truth when was The Magic Moment just like um uh Mean Streets with the Harvey and Bob in the back room where he's trying to convince him that uh it's okay I'm gonna pay him and I took a three and a half minute four minute scene that Bob insisted on doing by the way and then we squeezed in on the last day of shooting that improv suddenly became alive or when later on years later we're doing Irishmen and there's uh De Niro and Al Pacino and I never worked without before but there's this incredible team that the two of them where they're at a they're at this big event and he has to tell Al or barbus to tell Al that he's got to stop at Jimmy Hoff he's got to stop it you're going to have to give it up you know because the group is saying it's what it is and Al's performance Al's reaction it shows the depth of hubris he says you know they will never dare they wouldn't dare he said no no this is they said they wouldn't dare and at the end he said remember it's my union it's my union but they kill him they kill them and this something happened on the set I had two cameras and two takes not even that and the crew came around and said that was something wasn't it and I said yeah some magic occurred that usually happens that way you know I enjoyed kind of like a Coke the Copacabana tracking shot we enjoy and we had so much fun but these things would some people take off or Cate Blanchett playing Catherine Hepburn at the uh in uh Aviator like you know whoa I mean suddenly I look up I said what the hell was that whoa so in shooting movies um you know you you can plan for everything that you can think of and then things happen right there's just the weather got storm comes blows your sets away you know uh Spielberg always talks about you know shooting Indiana Johnson literally his entire sets were destroyed tires yeah right in which case you have to improv and do you have to create a miracle yes give us a miracle moment well we we had a lot of that we were shooting this extremely low budget uh project Last Temptation of Christ in Morocco and the weather was uh at times very difficult and there were flash floods destroyed our entire Set uh uh at which point um the Temple of Jerusalem became an underground Temple okay it would work got the Arches we have the Arches okay you know uh also I couldn't get enough Roman soldiers to uh uh surround the temple Courtyard which wasn't a courtyard anyway because we lost the temple we lost it uh and so we got three stunt men from Rome that were with us and so uh blow a horn and I said three guys jump up come on like this and we swish pan over three more guys we swish pan three more guys it's the same guys and then the levite guards fight them it was the same guy every day Jeff same three same guys every day I'm wrong we do um let me go to two we go to uh of my favorites uh if I can and maybe just have you talk a little bit about what it was for you to grab them so Raging Bull um in the ring uh uh Sugar Ray Leonard Jake LaMotta yeah um uh just just a stunning uh choreography and uh the capture of that the intensity of that um I I sort of felt as though you were in a figurative way um you know it was almost like the crucifixion of you know Bob De Niro in that in that scene and then there's that great line in which he says I never went down Ray yeah that's a quote from the actual lamada so tell us a little bit about Sugar Ray Robinson he went up to him in his corners and never went down he never went he took the beating he was known for the extraordinary punishment in fact the announcer's voice you hear if you see the film you hear that announcer uh calling the shots and and the ring that announces the actual voice and at one point he says no man could take this punishment but Jake felt so conflicted and bad about himself that he deserved to take that punishment as some sort of redemption and he uses Sugar Ray in a sense um but all of that all of that was uh all those boxing scenes I never saw boxing I used to see somebody on TV but it was a little 16-inch TV and that the Figures were like this and all my aunts my uncles and my father get them get them and I said what the hell are they looking at I couldn't even see anything and then all I know is went on for hours I couldn't see and um eventually uh when they got me involved with the project I went down to uh they took me to a few fights and I saw certain things and I got close to the fighters and I saw what happened and I realized the only way I could do this is to be in the mind of the fighter to be in the ring and don't come out of the ring to be to perceive the fight um as you as if you were fighting so the sound would be stretched uh the motion would be elongated or or speeded up um uh and so in a sense that goes right back to two films The Red Shoes the ballet sequence of The Red Shoes you know some has been criticized sometimes by people at the time ballet dancers as not really showing the dance well no it's showing what's going on in the mind of marish era how she's experiencing the the dance itself and the other one was doing The Last Waltz where uh I broke up a camera movement to three or four bars of music and that was the shot there was no in the case of uh Raging Bull and the bull in the fight scenes there were no three or four cameras none it was one camera um you know a series of punches left's rights and then cut and so the shots were all way designed uh to take us into the mind of the fighter you know amazing that's a some other good example it's another good example when you're sitting there and suddenly it takes off so that was my question which is how much of that was scripted how much of it was rehearsed how much of it was improv in the moment how much of it was a Magic Moment well you know it really goes back to Matthew you know yeah and um I I saw this film mud directed by Jeff Nichols who's a good director and uh uh I didn't even recognize Matthew in it I thought he was terrific and then they came around said he's he'd like to come and talk you know maybe be in this picture and um um we talked there was something something about the way he behaved that I thought if I could have that in this character and behave meaning that there was a movement and a a a choreography in a way that he had and he was so cool that way and I thought it was wonderful so um told Leo and uh the script was written Terry Winter uh then we did we added some more from the book from the dialect from the book especially about some other scene other stuff in the in the scene um and what we allowed him to do is you can see you know they always say a comic is one thing but a straight man is