Thompson on Hollywood

Scorsese Honored with Moth Storytelling Award

News

On Tuesday May 8 at the Bowery's Capitale in New York, Martin Scorsese ("Hugo") accepted the Moth Ball's 2012 Storytelling Award. That's because the folks at Moth consider him to be, said artistic director Catherine Burns, "a master storyteller," who is known as "a great raconteur by those lucky enough to share a dinner table with him."

By Anne Thompson
|
May 10, 2012 4:15 PM
|
0 Comments

More:

CinemaCon in 3-D: Scorsese and Ang Lee and Oscar Contender 'Life of Pi'

Box Office

At this point, the folks at Twentieth Century Fox don't need to promote Ridley Scott's "Prometheus." So co-chairmen Tom Rothman and Jim Gianopulos ran through the summer and fall slates--diverse, something for everyone, etc--and saved the big guns for something new they hadn't promoted before: Ang Lee's 3-D epic "Life of Pi" (December 21).

By Anne Thompson
|
April 26, 2012 3:48 PM
|
0 Comments

More:

Scorsese Talks Sinatra Biopic Possibilities: HBO Miniseries vs. Movie? 'Now's The Time to Execute It On The Page'

News

After his positive experience with HBO on "Boardwalk Empire" and the prestigious Oscar-winning money-loser "Hugo," Martin Scorsese is reconsidering the way to proceed with his Frank Sinatra biopic.

By Sophia Savage
|
April 9, 2012 1:41 PM
|
2 Comments

More:

In The Works: Scorsese and DiCaprio Take 5, Penn Eyes Iñárritu's 'Red Flag,' Canet's Impressive Cast & O'Connor's 'Neverland'

News

Martin Scorsese and his muse, Leonardo DiCaprio, will team for the fifth time with "The Wolf of Wall Street"; Sean Penn eyes Alejandro González Iñárritu's true crime story; French actor-writer-director Guillaume Canet lines up a star-packed cast for his own crime adaptation; and "Warrior" director Gavin O'Connor heads to "Neverland."

By Sophia Savage
|
March 16, 2012 1:44 PM
|
0 Comments

More:

Immersed in Movies: Oscar-Winner Dante Ferretti Talks Retro 'Hugo'

Features

As we come down to the wire, it appears to be a foregone conclusion that Oscar belongs to "The Artist" and "Hugo" in a strange alignment of early moviemaking nostalgia. But while "The Artist" will likely score the top three prizes for picture, director, and actor, "Hugo" seems destined to take most of the technical awards.

By Bill Desowitz
|
February 28, 2012 1:49 PM
|
1 Comment

More:

Scorsese's List of 85 Films You Must See

Reviews

During an interview, off the top of his head Martin Scorsese gave writer Rick Tetzeli a list of 85 must-see films that influenced him. Of course as an NYU Cinema Studies graduate and so-called film expert, I had to check my mettle against Scorsese.

By Anne Thompson
|
February 24, 2012 7:21 PM
|
8 Comments

More:

Martin Scorsese Accepts Santa Barbara's American Riviera Award, Grilled by Maltin

Festivals

The Santa Barbara International Film Festival bestowed its American Riviera Award on Martin Scorsese on Monday at the end of a marathon evening.

By Myron North
|
January 31, 2012 4:25 PM
|
4 Comments

More:

Oscar Watch: Entertainment Weekly's Annual Oscar Issue - Snubs, Shocks, Surprises

Awards

Entertainment Weekly's Annual Oscar Issue breaks down the nominees, throws down some surprising predictions, gives tribute to the shocking snubs, and adds insights on what you might have missed. (Another amusing way to catch up: LA Times' The Envelope's interactive cheat sheet.)

By Anne Thompson and Maggie Lange
|
January 26, 2012 10:31 PM
|
1 Comment

More:

Oscar Talk: Critics Choice vs. Oscars, Moore Doc Reform and DGA Updates, Rise of 'Dragon Tattoo,' Fall of 'War Horse'

Awards

On this week's Oscar Talk, Kris Tapley and I revisit Thursday night's Critics Choice Movie Awards, and predict whether the Globes and Oscars will repeat the same winners. We update the latest news on Michael Moore's reform of the Oscar Documentary Rules, Pros and Cons, as well the DGA doc nominations and Cinema Eye Honors.

By Anne Thompson
|
January 13, 2012 2:11 PM
|
5 Comments

More:

'Hugo' Must Be Seen in Its Intended Form: 3-D

Awards

How good is "Hugo"? More importantly, how shall we ever know? The problem is that Martin Scorsese uses 3-D not as an enhancement but as an integral part of the film’s aesthetic.