I feel like the painter of a dark Umbrian town going to see Leonardo da Vinci. Or as an architect of bungalows, about to enter a Le Corbusier building. The movies of Martin Scorsese They have accompanied me in all the moments of my life since I saw twice in a row in a dark neighborhood cinema Bad streets (1973) and the vibrant camera that accompanied Robert de Niro entering the bar where Harvey Keitel waits in a very bad mood, while it sounds Jumpin 'Jack Flash, of The Rolling Stones, It changed my way of seeing the cinema. And life.
Martin Scorsese. I'm glad we can finally talk, these last weeks have been very difficult for me …
Isabel Coixet. Yes. But we're finally talking, so … Well, congratulations on the prize …
M. S. It has been a great joy … I love Spain and anything that brings me here … it's a great place!
I. C. Are not you tired? I mean so many awards, tributes, interviews …
M. S. Well … from the interviews, yes! [risas].
I. C. I imagine. Do not take this as an interview then, but as an office. As if a director in crisis is going to see his oracle to consult him …
M. S. I like it! An oracle! A loving office. Shoot.
I. C.Have you ever considered "in agreement, that's it, I'm not going to make more movies, it's over"?
M. S. Yes. After shooting Hugo's invention [un homenaje al pionero del cine Georges Méliès rodada en 3D y estrenada en 2010] . Hugo It satisfied a part of me, a part in love with the image, with the cinema, also with the affection for the image and the past. When I finished it, I said to myself: "It's my last movie". I consider the way films are made now, the financial and technical difficulties, the pressures from the point of view of production, of budgets … I wonder about the meaning of putting in place such a complex mechanism to put in scene something that for me is fundamental and relevant, but deep down you wonder if it is also for others. What does it mean to be a film professional in those terms? An expression that I have always detested. When I finish Hugo I thought that the only movie I really wanted to make was Silence, but I did not see that that was possible. And I did not think that the industry that was and is changing at an incredible speed was interested in Silence.
I. C. And how did you convince them to produce Silence?
M. S. I told myself that if I made another film, another interesting, commercial film, with Leo DiCaprio, the same then I would be again in a position to do Silence. So it was. We did The wolf of Wall Street and that movie gave me the energy and credit in the industry to be able to do Silence.
I. C. Silence It is an awesome movie. And there's something I thought seeing it: "It's like a Catholic version of Goodfellas[Oneofours[Unodelosnuestros 1990]"
M. S. [Risas] In a certain way, yes!
I. C. If they end up the same:[in[enGoodfellas] Ray Liotta in witness protection talking about how banal his life is now and Andrew Garfield [Silencio] with his wife and children …
M. S. But the character of Garfield has not lost faith, keeps the cross in his fist …
I. C. Is that faith? What is faith if it does not manifest?
M. S. He actually discovers his faith when it has been questioned by others around him, those who want to destroy it.
Here we enter into a complicated loop discussion about faith, which is irrelevant.
I. C. I know that you are the ultimate promoter of the fund to recover the African film heritage, that you have contributed your money and your help to restore and publicize films that would otherwise have been lost.
M. S. These films tell stories from an absolutely pure, uncontaminated point of view. And they are told from the perspective of African filmmakers, not from a European or American point of view. They are fascinating. 20 years ago, I saw a wonderful movie Yeelen, of Souleymane Cissé, on television, at dawn. I was impressed. I contacted him. I went to Mali, I met other directors, I discovered more movies and that's how the World Cinema Project. We restore and preserve films that sometimes were already given for lost, in countries without laboratories or ways or money to keep them. Films of which the negative is barely preserved. When we presented the project in Cannes, Sissé said. "If we do not keep the films of the sixties and seventies from countries like Mali, Uganda, Senegal, Chad … the people, the citizens will not know who they are or where they come from, the story will be lost."
I. C. Is there a movie that you have in the bedroom, what have you tried to do repeatedly without getting it?
M. S. Yes. But after having managed to do Silence, I thought that there would not be so many opportunities for me, that maybe I would not have the energy. I am 75 years old and everything becomes slower, one becomes slower and …
I. C. You talk as fast as the first time I saw you 30 years ago.
M. S. Can be. But you know what I mean … The physical energy that is needed … You must know, you charge the camera all the time … which fills me with envy …
I. C. All I have achieved is to be a little humpback on the right … [risas] Let's go back to your projects. I see you driving up in a wheelchair and oxygen cylinder like John Huston.
M. S. Now I'm also excited about many other ideas, like producing new directors, restoring movies. Time is running out. And you have to really choose the things that are worthwhile. I'm making a movie with our friend Thelma [Schoonmaker], The Irishman. It is an opportunity to return to work with Bobby de Niro. And of course, it's about a hitman, but from another point of view, more naked, more sober. I'm trying to find a more natural approach … no, natural is not the word. I'm trying to find the essence of what I want to say. Even in the close-ups of a person talking. That has led me to remember the documentary I made about my parents Italian American Moving the camera is wonderful, of course, but … I do not know if there is anything else that can be said with movement, with a crane or with a drone or with a hundred drones … Now anyone can do it. Anyone can do anything. That's why making movies is a challenge far greater than ever in history.
I. C. Yes. You have to be very brave, very free and very careful … all of that at the same time.
M. S. Exact. Because there is no time for the … superfluous. The unnecessary. And constantly ask yourself: what is necessary? What story is there crouching, hidden, what history is worth it, and the effort and courage that is needed to make a movie? That is what the directors have to consider every day.
I. C. I'm with you. And I have faith in you.
M. S. [ríe] Another day we will talk more about faith.
I. C. Another day.