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Raging Bull Blu-ray DVD on sale for $12.49 @ Amazon [16 May 2011|04:33am]

This week's Blu-ray sale of the week at Amazon.com is the classic Raging Bull (Two-Disc 30th Anniversary Blu-ray/DVD Combo) for $12.49. I've been waiting for the price on this to drop so I can give my son my DVD copy and finally have an HD version of my favorite De Niro film.
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[23 Mar 2010|02:57pm]

Any Scorsese or Scorsese/De Niro fans from Russia? Moscow is of specific interest.



Cheshire Omega

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Look what I found on ebay!!! [29 Dec 2008|07:28pm]


Henry Hill, the Original Goodfella that Ray Liotta portrayed in the movie Goodfellas, is selling all kinds of stuff on ebay. Art, clothing, cufflinks, pocket knives. You should check it out!
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[06 Feb 2008|08:55pm]

{1-49} Taxi Driver (1971)
{50-54} Pride and Prejudice (2005)
{55-58} Scarlett Johansson
{59-63} Ewan McGregor
{64-66} Jonathan Rhys Meyers
{67-72} Keira Knightly
(73-75} Jack Davenport
(76-81} Clive Owen
(82-85} Kirsten Dunst
{86-87} Natile Portman
{88-89} Johnny Depp
{90-92} James McAvoy
{93-94} Leonardo DiCapiro

Credit: jbdx23 If snagging
Comments are very welcome.
Resources: imdb photo links for caps,and cap_it For screencaps .
Also add me if you like :) friends are always welcomed!


Here @ my journal.
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Delirious [15 Aug 2007|11:01am]

I've got this camera click, click, clickin' in my head.
"I'm Not Angry"

Although it doesn't appear until the end credits, Elvis Costello's classic 1977 spitfire anthem serves as one of the best movie theme songs—theme in every sense of the word—of recent years. Jealousy, voyeurism, paranoia, acceptance, rejection, denial, the potential for violence, the recognition that it's all so damn unfunny that it becomes funny—Costello's song has it all, and so does the fine film to which it's now been wed.

Director and writer Tom DiCillo's Delirious, which had a special screening last night in Manhattan at the Angelika, works effectively on so many different levels that it gives new meaning to the term cross-genre. At once a comedic and dramatic Midnight Cowboyish character study of downtrodden friendship, it's also a love story, a meditation on fame (those who have it vs. those who want it), and a potential stalker flick. Despite its vastly disparate characters, shifts in tone, and wildly divergent plot lines, the movie hangs together remarkably well. Its debts to Michael Powell's Peeping Tom and Martin Scorsese's Taxi Driver aside, Delirious is the best movie about wanting to be famous since that other great Scorsese paean to obsessive behavior, 1983's The King of Comedy. (Both Scorsese films starred Robert De Niro, who receives mention several times in Delirious.)

"Sometimes I see too much," says Steve Buscemi's Les Gallantine (even his name is a worthy successor to Rupert Pupkin and Travis Bickle) to Michael Pitt's Toby Grace. What he doesn't see is how his chosen profession—that of paparazzi—with each click of his shutter takes something away from his subjects. He proudly displays on his apartment wall two long-range photos of Elvis Costello (who effectively appears as himself in the movie) as if they were big-game trophies.

Following last night's screening, Tom DiCillo spoke about the making of Delirious, which he spent the last six years bringing to fruition. He couldn't say enough good things about his star Steve Buscemi, who delivers what might well be the best performance of his career (right up there with his starring role in DiCillo's 1995 indie classic, Living in Oblivion).

One thing DiCillo couldn't stress enough about his new film and whether or not it succeeds: "Tell your friends about it." Indeed, in a movie marketplace where big-name films boast advertising budgets larger than what it cost DiCillo to make his movie (he had to reduce his budget from five million dollars down to three million), word of mouth is more important than ever.

DiCillo told The New York Times last week: "'Look at the movies people are watching.... They’re about nothing. You invest nothing.'"

Not so with Delirious.

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Everything Is an Afterthought [23 Apr 2007|01:17pm]

I recently sold my first book. In conjunction, I've established another LiveJournal to report on the project's progress, occasionally provide links about, and writings by, its subject, the journalist and critic Paul Nelson, and share snippets of information or parts of interviews that may or may not be covered further in the final product.

