which is straight after this programme. hello from new york and welcome to our talking movies martin scorsese special. i am here in lower manhattan in little italy. in the 1950s and 60s it was home to martin scorsese who is without any doubt one of america's most celebrated film makers. a0 years or so ago prior to my move to new york i was already a big scorsese fan

and he had made his mark in the 19705 and he had made his mark in the 1970s on things like mean streets. i 19705 on things like mean streets. 1970s on things like mean streets. ,., , 1970s on things like mean streets. _ , ., streets. i will pay you next week! taxi _ streets. i will pay you next week! taxi driver - streets. i will pay you next week! taxi driver and - streets. i will pay you next week! taxi driver and the l week! taxi driver and the soon-to-be-released - week! taxi driver and the i soon-to-be-released rating soon—to—be—released rating bull. all three starring robert de niro. the collaboration persist to the present day but he has worked closely with leonardo dicaprio and many memorable movies. she leonardo dicaprio and many memorable movies.- leonardo dicaprio and many memorable movies. she is a rime memorable movies. she is a prime looking _ memorable movies. she is a prime looking stargazer. - memorable movies. she is a i prime looking stargazer. gangs of new york... _ prime looking stargazer. gangs of new york. .. i _ prime looking stargazer. gangs of new york... i would - prime looking stargazer. gangs of new york... i would check. prime looking stargazer. gangs. of new york... i would check my ockets of new york... i would check my pockets if _ of new york... i would check my pockets if i _ of new york... i would check my pockets if i was _ of new york... i would check my pockets if i was you _ of new york... i would check my pockets if i was you because - of new york... i would check my pockets if i was you because i i pockets if i was you because i believe she took your timepiece.— believe she took your timeiece. �* ., ., ., m timepiece. and the aviator. we don't care _ timepiece. and the aviator. we don't care about _ timepiece. and the aviator. we don't care about money - timepiece. and the aviator. we don't care about money here. | don't care about money here. that is because you have it. the — that is because you have it. the departed which got him his first best director and the wolf of wall street. he has won numerous accolades and it is a very impressive body of work.

his films have been influenced by his italian—american background and by his catholicism. nearly always features macho posturing men and sometimes extreme violence. what i like about martin scorsese as a filmmaker is that his films are about something. they have moral weights. also his incredible skill as a director. he has his hallmark use of rapid editing at times, use of rapid editing at times, use of rapid editing at times, use of the slow motion and freeze frames and ingenious use of contemporary soundtracks. when people first heard you were making this film they were surprised because they thought it was different in terms of subject matter from your previous work. do you think it is a break in trent or commonalities between your previous films?— commonalities between your previous films? after reading the script _ previous films? after reading the script some _ previous films? after reading the script some people - previous films? after reading the script some people said l previous films? after reading | the script some people said it was similar in theme. i the script some people said it was similar in theme.- was similar in theme. i sat down to — was similar in theme. i sat down to interview - was similar in theme. i sat down to interview martin l down to interview martin scorsese several years ago. is there someone else?

