Blog: Filmfestivals

It is usual among Martin Scorsese fans (I am not one of them) to celebrate the vigor of his shots, the genius of his mise-en-scène, the vital energy that his films give off. But it is much less common to mention his collaborators as essential pieces of that Scorsese touch: despite my love for Paul Schrader’s work as a screenwriter and as a director (he is the author of the scripts of Taxi Driver and Raging Bull), I think that the main responsible for the Scorsesian narration is Thelma Schoonmaker, almost exclusive editor of Scorsese since 1967 and responsible for both the bombastic rhythm of The Color of Money and creating some narrative sense in a film as poorly made as The Departed.


Schoonmaker has not worked alone for Scorsese, but almost, and it becomes so difficult to find in a film made by another director the continuation of the movement by cut (movement of the camera or the elements / people in the shot) that is so natural and frequent in the cinema of the filmmakers from New York, that one tends to think that Scorsese films for Schoonmaker, and that Schoonmaker determines the way he shoots.