In addition to being a critic and screenwriter, Nelson co-wrote the fine book: 701 Toughest Movie Trivia Questions of All Time (about which Martin Scorsese said, "Some of the sections were so tough I could only guess at the answers, but the book taught me a lot I was happy to learn").

The new journal shares the book's working title, Everything Is an Afterthought: The Life and Writings of Paul Nelson. Just follow the link.

Anybody interested in learning more about this brilliant writer, whose own life proved just as mysterious and fascinating as the artists' about whom he wrote, is welcome to join. As well, tracking the process of how a book goes from sale to publication should prove interesting. I'm rather curious about that part myself...
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MUSIC VIDEO : Taxi Driver (1976) - Can't Anybody See [20 Mar 2007|12:48am]

[AUDIO] "Roads" by Portishead
[VIDEO] "Taxi Driver" (1976)
[CREDIT] mrbnatural & ponyboy *or* iconzicons

- Young, hot Robert De Niro being YOUNG AND HOT. (And shirtless!)
- Gun-weilding maniacs!
- Bloodbaths! Pimp-slaughtering vengeance!

*** OR ***
[ download ]

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Marty Scorsese Icons :) [17 Mar 2007|09:24pm]

Marty Scorsese love-fest over at my icon journal ♥ :P

[01-24] Martin Scorsese
[25-32] Marty & DeNiro
[33-52] Marty's Films

- The Aviator
- The Departed
- Gangs of New York
- Bringing out the Dead

Photo Sharing and Video Hosting at Photobucket Photo Sharing and Video Hosting at Photobucket Photo Sharing and Video Hosting at Photobucket Photo Sharing and Video Hosting at Photobucket

The rest are all HERE @ intothedark__.
Enjoy! ♥
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Nice... [26 Feb 2007|12:15am]

Scorsese won for Best Directer, and The Departed won for Best Picture.
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The Onion [23 Oct 2006|07:23am]

[ mood | weird ]

I don't know how many of you read The Onion, the finest fake news source this side of The Daily Show, but there's a funny article on Marty you should all read.

The Entitled

Martin Scorsese's next film to be Three Hours of Begging for Oscar

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The Departed [21 Oct 2006|09:03pm]

[ mood | tired ]

So, what do folks think of The Departed? I'm ashamed to see I've not been able to see it yet, but I'm working on rectifying that asap!

Also, IMDB have recommended this article from The Aspect Ratio - a Scorsese retrospective.

I'm just taking a look now, thought it might be worth a gander.

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TAXI DRIVER: 53 icons! [13 Sep 2006|09:25pm]

[ mood | cheerful ]

[x-posted to a few places.]

[1] Comment please!
[2] Credit mrbnatural or iconzicons if taking!

03 36

Follow the fake LJ-cut for more!
TAXI DRIVER: 53 icons!

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CAPE FEAR: 37 icons! [13 Sep 2006|09:19pm]

[ mood | cheerful ]

[x-posted to a few communities]

[1] Comment please!
[2] Credit mrbnatural or iconzicons!
[3] No hotlinking, please. ;__;

09 11

Follow the fake LJ-cut for more!
CAPE FEAR: 37 icons!

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"Sip the Wine" [19 Jul 2006|01:20pm]

[ mood | contemplative ]

Asked by Rolling Stone back in 1977 to name his ten favorite records of the last ten years, Greil Marcus wrote: "Every record on this list includes some element -- a riff, a guitar line, a vocal inflection, a, shall we say, moment of truth -- that is beyond the ability of the mind to conceive, or even completely absorb. These records seem like miracles to me." 

For me that moment appears in the third line of "Rainy Day Women #12 & 35" ("They'll stone you when you're trying to go home)" when Bob Dylan cracks up and evokes a camaraderie that invites the listener to come along and have fun with him. It's how close Van Morrison's mouth is to the microphone on "Crazy Love" (I especially listen for his staccato inhalations at the beginning of each line in the final verse). Or the inflection in John Lennon's voice at the end of "God," first when he declares, "I don't believe in Beatles," then upping the ante with his simple and elegant phrasing of "The dream is over." 

