Tag Archives: Robert De Niro


THE IRISHMAN actually started about thirty-five years ago with the idea of the remake of The Bad and the Beautiful and the sequel Two Weeks in Another Town. Somehow we exhausted that. And so when [Robert De Niro] came across this story and gave it to me, he said: “You know, this is an amazing part for Joe, if he wants to do it.” And also for Al Pacino—and I never worked with Al all these years, you know? We just knew that they were right for it. And then we looked at each other and realized we were meant for this somehow. It’s not necessarily a culmination, but a sense of contemplation of where we are, near the end of our lives. — Martin Scorsese

To open the American Cinematheque series The Films of Marty and Bob, Scorsese and De Niro will participate in a full discussion about forty-five years of cinematic collaboration, followed by a screening of their latest masterpiece THE IRISHMAN.


Saturday, January 4, at 6 pm.

Egyptian Theatre

6712 Hollywood Boulevard, Los Angeles.

Martin Scorsese, The Irishman (2019), from top: Joe Pesci (left) and Robert De Niro; De Niro, Al Pacino, and Ray Romano; Kathrine Narducci (left) and Stephanie Kurtzuba; U.S. film poster; De Niro and Bobby Cannavale (foreground right); De Niro, Pesci, and Lucy Gallina. Images courtesy and © the filmmaker, the actors, the photographers, and Netflix.


“My marriage fell through, and the affair that caused the marriage to fall through fell through, all within the same four or five months. I fell into a state of manic depression…

“I got to wandering around at night; I couldn’t sleep because I was so depressed. I’d stay in bed till four or five pm, then I’d say, ‘Well, I can get a drink now.’ I’d get up and get a drink and take the bottle with me and start wandering around the streets in my car at night. After the bars closed, I’d go to pornography. I’d do this all night, till morning, and I did it for about three or four weeks, a very destructive syndrome, until I was saved from it by an ulcer: I had not been eating, just drinking.

“When I got out of the hospital I realized I had to change my life because I would die and everything; I decided to leave L.A. That was when the metaphor hit me for TAXI DRIVER, and I realized that was the metaphor I had been looking for: the man who will take anybody any place for money; the man who moves through the city like a rat through the sewer; the man who is constantly surrounded by people, yet has no friends. The absolute symbol of urban loneliness. That’s the thing I’d been living; that was my symbol, my metaphor. The film is about a car as the symbol of urban loneliness, a metal coffin.” — Paul Schrader, on writing the screenplay for Martin Scorsese’s film. Interview with Richard Thompson*


Robert De Niro in Taxi Driver (1976). Image credit: Columbia Pictures.

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