scorsese several years ago. is. there someone else? someone else? between _ there someone else? someone else? between you _ there someone else? someone else? between you and - there someone else? someone else? between you and me? i there someone else? someone i else? between you and me? what i have always _ else? between you and me? what i have always liked _ else? between you and me? what i have always liked is _ else? between you and me? what i have always liked is that - else? between you and me? twist i have always liked is that he is an outsider. he has never really been part of a hollywood studio system. he has always made brilliant cinema, usually on his own terms. now, at the age of 80, he has made killers 0f age of 80, he has made killers of a flower moon. his first westin. it features once again his two favourite actors — robert de niro and leonardo dicaprio. robert de niro and leonardo dicario. . ., . , dicaprio. the war hero has arrived- — dicaprio. the war hero has arrived. you _ dicaprio. the war hero has arrived. you made - dicaprio. the war hero has arrived. you made a i dicaprio. the war hero has arrived. you made a big i dicaprio. the war hero has i arrived. you made a big choice coming back here. fine arrived. you made a big choice coming back here.— coming back here. one critic described — coming back here. one critic described it _ coming back here. one critic described it as _ coming back here. one critic described it as a _ coming back here. one critic described it as a landmark. described it as a landmark motion picture. i don't disagree. motion picture. i don't disagree-— motion picture. i don't disagree. motion picture. i don't disauree. , ., , , disagree. evil surrounds my heart. disagree. evil surrounds my heart- at — disagree. evil surrounds my heart. at its _ disagree. evil surrounds my heart. at its heart, - disagree. evil surrounds my heart. at its heart, killers i disagree. evil surrounds my | heart. at its heart, killers of the flower — heart. at its heart, killers of the flower moon _ heart. at its heart, killers of the flower moon is - heart. at its heart, killers of the flower moon is about i heart. at its heart, killers of. the flower moon is about love and deceit but perhaps more than anything else it is about naked greed.— than anything else it is about nakedureed. , ., , , naked greed. money flows freely here. it is based on the -

naked greed. money flows freely here. it is based on the true i here. it is based on the true story of the _ here. it is based on the true story of the orchestrated i here. it is based on the true i story of the orchestrated reign of terror in the 1920s in oklahoma in which more than 60 native americans were killed so white men could get their hands on the oil that was beneath their land. on the oil that was beneath their land-— on the oil that was beneath their land. . ,., . , their land. there are so many hunt their land. there are so many hungry wolves. _ their land. there are so many hungry wolves. oil— their land. there are so many hungry wolves. oil had i their land. there are so many hungry wolves. oil had made| their land. there are so many i hungry wolves. oil had made the nation extremely _ hungry wolves. oil had made the nation extremely wealthy. i hungry wolves. oil had made the nation extremely wealthy. four | nation extremely wealthy. four when this money starts coming, we should have known it came to something else. red carpets and junkets over the years... yes. well, martin _ junkets over the years... yes. well, martin scorsese, - junkets over the years... yes. well, martin scorsese, a i junkets over the years... yes. well, martin scorsese, a very| well, martin scorsese, a very big warm welcome to talking movies. i saw your film, killers of a flower moon and i found a very powerful. why did you want to make it?— you want to make it? well, i was really — you want to make it? well, i was really drawn _ you want to make it? well, i was really drawn to - you want to make it? well, i was really drawn to the i you want to make it? well, i j was really drawn to the story in the sense that one of my

favourite john uses in the sense that one of my favouritejohn uses the western. favourite john uses the western-— favourite john uses the western. ~ ., , , western. we would be better off if there was _ western. we would be better off if there was not _ western. we would be better off if there was not a _ western. we would be better off if there was not a single - western. we would be better off if there was not a single gun i if there was not a single gun left in — if there was not a single gun left in this valley. a if there was not a single gun left in this valley.— left in this valley. a gun is as good — left in this valley. a gun is as good or _ left in this valley. a gun is as good or bad _ left in this valley. a gun is as good or bad as - left in this valley. a gun is as good or bad as the i left in this valley. a gun is| as good or bad as the man left in this valley. a gun is i as good or bad as the man using it. i as good or bad as the man using it. , . . it. i grew up watching westerns. _ it. i grew up watching westerns. growing i it. i grew up watching | westerns. growing up it. i grew up watching i westerns. growing up as an it. i grew up watching _ westerns. growing up as an open kid on the — westerns. growing up as an open kid on the lower— westerns. growing up as an open kid on the lower east _ westerns. growing up as an open kid on the lower east side - westerns. growing up as an open kid on the lower east side and i kid on the lower east side and not allowed to go near animals or run and because i had asthma. the western opened up things for me with black and technicolor, etc. it was a fantasy land.— fantasy land. but martin scorsese _ fantasy land. but martin scorsese did _ fantasy land. but martin scorsese did not - fantasy land. but martin scorsese did not want i fantasy land. but martin | scorsese did not want to fantasy land. but martin i scorsese did not want to just make a western. you wanted to tell a story of historic injustice towards native americans and ultimately he did not want it to be a white saviour story. more than a0 roles in his film are played by local actors.