There are similar moments in movies. For Harlan Ellison it's the pure cinematic note which ends Coppola's The Conversation. Werner Herzog never forgot the look on Klaus Kinski's face the first time he saw him onscreen, in a Fifties war film. For Pauline Kael it was the silence shared by Jason Robards (as Howard Hughes) and Paul Le Mat (as Melvin Dummar) in their drive across the desert in Melvin and Howard

Re-watching Martin Scorsese's The Last Waltz the other day, I was reminded of -- and swept away again by -- a moment of truth that's cinematic and musical. It's not Dylan's fiery performance -- or his look, which falls somewhere in between a bearded Born to Run Bruce and Bella Abzug:

                          +    =     

Nor is it Van Morrison's marvelously mad leprechaun performance wherein he seemingly channels both James Joyce and the Radio City Rockettes. And it's not Neil Young's transcendental rendition of "Helpless" (so gorgeous that even the wad of cocaine lurking inside his left nostril, especially visible on DVD, doesn't detract). 

No, for me the defining moment of The Last Waltz occurs after the Band has purportedly played its last concert and the members have gone their separate ways. Away from the boisterousness and bravado of the rest of the group, bassist/guitarist/violinist/trombonist Rick Danko gives Scorsese a tour of Shangri-La, their recording studio, and the two men sit down alone at the mixing board.

                                                                                    Rick Danko

Scorsese asks him what he's doing now that "The Last Waltz" is over. Danko fumbles for words as he shyly looks around for his hat, which he puts it on as if to hide from not only from the director and his question but from his own new role as solo artist. 

"Just making music, you know," he says. "Trying to stay busy... It's healthy." 

He queues up a new song he's recorded, the lovely "Sip the Wine." As his heartbreaking vocals commence and the camera closes in, Danko, who passed away in 1999 at the age of 56, disappears into listening to his creation. And perhaps because he feels uncertain about sharing something so new with someone sitting right in front of him (let alone that someone being Martin Scorsese, who happens to be filming the experience), or maybe it's because he's embarrassed by the intimacy of the song's lyrics --

I want to lay down beside you
I want to hold your body close to mine

-- but Danko nods his head, and the camera captures in slightly slow motion his face completely disappearing into darkness beneath the brim of his noirish hat. 

The effect is breathtaking and, to paraphrase Marcus, ineffably honest.

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into [16 Jul 2006|12:33am]

hello all. just introducing myself. ive been a fan of scorsese since i saw goodfellas at age 13. ive seen almost everything hes ever done since. goodfellas is still the ultimate favorite of mine, i have to say. im glad there is finally a community dedicated to this brilliant man. hats off.
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Paul Nelson [12 Jul 2006|11:21pm]

[ mood | reflective ]

Paul Nelson in No Direction Home 

I make lists. Before I moved to New York at the end of last year, I crafted a personal and professional to-do list. One item appeared near the top of both lists: reach out to critic Paul Nelson and let him know how much his work had meant to me. His writings, mostly for Rolling Stone and mostly about music (though occasionally movies and books, about which he was equally qualified to write), helped form what still stand today as my tastes in music, literature, and film. He not only made me want to be a critic, which I did for ten years, he made me want to write about music in a bigger context than just something that plays in the background or fills up the space between commercials on radio. 

Music mattered to Nelson and, if he thought an album worthy, he wanted it to matter to you, too.

Here was a man who was equally conversant writing about Raymond Chandler's hard-boiled detective fiction, the failed romanticism of F. Scott Fitzgerald and The Great Gatsby, the great heart that beat at the center of Lou Reed and the Velvet Underground, and the magnificence of the Sex Pistols -- sometimes all within the same piece. He was instrumental in championing the early works of Warren Zevon, Jackson Browne, Rod Stewart, Elliott Murphy, and David Johansen, to name just a few of the artists who benefited from his critical eye. 

During his stint as an A&R man, he got the New York Dolls their record deal. He also went to college with Bob Dylan, and ardently and elegantly defended the singer/songwriter when he went electric. Forty years later, Martin Scorsese included Nelson in his Dylan documentary No Direction Home.