harder so you see Leo being the straight man there you know it's very hard and it plays off of him um and uh we allowed Matthew to take each point in the dialogue in each line and open it up opened up and he'd be you know uh adding I don't even know to the point how much he added quite honestly watching it now um and it just played so much and Leo the looks on Leo's face uh and then at one point it was happening I think it was the second week of shooting and things were going all right but this was special you know it's a two use again as a table two people at a table a wide shot a single to say what is this they're getting yeah yeah boring so I'm saying to myself all right look okay Leo looks like yes tell me and the other guy is doing this and then when he orders the liquor it's fine okay that was in the script we added more from from the book uh and then at one point I'm on a monitor I'm looking we did like six takes or whatever and uh Leo comes in he goes he doing something I said why he does these sounds I don't know what the hell it is I said what kind of sounds he said they're like weird calls or something and I I hate I don't know what they are he's just sitting there doing it I said well what do you want to do he said you want to see if he wants to put it in so let's see we put it I'm gonna tell him put it in what the hell is it so it's okay we'll go there pretend you know we go up to Matthew and say yeah Matt you know those things you're doing goes what and you think you can incorporate that and he said which things I said those sounds you're making he said well those are just my vocal exercises I said try to incorporate that and that took off that took off and that was one of those [Applause] it was it was one of those magic moments where everybody looked at each other said oh my God [Laughter] this film is a western killers of the flower Moon you want just tell us a little bit about that well it's it's the story uh a book written by David Grant who wrote the lost city of z uh I think James Gray made a film of um and anyway it's about uh the Osage Nation in 19 in the teens and the early 20s in Oklahoma um finding oil on their reservation and that they had made a good deal but whatever minerals were in the ground they owned so they had the oil and they became the richest people per capita in the world uh now the government stepped in and tried to make sure that they um controlled how the Osage spent their money by giving them Guardians by saying well look you know here's a here's a a Bowl of Cherries there how much how much you know we're gonna charge you how much would you pay for it oh it's really only a dollar you know well tell them it's ten dollars the guy said ten dollars for that and the Osage buys it because they quote unquote don't have the value of the money and there was a lot of resentment because the oil made them extraordinarily rich and they didn't have to work they didn't work for the money um having said that the head rights that were called um uh were inherited by the women in the family so you had a lot of white guys coming down marrying the women now you know it's a hard life um and it's uh um a situation where any uh you know Europeans coming in and um the indigenous populations being decimated whether potentially or not and so they're going to die off anyway so these wives start dying and the guys inherit the oil um and ultimately uh there's two or three families that were very very uh involved in this uh ultimately uh Jaya go Hoover sent in his Bureau of Investigation at that time 1922 I think at the same time the riots in Tulsa happened it's only an hour out of Pawhuska which was the capital of uh the Osage County in any event um they did they did catch a few they they guys went to jail et cetera et cetera but no one knows to the to the extent now exactly what happened the oil dried up the oil dried up in the early 30s but they're doing well we shot in Oklahoma last year uh with the Osage uh with other indigenous groups and with DiCaprio a young actress named Lily Gladstone uh from First Nations in in Canada and De Niro playing William Hale the king of the Osage Hills or real characters um and Jesse plemons and it's quite something in fact the uh Hoover took this um uh this job so to speak uh of finding out who was doing the killing and made that the basis for the FBI and the FBI grew out of that you know they even had radio shows later uh on gangbusters and things like that about the Osage fantastic I look forward to seeing that for sure um I'm gonna make a big leap here you made one of the greatest music videos I think of all time bad with Michael Jackson and we need to speed things up a little bit here but what was that like working with with Michael because I want to jump into your film preservation it was it was really wonderful um and what was great was putting him through the paces acting and that was the first film that Wesley Snipes did yeah and um oh a number of other guys it was just the acting's uh written by Richard Price um and ultimately uh the dancing sequences Mike Chapman shot it the guy who did uh Raging Bull and Taxi Driver uh the dancing sequences was so wonderful and it took three weeks alone just to do the dance uh again very much like Last Waltz where we did three or four bars or five or six uh movements of the dance and then cut there were no seven or eight cameras um we shot in uh the um uh one of the subway stations in New York uh with the low ceiling which is a little bit of a borrowing of Boris Levin's incredible uh production designer West Side Story talk a little bit about film preservation which is so near and dear and important to you so well because um because as I say I learned a lot about the world or at least in an internship to the world that doesn't mean you believe everything you see in the films but it makes you curious as to who they are and what this is and what that piece of music is and what that painting means and who that character really was and that's what through Cinema and through films on television I saw other people say money is always watching TV I'm watching films on TV that's where we saw so many uh in any event um um for me it was such a life changer in a way is particularly when the independent films were able to be made in the late 50s with John cassavetes making shadows and Shirley Clark doing uh the cool World um and the end the cameras got smaller and you were able to actually make films because before that we would have to go to Hollywood to do it and so um granted I knew I was never going to make the films that I uh liked the films I loved like the filmmakers