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https://www.creativeboom.com/illustration/

Creative Boom. (n.d.). Illustration. [online] Available at: https://www.creativeboom.com/illustration/ [Accessed 24 Sep. 2022].

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Illustration at Creative Boom, a UK-based online magazine for the creative industries, offering inspiration and ideas for creatives worldwide

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https://www.googleadservices.com/pagead/aclk?sa=L&ai=DChcSEwiV87io_6z7AhXk6O0KHcSSBr4YABABGgJkZw&ae=2&ohost=www.google.ru&cid=CAASJeRoNcOM3P5rBXMmh9VeyVeNfopOtJg2NYVVx8n3akKndjsiGA0&sig=AOD64_06btwpOZ4Pytbz6q31eJmb07Lsag&q&adurl&ved=2ahUKEwjGhbKo_6z7AhWBUsAKHYJSBL84ChDRDHoECAcQAQ&dct=1

Students, M. (2020). Digital Illustration: How to Create Digital Artwork. [online] Creative Blog. Available at: https://www.googleadservices.com/pagead/aclk?sa=L&ai=DChcSEwiV87io_6z7AhXk6O0KHcSSBr4YABABGgJkZw&ae=2&ohost=www.google.ru&cid=CAASJeRoNcOM3P5rBXMmh9VeyVeNfopOtJg2NYVVx8n3akKndjsiGA0&sig=AOD64_06btwpOZ4Pytbz6q31eJmb07Lsag&q&adurl&ved=2ahUKEwjGhbKo_6z7AhWBUsAKHYJSBL84ChDRDHoECAcQAQ&dct=1 [Accessed 13 Sep. 2022].

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https://www.thesaurus.com/browse/illustration

www.thesaurus.com. (n.d.). Synonyms of illustration | Thesaurus.com. [online] Available at: https://www.thesaurus.com/browse/illustration [Accessed 2 Sep. 2022].

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Synonyms of illustration | Thesaurus.com

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Find 37 ways to say ILLUSTRATION, along with antonyms, related words, and example sentences at Thesaurus.com, the world's most trusted free thesaurus.

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https://www.googleadservices.com/pagead/aclk?sa=L&ai=DChcSEwjD6sWj_qz7AhUMgVAGHWODDncYABAAGgJkZw&ae=2&ohost=www.google.ru&cid=CAASJeRoercDMXhDPx_ueWa774K2RV18T2u_DOwGoIpji7mdnjnZAnU&sig=AOD64_2Hcy4S2wkUY2dTDGRWrtzjZp8p-w&q&adurl&ved=2ahUKEwi39r-j_qz7AhW3SkEAHS5ZAX44KBDRDHoECAIQAQ&dct=1

Rooney, K. (2020). Learn: Illustration vs. Graphic Design. [online] Design Pickle. Available at: https://www.googleadservices.com/pagead/aclk?sa=L&ai=DChcSEwjD6sWj_qz7AhUMgVAGHWODDncYABAAGgJkZw&ae=2&ohost=www.google.ru&cid=CAASJeRoercDMXhDPx_ueWa774K2RV18T2u_DOwGoIpji7mdnjnZAnU&sig=AOD64_2Hcy4S2wkUY2dTDGRWrtzjZp8p-w&q&adurl&ved=2ahUKEwi39r-j_qz7AhW3SkEAHS5ZAX44KBDRDHoECAIQAQ&dct=1 [Accessed 2 Oct. 2022].

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Learn: Illustration vs. Graphic Design - Design Pickle

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Discover the difference between graphic design and illustration, and learn what happens when you combine both to create a memorable brand.

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https://www.google.ru/url?sa=t&rct=j&q=&esrc=s&source=web&cd=&ved=2ahUKEwi39r-j_qz7AhW3SkEAHS5ZAX44KBAWegQIAxAB&url=https%3A%2F%2Fillustraciencia.info%2Fen%2Fque-es-la-ilustracion-cientifica%2F&usg=AOvVaw1ByXRTIYlAN4C8GImETQBV

What is scientific illustration?
Scientific illustration can be defined as a discipline in which a bridge between art and science is built. Nowadays, there are hundreds of valid definitions to define what is and what is not scientific illustration. Even so, exists an intense debate between professionals and academics regarding this issue. In Illustraciencia we have conducted a survey with almost seventy professionals of scientific illustration to create a definition of the discipline that adapts to current paradigms.

Google.ru. (2022). [online] Available at: https://www.google.ru/url?sa=t&rct=j&q=&esrc=s&source=web&cd=&ved=2ahUKEwi39r-j_qz7AhW3SkEAHS5ZAX44KBAWegQIAxAB&url=https%3A%2F%2Fillustraciencia.info%2Fen%2Fque-es-la-ilustracion-cientifica%2F&usg=AOvVaw1ByXRTIYlAN4C8GImETQBV [Accessed 01 Sep. 2022].

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https://thevirtualinstructor.com/blog/is-illustration-art

Society of Illustrators director Terrence Brown says, “People think illustrators are hired hands–[they’re] anything but, They’re artists, and they want to put themselves into everything they do, even though it has to be a picture of George Bush; even though it has to be vertical because TIME magazine is published vertically; even though it has to have the top 20 percent relatively detail-free so that the T-I-M-E shows.”

He points out that illustrators must work under tight time constraints within deadlines.  “There’s no downtown gallery painter who even has a chance of doing that,” he said.

The focus of Fine Art may be design with the subject becoming secondary.  While illustration’s primary focus IS the subject, with design becoming secondary.  But should Illustration be excluded from the world of fine art because of the focus?  I think not.

Fussell, M. (2010). Is Illustration Art? [online] Thevirtualinstructor.com. Available at: https://thevirtualinstructor.com/blog/is-illustration-art.

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Many of you know that I am an illustrator. I am a teacher first and an illustrator second. The other day I got in a rather heated discussion with one my colleagues who is also my good friend about where illustration fits into the world of art.

He is trained as a painter, but I was still shocked to find out that he did not consider Illustration as a form of Art. What, illustration not an art? Needless to say, I was shell-shocked. Being an illustrator, I know first-hand that it is truly a form of art.

But why did HE feel this way? After our argument, I decided to figure out where his opinions came from.

We attended different schools within the same state but both of us were, of course, art majors. Each school has a decidedly different approach to Art School. His school has a more traditional approach, teaching drawing, painting, and sculpture as the core institutions of art making. My school takes a more commercial approach.

The traditional disciplines of drawing, painting, and sculpture are given their due, but students are encouraged to explore commercial endeavors such as Graphic Design, Photography, Architecture, and Illustration.

During our discussion, he pointed out that he had certain professors that scoffed at illustration being an art form. I think that this plays a role in his opinion. He argued that since the idea originates with someone else as is the case in illustration, then the finished product is not art. Instead, the idea should come from the artist, in order for it to be actual art. I pointed out to him that commissions are not the artist's ideas, but rather those of the client.

He argued that perhaps, this was illustration.

Many artists throughout history created what a client imposed upon them. Take Michelangelo and the ceiling of the Sistine Chapel, for example.

Was this Illustration?

The Pope commissioned Michelangelo for this work.

Society of Illustrators director Terrence Brown says, "People think illustrators are hired hands-[they're] anything but, They're artists, and they want to put themselves into everything they do, even though it has to be a picture of George Bush; even though it has to be vertical because TIME magazine is published vertically; even though it has to have the top 20 percent relatively detail-free so that the T-I-M-E shows."

He points out that illustrators must work under tight time constraints within deadlines. "There's no downtown gallery painter who even has a chance of doing that," he said.

The focus of Fine Art may be design with the subject becoming secondary. While illustration's primary focus IS the subject, with design becoming secondary. But should Illustration be excluded from the world of fine art because of the focus? I think not.

My friend pointed out that Illustration is commercial, and that since it is commercial, it is about money and not the art. My argument is this: fine artists WANT to sell their artwork.

They may sell it in a gallery or through another avenue, but ultimately they want money for their work. If they didn't, they would give it away.

It's ALL commercial. Illustration just has the ability to reach a broader audience because it is created to be printed.

I read somewhere that the division between commercial art and fine art began when illustration and photography really began to take off in the early 1900's. Fine artists and critics began to distinguish themselves from commercial artists by arguing that commercial art was a lower form of art. I don't know if this is true or not, but it wouldn't surprise me.

Illustrator Alex Rosmarin states, "...illustration and drawing are two different categories and can't be compared in a straightforward way. 'Drawing' includes 'illustration'. Drawing is a universal human activity. Illustration is something you might want to do with your drawing skills. It's like comparing 'playing music' and 'playing rock'. One compares rock and jazz, not music and rock, or music and jazz."

Perhaps we should just make art and forget all the snobbery.

Resources:
http://www.artopic.org/?p=468
http://findarticles.com/p/articles/mi_m0HMU/is_6_31/ai_n6116676/

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Many of you know that I am an illustrator. I am a teacher first and an illustrator second. The other day I got in a rather heated discussion with one my colleagues who is also my good friend about where illustration fits into the world of art.

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https://www.eden-gallery.com/news/fine-art-vs-illustration

Illustration Definition
An illustration is far different from works of fine art that are kept in exclusive galleries across the world. Illustrations are aesthetically pleasing works of art like fine arts; but illustrations are authorized for reproduction in print and other forms of media.
There are many different forms of illustration, and they are generally used for commercial purposes. Before photography became mainstream, illustration was the primary medium for advertising, book cover art, posters, magazines, etc.
The little cartoon comics that are drawn in newspapers are Illustrations and so are comic book characters. Fashion sketches, propaganda posters, and many product labels are examples of illustration as well.
Unlike fine arts that are meant to have a singular owner, illustrations are made and designed to get printed and broadly distributed.

Eden Gallery. (n.d.). Fine Art vs Illustration: What’s The Difference? [online] Available at: https://www.eden-gallery.com/news/fine-art-vs-illustration.

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In Yoel Benharrouche, Fine Art

The difference between illustration and fine art is sometimes difficult to ascertain, despite them being two quite different concepts. The line separating these two types of art is often undefined, sometimes even a blur.

Since both are branches of art, most people assume that they are the same. This is, of course, an incorrect assertion. But then, how does one differentiate between the two? Join us as we help you understand the blurry line between fine art and illustration.

Fine Art Definition

Fine art is art designed by an artist simply to exist. I can be enjoyed by the artist and their audience or exhibited for the world to see and sold at auctions to the highest bidder. Fine art, sometimes called high art, is intended for private display or kept in art galleries and art museums.

When a piece of fine art is created, it is meant to be the sole original copy of that piece of art. While prints can be made, there is absolutely no expectation of reprints and the reproductions don't hold the same value as the original does.

Fine art isn't created for the public to own; they may view it at exhibitions, but only one person may own a work of fine art. It, therefore, has an element of exclusivity that increases its perceived value. Fine art drawings, fine art paintings, and fine art sculptures are all examples of fine art.

Illustration Definition

An illustration is far different from works of fine art that are kept in exclusive galleries across the world. Illustrations are aesthetically pleasing works of art like fine arts; but illustrations are authorized for reproduction in print and other forms of media.

There are many different forms of illustration, and they are generally used for commercial purposes. Before photography became mainstream, illustration was the primary medium for advertising, book cover art, posters, magazines, etc.

The little cartoon comics that are drawn in newspapers are Illustrations and so are comic book characters. Fashion sketches, propaganda posters, and many product labels are examples of illustration as well.

Unlike fine arts that are meant to have a singular owner, illustrations are made and designed to get printed and broadly distributed.

Differences Between Fine Art and Illustration

Illustration and fine art are both types of creative artwork. They can have many similarities in skill, techniques, and medium, and yet they are also very different. Here are the key differences between illustration and fine art:

Price: Fine art has a higher perceived value.

Quantity: A fine artwork is one of a kind, while an illustration can be mass-produced.

Purpose: Fine art needs no purpose, while illustrations are created for commercial purposes, to sell items, entertain or spread messages.

Audience: Fine art is exclusive, while illustrations are democratic.

Attribution: Fine artwork is attributed to the artist, while an illustration is more often owned by a brand or company, with the artists remaining anonymous.

Is Illustration Part of Fine Art?

There is still an ongoing debate into this matter, with many people arguing for illustration being fine art and many others arguing against it. The style of the artwork does not always distinguish it as either fine art or illustration. Many illustrators in the art deco and art nouveau period took inspiration from eastern styles of fine art.

The main difference between fine arts and illustration, in our opinion, is how they gain monetary benefits for their works. Illustrators' works are sold to innumerable people, and a small amount is charged from all of them, whereas works of fine art are sold to a singular owner.

Are Illustrators' Fine Artists?

There is no difference between fine artists and illustrators in terms of the type of work they do. While there may be a difference in the motivations behind each work, and the method in which they receive monetary compensation for their efforts may differ, the fact of the matter is that, as artists, there is no inherent difference in the work that artists and illustrators do.

Many fine artists have also produced excellent artworks as commercial illustrators, examples of artists who have done both include Andy Warhol, Roy Lichtenstein, and many others.

What Makes Art an Illustration?

Art is how an artist works to bring an idea they had or were inspired to have, to life through their work. Illustrations are also based on ideas but look to explain these ideas and serve as a depiction of them, rather than showing them from the artist's perspective.

Conclusion

Both illustrations and fine art are valid and beautiful expressions of creativity. To explore original artworks and fine art visit an Eden Gallery location, or explore our online art gallery.

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Fine Art vs Illustration: What's The Difference? - Eden Gallery

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The difference between illustration and fine art is sometimes difficult to ascertain, despite them being two quite different concepts. The line separating these two types of art is often undefined, so

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https://blueskygraphics.co.uk/is-an-illustration-a-drawing/

Is An Illustration A Drawing?
The distinction between drawing and illustration has perplexed many, but there is a very thin line between the two. Drawing and illustration are both visual depictions of meaning or feeling in the medium of painting. Drawing is how we represent an object with lines, while illustration is the function of interpretation given to a text.

The distinction between drawing and illustration is that drawing is a self-expression technique, while illustration is a technical task for commercial purposes. Drawings may exist solely as works of Art, whereas illustrations are often accompanied by text.

Solomon, H. (2021). Is An Illustration A Drawing? [online] Blue Sky - Online Graphic Design School. Available at: https://blueskygraphics.co.uk/is-an-illustration-a-drawing/ [Accessed 14 Nov. 2022].

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Is An Illustration A Drawing? - Blue Sky - Online Graphic Design School

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Is An Illustration A Drawing? The distinction between drawing and illustration has perplexed many, but there is a very thin line between the two. Drawing and illustration are both visual depictions of meaning or feeling in the medium of painting. Drawing is how we represent an object with lines, whi…

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https://uxdesign.cc/10-inspiring-illustration-styles-from-the-best-illustrators-of-2020-89b42f08ba81

Decali, T. (2020). 10 inspiring illustration styles. [online] Medium. Available at: https://uxdesign.cc/10-inspiring-illustration-styles-from-the-best-illustrators-of-2020-89b42f08ba81.

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Discover your product’s next artistic direction

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https://artincontext.org/types-of-illustration/

What Is Illustration?
The term “Illustration” is derived from “Illustrate” in Latin, which has the meaning of intellectual and spiritual enlightenment.  In other words, illustration is a visualization that is made by various artists, which could be in the form of a painting, drawing, engraving, collage, photo, and so on, where the illustration need not be drawn, but could also merely be a photo in a book that explains what is written.

So, an illustration can be a means whereby a specific idea is explained without the necessity of written text.

artincontext and artincontext (2022). Types of Illustration - Explore the Ideas and Styles of Illustration That Exist. [online] artincontext.org. Available at: https://artincontext.org/types-of-illustration/.

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Types of Illustration - Explore the Ideas and Styles of Illustration That Exist

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Over the centuries, illustration has been the foundation for all of our visual traditions and civilizations, which artists have used to visually describe and po

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https://web.microsoftstream.com/video/96b8817a-d2b2-4ec0-95ab-1bdd1fe37b01

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https://www.history.com/topics/19th-century/victorian-era-timeline

History.com Editors (2019). Victorian Era. [online] HISTORY. Available at: https://www.history.com/topics/19th-century/victorian-era-timeline.

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The Victorian Era was a time of vast political reform and social change, the Industrial Revolution, authors Charles Dickens and Charles Darwin, a railway and shipping boom, profound scientific discovery and the first telephone and telegraph. But the Victorian Era-the 63-year period from 1837-1901 that marked the reign of Queen Victoria-also saw a demise of rural life as cities and slums rapidly grew, long and regimented factory hours for many laborers, the bloody Jack the Ripper and even bloodier Crimean War.

Queen Victoria, who was born in 1819 and ascended the throne at age 18, was Britain's second-longest reigning monarch (surpassed only by Queen Elizabeth II). Her rule during one of Britain's greatest eras saw the country create the world's biggest empire, with one-fourth of the global population owing allegiance to the queen.

Here's a timeline of innovations and events that helped define the Victorian Era.

May 24, 1819: Alexandrina Victoria is born in Kensington Palace. As a royal princess, she is recognized as a potential heir to the throne of Great Britain.

Aug. 1, 1834: The British empire abolishes slavery, and more than 800,000 formerly enslaved people in the British Caribbean are eventually set free. The government provides compensation to slave owners, but nothing to formerly enslaved people.

June 20, 1837: Queen Victoria takes the crown at the age of 18. The granddaughter of King George III, her father died when she was just 8 months old, and her three uncles also died, putting her first in line as heir to the throne. An estimated 400,000 people thronged the streets of London for her coronation in Westminster Abbey.

July 25, 1837: The first electric telegraph is sent between English inventor William Fothergill Cooke and scientist Charles Wheatstone, who went on to found The Electric Telegraph Company.

May 8, 1838: The People's Charter, the result of the Chartism protest movement, calls for a more democratic system including six points: the right to vote for men age 21 and older; no property qualification to run for Parliament; annual elections; equal representation; payment for members of Parliament; and vote by secret ballot.

Sept. 17, 1838: The first modern railroad line, the London-Birmingham Railway, opens, starting the steam-powered railway boom and revolutionizing travel.

Feb. 10, 1840: Queen Victoria marries German Prince Albert of Saxe-Coburg-Gotha, her first cousin. As queen, she was the one to propose. During their 21 years of marriage (until Albert died of typhoid in 1861) the couple had nine children. They also introduced many typically German Christmas traditions to Britain, such as decorated Christmas trees.

May 1, 1840: The Penny Black, the world's first postage stamp sold for one penny, is released in Britain, featuring a profile portrait of Queen Victoria. More than 70 million letters are sent within the next year, a number that tripled in two years. It's soon copied in other countries, and the stamp is used for 40 years.

Dec. 19, 1843: Charles Dickens, one of the era's greatest writers, publishes A Christmas Carol. Other works from the author during this period-many featuring protests against class and economic inequality-include Oliver Twist, Great Expectations, David Copperfield and Nicholas Nickleby.

September 1845: Ireland's potato crop begins to fail from a widespread mold infestation, causing the Irish Potato Famine, also known as the Great Hunger, that leads to 1 million deaths and caused 1 to 2 million people to emigrate from the country, landing in various cities throughout North America and Great Britain.

May 1, 1851: The brainchild of Prince Albert, the Great Exhibition opens in London's Crystal Palace, with 10,000-plus exhibitors displaying the world's technological wonders-from false teeth to farm machinery to telescopes. Six million visitors attend what would become the first world's fair before it closes in October.

April 7, 1853: Queen Victoria uses chloroform as an anesthetic during the delivery of her eighth child, Leopold. Though controversial at the time, Victoria's embrace of anesthesia quickly popularized the medical advancement.

Dec. 24, 1853: The Vaccination Act makes it mandatory for children born after Aug. 1, 1853, to be vaccinated against smallpox. Parents failing to comply are fined or imprisoned.

March 28, 1854: France and Britain declare war on Russia, launching the Crimean War, which largely surrounds the protection of the rights of minority Christians in the Ottoman Empire. History's most famous nurse, Florence Nightingale, helps reduce the death count by two-thirds by improving unsanitary conditions. An estimated 367,000 soldiers died in the two-year conflict.

Nov. 24, 1859: The controversial On the Origin of Species by Charles Darwin is published, presenting his theory of natural selection and challenging the theory of creation.

January 9, 1863: The world's first underground railway, the London Underground, opens. About 9.5 million people would ride the steam trains during their first year of operation.

Dec. 9, 1868: Liberal William Gladstone defeats Conservative Benjamin Disraeli to become prime minister, a position he held for four non-consecutive terms. His legacy includes reform for Ireland, establishing an elementary education program and instituting secret ballot voting.

March 7, 1876: Scotsman Alexander Graham Bell is awarded a patent on his invention of the telephone, and, three days later, famously makes the first phone call to Thomas Watson, his assistant.

May 1, 1876: Under the direction of Prime Minister Benjamin Disraeli, India, which has been under British rule since 1858, declares Queen Victoria Empress of India.

August 2, 1880: The Elementary Education Act of 1880 makes school attendance mandatory for children from ages five to 10, effectively reducing the hours children can be forced to spend working in fields, mills, mines and factories.

Aug.-Nov. 1888: An unknown killer named Jack the Ripper murders and mutilates five prostitutes in London, striking terror into the heart of the city.

May 26, 1897: The Irish novelist Bram Stoker publishes Dracula, the story of a now-legendary vampire of aristocratic bearing, inspired in part by his visit to ghostly ruins in the seaside Yorkshire town of Whitby.

Jan. 22, 1901: Queen Victoria dies on the Isle of Wight at age 81, ending the Victorian Era. She is succeeded by Edward VII, her eldest son, who reigned until his death in 1910. At the time of her death, the British Empire extended over roughly one-fifth of the earth's land surface, giving rise to the claim, "The sun never sets on the British Empire."

Sources

India from Queen Victoria's time to independence. The History Press.
Past Prime Ministers: William Ewart Gladstone. Gov.uk.
Benjamin Disraeli, the Earl of Beaconsfield. Gov.uk.
An Introduction to Victorian England (1837-1901). English Heritage.
What happened during the Victorian era? Royal Museums Greenwich.
Queen Victoria uses chloroform in childbirth, 1853. Financial Times.

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Victorian Era: Timeline, Fashion & Queen Victoria | HISTORY

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The Victorian Era was a time of rapid social, political and scientific advancement in Great Britain, coinciding with the reign of Queen Victoria from 1837 to 1901.

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https://theculturetrip.com/europe/united-kingdom/england/london/articles/10-historical-events-that-shaped-london/

Chloe-Rose Crabtree (2015). 10 Historical Events that Shaped London. [online] Culture Trip. Available at: https://theculturetrip.com/europe/united-kingdom/england/london/articles/10-historical-events-that-shaped-london/.

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More than crimson double-decker buses and warm beer, London has evolved over its 2000-year existence to become one of the most culturally relevant cities in the western hemisphere. Its history, often maimed by war, disease and fire, shows Londoners' determination to distinguish the city as a place of innovation, culture and growth.

Where does the name London come from?

The chalk-rich banks of the River Thames made the area desirable for settlement long before Romans claimed the region as their own in AD 43. Roman settlement along the Thames was roughly the size of Hyde Park and known to the Romans as Londinium.

It is thought that this is where the modern name 'London' comes from but some scholars of early druidic cultures suggest that the name actually originates from 'Llandin', the early Welsh name for modern-day Parliament Hill.

Why did William the Conqueror build the Tower of London?

These days, camera-toting tourists flock to the Tower of London to admire the crown jewels and Tower ravens, both of which are safely guarded by Yeomen Warders who live within the Tower walls.

But the tower was first built in 1078 by the Norman emperor, William the Conqueror, who invaded Anglo-Saxon Britain in 1066. The original structure, known as the White Tower, was meant to demonstrate the strength of his rule to the British people.

William's White Tower served as the royal residence for much of its 900-year existence but by the 16th century, the Tower of London became known more for its function as a prison. To this day visitors can see etchings on the walls left by political prisoners dating back to the Tudor era.

Bubonic plague sporadically threatened Londoners from 1347-1665

Starting out with the fever chills and aches of the flu, bubonic plague progresses quickly, covering the body in painful cysts called buboes and often resulting in death. Luckily the bubonic plague is a rare occurrence in the modern era but it was a sporadic threat in London for over three centuries.

The first major epidemic, referred to as the Black Death, wiped out nearly half of the city's population between 1347-1351. Relief only coming when cold weather temporarily stemmed the flea population - the plague was predominately spread by fleas that fed on healthy people after receiving a blood meal from infected humans and rats.

According to the Museum of London: "A major outbreak of the disease struck roughly every 20-30 years, killing around 20% of London's population each time." This ended with the last plague outbreak between 1664-1665, but the plague left a lasting mark on the city with a peppering of 'plague pits' throughout London.

The Great Fire of London burned nearly 70% of the city in 1666

Only a year after the last bout of plague, the Great Fire of London further devastated the city - though it beneficially wiped out much of the plague-infected rat and flea population.

London experienced many fires throughout its history, but the 1666 fire is most well-known for the level of destruction it wrought - the fire destroyed just under 70 per cent of London buildings, including the original St Paul's Cathedral.

While much of London's rebuild maintained the capital's original layout, residential neighbourhoods shifted as the wealthy moved out of the densely populated city centre.

The rebuild also made London look much different than it had before. Perhaps to avoid another large-scale fire, wooden structures were replaced with less flammable brick, permanently altering the city's fabric and aesthetic.

In 1863, London introduced the world's first underground railway

Few Londoners could imagine getting around the city without the complicated network of trains weaving their way deep beneath the streets. The Underground, known by locals as 'the Tube', is such a London institution that its map design is featured heavily on tourist memorabilia.

The Tube revolutionised how cities planned public transit systems, spawning imitations in other major metropolises like Paris and New York.

Suffragettes stood their ground at the Houses of Parliament in 1907

Over a decade before women were given the right to vote in 1918, 15 suffragettes made their way to the Houses of Parliament lobby on February 13 where they protested for women's right to vote.

While women's suffrage has become a standard civil right in most modern-day countries, suffragettes faced imprisonment and cruel treatment in their effort to gain voting rights. Today, a statue of suffragette Millicent Fawcett stands in Parliament Square as a reminder of the battle fought to win the right to vote.

Bombing raids during WWI and WWII drastically changed London's landscape

While wartime bombings affected London in both world wars, the 'Blitz' that truly altered the cityscape refers to heavy bombing by German forces that started in September 1940 and lasted for 57 days.

The bombings left parts of London in ruins, and when WWII ended in 1945 much of the city had to be rebuilt. To help aid with the loss of Londoners' homes, council housing was built throughout the city, and major cultural projects like Southbank's Royal Festival Hall breathed life back into post-war London. The severe devastation was also tinged with a silver lining when Roman ruins were found underneath the rubble. These ruins can now be seen around Central London and at the London Mithraeum.

In 1948, the Empire Windrush brought British citizens from the Caribbean to London, prompting a new conversation about 'Britishness'

After WWII, the British government passed the British Nationality Act of 1948, creating the status of 'Citizen of the United Kingdom and Colonies', which granted citizenship to all British subjects.

Invited by the British government to fulfil a post-war labour shortage, newly-dubbed citizens from the Caribbean boarded the HMT Empire Windrush in Jamaica and landed on the shores of the UK in 1948. Full of hope, Caribbean migrants did not expect that their arrival in the 'motherland' would expose them to racially motivated discrimination and violence.

As historian Kennetta Hammond Perry explains in her book, London is the Place for Me (2015): "post-war Caribbean migration [to London] exposed the historic tensions between Britain, the multiethnic, multiracial imperial body, and prevailing notions of Britishness, as a racialised and exclusive White metropolitan identity."

After racial tensions reached a head with the Notting Hill race riots of 1958, the Caribbean community created safe spaces to express Caribbean culture and tradition. Today, Carnival celebrations have become one of London's most anticipated events of the summer.

21st-century terrorism both shook and unified Londoners

A series of coordinated Tube bombings on 7 July 2005 had the potential to fracture London's sense of community.

While instances of terrorism initially stoked fear amongst Londoners, they also resulted in an outpouring of unification among the capital's residents in the form of public vigils, individual acts of heroism and general defiance in the face of fear-mongering. Rather than be broken by the few bad actors, the 7 July attacks pushed Londoners to strengthen their community within the massive capital.

The 2012 Olympic Games made London shine as an international metropolis

The day before the July 2005 attacks, London won the bid to host the 2012 Summer Olympic and Paralympic games. While London's celebrations were interrupted by the violence, the 2012 games buoyed spirits in the capital and gave Londoners something to look forward to.

The international games were a moment for London to showcase its strength as a cultural centre full of people from varied backgrounds. As an international hub, London's displays at the 2012 games were a demonstration of how the capital has a history of resilience that continues into the 21st century.

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More than crimson double-decker buses and warm beer, London has evolved over its 2000-year existence to become one of the most culturally relevant cities in the western hemisphere. Its history, often maimed by war, disease and fire, shows Londoners' determination to distinguish the city as a place of innovation, culture and growth.

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https://www.britannica.com/summary/London

www.britannica.com. (n.d.). Famous historical events of London | Britannica. [online] Available at: https://www.britannica.com/summary/London.

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History, Facts, Timeline, & Mind Maps of London

At this point, when you consider London, you may think about the thriving city it is today, the beautiful sights, the popular spots to dine in, and its rich downtown green spots. Be that as it may, London is probably one of the most ancient cities on earth and is covered in secret and legend.

Since London is the capital, it will become evident that it assumes a significant part in many occasions throughout the entire history of London of the whole country and even throughout the globe. It was initially created by the Romans; legend directs that the city was founded on the banks of the River Thames by Brutus of Troy after he crushed Gog Magog; old monsters who were locals on the island in around 1000 BCE.

Here we will briefly explain London's history, fun facts and the well-known famous historical events which happened in this magnificent spot. So we should dig into this old pool of London history data and find the secret features to a particularly regarded and well-known city.

Timeline History of london

50-300 AD Foundation of London (Londinium)

The oldest foundation of London (Londinium) was driven in 50AD when the Roman Ruler of Britain (Ostorius Scapula) orders to construct a lasting base on the north bank of the Thames. In 125AD Londinium was destroyed by fire and the reason for the fire is believed to be accidental. After a period of 200 AD, London Mint was set up in 290 AD, Carausius has become Ruler of Britain. To impose his autonomy from Rome, the main mint is opened. The mint was likely shut in 326 AD.

(604-878) St Paul's Cathedral Built

St Ethelbert cathedral was worked by Mellitus, a priest who went with St Augustine to Britain. The cathedral is committed to St Paul. It was a breakdown by fire in 675 and 961 by Danish trespassers. In 878, King Alfred recovers London from the Danes as Alfred was a King of Wessex from 871 to 899.

(1067-1176) London Gets a Sanction from William

1067 was an ear when London gets a sanction from William the Emperor. In a sanction written in Anglo Saxon, he gives the City of London the privilege to the opportunities and autonomy. In 1078, the well-known London White Tower was founded, which was controlled by Gundulf, Bishop of Rochester. Thereafter work began a stone bridge across the Thames, changing a prior wooden bridge in 1176.

1397 - Dick Whittington becomes Mayor

Richard Whittington, a rich London mercer, is selected as a Mayor by the King. Whittington is chosen for three further events. Having no beneficiaries, he utilizes his wealth to build up various charitable associations just as giving assets to fix Newgate and found a library at Guildhall.

1483 - Princes in the Tower

12-year-old King Edward V need to have been delegated ruler after the death of his father Edward IV. Instead, he and his sibling Richard, Duke of York are restricted to the Tower of London while their uncle accepts the seat as Richard III. After this year, they are never seen alive again, and no one realizes what happened to them.

