All language subtitles for 00336

[SI]

STONE: | think Marty is driven, like
filmmakers are, by a visceral need.

And tilm does tat.
It’s just an exoression:

ics an explosion. lit's like Pollock...

MIrOWING Paint UP ON a CANVAS
sometimes. You just have to do itt.

Marty has this kind or sane
claustrophobic thing | do...

L.WIhIGA IS YOU have to brealk Out,
VOURKHONVE

And oreaking out for him sometimes
just means breaking out stylistically.

Let's Just do this with the camera:
Let's just do it.

CORMAN: | think one of the things that's
made Marty such a good director...

LAS ine tact that he's very
conscientious.

rile plans. Irie works witihn tne actors.

Fils knowledge of the camera,
nis technical work is unsurpassed.

CRIAPMAN: A lot of te time,
youre On your Own, you Know...

2nd YOUTS NEVEr ON your OWN
with Marty.

Because ne knows
what an image can do,

Ana Ae Knows
now it can have power,

Marty IS just great at trying anything!

Wit not 2 lot of tallk,
in my experience.

But at the same time, UM,
just encouraging and there.

Ane excited loy an icleal
anc att the same time...

-al@ ll Say, Let's try this
Or Move over there,”

Or this or that and, uri=

Thats one oF the main things:

[SI]

The traditional Fiollywood tilmmalker,
Flollywood director started...

Lal tS Ones, in the mailroom
and then worked his way up.

Ane! sort or learned by tollowing
and imitating...

,. .SVveryoody wind Ine worked! witin!

rlere’s this OtNer Group OF guys,
SCOPSSSS..,

AMONG the MOSt Imporani,
who had actually gone to til school.

| just got back trom Vietnam
and | was living hand to toot...

sell New York. | didnt want
tO GO to college outside the city.

| wanted to stick around
New York,

| got the Gl Bill
lpecause I'd been in Vietnam.

| Got tne Gl Bill to send me to NYU...

La aWnlch Is where | went
to study film.

BOCAUSE Tilm Was a Good way
to get through school.

At least get some kind or degree.
| dont know,

Ane pass the time wattcning movies:

It wasn't that hard, you know.
twas fun ano clifrerent

JN tal time, there wasn't muUGAI
film being taught.

Vary was teacning, | tain
it was 2 production class.

We make the three-minute tilms,
tne two-minute films.

Marty would look at them,
he'd crack up, laughing.

It was 2 very lively class.

Marty had hair down
LONI SESNOUICERSH

and © Struck me rigint ewealy
as 6 lunatic in the sense...

Aller IS CNErGY WAS TErOClouUs
and he loved tilm, you could tell.

Fie would stay up tll 4 in the
moming, this guy. He was sick.

BeCAUSe tere was NO video
in those days...

16 O WAGA Old movies on IV
at 4 in the morming.

Because nat was the only ume
VOURCOULEESCC IE

, sremoergs Last Empress
OMSOMMELMINGE

out he hadnt slept so lhe’d bbe like

rie Cl talk Tie Wat:

And las conveyed to us
nis enthusiasm.

| wished | had the Knowledge..4

Liat ne Was gZoourl Movies!

[MUMBLING]

ries like an encyclopedia.

i there’s a movie | think oar,
ealliiniinkanckaskdlniin=

, DOCAUSS S'S SEEN SVEFYKNING!
It's great.

| wish | ac iat J

Ul, in my head.

KOLIKER: People were getting
really energized.

So there were this bunch
of new directors coming Up...

WMO are, instead or working
their way through Hollywood...

are WeKGnAlng the history of tlm.

STONE:
There ts a tradition to this thing..4

ald thet was Marty was always
very resoectiul of the tradition of films.

It was passed down, Something
that was given to us by the silents

It WAS Given to US through
the golden age of Hollywood...

L..lmrougi the 40s and “os.

GRARVIANRIAStalinosimecsmimurein
OMANMOMICRNUIASH NOM VASE

| had seen many,
many of the same movies,

| mean, Ic seen alll or Godarel’s.
/\ lot Of = That movie reeks of Godard,

And | have seen all of Godard,
just as Marty had, you know.

And | think that's part or why
we got along...

and Why We Were ON the Same Page.

