The future of cinema, for Martin Scorsese, goes beyond a projection on a screen or a video store for which you pay a monthly fee in streaming to see him in the living room. The director (New York, 1942) would like it to continue being a rite in a group, with or left alone, but encouraged by that tingling that invaded him as a child when entering a theater to laugh, cry or applaud in the company of friends, lovers or strangers. However, today lives a paradox. Your next movie The Irishman, it will be released on Netflix, not in theaters. "Studies no longer support filmmakers," he says.
He said it this morning in Oviedo, where he arrived last Sunday to pick up his Princess of Asturias Award of the Arts. They deliver it to him this Friday, but before it has programmed several activities by the Principality. This Wednesday he will hold a meeting with the public in Jovellanos theater, of Gijón and on Thursday will talk with young filmmakers in the company also of Queen Letizia, who will attend the event moderated by the Spanish director Rodrigo Cortés.
Before he appeared in a generous and witty press conference. Concerned, first of all, for the future of an art in full transformation and scattering on the table the monumental paradox that surrounds this question: Why today those who are willing to offer the conditions of classical film making are the platforms and not the industry? The Irishman is the answer. A 100% Scorsese scent film, with a cast of classics in which Robert de Niro, Al Pacino, Joe Pesci and Harvey Keitel meet, and whose $ 100 million has only been risked by Netflix. "Where are we going? I do not know. We must protect that theatrical aspect, of rite and art, against those superhero products or almost animation, which are a genre of their own and they are fine, but it is not the cinema that I come from, that I want to preserve and I like to restore. That needs your audience too and we must convince people to see it. I would like it in the halls, rather than at home. And that custom should be promoted as long as possible, but studies have stopped supporting filmmakers: in my case only Netflix does it, "he says.
"If by 1900, the government had implemented the immigration policy now, none of us would live there"
Life changes, sociability is compromised surrounded by technology and the threat of the click. Not only about the shows: "We also prefer to order food at a good restaurant to take it home and not share the experience of going to enjoy it there." With friends like Robert de Niro, for example, with whom he has returned to shoot: "I owe him so much. We preserve that telepathy, we do not even need to talk. It is of all the interpreters with whom I have worked, who knows me better. You know where I've been since we were 16 years old, we've shared the same community, the same culture, even the subculture itself. "
Neighborhoods and Bad streets of immigrant essence, descendants of diaspora, just what makes up the country in which he grew up, whose government wants to slam the door on new citizens. Scorsese does not call the United States his country, he calls it the place: to lower the fumes, perhaps? "If by 1900 the policy had been applied now, none of us would live there. We can not accept it Starting with the Irish, who were not very welcome, as seen in Gangs of New York, for being Catholic. The separation between Church and State prevailed and they owed blind obedience to the Pope, which made them suspects and menaces. The place is an experiment where different languages, races, cultures coexist. It was never easy and it will not be easy, but today there is a sense of division that threatens the basic idea of what we are. We must work to change it. "