roles in his film are played by local actors-— local actors. little italy in lower manhattan, - local actors. little italy in | lower manhattan, violence local actors. little italy in i lower manhattan, violence is the first rule of survival. 5 the first rule of survival. '5 upbringing help them understand the story. upbringing help them understand the sto . . , upbringing help them understand the sto . . , . ., the story. there was a great deal of street _ the story. there was a great deal of street crime, - the story. there was a great i deal of street crime, organised crime, etc. a pretty decent area but a lot of people doing some bad things and i know that thinking and ifound it was some bad things and i know that thinking and i found it was the same thinking in this story. now, you could take it from robbing somebody store, mugging somebody, let's say, ortake robbing somebody store, mugging somebody, let's say, or take it to the point of wiping out an indigenous nation. there is a very little step that one could take and so i wanted to immerse myself in that world. i am going to lay this out and then we will move it... if going to lay this out and then we will move it. . ._ we will move it... if you look at the history _ we will move it... if you look at the history in _ we will move it... if you look at the history in hollywood i we will move it... if you look i at the history in hollywood and how it has betrayed native americans do you believe there is a lot of catching up to do? and in a way your film does represent an effort to not just tell the story from the white person's point of view. hollywood started working with the native americans. they made

the native americans. they made the silence ofjohn ford. they had real native americans acting in them. in one case a film i like called the last of the line in which there is a native american and they were still shuffling at the time and in the late 20s and 30s it changed and they became the box office does betrayed native americans. office does betrayed native americans-— office does betrayed native americans. . ~ , . , americans. the talking piece is not hard. americans. the talking piece is rrot hard- to — americans. the talking piece is not hard. to live _ americans. the talking piece is not hard. to live it _ americans. the talking piece is not hard. to live it is _ americans. the talking piece is not hard. to live it is very i not hard. to live it is very hard _ not hard. to live it is very hard. ., , , _ hard. there were attempts by some interesting _ hard. there were attempts by some interesting film - hard. there were attempts by some interesting film makers| some interesting film makers and i think the key one is broken arrow to understand the native american, the indigenous, and i think broken arrow was the first thing i saw with actual technicolor and rituals of the native american that was not necessarily warlike and there was doubles doorway. iii warlike and there was doubles

doorwa . , ., . warlike and there was doubles doorwa . ., , doorway. if you are saying is feelin: doorway. if you are saying is feeling for — doorway. if you are saying is feeling for me _ doorway. if you are saying is feeling for me that - doorway. if you are saying is feeling for me that i - doorway. if you are saying is feeling for me that i believe | feeling for me that i believe you — feeling for me that i believe ou. ., ., ., " feeling for me that i believe ou. ., ., ., , you. came to talk peace but you talk about _ you. came to talk peace but you talk about killing. _ you. came to talk peace but you talk about killing. i _ you. came to talk peace but you talk about killing. i am - you. came to talk peace but you talk about killing. i am the - talk about killing. i am the last apache _ talk about killing. i am the last apache left _ talk about killing. i am the last apache left in - talk about killing. i am the last apache left in all - talk about killing. i am the last apache left in all of i talk about killing. i am the | last apache left in all of this world. ,, ., , ., world. so, these were all attempts _ world. so, these were all attempts to _ world. so, these were all attempts to understand l world. so, these were all. attempts to understand the native american.— attempts to understand the native american. however, all the native _ native american. however, all the native americans - native american. however, all the native americans up - native american. however, all the native americans up late l native american. however, all. the native americans up late by jeff chandler, that sort of thing. jeff chandler, that sort of thin. �* . . , jeff chandler, that sort of thin. �* . ., thing. and that was not the case with — thing. and that was not the case with your _ thing. and that was not the case with your film? - thing. and that was not the case with your film? not i thing. and that was not the case with your film? not at i case with your film? not at all. no matter— case with your film? not at all. no matter what - case with your film? not at. all. no matter what approach i take i have to make sure it is ok with all these guys. we have to go in there. i had to know who they are. and that is what happened. we became good friends and we started going back and forth to oklahoma and i became very friendly with many of the people there and many of them are in the film now. i many of them are in the film now. , ., ., y many of them are in the film now. , ., ., , ., now. i 'ust love money. i love it now. ijust love money. i love it as much — now. ijust love money. i love it as much as _ now. ijust love money. i love it as much as i _ now. ijust love money. i love it as much as i love _ now. ijust love money. i love it as much as i love my - now. ijust love money. i love it as much as i love my wife. l it as much as i love my wife. it is — it as much as i love my wife. it is a — it as much as i love my wife. it is a period film, isn't it? it is a period film, isn't it? it is a period film, isn't it? it is set in oklahoma in the

