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Issue 24: Martin Scorsese

May 2015

Definitely a Guilt Thing

Chad Perman·
Issue 24: Martin Scorsese
What you are about to read is the transcript of an online conversation between two individuals regarding Martin Scorsese’s first...
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Watching and Re-Watching Taxi Driver in a Digital Age

Lauren Carroll Harris·
Issue 24: Martin Scorsese
You know you’re in a great film within the first few minutes. Even in a challenging film, it becomes evident...
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The Last Waltz | art by Amanda McCleod

If It Dances

Brad Nelson·
Issue 24: Martin Scorsese
As a concert film, The Last Waltz is an effective document of The Band; it’s also, in a way, an effective document of Martin Scorsese in the mid-1970s.
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Escape in New York

Greg Cwik·
Issue 24: Martin Scorsese
In 1975, a group of proto-Helen Lovejoys called the Council for Public Safety, comprising, in part, police and firefighters, conspired...
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Whiter Shade of Pale

Karina Wolf·
Issue 24: Martin Scorsese
When Martin Scorsese asked Richard Price to adapt Dostoevsky’s novella The Gambler for film, the art world craze of the late...
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Martin Scorsese Makes Movies That Hurt to Love

Alex Dabertin·
Issue 24: Martin Scorsese
You can love Martin Scorsese movies for the wrong reasons. The violence, the overt masculinity, the drugs, and the sex...
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Watching Casino, Twenty Years Later

Lisa McElroy·
Issue 24: Martin Scorsese
In the mid-90s, Martin Scorsese hired my employer, Matte World Digital, to create some visual-effects shots of the 70s-era Las...
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Indoor Kids

Anna Sjogren·
Issue 24: Martin Scorsese
illustration by Brianna Ashby I can tell you about most any movie that was released between 1999 and 2000. I...
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The Wolf of Wall Street | Paramount PIctures

All The Times I Felt Gross Watching The Wolf Of Wall Street

Fran Hoepfner·
Issue 24: Martin Scorsese
I wonder if The Wolf Of Wall Street is like one of those sociopath tests. When do you stop identifying with the heroes and start identifying with the victims?
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