Because wed stucied
at the same university, in a wey.

Bonnie and Glyde.

And then a tew years later, uh,
Scorsese Comes i...

and Goes Inis first Studio tlm
with Roger Corman.

And then Coppola comes in.
A few years later Spielberg comes in.

students of the history of film.

Students speciiically of lrlitichcock:

And all of them thinking...

oAMMINKING BloOOut
what can be done with films.

STONE: But essenitiallly Marty
said it was, you know, make it personal.

Make ik someting trom your litre.
Make it count for you.

You know, get ot tie ideologies,
get oti the:

“YOU think movies should loe this"
attitude and bring it down to your gut.

What Is it to you?
What is this piece of til?

Fed make you realize that tilm
could breathe and smell, it was lite:

-You gonna break my chops?

! like to know your name:
What's your name?

lr youre gonna break my Ghops,
you can take it on the arches.

CORMAN: Two young men tron
New York started in Flollywood with me

Strangely enough, they worked
nAKansas on their first films.

Bolo De Niro in Bloody Mama anc
Marty, of course, on Boxcar Berina.

Marty had never done
4 Hollywood feature film.

rieS Gone a black and wnalte,
underground film...

---CAllled Who's Ihat Knoeking
which | thought was very, very good.

And ned also cone some ealiting work
and [I've always loelieved...

ole 2 Good cirector
can make almost any type of film.

And or the young clirectors
lwas gware OF.

Oven though Marty hac never
done 4 feature...

and Als WOrK Was alll
from New York...

Lol UIOUGMt he was the best man
for the job.

| think wheat cistinguishec
Marty was the fact that...

Al AAC alOSOroed
the idea of preparation.

rie came iin fully prepared:

There maly be some Intiluence
in Marty from what | taught him.

But | inink ht would loe mostly
in the technical ways to work.

TO work eiificiently, to plan,
to prepare.

Marty is his own man. It's lhis vision,

Ane, ula, | Cannot
take any credit tor that.

[SI]

DIE NIIRO: Marty and | sort or
Knew each other wien we were kicls.

We had mutual triends.
We would go back and forth.

So we'd see each otier, Inello,
or something like that.

BU then we Met years later
through a mutual tiriend.

And | had seen Who's That Knocking
and | thought it was terrific.

And || said, “Well, ne reallly knows
what he's doing.”

And that whole milieu
and that whole thing and so...

L-All@ WAS aloout to do Mean Sireets,
or preparing itt...

OF thinking OF it Or Something
or right ater we met...

and Marty ofrered me
one of the four parts.

And | was going back ane Tort,
| didnt Know witich one to do,

And | was asking hin anc we were
talking on the phone and so finally...

Fool FAN Into Fiarvey Keitel
in tne sires

And || saidl, “l reallly sould be doing
your part, I've done other movies."

And! || Salice= You Know,
and | was kidding with him.

And ne said), “No, you should co
Johnny Boy.” | told him, “Okay.”

Mean Streets was aloout lis gut.
twas about where he came trom,

Ano taat's wart he uncerstood,

SO when he did Jax Driver,
ne fell in that olace between the lef...

«lie NESS OF te lett, tine proletariat,
the working class...

Melr revolt against the system,
SO to speak.

At the same time he found some
area deeply personal inside himself.

Not only tarough Robert De Niro's=

Because IDe Niro seems to le
his alter ego.

But there Is someting
very New York albout Jad Driver...

...Very lonely and very alienated!

PHILLIPS: A lot of the details
of the strange world of Travis Bickle...

Were Straight out or Marty's head.

Bul this Is the Seriot
iat Came out of Paul’s head...

ANG UAFOUGIN
Marty's interpretation,

riley, youre a Secret Service man,
arent you? Eh?

Just waiting tor the senator.

You're waiting for the senator?

D=ENIK@s
We all were drawn to it.

Then it was figuring out
now to cdo itor when to do it,

| was doing 7900 then. | was working
on it while | was in Italy...

and met Marty in Cannes.

We were working on the script then..J

and | WAS WOKING On my Character,
wiheiever,

Ane We Improvised too
and worked on certain things...

wat we wanted to tes out more.