of old I would never even be in the same category and that as you get older you certainly realize you know um but you can make your own and so for me the inspiration for that which took me out of where I was and I saw some other people the same thing saving them in their lives for me that inspiration was really important so you've restored 950. we're involved with 950 of them so far yeah [Applause] um how do you how do you pick the ones to restore well at first it was you know for example the bigger ones like Lawrence of Arabia was Bob Harris did that and uh Spartacus and uh um Bridge on the River quiet things like that that we we um uh the big title films because I learned in the mid 70s when I went out to Los Angeles that these films were being um well things were changing the whole Hollywood System had gone and basically the films are being uh neglected to the point where the color was fading and that sort of it's one of the reasons I did Raging Bull and black and white the color was fading and at that point they said you have to make all the films in color I said in the meantime I'd kill myself telling a story with colors and in six or seven years the colors are gone so what the hell are you might as well do it in black and white and that was a big issue um and uh what eventually happened was that um um I call together filmmakers around the world to protest this and this was in 1980 uh protest this issue of color fading and how films are being neglected because of the inspiration they give people around the world um and I always pointed this out too Jeff if you're inspired by Jules and Jim let's say if Steve Spielberg he loves uh ikaru let's say uh or a Seven Samurai whatever um uh or eight and a half and look what Stephen does but he's inspired by that see you never know where it's going to go you know and history yeah yeah and so you have to keep those things alive you want to talk about this yeah what we do now we have on on the uh the film Foundation is finally put together um a screening room the restoration screening room which you can register for free virtual screenings uh on uh the internet um this month I think we're showing One-Eyed Jacks the only film Marlon Brando directed um beautiful restoration that Spielberg and I did yeah I think I'm gonna say I didn't do we didn't do it with our hands we were looking and changing the color and Grading and that sort of stuff but in any event uh you can watch it for a month and also there are uh other um elements on on the in the uh the screening room which is filmmakers talking about the films archivist talking about what this what this does and what it does okay Etc uh the big thing now is that we pushed out to restore films from around the world in countries that don't have the facilities like um uh Mali and Indonesia and uh India to a certain extent um we just Africa Africa number of African films are quite something it's called the world Cinema foundation and we're restoring uh We've restored over almost 40 films which are very difficult because you've got to find the family people have to go to India people have to go to Africa to find the people and then work out the details if the negative exists see speed round we got to do it really fast because they want to go home okay ready so these are the speed oh okay we'll stay here as long as you want but I'm going to get through the speed round that's the thing I wanted to I want to just say one more thing about those World Cinema project films the thing about it was that when I was a kid I was seeing all these movies and I would see films made from uh by British and French and Americans of India and African places like that and the people who live there were always in the background and then I saw Pate panchali Sergeant Ray's films on TV and I realized that the people in the movie were the people who are usually in the background and I'm learning more from them than these other pictures and so that was the thing yeah we actually have a little clip it's not so little it's about five minutes or so that shows the process of restoration here um but I'm gonna do the speed round first and so people want to slip out you know I'm I'm nervous about the timing here I'm on a clock so and you know Melody she ain't gonna have with me I can't handle you get a speed round before this doesn't sound very I don't know it could be painful I know he's gonna really hurt me now all right here we go what's your all-time favorite film uh red shoes how many times have you seen it uh I can't count them is there someone uh is there a movie that someone else made that you wished you had made eight and a half there are more there's so many I'm just doing the speed round all right okay it's like who's your favorite it's like who's your favorite child are you kidding I mean come on is there a movie you wished you hadn't made you don't know why there hasn't no what happened happened I can't I can't shy away from it [Applause] you can't say that wasn't me it was me do you prefer to binge or parcel out TV Dude TV parcel that out we parcel out yeah except that there's covet or shutdown okay what are you watching now um I watched two the other night Dairy girls [Applause] those nuns do you have a favorite TV show of all time uh I Claudius the original series that went on that started the whole thing have you so you what you don't know is that Marty um wakes up wearing a three-piece suit spends a day in a three-piece suit goes to bed in a three-piece suit everybody else wears you know jeans and t-shirts and stuff so what's with that well you know I did I did wear t-shirts shooting in the summer I can tell you that but um I like the idea of um you know what it is I had this uh the fantasy of the old director shooting in the studios and you always see pictures where they're dressed yeah and I thought that was so generous boots yeah I mean yeah yeah yeah yeah yeah where I had I had them for uh for the Oklahoma picture but they were dressed and the cinematographers um and I thought that happened so it was so elegant elegant and and I don't want to say civilized because we're making movies but you know okay so you work non-stop you're nervous about flying you avoid the number 11. you talk scary ass fast do you relax and if so how uh music music and over the past I think 12 years meditation actually just force yourself in the morning you know get into it why do you score Santa [Applause] thank you thank you

Channel: The Economic Club of Chicago

Views: 14,248

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Id: fxsWoh8nQR4

Length: 46min 0sec (2760 seconds)

Published: Tue Nov 15 2022