1569 - Drawing of The First Lottery at St Paul's Churchyard

The primarily recorded lottery has been drawn. The draw occurred in a solid structure parallel to the West Gate of the Cathedral. 40,000 parcels were drawn and the prize cash comprised of plate, embroidery, and money.

1571- The Opening of the Royal Exchange

Thomas Gresham's Royal Trade is administratively opened by Queen Elizabeth in January. It is a spot available to be purchased of all sorts of products, gorgeously put away with collections.

1600 - East India Company founded

In 1599, when the Dutch business model on pepper sent the value taking off from three shillings to eight shillings a pound, the London businessman's framed a relationship to build up their own exchange with the East Indies. The next year the company and merchants of London trading with the East Indies is given a sanction.

1659 - First Cheque Issued at a London bank

Nicholas Vanacker turns into the primary individual to draw a cheque on a London bank. The cheque for £10 is pinched on Messrs Clayton and Morris of Cornhill.

1753 - Elizabeth Canning Disappears

Nineteen-year-old Londoner Elizabeth Canning disappears on 1 January 1753 and returns on 29 January, guaranteeing that she had been grabbed. She in the end blames one Mary Squires for the crime.

1773 - Stock Exchange Established

A crew of brokers has purchased a structure in Thread Needle road. It is expected to utilize it as a Stock Exchange. Two boards have been made to oversee it: A committee of proprietors and a committee for general means.

1855 - London's First Pillar Box

The concept of a column box is prevalently credited to the author Anthony Trollope who worked for the Post Office. London's first column box was at the edge of Farringdon Street and Fleet Street, and there were 10 varieties per day, between the long durations of 9 am and 10 pm.

1897 - Queen Victoria's Diamond Jubilee

Sovereign Victoria shows up at the means of St Paul's Cathedral for help need on 22 June to remember her rule of 60 years.

1915 - Zeppelins Over London

While the First World War is being battled down and zones of France and Flanders, another and frightening danger to Londoners come from the skies. The German aircraft (or Zeppelins) are difficult to move and control but still succeed in striking London.

Interesting Facts About London

London is an interestingly exceptional city. No surprise why a great number of unfamiliar excited travellers, students, and permanent residents go to London each spending year. Its long and fantasy-like history uncovers itself in regular life in its building architectures, in its social culture, diversity, and mind-boggling stories.

Big Ben isn't the name for the pinnacle, it is a typical mix-up, however Big Ben is not the name for the iconic Tower in London.

London is the smallest city in England it covers just 1.2 square miles and has a huge population of around 8.982 million people.

London is a significant cultural, main historical centre and has 170 amazing museums couldn't have missed around there.

An exceptional statue showing two mice eating a piece of cheddar is known as the smallest sculpture on the globe is in London.

Dying in parliament isn't illegal and is a true myth about it.

There are rarely some other spots in the world more culturally diverse than London, like 300 above languages are spoken in London.

Roman life partners kissed their spouses on the mouth toward the day's end.

London local buses were not generally red and the red buses are without a doubt the most ordinary thing that your mind partners with London.

In many countries, you just need a driving permit to work as a taxi. Be that as it may, this is clearly not the situation with London and it will be hard to be a dark taxi driver here.

Situated in the region of Southward, Central London, the Shard is the tallest structure in the EU and the fifth tallest in whole Europe.

There used to be six ravens in the London tower. They even had an additional raven in their royal residence in case of the six ravens took off.

As per the most state-of-the-art assessment, more than 8.7 million individuals dwell in the UK's capital. Accordingly, London is the biggest city in the UK by population.

More than 80 tycoons live in London making it the city with the largest number of rich people around the world.

Conclusion

London is located on the banks of the River Thames. It is the significant seat of the Government of the United Kingdom and the country's financial hub. The city has utilized its privileged area in southeastern England for its potential benefit, having consistently been a thickly populated and rich region. It has a diverse history which remains today as you will find people from every country living, exploring and visiting London in a great way.

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History of London (Facts, Timeline, & Mind Maps)

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London, the largest capital city of England and the UK is the most historical, beautiful, magnificent and famous for its rich history and diverse culture, ancient buildings, tower of London, top sights and attractions. It is known as one of the world's most visited cities and has something amazing for everyone who wishes to visit.

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https://en.wikipedia.org/wiki/Timeline_of_London

Wikipedia. (2021). Timeline of London. [online] Available at: https://en.wikipedia.org/wiki/Timeline_of_London.

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Table of Contents

When was London founded?

Was London bombed during World War II?

What is London known for?

Where is London located?

London, city, capital of the United Kingdom. It is among the oldest of the world's great cities-its history spanning nearly two millennia-and one of the most cosmopolitan. By far Britain's largest metropolis, it is also the country's economic, transportation, and cultural centre.

London is situated in southeastern England, lying astride the River Thames some 50 miles (80 km) upstream from its estuary on the North Sea. In satellite photographs the metropolis can be seen to sit compactly in a Green Belt of open land, with its principal ring highway (the M25 motorway) threaded around it at a radius of about 20 miles (30 km) from the city centre. The growth of the built-up area was halted by strict town planning controls in the mid-1950s. Its physical limits more or less correspond to the administrative and statistical boundaries separating the metropolitan county of Greater London from the "home counties" of Kent, Surrey, and Berkshire (in clockwise order) to the south of the river and Buckinghamshire, Hertfordshire, and Essex to the north. The historic counties of Kent, Hertfordshire, and Essex extend in area beyond the current administrative counties with the same names to include substantial parts of the metropolitan county of Greater London, which was formed in 1965. Most of Greater London south of the Thames belongs to the historic county of Surrey, while most of Greater London north of the Thames belongs historically to the county of Middlesex. Area Greater London, 607 square miles (1,572 square km). Pop. (2001) Greater London, 7,172,091; (2011 prelim.) Greater London, 8,173,941.

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London | History, Maps, Population, Area, & Facts

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London, city, capital of the United Kingdom. It is among the oldest of the world's great cities-its history spanning nearly two millennia-and one of the most cosmopolitan. By far Britain's largest metropolis, it is also the country's economic, transportation, and cultural centre.

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https://www.londoncitybreak.com/history

Londoncitybreak.com. (2019). History of London - The evolution of UK’s capital city. [online] Available at: https://www.londoncitybreak.com/history.

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London is situated on the banks of the River Thames. It is the seat of the Government of the United Kingdom and the country's financial centre. The city has used its privileged location in southeastern England to its advantage, having always been a densely populated and wealthy area.

London's foundation

The city of London was founded by the Romans and their rule extended from 43 AD to the fifth century AD, when the Empire fell. During the third century, Londinium, the name given to the town by the Romans, had a population of 50,000, mainly due to the influence of its major port.

As a consequence of repeated Anglo-Saxon invasions during the fifth century, Londinium declined and during the eighth century it became the capital of the Kingdom of Essex.

During the ninth century, the town suffered numerous Viking attacks. As a consequence, Danish settlers established themselves in the area, encouraging trade and opening businesses in the town, transforming it into the first urban centre of England. The town's wealth and power attracted the Danish Great Heathen Army, which besieged the city until it was captured by King Alfred the Great in 886.

In 1067, following the Norman invasion and conquering of England, the city's existing rights, laws and privileges were established by the newly crowned King of England, William Duke of Normandy. The Tower of London was built during William's reign.

In 1199, King John reinforced the city's self-government, and in 1215 the city could elect a different mayor every year.

For many years, England had no capital city. However, the institutions of central government were moved to Westminster, close to London. This and the rise of trade in the area were two decisive factors in London's emergence as the capital of England.

An ever-growing city

During the fourteenth century, London's port became a European hub for the distribution of goods. This activity was strengthened during the fifteenth century thanks to its relevant textile industry.

From the sixteenth to mid-seventeenth century, London benefited from the centralized politics and the maritime trade expansion developed by the Tudors and continued by the Stuarts. During Henry VIII's reign London had 100,000 inhabitants. In mid-seventeenth century it had over 500,000.

In 1665, the city was still held inside the ancient walls although large-scale urban planning had already started. The population's poor living conditions were responsible for the Great Plague, killing 70,000 people, and t he following year, a huge fire burnt down most of the city. The reconstruction of London, based on the area we now call "The City", took over 10 years to finish. The architect Christopher Wren's masterpieces such as St. Paul's Cathedral increased the appeal of London, and thus the capital became the centre of English social life with palaces, halls, theatres, societies (Royal Society, 1662) and museums ( British Museum, 1753).

London continued to grow thanks to the foundation of the Bank of England in 1694. It was the second central bank in the world, rapidly following the Swedish Sveriges Riksbank, and arguably the most successful: it provided the financial flexibility which would be the foundation of the empire's power and whose vestiges can be seen today in London's preeminence as a financial centre.

Most of current London is from the Victorian period. Up until the early years of the nineteenth century, the capital was confined to the boundaries of the original Roman city, as well as Westminster and Mayfair, and was surrounded by fields. Be that as it may, the Industrial Revolution drew millions of people to London, expanding the city. However, the overcrowded conditions led to grave problems like the 1832 cholera epidemics, or the great stink of 1858, an event that took place during the hottest months of the summer, exacerbating the smell of the sewers that were dumped in the River Thames, which led to the suspension of the parliamentary sessions.

From 1750, the population increased from 700,000 to over 4,500,000 in 1901 (6,600,000 if we include the suburban areas). At the end of the nineteenth century, London had become a major international trade and finance capital.

The administrative needs of a city with so much commercial activity led the creation of a new autonomous territorial unit in 1888, the County of London, ruled by the "London county council". This county was divided into twenty-nine electoral units (the city and 28 metropolitan boroughs), but the progressive expansion soon overflowed outside the county boundaries to the suburban areas. After a steady period, the population of the capital began to decline at the end of World War I and fell below 3.5 million by 1950. In contrast, the suburban area grew steadily.

In 1963 a new division of London was made, comprising the old town and 32 metropolitan boroughs, and these are the divisions which can be seen today.

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History of London - The evolution of UK's capital city

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London is situated on the banks of the River Thames. It is the seat of the Government of the United Kingdom and the country's financial centre. The city has used its privileged location in southeastern England to its advantage, having always been a densely populated and wealthy area.

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The Conflicting Ideals of Hayao Miyazaki

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cypherden art games animations story telling cartoons storytime animated cyber den roosterteeth life how to

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If ever there was an illustrator who's images we'd like to climb inside of, it would be Tom Haugomat's. Often inspired by nature, the outdoors and the rose tinted spectacles of the past, Tom depicts moments in time that you wish you'd existed within.

His use of light and a pastel cooler palette makes his work is reminiscent of American illustration from the 1950's and '60s. Using light as a tool for picking out specific detail, he casts beams upon cigarette smoke, snowy hilltops and windows to direct your eye to what you really need to see.

Whether it's his digital work, or the drawings in his sketchbooks (using his trusty Molotow pens), there's such an effortless grace in everything he does.

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Handsome Frank * Home to the world's greatest illustrators

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If ever there was an illustrator who's images we'd like to climb inside of, it would be Tom Haugomat's. Often inspired by nature, the outdoors and the rose tinted spectacles of the past, Tom depicts moments in time that you wish you'd existed within.

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Kelly Lacroix's projects. Latest projects and work from Kelly Lacroix

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Harry Andrews’s projects. Latest projects and work from Harry Andrews

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Zeeshan Khan's projects. Latest projects and work from Zeeshan Khan

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Robin Gray's projects. Latest projects and work from Robin Gray

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Tito Alvarez de Eulate's projects. Latest projects and work from Tito Alvarez de Eulate

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Fabrizio Squeo’s projects. Latest projects and work from Fabrizio Squeo

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Jake Blackman

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Quentin Jerome Tarantino (; born March 27, 1963) is an American film director, screenwriter, and actor. His films are characterized by stylized violence, extended dialogue including a pervasive use of profanity, and references to popular culture.

Tarantino began his career as an independent filmmaker with the release of the neo-noir crime drama film Reservoir Dogs in 1992. His second film, Pulp Fiction (1994), a dark comedy crime thriller, was a major success with critics and audiences winning numerous awards, including the Cannes Film Festival's and the Academy Award for Best Original Screenplay. In 1996, he wrote and starred in the action-horror film From Dusk till Dawn. Tarantino's third film, the crime drama Jackie Brown (1997), paid homage to blaxploitation films.

In 2003, Tarantino directed Kill Bill: Volume 1, inspired by the traditions of martial arts films; it was followed by in 2004, with both volumes combined regarded as a single film. He then made the exploitation- slasher Death Proof (2007), part of a double feature with Robert Rodriguez released under the collective title Grindhouse. His next film, Inglourious Basterds (2009), follows an alternate account of World War II. He followed this with Django Unchained (2012), a slave revenge Spaghetti Western, which won him his second Academy Award for Best Original Screenplay. His eighth film, The Hateful Eight (2015), is a revisionist Western thriller and opened to audiences with a roadshow release. His most recent film, Once Upon a Time in Hollywood (2019), is a comedy drama set in the late 1960s about the transition of Old Hollywood to New Hollywood. A novelization of the film written by Tarantino was published in 2021, becoming his debut novel.

Tarantino's work has been subject to criticism, such as the depictions of violence and frequent inclusion of racial slurs. During Tarantino's career, his films have garnered a cult following; as well as critical and commercial success, he has been considered "the single most influential director of his generation". Other major awards won by Tarantino include two BAFTAs and four Golden Globes.

Tarantino was born on March 27, 1963, in Knoxville, Tennessee, the only child of Connie McHugh and aspiring actor Tony Tarantino, who left the family before his son's birth. Tarantino identifies as having Cherokee descent through his mother, who is of Irish descent on her other side; his father is of Italian descent. He was named in part after Quint Asper, Burt Reynolds's character in the TV series . Tarantino's mother met his father during a trip to Los Angeles. After a brief marriage and divorce, Connie left Los Angeles and moved to Knoxville, where her parents lived. In 1966, Tarantino returned with his mother to Los Angeles.

Tarantino's mother married musician Curtis Zastoupil soon after arriving in Los Angeles, and the family moved to Torrance, a city in Los Angeles County's South Bay area. Zastoupil accompanied Tarantino to numerous film screenings while his mother allowed him to see more mature movies, such as Carnal Knowledge (1971) and Deliverance (1972). After his mother divorced Zastoupil in 1973, and received a misdiagnosis of Hodgkin's lymphoma, Tarantino was sent to live with his grandparents in Tennessee. He remained there less than a year before returning to California.

At 14 years old, Tarantino wrote one of his earliest works, a screenplay called Captain Peachfuzz and the Anchovy Bandit, based on the 1977 film Smokey and the Bandit. Tarantino later revealed that his mother had ridiculed his writing skills when he was younger; as a result, he vowed that he would never share his wealth with her. As a 15-year-old, Tarantino was grounded by his mother for shoplifting Elmore Leonard's novel The Switch from Kmart. He was allowed to leave only to attend the Torrance Community Theater, where he participated in such plays as Two Plus Two Makes Sex and Romeo and Juliet. The same year, he dropped out of Narbonne High School in Harbor City, Los Angeles.

1980-1989: Early jobs and screenplays

Through the 1980s, Tarantino had a number of jobs. After lying about his age, he worked as an usher at an adult movie theater in Torrance, called the Pussycat Theater. He spent time as a recruiter in the aerospace industry, and for five years he worked at Video Archives, a video store in Manhattan Beach, California. He was well known in the local community for his film knowledge and video recommendations; Tarantino stated, "When people ask me if I went to film school, I tell them, 'No, I went to films." In 1986, Tarantino was employed in his first Hollywood job, working with Video Archives colleague Roger Avary, as production assistants on Dolph Lundgren's exercise video, Maximum Potential.

Before working at Video Archives, Tarantino co-wrote Love Birds In Bondage with Scott Magill. Tarantino would go on to produce and direct the short film. Magill committed suicide in 1987, after which all film shot was destroyed. Later, Tarantino attended acting classes at the James Best Theatre Company, where he met several of his eventual collaborators for his next film. In 1987, Tarantino co-wrote and directed My Best Friend's Birthday (1987). It was left uncompleted, but some of its dialogue was included in True Romance.

The following year, he played an Elvis impersonator in "Sophia's Wedding: Part 1", an episode in the fourth season of The Golden Girls, which was broadcast on November 19, 1988. Tarantino recalled that the pay he received for the part helped support him during the preproduction of Reservoir Dogs; he estimated he was initially paid about $650 but went on to receive about $3,000 in residuals over three years because the episode was frequently rerun due to it being on a "best of..." lineup.

1990-1999: Breakthrough and acclaim

Tarantino has had a number of collaborations with director Robert Rodriguez.

After meeting Lawrence Bender at a friend's barbecue, Tarantino discussed with him about an unwritten dialogue-driven heist film. Bender encouraged Tarantino to write the screenplay, which he wrote in three and a half weeks and presented to Bender unformatted. Impressed with the script, Bender managed to forward it through contacts to director Monte Hellman. Hellman cleaned up the screenplay and helped secure funding from Richard N. Gladstein at Live Entertainment (which later became Artisan, now known as Lionsgate). Harvey Keitel read the script and also contributed to the budget, taking a role as co-producer and also playing a major part in the picture. In January 1992, it was released as Tarantino's crime thriller Reservoir Dogs-which he wrote, directed, and acted in as Mr. Brown-and screened at the Sundance Film Festival. The film was an immediate hit, receiving a positive response from critics.

Tarantino's screenplay True Romance was optioned and the film was eventually released in 1993. The second script that Tarantino sold was for the film Natural Born Killers, which was revised by Dave Veloz, Richard Rutowski and director Oliver Stone. Tarantino was given story credit and stated in an interview that he wished the film well, but later disowned the final film. Tarantino also did an uncredited rewrite on (1994). Other films where he was an uncredited screenwriter include Crimson Tide (1995) and (1996).

Following the success of Reservoir Dogs, Tarantino was approached by major film studios and offered projects that included (1994) and Men in Black (1997), but he instead retreated to Amsterdam to work on his script for Pulp Fiction. Tarantino wrote, directed, and acted in the dark comedy crime film Pulp Fiction in 1994, maintaining the stylized violence from his earlier film and also non-linear storylines. Tarantino received the Academy Award for Best Original Screenplay, which he shared with Roger Avary, who contributed to the story. He also received a nomination in the Best Director category. The film received another five nominations, including for Best Picture. Tarantino also won the for the film at the 1994 Cannes Film Festival. The film grossed over $200 million and earned positive reviews.

In 1995, Tarantino participated in the anthology film , a collaboration that also included directors Robert Rodriguez, Allison Anders and Alexandre Rockwell. Tarantino directed and acted in the fourth segment of "The Man from Hollywood", a tribute to the Alfred Hitchcock Presents episode " Man from the South". He joined Rodriguez again later in the year with a supporting role in . One of Tarantino's first paid writing assignments was for From Dusk till Dawn, which Rodriguez directed later in 1996, re-teaming with Tarantino in another acting role, alongside Harvey Keitel, George Clooney and Juliette Lewis. His third feature film was Jackie Brown (1997), an adaptation of Elmore Leonard's novel . A homage to blaxploitation films, it starred Pam Grier, who starred in many of the films of that genre in the 1970s. It received positive reviews and was called a "comeback" for Grier and co-star Robert Forster. Leonard considered Jackie Brown to be his favorite of the 26 different screen adaptations of his novels and short stories.

In the 1990s, Tarantino had a number of other minor acting roles, including in Eddie Presley (1992), The Coriolis Effect (1994), Sleep With Me (1994), Somebody to Love (1994), All-American Girl (1995), Destiny Turns on the Radio (1995), and (1996). Also in 1996, he starred in Steven Spielberg's Director's Chair, a simulation video game that uses pre-generated film clips. Tarantino has used his Hollywood power to give smaller and foreign films more attention. These films are often labeled "Presented by Quentin Tarantino" or "Quentin Tarantino Presents". In 1995, Tarantino formed Rolling Thunder Pictures with Miramax to release or re-release several independent and foreign features. By 1997, Miramax had shut down the company due to poor sales. The following films were released by Rolling Thunder Pictures: Chungking Express (1994, dir. Wong Kar-wai), Switchblade Sisters (1975, dir. Jack Hill), (1993, dir. Takeshi Kitano), Hard Core Logo (1996, dir. Bruce McDonald), The Mighty Peking Man (1977, dir. Ho Meng Hua), Detroit 9000 (1973, dir. Arthur Marks), (1981, dir. Lucio Fulci), and (1996, dir. Reb Braddock). In 1998, Tarantino made his major Broadway stage debut as an amoral psycho killer in a revival of the 1966 play Wait Until Dark, which received unfavorable reviews for his performance from critics.

2000-2009: Subsequent success

Tarantino went on to write and direct , a highly stylized "revenge flick" in the cinematic traditions of Chinese martial arts films, Japanese period dramas, Spaghetti Westerns, and Italian horror. It was based on a character called The Bride and a plot that he and Kill Bill's lead actress Uma Thurman had developed during the making of Pulp Fiction. It was originally set for a single theatrical release, but its four-hour running time prompted Tarantino to divide it into two movies. Tarantino says he still considers it a single film in his overall filmography. was released in 2003 and was released in 2004.

In 2001, he produced the US release of the Hong Kong martial arts film Iron Monkey, which made over $14 million worldwide. In 2004, he brought the Chinese martial arts film to the US. It opened at number-one at the box office and eventually earning $53.5 million. While Tarantino was in negotiations with Lucy Liu for , the two helped produce the Hungarian sports documentary Freedom's Fury, which was released in 2006. When he was approached about a documentary about the Blood in the Water match, a water polo match between Hungary and the USSR at the 1956 Melbourne Olympics, Tarantino said "This is the best story I've ever been told. I'd love to be involved".

From 2002 to 2004, Tarantino portrayed villain McKenas Cole in the ABC television series . In 2004, Tarantino attended the 2004 Cannes Film Festival, where he served as president of the jury. Volume 2 of Kill Bill had a screening there, but was not in competition. Tarantino then contributed to Robert Rodriguez's 2005 neo-noir film , and was credited as "Special Guest Director" for his work directing the car sequence featuring Clive Owen and Benicio del Toro. In May 2005, Tarantino co-wrote and directed " Grave Danger", the fifth season finale of CSI: Crime Scene Investigation. For this episode, Tarantino was nominated for the Primetime Emmy Award for Outstanding Directing for a Drama Series at the 57th Primetime Emmy Awards.

Tarantino at the French premiere of Django Unchained in January 2013

In 2006, another "Quentin Tarantino presents" production, , opened at number-one at the box office with a $20.1 million opening weekend. He presented 2006's The Protector, and is a producer of the 2007 film Hostel: Part II. In 2008, he produced the Larry Bishop-helmed , a revenge biker film. In 2007, Tarantino directed the exploitation slasher film Death Proof. Released as a take on 1970s double features, under the banner Grindhouse, it was co-directed with Rodriguez who did the other feature which was the body horror film Planet Terror. Box-office sales were low but the film garnered mostly positive reviews.

Tarantino's film Inglourious Basterds, released in 2009, is the story of a group of Jewish-American guerrilla soldiers in Nazi-occupied France in an alternate history of World War II. He had planned to start work on the film after Jackie Brown but postponed this to make Kill Bill after a meeting with Uma Thurman. Filming began on " Inglorious Bastards", as it was provisionally titled, in October 2008. The film opened in August 2009 to positive reviews with the highest box office gross in the US and Canada for the weekend on release. For the film, Tarantino received his second nomination for the Academy Award for Best Director and Academy Award for Best Original Screenplay.

2010-present: Established auteur

The Hateful Eight live reading at the Ace Hotel Los Angeles in April 2014

In 2011, production began on Django Unchained, a film about the revenge of a former slave in the Southern United States in 1858. The film stemmed from Tarantino's desire to produce a Spaghetti Western set in America's Deep South during the Antebellum Period. Tarantino called the proposed style "a southern", stating that he wanted "to do movies that deal with America's horrible past with slavery and stuff but do them like spaghetti westerns, not like big issue movies. I want to do them like they're genre films, but they deal with everything that America has never dealt with because it's ashamed of it, and other countries don't really deal with because they don't feel they have the right to". It was released in December 2012 and became his highest grossing film to date. He also received his second Academy Award for Best Original Screenplay.

In November 2013, Tarantino said he was working on a new film and that it would be another Western, though not a sequel to Django Unchained. On January 11, 2014, it was revealed that the film would be titled The Hateful Eight. The script was then leaked in January 2014. Aggrieved by the breach of confidence, Tarantino considered abandoning the production which was due to start the next winter and publish it as a novel instead. He stated that he had given the script to a few trusted colleagues, including Bruce Dern, Tim Roth and Michael Madsen. On April 19, 2014, Tarantino directed a live reading of the leaked script at the United Artists Theater in the Ace Hotel Los Angeles for the series. Tarantino explained that they would read the first draft of the script, and added that he was writing two new drafts with a different ending. Filming went ahead as planned with the new draft in January 2015. The Hateful Eight was released on December 25, 2015, as a roadshow presentation in 70 mm film-format theaters, before being released in digital theaters on December 30, 2015. The film received mostly positive reviews from critics.

Tarantino with Margot Robbie at the 2019 Cannes Film Festival

In July 2017, it was reported that Tarantino's next project would be a film about the Manson Family murders. In February 2018, it was announced that the film's title would be Once Upon a Time in Hollywood, and that Leonardo DiCaprio would play Rick Dalton, a fictional star of television Westerns, with Brad Pitt as Dalton's longtime stunt double Cliff Booth; Margot Robbie would be playing real life actress Sharon Tate, portrayed as Dalton's next-door neighbor. Filming took place in the summer of 2018. In wake of the Harvey Weinstein sexual abuse allegations, Tarantino severed ties to The Weinstein Company and Miramax and sought a new distributor after working with Weinstein for his entire career.

The film officially premiered at the 2019 Cannes Film Festival, where it was in competition for the . Sony Pictures eventually distributed the film, which was theatrically released in July 2019. It received critical acclaim Peter Travers of Rolling Stone declared, "Tarantino's all-star fantasia links Hollywood and Manson-era violence into the best and most explosive cinema we've seen all year." The film earned 10 Oscar nominations at the 92nd Academy Awards including three for Tarantino for Best Picture, Best Director and Best Original Screenplay.

In 2020, Tarantino signed a two-book deal with HarperCollins. He published his first novel in June 2021, a novelization of Once Upon a Time in Hollywood. It received positive reviews from The New York Times and The Guardian. The second book titled Cinema Speculation, about films of the New Hollywood era, inspired by film critic Pauline Kael was published on November 1, 2022.

Upcoming projects

In November 2022, Tarantino revealed plans to shoot an eight-episode television series in 2023. No further details were provided.

In 2009, Tarantino said that he planned to retire from filmmaking when he is 60 to focus on writing novels and film literature. He is skeptical of the film industry going digital, saying, "If it actually gets to the place where you can't show 35 mm film in theaters anymore and everything is digital projection, I won't even make it to 60." He said though "not etched in stone" he intends to retire after making his tenth movie: "If I get to the 10th, do a good job and don't screw it up, well that sounds like a good way to end the old career."

As a film exhibitor

In February 2010, Tarantino bought the New Beverly Cinema in Los Angeles. Tarantino allowed the previous owners to continue operating the theater, but stated he would make occasional programming suggestions. He was quoted as saying: "As long as I'm alive, and as long as I'm rich, the New Beverly will be there, showing films shot on 35 mm." Starting in 2014, Tarantino took a more active role in programming film screenings at the New Beverly, showing his own films as well as prints from his personal collection. In 2021, Tarantino announced that he had also purchased the Vista Theatre in Los Angeles, stating that he intends to keep it a first-run theatre, and that like The New Beverly it will only show movies on film.

Film criticism

In June 2020, Tarantino became an officially recognized critic on the review aggregation website Rotten Tomatoes where his reviews are part of the "Tomatometer" rating. He has since published over 30 film reviews, including director essays, on his New Beverly Cinema website.

Tarantino reappraises films that go against the views of mainstream film criticism, for example, he considers the 1983 film to be superior to the original 1960 film . He is also among a few notable directors, including Martin Scorsese and Edgar Wright, who appreciate Elaine May's 1987 film , despite its reputation as being a notorious box-office flop and one of the worst films ever made.

Tarantino praised Mel Gibson's 2006 film Apocalypto, saying, "I think it's a masterpiece. It was perhaps the best film of that year." In 2009, he named Kinji Fukasaku's violent action film Battle Royale as his favorite film released since he became a director in 1992. In 2020, Tarantino named David Fincher's film The Social Network his favorite movie of the 2010s.

Films that Tarantino has commented on negatively include Alfred Hitchcock's where he remarked, "... might be a piece of crap, but I doubt Alfred was bored making it". He also disliked two Robert Altman films stating, "Brewster McCloud is the cinematic equivalent of a bird shitting on your head ... and is just terrible, boring, and pointless". Regarding David Lynch's Twin Peaks: Fire Walk with Me he said, "... Lynch has disappeared so far up his own ass that I have no desire to see another David Lynch movie until I hear something different. And you know, I loved him. I loved him". Whilst not critical of the film Monty Python's The Meaning of Life, Tarantino admitted he was unable to view the Mr. Creosote scene, "The only time I've ever had to look away, because I couldn't bear to watch, was ... when that fat bastard keeps being sick."

In 2022, Tarantino stated that Steven Spielberg's is "the greatest movie of all time. Maybe not the best film, but the best movie ever made". He commented further on Spielberg's Indiana Jones films, "I think my favourite Spielberg-directed movie, again with Jaws carved out on its own Mount Rushmore, is Indiana Jones and the Temple of Doom ... He pushes the envelope, he creates PG-13; a movie so fucking badass it created a new level in the MPAA." He also favors The Kingdom of the Crystal Skull when compared to The Last Crusade.

In June 2021, Tarantino announced plans to start a podcast with Roger Avary. The podcast is named after Video Archives, a video rental store that both directors had worked at prior to their film careers, and will feature the directors, and a guest, examining a film which could have been offered for rental at the store. The podcast premiered on July 19, 2022.

Unproduced films

A number of film projects have been considered by Tarantino throughout his career. They have included comic book adaptations ( Green Lantern, Iron Man, Luke Cage, Silver Surfer), sequels ( Kill Bill: Vol. 3), spin-offs of previous works ( Double V Vega), crossovers of his own work with other genres ( Django/Zorro), literary adaptations of well-known authors ( Len Deighton, Bret Easton Ellis), and campaigning to direct in major film franchises (James Bond and Star Trek). Most of the projects he has discussed have been speculative, but none of them have been accomplished. In November 2014, Tarantino said he would retire from films after directing his tenth film. In 2023, Tarantino planned to shoot his last film which was about a movie critic of a fictional pornographic magazine set in late 1970s California. In April 2024, it was reported that he had abandoned the idea.

Influences and style of filmmaking

Early influences

Tarantino at the 82nd Academy Awards in 2010

Sergio Leone's Spaghetti Western films were a profound influence including Once Upon a Time in the West. He is an admirer of the 1981 film , directed by Brian De Palma, which led to his casting of John Travolta in Pulp Fiction. Similarly, Tarantino was captivated with Jim McBride's 1983 remake of Breathless and with Richard Gere's unlikable but charismatic protagonist. The film's popular culture references, in particular the comic book Silver Surfer, inspired him to have the character's poster on Mr. Orange's apartment wall in Reservoir Dogs. Tarantino has also labeled as one of his influences. He listed the Australian suspense film (1981) as another favorite film.

Other films he cited as formative influences include Hong Kong martial arts films (such as Five Fingers of Death and Enter the Dragon), John Woo action films (A Better Tomorrow II and The Killer), John Carpenter films (Assault on Precinct 13 and The Thing), blaxploitation films (including and ), Jean-Luc Godard films (Bande à Part and the 1960 version of Breathless), and Sonny Chiba's work (The Street Fighter and Shadow Warriors).