19205 it is set in oklahoma in the 1920s but in many ways it is about greedy white men doing terrible things to another race. do you think that has contemporary relevance in america today?— america today? it has not changed in _ america today? it has not changed in america. - america today? it has not changed in america. it - america today? it has not| changed in america. it has america today? it has not - changed in america. it has not changed in america. it has not changed around the world. i mean, you are saying white but there are others who do that too in different parts of the world and in terms of america, the struggle is always there. the struggle is always there. the struggle is always there. the opportunity to make a change is there too. the only thing is we have to know about it. you can't hide it. you can't forbid people to read books or see films or see players or hear certain music. you have to know about it. let me ask if _ you have to know about it. let me ask if i _ you have to know about it. let me ask if i may _ you have to know about it. let me ask if i may about another matter which is close to your heart and that is film preservation. why is it so important to your mind that we do make an effort to preserve old films and restore them wherever possible? i old films and restore them wherever possible? i guess the first thing that _ wherever possible? i guess the first thing that comes - wherever possible? i guess the first thing that comes to - wherever possible? i guess the first thing that comes to mind i first thing that comes to mind is a safe why restore the

library at oxford? why conserve these books? the knowledge in these books? the knowledge in the books, the picture it gives us of who we are or who we were! the good things, the shameful things. these can't be swept under the rug. we have to know. we have to acknowledge it. cinema has a lot of that, there is no doubt. but i have been for years — i really do believe it is a great art form. scorsese has been a passionate advocate fulfilment preservation and has founded organisations to that end. he is fan of the english director partnership. scorsese has sought to preserve their films and among them the i9li8 the red shoes. ange why do you want to dance? ~ , ., i. . shoes. ange why do you want to dance? ~ , ., . ., dance? why do you want to live? you shall dance _ dance? why do you want to live? you shall dance in _ dance? why do you want to live? you shall dance in the _ dance? why do you want to live? you shall dance in the world - you shall dance in the world shall follow the beat. it you shall dance in the world shall follow the beat.- you shall dance in the world shall follow the beat. it had a hue shall follow the beat. it had a huge impact _ shall follow the beat. it had a huge impact on _ shall follow the beat. it had a

huge impact on him. - shall follow the beat. it had a| huge impact on him. scorsese editor was married to a woman who worked on the restoration. digital really helped us on that. we went back to the original negatives but i saw the film and i was about a or nine years old. the images were so palpable as if it was like taking a paintbrush and brushing across the frame but what struck me were the characters in this heightened hyper world of art and ballet, particularly the whole thing comes down to at one point she says "i want to be a dancer" and he said "why do you want to dance" and she says "why do you want to live?" art can be that way. as a child, i thought of that all the time. can you live without — if you can make art good, bad or indifferent, can you live without it? what is the point of living without it? that is what you do. so, ultimately, their lives are

