Martin Scorsese now has a Letterboxd profile, and he took the opportunity to list companion films for every movie he’s ever made on the social media platform for cinephiles.
“I love the idea of putting different films together into one program. I grew up seeing double features, programs in repertory houses, evenings of avant-garde films in storefront theatres,” he wrote on his Companion Films page. “You always learn something, see something in a new light, because every movie is in conversation with every other movie. The greater difference between the pictures, the better.”
For his latest film, “Killers of the Flower Moon” adapted from David Grann’s best-selling book, Scorses suggested it be paired with “The Heiress” (1949), “The Last of the Line” (1914), “The Lady of the Dugout” (1918), “Blood on the Moon” (1948), “Red River” (1948) and “Wild River” (1960).
For “Goodfellas” (1990), Scorsese listed “Ocean’s Eleven” (1960) and “Jules and Jim” (1962).
The full list contains almost 60 films.
“Each one of these pictures was so important to me as I was preparing ‘Killers of the Flower Moon’: ‘The Heiress’ for the relationship between Olivia de Havilland and Montgomery Clift, which was a reference point for Leo DiCaprio, Lily Gladstone and myself,” Scorsese explained. “‘Las of the Line,’ which I saw for the first time when I was young, for the presence of real Lakota Natives in many key roles, and for the unusual point of view, which truly expresses the tragedy of Native experience…”
The auteur filmmaker recommended “Moulin Rouge” (1952) be paired with his 2022 concert film “Personality Crisis: One Night Only.” For “The Irishman,” Scorsese listed “The Day of the Jackal” (1973), “Touchez Pas au Grisbi” (1954) and “Rififi” (1955).
“Over the years, I’ve been asked to pair my own pictures with older films by other people that have inspired them,” Scorsese continued in his intro. “The terms ‘inspiration ‘and ‘influence’ aren’t completely accurate. Sometimes the relationship is based on inspiration. Sometimes it’s the relationships between the characters. Sometimes it’s the spirit of the picture. Sometimes it’s more mysterious than that.”
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