Martin Scorsese

From the Talkhouse Reader, the filming of Scorsese’s After Hours hit close to home for filmmaker Lizzie Borden.

Filmmaker Mark Cira on a very memorable (and wet) day spent lining up to watch Killers of the Flower Moon at Cannes this year.

Dear Mr. Brody director Keith Maitland shares the images he's created of his favorite directors, with written sketches to accompany each one.

Film composer Matthew Puckett on his relationship with Taxi Driver and Bernard Herrmann's iconic score for Martin Scorsese's classic.

Mike Doyle, the writer-director-producer of Almost Love, on the serendipitous meeting with his hero which helped make his new movie a reality.

Resistance writer-director Jonathan Jakubowicz recalls the transformative advice he received from his favorite filmmaker.

Writer-director Andrew Matthews says it’s essential to acknowledge the difference between high art and low art.

Watching Scorsese's new Bob Dylan documentary takes filmmaker Shannon Plumb back to the time she left her life behind to go look for America.

Jim Hemphill sings the praises of Callie Khouri's country-music themed drama, which has thrived since its move from ABC to CMT.

Jim Hemphill attempts the improbable task of listing the best – or at least most pleasurable – that the small screen had to offer in the past year.

Jim Hemphill champions one of the most ambitious (and satisfying) movies of 2016, a wildly original Western that defies expectations at all turns.

Yes, David O. Russell's new movie makes you feel overwhelmed, disoriented and somewhat confused. But that's exactly what it's trying to do to you.