sacrificed for all of them, really, sacrificed by — the passion is them up or devours them at the passions are there on the screen, particularly in the belly of the read shoes. the movie stops for 17 minutes. but to a certain point in time people sort films when sequences would come on for 20 minutes but it started with read shoes and it was ballet. it was not an american and paris this is ballet. it is different.— paris this is ballet. it is different. ., , , paris this is ballet. it is different. , different. martin scorsese has lona different. martin scorsese has long been _ different. martin scorsese has long been a — different. martin scorsese has long been a very _ different. martin scorsese has long been a very authentic- long been a very authentic voice in the movie business. he generally speaks his mind and four years ago in an interview with empire magazine which has been quoted he asked what he thought of marble films and he was forthright. he said to him

they resemble a theme park and they resemble a theme park and they really were not cinema. —— marvel. that caused a stir. not only is he not comfortable with marvel films but the digital revolution and ascendancy of streaming has left him uncomfortable.- streaming has left him uncomfortable. now the revolution _ uncomfortable. now the revolution is _ uncomfortable. now the revolution is so - uncomfortable. now the revolution is so strong l uncomfortable. now the! revolution is so strong it uncomfortable. now the i revolution is so strong it is at the point of which sound was invented. i mean, in that sense with streaming. with cgi. they are in it to make money. you make money by making pictures people want to see.— people want to see. higher, further, faster. _ people want to see. higher, further, faster. that - people want to see. higher, further, faster. that has - further, faster. that has alwa s further, faster. that has always been _ further, faster. that has always been the - further, faster. that has always been the case. it further, faster. that has - always been the case. it has alwa s always been the case. it has always been _ always been the case. it has always been the _ always been the case. it has always been the case - always been the case. it has always been the case but. always been the case. it has. always been the case but now the only ones they are making at franchises and things. some of them may be very good, by the way. i am just saying that is not the only film but that is not the only film but that is what the studios are making. so i am saying the money is there now for the franchise, for the action film, and that is where it is going to stay. and you don't seem to have a

very high opinion of them? you are auoin very high opinion of them? you are going back— very high opinion of them? you are going back to _ very high opinion of them? mm. are going back to what i said four years ago. i tried. i tried to. they are not for me, but as you get older i am trying to figure out where the hell to spend my time. i can't do it with them. i tried. i saw it. i did it. iwant to do it with them. i tried. i saw it. i did it. i want to find other things, you see what i am saying? he other things, you see what i am sa inc? ~' ., , other things, you see what i am sa inc? ~ ., , . . saying? he knows that he and other filmmakers _ saying? he knows that he and other filmmakers are - saying? he knows that he and other filmmakers are facing . saying? he knows that he and other filmmakers are facing a | other filmmakers are facing a new landscape that he has to contend with the landscape that is fragmented and politically polarised. also in an age with greater scrutiny about who is represented on the screen and how, scorsese moved with care to tell the story of the murders. he was convinced that this would give equal weight to the characters and the soul of his new epic does not belong to the white man betrayed by robert de niro and leonardo dicaprio but a native american

woman played by lily gladstone. you have got nice coloured skin. what colour would you say that is? ma; skin. what colour would you say that is? y .., ., skin. what colour would you say that is?_ the - skin. what colour would you say that is?_ the film - that is? my colour. the film has a male _ that is? my colour. the film has a male protagonist - that is? my colour. the film has a male protagonist in i that is? my colour. the film has a male protagonist in it| has a male protagonist in it but do you think the soul of your movie does belong to a woman in a way, lily gladstone? lily gladstone is the heart of it. that is what leo said to me at one point. we were trying to work this group for two — three years and we got hit with covid as everyone else did and we did not know we were going to make the film, whether we would live or die and if we were to proceed with the project the way it was constructed by the book writer, extraordinary, it would become like a police procedural and i like watching this film is but i don't know if i can do them and i tried to change and make and then finally leo dicaprio, at one point, because he was going to play tom wright. at one point he came to me and said where is the heart of the picture? he said what if i play