In August 2007, while teaching in a four-hour film course during the 9th Cinemanila International Film Festival in Manila, Tarantino cited Filipino directors Cirio H. Santiago, Eddie Romero and Gerardo de León as personal icons from the 1970s. He referred to De Leon's "soul-shattering, life-extinguishing" movies on vampires and female bondage, citing in particular Women in Cages; "It is just harsh, harsh, harsh", he said, and described the final shot as one of "devastating despair". Upon his arrival in the Philippines, Tarantino was quoted in the local newspaper as saying, "I'm a big fan of RP [Republic of the Philippines] cinema."

Tarantino's films often feature graphic violence, a tendency which has sometimes been criticized. Reservoir Dogs was initially denied United Kingdom certification because of his use of torture as entertainment. Tarantino has frequently defended his use of violence, saying that "violence is so good. It affects audiences in a big way". When questioned in an interview for Kill Bill: Volume 1 why his movies contained so much graphic violence, he responded, "Because it's so much fun!" The number of expletives and deaths in Tarantino's films were measured by analytics website FiveThirtyEight. In the examples given by the site, " Reservoir Dogs features 'just' 10 on-screen deaths, but 421 profanities. Django Unchained, on the other hand, has 'just' 262 profanities but 47 deaths." He often blends aesthetic elements, in tribute to his favorite films and filmmakers. In Kill Bill, he melds comic strip formulas and visuals within a live action film sequence, in some cases by the literal use of cartoon or anime images.

Tarantino has also occasionally used a non-linear story structure in his films, most notably with Pulp Fiction. He has also used the style in Reservoir Dogs, Kill Bill, and The Hateful Eight. Tarantino's script for True Romance was originally told in a non-linear style, before director Tony Scott decided to use a more linear approach. Critics have since referred to the use of this shifting timeline in films as the "Tarantino Effect". Actor Steve Buscemi has described Tarantino's novel style of filmmaking as "bursting with energy" and "focused". According to Tarantino, a hallmark of all his movies is that there is a different sense of humor in each one, which prompts the viewer to laugh at scenes that are not funny. However, he insists that his films are dramas, not comedies.

Tarantino's use of dialogue is noted for its mundane conversations with popular culture references. For example, when Jules and Vincent in Pulp Fiction are driving to a hit, they talk about Vincent's trip to Europe, discussing the differences in countries such as a McDonald's " Quarter Pounder with Cheese" being called a "Royale with Cheese" in France because of the metric system. In the opening scene to Reservoir Dogs, Mr. Brown (played by Tarantino) interprets the meaning of Madonna's song " Like a Virgin". In Jackie Brown, Jackie and Max chat over a cup of coffee while listening to a vinyl record by the Delfonics' " Didn't I (Blow Your Mind This Time)".

Tarantino has said that his films take place in one of two cinematic universes, one being the more realistically grounded world of films like Reservoir Dogs and Pulp Fiction, and the other being a meta-fictional narrative which Tarantino says represents the kind of films the characters in his main cinematic universe would watch, which separates films such as From Dusk till Dawn and Kill Bill from Tarantino's primary narrative. He also creates his own products and brands that he uses in his films to varying degrees. His own fictional brands, including " Acuña Boys Tex-Mex Food", "Big Kahuna Burger", "G.O. Juice", "Jack Rabbit Slim's", "K-Billy", "Red Apple cigarettes", "Tenku Brand Beer" and "Teriyaki Donut", replace the use of product placement, sometimes to a humorous extent. Tarantino is also known for his choice of music in his films, including soundtracks that often use songs from the 1960s and 70s. In 2011, he was recognized at the 16th Critics' Choice Awards with the inaugural Music+Film Award.

A recurring image in his films are scenes where women's bare feet feature prominently. When asked about foot fetishism, Tarantino responded, "I don't take it seriously. There's a lot of feet in a lot of good directors' movies. That's just good direction. Like, before me, the person foot fetishism was defined by was Luis Buñuel, another film director. And Alfred Hitchcock was accused of it and Sofia Coppola has been accused of it."

Tarantino has stated in many interviews that his writing process is like writing a novel before formatting it into a script, saying that this creates the blueprint of the film and makes the film feel like literature. About his writing process he told website The Talks, "My head is a sponge. I listen to what everyone says, I watch little idiosyncratic behavior, people tell me a joke and I remember it. People tell me an interesting story in their life and I remember it. ... when I go and write my new characters, my pen is like an antenna, it gets that information, and all of a sudden these characters come out more or less fully formed. I don't write their dialogue, I get them talking to each other."

Appraisals

During his career, Tarantino's films have garnered a cult following, as well as critical and commercial success. In 2005, he was included on the annual Time 100 list of the most influential people in the world. He was also on The Daily Telegraph list of "Top 100 Living Geniuses" in 2007. Filmmaker and historian Peter Bogdanovich has called him "the single most influential director of his generation". Tarantino has received a star on the Hollywood Walk of Fame for his contributions to the film industry.

In 2013, a survey of seven academics was carried out to discover which filmmakers had been referenced the most in essays and dissertations on film that had been marked in the previous five years. It revealed that Tarantino was the most-studied director in the United Kingdom, ahead of Alfred Hitchcock, Christopher Nolan, Martin Scorsese and Steven Spielberg.

Controversies

Racial slurs in films

In 1997, Spike Lee questioned Tarantino's use of racial slurs in his films, especially the N-word, particularly in Pulp Fiction and Jackie Brown. In a interview discussing Jackie Brown, Lee said, "I'm not against the word ... And some people speak that way, but Quentin is infatuated with that word... I want Quentin to know that all African Americans do not think that word is trendy or slick." Tarantino responded on The Charlie Rose Show:

As a writer, I demand the right to write any character in the world that I want to write. I demand the right to be them, I demand the right to think them and I demand the right to tell the truth as I see they are, all right? And to say that I can't do that because I'm white, but the Hughes brothers can do that because they're black, that is racist. That is the heart of racism, all right. And I do not accept that ... That is how a segment of the black community that lives in Compton, lives in Inglewood, where Jackie Brown takes place, that lives in Carson, that is how they talk. I'm telling the truth. It would not be questioned if I was black, and I resent the question because I'm white. I have the right to tell the truth. I do not have the right to lie.

Tarantino said on The Howard Stern Show that Lee would have to "stand on a chair to kiss [his] ass". Samuel L. Jackson, who has appeared in both directors' films, defended Tarantino. At the Berlin Film Festival, where Jackie Brown was screened, Jackson said: "I don't think the word is offensive in the context of this film ... Black artists think they are the only ones allowed to use the word. Well, that's bull. Jackie Brown is a wonderful homage to black exploitation films. This is a good film, and Spike hasn't made one of those in a few years." Tarantino argued that black audiences appreciated his blaxploitation-influenced films more than some of his critics, and that Jackie Brown was primarily made for black audiences.

Django Unchained was the subject of controversy because of its use of racial slurs and depiction of slavery. Reviewers defended the use of the language by pointing out the historic context of race and slavery in America. Lee, in an interview with , said that he would not see the film: "All I'm going to say is that it's disrespectful to my ancestors. That's just me ... I'm not speaking on behalf of anybody else." Lee later tweeted: "American slavery was not a Sergio Leone spaghetti western. It was a holocaust. My ancestors are slaves. Stolen from Africa. I will honor them."

Roman Polanski and Harvey Weinstein

In a 2003 Howard Stern interview, Tarantino defended the director Roman Polanski against charges that Polanski had raped then-13-year-old Samantha Geimer in 1977. He said that Polanski's actions were "not rape" and Geimer "...wanted to have it". The interview resurfaced in 2018 and drew criticism, including from Geimer, who stated in an interview, "He was wrong. I bet he knows it... I hope he doesn't make an ass of himself and keep talking that way." Within days of the interview resurfacing, Tarantino issued an apology, stating "Fifteen years later, I realize how wrong I was... I incorrectly played devil's advocate in the debate for the sake of being provocative."

On October 18, 2017, Tarantino gave an interview discussing sexual harassment and assault allegations against producer Harvey Weinstein. Tarantino said his then-girlfriend Mira Sorvino told him in the mid-1990s about her experience with Weinstein. Tarantino confronted Weinstein at the time and received an apology. Tarantino said: "What I did was marginalize the incidents. I knew enough to do more than I did."

On February 3, 2018, in an interview with The New York Times, Kill Bill actress Uma Thurman said Weinstein had sexually assaulted her, and that she had reported this to Tarantino. Tarantino said he confronted Weinstein, as he had previously when Weinstein made advances on his former partner, demanding he apologize. He banned him from contact with Thurman for the remainder of the film's production. In a June 2021 interview on the Joe Rogan Experience podcast, Tarantino said he regretted not pressing Weinstein further, saying he did not know the extent of his misconduct before the 2017 scandal. He remarked on his "sad" view of his past relationship with Weinstein, saying he once looked up to him for fostering his career and describing him as "a fucked up father figure".

Altercations with industry peers

In 1993, Tarantino sold his script for Natural Born Killers which was rewritten, giving him only a story credit. He later disowned the film which caused enmity and resulted in the publication of a " tell-all" book titled Killer Instinct by Jane Hamsher-who, with Don Murphy, had an original option on the screenplay and produced the film-calling Tarantino a "one-trick pony" and becoming "famous for being famous." Tarantino physically assaulted Murphy in the AGO restaurant in West Hollywood, California in October 1997. Murphy subsequently filed a $5 million lawsuit against Tarantino; the case ended with the judge ordering Tarantino to pay Murphy $450.

In 1994, Tarantino had an on-set feud with Denzel Washington during the filming of Crimson Tide over what was described as "Tarantino's racist dialogue added to the script". A few years later Washington apologized to Tarantino saying he "buried that hatchet".

In 1997, during the Oscars ceremony, Tarantino was accompanying Mira Sorvino when the then- MTV News host, Chris Connelly, called over to Sorvino from the media scrum. Before she could talk to Connelly, Tarantino grabbed Sorvino telling her, "He's the editor of and he did a story on my Dad," and pulled her away. Connelly, a former Premiere magazine editor-in-chief said, "No, I didn't." As they walked off, Tarantino gave the journalist the finger saying "Fuck you!" and spat at him. The article that angered Tarantino included a 1995 interview from a biography by Jami Bernard with his biological father, Tony Tarantino, someone he had never met, which he considered "pretty tasteless".

In 2009, Tarantino was set to appear on the talk show Late Show with David Letterman to promote Inglourious Basterds. A few years prior to this event, David Letterman had interviewed a former "unnamed" girlfriend of Tarantino on his show. Letterman joked about the relationship questioning why a "glorious movie star" would date a "little squirrelly guy". A couple of days later, Tarantino phoned Letterman, screaming angrily, "I'm going to beat you to death! I'm going to kill you! I'm coming to New York, and I'm gonna beat the crap out of you! How can you say that about me?!" Letterman offered to pay for Tarantino's flight and let him choose the method of fighting, which Tarantino determined would be " bats". However, Letterman never heard from Tarantino again, until years later, when he came on the show to promote the new film. The host approached Tarantino in the make-up room, just before the show went live, and demanded an apology. Tarantino was not forthcoming, but at his publicist's urging, he begrudgingly conceded.

In 2013, during an interview with Krishnan Guru-Murthy on Channel 4 News while promoting Django Unchained in the UK, Tarantino reacted angrily when he was questioned about whether there was a link between movie violence and real-life violence. He informed Guru-Murthy that he had commented on the subject many times before and did not need to explain again, therefore was "shutting [his] butt down". Tarantino further defied the journalist, saying: "I refuse your question. I'm not your slave and you're not my master. You can't make me dance to your tune. I'm not a monkey."

In 2019, during the Cannes Film Festival, at the Once Upon a Time in Hollywood press conference, a journalist asked why Robbie had so few lines in the film. Tarantino responded "I just reject your hypothesis", with no further comment.

Personal life

Relationships and marriage

In the early 1990s Tarantino dated comedians Margaret Cho and Kathy Griffin. From 1995 to 1998 he dated actress Mira Sorvino. He was her date at the 68th Oscars ceremony where she won the Academy Award for Best Supporting Actress. In March 1998 they separated, with Sorvino releasing a statement that "[They] still love each other very much" but had reached a "mutual" decision to go their separate ways." From 2003 to 2005, Tarantino was in a romantic relationship with filmmaker Sofia Coppola. The two have remained friends since their breakup.

On June 30, 2017, Tarantino became engaged to Israeli singer Daniella Pick, daughter of musician Zvika Pick. They met in 2009 when Tarantino was in Israel to promote Inglourious Basterds. They married on November 28, 2018, in a Reform Jewish ceremony in their Beverly Hills Home. As of January 2020, they were splitting their time between the Ramat Aviv Gimel neighborhood of Tel Aviv, Israel and Los Angeles. On February 22, 2020, their son was born in Israel. Their second child, a daughter, was born in July 2022.

Faith and religious views

As a youth, Tarantino attended an Evangelical church, describing himself as "baptized, born again and everything in between". Tarantino said this was an act of rebellion against his Catholic mother as she had encouraged what might usually be considered more conventional forms of rebellion, such as his interests in comic books and horror films. Throughout the 1990s and 2000s, Tarantino was evasive about his religious beliefs but said he believed in God, whom he credited with giving him his writing ability.

In the 2010s, Tarantino continued ascribing his talents to gifts from God but expressed uncertainty regarding God's existence. "I think I was born Catholic, but I was never practiced," said Tarantino. "As time has gone on, as I've become a man and made my way further as an adult, I'm not sure how much any of that I believe in. I don't really know if I believe in God, especially not in this Santa Claus character that people seemed to have conjured up." In June 2021, Tarantino said he was an atheist.

Views on gun violence and police brutality

Tarantino has said he does not believe that violence in film inspires real acts of violence. In an interview with Terry Gross, Tarantino expressed "annoyance" at the suggestion that there is a link between the two, saying, "I think it's disrespectful to [the] memory of those who died to talk about movies ... Obviously the issue is gun control and mental health."

In October 2015, Tarantino attended a rally held in New York protesting police brutality. The event aimed to call attention to "police brutality and its victims". At the event Tarantino made a speech, "I'm a human being with a conscience ... And when I see murder I cannot stand by. And I have to call the murdered the murdered and I have to call the murderers the murderers."

As a response to Tarantino's comments police unions across the United States called for a boycott of his upcoming film at the time, The Hateful Eight. Patrick J. Lynch, union president of the Police Benevolent Association of the City of New York, said, "It's no surprise that someone who makes a living glorifying crime and violence is a cop-hater, too. The police officers that Quentin Tarantino calls 'murderers' aren't living in one of his depraved big screen fantasies - they're risking and sometimes sacrificing their lives to protect communities from real crime and mayhem." The Los Angeles Police Department Chief Charlie Beck said Tarantino "doesn't understand the nature of the violence. Mr. Tarantino lives in a fantasy world. That's how he makes his living. His movies are extremely violent, but he doesn't understand violence. ... Unfortunately, he mistakes lawful use of force for murder, and it's not."

Tarantino's response to this criticism was, "All cops are not murderers ... I never said that. I never even implied that." In an MSNBC interview with Chris Hayes, he said, "Just because I was at an anti-police brutality protest doesn't mean I'm anti-police." He clarified his protest comments, "We were at a rally where unarmed people - mostly black and brown - who have been shot and killed or beaten or strangled by the police, and I was obviously referring to the people in those types of situations. I was referring to Eric Garner, I was referring to Sam DuBose, I was referring to Antonio Guzman Lopez, I was referring to Tamir Rice ... In those cases in particular that we're talking about, I actually do believe that they were murder."

Filmography

Quentin Tarantino at Inglourious Basterds Premiere, Leicester Square, July 23, 2009

Tarantino has stated that he plans to make a total of just ten films before retiring as a director, as a means of ensuring an overall high quality within his filmography. He believes "most directors have horrible last movies," that ending on a "decent movie is rare," and that ending on a "good movie is kind of phenomenal." Tarantino considers Kill Bill: Volume 1 and Kill Bill: Volume 2 to be a single movie.

Bibliography

Collaborators

Tarantino has built up an informal " repertory company" of actors who have appeared in many roles in his films. Most notable of these is Samuel L. Jackson, who has appeared in five films directed by Tarantino and a sixth written by him, True Romance. Other frequent collaborators include Uma Thurman, who has been featured in three films and whom Tarantino has described as his " muse"; Zoë Bell, who has acted or performed stunts in seven Tarantino films; Michael Madsen, James Parks and Tim Roth, who respectively appear in five, four and three films. In addition, Roth appeared in , an anthology film where Tarantino directed the final segment, and filmed a scene for Once Upon a Time in Hollywood before it was cut for time.

Other actors who have appeared in several films by Tarantino include Michael Bacall, Michael Bowen, Bruce Dern, Harvey Keitel, Michael Parks, Kurt Russell, and Craig Stark, who have appeared in three films each.

Leonardo DiCaprio and Brad Pitt have each appeared in two Tarantino films, the second of which, Once Upon a Time in Hollywood, they appear in together. Like Jackson, Pitt also appeared in the Tarantino-penned True Romance. Christoph Waltz appeared in two Tarantino films, Inglourious Basterds and Django Unchained, winning a Best Supporting Actor Oscar for each role. Waltz had been working as an actor since the 1970s in numerous German movies and TV shows but was a relative unknown in America when he was cast as Hans Landa in his first film for Tarantino.

Editor Sally Menke, who worked on all Tarantino films until her death in 2010, was described by Tarantino in 2007 as "hands down my number one collaborator".

Awards and honors

Tarantino and his films have received numerous nominations for major awards, including Academy Awards, BAFTA Awards, Golden Globe Awards, Directors Guild of America Awards, and Saturn Awards. He has won the Academy Award for Best Original Screenplay twice, for Pulp Fiction and Django Unchained. He has been nominated four times for the at the Cannes Film Festival, winning once for Pulp Fiction in 1994. In addition to his recognition for writing and directing films, Tarantino has received five Grammy Award nominations and a Primetime Emmy Award nomination.

In 2005, Tarantino was awarded the honorary Icon of the Decade at the 10th Empire Awards. He has received lifetime achievement awards from two organizations, Cinemanila, and from the Rome Film Festival in 2012. In 2011, Tarantino was given an Honorary César by the Académie des Arts et Techniques du Cinéma .

For his work on Pulp Fiction, Tarantino became the first director to ever sweep " The Big Four" critics awards (, , , ) and the first of the five directors (including Curtis Hanson, Steven Soderbergh, David Fincher, and Barry Jenkins) to do so as of 2022.

References

Footnotes

Citations

Further reading

External links

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Quentin Jerome Tarantino (; born March 27, 1963) is an American film director, screenwriter, and actor. His films are characterized by stylized violence, extended dialogue including a pervasive use of profanity, and references to popular culture. Tarantino began his career as an independent filmmaker with the release of the neo-noir crime drama film Reservoir Dogs in 1992.

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https://en.wikipedia.org/wiki/Steven_Spielberg

Wikipedia Contributors (2019). Steven Spielberg. [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/Steven_Spielberg.

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Steven Allan Spielberg (; born December 18, 1946) is an American film director, producer, and screenwriter. He is considered one of the founding pioneers of the New Hollywood era and one of the most popular directors and producers in film history. Spielberg started in Hollywood directing television and several minor theatrical releases. He became a household name as the director of (1975), which was critically and commercially successful and is considered the first summer blockbuster. His subsequent releases focused typically on science fiction/adventure films such as Close Encounters of the Third Kind (1977), Raiders of the Lost Ark (1981), E.T. the Extra-Terrestrial (1982), and Jurassic Park (1993), which became archetypes of modern Hollywood escapist filmmaking.

Spielberg transitioned into addressing serious issues in his later work with The Color Purple (1985), Empire of the Sun (1987), Schindler's List (1993), (1997), and Saving Private Ryan (1998). He has largely adhered to this practice during the 21st century, with (2005), (2012), Bridge of Spies (2015), and (2017).

He co-founded Amblin Entertainment and DreamWorks Pictures, where he has also served as a producer or executive producer for several successful film trilogies, tetralogies and more including the , Back to the Future, Men in Black, and the Transformers series. He later transitioned into producing several video games.

Spielberg is one of the American film industry's most critically successful filmmakers, with praise for his directing talent and versatility, and he has won the Academy Award for Best Director twice. Some of his films are also among the highest-grossing films, while his total work makes him the highest-grossing film director in history. His net worth is estimated to be more than $3 billion.

Spielberg was born on December 18, 1946 in Cincinnati, Ohio. His mother, Leah ( Posner, later Adler; January 12, 1920 - February 21, 2017), was a restaurateur and concert pianist, and his father, Arnold Spielberg (born 1917), was an electrical engineer involved in the development of computers. His family was Orthodox Jewish. Spielberg's paternal grandparents were Jewish Russian immigrants who settled in Cincinnati in the 1900s; his grandmother was from Sudylkiv, while his grandfather was from Kamianets-Podilskyi. In 1950, his family moved to Haddon Township, New Jersey, when his father took a job with RCA. Three years later, the family moved to Phoenix, Arizona. Spielberg attended Hebrew school from 1953 to 1957, in classes taught by Rabbi Albert L. Lewis.

As a child, Spielberg faced difficulty reconciling being an Orthodox Jew with the perception of him by other children he played with. "It isn't something I enjoy admitting," he once said, "but when I was seven, eight, nine years old, God forgive me, I was embarrassed because we were Orthodox Jews. I was embarrassed by the outward perception of my parents' Jewish practices. I was never really ashamed to be Jewish, but I was uneasy at times." Spielberg also said he suffered from acts of anti-Semitic prejudice and bullying: "In high school, I got smacked and kicked around. Two bloody noses. It was horrible." At age 12, he made his first home movie: a train wreck involving his toy Lionel trains. Throughout his early teens, and after entering high school, Spielberg continued to make amateur, 8 mm, "adventure" films.

In 1958, he became a Boy Scout and fulfilled a requirement for the photography merit badge by making a nine-minute, 8 mm film entitled The Last Gunfight. Years later, Spielberg recalled to a magazine interviewer, "My dad's still-camera was broken, so I asked the scoutmaster if I could tell a story with my father's movie camera. He said yes, and I got an idea to do a Western. I made it and got my merit badge. That was how it all started." At age 13, while living in Phoenix, Spielberg won a prize for a 40-minute, war film he titled Escape to Nowhere, using a cast composed of other high school friends. That motivated him to make 15 more amateur, 8 mm films.

Some of the films he cited as early influences that he grew up watching include the kaiju film King of the Monsters (1956), which he called "the most masterful of all the dinosaur movies because it made you believe it was really happening", as well as titles such as Captains Courageous (1937), (1940), and particularly Lawrence of Arabia (1962), which he cited as "the film that set me on my journey". In 1963, at age 16, Spielberg wrote and directed his first independent film, a 140-minute science fiction adventure called , which would later inspire Close Encounters. The film was made for $500, most of which came from his father, and was shown in a local cinema for one evening, which earned back its cost.

After attending Arcadia High School in Phoenix for three years, his family later moved to Saratoga, California where he attended and graduated from Saratoga High School in 1965. He attained the rank of Eagle Scout. His parents divorced while he was still in school, and, soon after, he graduated. Spielberg moved to Los Angeles, staying initially with his father. His long-term goal was to become a film director. His three sisters and mother remained in Saratoga. In Los Angeles, he applied to the University of Southern California's film school but was turned down because of his "C" grade average. He then applied and was admitted to California State University, Long Beach where he became a brother of Theta Chi Fraternity.

While still a student, he was offered a small, unpaid, intern job at Universal Studios with the editing department. He was later given the opportunity to make a short film for theatrical release, the 26-minute, 35 mm , which he wrote and directed. Studio vice president Sidney Sheinberg was impressed by the film, which had won a number of awards, and offered Spielberg a seven-year directing contract. It made him the youngest director ever to be signed for a long-term deal with a major Hollywood studio. He subsequently dropped out of college to begin professionally directing TV productions with Universal. Spielberg later returned to California State University, Long Beach and completed his BA degree in Film and Electronic Arts in 2002.

His first professional TV job came when he was hired to direct one of the segments for the 1969 pilot episode of Night Gallery, written by Rod Serling and starring Joan Crawford. Crawford, however, was "speechless, and then horrified" at the thought of a twenty-one-year-old newcomer directing her, one of Hollywood's leading stars. "Why was this happening to me?" she asked the producer. Her attitude changed after they began working on her scenes:

When I began to work with Steven, I understood everything. It was immediately obvious to me, and probably everyone else, that here was a young genius. I thought maybe more experience was important, but then I thought of all of those experienced directors who didn't have Steven's intuitive inspiration and who just kept repeating the same old routine performances. That was called "experience." I knew then that Steven Spielberg had a brilliant future ahead of him. Hollywood doesn't always recognize talent, but Steven's was not going to be overlooked. I told him so in a note I wrote him. I wrote to Rod Serling, too. I was so grateful that he had approved Steven as the director. I told him he had been totally right.

She and Spielberg were reportedly close friends until her death. The episode is unusual in his body of work, in that the camerawork is more highly stylized than his later, more "mature" films. After this, and an episode of Marcus Welby, M.D., Spielberg got his first feature-length assignment: an episode of The Name of the Game called " L.A. 2017". This futuristic science fiction episode impressed Universal Studios and they signed him to a short contract. He did another segment on Night Gallery and did some work for shows such as Owen Marshall: Counselor at Law and The Psychiatrist, before landing the first series episode of (previous episodes were actually TV films).

Based on the strength of his work, Universal signed Spielberg to do four TV films. The first was a Richard Matheson adaptation called . The film is about a psychotic Peterbilt 281 tanker truck driver who chases the terrified driver ( Dennis Weaver) of a small Plymouth Valiant and tries to run him off the road. Special praise of this film by the influential British critic Dilys Powell was highly significant to Spielberg's career. Another TV film (Something Evil) was made and released to capitalize on the popularity of The Exorcist, then a major best-selling book which had not yet been released as a film. He fulfilled his contract by directing the TV film-length pilot of a show called , starring Martin Landau. Spielberg's debut full-length feature film was The Sugarland Express, about a married couple who are chased by police as the couple tries to regain custody of their baby. Spielberg's cinematography for the police chase was praised by reviewers, and The Hollywood Reporter stated that "a major new director is on the horizon." However, the film fared poorly at the box office and received a limited release.

Studio producers Richard D. Zanuck and David Brown offered Spielberg the director's chair for , a thriller-horror film based on the Peter Benchley novel about an enormous killer shark. Spielberg has often referred to the gruelling shoot as his professional crucible. Despite the film's ultimate, enormous success, it was nearly shut down due to delays and budget over-runs. But Spielberg persevered and finished the film. It was an enormous hit, winning three Academy Awards (for editing, original score and sound) and grossing more than $470 million worldwide at the box office. It also set the domestic record for box office gross, leading to what the press described as "Jawsmania." Jaws made Spielberg a household name and one of America's youngest multi-millionaires, allowing him a great deal of autonomy for his future projects. It was nominated for Best Picture and featured Spielberg's first of three collaborations with actor Richard Dreyfuss.

Rejecting offers to direct , and , Spielberg and actor Richard Dreyfuss re-convened to work on a film about UFOs, which became Close Encounters of the Third Kind (1977). One of the rare films both written and directed by Spielberg, Close Encounters was a critical and box office hit, giving Spielberg his first Best Director nomination from the Academy as well as earning six other Academy Awards nominations. It won Oscars in two categories (Cinematography, Vilmos Zsigmond, and a Special Achievement Award for Sound Effects Editing, Frank E. Warner). This second blockbuster helped to secure Spielberg's rise. His next film, , a big-budgeted World War II farce, was not nearly as successful and though it grossed over $92.4 million worldwide (and did make a small profit for co-producing studios Columbia and Universal) it was seen as a disappointment, mainly with the critics.

Spielberg then revisited his Close Encounters project and, with financial backing from Columbia Pictures, released Close Encounters: The Special Edition in 1980. For this, Spielberg fixed some of the flaws he thought impeded the original 1977 version of the film and also, at the behest of Columbia, and as a condition of Spielberg revising the film, shot additional footage showing the audience the interior of the mothership seen at the end of the film (a decision Spielberg would later regret as he felt the interior of the mothership should have remained a mystery). Nevertheless, the re-release was a moderate success, while the 2001 DVD release of the film restored the original ending.

Next, Spielberg teamed with creator and friend George Lucas on an action adventure film, Raiders of the Lost Ark, the first of the Indiana Jones films. The archaeologist and adventurer hero Indiana Jones was played by Harrison Ford (whom Lucas had previously cast in his films as Han Solo). The film was considered an homage to the cliffhanger serials of the Golden Age of Hollywood. It became the biggest film at the box office in 1981, and the recipient of numerous Oscar nominations including Best Director (Spielberg's second nomination) and Best Picture (the second Spielberg film to be nominated for Best Picture). Raiders is still considered a landmark example of the action-adventure genre. The film also led to Ford's casting in Ridley Scott's Blade Runner.

A year later, Spielberg returned to the science fiction genre with E.T. the Extra-Terrestrial. It was the story of a young boy and the alien he befriends, who was accidentally left behind by his companions and is attempting to return home. E.T. went on to become the top-grossing film of all time. It was also nominated for nine Academy Awards including Best Picture and Best Director, winning 4 of them. Between 1982 and 1985, Spielberg produced three high-grossing films:Poltergeist (for which he also co-wrote the screenplay), a big-screen adaptation of The Twilight Zone (for which he directed the segment "Kick The Can"), and The Goonies (Spielberg, executive producer, also wrote the story on which the screenplay was based). Spielberg appeared in a cameo on Cyndi Lauper's music video for the movie's theme song, " The Goonies 'R' Good Enough".

His next directorial feature was the Raiders prequel Indiana Jones and the Temple of Doom. Teaming up once again with Lucas and Ford, the film was plagued with uncertainty for the material and script. This film and the Spielberg-produced led to the creation of the PG-13 rating due to the high level of violence in films targeted at younger audiences. In spite of this, Temple of Doom is rated PG by the MPAA, even though it is often considered the darkest and, possibly, most violent of the Indiana Jones films.[citation needed ] Nonetheless, the film was still a huge blockbuster hit in 1984. It was on this project that Spielberg also met his future wife, actress Kate Capshaw.

In 1985, Spielberg released The Color Purple, an adaptation of Alice Walker's Pulitzer Prize-winning novel of the same name, about a generation of empowered African-American women during depression-era America. Starring Whoopi Goldberg and future talk-show superstar Oprah Winfrey, the film was a box office smash and critics hailed Spielberg's successful foray into the dramatic genre. Roger Ebert proclaimed it the best film of the year and later entered it into his Great Films archive. The film received eleven Academy Award nominations, including two for Goldberg and Winfrey. However, Spielberg did not get a Best Director nomination.

In 1987, as China began opening to Western capital investment, Spielberg shot the first American film in Shanghai since the 1930s, an adaptation of J. G. Ballard's autobiographical novel Empire of the Sun, starring John Malkovich and a young Christian Bale. The film garnered much praise from critics and was nominated for several Oscars, but did not yield substantial box office revenues. Reviewer Andrew Sarris called it the best film of the year and later included it among the best films of the decade. Spielberg was also a co-producer of the 1987 film *batteries not included.