And So again, we clic
winat we ac startec! in Mean Sireets]

All the things that Paul Scnracder
nad written, those were our guidelines.

Then | immeciately,
when | came back from Italy, um...

ool think 2 week later
we started shooting, or even SOone,§r..4

L Decause we ac 2 time consiraintt.

‘SO | was preparing to
right away start Up.

axa Driver, we alll thougint because
we were alll behind tt, in a sense...

We were alll rooting tor iim,

Fie was the point man
Going Out to Hollywood,

Anal | taink Ae’! been
in ancl out there.

ried leit tae school oy that time,

SO when lax Driver came along,
we were reallly happy that he did tt,

BECAUSE IK Inspired US, you know,
it gave US @ great feeling...

L iait Wwe too Goulc clo Tt

You know, itv Ae Could co tt, we coule
do it He was our leader,

rie had been thie iirst one
OMUNEREOASISS

Lie Cl entereo te mainsiream.

TAS rest OF US were iringe New York...

_llimmaking inclependent types.

ried actually mace tt.

[SI]

KOLKER: Theyre coming up
and theyre making their tilms...

Lat WAls reallly Curious...

ane painiul moment in the lhistory
and in the culture of the country.

Post Vietnam. Ihe notion
that we really don't as a nation...

Mave tne POWEF to do wnat we want
the way we imagine...

ald the waly iilims have led! us
tO imagine that we can exercise it,

So there iS an enormous amount
Of stulf going on.

Of potential for violence,
for disruption...

Lover Wwaicn we have no conirol,

And of course, Jax’ Driver
is a major example of that.

axl Driver is a vigilante picture
in tine end.

But Its a Stark and ugly OOFtrall...

Land we don't want to hear aloout it
or know eloout it, out it is a truth.

Marly Was just at the right point
in his career, in terms of his...

UA, Creative aloilities
ancl is creative frustrations...

(0 CO tiger Wn a inet we.

It touched something in people wno=
The people who did like ft.

We clidnt know that doing the movie,
OMMMVIOUSIVA

INO one could tell
winat tre reaction woullcl foe.

STONIEAiinadineacmionuce
with, Jad Driver Was...

Lak CXCOSS WAS ComMened
On at the time.

It WAS Part OF the reason It was Not
as received in the mainstream...

AS MUGN AS It Could have been.
| mean, it became bigger in hindsight.

But att tie time, Ik WAS SO Exirame,
CONSICEKECEOOMIOe Me

But not to New Yorkers, YoU See,
or people who'd gone to Vietnam.

So he lait a nerve
that Peckinoalh hit...

L.WNIGA WAS, Ike, thls Increasing
violence iin uroan American lite.

And Violencs was just getting to lobe
acceptalole to the mainstream now,

Looking back att t many years later...

..unere was @ kind of style...

L..unat | wasn't aware of,
(CONnSCOUSIVAEINV AVENE

Its something like this. That
ihe camera was at Travis Bickle...

.OOKING at Travis Bickle...

L oWitth that CUrMOUS paranoid mbture
Of fear anc desire that he has.

The camera was doing tt
Wwinetiner it wanted to or NOt.

Genius that it haooened:

| think ht was largely
uNConscious in alll of us.

Ofoviously not nearly as unconscious
in Marty as in the rest of us.

TIS IS Something that Schrader
ancl Scorsese ancl other tinmakers..

, are leaming trom the French
New Wave, from people like...

, Jean-Luc Godard, Francois Trutraut
ano olner filmmakers...

lant Were Very, Very POWenTul
Inluences at the time.

Every film that you malke
is a celebration of filmmaking.

Ane part or that celeloration
is to allude to them, to give a nod:

riere’s a Shot that comes trom
é itcacock ‘film...

Jean-Luc Godarel film.

rere ts tlm talking to ‘tlm:

CARMAN: What we were reacting to
was tae kind of liberation of Godard...

_ Wo Said, “You can co any damn
thing you want."

You know. “Just do any
goddamn thing you want.”

And see how it works out and ir you
feel that its right for that, just do ft.

You could say, just junk the micelle
out of it, the hell with it.

Put nim here, now he's here,
ANCMVOURGISSON ERIS

And it works and Marty reveled
in that treedom, | think.

| mean, Marty is a character,
aA man who gets bored very quickly.