ernest? ok... isaid picture? he said what if i play ernest? ok... i said we've tried everything else. that's how ou tried everything else. that's how you are- _ tried everything else. that's how you are. i _ tried everything else. that's how you are. i don't - tried everything else. that's how you are. i don't know. tried everything else. that's i how you are. i don't know what she said that _ how you are. i don't know what she said that it _ how you are. i don't know what she said that it must've - how you are. i don't know what she said that it must've been i she said that it must've been indian for handsome devil. the real insidious and sinister nature is the love relationship. i work for her uncle. ., �* ., uncle. you're scared of him. because _ uncle. you're scared of him. because that's _ uncle. you're scared of him. because that's the - uncle. you're scared of him. because that's the ultimate | because that's the ultimate trust and betrayal. does he really intend to kill her? i don't know. i think she is purely a weakling. if you're auoin purely a weakling. if you're going to — purely a weakling. if you're going to make _ purely a weakling. if you're going to make trouble, - purely a weakling. if you're l going to make trouble, make purely a weakling. if you're - going to make trouble, make it bi-. going to make trouble, make it bi. ., going to make trouble, make it bi, ., . ., going to make trouble, make it bi. ., . ., , big. how much more could his uncle pursue? _ big. how much more could his uncle pursue? we _ big. how much more could his uncle pursue? we decided - big. how much more could his uncle pursue? we decided to. big. how much more could his i uncle pursue? we decided to go ahead and make him ernest, work with lily and create this relationship based on what we could put together from family members who were still alive, who ernest was. she is the one and i've been shown in certain women, the kelly reichardt film... i women, the kelly reichardt film... ., �* , film... i thought i'd never see ou

film... i thought i'd never see you again- — film... i thought i'd never see you again- i— film... i thought i'd never see you again. i saw— film... i thought i'd never see you again. i saw the - film... i thought i'd never see you again. i saw the face - film... i thought i'd never see you again. i saw the face and| film... i thought i'd never see| you again. i saw the face and i thou~ht you again. i saw the face and i thought what _ you again. i saw the face and i thought what was _ you again. i saw the face and i thought what was going - you again. i saw the face and i thought what was going on - you again. i saw the face and i l thought what was going on with her eyes that i said she's really interesting. one zoom call because of covid we still could not fly around and immediately i understood the intelligence and the heart that she had and the activism of her but also, the understanding of the love story.— the love story. you don't operate _ the love story. you don't operate in _ the love story. you don't operate in a _ the love story. you don't operate in a vacuum. - the love story. you don't| operate in a vacuum. you the love story. you don't - operate in a vacuum. you are a director in contemporary america and this country is more polarised politically than ever. do you feel that film can be a unifying force at all? i’m be a unifying force at all? i'm not sure- _ be a unifying force at all? i'm not sure- i — be a unifying force at all? i'm not sure. i hope _ be a unifying force at all? i'm not sure. i hope it _ be a unifying force at all? in not sure. i hope it can. it still is a form of communication. the problem i and i may be wrong on this that make the problem i see is it's fragmented. that film is made for a certain group. another group. another group. indies are indies. films made for different gender, different sexuality, etc. well, they should be films altogether. yes, you can find certain

things you like in a specific category but one shouldn't... what it is is if those films are made for a good price and they bring a certain amount of money, fine. it's almost like a token situation i'm concerned about. yes, what are you complaining about, those pictures are made. we want them bigger. we want more audiences to see them. the bigger. we want more audiences to see them-— to see them. the kid does not look like a _ to see them. the kid does not look like a gangster— to see them. the kid does not look like a gangster yes. - to see them. the kid does not look like a gangster yes. the | look like a gangster yes. the shoes— look like a gangster yes. the shoes have to be shined. i think— shoes have to be shined. i think you _ shoes have to be shined. i think you should wear a shirt and — think you should wear a shirt and tie _ think you should wear a shirt and tie. �* , , ., and tie. arden scorsese has at times been — and tie. arden scorsese has at times been a _ and tie. arden scorsese has at times been a director- and tie. arden scorsese has at times been a director for- times been a directorfor higher but has fought to make movies on his own terms and it's usually paid off, at least in terms of artistic integrity. killers of a flower moon became a big budget undertaking, bankrolled by apple original films depiction of $200 million. one of the things i found really rewarding about killers of a flower moon is that there was evidence of a single artistic vision, your vision, coming through hopefully not interfered with on—screen and i also found that