After two forays into more serious dramatic films, Spielberg then directed the third Indiana Jones film, 1989's Indiana Jones and the Last Crusade. Once again teaming up with Lucas and Ford, Spielberg also cast actor Sean Connery in a supporting role as Indy's father. The film earned generally positive reviews and was another box office success, becoming the highest-grossing film worldwide that year; its total box office receipts even topped those of Tim Burton's much-anticipated film , which had been the bigger hit domestically. Also in 1989, he re-united with actor Richard Dreyfuss for the romantic comedy-drama , about a daredevil pilot who extinguishes forest fires. Spielberg's first romantic film, Always was only a moderate success and had mixed reviews.

In 1991, Spielberg directed , about a middle-aged Peter Pan, played by Robin Williams, who returns to Neverland. Despite innumerable rewrites and creative changes coupled with mixed reviews, the film proved popular with audiences, making over $300 million worldwide (from a $70 million budget).

In 1993, Spielberg returned to the adventure genre with the film version of Michael Crichton's novel Jurassic Park, about a theme park with genetically engineered dinosaurs. With revolutionary special effects provided by friend George Lucas's Industrial Light & Magic company, the film would eventually become the highest-grossing film of all time (at the worldwide box office) with $914.7 million. This would be the third time that one of Spielberg's films became the highest-grossing film ever.

Spielberg's next film, Schindler's List, was based on the true story of Oskar Schindler, a man who risked his life to save 1,100 Jews from the Holocaust. Schindler's List earned Spielberg his first Academy Award for Best Director (it also won Best Picture). With the film a huge success at the box office, Spielberg used the profits to set up the Shoah Foundation, a non-profit organization that archives filmed testimony of Holocaust survivors. In 1997, the American Film Institute listed it among the 10 Greatest American Films ever Made (#9) which moved up to (#8) when the list was remade in 2007.

In 1994, Spielberg took a hiatus from directing to spend more time with his family and build his new studio, DreamWorks, with partners Jeffrey Katzenberg and David Geffen. In 1996, he directed the sequel to 1993's Jurassic Park with The Lost World: Jurassic Park, which generated over $618 million worldwide despite mixed reviews, and was the second biggest film of 1997 behind James Cameron's (which topped the original Jurassic Park to become the new recordholder for box office receipts).

His next film, , was based on a true story (like Schindler's List), specifically about an African slave rebellion. Despite decent reviews from critics, it did not do well at the box office. Spielberg released Amistad under DreamWorks Pictures, which has produced all of his films from Amistad onwards with the exception of Indiana Jones and the Kingdom of the Crystal Skull, The Adventures of Tintin and Ready Player One.

His 1998 theatrical release was the World War II film Saving Private Ryan, about a group of U.S. soldiers led by Capt. Miller ( Tom Hanks) sent to bring home a paratrooper whose three older brothers were killed in the same twenty-four hours, June 5-6, of the Normandy landing. The film was a huge box office success, grossing over $481 million worldwide and was the biggest film of the year at the North American box office (worldwide it made second place after Michael Bay's Armageddon). Spielberg won his second Academy Award for his direction. The film's graphic, realistic depiction of combat violence influenced later war films such as Black Hawk Down and Enemy at the Gates. The film was also the first major hit for DreamWorks, which co-produced the film with Paramount Pictures (as such, it was Spielberg's first release from the latter that was not part of the Indiana Jones series). Later, Spielberg and Tom Hanks produced a TV mini-series based on Stephen Ambrose's book Band of Brothers. The ten-part HBO mini-series follows Easy Company of the 101st Airborne Division's 506th Parachute Infantry Regiment. The series won a number of awards at the Golden Globes and the Emmys.

In 2001, Spielberg filmed fellow director and friend Stanley Kubrick's final project, A.I. Artificial Intelligence which Kubrick was unable to begin during his lifetime. A futuristic film about a humanoid android longing for love, A.I. featured groundbreaking visual effects and a multi-layered, allegorical storyline, adapted by Spielberg himself. Though the film's reception in the US was relatively muted, it performed better overseas for a worldwide total box office gross of $236 million.

Spielberg and actor Tom Cruise collaborated for the first time for the futuristic neo-noir Minority Report, based upon the science fiction short story written by Philip K. Dick about a Washington D.C. police captain in the year 2054 who has been foreseen to murder a man he has not yet met. The film received strong reviews with the review tallying website Rotten Tomatoes giving it a 92% approval rating, reporting that 206 out of the 225 reviews they tallied were positive. The film earned over $358 million worldwide. Roger Ebert, who named it the best film of 2002, praised its breathtaking vision of the future as well as for the way Spielberg blended CGI with live-action.

Spielberg's 2002 film Catch Me If You Can is about the daring adventures of a youthful con artist (played by Leonardo DiCaprio). It earned Christopher Walken an Academy Award nomination for Best Supporting Actor. The film is known for John Williams's score and its unique title sequence. It was a hit both commercially and critically.

Spielberg collaborated again with Tom Hanks along with Catherine Zeta-Jones and Stanley Tucci in 2004's The Terminal, a warm-hearted comedy about a man of Eastern European descent who is stranded in an airport. It received mixed reviews but performed relatively well at the box office. In 2005, magazine ranked Spielberg number one on a list of the greatest film directors of all time.

Also in 2005, Spielberg directed a modern adaptation of War of the Worlds (a co-production of Paramount and DreamWorks), based on the H. G. Wells book of the same name (Spielberg had been a huge fan of the book and the original 1953 film). It starred Tom Cruise and Dakota Fanning, and, as with past Spielberg films, Industrial Light & Magic (ILM) provided the visual effects. Unlike E.T. and Close Encounters of the Third Kind, which depicted friendly alien visitors, War of the Worlds featured violent invaders. The film was another huge box office smash, grossing over $591 million worldwide.

Spielberg's film , about the events following the 1972 Munich Massacre of Israeli athletes at the Olympic Games, was his second film essaying Jewish relations in the world (the first being Schindler's List). The film is based on , a book by Canadian journalist George Jonas. It was previously adapted into the 1986 made-for-TV film Sword of Gideon. The film received strong critical praise, but underperformed at the U.S. and world box-office; it remains one of Spielberg's most controversial films to date. Munich received five Academy Awards nominations, including Best Picture, Film Editing, Original Music Score (by John Williams), Best Adapted Screenplay, and Best Director for Spielberg. It was Spielberg's sixth Best Director nomination and fifth Best Picture nomination.

In June 2006, Steven Spielberg announced he would direct a scientifically accurate film about "a group of explorers who travel through a worm hole and into another dimension", from a treatment by Kip Thorne and producer Lynda Obst. In January 2007, screenwriter Jonathan Nolan met with them to discuss adapting Obst and Thorne's treatment into a narrative screenplay. The screenwriter suggested the addition of a "time element" to the treatment's basic idea, which was welcomed by Obst and Thorne. In March of that year, Paramount hired Nolan, as well as scientists from Caltech, forming a workshop to adapt the treatment under the title Interstellar. The following July, Kip Thorne said there was a push by people for him to portray himself in the film. Spielberg later abandoned Interstellar, which was eventually directed by Christopher Nolan.

Spielberg directed Indiana Jones and the Kingdom of the Crystal Skull, which wrapped filming in October 2007 and was released on May 22, 2008. This was his first film not to be released by DreamWorks since 1997. The film received generally positive reviews from critics, and was financially successful, grossing $786 million worldwide.

In early 2009, Spielberg shot the first film in a planned trilogy of motion capture films based on The Adventures of Tintin, written by Belgian artist Hergé, with Peter Jackson. The Adventures of Tintin: The Secret of the Unicorn, was not released until October 2011, due to the complexity of the computer animation involved. The world premiere took place on October 22, 2011 in Brussels, Belgium. The film was released in North American theaters on December 21, 2011, in Digital 3D and IMAX. It received generally positive reviews from critics, and grossed over $373 million worldwide. The Adventures of Tintin won the award for Best Animated Feature Film at the Golden Globe Awards that year. It is the first non- Pixar film to win the award since the category was first introduced. Jackson has been announced to direct the second film.

Spielberg followed with , shot in England in the summer of 2010. It was released just four days after The Adventures of Tintin, on December 25, 2011. The film, based on the novel of the same name written by Michael Morpurgo and published in 1982, follows the long friendship between a British boy and his horse Joey before and during World War I - the novel was also adapted into a hit play in London which is still running there, as well as on Broadway. Distributed by Walt Disney Studios, with whom DreamWorks made a distribution deal in 2009, War Horse was the first of four consecutive Spielberg films released by Disney. War Horse received generally positive reviews from critics, and was nominated for six Academy Awards, including Best Picture.

Spielberg next directed the historical drama film , starring Daniel Day-Lewis as United States President Abraham Lincoln and Sally Field as Mary Todd Lincoln. Based on Doris Kearns Goodwin's bestseller Team of Rivals: The Political Genius of Abraham Lincoln, the film covered the final four months of Lincoln's life. Written by Tony Kushner, the film was shot in Richmond, Virginia, in late 2011, and was released in the United States in November 2012. Upon release, Lincoln received widespread critical acclaim, and was nominated for twelve Academy Awards (the most of any film that year) including Best Picture and Best Director for Spielberg. It won the award for Best Production Design and Day-Lewis won the Academy Award for Best Actor for his portrayal of Lincoln, becoming the first three-time winner in that category as well as the first to win for a performance directed by Spielberg.

It was announced on May 2, 2013, that Spielberg would direct the film about the story of U.S. sniper Chris Kyle, titled American Sniper. However, on August 5, 2013, it was announced that Spielberg had decided not to direct the film, which was instead directed by Clint Eastwood.

Spielberg directed 2015's Bridge of Spies, a Cold War thriller based on the 1960 U-2 incident, and focusing on James B. Donovan's negotiations with the Soviets for the release of pilot Gary Powers after his aircraft was shot down over Soviet territory. The film starred Tom Hanks as Donovan, as well as Mark Rylance, Amy Ryan, and Alan Alda, with a script by the Coen brothers. The film was shot from September to December 2014 on location in New York City, Berlin and Wroclaw, Poland (which doubled for East Berlin), and was released on October 16, 2015. Bridge of Spies received positive reviews from critics, and was nominated for six Academy Awards, including Best Picture; Rylance won the Academy Award for Best Supporting Actor, becoming the second actor to win for a performance directed by Spielberg.

Spielberg's is an adaptation of Roald Dahl's celebrated children's story, starring newcomer Ruby Barnhill, and Rylance as the titular Big Friendly Giant. DreamWorks bought the rights in 2010, originally intending John Madden to direct. The film was the last to be written by E.T. screenwriter Melissa Mathison before she died. It was co-produced and released by Walt Disney Pictures, marking the first Disney-branded film to be directed by Spielberg. The BFG premiered out of competition at the Cannes Film Festival on May 14, 2016 and received a wide release in the US on July 1, 2016.

Spielberg directed Tom Hanks and Meryl Streep in , an account of The Washington Post's printing of the Pentagon Papers. Production began in New York on May 30, 2017. The film began a limited release on December 22, 2017, with a wide release following on January 12, 2018.

Spielberg directed the film adaptation of the popular sci-fi novel Ready Player One, by Ernest Cline. The film stars Tye Sheridan, Olivia Cooke, Ben Mendelsohn, Simon Pegg and Mark Rylance. It began production in London in July 2016, a year before The Post, which was filmed, edited and released during the lengthy, effects-heavy post-production period for Ready Player One. Ready Player One was originally slated to be released on December 15, 2017 by Warner Bros., but was pushed back to March 29, 2018, to avoid competition with Star Wars: The Last Jedi. It had its world premiere at the South by Southwest film festival, on March 11, 2018.

Spielberg is directing West Side Story, a new film adaptation of the classic musical. Tony Kushner stated in July 2017 that he was adapting the show's book for Spielberg, though the musical score would remain unchanged, as would the late 1950s setting. The film is set to be released by Disney on December 18, 2020.

Upcoming projects

During an interview with The Tech in 2015, Spielberg described how he chooses the film projects he would work on:

[Sometimes], a story speaks to me, even if it doesn't speak to any of my collaborators or any of my partners, who look at me and scratch their heads and say, 'Gee, are you sure you wanna get into that trench for a year and a half?' I love people challenging me that way because it's a real test about my own convictions and [whether] I can be the standing man of my own life and take a stand on a subject that may not be popular, but that I would be proud to add to the body of my work. That's pretty much the litmus test that gets me to say, 'Yeah, I'll direct that one.'

Spielberg was scheduled to film his long-planned adaptation of David Kertzer's The Kidnapping of Edgardo Mortara in early 2017, for release at the end of that year, but production has been postponed. The book follows the true story of a young Jewish boy in 1858 Italy who was secretly baptized by a family servant and then kidnapped from his family by the Papal States, where he was raised and trained as a priest, causing international outrage and becoming a media sensation. It was first announced in 2014, with Tony Kushner adapting the book for the screen. Mark Rylance, in his fourth consecutive collaboration with Spielberg, was announced to star in the role of Pope Pius IX. Oscar Isaac was set to star as Mortara's father, but eventually dropped out. Spielberg had difficulty casting the title role, though he saw more than 2000 kids.

Spielberg is attached to direct an adaptation of American photojournalist Lynsey Addario's memoir It's What I Do. Jennifer Lawrence is attached to star in the lead role.

In April 2018, it was announced that Spielberg would direct a film adaptation of the comic book series. Warner Bros. Pictures will distribute the film, with David Koepp writing the script. During an interview in 1981 to promote Raiders of the Lost Ark, Spielberg likened that film to the Blackhawk series.

Projects on hold

In 2009, Spielberg reportedly tried to obtain the screen rights to make a film based on Microsoft's Halo series. In September 2008, Steven Spielberg bought film rights for John Wyndham's novel and is interested in directing it. He is also interested in making an adaptation of A Steady Rain, Pirate Latitudes, The 39 Clues, and a remake of When Worlds Collide.

In May 2009, Steven Spielberg bought the rights to the life story of Martin Luther King, Jr. Spielberg will be involved not only as producer but also as a director. However, the purchase was made from the King estate, led by son Dexter, while the two other surviving children, the Reverend Bernice and Martin III, immediately threatened to sue, not having given their approvals to the project.

Production credits

Since the mid-1980s, Spielberg has increased his role as a film producer. He headed up the production team for several cartoons, including the Warner Bros. hits Tiny Toon Adventures, Animaniacs, Pinky and the Brain, Toonsylvania, and Freakazoid!, for which he collaborated with Jean MacCurdy and Tom Ruegger. Due to his work on these series, in the official titles, most of them say, "Steven Spielberg presents" as well as making numerous cameos on the shows. Spielberg also produced the Don Bluth animated features, An American Tail and The Land Before Time, which were released by Universal Studios. He also served as one of the executive producers of Who Framed Roger Rabbit and its three related shorts ( Tummy Trouble, Roller Coaster Rabbit, Trail Mix-Up), which were all released by Disney, under both the Walt Disney Pictures and the Touchstone Pictures banners. He was furthermore, for a short time, the executive producer of the long-running medical drama . In 1989, he brought the concept of to LucasArts. He contributed to the project from that time until 1995 when the game was released. He also collaborated with software publishers Knowledge Adventure on the multimedia game Steven Spielberg's Director's Chair, which was released in 1996. Spielberg appears, as himself, in the game to direct the player. The Spielberg name provided branding for a Lego Moviemaker kit, the proceeds of which went to the Starbright Foundation.

In 1993, Spielberg acted as executive producer for the highly anticipated television series seaQuest DSV; a science fiction series set "in the near future" starring Roy Scheider (who Spielberg had directed in Jaws) and Jonathan Brandis that aired on NBC. While the first season was moderately successful, the second season did less well. Spielberg's name no longer appeared in the third season and the show was cancelled midway through it.

Spielberg served as an uncredited executive producer on The Haunting, The Prince of Egypt, Just Like Heaven, , Road to Perdition, and . He served as an executive producer for the 1997 film Men in Black, and its sequels, Men in Black II, Men in Black III, and Men in Black: International. In 2005, he served as a producer of Memoirs of a Geisha, an adaptation of the novel by Arthur Golden, a film to which he was previously attached as director. In 2006, Spielberg co-executive produced with famed filmmaker Robert Zemeckis a CGI children's film called Monster House, marking their eighth collaboration since 1990's Back to the Future Part III. He also teamed with Clint Eastwood for the first time in their careers, co-producing Eastwood's Flags of Our Fathers and Letters from Iwo Jima with Robert Lorenz and Eastwood himself. He earned his twelfth Academy Award nomination for the latter film as it was nominated for Best Picture. Spielberg served as executive producer for and the Transformers live action film series with Hasbro CEO Brian Goldner. The films, including sequels Transformers: Revenge of the Fallen, Transformers: Dark of the Moon, Transformers: Age of Extinction, and Transformers: The Last Knight were directed by Michael Bay and written by Roberto Orci and Alex Kurtzman. In 2011, he produced the J. J. Abrams science fiction thriller film for Paramount Pictures.

Other major television series Spielberg produced were Band of Brothers, and The Pacific. He was an executive producer on the critically acclaimed 2005 TV miniseries Into the West which won two Emmy awards, including one for Geoff Zanelli's score. For his 2010 miniseries The Pacific he teamed up once again with co-producer Tom Hanks, with Gary Goetzman also co-producing'. The miniseries is believed to have cost $250 million and is a 10-part war miniseries centered on the battles in the Pacific Theater during World War II. Writer Bruce McKenna, who penned several installments of (Band of Brothers), was the head writer.

In 2007, Steven Spielberg and Mark Burnett co-produced a short-lived TV reality show about filmmaking. Despite this, he never gave up working on television. He currently serves as one of the executive producers on United States of Tara, a show created by Academy Award winner Diablo Cody which they developed together (Spielberg is uncredited as creator).

In 2011, Spielberg launched Falling Skies, a science fiction television series, on the TNT network. He developed the series with Robert Rodat and is credited as an executive producer. Spielberg is also producing the Fox TV series . Terra Nova begins in the year 2149 when all life on the planet Earth is threatened with extinction resulting in scientists opening a door that allows people to travel back 85 million years to prehistoric times. Spielberg also produced , , Under the Dome, , The Whispers, a TV adaptation of Minority Report, and . However, following sexual misconduct allegations against Michael Weatherly, Amblin stopped producing the series, and Spielberg no longer served as an executive producer.

In 2008, Spielberg and DreamWorks acquired the rights to produce a live-action film adaptation of the original Ghost in the Shell manga. Avi Arad and Steven Paul produced, Rupert Sanders directed, and Scarlett Johansson stars in the lead role of the film, which was released in 2017.

In January 2013, HBO confirmed that it was developing a third World War II miniseries based on the book Masters of the Air by Donald L. Miller with Spielberg and Tom Hanks to follow Band of Brothers and The Pacific. Few details have emerged about the project since, but reported in March 2017 that production was progressing under the working title The Mighty Eighth.

In March 2013, Spielberg announced that he was "developing a Stanley Kubrick screenplay for a miniseries, not for a motion picture, about the life of Napoleon." In May 2016, it was announced that Cary Fukunaga is in talks to direct the miniseries for HBO, from a script by David Lenland based on extensive research materials accumulated by Kubrick over many years.

Spielberg had planned to shoot a $200 million adaptation of Daniel H. Wilson's novel Robopocalypse, adapted for the screen by Drew Goddard. The novel follows a global human war against a robot uprising about 15-20 years in the future. Like , it was to be released by Disney in the United States and Fox overseas. It was set for release on April 25, 2014, with Anne Hathaway and Chris Hemsworth set to star, but Spielberg postponed production indefinitely in January 2013, just before it was to begin. In March 2018, it was announced that the film will now be directed by Michael Bay.

Spielberg will executive produce Cortes, a historical mini-series written by Steven Zaillian about the Spanish conquest of the Aztec empire, and Hernán Cortés's relationship with Aztec ruler Montezuma. The script is based on an earlier one from 1965 by Oscar-winner Dalton Trumbo. Javier Bardem will play the lead role of explorer Hernán Cortés. Spielberg was previously attached to direct the project as a feature film.

Spielberg had originally planned to direct the untitled fifth installment in the Indiana Jones series. The film is set to star Harrison Ford and will be produced by Kathleen Kennedy and Frank Marshall. In 2016, it was announced that it would be written by David Koepp, who has written numerous other films for Spielberg, including the previous Indiana Jones film. It was originally set for release by Disney on July 19, 2019. It was then announced that filming would begin in the UK in April 2019 and the film was given a new release date of July 10, 2020. Filming was postponed again in June 2018, when Jonathan Kasdan was announced as the film's new writer. Soon after, a new release date of July 9, 2021 was announced. In May 2019, it was reported that Dan Fogelman had been hired to write a new script, and that Kasdan's story, which focused on the Nazi gold train, would not be used. In February 2020, it was reported that, because he wanted to "pass along Indy's whip to a new generation to bring their perspective to the story", Spielberg will no longer direct the film, through he will remain involved in the project as a producer.

Onscreen appearances

Spielberg had cameo roles in The Blues Brothers, , Vanilla Sky, and Austin Powers in Goldmember, as well as small uncredited cameos in a handful of other films, such as a life-station worker in Jaws. He also made numerous cameo roles in the Warner Bros. cartoons he produced, such as Animaniacs, and even made reference to some of his films. Spielberg voiced himself in the film , and in one episode of Tiny Toon Adventures titled Buster and Babs Go Hawaiian.

In 2017, Spielberg, along with fellow directors Francis Ford Coppola, Guillermo del Toro, Paul Greengrass and Lawrence Kasdan were featured in the Netflix documentary series Five Came Back, which discussed the contributions of film directors Frank Capra, John Ford, John Huston, George Stevens and William Wyler towards recording the events of World War II. Spielberg also served as an executive producer on the series.

Involvement in video games

Apart from being an ardent gamer Spielberg has had a long history of involvement in video games. He has been giving thanks to his games of his division DreamWorks Interactive as Someone's in the Kitchen with script written by Animaniacs' Paul Rugg, Goosebumps: Escape from HorrorLand, The Neverhood (all in 1996), Skullmonkeys, Dilbert's Desktop Games, Goosebumps: Attack of the Mutant (all 1997), (1999), T'ai Fu: Wrath of the Tiger (1999), and Clive Barker's Undying (2001). In 2005 the director signed with Electronic Arts to collaborate on three games including an action game and an award-winning puzzle game for the Wii called (and its 2009 sequel: Boom Blox Bash Party). Previously, he was involved in creating the scenario for the adventure game . In 1996, Spielberg worked on and shot original footage for a movie-making simulation game called Steven Spielberg's Director's Chair. He is the creator of the Medal of Honor series by Electronic Arts. He is credited in the special thanks section of the 1998 video game Trespasser. In 2013, Spielberg has announced he is collaborating with 343 Industries for a live-action TV show of .

Spielberg's films often deal with several recurring themes. Most of his films deal with ordinary characters searching for or coming in contact with extraordinary beings or finding themselves in extraordinary circumstances. In an AFI interview in August 2000 Spielberg commented on his interest in the possibility of extraterrestrial life and how it has influenced some of his films. Spielberg described himself as feeling like an alien during childhood, and his interest came from his father, a science fiction fan, and his opinion that aliens would not travel light years for conquest, but instead curiosity and sharing of knowledge.

A strong consistent theme in his family-friendly work is a childlike sense of wonder and faith, as attested by works such as Close Encounters of the Third Kind, E.T. the Extra-Terrestrial, , A.I. Artificial Intelligence and . According to Warren Buckland, these themes are portrayed through the use of low height camera tracking shots, which have become one of Spielberg's directing trademarks. In the cases when his films include children ( E.T. the Extra-Terrestrial, Empire of the Sun, Jurassic Park, etc.), this type of shot is more apparent, but it is also used in films like , Saving Private Ryan, The Terminal, Minority Report, and . Each of his films feature this shot utilized by the director, and the water scenes in Jaws are filmed from the low-angle perspective of someone swimming. Another child oriented theme in Spielberg's films is that of loss of innocence and coming-of-age. In Empire of the Sun, Jim, a well-groomed and spoiled English youth, loses his innocence as he suffers through World War II China. Similarly, in Catch Me If You Can, Frank naively and foolishly believes that he can reclaim his shattered family if he accumulates enough money to support them.

The most persistent theme throughout his films is tension in parent-child relationships. Parents (often fathers) are reluctant, absent or ignorant. Peter Banning in Hook starts off in the beginning of the film as a reluctant married-to-his-work parent who through the course of the film regains the respect of his children. The absence of Elliott's father in E.T. is the most famous example of this theme. In Indiana Jones and the Last Crusade, it is revealed that Indy has always had a very strained relationship with his father, who is a professor of medieval literature, as his father always seemed more interested in his work, specifically in his studies of the Holy Grail, than in his own son, although his father does not seem to realize or understand the negative effect that his aloof nature had on Indy (he even believes he was a good father in the sense that he taught his son "self reliance," which is not how Indy saw it). Even Oskar Schindler, from Schindler's List, is reluctant to have a child with his wife. In The Color Purple, the main character, Celie, has been impregnated by her father multiple times. depicts Avner as a man away from his wife and newborn daughter. There are exceptions; Brody in is a committed family man, while John Anderton in Minority Report is a shattered man after the disappearance of his son. This theme is arguably the most autobiographical aspect of Spielberg's films, since Spielberg himself was affected by his parents' divorce as a child and by the absence of his father. Furthermore, to this theme, protagonists in his films often come from families with divorced parents, including E.T. the Extra-Terrestrial (protagonist Elliot's mother is divorced) and Catch Me If You Can (Frank Abagnale's mother and father split early on in the film). Little known also is Tim in Jurassic Park (early in the film, another secondary character mentions Tim and Lex's parents' divorce). The family often shown divided is often resolved in the ending as well. Following this theme of reluctant fathers and father figures, Tim looks to Dr. Alan Grant as a father figure. Initially, Dr. Grant is reluctant to return those paternal feelings to Tim. However, by the end of the film, he has changed, and the kids even fall asleep with their heads on his shoulders.

Most of his films are generally optimistic in nature. Though some critics accuse his films of being a little overly sentimental, Spielberg feels it is fine as long as it is disguised.[citation needed ] He is still a highly praised director as well as being credited as one of the most influential directors of all time. The influence comes from directors Frank Capra and John Ford.

Personal life

Marriages and children

Spielberg met actress Amy Irving in 1976 at the suggestion of director Brian De Palma, who knew he was looking for an actress to play in Close Encounters. After meeting her, Spielberg told his co-producer Julia Phillips, "I met a real heartbreaker last night." Although she was too young for the role, she and Spielberg began dating and she eventually moved into what she described as his "bachelor funky" house. They lived together for four years, but the stresses of their professional careers took a toll on their relationship. Irving wanted to be certain that whatever success she attained as an actress would be her own: "I don't want to be known as Steven's girlfriend," she said, and chose not to be in any of his films during those years. As a result, they broke up in 1979, but remained close friends. Then in 1984 they renewed their romance, and in November 1985 they married, after the birth of their son, Max Samuel. But after 3 1/2 years of marriage, many of the same competing stresses of their careers caused them to divorce in 1989. They agreed to maintain homes near each other to facilitate the shared custody and parenting of their son. Their divorce was recorded as the third most costly celebrity divorce in history.

Spielberg subsequently developed a relationship with actress Kate Capshaw, whom he met when he cast her in Indiana Jones and the Temple of Doom. They married on October 12, 1991. Capshaw is a convert to Judaism. They currently move among their four homes in Pacific Palisades, California; Quelle Farm, Georgica Pond in East Hampton, New York; New York City; and Naples, Florida.

There are seven children in the Spielberg-Capshaw family:

Jessica Capshaw (born August 9, 1976) - daughter from Kate Capshaw's previous marriage to Robert Capshaw

Max Samuel Spielberg (born June 13, 1985) - son from Spielberg's previous marriage to actress Amy Irving

Theo Spielberg (born August 21, 1988) - son adopted by Capshaw before her marriage to Spielberg, who later also adopted him

Sasha Rebecca Spielberg (born May 14, 1990, Los Angeles)

Sawyer Avery Spielberg (born March 10, 1992, Los Angeles)

Mikaela George (born February 28, 1996) - adopted with Kate Capshaw

Destry Allyn Spielberg (born December 1, 1996)

Spielberg grew up in a Jewish household and had a bar mitzvah ceremony in Phoenix when he turned 13. He grew away from Judaism during his high-school years, after his family moved to various cities and found themselves the only Jews in their new neighborhoods. Before those years, his family was involved in the synagogue and had many Jewish friends and nearby relatives.

He remembers his grandparents telling him about their life in Russia, where they were subjected to religious persecution, causing them to eventually flee to the United States. He was made aware of the Holocaust by his parents, who he says "talked about it all the time, and so it was always on my mind." His father had lost between sixteen and twenty relatives during the Holocaust.

Spielberg "rediscovered the honor of being a Jew," he says, before he made Schindler's List, when he married Kate Capshaw. Until then, having become a filmmaker, he only felt his connection to Judaism when he visited his parents. He says he made the film partly to create "something that would confirm my Judaism to my family and myself."

Kate is Protestant and she insisted on converting to Judaism. She spent a year studying, did the " mikveh," the whole thing. She chose to do a full conversion before we were married in 1991, and she married me after becoming a Jew. I think that, more than anything else, brought me back to Judaism.

He credits her with fueling his family's current level of observance and for keeping the "momentum flowing" in their lives, as they now observe Jewish holidays, light candles on Friday nights, and give their children Bar and Bat Mitzvahs. "This shiksa goddess has made me a better Jew than my own parents."

Producing Schindler's List in 1993 also renewed his faith, Spielberg says, but "it really was the fact that my wife took a profound interest in Judaism." He waited ten years after being given the story in 1982 to make the film, as he did not yet feel "mature" enough. He first wanted to have a family, "to figure out what my place was in the world... . When my first son, [Max] was born, it greatly affected me... . A spirit began to ignite in me, and I became a Jewish dad..."

He said that making the film became a "natural experience" for him, adding, "I had to tell the story. I've lived on its outer edges." The film, writes biographer Joseph McBride, thereby became the "culmination" of Spielberg's long personal struggle with his Jewish identity. Some claim the film has made Spielberg "the one true heir to the great Jewish moguls who created Hollywood," most of whom had actively avoided depicting Jews or the Holocaust in their films.

magazine places Spielberg's personal net worth at $3.7 billion. It was revealed in 2009 during the Madoff Ponzi scheme investigation that Spielberg and Capshaw were among the investors defrauded by Bernie Madoff.

In 2013, Spielberg purchased the 282-foot (86 m) mega-yacht Seven Seas for US$182 million. He has since put it up for sale and in the meantime has made it available for charter. At US$1.2 million per month, it is one of the most expensive charters on the market. He has ordered a new 300-foot (91 m) yacht costing a reported US$250 million.

Recognition

In 2002, Spielberg was one of eight flagbearers who carried the Olympic Flag into Rice-Eccles Stadium at the Opening Ceremonies of the 2002 Winter Olympic Games in Salt Lake City. In 2006, listed him as the most powerful and influential figure in the motion picture industry. listed him as one of the 100 Most Important People of the Century. At the end of the 20th century, named him the most influential person of his generation. In 2009, Boston University presented him an honorary Doctor of Humane Letters degree.

According to Forbes' Most Influential Celebrities 2014 list, Spielberg was listed as the most influential celebrity in America. The annual list is conducted by E-Poll Market Research and it gave more than 6,600 celebrities on 46 different personality attributes a score representing "how that person is perceived as influencing the public, their peers, or both." Spielberg received a score of 47, meaning 47% of the US believes he is influential. Gerry Philpott, president of E-Poll Market Research, supported Spielberg's score by stating, "If anyone doubts that Steven Spielberg has greatly influenced the public, think about how many will think for a second before going into the water this summer."