I wrote to Paul Nelson in February, in care of the Greenwich Village video store where he worked, but never received a response. Last month, when my best friend Ellis was in town, we happened into that video store one rainy Wednesday afternoon. I asked the kid behind the desk if Paul Nelson was around. "He hasn't worked here in about a year," he said. "But he stops in now and then." I left not knowing whether or not Nelson had ever received my letter.

Until yesterday afternoon, when I received a phone call from a gentleman who identified himself as Paul Nelson's friend. "I don't know if you know this or not, but Paul's body was found in his apartment last week." He told me that Nelson, who was 70 and whose obituary appeared in The New York Times on Monday, had indeed received my letter and that it had touched him. 

Paul Nelson was a brilliant writer who did for music criticism what Pauline Kael did for film criticism: he blew it apart and demanded more not only from the works he critiqued but of the forum in which he critiqued them. While well more than a decade has passed since his writing last saw print, tonight I find myself missing him and his work more than ever. 

To discover for yourself just how good a writer Nelson was, check out his reviews of the first Ramones album, Neil Young's Rust Never Sleeps, Jackson Browne's Running on Empty, and his masterpiece, the feature-length article "Warren Zevon: How He Saved Himself from a Coward's Death."

Photograph: Paramount Pictures

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"You Talkin' to Me?" [06 Jul 2006|12:03pm]

[ mood | content ]

Paul Schrader                                                          Robert De Niro in Taxi Driver

As I've written in an earlier post, the film Taxi Driver changed my life. It remains as electrifying and intense today as when I first saw it upon its release back in 1976, and continues to serve as reminder and inspiration as to the heights art can achieve.

The movie is being re-released in the UK on 14 July in conjunction with its 30th anniversary. Screenwriter Paul Schrader, in London to edit his latest film, was interviewed by Geoffrey Mcnab in today's Guardian Unlimited. The fascinating article "I was in a bad place" not only tells about Schrader and director Martin Scorsese's failed efforts to thwart the wrongheaded release of a Taxi Driver computer game, but includes Schrader's confession of having lied to the FBI the day Ronald Reagan was shot.

The Feds wanted to know whether failed assassin John Hinckley Jr., who'd become obsessed with Taxi Driver and its co-star Jodie Foster, had contacted Schrader. From the article:

His office had received one or two letters from "this kid in Colorado who wanted to know how he could meet Jodie Foster". He told the secretary to throw the letters out. "I knew that if I told the FBI, 'Yeah, I got a letter from him [Hinckley] once but I threw it out,' I would be fucked, my secretary would be fucked. We'd have to be endlessly answering questions about a letter we've thrown out and don't remember. So I just said, 'No, I have never heard of him.'"

Some of Schrader's other credits include: as writer, Raging Bull (with Mardik Martin), The Mosquito Coast, The Last Temptation of Christ, and Bringing Out the Dead; as director, Cat People, Patty Hearst, and Auto Focus; and as writer/director, Blue Collar (co-written with his brother Leonard Schrader), Hardcore, and Affliction.

Photographs: Linda Nylind/Kobal Collection

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[30 May 2005|10:38pm]

For film people:

If you are studying to be a director, actor/actress, director of photography, film editor, screenplay writer, etc.

I'm setting up a website in a week or so.

Ideally, it will be a community for students/hobbyists nation-wide. Aspiring directors, DP's, set designers, screenwriters, and actors will be able to collaborate with each other to create films that suit their own artistic vision and cinematic goals. This will be a non-profit site to encourage collaboration and the production of films. There are too many students who are wasting their time when they could be off shooting or acting in movie.

I'll have forums and ads where you can post your role (actor, director, DP, songwriter). You can exchange phone numbers with other students in the same area. In my opinion, this is the best way to assemble a closely knit, efficient, and serious movie crew. If you are serious about working in the film, please email me at dcho787@fastmail.fm. I will reply shortly with a link to the site.

If you are interested, please visit my journal for more information.

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[21 May 2005|11:49pm]

Goodfellas was one of the best gangster films!
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[13 Mar 2005|04:05am]

Martin Scorsese fan? Robert De Niro fan? Fan of both?  Come join my community, bobbymilk
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