And lAis reaction to loeing loorec
IS to become aggressive, visually.

SCHIRADER: Ie tends to attack things
and he's smart enough...

LO USS alll of that tila lnistory...

when he attacks something.

PIFIILLIPS: Mary needs room ror things
to happen on the set.

Marty is SO MUCHA aloout texture...

and what's alive and capturing
what's real at the moment.

‘SO he gave us New York.

the prowling of the taxi...

Lune Strange world of lravis Bickle

rie'S very prepared. Fie does He was
doing his own sketches at that time...

LllS Own Storyooares.

So he knows what he wants to do
lout Ine |ieaves room...

Lor GOO things to happen.

A lot oF times, te storyooards
were done on the day.

And were just a form off
trying to figure ft out.

MAN: So, wnat co you wannel
MACK@IO FE SICKICYA

TRAVIS:
/ cant Sleep nights,

MAN: lhere’s pomo theaters ror that
TRAVIS: Yeah, | know. | tried that,

Are you moonlighting?

Well, l=
| just wanna work long hours,

What's moonlighting?

Marty also- It's just the way ine Is...

Lan ING ACCSDLS SVErVUAING
and tries to be very open.

And IS OPeN So.... And as | keep
saying, he then will direct...

and make the thing and shape itt,
which is so important.

Sometimes it’s not until
he is in the editing...

Land other times or loot,
in directing...

and also in the editing, obviously.

Watening iin work
and sesing how he gets his actors...

-.O feel Comirortalole ancl encourages
them and gives them ideas was, ul=

| loved what he was doing

It'S SO Important
or the director to make...

ie actors feel comiortalole. Ula...

Want to try anything that they Teel
could be good whether it works or not.

Ano! how it can oe, Ul...

Or guided into another area
that nobody thought of...

UNUl tie actor CaNie UO WIth It

SO whatever It is, | mean, to have that
freedom is like the number one thing.

My main preoccupation
Is to get us to do another=

A jew movies together.

We have a great time doing them...

ana they re TUN...

and | dont Wanna GO SO Tar
aS to say exciting, but they are,

TO reallly Because YOU con't Know
where they're gonna wind up.

But at least they're..J

[MUMBLING]

an endeavor that's special ror us.

And I'm hoping we can get to do
a few other movies together.

ries reallly one of the great cirectors
in the world today.

Fils strengths actually encompass
everything 2 director does.

What he opened US UP to
aS 4 professor, as a teacher...

L Was the energy of ‘tlm,

ihe truth-telling aloility or ili,
The viscerally of ft...

Lana YOU Could Use this thing
that isnt words.

Its Just this medium that you cut
in these clifferent ways...

, ana tiese pleces of celluloic
that take light.

And lhe mace it happen
that you could express yourself...

all LAC Most realistic and also,
if necessary, a visual, violent way.

| think or Mary when In cirecing.

| tink, tr e's In this situation,
what would ne do?

JANG, Ul eee

| only think as an actor I've=
[t's such a hard thing to do.

Ane you have to ceall win so many
people and personalities...

.- 00:16:43,02
Lat ics Oliniculkt

‘SO | always | give him such credit
for having to do that.

Its worth it, opetully.
You know, you get what you want.

But it's just diicult,

Not in a bad way. It's just what iit is:
I's the nature Of fit

What the personal tilmmealker,
tie auteur, for lack of a better word...

L must Co [Ss to Dold on.

tO lls or her personal vision...

GOING throug tne jungle.

Youre fighting, you're hacking,
youre doing this, you're doing that...

- OU YOU Know whet your goall Is
and you're staying with that.

SO it's always loeen this balance
petween—= And Marty knows it well.

ooding the interests
of a large audience...

LS Wl] as Satisiying
your own interests.

Its a Glassic rope-wallking act.

ries maintained an indepencence
that is quite envialle. Um....

Fiollywood is not tie place
tor a lot of indeoendence to flourish:

And | think e's Sort Of
maintained his position...

Las ine ouisider Insicis!

rie does it well.
ie’S done it alll nis Iie.

Maly Ae Continue to cdo so.
May he continue to flourish:

nies been a great beacon for cinema.

[SI]