Spielberg has usually supported U.S. Democratic Party candidates. He has donated over $800,000 to the Democratic party and its nominees. He has been a close friend of former President Bill Clinton and worked with the President for the USA Millennium celebrations. He directed an 18-minute film for the project, scored by John Williams and entitled The American Journey. It was shown at America's Millennium Gala on December 31, 1999, in the National Mall at the Reflecting Pool at the base of the Lincoln Memorial in Washington, D.C.

Spielberg resigned as a member of the national advisory board of the Boy Scouts of America in 2001 because of his disapproval of the organization's anti-homosexuality stance. In 2007, the Arab League voted to boycott Spielberg's movies after he donated $1 million for relief efforts in Israel during the 2006 Lebanon War. On February 20, 2007, Spielberg, Jeffrey Katzenberg, and David Geffen invited Democrats to a fundraiser for Barack Obama. In February 2008, Spielberg pulled out of his role as advisor to the 2008 Summer Olympics in response to the Chinese government's inaction over the War in Darfur. Spielberg said in a statement that " I find that my conscience will not allow me to continue business as usual." It also said that " Sudan's government bears the bulk of the responsibility for these on-going crimes, but the international community, and particularly China, should be doing more.." The International Olympic Committee respected Spielberg's decision, but IOC president Jacques Rogge admitted in an interview that "[Spielberg] certainly would have brought a lot to the opening ceremony in terms of creativity." Spielberg's statement drew criticism from Chinese officials and state-run media calling his criticism "unfair". In September 2008, Spielberg and his wife offered their support to same-sex marriage by issuing a statement following their donation of $100,000 to the "No on Proposition 8" campaign fund, a figure equal to the amount of money Brad Pitt donated to the same campaign less than a week prior.

Spielberg supported Hillary Clinton for President of the United States in the 2016 election. He donated US$1 million to Priorities USA, a pro-Clinton Super PAC.

In 2018, Spielberg and his wife Kate Capshaw donated $500,000 to the March for Our Lives student demonstration in favor of gun control in the United States.

A collector of film memorabilia, Spielberg purchased a balsa Rosebud sled from Citizen Kane (1941) in 1982. He bought Orson Welles's own directorial copy of the script for the radio broadcast The War of the Worlds (1938) in 1994. Spielberg has purchased Academy Award statuettes being sold on the open market and donated them to the Academy of Motion Picture Arts and Sciences, to prevent their further commercial exploitation. His donations include the Oscars that Bette Davis received for (1935) and (1938), and Clark Gable's Oscar for It Happened One Night (1934).

Spielberg is a major collector of the work of American illustrator and painter Norman Rockwell. A collection of 57 Rockwell paintings and drawings owned by Spielberg and fellow Rockwell collector and film director George Lucas were displayed at the Smithsonian American Art Museum July 2, 2010 - January 2, 2011, in an exhibition titled Telling Stories.

Spielberg is an avid film buff and, when not shooting a picture, he will watch many films in a single weekend. He sees almost every major summer blockbuster in theaters if not preoccupied and enjoys most of them.

Since playing while filming in 1974, Spielberg has been an avid video gamer. Spielberg played many of LucasArts adventure games, including the first Monkey Island games. He owns a Wii, a PlayStation 3, a PSP, and an Xbox 360, and enjoys playing first-person shooters such as the Medal of Honor series and Call of Duty 4: Modern Warfare. He has also criticized the use of cutscenes in games, calling them intrusive, and feels making story flow naturally into the gameplay is a challenge for future game developers.

In 2001, Spielberg was stalked by conspiracy theorist and former social worker Diana Napolis. She accused him, along with actress Jennifer Love Hewitt, of controlling her thoughts through "cybertronic" technology and being part of a satanic conspiracy against her. Napolis was committed to a mental institution before pleading guilty to stalking, and released on probation with a condition that she have no contact with either Spielberg or Hewitt.

Jonathan Norman was arrested after making two attempts to enter Spielberg's Pacific Palisades home in June and July 1997. Norman was jailed for 25 years in California. Spielberg told the court: "Had Jonathan Norman actually confronted me, I genuinely, in my heart of hearts, believe that I would have been raped or killed."

Filmography

Awards and honors

Spielberg has won three Academy Awards. He has been nominated for seven Academy Awards for the category of Best Director, winning two of them (Schindler's List and Saving Private Ryan), and 11 of the films he directed were up for the Best Picture Oscar ( Schindler's List won). In 1987, he was awarded the Irving G. Thalberg Memorial Award for his work as a creative producer.

Drawing from his own experiences in Scouting, Spielberg helped the Boy Scouts of America develop a merit badge in cinematography in order to help promote filmmaking as a marketable skill. The badge was launched at the 1989 National Scout Jamboree, which Spielberg attended, and where he personally counseled many boys in their work on requirements. That same year, 1989, saw the release of Indiana Jones and the Last Crusade. The opening scene shows a teenage Indiana Jones in scout uniform bearing the rank of a Life Scout. Spielberg stated he made Indiana Jones a Boy Scout in honor of his experience in Scouting. For his career accomplishments, service to others, and dedication to a new merit badge Spielberg was awarded the Distinguished Eagle Scout Award.

Steven Spielberg received the AFI Life Achievement Award in 1995.

In 1998, he was awarded the Federal Cross of Merit with Ribbon of the Federal Republic of Germany. The Award was presented to him by President Roman Herzog in recognition of his film Schindler's List and his Shoa-Foundation.

In 1999, Spielberg received an honorary degree from Brown University. Spielberg was also awarded the Department of Defense Medal for Distinguished Public Service by Secretary of Defense William Cohen at the Pentagon on August 11, 1999; Cohen presented the award in recognition of Spielberg's film Saving Private Ryan.

In 2001, he was appointed as an honorary Knight Commander of the Order of the British Empire (KBE) by Queen Elizabeth II for services to the entertainment industry of the United Kingdom.

In 2004, he was admitted as knight of the Légion d'honneur by president Jacques Chirac. On July 15, 2006, Spielberg was also awarded the Gold Hugo Lifetime Achievement Award at the Summer Gala of the Chicago International Film Festival, and also was awarded a Kennedy Center honour on December 3. The tribute to Spielberg featured a short, filmed biography narrated by Liam Neeson and included thank-yous from World War II veterans for Saving Private Ryan, as well as a performance of the finale to Leonard Bernstein's Candide, conducted by John Williams (Spielberg's frequent composer).

The Science Fiction Hall of Fame inducted Spielberg in 2005, the first year it considered non-literary contributors. In November 2007, he was chosen for a Lifetime Achievement Award to be presented at the sixth annual Visual Effects Society Awards in February 2009. He was set to be honored with the Cecil B. DeMille Award at the January 2008 Golden Globes; however, due to the new, watered-down format of the ceremony resulting from conflicts in the 2007-08 writers strike, the HFPA postponed his honor to the 2009 ceremony. In 2008, Spielberg was awarded the Légion d'honneur.

In June 2008, Spielberg received Arizona State University's Hugh Downs Award for Communication Excellence.

Spielberg received an honorary degree at Boston University's 136th Annual Commencement on May 17, 2009. In October 2009 Steven Spielberg received the Philadelphia Liberty Medal; presenting him with the medal was former US president and Liberty Medal recipient Bill Clinton. Special guests included Whoopi Goldberg, Pennsylvania Governor Ed Rendell and Philadelphia Mayor Michael Nutter.

On October 22, 2011 he was admitted as a Commander of the Belgian Order of the Crown. He was given the badge on a red neck ribbon by the Belgian Federal Minister of Finance Didier Reynders. The Commander is the third highest rank of the Order of the Crown. He was the president of the jury for the 2013 Cannes Film Festival.

On November 19, 2013, Spielberg was honored by the National Archives and Records Administration with its Records of Achievement Award. Spielberg was given two facsimiles of the 13th Amendment to the United States Constitution, one passed but not ratified in 1861, as well as a facsimile of the actual 1865 amendment signed into law by President Abraham Lincoln. The amendment and the process of passing it were the subject of his film .

In November 24, 2015, Spielberg was awarded the Presidential Medal of Freedom from President Barack Obama in a ceremony at the White House.

On May 26, 2016, Spielberg was awarded an Honorary Doctor of Arts by Harvard University.

In July 2016, Spielberg was awarded a gold Blue Peter badge on the BBC children's television programme .

Awards received by Spielberg films

Directed Academy Award Performances

Spielberg has directed fourteen Oscar winning and nominated performances.

Praise and criticism

In 2005, Steven Spielberg was rated the greatest film director of all time by Empire magazine. In 1997, a Wall Street sell-side analyst said, "There are only two brand names in the business: Disney and Spielberg".

After watching the unconventional, off-center camera techniques of , Alfred Hitchcock praised "young Spielberg," for thinking outside of the visual dynamics of the theater, saying "He's the first one of us who doesn't see the proscenium arch".

British film critic Tom Shone has said of Spielberg, "If you have to point to any one director of the last twenty-five years in whose work the medium of film was most fully itself - where we found out what it does best when left to its own devices, it has to be that guy." Jess Cagle, the managing editor of Entertainment Weekly, called Spielberg "...arguably (well, who would argue?) the greatest filmmaker in history."

Spielberg's critics complain that his films are overly sentimental and tritely moralistic. In his book Easy Riders, Raging Bulls, Peter Biskind summarized the views of Spielberg's detractors, accusing the director of "infantilizing the audience, reconstituting the spectator as child, then overwhelming him and her with sound and spectacle, obliterating irony, aesthetic self-consciousness, and critical reflection."

Critics of mainstream film such as Ray Carney and American artist and actor Crispin Glover (who starred in the Spielberg-produced Back to the Future and who sued Spielberg for using his likeness in Back to the Future Part II) claim that Spielberg's films lack depth and do not take risks.

French New Wave filmmaker Jean-Luc Godard stated that he holds Spielberg partly responsible for the lack of artistic merit in mainstream cinema and accused Spielberg of using his film Schindler's List to make a profit off tragedy while Schindler's wife, Emilie Schindler, lived in poverty in Argentina. In defense of Spielberg, critic Roger Ebert said "Has Godard or any other director living or dead done more than Spielberg, with his Holocaust Project, to honor and preserve the memories of the survivors?" Author Thomas Keneally has also disputed claims that Emilie Schindler was never paid for her contributions to the film, "not least because I had recently sent Emilie a check myself."

Film critic Pauline Kael, who had championed Spielberg's films in the 1970s, expressed disappointment in his later development, stating that "he's become, I think, a very bad director.... And I'm a little ashamed for him, because I loved his early work.... [H]e turned to virtuous movies. And he's become so uninteresting now.... I think that he had it in him to become more of a fluid, far-out director. But, instead, he's become a melodramatist."

Imre Kertész, Hungarian Jewish author, Nazi concentration camp survivor, and winner of the Nobel Prize in Literature, criticized Spielberg's depiction of the Holocaust in Schindler's List as kitsch, saying "I regard as kitsch any representation of the Holocaust that is incapable of understanding or unwilling to understand the organic connection between our own deformed mode of life and the very possibility of the Holocaust." Veteran documentary filmmaker and professor Claude Lanzmann also labeled Schindler's List "pernicious in its impact and influence" and "very sentimental".

Stephen Rowley wrote an extensive essay about Spielberg and his career in Senses of Cinema. In it, he discussed Spielberg's strengths as a filmmaker, saying "there is a welcome complexity of tone and approach in these later films that defies the lazy stereotypes often bandied about his films" and that "Spielberg continues to take risks, with his body of work continuing to grow more impressive and ambitious", concluding that he has only received "limited, begrudging recognition" from critics.

Shia LaBeouf, who worked with Spielberg on a number of films including Indiana Jones and the Kingdom of the Crystal Skull and various DreamWorks productions (such as the Transformers film series), described his experiences working with the director in a wide-ranging interview with in 2016. He stated, "I grew up with this idea, [that] if you got to Spielberg, that's where it is - I'm not talking about fame, and I'm not talking about money. You get there, and you realize you're not meeting the Spielberg you dream of. You're meeting a different Spielberg, who is in a different stage in his career. He's less a director than he is a fucking company." He went on to discuss his on-set actor/director relationship with Spielberg, as well as the films they made together, "Spielberg's sets are very different - everything has been so meticulously planned. You got to get this line out in 37 seconds. You do that for five years, you start to feel like not knowing what you're doing for a living." He concluded his point by stating: "I don't like the movies that I made with Spielberg. The only movie that I liked that we made together was [the first] Transformers [film]." Later in the interview, LaBeouf recited and criticised the advice given to him by Spielberg following the mixed reaction to both Kingdom of the Crystal Skull, and LaBeouf's performance in the film. He claims Spielberg told him not to read about himself in the media, but LaBeouf felt irritated by what he perceived to be non-advice and a lack of understanding, saying "There's no way to not do that. For me to not read that means I need to not take part in society. The generation previous to mine didn't have the immediate response [of the internet]. If you were Mark Hamill [in Star Wars], you could lie to yourself. You could find the pockets of joy, and turn a blind eye to the shit over there."

In 1999, Spielberg, then a co-owner of DreamWorks, was involved in a heated debate in which the studio proposed building on wetlands near Los Angeles, though development was later dropped for economic reasons.

In August 2007, Ai Weiwei, artistic consultant for the Beijing Olympic Stadium, known as the "Bird's Nest", accused those choreographing the Olympic opening ceremony, including Spielberg, of failing to live up to their responsibility as artists by allowing their work to be used by the Chinese government, which has suppressed human rights in China, including those of Ai's family, for the purpose of "propaganda". Ai said, "It's disgusting. I don't like anyone who shamelessly abuses their profession, who makes no moral judgment."

On February 28, 2019, Anne Thompson of reported that Spielberg is keen on pushing for rule changes at the Academy Awards (Oscars) regarding films that are distributed theatrically and through streaming, with Thompson sharing an Amblin spokesperson's quote: "Steven feels strongly about the difference between the streaming and theatrical situation. He'll be happy if the others will join [his campaign] when that comes up [at the Academy Board of Governors meeting]. He will see what happens." This, in addition to his March 2018 criticism of Netflix's distribution strategy, was then interpreted by others to be Spielberg campaigning against Netflix films being qualified for the Oscars, prompting reactions from Ava DuVernay, J. C. Chandor, and Joe Berlinger among others. Jeffrey Katzenberg stated that Spielberg has "actually said nothing" regarding the situation with Netflix, adding that "What happened is a journalist was onto a story about this and had heard a rumor about Steven. They called a spokesperson to get a comment and honestly, just twisted it around. One, Steven didn't say that, and two, he is not going to the academy in April with some sort of plan. But he has not opined at all, nor has he aligned with some specific thing."

References

284. Spielberg Among the Big Names Allegedly Burned by Madoff https://abcnews.go.com/GMA/story?id=6463587&page=1

Further reading

External links

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Steven Allan Spielberg (; born December 18, 1946) is an American film director, producer, and screenwriter. He is considered one of the founding pioneers of the New Hollywood era and one of the most popular directors and producers in film history. Spielberg started in Hollywood directing television and several minor theatrical releases.

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https://en.wikipedia.org/wiki/Martin_Scorsese

Wikipedia Contributors (2019). Martin Scorsese. [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/Martin_Scorsese.

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Martin Charles Scorsese (, Italian: [skorˈseːze; -eːse]; born November 17, 1942) is an American film director, producer, screenwriter, and actor. One of the major figures of the New Hollywood era, he is widely regarded as one of the most significant and influential directors in film history. Scorsese's body of work explores themes such as Italian-American identity, Catholic concepts of guilt and redemption, faith, machismo, nihilism, crime and tribalism. Many of his films are known for their depiction of violence, and the liberal use of profanity and rock music. In 1990, he founded The Film Foundation, a nonprofit organization dedicated to film preservation, in 2007 he founded the World Cinema Foundation and in 2017, he introduced the African Film Heritage Project.

Scorsese studied at New York University, where he received a bachelor's degree in English literature in 1964, and received a master's degree in fine arts in film from NYU's Tisch School of the Arts in 1966. In 1967 Scorsese's first feature film Who's That Knocking at My Door was released and was accepted into the Chicago Film Festival, where critic Roger Ebert saw it and called it "a marvelous evocation of American city life, announcing the arrival of an important new director". Scorsese's mentors included John Cassavetes, whose chatty, improvisational style did much to influence Scorsese's scripts and production work, and who told him to "make films about what you know". In 1971 Scorsese moved to Hollywood, where he associated with some of the young directors who defined the decade, including Steven Spielberg, Francis Ford Coppola, Brian De Palma, and George Lucas. He directed Boxcar Bertha (1972), a cut-rate Depression-era film for Roger Corman, and Mean Streets (1973), a personal film about faith and redemption shot in Little Italy, starring Harvey Keitel and Robert De Niro.

He has established a filmmaking history involving repeat collaborations with actors and film technicians, including nine films made with Robert De Niro. His films with De Niro are the psychological thriller Taxi Driver (1976), the biographical sports drama Raging Bull (1980), the satirical black comedy The King of Comedy (1982), the musical drama New York, New York (1977), the psychological thriller (1991), and the crime films Mean Streets (1973), Goodfellas (1990), (1995) and The Irishman (2019). Scorsese has also been noted for his successful collaborations with actor Leonardo DiCaprio, having directed him in five films: the historical epic Gangs of New York (2002), the Howard Hughes biography The Aviator (2004), the crime thriller The Departed (2006), the psychological thriller Shutter Island (2010), and the Wall Street black comedy The Wolf of Wall Street (2013). The Departed won Scorsese the Academy Award for Best Director, in addition to winning the award for Best Picture. Scorsese is also known for his long-time collaboration with film editor Thelma Schoonmaker, who has edited every Scorsese film beginning with Raging Bull. Scorsese's other film work includes the black comedy After Hours (1985), the romantic drama The Age of Innocence (1993), the children's adventure drama (2011), and the religious epics The Last Temptation of Christ (1988), (1997) and (2016).

With nine nominations for the Academy Award for Best Director, Scorsese is the most-nominated living director and is second only to William Wyler's twelve nominations overall. In 2007, Scorsese was presented with the Kennedy Center Honor at the John F. Kennedy Center for the Performing Arts for his influence in American culture. He also received a star on the Hollywood Walk of Fame in 2003, a British Film Institute Fellowship in 1995, and a BAFTA Fellowship in 2012. Scorsese is also a recipient of the AFI Life Achievement Award for his contributions to the cinema, and has won an Academy Award, a Palme d'Or, a Cannes Film Festival Award, a Silver Lion, a Grammy Award, three Primetime Emmy Awards, three Golden Globe Awards, three BAFTA Awards, and two Directors Guild of America Awards. Scorsese is also known for his work in television, including directing the pilot episodes of the HBO series Boardwalk Empire and , the latter he also co-created. As a fan of rock music, he has directed several documentaries on the subject after editing (1970), including The Last Waltz (1978), No Direction Home (2005), Shine a Light (2008), George Harrison: Living in the Material World (2011), and Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese (2019).

Martin Scorsese was born on November 17, 1942, in the Flushing area of New York City's Queens borough. His family moved to Little Italy in Manhattan before he started school. Both of Scorsese's parents, Charles Scorsese and Catherine Scorsese (born Cappa), worked in New York's Garment District. Charles was a clothes presser and an actor while Catherine was a seamstress and an actress. Both of them were of Italian descent: his paternal grandparents, Francesco Paolo and Teresa Scozzese, emigrated from Polizzi Generosa, while his maternal grandparents, Martino and Domenica Cappa, emigrated from Ciminna, both in the province of Palermo, Sicily. The original surname of the family was Scozzese, later changed to Scorsese because of a transcription error. Scorsese was raised in a predominantly Catholic environment.

As a boy, he had asthma and could not play sports or take part in any activities with other children, so his parents and his older brother would often take him to movie theaters; it was at this stage in his life that he developed a passion for cinema. As a teenager in the Bronx, Scorsese frequently rented Powell and Pressburger's The Tales of Hoffmann (1951) from a store that had one copy of the reel. Scorsese was one of only two people who regularly rented it; the other was future film director George A. Romero.

Scorsese has cited Sabu and Victor Mature as his favorite actors during his youth. He has also spoken of the influence of the 1947-48 Powell and Pressburger films Black Narcissus and The Red Shoes, whose innovative techniques later impacted his filmmaking. In his documentary titled A Personal Journey with Martin Scorsese Through American Movies, Scorsese said that he was enamored of historical epics in his adolescence, and at least two films of the genre, Land of the Pharaohs and , appear to have had a deep and lasting impact on his cinematic psyche. Scorsese also developed an admiration for neorealist cinema at this time. He recounted its influence in a documentary on Italian neorealism, and commented on how Bicycle Thieves, Rome, Open City and especially inspired him and influenced his view or portrayal of his Sicilian roots. In his documentary, Il Mio Viaggio in Italia ( My Voyage to Italy), Scorsese noted that the Sicilian episode of Roberto Rossellini's Paisà, which he first saw on television with his relatives who were themselves Sicilian immigrants, had a significant impact on his life. He acknowledges owing a great debt to the French New Wave and has stated that "the French New Wave has influenced all filmmakers who have worked since, whether they saw the films or not." He has also cited filmmakers including Satyajit Ray, Ingmar Bergman, Michelangelo Antonioni, and Federico Fellini as major influences on his career. He attended the all-boys Cardinal Hayes High School in the Bronx, graduating in 1960. He had initially desired to become a priest, attending a preparatory seminary but failed after the first year. This gave way to cinema and consequently Scorsese enrolled in NYU's Washington Square College (now known as the College of Arts and Science), where he earned a B.A. in English in 1964. He went on to earn his M.A. from New York University's School of the Arts (now known as the Tisch School of the Arts) in 1968, a year after the school was founded.

While attending the Tisch School of the Arts, Scorsese made the short films What's a Nice Girl Like You Doing in a Place Like This? (1963) and It's Not Just You, Murray! (1964). His most famous short of the period is the darkly comic The Big Shave (1967), which features Peter Bernuth. The film is an indictment of America's involvement in Vietnam, suggested by its alternative title Viet '67. Scorsese has mentioned on several occasions that he was greatly inspired in his early days at New York University by film professor Haig P. Manoogian.

In 1967, Scorsese made his first feature-length film, the black and white I Call First, which was later retitled Who's That Knocking at My Door, with his fellow students actor Harvey Keitel and editor Thelma Schoonmaker, both of whom were to become long-term collaborators. This film was intended to be the first of Scorsese's semi-autobiographical J. R. Trilogy, which would have included a later film, Mean Streets. Film critic Roger Ebert saw the film at the 1967 Chicago International Film Festival and in his review praised Scorsese and the film writing, "I Call First" brings these two kinds of films together into a work that is absolutely genuine, artistically satisfying and technically comparable to the best films being made anywhere. I have no reservations in describing it as a great moment in American movies." Throughout his career, Scorsese has avoided comparing his own films to those of other filmmakers whom he considers to be his contemporaries after 1967 when his own career in films began. The single exception is Kubrick's 1968 film 2001: A Space Odyssey.

Scorsese became friends with the influential "movie brats" of the 1970s: Brian De Palma, Francis Ford Coppola, George Lucas and Steven Spielberg. It was De Palma who introduced Scorsese to Robert De Niro. During this period, Scorsese worked as the assistant director and one of the editors on the documentary (1970) and met actor-director John Cassavetes, who became a close friend and mentor. In 1972, Scorsese made the Depression-era exploiter Boxcar Bertha for B-movie producer Roger Corman, who also helped directors such as Francis Ford Coppola, James Cameron, and John Sayles launch their careers. It was Corman who taught Scorsese that entertaining films could be shot with very little money or time, preparing the young director well for the challenges to come with Mean Streets. Following the film's release, Cassavetes encouraged Scorsese to make the films that he wanted to make, rather than someone else's projects.

Championed by influential film critic Pauline Kael, Mean Streets was a breakthrough for Scorsese, De Niro, and Keitel. By now the signature Scorsese style was in place: macho posturing, bloody violence, Catholic guilt and redemption, gritty New York locale (though the majority of Mean Streets was shot in Los Angeles), rapid-fire editing and a soundtrack with contemporary music. Although the film was innovative, its wired atmosphere, edgy documentary style, and gritty street-level direction owed a debt to directors Cassavetes, Samuel Fuller and early Jean-Luc Godard. In 1974, actress Ellen Burstyn chose Scorsese to direct her in Alice Doesn't Live Here Anymore, for which she won an Academy Award for Best Actress. Although well regarded, the film remains an anomaly in the director's early career as it focuses on a central female character. Returning to Little Italy to explore his ethnic roots, Scorsese next came up with Italianamerican, a documentary featuring his parents Charles and Catherine Scorsese.

Taxi Driver followed in 1976-Scorsese's dark, urban nightmare of one lonely man's gradual descent into insanity. The film established him as an accomplished filmmaker and also brought attention to cinematographer Michael Chapman, whose style tends towards high contrasts, strong colors, and complex camera movements. The film starred Robert De Niro as the troubled and psychotic Travis Bickle, and co-starred Jodie Foster in a highly controversial role as an underage prostitute, with Harvey Keitel as her pimp. Taxi Driver also marked the start of a series of collaborations between Scorsese and writer Paul Schrader, whose influences included the diary of would-be assassin Arthur Bremer and Pickpocket, a film by the French director Robert Bresson. Writer-director Schrader often returns to Bresson's work in films such as American Gigolo, Light Sleeper, and Scorsese's later Bringing Out the Dead. Already controversial upon its release, Taxi Driver hit the headlines again five years later, when John Hinckley Jr. made an assassination attempt on then-president Ronald Reagan. He subsequently blamed his act on his obsession with Jodie Foster's Taxi Driver character (in the film, De Niro's character, Travis Bickle, makes an assassination attempt on a senator).

Taxi Driver won the Palme d'Or at the 1976 Cannes Film Festival, also receiving four Oscar nominations, including Best Picture. The critical and financial success of Taxi Driver encouraged Scorsese to move ahead with his first big-budget project: the highly stylized musical New York, New York. This tribute to Scorsese's home town and the classic Hollywood musical was a box-office failure. The film was the director's third collaboration with Robert De Niro, co-starring with Liza Minnelli. The film is best remembered today for the title theme song, which was popularized by Frank Sinatra. Although possessing Scorsese's usual visual panache and stylistic bravura, many critics felt its enclosed studio-bound atmosphere left it leaden in comparison with his earlier work. Despite its weak reception, the film is regarded positively by some critics. Richard Brody in The New Yorker wrote:

For Scorsese, a lifelong cinephile, the essence of New York could be found in its depiction in classic Hollywood movies. Remarkably, his backward-looking tribute to the golden age of musicals and noirish romantic melodramas turned out to be one of his most freewheeling and personal films.

In 1977 he directed the Broadway musical , starring Liza Minnelli. The disappointing reception that New York, New York received drove Scorsese into depression. By this stage the director had developed a serious cocaine addiction. However, he did find the creative drive to make the highly regarded The Last Waltz, documenting the final concert by The Band. It was held at the Winterland Ballroom in San Francisco on American Thanksgiving Day, November 25, 1976, and featured one of the most extensive lineups of prominent guest performers at a single concert, including Bob Dylan, Neil Young, Ringo Starr, Muddy Waters, Joni Mitchell, Van Morrison, Paul Butterfield, Neil Diamond, Ronnie Wood, and Eric Clapton. However, Scorsese's commitments to other projects delayed the release of the film until 1978. Another Scorsese-directed documentary, titled American Boy, also appeared in 1978, focusing on Steven Prince, the cocky gun salesman who appeared in Taxi Driver. A period of wild partying followed, damaging the director's already fragile health. Scorsese helped provide footage for the documentary Elvis on Tour.

By several accounts (Scorsese's included), Robert De Niro saved Scorsese's life when he persuaded him to kick his cocaine addiction to make his highly regarded film Raging Bull. Writing for The New Yorker in March 2000, Mark Singer summarized Scorsese's condition stating:

He (Scorsese) was more than mildly depressed. Drug abuse, and abuse of his body in general, culminated in a terrifying episode of internal bleeding. Robert De Niro came to see him in the hospital and asked, in so many words, whether he wanted to live or die. If you want to live, De Niro proposed, let's make this picture-referring to Raging Bull, an as-told-to book by Jake La Motta, the former world middleweight boxing champion, that De Niro had given him to read years earlier.

Convinced that he would never make another movie, he poured his energies into making this violent biopic of middleweight boxing champion Jake LaMotta, calling it a kamikaze method of film-making. The film is widely viewed as a masterpiece and was voted the greatest film of the 1980s by Britain's Sight & Sound magazine. It received eight Oscar nominations, including Best Picture, Best Actor for Robert De Niro and Scorsese's first for Best Director. De Niro won, as did Thelma Schoonmaker for editing, but Best Director went to Robert Redford for Ordinary People. From this work onwards, Scorsese's films are always labeled as "A Martin Scorsese Picture" on promotional material. Raging Bull, filmed in high contrast black and white, is where Scorsese's style reached its zenith: Taxi Driver and New York, New York had used elements of expressionism to replicate psychological points of view, but here the style was taken to new extremes, employing extensive slow-motion, complex tracking shots, and extravagant distortion of perspective (for example, the size of boxing rings would change from fight to fight). Thematically too, the concerns carried on from Mean Streets and Taxi Driver: insecure males, violence, guilt, and redemption.

Although the screenplay for Raging Bull was credited to Paul Schrader and Mardik Martin (who earlier co-wrote Mean Streets), the finished script differed extensively from Schrader's original draft. It was rewritten several times by various writers including Jay Cocks (who went on to co-script later Scorsese films The Age of Innocence and Gangs of New York). The final draft was largely written by Scorsese and Robert De Niro. The American Film Institute chose Raging Bull as the number one American sports film on their list of the top 10 sports films. In 1997, the Institute ranked Raging Bull as the twenty-fourth greatest film of all time on their AFI's 100 Years ... 100 Movies list. In 2007, they ranked Raging Bull as the fourth greatest film of all time on their AFI's 100 Years ... 100 Movies (10th Anniversary Edition) list.

Scorsese's next project was his fifth collaboration with Robert De Niro, The King of Comedy (1983). It is a satire on the world of media and celebrity, whose central character is a troubled loner who ironically becomes famous through a criminal act ( kidnapping). The film was an obvious departure from the more emotionally committed films he had become associated with. Visually, it was far less kinetic than the style Scorsese had developed previously, often using a static camera and long takes. Here the expressionism of his previous work gave way to moments of almost total surrealism. It still bore many of Scorsese's trademarks, however. The King of Comedy failed at the box office, but has become increasingly well regarded by critics in the years since its release. German director Wim Wenders numbered it among his 15 favorite films. Also, in 1983, Scorsese made a brief cameo appearance in the film Anna Pavlova (also known as A Woman for All Time), originally intended to be directed by one of his heroes, Michael Powell. This led to a more significant acting appearance in Bertrand Tavernier's jazz film Round Midnight. He also made a brief venture into television, directing an episode of Steven Spielberg's Amazing Stories.

With After Hours (1985), Scorsese made an esthetic shift back to a pared-down, almost "underground" film-making style. Filmed on an extremely low budget, on location, and at night in the SoHo neighborhood of Manhattan, the film is a black comedy about one increasingly misfortunate night for a mild New York word processor ( Griffin Dunne) and features cameos by such disparate actors as Teri Garr and Cheech and Chong. Along with the 1987 Michael Jackson music video " Bad", in 1986 Scorsese made The Color of Money, a sequel to the much admired Robert Rossen film The Hustler (1961) with Paul Newman, which co-starred Tom Cruise. Although adhering to Scorsese's established style, The Color of Money was the director's first official foray into mainstream film-making. The film finally won actor Paul Newman an Oscar and gave Scorsese the clout to finally secure backing for a project that had been a longtime goal for him: The Last Temptation of Christ.

