"Glauber Rocha I met over the years, then I started making films—there’s no doubt Antonio das Mortes had a major impact on Mean Streets and on Raging Bull. On Raging Bull we put in some Brazilian music in homage to Glauber, there’s a couple of pieces of music in there. In any event, I think the last time I saw him was in Venice, 1980. But before that, Tom Luddy brought him over—I had a small house in Los Angeles—and we had a dinner. It was Tom Luddy, myself, and Glauber, and I showed him The Big Shave, a short I had made. And we looked at a John Ford film, The Horse Soldiers; not a great John Ford film, but he liked Ford and he liked westerns he told me.”
"[On his favorite of Rocha’s films…] I think it’s Antonio, but I go back and forth. There’s Land in Anguish and Barravento, but Antonio is very much the one I keep checking back with, I keep showing to people—if I think they deserve it. Because sometimes some people are gone, some people are like zombies. They have no more feeling or something, I don’t know, and I think it’s good to show it to people who will… you know it might help them in their work. Even if they reject it, it’s something for them to have a reaction to, rather than what’s being presented today. But, no, I think it’s Antonio, I go back and forth, but the music is always in my head and I know it very well. It’s fresh, it’s new. It doesn’t cater to tastes of the box office, I mean the box office in a bad way, you know, of a traditional, ‘OK, now we’re going to sit you down and tell you a nice story.’ This punches you in the face and wakes you up, it opens your eyes. And that’s what you need today, more than ever.” — Martin Scorsese on Glauber Rocha

"Glauber Rocha I met over the years, then I started making films—there’s no doubt Antonio das Mortes had a major impact on Mean Streets and on Raging Bull. On Raging Bull we put in some Brazilian music in homage to Glauber, there’s a couple of pieces of music in there. In any event, I think the last time I saw him was in Venice, 1980. But before that, Tom Luddy brought him over—I had a small house in Los Angeles—and we had a dinner. It was Tom Luddy, myself, and Glauber, and I showed him The Big Shave, a short I had made. And we looked at a John Ford film, The Horse Soldiers; not a great John Ford film, but he liked Ford and he liked westerns he told me.”

"[On his favorite of Rocha’s films…] I think it’s Antonio, but I go back and forth. There’s Land in Anguish and Barravento, but Antonio is very much the one I keep checking back with, I keep showing to people—if I think they deserve it. Because sometimes some people are gone, some people are like zombies. They have no more feeling or something, I don’t know, and I think it’s good to show it to people who will… you know it might help them in their work. Even if they reject it, it’s something for them to have a reaction to, rather than what’s being presented today. But, no, I think it’s Antonio, I go back and forth, but the music is always in my head and I know it very well. It’s fresh, it’s new. It doesn’t cater to tastes of the box office, I mean the box office in a bad way, you know, of a traditional, ‘OK, now we’re going to sit you down and tell you a nice story.’ This punches you in the face and wakes you up, it opens your eyes. And that’s what you need today, more than ever.” — Martin Scorsese on Glauber Rocha

Filmmakers photographed by Xavier Lambours.

Martin Scorsese and Robbie Robertson at the 1978 Cannes Film Festival.

Martin Scorsese and Robbie Robertson at the 1978 Cannes Film Festival.

Taxi Driver // dir. Martin Scorsese

Taxi Driver // dir. Martin Scorsese

De Niro and Scorsese on the set of Taxi Driver

De Niro and Scorsese on the set of Taxi Driver