this year perhaps with barbie and greta gerwig cosmic vision or christopher nolan and oppenheimer, how hard is it to make that kind of a film nowadays where your vision does prevail? nowadays where your vision does revail? .. , , prevail? the key there is the su ort prevail? the key there is the support from _ prevail? the key there is the support from the _ prevail? the key there is the support from the financing i prevail? the key there is the i support from the financing and in the case of our, in the case of apple for example. once i gave them the idea of how we want to approach the story and what we wanted to do, they were open to me exploring every aspect. i kept changing it as we went along and i kept adding more and more of the rituals and the cultural aspects but i never felt there were people looking over my shoulder. you could say well, that's because you are who you are but i'm 80 years old now, all right, so i was able to make a pick with nobody looking over my shoulder, in a sense, but if they were they were very quiet so that they were always supporting to get what i wanted, you know, on—screen. let me ask you, you mentioned getting older. actually i'm

only ten years behind you. i’m only ten years behind you. i'm 70. m only ten years behind you. i'm 70- my god! _ only ten years behind you. i'm 70- my god! i _ only ten years behind you. in 70. my god! i remember it when you had no white in the moustache.— you had no white in the moustache. . v moustache. 0k, well... that's true. moustache. 0k, well... that's true- look _ moustache. 0k, well... that's true. look at _ moustache. 0k, well... that's true. look at this. _ moustache. 0k, well... that's true. look at this. you - moustache. 0k, well... that's true. look at this. you look i true. look at this. you look re true. look at this. you look pretty good. _ true. look at this. you look pretty good. let _ true. look at this. you look pretty good, let me - true. look at this. you look pretty good, let me tell - true. look at this. you look. pretty good, let me tell you. but how does getting older affect the kinds of storytelling that you want to do as a filmmaker? are there films you feel you have to do before it's too late? the funny thin isi before it's too late? the funny thing is i have _ before it's too late? the funny thing is i have a _ before it's too late? the funny thing is i have a few _ before it's too late? the funny thing is i have a few i - before it's too late? the funny thing is i have a few i really i thing is i have a few i really want to do and i hope i can make it. it comes down to what's in the frame, where to place the camera and where to spend whatever time is left in your life telling a story. is it worth the deal?- your life telling a story. is it worth the deal? well, that's all from little _ it worth the deal? well, that's all from little italy _ it worth the deal? well, that's all from little italy and - it worth the deal? well, that's all from little italy and our i all from little italy and our talking movies martin scorsese special. you're going to leave you with one of my favourite moments of new york martin scorsese cinema, coming from the 1990 film goodfellas and is a highly orchestrated three—minute tracking shot that begins outside the old new york

copacabana my club. it really is wondrous cinema.- copacabana my club. it really is wondrous cinema. thank you sir. see is wondrous cinema. thank you sir- see you — is wondrous cinema. thank you sir. see you later, _ is wondrous cinema. thank you sir. see you later, thanks. i is wondrous cinema. thank you sir. see you later, thanks. let| sir. see you later, thanks. let me 'ust sir. see you later, thanks. let me just finished _ sir. see you later, thanks. let me just finished now - sir. see you later, thanks. let me just finished now by i sir. see you later, thanks. let| me just finished now by telling you that i remember your work, your filmmaker�*s you that i remember your work, yourfilmmaker�*s were, by your filmmaker�*s were, by moments yourfilmmaker�*s were, by moments and there is a great moments and there is a great moment in goodfellas where ray liotta takes lorraine bracco into the copacabana. oh, yes. and it's a tracking shot, it's an incredible shot. i cry when i watch that. was it hard to orchestrate?— orchestrate? well, yes. however. _ orchestrate? well, yes. however, we _ orchestrate? well, yes. however, we used i orchestrate? well, yes. however, we used the i orchestrate? well, yes. i however, we used the real copacabana, we use the real lobby and back area and through the kitchen. we would go in at rehearsal and say i need this year, i need this year, and it is here, and i have the main actors, ray and lorraine, and even the real metre d of the coba. he slips in money and gets the table and the table comes by so that's what it was we always thought we had great