In 1983, Scorsese began work on this long-cherished personal project. The Last Temptation of Christ, based on the 1955 novel written by Nikos Kazantzakis, retold the life of Christ in human rather than divine terms. Barbara Hershey recalls introducing Scorsese to the book while they were filming Boxcar Bertha. The film was slated to shoot under the Paramount Pictures banner, but shortly before principal photography was to start, Paramount pulled the plug on the project, citing pressure from religious groups. In this aborted 1983 version, Aidan Quinn was cast as Jesus, and Sting was cast as Pontius Pilate. (In the 1988 version, these roles were played by Willem Dafoe and David Bowie respectively.) However, following his mid-1980s flirtation with commercial Hollywood, Scorsese made a major return to personal filmmaking with the project, which was ultimately released in 1988. Even prior to its release, the film (adapted by Taxi Driver and Raging Bull veteran Paul Schrader) caused a massive furor, with worldwide protests against its perceived blasphemy effectively turning a low-budget independent film into a media sensation. Most of the controversy centered on the final passages of the film, which depicted Christ marrying and raising a family with Mary Magdalene in a Satan-induced hallucination while on the cross.

In 1986, Scorsese directed the 18 minute short film featuring Michael Jackson and Wesley Snipes (in his film debut). The short also serves as a music video and was shot in the Hoyt-Schermerhorn Streets station in Brooklyn over a 6-week period during November and December 1986. The short film's cinematographer was frequent Scorsese collaborator Michael Chapman. The dancing and filmmaking was heavily influenced by the 1961 film West Side Story. Scorsese also noted the influence of his own film Taxi Driver (1976) in Spike Lee's documentary about the 25th anniversary of the short titled, (2012). The short has been praised by critics as one of the most iconic and greatest videos of all time; Jackson's outfit has been cited as an influence on fashion.

Looking past the controversy, The Last Temptation of Christ gained critical acclaim and remains an important work in Scorsese's canon: an explicit attempt to wrestle with the spirituality underpinning his films up until that point. The director went on to receive his second nomination for a Best Director Academy Award (again unsuccessfully, this time losing to Barry Levinson for ). As a separate film project, and along with directors Woody Allen and Francis Ford Coppola in 1989, Scorsese provided one of three segments in the portmanteau film New York Stories, called "Life Lessons". Roger Ebert's gave the film a mixed review, while praising Scorsese's short as "really successful".

After a decade of films considered by critics to be mixed results, some considered Scorsese's gangster epic Goodfellas (1990) his return to directorial form, and his most confident and fully realized film since Raging Bull. De Niro and Joe Pesci offered a virtuoso display of Scorsese's bravura cinematic technique in the film and re-established, enhanced, and consolidated his reputation. After the film was released, Roger Ebert, a friend and supporter of Scorsese, named Goodfellas "the best mob movie ever". It is ranked No. 1 on Ebert's movie list for 1990, along with those of Gene Siskel and Peter Travers', and is widely considered one of the director's greatest achievements. The film was nominated for six Academy Awards, including Best Picture and Best Director, and Scorsese earned his third Best Director nomination but again lost to a first-time director, Kevin Costner (Dances with Wolves). Joe Pesci earned the Academy Award for Best Supporting Actor for his performance. Scorsese and the film also won a number of other awards, including five BAFTA Awards, a Silver Lion and more. The American Film Institute placed Goodfellas at No. 94 on the AFI's 100 Years ... 100 Movies list. On the 2007 updated version, they moved Goodfellas up to No. 92 on the AFI's 100 Years ... 100 Movies list (10th Anniversary Edition) and put Goodfellas at No. 2 on their list of the top 10 gangster films (after The Godfather).

In 1990, he released his only short-form documentary: Made in Milan about fashion designer Giorgio Armani. The following year brought , a remake of a cult 1962 movie of the same name and the director's seventh collaboration with De Niro. Another foray into the mainstream, the film was a stylized thriller taking its cues heavily from Alfred Hitchcock and Charles Laughton's The Night of the Hunter (1955). Cape Fear received a mixed critical reception and was lambasted in many quarters for its scenes depicting misogynistic violence. However, the lurid subject matter gave Scorsese a chance to experiment with visual tricks and effects. The film garnered two Oscar nominations. Earning $80 million domestically, it stood as Scorsese's most commercially successful release until The Aviator (2004), and then The Departed (2006). The film also marked the first time Scorsese used wide-screen Panavision with an aspect ratio of 2.39:1.

In 1990, Scorsese acted in a small role as Vincent van Gogh in the film by Japanese director Akira Kurosawa. Scorsese's 1994 cameo appearance in the Robert Redford film is remembered for the telling line: "You see, the audience didn't tune in to watch some amazing display of intellectual ability. They just wanted to watch the money." De Fina-Cappa was the production company he formed that same year with producer Barbara De Fina. In the early 1990s, Scorsese also expanded his role as a film producer. He produced a wide range of films, including major Hollywood studio productions (Mad Dog and Glory, ), low-budget independent films (The Grifters, Naked in New York, Grace of My Heart, Search and Destroy, The Hi-Lo Country), and even the foreign film (Con gli occhi chiusi (With Closed Eyes)).

The Age of Innocence (1993) was a significant departure for Scorsese, a period adaptation of the Edith Wharton novel about the constrictive high society of late-19th century New York. It was highly lauded by critics upon its original release but was a box office bomb, making an overall loss. As noted in Scorsese on Scorsese by editor-interviewer Ian Christie, the news that Scorsese wanted to make a film about a failed 19th-century romance raised many eyebrows among the film fraternity; all the more when Scorsese made it clear that it was a personal project and not a studio for-hire job.

Scorsese was interested in doing a "romantic piece", and he was strongly drawn to the characters and the story of Wharton's text. Scorsese wanted his film to be as rich an emotional experience as the book was to him rather than the traditional academic adaptations of literary works. To this end, Scorsese sought influence from diverse period films that had had an emotional impact on him. In Scorsese on Scorsese, he documents influences from films such as Luchino Visconti's and his Il Gattopardo ( The Leopard) as well as Orson Welles's The Magnificent Ambersons and also Roberto Rossellini's La prise de pouvoir par Louis XIV ( The Taking of Power by Louis XIV). Although The Age of Innocence was ultimately different from these films in terms of narrative, story, and thematic concern, the presence of a lost society, of lost values as well as detailed re-creations of social customs and rituals continues the tradition of these films. It came back into the public eye, especially in countries such as the UK and France, but still is largely neglected in North America. The film earned five Academy Award nominations (including Best Adapted Screenplay for Scorsese), winning the Costume Design Oscar. This was his first collaboration with the Academy Award-winning actor Daniel Day-Lewis, with whom he would work again on Gangs of New York. This was Scorsese's first film to be shot on Super 35 format.

(1995), like The Age of Innocence before it, focused on a tightly wound male whose well-ordered life is disrupted by the arrival of unpredictable forces. The fact that it was a violent gangster film made it more palatable to the director's fans who perhaps were baffled by the apparent departure of the earlier film. Casino was a box office success, and it received generally positive notices from critics. Comparisons were drawn to his earlier film Goodfellas, and Scorsese admitted Casino bore a superficial resemblance to it, but he maintained that the story was significantly larger in scope. Sharon Stone was nominated for the Best Actress Academy Award for her performance. During the filming, Scorsese played a background part as a gambler at one of the tables.

Scorsese still found time for a four-hour documentary in 1995, titled A Personal Journey with Martin Scorsese Through American Movies, offering a thorough trek through American cinema. It covered the silent era to 1969, a year after which Scorsese began his feature career. He said, "I wouldn't feel right commenting on myself or my contemporaries." In the four-hour documentary, Scorsese lists the four aspects of the director he believes are the most important as (1) the director as storyteller; (2) the director as an illusionist: D. W. Griffith or F. W. Murnau, who created new editing techniques among other innovations that made the appearance of sound and color possible later on; (3) the director as a smuggler-filmmakers such as Douglas Sirk, Samuel Fuller, and Vincente Minnelli, who used to hide subversive messages in their films; and (4) the director as iconoclast. In the preface to this documentary, Scorsese states his commitment to the "Director's Dilemma", in which a successful contemporary director must be pragmatic about the realities of getting financing for films of personal esthetic interest by accepting the need of "making one film for the studio, and (then) making one for oneself."

If The Age of Innocence alienated and confused some fans, then (1997) went several steps further, offering an account of the early life of Tenzin Gyatso, the 14th Dalai Lama, the People's Liberation Army's entry into Tibet, and the Dalai Lama's subsequent exile to India. Not only a departure in subject matter, Kundun saw Scorsese employing a fresh narrative and visual approach. Traditional dramatic devices were substituted for a trance-like meditation achieved through an elaborate tableau of colorful visual images. The film was a source of turmoil for its distributor, Buena Vista Pictures, which was planning significant expansion into the Chinese market at the time. Initially defiant in the face of pressure from Chinese officials, Disney has since distanced itself from the project, hurting Kundun's commercial profile. In the short term, the sheer eclecticism in evidence enhanced the director's reputation. In the long term, however, it appears Kundun has been sidelined in most critical appraisals of the director, mostly noted as a stylistic and thematic detour. Kundun was the Scorsese's second attempt to profile the life of a great religious leader, following The Last Temptation of Christ.

Bringing Out the Dead (1999) was a return to familiar territory, with the director and writer Paul Schrader constructing a pitch-black comic take on their own earlier Taxi Driver. Like earlier Scorsese-Schrader collaborations, its final scenes of spiritual redemption explicitly recall the films of Robert Bresson. (It is also worth noting that the film's incident-filled nocturnal setting is reminiscent of After Hours.) It received generally positive reviews, although not the universal critical acclaim of some of his other films. It stars Nicolas Cage, Ving Rhames, John Goodman, Tom Sizemore, and Patricia Arquette.

On various occasions Scorsese has been asked to present the Honorary Academy Award during the Oscar telecast. In 1998, at the 70th Academy Awards, Scorsese presented the award to film legend Stanley Donen. When accepting the award Donen quipped, "Marty this is backwards, I should be giving this to you, believe me". In 1999, at the 71st Academy Awards, Scorsese and De Niro presented the award to film director Elia Kazan. This would be a controversial pick for the Academy due to Kazan's past history regarding his involvement with the Hollywood Blacklist in the 1950s. Several members of the audience including Nick Nolte and Ed Harris refused to applaud Kazan when he received the award while others such as Warren Beatty, Meryl Streep, Kathy Bates, and Kurt Russell gave him a standing ovation.

In 1999, Scorsese produced a documentary on Italian filmmakers titled Il Mio Viaggio in Italia, also known as My Voyage to Italy. The documentary foreshadowed the director's next project, the epic Gangs of New York (2002), influenced by (amongst many others) major Italian directors such as Luchino Visconti and filmed in its entirety at Rome's famous Cinecittà film studios. With a production budget said to be in excess of $100 million, Gangs of New York was Scorsese's biggest and arguably most mainstream venture to date. Like The Age of Innocence, it was set in 19th-century New York, although focusing on the other end of the social scale (and like that film, also starring Daniel Day-Lewis). The film marked the first collaboration between Scorsese and actor Leonardo DiCaprio, who became a fixture in later Scorsese films. The production was highly troubled, with many rumors referring to the director's conflict with Miramax boss Harvey Weinstein. Despite denials of artistic compromise, some felt that Gangs of New York was the director's most conventional film, featuring standard film tropes that the director had traditionally avoided, such as characters existing purely for exposition purposes and explanatory flashbacks.

The final cut of the movie ran to 168 minutes, while the director's original cut was over 180 minutes long. Even so, the film received generally positive reviews with the review aggregator Rotten Tomatoes reporting that 75 percent of the reviews for the film they tallied were positive and summarizing the critics writing, "Though flawed, the sprawling, messy Gangs of New York is redeemed by impressive production design and Day-Lewis's electrifying performance." The film's central themes are consistent with the director's established concerns: New York, violence as culturally endemic, and subcultural divisions down ethnic lines. Originally filmed for a release in the winter of 2001 (to qualify for Academy Award nominations), Scorsese delayed the final production of the film until after the beginning of 2002; the studio consequently delayed the film until its release in the Oscar season of late 2002. Gangs of New York earned Scorsese his first Golden Globe for Best Director. In February 2003, Gangs of New York received 10 Academy Award nominations, including Best Picture, Best Director, and Best Actor for Daniel Day-Lewis; however, it did not win in any category.

The following year, Scorsese completed production of , an expansive seven-part documentary tracing the history of blues music from its African roots to the Mississippi Delta and beyond. Seven film-makers including Wim Wenders, Clint Eastwood, Mike Figgis, and Scorsese himself each contributed a 90-minute film (Scorsese's entry was titled Feel Like Going Home). In the early 2000s, Scorsese produced several films for up-and-coming directors, such as You Can Count on Me (directed by Kenneth Lonergan), Rain (directed by Katherine Lindberg), (directed by Derick Martini) and The Young Victoria (directed by Jean-Marc Vallée). At that time, he established Sikelia Productions. In 2003, producer Emma Tillinger Koskoff joined the company. Scorsese also produced several documentaries, such as The Soul of a Man (directed by Wim Wenders) and Lightning in a Bottle (directed by Antoine Fuqua).

Scorsese's film The Aviator (2004) is a lavish, large-scale biopic of eccentric aviation pioneer and film mogul Howard Hughes and reunited Scorsese with actor Leonardo DiCaprio. The film received highly positive reviews. The film was a widespread box office success and gained Academy recognition. The Aviator was nominated for six Golden Globe awards, including Best Motion Picture-Drama, Best Director, Best Screenplay, and Best Actor-Motion Picture Drama for Leonardo DiCaprio. It won three, including Best Motion Picture-Drama and Best Actor-Motion Picture Drama. In January 2005 The Aviator became the most-nominated film of the 77th Academy Awards nominations, nominated in 11 categories including Best Picture. The film also garnered nominations in nearly all the other major categories, including a fifth Best Director nomination for Scorsese. Despite having the most nominations, the film won only five Oscars. Scorsese lost again, this time to director Clint Eastwood for Million Dollar Baby (which also won Best Picture).

No Direction Home is a documentary film by Scorsese that tells of the life of Bob Dylan, and his impact on American popular music and the culture of the 20th century. The film does not cover Dylan's entire career; it focuses on his beginnings, his rise to fame in the 1960s, his then- controversial transformation from an acoustic guitar-based musician and performer to an electric guitar-influenced sound and his "retirement" from touring in 1966 following an infamous motorcycle accident. The film was first presented on television in both the United States (as part of the PBS American Masters series) and the United Kingdom (as part of the BBC Two series) on September 26 to 27, 2005. A DVD version of the film was released the same month. The film won a Peabody Award and the Grammy Award for Best Long Form Music Video. In addition, Scorsese received an Emmy nomination for it.

Scorsese returned to the crime genre with the Boston-set thriller The Departed, based on the Hong Kong police drama Infernal Affairs (which is co-directed by Andrew Lau and Alan Mak). The film continued Scorsese's collaboration with Leonardo DiCaprio and was the first time he worked with Matt Damon, Jack Nicholson, Mark Wahlberg, and Martin Sheen.

The Departed opened to widespread critical acclaim, with some proclaiming it as one of the best efforts Scorsese had brought to the screen since 1990's Goodfellas, and still others putting it at the same level as Scorsese's most celebrated classics Taxi Driver and Raging Bull. With domestic box office receipts surpassing million, The Departed was Scorsese's highest-grossing film (not accounting for inflation) until 2010's Shutter Island.

The Departed earned Scorsese a second Golden Globe for Best Director, as well as a Critics' Choice Award, his first Directors Guild of America Award, and the Academy Award for Best Director. Presented with the latter, Scorsese poked fun at his track record of nominations, asking, "Could you double-check the envelope?" The award was presented by his longtime friends and colleagues Francis Ford Coppola, George Lucas and Steven Spielberg. The Departed also received the Academy Award for the Best Motion Picture of 2006, Best Adapted Screenplay, and Best Film Editing by longtime Scorsese editor Thelma Schoonmaker; her latter's win for a Scorsese film.

Shine a Light captures rock and roll band The Rolling Stones' performing at New York City's Beacon Theater on October 29 and November 1, 2006, intercut with brief news and interview footage from throughout their career. The film was initially scheduled for release on September 21, 2007, but Paramount Classics postponed its general release until April 2008. Its world premiere was at the opening of the 58th Berlinale Film Festival on February 7, 2008. "Marty did an amazing job of making us look great..." observed drummer Charlie Watts. "It's all in the edits and the cuts. That's a movie maker rather than a guy just shooting a band onstage... It's not Casablanca, but it's a great thing to have from our point of view, not being egotistical. It's a document."

In 2009, Scorsese signed a petition in support of director Roman Polanski, calling for his release from custody after he was detained in relation to his 1977 sexual abuse charges.

On October 22, 2007, Daily Variety reported that Scorsese would reunite with Leonardo DiCaprio on a fourth picture, Shutter Island. Principal photography on the Laeta Kalogridis screenplay, based on the novel of the same name by Dennis Lehane, began in Massachusetts in March 2008. In December 2007, actors Mark Ruffalo, Max von Sydow, Ben Kingsley, and Michelle Williams joined the cast, marking the first time these actors had worked with Scorsese. The film was released on February 19, 2010. On May 20, 2010, the film became Scorsese's highest-grossing film. In 2010, The Wall Street Journal reported that Scorsese was supporting the David Lynch Foundation's initiative to help 10,000 military veterans overcome posttraumatic stress disorder through Transcendental Meditation; Scorsese has publicly discussed his own practice of TM.

Scorsese directed the series premiere for Boardwalk Empire, an HBO drama series, starring Steve Buscemi and Michael Pitt, based on Nelson Johnson's book Boardwalk Empire: The Birth, High Times and Corruption of Atlantic City. Terence Winter, who wrote for The Sopranos, created the series. In addition to directing the pilot (for which he won the 2011 Primetime Emmy Award for Outstanding Directing), Scorsese also served as an executive producer on the series. The series premiered on September 19, 2010, and was broadcast for five seasons.

Scorsese directed the three-and-a-half-hour documentary George Harrison: Living in the Material World about the life and music of former Beatles' member George Harrison, which premiered in the United States on HBO over two parts on October 5 and 6, 2011. His next film is a 3D adventure drama film based on Brian Selznick's novel The Invention of Hugo Cabret. The film stars Asa Butterfield, Chloë Grace Moretz, Ben Kingsley, Sacha Baron Cohen, Ray Winstone, Emily Mortimer, Christopher Lee, and Jude Law. The film has been met with critical acclaim and earned Scorsese his third Golden Globe Award for Best Director. The film was also nominated for 11 Academy Awards, winning five of them and becoming tied with Michel Hazanavicius's film The Artist for the most Academy Awards won by a single film in 2011. Hugo also won two BAFTA awards, among numerous other awards and nominations. Hugo was Scorsese's first 3D film and was released in the United States on November 23, 2011.

Scorsese's 2013 film, The Wolf of Wall Street, is an American biographical black comedy based on Jordan Belfort's memoir of the same name. The screenplay was written by Terence Winter and starred Leonardo DiCaprio as Belfort, along with Jonah Hill, Matthew McConaughey, and others. The film marked the fifth collaboration between Scorsese and DiCaprio and the second between Scorsese and Winter after Boardwalk Empire. It was released on December 25, 2013. The film tells the story of a New York stockbroker, played by DiCaprio, who engages in a large securities fraud case involving illicit stock manipulation, by way of the practice of " pump and dump". DiCaprio was given the award for Best Actor-Motion Picture Musical or Comedy at the 2014 Golden Globe Awards. The film was also nominated for Best Motion Picture-Musical or Comedy as well. The Wolf of Wall Street was nominated for five Academy Awards, including Best Picture, Best Actor for Leonardo DiCaprio, Best Supporting Actor for Jonah Hill, Best Director for Martin Scorsese, and Best Adapted Screenplay for Terence Winter but did not win in any category. In a 2016 critics' poll conducted by the BBC, the film was ranked among the 100 greatest motion pictures since 2000.

Scorsese and David Tedeschi made a documentary about the history of the New York Review of Books, titled The 50 Year Argument. It screened as a work in progress at the Berlin International Film Festival in February 2014 and premiered in June 2014 at the Sheffield Doc/Fest. It was also screened in Oslo, and Jerusalem before being shown on the BBC's Arena series in July and at Telluride in August. In September, it was screened at the Toronto and Calgary International Film Festivals, and the New York Film Festival. It aired on HBO on September 29, 2014.

Scorsese directed the pilot for written by Terence Winter and George Mastras, with Mick Jagger producing and Mastras as showrunner. The series stars Bobby Cannavale as Richie Finestra, founder and president of a top-tier record label, set in 1970s New York City's drug-and sex-fueled music business as punk and disco were breaking out, all told through the eyes of Finestra trying to resurrect his label and find the next new sound. Filming began on July 25, 2014. Co-stars include Ray Romano, Olivia Wilde, Juno Temple, Andrew Dice Clay, Ato Essandoh, Max Casella, and James Jagger. On December 2, 2014, Vinyl was picked up by HBO. The series lasted one season. Scorsese has acted as executive producer of several indie films, like the 2014 The Third Side of the River (directed by his protege Celina Murga), another 2014 film Revenge of the Green Dragons (co-directed by Andrew Lau, whose film Infernal Affairs inspired The Departed), as well as Bleed for This and .

Scorsese directed The Audition, a short film that also served as a promotional piece for casinos Studio City in Macau and City of Dreams in Manila, Philippines. The short brought together Scorsese's long-time muses Leonardo DiCaprio and Robert De Niro for the first time under his direction. The short film featured the two actors, playing fictionalized versions of themselves, competing for a role in Scorsese's next film. It was Scorsese's first collaboration with De Niro in two decades. The film premiered in October 2015 in conjunction with the grand opening of Studio City.

Scorsese had long anticipated filming an adaptation of Shūsaku Endō's novel , a drama about the lives of two Portuguese Jesuit priests in Japan during the 17th century. He had originally planned Silence as his next project following Shutter Island. On April 19, 2013, financing was secured for by Emmett/Furla Films, and filming began in January 2015. By November 2016, the film had completed post-production. It was written by Jay Cocks and Scorsese, based on the novel, and stars Andrew Garfield, Liam Neeson, and Adam Driver. The film was released on December 23, 2016. Scorsese was recognized as an Italian citizen by jus sanguinis in 2018.

On January 10, 2019, Variety's Chris Willman reported that Scorsese's long-anticipated documentary of Bob Dylan's 1975 tour, the Rolling Thunder Revue, would be released by Netflix: "Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese captures the troubled spirit of America in 1975 and the joyous music that Dylan performed during the fall of that year. Part documentary, part concert film, part fever dream, Rolling Thunder is a one of a kind experience, from master filmmaker Martin Scorsese." On April 25, 2019, it was announced that the documentary would be released on Netflix on June 12, 2019, with a concurrent theatrical engagement in twenty American, European, and Australian cities the night before, and an extended theatrical schedule in Los Angeles and New York so that the film will qualify for award consideration. After years of development, principal photography on Scorsese's crime film The Irishman began in August 2017, starring Robert De Niro, Joe Pesci, and Al Pacino. The film had its world premiere at the 57th New York Film Festival on September 27, 2019. It received a limited theatrical release on November 1, 2019, followed by digital streaming on November 27, 2019, on Netflix. In January 2020, The Irishman received ten Academy Award nominations, including for Best Picture, Best Director, Best Adapted Screenplay, and Best Supporting Actor for Pacino and Pesci.

In July 2019, Scorsese started scouting locations in preparation for the 2020 filming of his next film Killers of the Flower Moon, a film adaptation of the book of the same name by David Grann. Scorsese will be teaming up with Leonardo DiCaprio for the sixth time and Robert De Niro for the tenth time. In December 2019, Scorsese's frequent cinematographer Rodrigo Prieto confirmed that Flower Moon was gearing up to start principal photography in March 2020 which was postponed due to the COVID-19 virus. In April 2020, it was announced that filming for Killers of the Flower Moon had been postponed indefinitely in response to the COVID-19 pandemic, that the potential cost of the film had ballooned to $200 million, and that Scorsese was in talks with Netflix or Apple Inc. to produce and distribute, with Paramount Pictures involved as a partner. On May 27, 2020, Apple bought the production and distribution rights to the film, which will be released theatrically by Paramount and streaming on Apple TV+. Principal photography is expected to commence in February 2021.

Several recurring filmmaking techniques are identifiable in many of Scorsese's films. He has established a filmmaking history which involves repeat collaborations with actors, screenwriters, film editors, and cinematographers, sometimes extending over several decades, such as that with recurring cinematographers Michael Ballhaus, Robert Richardson, and Rodrigo Prieto.

Scorsese is known for his frequent use of slow motion, for example, in Who's That Knocking at My Door (1967) and Mean Streets (1973). He is also known for using freeze frames, such as: in the opening credits of The King of Comedy (1983), throughout Goodfellas (1990), Casino (1995), The Departed (2006), and in The Irishman (2019). His blonde leading ladies are usually seen through the eyes of the protagonist as angelic and ethereal; they wear white in their first scene and are photographed in slow motion- Cybill Shepherd in Taxi Driver; Cathy Moriarty's white bikini in Raging Bull; Sharon Stone's white minidress in Casino. This may be a nod to director Alfred Hitchcock. Scorsese often uses long tracking shots, as seen in Taxi Driver, Goodfellas, Casino, Gangs of New York, and Hugo. MOS sequences set to popular music or voice-over are regularly seen in his films, often involving aggressive camera movement and/or rapid editing. Scorsese sometimes highlights characters in a scene with an iris, an homage to 1920s silent film cinema (as scenes at the time sometimes used this transition). This effect can be seen in Casino (it is used on Sharon Stone and Joe Pesci), Life Lessons, The Departed (on Matt Damon), and Hugo. Some of his films include references/allusions to Westerns, particularly , The Great Train Robbery, , The Searchers, and The Oklahoma Kid. Slow motion flashbulbs and accented camera/flash/shutter sounds are often used, as is the song " Gimme Shelter" by The Rolling Stones heard in several of Scorsese's films: Goodfellas, Casino, and The Departed.

Scorsese usually has a quick cameo in his films ( Who's That Knocking at My Door, Boxcar Bertha, Mean Streets, Alice Doesn't Live Here Anymore, Taxi Driver, The King of Comedy, After Hours, The Last Temptation of Christ (albeit hidden under a hood), The Age of Innocence, Gangs of New York, Hugo), he is also known to contribute his voice to a film without appearing on screen (e.g. as in The Aviator and The Wolf of Wall Street). In The Age of Innocence, for example, he appears in the non-speaking role of a large format portrait photographer in one of the passing scenes of the film. He provides the opening voice-over narration in Mean Streets and The Color of Money; plays the off-screen dressing room attendant in the final scene of Raging Bull, and provides the voice of the unseen ambulance dispatcher in Bringing Out the Dead. He also appears as the director of fictional newly formed Vatican Television in the Italian comedy In the Pope's Eye.

Guilt is a prominent theme in many of his films, as is the role of Catholicism in creating and dealing with guilt ( Who's That Knocking at My Door, Mean Streets, Raging Bull, Bringing Out the Dead, The Departed, Shutter Island, and The Irishman). In a similar manner, Scorsese considered Silence a "passion project": it had been in development since 1990, two years after the release of his film The Last Temptation of Christ, which also contained strongly religious themes. When asked why he retained interest in a project dealing with strong theological themes for over 26 years, Scorsese said,

As you get older, ideas go and come. Questions, answers, loss of the answer again and more questions, and this is what really interests me. Yes, the cinema and the people in my life and my family are most important, but ultimately as you get older, there's got to be more ... Silence is just something that I'm drawn to in that way. It's been an obsession, it has to be done ... it's a strong, wonderful true story, a thriller in a way, but it deals with those questions.

More recently, his films have featured corrupt authority figures, such as policemen in The Departed and politicians in Gangs of New York and The Aviator. He is also known for his liberal usage of profanity, dark humor, and violence.

Scorsese's interest in political corruption as depicted in his films was expanded further in his 2019 film The Irishman. Richard Brody writing for The New Yorker found the main interpretation of the film to be a dark allegory of a realist reading of American politics and American society stating:

The real-life Hoffa... (was) a crucial player in both gangland politics and the actual practical politics of the day, and the movie's key through line is the inseparability of those two realms. The Irishman is a sociopolitical horror story that views much of modern American history as a continuous crime in motion, in which every level of society-from domestic life through local business through big business through national and international politics-is poisoned by graft and bribery, shady deals and dirty money, threats of violence and its gruesome enactment, and the hard-baked impunity that keeps the entire system running.

Scorsese often casts the same actors in his films, particularly Robert De Niro, who has collaborated with Scorsese on nine feature films and one short film. Included are the three films ( Taxi Driver, Raging Bull, and Goodfellas) that made AFI's 100 Years ... 100 Movies list. Scorsese has often said he thinks De Niro's best work under his direction was Rupert Pupkin in The King of Comedy. After the turn of the century, Scorsese found a new muse with younger actor Leonardo DiCaprio, collaborating on five feature films and one short to date. Several critics have compared Scorsese's new partnership with DiCaprio with his previous one with De Niro. Frequent collaborators also include: Victor Argo (6), Harvey Keitel (6), Harry Northup (6), Murray Moston (5), Illeana Douglas (4), J. C. MacKenzie (4), Joe Pesci (4), Frank Vincent (3), Barry Primus (3), and Verna Bloom (3). Others who have appeared in multiple Scorsese films include Daniel Day-Lewis, who had become very reclusive to the Hollywood scene, Alec Baldwin, Willem Dafoe, Ben Kingsley, Jude Law, Dick Miller, Liam Neeson, Emily Mortimer, John C. Reilly, David Carradine, Barbara Hershey, Kevin Corrigan, Jake Hoffman, Frank Sivero, Ray Winstone and Nick Nolte. Before their deaths, Scorsese's parents, Charles Scorsese and Catherine Scorsese, appeared in bit parts, walk-ons or supporting roles, such as in Goodfellas.

For his crew, Scorsese frequently worked with editors Marcia Lucas and Thelma Schoonmaker, cinematographers Michael Ballhaus, Robert Richardson, Michael Chapman and Rodrigo Prieto, screenwriters Paul Schrader, Mardik Martin, Jay Cocks, Terrence Winter, John Logan and Steven Zaillian, costume designer Sandy Powell, production designers Dante Ferretti and Bob Shaw, music producer Robbie Robertson, and composers Howard Shore and Elmer Bernstein. Schoonmaker, Richardson, Powell, and Ferretti have each won Academy Awards in their respective categories on collaborations with Scorsese. Elaine and Saul Bass, the latter being Hitchcock's frequent title designer, designed the opening credits for Goodfellas, The Age of Innocence, Casino and Cape Fear.

In 1965, Scorsese married his first wife Laraine Marie Brennan, and they remained together for six years between 1965 and 1971; they have a daughter, Catherine, who was named after his mother. Following their divorce in 1972, Scorsese has had four subsequent wives and identifies himself as a lapsed Roman Catholic as a result of the Church's doctrinal position against divorce. As Scorsese has commented, "I'm a lapsed Catholic. But I am Roman Catholic; there's no way out of it."

In 1976, Scorsese married the writer Julia Cameron, his second marriage; they have a daughter ( Domenica Cameron-Scorsese, who is an actress and appeared in The Age of Innocence), but the marriage lasted only a year. The divorce was acrimonious and served as the basis of Cameron's first feature, the dark comedy God's Will, which also starred their daughter, Domenica. She had a small role in Cape Fear using the name Domenica Scorsese and has continued to act, write, direct, and produce.

Before the end of 1979, Scorsese married actress Isabella Rossellini, and they stayed together for four years until their divorce in 1983.

Scorsese married producer Barbara De Fina in 1985, his fourth of five marriages; their marriage ended in divorce in 1991. Throughout the early 1990s until 1997, Scorsese was romantically involved with actress Illeana Douglas following his fourth divorce.

In 1999, Scorsese married his current spouse of twenty years, Helen Schermerhorn Morris. They have a daughter, Francesca, who appeared in The Departed and The Aviator.

As of 2019, Scorsese has directed a total of 25 full-length films and 16 full-length documentary films.

In 2012, Scorsese participated in the Sight & Sound film polls of that year. Held every ten years to select the greatest films of all time, contemporary directors were asked to select ten films of their choice. Scorsese, however, picked 12, which are listed below in alphabetical order:

In 1999, after the death of Gene Siskel, Scorsese joined Roger Ebert as the guest co-host for an episode of Siskel & Ebert where they each stated their 10 favorite films of the decade. Scorsese's list numerically is:

Scorsese has mentioned his mentors being such filmmakers as John Cassavetes, Roger Corman, and Michael Powell. In film critic, Roger Ebert's book, Scorsese by Ebert, Ebert praised Scorsese for championing and supporting other filmmakers by serving as an executive producer on projects of filmmakers such as Antoine Fuqua, Wim Wenders, Kenneth Lonergan, Stephen Frears, Allison Anders, Spike Lee, and John McNaughton. More recently he's executive produced the films of the Safdie Brothers, Joanna Hogg, Kornél Mundruczó, Josephine Decker, Danielle Lessovitz, Alice Rohrwacher, Jonas Carpignano, Amélie van Elmbt and Celina Murga.. Scorsese has also chosen to name filmmakers throughout the years including that he admires such as fellow New York City based directors Woody Allen and Spike Lee, as well as other artists such as Wes Anderson, Bong Joon-ho, Greta Gerwig, Ari Aster, Kelly Reichardt, Claire Denis, Noah Baumbach, Paul Thomas Anderson, the Coen Brothers, and Kathryn Bigelow.

Scorsese had been at the forefront in film preservation and restoration ever since 1990, when he created The Film Foundation, a non-profit film organization which collaborates with film studios to restore prints of old or damaged films. Scorsese launched the organization with Woody Allen, Robert Altman, Francis Ford Coppola, Clint Eastwood, Stanley Kubrick, George Lucas, Sydney Pollack, Robert Redford, and Steven Spielberg, who all sat on the foundation's original board of directors. In 2006, Paul Thomas Anderson, Wes Anderson, Curtis Hanson, Peter Jackson, Ang Lee and Alexander Payne joined them. In 2015, Christopher Nolan also joined the board. The foundation has restored more than 800 films from around the world and conducts a free educational curriculum for young people on the language and history of film. For his advocacy in film restoration he received the Robert Osborne Award at the 2018 TCM Film Festival. The award was given to Scorsese as "an individual who has significantly contributed to preserving the cultural heritage of classic films".

In November 2020, the Criterion Channel released a 30 minute video titled, 30 Years of The Film Foundation: Martin Scorsese and Ari Aster in Conversation, celebrating the "mission, evolution, and ongoing work of The Film Foundation". Scorsese stated as of 2020, the Foundation has helped restore 850 films.

In 2007, Scorsese established the World Cinema Project with the mission, to preserve and present marginalized and infrequently screened films from regions generally ill-equipped to preserve their own cinema history. Scorsese's organization has worked with the Criterion Collection to not only preserve the films but to allow them to be released on DVD and Blu-ray boxsets and on streaming services such as The Criterion Channel. Films in the WCP include Ousmane Sembène's (1966), and Djibril Diop Mambéty's Touki Bouki (1973).

The Criterion Collection so far has released two Vol. boxsets on DVD and Blu-ray, titled, Martin Scorsese's World Cinema Project. The first Volume includes 6 titles, Touki Bouki (1973), (1936), A River Called Titas (1973), (1964), (1981) and The Housemaid (1960). The second volume also includes 6 titles, (1976), Mysterious Object at Noon (2000), Revenge (1989), (1931), Law of the Border (1967), and Taipei Story (1985).

In 2017, Scorsese also introduced The African Film Heritage Project (AFHP), which is a joint initiative between Scorsese's non-profit The Film Foundation, UNESCO, Cineteca di Bologna, and the Pan African Federation of Filmmakers (FEPACI). The project aims to locate and preserve 50 classic African films, some thought lost and others beyond repair, with hopes to make them available to audiences everywhere. In an interview with Cinema Escapist in 2018, Scorsese talked about the ambitious collaboration saying, "Our first goal is to launch and conduct a thorough investigation in film archives and laboratories around the world, in order to locate the best surviving elements-original negatives, we hope-for our first 50 titles." He also stated that "Restoration is always the primary goal, of course, but within the initiative, it's also a starting point of a process that follows through with exhibition and dissemination in Africa and abroad. And of course, our restoration process always includes the creation of preservation elements."

In 2019, the AFHP, announced that they would screen restorations of four African films on their home continent for the first time as part of the 50th anniversary of the Pan African Film Festival of Ouagadougou. The movies in question are Med Hondo's (1970), Mohammed Lakhdar-Hamina's Chronique des années de braise (1975), Timité Bassori's La Femme au couteau (1969), and Jean-Pierre Dikongue-Pipa 's (1975).

Scorsese's films have been nominated for numerous awards both nationally and internationally, with an Academy Award win for The Departed. In 1991, he received the Golden Plate Award of the American Academy of Achievement. In 1997, Scorsese received the AFI Life Achievement Award. In 1998, the American Film Institute placed three Scorsese films on their list of the greatest American movies: Raging Bull at #24, Taxi Driver at #47, and Goodfellas at #94. For the tenth-anniversary edition of their list, Raging Bull was moved to #4, Taxi Driver was moved to #52, and Goodfellas was moved to #92. In 2001, the American Film Institute placed two Scorsese films on their list of the most "heart-pounding movies" in American cinema: Taxi Driver at #22 and Raging Bull at #51. At a ceremony in Paris, France, on January 5, 2005, Martin Scorsese was awarded the French Legion of Honour in recognition of his contribution to cinema. On February 8, 2006, at the 48th Annual Grammy Awards, Scorsese was awarded the Grammy Award for Best Long Form Music Video for No Direction Home.

In 2007, Scorsese was listed among magazine's 100 Most Influential People in The World. In August 2007, Scorsese was named the second-greatest director of all time in a poll by magazine, in front of Steven Spielberg and behind Alfred Hitchcock. In 2007, Scorsese was honored by the National Italian American Foundation (N.I.A.F.) at the nonprofit's thirty-second Anniversary Gala. During the ceremony, Scorsese helped launch N.I.A.F.'s Jack Valenti Institute in memory of former foundation board member and past president of the Motion Picture Association of America (M.P.A.A.) Jack Valenti. The Institute provides support to Italian film students in the U.S. Scorsese received his award from Mary Margaret Valenti, Jack Valenti's widow. Certain pieces of Scorsese's film-related material and personal papers are contained in the Wesleyan University Cinema Archives, to which scholars and media experts from around the world may have full access. On September 11, 2007, the Kennedy Center Honors committee, which recognizes career excellence and cultural influence, named Scorsese as one of the honorees for the year. On June 17, 2008, the American Film Institute placed two of Scorsese's films on the AFI's 10 Top 10 list: Raging Bull at number one for the Sports genre and Goodfellas at number two for the Gangster genre. In 2013, the staff of Entertainment Weekly voted Mean Streets the seventh greatest film ever made.

On January 17, 2010, at the 67th Golden Globe Awards, Scorsese was the recipient of the Golden Globe Cecil B. DeMille Award. On September 18, 2011, at the 63rd Primetime Emmy Awards, Scorsese won the Primetime Emmy Award for Outstanding Directing for a Drama Series for his work on the series premiere of Boardwalk Empire. In 2011, Scorsese received an honorary doctorate from the National Film School in Lodz. At the awards ceremony he said, "I feel like I'm a part of this school and that I attended it," paying tribute to the films of Wajda, Munk, Has, Polanski and Skolimowski. King Missile wrote " Martin Scorsese" in his honor. On February 12, 2012, at the 65th British Academy Film Awards, Scorsese was the recipient of the BAFTA Academy Fellowship Award.

On September 16, 2012, Scorsese won two Emmy Awards for Outstanding Directing for Nonfiction Programming and Outstanding Nonfiction Special for his work on the documentary George Harrison: Living in the Material World. In 2013, the National Endowment for the Humanities selected Scorsese for the Jefferson Lecture, the U.S. federal government's highest honor for achievement in the humanities. He was the first filmmaker chosen for the honor. His lecture, delivered on April 1, 2013, at the John F. Kennedy Center for the Performing Arts, was titled "Persistence of Vision: Reading the Language of Cinema". Scorsese was awarded the Polish Gold Medal for Merit to Culture - Gloria Artis on April 11, 2017, in recognition of his contribution to Polish cinema.

Scorsese has also garnered favorable responses from numerous film giants including Ingmar Bergman, Frank Capra, Jean-Luc Godard, Werner Herzog, Elia Kazan, Akira Kurosawa, David Lean, Michael Powell, Satyajit Ray, and François Truffaut. He was awarded an Honorary Doctorate from the University of Oxford on June 20, 2018. As of 2019, five of Scorsese's films have been selected by the Library of Congress for preservation in the National Film Registry for being "culturally, historically, or aesthetically significant". In commenting on Scorsese's 2019 film The Irishman, Guillermo del Toro cited Scorsese's ability as a director for the depiction of character development comparable to the films of "Renoir, Bresson, Bergman, Oliveira or Kurosawa". Sam Mendes, in his acceptance speech after winning the 2020 Golden Globe Award for Best Director for , praised Scorsese's contribution to cinema, stating, "There's not one director in this room, not one director in the world, that is not in the shadow of Martin Scorsese... I just have to say that." Bong Joon-ho, in his acceptance speech for the 2020 Academy Award for Best Director for , said, "When I was young and studying cinema, there was a saying that I carved deep into my heart, which is, the most personal is the most creative." He then said that this quote had come from Scorsese, which prompted the audience to give Scorsese a standing ovation.

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Martin Charles Scorsese (, Italian: [skorˈseːze; -eːse]; born November 17, 1942) is an American film director, producer, screenwriter, and actor. One of the major figures of the New Hollywood era, he is widely regarded as one of the most significant and influential directors in film history.

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https://en.wikipedia.org/wiki/John_Hughes_(filmmaker)

Wikipedia Contributors (2019). John Hughes (filmmaker). [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/John_Hughes_(filmmaker).

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John Wilden Hughes Jr. (February 18, 1950 - August 6, 2009) was an American filmmaker. Beginning as an author of humorous essays and stories for National Lampoon, he went on to write, produce and sometimes direct some of the most successful live-action comedy films of the 1980s and 1990s such as National Lampoon's Vacation (1983) and its sequels National Lampoon's European Vacation (1985) and National Lampoon's Christmas Vacation (1989), (1983), Sixteen Candles (1984), Weird Science (1985), The Breakfast Club (1985), Ferris Bueller's Day Off (1986), Pretty in Pink (1986), Some Kind of Wonderful (1987), Planes, Trains and Automobiles (1987), She's Having a Baby (1988), (1989), (1991), Dennis the Menace (1993), Baby's Day Out (1994), the franchise (co-written under a pseudonym with Amy Holden-Jones) and (1990) and its sequels Home Alone 2: Lost in New York (1992) and Home Alone 3 (1997).

Most of Hughes's work is set in the Chicago metropolitan area. He is best known for his coming-of-age teen comedy films which often combined magic realism with honest depictions of suburban teenage life. Many of his most enduring characters from these years were written for Molly Ringwald, who was Hughes' muse.

While out on a walk one morning in New York in the summer of 2009, Hughes suffered a fatal heart attack. His legacy after his death was honored by many, including at the 82nd Academy Awards by actors with whom he had worked such as Ringwald, Matthew Broderick, Anthony Michael Hall and Macaulay Culkin among others. Actors whose careers Hughes helped launch include Michael Keaton, Anthony Michael Hall, Bill Paxton, Matthew Broderick, Macaulay Culkin and members of the Brat Pack group.

Hughes was born on February 18, 1950, in Lansing, Michigan, to Marion Crawford, who volunteered in charity work, and John Hughes Sr., who worked in sales. He was the only boy, and had three sisters. He spent the first twelve years of his life in Grosse Pointe, Michigan, where he was a fan of Detroit Red Wings #9 Gordie Howe. Hughes described himself as "kind of quiet" as a kid.

"I grew up in a neighborhood that was mostly girls and old people. There weren't any boys my age, so I spent a lot of time by myself, imagining things. And every time we would get established somewhere, we would move. Life just started to get good in seventh grade, and then we moved to Chicago. I ended up in a really big high school, and I didn't know anybody. But then The Beatles came along (and) changed my whole life. And then Bob Dylan's Bringing It All Back Home came out and really changed me. Thursday I was one person, and Friday I was another. My heroes were Dylan, John Lennon and Picasso, because they each moved their particular medium forward, and when they got to the point where they were comfortable, they always moved on."

In 1963, Hughes' family moved to Northbrook, Illinois, a suburb of Chicago. There, his father found work selling roofing materials. Hughes attended Grove Middle School, later going on to Glenbrook North High School, which gave him inspiration for the films that eventually made his reputation. He met Nancy Ludwig, a cheerleader and his future wife, in high school. As a teenager, Hughes found movies as an escape. According to childhood friend Jackson Peterson, "His mom and dad criticized him a lot (...) She [Marion] would be critical of what John would want to do". Hughes was an avid fan of the Beatles, and according to several friends, he knew a lot about movies and the Rat Pack.

After dropping out of the University of Arizona, Hughes began selling jokes to well-established performers such as Rodney Dangerfield and Joan Rivers. Hughes used his jokes to get an entry-level job at Needham, Harper & Steers as an advertising copywriter in Chicago in 1970 and later in 1974 at Leo Burnett Worldwide. During this period, he created what became the famous Edge "Credit Card Shaving Test" ad campaign.

Hughes' work on the Virginia Slims account frequently took him to the Philip Morris headquarters in New York City, which allowed him to visit the offices of National Lampoon magazine. Soon thereafter, Hughes became a regular contributor; editor P. J. O'Rourke recalled that "John wrote so fast and so well that it was hard for a monthly magazine to keep up with him". One of Hughes' first stories, inspired by his family trips as a child, was "Vacation '58", later to become the basis for the film National Lampoon's Vacation. Among his other contributions to the Lampoon, the April Fools' Day stories "My Penis" and "My Vagina" gave an early indication of Hughes' ear for the particular rhythm of teen speak, as well as for the various indignities of teenage life in general.

His first credited screenplay, National Lampoon's Class Reunion, was written while still on staff at the magazine. The resulting film became the second disastrous attempt by the flagship to duplicate the runaway success of National Lampoon's Animal House. Hughes' next screenplay for the imprint, however, National Lampoon's Vacation, would become a major hit in 1983. This, along with the success of another Hughes script that same year, , earned him a three-film deal with Universal Pictures.

Hughes' directorial debut Sixteen Candles won almost unanimous praise when it was released in 1984, due in no small part to its more honest depiction of navigating adolescence and the social dynamics of high school life in stark contrast to the -inspired comedies made at the time. It was the first in a string of efforts about teenage life set in or around high school, including The Breakfast Club, Weird Science, Pretty in Pink, Ferris Bueller's Day Off (see also Brat Pack) and Some Kind of Wonderful.

To avoid being pigeonholed as a maker of only teen movies, Hughes branched out in 1987 by directing the hit comedy Planes, Trains and Automobiles starring Steve Martin and John Candy. His later output was not so well received critically, though films like and National Lampoon's Christmas Vacation proved popular. His final film as a director was 1991's .

Hughes' greatest commercial success came with , a film he wrote and produced about a child accidentally left behind when his family goes away for Christmas, forcing him to protect himself and his house from a pair of inept burglars. Home Alone was the top-grossing film of 1990 and remains the most successful live-action family comedy of all time. He followed up with the sequels Home Alone 2: Lost in New York in 1992 and Home Alone 3 in 1997. Some of the subsequent films he wrote and produced during this time also contained elements of the Home Alone formula, including the successful Dennis the Menace (1993) and the box office flop Baby's Day Out (1994).

He also wrote screenplays under the pseudonym Edmond Dantes (or Dantès), after the protagonist of Alexandre Dumas's novel The Count of Monte Cristo. Screenplays credited to the Dantes nom de plume include Maid in Manhattan, Drillbit Taylor and .

Actor John Candy created many memorable roles in films written, directed or produced by Hughes, including National Lampoon's Vacation (1983), Planes, Trains and Automobiles (1987), The Great Outdoors (1988), (1989), (1990), and Only the Lonely (1991).

Over the years, Hughes and Candy developed a close friendship. Hughes was greatly shaken by Candy's sudden death from a heart attack in 1994. "He talked a lot about how much he loved Candy - if Candy had lived longer, I think John would have made more films as a director", says Vince Vaughn, a friend of Hughes.

In 1994, Hughes retired from the public eye and moved back to the Chicago area. The following year, Hughes and Ricardo Mestres, both of whom had production deals with Walt Disney Pictures, formed the short-lived joint venture production studio Great Oaks Entertainment. Hughes worked in Chicago, while Mestres was based in Los Angeles. The company produced the films , , and , but Hughes and Mestres ended their partnership in 1997. The 1998 film Reach the Rock, which was produced as part of the partnership between Hughes and Mestres, was subsequently credited as "a Gramercy Pictures release of a John Hughes and Ricardo Mestres production".

In the following years Hughes rarely granted interviews to the media, save a select few in 1999 to promote the soundtrack album of Reach the Rock. The album was compiled by Hughes' son John Hughes III and released on his son's Chicago-based record label Hefty Records. He also recorded an audio commentary for the 1999 DVD release of Ferris Bueller's Day Off.

In 1970, then-20-year old Hughes married Nancy Ludwig, whom he had met in high school. Together they had two children: John Hughes III (born in 1976) and James Hughes (born in 1979). They were together until his death in 2009. Nancy Hughes died on September 15, 2019.

Michael Weiss and Ben Stein described Hughes as a Reagan Republican, PJ O'Rourke said:

I have no idea how, or if, John voted ... John and I never bothered to talk much about our politics. What we did talk about was the 20th century's dominant scrambled egghead bien pensant buttinski parlor pinko righty-tighty lefty-loosey nutfudge notion that middle-class American culture was junk, that middle-class Americans were passive dimbulbs, that America itself was a flop and that America's suburbs were a living hell almost beyond the power of John Cheever's words to describe ... We were becoming conservatives-in the most conservational sense. There were things that others before us had achieved and these were worth conserving ... Family was the most conservative thing about John. Walking across the family room in your stocking feet and stepping on a Lego (ouch!) was the fundamental building block of society.

On August 5, 2009, Hughes and his wife traveled to New York City to visit their son James and their new grandson. James said his father appeared to be in good health that night and that the family had made plans for the next day. On the morning of August 6, Hughes was taking a walk near his hotel on West 55th Street in Manhattan when he suffered a heart attack. He was rushed to Roosevelt Hospital, where he was pronounced dead at age 59. Hughes' funeral was held on August 11 in Chicago; he was buried at Lake Forest Cemetery. It was attended by his wife, two children, and his grandchildren.

The pilot episode of the NBC comedy , broadcast on September 17, 2009, was dedicated to Hughes. The episode included several references to The Breakfast Club and ended with a cover of " Don't You (Forget About Me)". The One Tree Hill episode titled "Don't You Forget About Me", broadcast on February 1, 2010, ended with a scene similar to the ending scene of Sixteen Candles and included some other references to his movies such as Home Alone. The 2011 Bob's Burgers episode " Sheesh! Cab, Bob?" also paid homage to Sixteen Candles.

After Hughes' death, many of those who knew him commented on the impact Hughes had on them and on the film industry. Kevin Smith said "Basically, my stuff is just John Hughes films with four-letter words." Judd Apatow commented "I feel like a part of my childhood has died. Nobody made me laugh harder or more often than John Hughes." Molly Ringwald said, "I was stunned and incredibly sad to hear about the death of John Hughes. He was and will always be such an important part of my life. ... He will be missed - by me and by everyone that he has touched. My heart and all my thoughts are with his family now." Matthew Broderick also released his own statement, saying, "I am truly shocked and saddened by the news about my old friend John Hughes. He was a wonderful, very talented guy and my heart goes out to his family."

The 82nd Academy Awards (2010) included a tribute to Hughes' work. A retrospective of clips from Hughes' films was followed by cast members from several of them, including Molly Ringwald, Matthew Broderick, Macaulay Culkin, Judd Nelson, Ally Sheedy, Anthony Michael Hall and Jon Cryer, gathering on stage to commemorate Hughes and his contributions to the film industry.

Films with scenes taking place in fictional high schools named after Hughes include: the 2001 satire Not Another Teen Movie, the 2010-2013 Disney Channel sitcom and the 2016 Hallmark film Date With Love.

Hughes' work has also influenced a new generation of millennial filmmakers, including M. H. Murray of fame, who has cited Hughes as one of his main influences in interviews, once stating: "I loved how John Hughes wrote teens ... They were flawed in this genuine sort of way." Kelly Fremon Craig, who wrote and directed The Edge of Seventeen, also cited Hughes as an influence.

John Hughes is referenced in Jesu/Sun Kil Moon's song "Hello Chicago". Mark Kozelek recalls a phone conversation with Hughes in which Kozelek asked him for $15,000 in order to release his album Songs for a Blue Guitar (released by his band The Red House Painters). Hughes agreed, stating "You're young and on the rise, and I'm just an old man living in Chicago".

Year

Title

Writer

Other

Note

1979

Delta House

Wrote 5 episodes

1983

At Ease

Creator; creative consultant for 1 episode

1994

Hal Roach: Hollywood's King of Laughter

Himself: TV documentary

1995

Biography

Himself: To John with Love: A Tribute to John Candy

2000

American Adventure

Based on characters by Hughes

2001

E! True Hollywood Story

Himself: Sixteen Candles

Don't You Forget About Me

Don't You Forget About Me is a 2009 documentary about four Canadian filmmakers who go in search of Hughes after he dropped out of the spotlight in 1994. It features interviews with Molly Ringwald, Anthony Michael Hall, Matthew Broderick, and other actors from Hughes' films. The film is named after the Simple Minds song of the same name, which was the theme song for the film The Breakfast Club, which Hughes wrote, produced and directed.

Don't You Forget About Me is also the name of an anthology of contemporary writers writing about the films of John Hughes, edited by Jaime Clarke with a foreword by Ally Sheedy, published by Simon Spotlight Entertainment. Writers include Steve Almond, Julianna Baggott, Lisa Borders, Ryan Boudinot, T Cooper, Quinn Dalton, Emily Franklin, Lisa Gabriele, Tod Goldberg, Nina de Gramont, Tara Ison, Allison Lynn, John McNally, Dan Pope, Lewis Robinson, Ben Schrank, Elizabeth Searle, Mary Sullivan, Rebecca Wolff and Moon Unit Zappa.

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John Wilden Hughes Jr. (February 18, 1950 - August 6, 2009) was an American filmmaker.

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https://www.careersinfilm.com/how-to-write-a-movie-script/

Some Screenwriters like John Hughes have been known to write complete scripts over a single weekend. While he ended up having a widely successful career as a Screenwriter, Director, and Producer, most writing creatives do not work that fast.

The time it takes to write a script can vary anywhere from a few days to several years. A Screenwriter might have a great initial idea and then it stalls out during the outline phase. Or a production company hires someone to write a script, but they get fired off the project after a couple of months and the script goes into turnaround. Or any other number of reasons.

Some Screenwriters set timeline targets for themselves. Others hired onto a project are given deadlines. So in many cases, a script might be completed in just a few months. But the speed with which a Writer finishes a script does not indicate one way or another if it is a script that is ready to be produced.

Careers In Film | Film Schools & Colleges. (2019). How to Write a Movie Script: The Basics of Storytelling. [online] Available at: https://www.careersinfilm.com/how-to-write-a-movie-script/.

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How to Write a Movie Script: The Basics of Storytelling

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https://www.youtube.com/watch?v=kzlTrVtRSBk

www.youtube.com. (n.d.). How To Write A Movie Script (Complete Guide For Beginners). [online] Available at: https://www.youtube.com/watch?v=kzlTrVtRSBk.

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How To Write A Movie Script (Complete Guide For Beginners)

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https://www.nfi.edu/script-writing/

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How To Write A Script
Writing a script helps express your creativity and make a story come to life. It often takes time and dedication to craft well-rounded characters and a compelling plot. These steps can help you create a captivating script:
1. Read Other Scripts
Download a few scripts or screenplays to find examples of well-written dialogue, characters, and storylines and to learn what producers are looking for in terms of genre conventions and themes. It might help to take a few writing workshops to develop your skills or better understand how to craft a strong script.
As a writer, you want to consider the production probability of actually selling the script:

Realistic budgets. Although it may be fun to write a science fiction film with heavy visual effects, production design, and costumes, these elements make the film more expensive.

Intellectual property infringement. For feature films, unless the property is public domain or bought by the writer, the writer should focus on creating an original story. In contrast to television scripts that might create spec scripts for existing shows, using franchises like Star Wars or Harry Potter for sample scripts could cause liability issues.

For story marketability, writers are typically encouraged not to follow market trends since by the time the script has been polished, the trend may no longer be popular.
In general, you should write what is interesting to you with a story that you are passionate about.

NFI. (2021). Script Writing: Everything You Need to Know. [online] Available at: https://www.nfi.edu/script-writing/.

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https://www.nfi.edu/script-writing/

NFI. (2021). Script Writing: Everything You Need to Know. [online] Available at: https://www.nfi.edu/script-writing/.

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Script Writing: Everything You Need to Know - NFI

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When script writing, your script, also known as a screenplay, should detail character dialogue, scene settings and actions.

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https://www.wikihow.com/Write-Movie-Scripts

Understand what a script is. The script, or screenplay, outlines all of the elements (audio, visual, behavior, and dialogue) that are required to tell a story through movies or TV.[1]

A script is almost never the work of a single person. Instead, it will go through revisions and rewrites, and ultimately will be interpreted by the producers, directors, and actors.

Tip: Movies and TV are audiovisual mediums. This means that you will need to write your script in a way that encompasses the visual and auditory aspects of the story. Focus on writing pictures and sounds.

wikiHow (2006). Write Movie Scripts. [online] wikiHow. Available at: https://www.wikihow.com/Write-Movie-Scripts.

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The world of film is extremely competitive. You may have the best movie idea of all time, but if your script isn't formatted correctly, there's a high chance it will never even get read. Follow these steps to maximize your chances of...

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https://www.adobe.com/express/learn/blog/adobe-spark-animations-social-video

Why Motion Is Effective on Social Media

There are a lot of tools that help you create short videos and motion graphics for social. But what makes Adobe Spark’s special is the logic built under the hood that helps you communicate more effectively. Here’s how animations–and Adobe Spark’s bespoke, handcrafted motion in particular–helps you stand out at the speed of social.

It keeps eyes engaged.
Social media is a game of capturing attention and keeping it. One surefire way to stop thumbs in their tracks is to make something on your graphic move–whether that’s having words fly in or elegantly panning across a photo.

**It sets a tone.
**Motion is the vibe setter of your visual content–the mood lighting. So make sure the motion you’re adding to your graphics reinforces the words you’re using and emotion you’re trying to evoke.

Copperman, A. (n.d.). Move Your Audience: How Motion Evokes Emotion. [online] www.adobe.com. Available at: https://www.adobe.com/express/learn/blog/adobe-spark-animations-social-video.

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Move Your Audience: How Motion Evokes Emotion

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What do wagging tails, steam from a mug, and gooey cheese all have in common? They all move and evoke emotion. Similar to scent and sound, viewing a motion or a gesture helps us interpret the world. A wagging tail says "I love you. Rub my belly." Steam from a mug says "Relax.

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https://yougov.co.uk/topics/resources/articles-reports/2021/06/16/evoke-emotions-through-branded-videos

yougov.co.uk. (n.d.). Evoke emotions through branded videos | YouGov. [online] Available at: https://yougov.co.uk/topics/resources/articles-reports/2021/06/16/evoke-emotions-through-branded-videos [Accessed 16 August. 2022].

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This piece highlights some tried-and-tested video storytelling strategies, as shared by Bob Hitchcock - senior director of content marketing for Legal Zoom and former editorial content director for Walt Disney Parks. Hitchcock advises marketers must create videos that inform, educate and entertain their audiences.

In a video, brands should not highlight more than two or three key messages. To create a lasting impact, content creators must ensure their videos evoke emotions. They must keep in mind that videos are an emotional medium.

Avoid overloading videos with too many characters to keep audiences invested. Instead, have a protagonist and choose a location that the interviewee is familiar with. Additionally, prepare topics that matter to the target audience, rather than focusing solely on a pre-packaged set of questions.
Read the original article
[2 minute read]

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Evoke emotions through branded videos | YouGov

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This piece highlights some tried-and-tested video storytelling strategies, as shared by Bob Hitchcock - senior director of content marketing for Legal Zoom and former editorial content director for Walt Disney Parks. Hitchcock advises marketers must create videos that inform, educate and entertain their audiences.

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https://shootsta.com/blog/the-psychology-of-video/

Video and emotion
We begin by looking at the link between online videos and human emotions. While video is generally assumed and accepted as effective for business and content for brands, there’s surprisingly little information on the mechanics of why (or how); a stark contrast to the creative industries of film or advertising. So… Has the link between video and evoking emotions actually been established?

What the research says
Basically, yes. Not only are moving images like film clips a supported stimulus for emotional elicitation experiments in psychology (and have been for the past 50+ years) – but recent meta-analyses to compare prior research on visual vs. other types of stimuli have hailed video as a successful, if not the most successful way of stimulating emotional responses e.g. in ‘Effectiveness of internet-based affect induction procedures: A systematic review and meta-analysis’ (Ferrer, Grenen, & Taber, 2015; also Fernández-Aguilar et al, 2019 for the effectiveness of film, and Siedlecka & Denson, 2018 for the effectiveness of visuals).

Google.ru. (2022). [online] Available at: https://www.google.ru/url?sa=t&rct=j&q=&esrc=s&source=web&cd=&ved=2ahUKEwjO0Zro66z7AhXMYcAKHfnDBcMQFnoECAwQAQ&url=https%3A%2F%2Fshootsta.com%2Fblog%2Fthe-psychology-of-video%2F&usg=AOvVaw2qBgBAnEhHFOz_jUbC3hjd [Accessed 14 Sep. 2022].

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Today, video is widely regarded as the most effective form of communication when it comes to digital content. And hey, we're Shootsta - we love video!

However, in the age of #fakenews - and seemingly impressive internet statistics like 'our brains process visuals 60,000x times faster than text' being trundled out by media companies from Forbes, to Business 2 Community, to Fast Company (only to be debunked) - we felt it timely to put our money where our mouth is, and answer the question: how? How is video so successful?

This article aims to examine just that, with a focus on the psychology of video and its effect on emotion.

So read on for answers, you guessed it, brought to you by science...

Video and emotion

We begin by looking at the link between online videos and human emotions. While video is generally assumed and accepted as effective for business and content for brands, there's surprisingly little information on the mechanics of why (or how); a stark contrast to the creative industries of film or advertising. So... Has the link between video and evoking emotions actually been established?