ringside seats to see the show and just before the show started, three or four tables would fly in the air, right in front of you, big wise guys would come and sit in front of you. you couldn't see anything and you see anything! so they did a beautifuljob. it and you see anything! so they did a beautifuljob.— did a beautiful 'ob. it was a really magical i did a beautifuljob. it was a really magical moment. i did a beautifuljob. it was a i really magical moment. martin scorsese, thank you so much for doing this interview. i really appreciated. doing this interview. i really appreciated-— doing this interview. i really appreciated. doing this interview. i really aureciated. ., ~ ., appreciated. thank you. good to see ou appreciated. thank you. good to see you again- — hello. sunday will be getting off to a cold start in most places and it promises to be a rather chilly day but it won't be as windy as it was on saturday and there won't be as many showers. high pressure building its way in from the west. notice the isobars still quite tightly packed across northern and eastern parts of scotland — still quite windy here — and a weak frontal system bringing cloud and some showery rain into the north

of scotland. something wintry for a time up over the higher ground, although much of that will turn back to rain. southern scotland, northern ireland, england and wales having a fine day after what will be a cold and, in places, frosty start. long spells of sunshine. just a few showers around the coasts. still quite blustery in the north—east of scotland but lighter winds elsewhere. temperatures — 7 degrees in lerwick, 1a for st helier. elsewhere, generally 10—13 degrees. now, sunday night will be another cold one. light winds in most places. some mist and fog patches could well develop. a little bit breezy in the south and in the north. just the odd shower in the north of scotland and also, perhaps, in the south—east of england. but in between, temperatures dropping close to or even below freezing with our area of high pressure still with us, but low pressure trying to squeeze in from the south and also from the north. so, it is northern and southern parts that will turn a little bit windy as we go through the day on monday. in between, light winds, early mist and fog clearing,

some good spells of sunshine but brisk winds in the north of scotland — maybe the odd shower here. also maybe the odd shower in southern england, where it will also turn quite windy. that strong wind also affecting the channel islands. temperatures generally 11, 12 or 13 degrees in most places. now, on tuesday, i think the winds will ease a little bit in the north but, conversely, they'll pick up across the south. turning breezy across more of england and wales and some showery rain, perhaps, across the channel islands, the south—west of england but notice temperatures rising a little bit — up to around 15 or 16. a sign of things to come. it is going to turn much more unsettled through midweek. weather systems pushing up from the south. some potentially quite heavy bursts of rain but with southerly winds, temperatures climbing easily to around 16 degrees. it could get a little warmer than that in some places but we will see some outbreaks of quite heavy rain.

point, because he was going to

play tom wright.

live from washington, this is bbc news. israel masses troops near gaza

as it prepares for the next phase of its military operation to wipe out hamas. the bbc confirms young children were among those killed in an air strike on vehicles leaving northern gaza along an israeli—designated route south. and president biden speaks to the israeli and palestinian leaders as the us steps up efforts to contain the escalating conflict. hello. i'm carl nasman. israel's military says that its forces are ready for the next stage of the war, and that it is planning an attack by land, air and sea. in a statement, a spokesperson said that the goal of the operation was to "completely destroy "the governing and military capabilities of hamas". it comes a week after hamas, which is classed as a terrorist organisation by many

western governments, killed more than 1300 people in israel and took dozens hostage.