Emotion in filmmaking

Following on from cinematography and our earlier note on the exploration of emotion in fields like cognitive film theory, there also exists the 'film school' answer to emotion - which incorporates audio (music, dialogue, sound effects etc.) and visual (acting talent, colour, light etc.) elements of video storytelling. These include techniques like using warm vs. cool hues and colour psychology to depict happiness or sadness, as well as aspects like key, contrast, and light direction, for eliciting mood or tone.

The subject of emotion and mood is discussed in 'Art Moods and Human Moods in Narrative Cinema' (Plantinga, 2012). Here, Plantinga looks at mood - defined as more abstract than causal emotions - and its relationship to a film's emotional impact. He supports the emotion and empathy lines of reasoning we introduced, stating, " films elicit emotions when they lead spectators to construe narrative events in relation to their concerns", but also goes on to specify how crafting a mood that orients emotional states can actually be done. " For the filmmaker to represent and express affectively charged 'qualities' through form and content ... the film noir may set the scene in the city late at night, the empty streets deserted and the rain falling, a few figures huddled in isolated doorways - all suggestive of darkness, wetness, coldness, and loneliness. On the soundtrack are the strains of melancholy music, together with the faint sounds of a quarreling couple in some nearby apartment " (anyone who's watched the movie 'Chinatown' - or more recently, Marvel x Netflix's 'Jessica Jones' - will be inherently familiar).

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Today, video is widely regarded as the most effective form of communication when it comes to digital content. And hey, we're Shootsta - we love video!

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https://www.youtube.com/watch?v=xvhkNrKIK5c

www.youtube.com. (n.d.). How to Evoke Emotion In Your Next Video Campaign. [online] Available at: https://www.youtube.com/watch?v=xvhkNrKIK5c [Accessed 14 Sep. 2022].

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How to Evoke Emotion In Your Next Video Campaign

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https://www.twinkl.co.uk/teaching-wiki/film-techniques-and-their-effects

Film Techniques And Their Effects

The close-up - The close-up is a specific kind of camera shot that just shows the head of a character or a specific object. It’s great for showing the emotions of a character or for capturing their reaction to something. When used to show an object, it’s mainly used to show how important something is to what is happening. There’s also the extreme close-up that will show a single detail of a character’s face, like their eye or their mouth. The effect of doing this is to heighten the drama and intensity of a scene.

Bird's eye view - A bird’s eye view is often used as an establishing shot to show you where something is going to take place or where the characters are. Think about how many times you’ve seen a film start with a shot of the city in which the story happens, taken from above as if you’re looking down from a helicopter.

Worm’s eye view - Just as the name suggests, this is the opposite of the bird’s eye view shot, and shows a subject from a low angle, looking up at it. It’s frequently used as a way to show off how tall something is, like a skyscraper or a huge tree, in order to make it seem much more intimidating.

Point of view shot - This technique positions the audience as if they are looking through a character’s eyes. The effect of this is to make the audience really feel like they are a part of what is happening, and to connect emotionally with the character from whose point of view they are seeing the action take place.

The Dutch angle shot - The name of this technique doesn’t mean it came from the Netherlands, rather it’s based on a slang term for nonsense that came into use during the Anglo-Dutch wars of the 17th century. Its use is similar to the term “speaking double-dutch” meaning to talk gibberish. A Dutch angle shot is a shot where the camera has been tilted slightly. This causes the shot to appear strangely angled and causes the audience to feel disorientated and uneasy. It is commonly used in horror films, or when a director wants to show that a character’s mental state is deteriorating.

Quick cutting - This is an editing technique where several shots are used in very quick succession. It can make things look like they are happening very fast, and is frequently used as a way to show action sequences in films as it makes them appear more frenetic and chaotic, and therefore more exciting. They can also be useful to quickly show what various characters are doing almost simultaneously, but can be quite disorientating to the audience. Film directors can, however, use that to their advantage if this is what they want the scene to feel like.

The long take - Long takes can be very difficult for filmmakers to accomplish successfully, and so are relatively rare, however when done well they often form standout moments of films. As the name suggests, a long take is a single, continuous shot which lasts for an entire scene or longer, and on rare occasions can last an entire feature length film. A long take can show a character moving through a location, exploring different elements of it, and showing the different areas to the audience. They can also be used to show an entire event in an unusual way, making sure the audience see all of the detail, the opposite of quick cuts. The effect of this can be very involving, as there are no editing tricks that make the audience aware they are watching a film, it can allow a much greater level of immersion.

Mise-en-scène - Mise-en-scène is a French term that means “what is put into the scene”. In film technique terms, it refers to the way shots are framed and what is included in them, with the effect of this being that the juxtaposition of objects, spaces, and characters revealing inner details of them. This is also referred to as the composition of a shot. For example, a director may choose to show a character in a doorway or a window frame as a reflection of how they feel trapped or enclosed. Mise-en-scène also encompasses things like costumes, makeup, hairstyling, and lighting.

Twinkl.co.uk. (2022). [online] Available at: https://www.twinkl.co.uk/teaching-wiki/film-techniques-and-their-effects [Accessed 24 Oct. 2022].

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The camera never lies, but it can certainly change the way you see things. Teach your students all about film techniques and their effects with this helpful teaching wiki, packed full of insight and with great resource suggestions to enliven your lessons.

What Are Film Techniques?

You've probably seen hundreds of films, but many people still find themselves asking 'What are film techniques? Well, in short, film techniques, in short, are ways in which the film presents images to the viewer in order to change the audience's perception of them. Film techniques can take a few different forms, including what the camera shows, how lighting is used in a scene and the way the film is edited.

Think about it like this:

Imagine you are a film director. You've been to film school, you've won a lot of awards and fans with your daring Indie debut, and now you've been handed the reins of a huge blockbuster, a serious action film. Your heroes have to attempt to gain entrance to a huge castle, belonging to the dastardly bad guy. In the scene, the heroes reach the top of a hill, and they see the castle, and for the first time, they worry that trying to get inside may be an impossible task.

How would you shoot the scene?

Think about what you'd like to accomplish. You want your audience to feel the same sense of awe at the size and scale of the castle. It's not enough just to tell your audience that something can't be done, you have to show them that as well. If your heroes told the audience that it was impossible to get into the castle, but then in the shot, there was a big hole in the wall, your audience would not be impressed. It would make your film seem like a comedy.

It would make your heroes look stupid.

By now, you probably have an idea of some of the ways you might make the castle look impregnable and foreboding. So let's take a look at a few different film techniques and their effects and how they might be used to help you bring your creative vision to life!

Film Techniques And Their Effects

The close-up - The close-up is a specific kind of camera shot that just shows the head of a character or a specific object. It's great for showing the emotions of a character or for capturing their reaction to something. When used to show an object, it's mainly used to show how important something is to what is happening. There's also the extreme close-up that will show a single detail of a character's face, like their eye or their mouth. The effect of doing this is to heighten the drama and intensity of a scene.

Bird's eye view - A bird's eye view is often used as an establishing shot to show you where something is going to take place or where the characters are. Think about how many times you've seen a film start with a shot of the city in which the story happens, taken from above as if you're looking down from a helicopter.

Worm's eye view - Just as the name suggests, this is the opposite of the bird's eye view shot, and shows a subject from a low angle, looking up at it. It's frequently used as a way to show off how tall something is, like a skyscraper or a huge tree, in order to make it seem much more intimidating.

Point of view shot - This technique positions the audience as if they are looking through a character's eyes. The effect of this is to make the audience really feel like they are a part of what is happening, and to connect emotionally with the character from whose point of view they are seeing the action take place.

The Dutch angle shot - The name of this technique doesn't mean it came from the Netherlands, rather it's based on a slang term for nonsense that came into use during the Anglo-Dutch wars of the 17th century. Its use is similar to the term "speaking double-dutch" meaning to talk gibberish. A Dutch angle shot is a shot where the camera has been tilted slightly. This causes the shot to appear strangely angled and causes the audience to feel disorientated and uneasy. It is commonly used in horror films, or when a director wants to show that a character's mental state is deteriorating.

Quick cutting - This is an editing technique where several shots are used in very quick succession. It can make things look like they are happening very fast, and is frequently used as a way to show action sequences in films as it makes them appear more frenetic and chaotic, and therefore more exciting. They can also be useful to quickly show what various characters are doing almost simultaneously, but can be quite disorientating to the audience. Film directors can, however, use that to their advantage if this is what they want the scene to feel like.

The long take - Long takes can be very difficult for filmmakers to accomplish successfully, and so are relatively rare, however when done well they often form standout moments of films. As the name suggests, a long take is a single, continuous shot which lasts for an entire scene or longer, and on rare occasions can last an entire feature length film. A long take can show a character moving through a location, exploring different elements of it, and showing the different areas to the audience. They can also be used to show an entire event in an unusual way, making sure the audience see all of the detail, the opposite of quick cuts. The effect of this can be very involving, as there are no editing tricks that make the audience aware they are watching a film, it can allow a much greater level of immersion.

Mise-en-scène - Mise-en-scène is a French term that means "what is put into the scene". In film technique terms, it refers to the way shots are framed and what is included in them, with the effect of this being that the juxtaposition of objects, spaces, and characters revealing inner details of them. This is also referred to as the composition of a shot. For example, a director may choose to show a character in a doorway or a window frame as a reflection of how they feel trapped or enclosed. Mise-en-scène also encompasses things like costumes, makeup, hairstyling, and lighting.

How To Shoot Your Scene

Having take a look at this list of film techniques and their effects, you've likely come up with some solid ideas about how to shoot your blockbuster film. How would you decide to make the castle seem imposing, impregnable, and an impossible obstacle to your heroes?

It's worth remembering that, with the majority of film techniques, the idea is not to make the audience aware of how they are being subtly manipulated by the filmmakers. The aim of using these techniques is to make the film more engrossing and involving for the audience, while at the same time remaining unobtrusive enough that viewers don't notice them. If they are too obvious or used too much, they can make your audience much more aware of the fact that they are watching a film, which can ruin the experience for them.

Resources To Help You To Teach Film Techniques And Their Effects

While this 'What are film techniques?' teaching wiki makes for a great reference resource on various different film techniques, it would make for a pretty boring lesson plan and would be nowhere near as interesting as watching a film. This Analysing Visual Literacy Techniques PowerPoint presents similar information in a much more visual way that supports your teaching on the subject.

A majority of film techniques involve specifically what a director or cinematographer chooses to do with a camera, and how they position it to capture or focus the action. Keeping track of all of the different camera angles can be bewildering, so this Camera Angles Matching Worksheet provides a great activity and, once completed, a brilliant reference resource. There's even space for your students to illustrate it to help them visualise what each camera angle would look like on screen!

Of course, nothing will challenge your class of budding filmmakers and make them more aware of film techniques than making their own film. That might sound like a tremendously daunting proposition, and a very difficult thing to teach, but help is at hand. This Computing: Film Making Year 6 Unit Pack contains everything you need to guide your students through researching, writing, shooting, editing, and publishing their own masterpieces. Each lesson in this unit of work focuses on a different element of the process, and they are packed with helpful tips, tools, knowledge, and guidance for you as a teacher to help you deliver the lessons. Who knows, perhaps there's a future award-winning filmmaker among your students?

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What are Film Techniques And Their Effects - Twinkl Teaching Wiki

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The camera never lies, but it can certainly change the way you see things. Teach your students all about film techniques and their effects with this helpful teaching wiki, packed full of insight and with great resource suggestions to enliven your lessons.

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https://www.soundstripe.com/blogs/types-of-camera-shots-for-video-and-film?utm_medium=ppc&utm_term=&utm_campaign=[G]-SS_Search_NB_Dynamic_INT-Tier2&utm_source=adwords&hsa_grp=142133196153&hsa_ver=3&hsa_src=g&hsa_kw=&hsa_acc=8299718124&hsa_mt=&hsa_tgt=aud-1269467518750:dsa-1753254083880&hsa_cam=11409697166&hsa_ad=619273636756&hsa_net=adwords&gclid=EAIaIQobChMIjMPO3-ms-wIVTtPtCh13Pg2yEAMYAyAAEgJrSPD_BwE

Before we dive in too deep into all of the different camera shot types that you need to know, let’s first go over the all-important shot list. Basically when you start off on a film or video project, you want to have a “shot list” to work off of that serves as a de facto master sheet.

A shot list is usually put together in pre-production and is done in conjunction with the storyboarding process. To create a shot list, usually a director and/or the director of photography (aka the DP or cinematographer) will go through the script and decide on every shot that the project will need to include.

This shot list can be further segmented down into a shooting (or shot) schedule which plans out when and where each camera shot will take place, but for now the shot list might be the most important part of the process to learn.

Aldredge, J. (n.d.). All the Camera Shots for Video and Film You Need to Know. [online] www.soundstripe.com. Available at: https://www.soundstripe.com/blogs/types-of-camera-shots-for-video-and-film?utm_medium=ppc&utm_term=&utm_campaign=.

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We are truly living in a golden age of film and video.

Not only do we have more avenues open to watch movies in theaters, television at home, and stream hundreds of thousands of hours of content on our phones, but it's also easier now than ever to get started in film and video.

Plus, thanks to continuous evolution in camera technology, digital video cameras and smartphones alike are becoming better and cheaper every year.

At this point, all you really need to get started in film is a good idea and a group of friends to help you out.

However, before you gather your troops to shoot your first feature film or launch your YouTube channel, there is at least a little bit of film theory to explore. One of your biggest decisions early on is going to be deciding just what you're going to shoot - and how you're going to shoot it.

Today let's take a look at all the basic types of camera shots that any aspiring filmmaker or online content creator should know.

From wide shots to medium shots to close-ups, establishing shots to cowboy shots, we'll explore everything you need to know about putting together a shot list to plan your films and video projects like an absolute pro.

Start with a shot list

Before we dive in too deep into all of the different camera shot types that you need to know, let's first go over the all-important shot list. Basically when you start off on a film or video project, you want to have a "shot list" to work off of that serves as a de facto master sheet.

A shot list is usually put together in pre-production and is done in conjunction with the storyboarding process. To create a shot list, usually a director and/or the director of photography (aka the DP or cinematographer) will go through the script and decide on every shot that the project will need to include.

This shot list can be further segmented down into a shooting (or shot) schedule which plans out when and where each camera shot will take place, but for now the shot list might be the most important part of the process to learn.

If you'd like to read up more on what a shot list is and how to create one (including downloading your own shot list template), check out this article below.

All the different types of shots for film and video

Alright, now let's move on to the actual types of camera shots that you're going to use for film and video projects. By no means is the list below a complete list as there are nearly a countless number of shot types which are still being dreamed up and created even today.

However, if you take any film class or watch any beginner series on YouTube, you'll undoubtedly go over many of these favorites. And make no mistake, these are highly important camera shot types which you'll be able to recognize being used in many of your favorite films and videos.

The trick is to take this information and learn about what makes each camera shot type work within the overall construction of your sequences and scenes. From there, each shot type will serve as a good jumping off point as you dive further into your own exploration into composition and framing.

The close-up shot

Our first shot type is one of the most critical in any film or video scene construction: the close up shot. As its name implies, a close-up shot is one of the most intimate camera shot types which any filmmaker can frame up. It's meant to focus on one (or at most two) character's faces with extra attention being given to the eyes.

As you can see in the examples above, close-up shots consist of either just a face if the subject or a person, or completely showcasing an item if the subject is an object. Here are some of the key hallmarks of what makes a good close-up shot:

Close-up shots are an important part of any scene's construction and are found most often in dramatic films or projects where you really need to see an actor's performance or expression. However, it's best when used in concert with other wider shot types.

If you'd like to read up much more on how the close-up shot has been used throughout film history, as well as what differentiates a good close-up shot from a bad one, check out this full in-depth article below.

The medium shot

Taking a step back, the next camera shot type we'd like to cover is the medium shot. For any aspiring YouTuber or online content creator, this (along with the close-up) might be your most used camera shot type as it provides a good mix of facial detail as well as coverage of the arms and upper body.

A medium shot is loosely classified as a shot which starts at a subject's waist and extends to just beyond the top of their head, although that definition only scratches the surface of this flexible shot type. Alternate uses like a high angle shot can match this criteria but create a very different tone or "feel" of the camera angle.

Medium shots are also good camera shots to use when shooting a "two shot" (or a shot which includes two people).

We cover more about medium shots in this post:

The cowboy shot

Sliding in right between a medium shot and a wide shot, we also have to quickly talk about the famous cowboy shot. This shot type owes its invention and the majority of its uses to the early days of classic cinema when westerns and cowboy movies reigned supreme in Hollywood.

Shot from just below the waist and up to the top of the head, the cowboy shot is a hybrid shot type which is meant to be flexible in terms of its framing. It's goal is simply to put your lead hero character (or perhaps a villain) in the best light possible so to speak.

As with any great cowboy scene, you also want to make sure the framing is set up to include the iconic gun and the hostler. This shot type also has many other elements which have to do with its shot angle, motion and other details, however from a standard shot type definition it's important to at least understand where it fits into any shot type list.

To check out some more examples from both classic and modern cinema, as well as get more details into how to construct one on your own, check out this great article on framing up your own heroic cowboy shots below.

The wide shot

Moving on from the medium shot, the wide shot is the next shot type to consider in our journey. Also called a long shot, as its name implies, a wide shot is meant to be shot from even further back and show a subject completely from below the feet to above the head.

Wide shots are also quite standard in most film and video projects and are used to showcase a subject (or multiple subjects) within a setting or space. A good wide shot should give the audience a solid understanding of where the subject is and what is going on in the scene.

There are some more nuanced versions of wide shots which we'll go over below (like the extreme wide shot, the establishing shot, or the master shot), however for these purposes a wide shot is just another important shot type which should be included in any filmmaker's repertoire.

You can read much more in-depth into the history of wide shots and explore how to use them in your film and video projects by following the link below.

The establishing shot

An establishing shot is another important shot type which filmmakers should strive to understand and use. By definition, it could also be classified as a wide shot, however its use is more nuanced in that it helps to set up a scene and convey a certain amount of visual information.

A good establishing shot is also meant to do as its name implies and help establish a scene or setting. If you've seen any film or television at all, you've probably seen examples of these establishing shots in action - and truth be told they can often be some of the most beautiful and memorable camera shots in any film or video project.

There's a lot of flexibility here, and the goal is to really build out the world surrounding the forthcoming scene. It's not uncommon to see a high angle shot, an extreme wide shot, or a dolly shot as filmmakers explore how best to draw the viewer into the setting.

For the curious, here's a quick breakdown of some of the key tenets every establishing shot should include:

From there, you can delve even further into the theory behind what makes establishing shots work and how to add them to your filmmaking arsenal in this article here.

The master shot

Also similar to both an establishing shot and sharing elements of a wide shot, a master shot is another camera shot type which can be helpful for any film or video project. However, strictly speaking, its use is perhaps best for those interested in television content or perhaps more improvised video types.

A master shot is traditionally a long take, wide shot which records the entirety of a scene or sequence from start to finish. At times, it can also be simply used as an establishing shot or an extreme wide shot, however it's best to think about it in terms of editing and scene construction.

To an editor, a master shot will be the first shot to be laid out in a timeline as a foundation of sorts to construct a scene full of different shot types.

To help you get a better grasp of how to use and shoot a master shot, here are the five basic steps:

Be sure to read up further on master shots to fully learn how to use them in your film and video projects. (And trust us, your editor will thank you!)

The point-of-view shot

One of the most fun camera shot types on our list, the point of view shot is a great example of how even the earliest of filmmakers found creative ways to put the camera into action. While it could fit into other spots on this list (everywhere from medium shot to even an establishing shot), the purpose of the POV shot is completely different.

Unlike most traditional shot types which are meant to present the action in a scene as a stationary, omnipresent observer, the POV shot quite literally makes the camera part of the film itself.

Owing its earliest uses to experimental filmmakers, the POV shot is achieved more often than not by operating the camera in a handheld fashion as it is moved throughout a scene. Depending on the circumstances, characters within the scene can interact with the camera as if it were a character itself as a way to fully immerse the audience into the narrative.

POV shots are a bit tricky to classify in terms of shot types or lengths as they do vary in how they are presented and captured, however here are some basic tips for shooting POV shots in your own projects.

If you're at all interested in learning how to find new and creative approaches to your own filmmaking, POV shots are a great way to spark your own creativity as well as develop your cinematography chops. Dig deeper here:

The tracking shot

We also need to talk about movement and how it can be added to your shot types and selections. While there are of course pans and tilts which can be performed with a stationary camera attached to a tripod, there are also some even more dynamic camera moves that truly put the camera into motion.

The tracking shot might be the best example of a high-impact shot type and camera move which can really immerse the audience into the story and the action of a scene. The tracking shot is also often called a dolly shot as it traditionally uses a dolly cart which follows a literal track laid out on the ground.

To learn more about the tracking shot and how you can harness its power of movement for your own projects, read up on the technique in this article below:

The cutaway shot

Traveling along our journey of different shot types, we also have to talk about the types of shots which you can add in the edit. As you might expect, when shooting a scene it can be easy to think about things in terms of coverage. For example, one person is speaking so we need to film them in a close up.

Or another person enters the room so we need to shoot a wide shot to show the action. However there are also plenty of examples of times where you'll need a very specific shot to let the viewer know about a certain detail.

These are called cutaway shots (or insert shots) and they can actually often be shot at a completely different time and place. A good example of a cutaway shot might be a shot of an item (like a ring) being picked up in a close-up as it's being discussed in conversation.

To learn more about cutaways and insert shots and how to both shoot them for your projects as well as add them into the edit, check out this full article here:

Shot angles and levels

Taking a break from going over different shot types, it's also about time we focused on shot angles and shot levels. While you might think these mean the same thing, angles and levels are quite different. They also play a critical role in shaping your cinematography overall.

A shot angle is all about the tilt of a camera and how that creates the angle of view in regards to the subject (or subjects). This angled tilt is usually defined by degrees and is often thought of as a high angle or a low angle when combined with a shot level.

This shot level is all about the plane on which the camera is placed and where that is in regards to yourself (as the camera operator) and your subject. When combined there are tons of different approaches and variables to consider. Which you can read up on in more depth in this great piece below:

The low angle shot

As mentioned above, the low angle shot is truly one of the most powerful shot types in any cinematographer's toolbelt. Especially when combined with other shot type elements like a close-up or a wide shot, putting the camera low to the ground while angling it up at a subject can be a great way to convey specific themes like power or control.

There's a lot more to learn and discover about this specific shot type too. If you want to truly master the low angle shot check out this full write-up:

The high angle shot

Similarly, if you were to put your camera up high (usually above your head while standing) and angle the lens down towards a subject you'd create a high angle shot. As you might expect, this shot type would convey converse themes to a low angle shot and could be used to imply weakness or vulnerability in your subject.

Of course, there's much more to explore about this shot technique as well, so definitely read up more on this subject below:

The Dutch angle shot

Outside of these standard shot angles, another camera trick you can employ on your shoots is the infamous dutch angle (or canted angle) shot. Unlike a high or low angle shot which tilts the camera upwards or downwards on a tripod, the dutch angle is a term for any side tilting of the camera.

This dutch angle technique might feel a bit awkward as so much of our brain is focused on flatness and symmetry, but if you're looking to subvert your audience's expectations and make them feel uncomfortable, then this technique is for you.

However beware that this dutch angle should only be used in the right situations. Read up on how to truly master this shot angle technique here:

The 180-degree rule

Now, before we move into some of these more advanced shot types, we need to first quickly go over one of the primal rules of shot composition. The 180-degree rule is a defining guideline for how scenes are crafted in film and video.

Simply stated, the 180-degree rule is a technique where a filmmaker constructs an imaginary line between two subjects in a shot of a film scene. This line dictates a side which the camera should stay on as a way to keep the audience oriented for the action and the subsequent cuts.

If the line is broken, it can be unnerving to the viewer as it goes against how our brain has constructed the characters in the scene. So, while you should learn how to use this 180-degree rule and why it exists, there are also some fun ways to experiment with breaking it - which you can read about in this article here:

The over-the-shoulder shot

Another great example of how different camera shot types can be applied to even the most basic of sequences is with the over-the-shoulder shot type. Not quite a medium shot and not quite a close-up, an over-the-shoulder shot is another hybrid shot which does several things at once.

The chief tenet to what makes an over-the-shoulder shot a true OTS shot (as it's often stylized), is simply in how it's used to show two characters facing each other in conversation with the camera behind one character's shoulder.

The OTS shot only works when used in conjunction with other camera shot types within a scene, but when done properly it can help to naturally bring the audience closer into a scene and better engage with the characters and dialogue.

Here are some of the basic guidelines for shooting OTS shots in your projects:

You can learn much more about what makes over-the-shoulder shots work (and explore some great film and TV examples) in this article below.

The shot-reverse-shot

Once you've felt that you've got a solid understanding of some of the basic shot types like close-ups, medium shots and wide shots, you can really start to experiment with how you use these different camera shot types while constructing your own scenes.

One of the most popular shot type formats that you'll find in pretty much any film or video type is the familiar shot-reverse-shot sequence. You see these literally everywhere! However, for the sake of simplicity, we'll focus on them only in examples of basic scenes with two characters conversing.

Basically put, the shot-reverse-shot format brings the audience into a conversation by showing one character speaking, cutting to a reaction and/or a follow-up from the other character, then back to the first (as it continues on as such).

While there are plenty of filmmakers and content creators that we could highlight for this technique, probably the best to learn from are the great Coen Brothers. You can watch the shot-reverse-shot format in action in this clip from No Country for Old Men.

Or you can read up even further into how the Coen Brothers use and frame up their shot-reverse-shot sequences in the excellent article below.

Picking the right focal length

While we can only give this topic so much justice in this article, another huge factor to consider when framing up your camera shot types is focal length. Choosing the right focal length and working with depth of field is hugely important to how your shot is going to look and feel.

From a filmmaking and videography side, understanding focal length is also highly critical in everything from how you light your scene, to how you set your camera's settings, to how you have your actors move and perform in the scene.

Without diving in too deep, focal length is best defined simply as a measurement of the distance between the optical center of a camera lens and the sensor. And it defines how much of a scene will be captured for your film or video project.

You can read much more in-depth about focal length and how you can pick the right depth-of-field for your projects in this full article below.

The rack focus shot

Another quick addendum to include would also be to highlight rack focus shots. This technique can only be done however once you have a strong understanding of focal lengths and depth-of-field (which you can read about above).

However, when done in conjunction with different shot types, camera movement and thematic storytelling, rack focus shots can be some of the most powerful shot techniques in any scene or project. Be sure to read up on the rack focus technique below:

Gimbal moves and shots

Finally, as we wrap up all of our different shot types, angles, and levels, we need to briefly go over how the traditional logic of shot construction is changing. While there are still plenty of projects where filming from a stationary tripod might be ideal, for many content creators these days the camera is often in a constant state of motion.

However, just because you're using a gimbal or shooting handheld, you should still keep these shot composition basics in mind. And if you'd like to unlock the best ways to work with these gimbals and free-flowing camera setups, read up on these core gimbal moves here:

Further reading

Chances are you've seen all (or at least almost all) of these types of camera shots in action, maybe even without realizing it. In some ways, that's part of the art of filmmaking - making the right shot choices without drawing attention to them.

So, regardless of what camera you own, you should feel pretty comfortable now setting up the different types of camera shots and camera angles on your own.

Also feel free to get experimental and try out extreme close up shot captures, or an extreme shot angle with a different camera shot focus. An aerial shot with a drone or a creative new move along the vertical axis for a two shot can be a fun camera shot angle to explore.

There are no wrong answers. Still, if you'd like to hone your skills even further and really explore this incredible filmmaking skill, here are some other articles that can help:

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All the Camera Shots for Video and Film You Need to Know

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We are truly living in a golden age of film and video. Not only do we have more avenues open to watch movies in theaters, television at home, and stream hundreds of thousands of hours of content on our phones, but it's also easier now than ever to get started in film and video.

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https://www.studiobinder.com/blog/ultimate-guide-to-camera-shots/

it’s easy to mix up the different types of camera shots and types of angles. To make a shot list, a filmmaker or video creative must know the classic types of shots based on attributes like shot size, shot framing, camera movement, camera mechanisms, and depth of field.

We’ll break down all the camera shots and angles you need to know for your next film. We also include camera shot examples from famous movies to help solidify the discussed concepts.

StudioBinder (2019). 50+ Types of Camera Shots & Angles. [online] StudioBinder. Available at: https://www.studiobinder.com/blog/ultimate-guide-to-camera-shots/.

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It's easy to mix up the different types of camera shots and types of angles. To make a shot list, a filmmaker or video creative must know the classic types of shots based on attributes like shot size, shot framing, camera movement, camera mechanisms, and depth of field.

We'll break down all the camera shots and angles you need to know for your next film. We also include camera shot examples from famous movies to help solidify the discussed concepts.

The Ultimate Guide to Shot Sizes

Types of Camera Shots - The Shot Size

Camera Shot Size Summary

How you choose to frame your subject will have a specific impact. How close or far your subject is to your camera - your shot size - will underscore how the audience should feel about it (or them).

Your subject will appear smallest in a long shot (or wide shot). They will be larger in a medium shot and largest in a close-up shot.

Here is a shot list with every shot size organized from wide to near:

You can create a PDF of this shot list to print or store digitally.

Think about familiarity when you consider your subject's size in your camera shots. It's like meeting someone for the first time. You might shake hands or talk about the weather, but odds are you'll stay at a relative distance. That's because you haven't built any familiarity yet.

Shot size is the building block for choosing camera shots, but you'll also need to consider how framing, focus and movement can add deeper meaning to your shots. Read on to explore creative shot combinations.

Specific camera movements matter too. Are you going to rack focus while completing a dolly move? Or maybe it's just a traditional two shot on sticks? You want to capture all these details when shot listing.

Learn ﻿Mo﻿re﻿﻿ ➜

Tags: 12 Angry Men, A Serious Man, Alice in Wonderland, Armageddon, Being John Malkovich, Black Panther, Black Swan, Blade Runner, Camera Angles, Camera Movement, Camera Shots, Darren Aronofsky, Django Unchained, Eternal Sunshine, Forrest Gump, Full Metal Jacket, Goodfellas, Guardians of the Galaxy, Halloween, Harry Potter, Home Alone, Iron Man, La La Land, Little Miss Sunshine, Mad Max: Fury Road, Minority Report, Munich, No Country for Old Men, Oldboy, Paths of Glory, Punch Drunk Love, Reservoir Dogs, Skyfall, Star Wars, Step Brothers, The Assassination of Jesse James by the Coward Robert Ford, The Dark Knight, The Grand Budapest Hotel, The King's Speech, The Martian, The Matrix, The Night Of, The Princess Bride, The Shining, The Usual Suspects, Video Essays, Westworld, Wonder Woman, X-Men

StudioBinder is a film production software built out of Santa Monica, CA. Our mission is to make the production experience more streamlined, efficient, and pleasant.

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A complete guide to types shots and angles in film. Covers types of camera shots by shot size, camera angle, framing, focal length and camera movement.

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https://www.movavi.com/learning-portal/cinematic-techniques.html

It’s a filming technique that shows a wide area of land from a very high angle. The objects are viewed directly from above. This shot is often used as an introductory shot to establish the setting and point up the small size of subjects.
Read more: https://www.movavi.com/learning-portal/cinematic-techniques.html© Movavi.com

Jacklin, B. (2022). Top 13 cinematography techniques in filmmaking. [online] www.movavi.com. Available at: https://www.movavi.com/learning-portal/cinematic-techniques.html.

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Top 13 Cinematography Techniques in Filmmaking

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Wondering how to make a cool video? Read the article about top filming techniques by Movavi and learn how to use your camera like a pro following our tips!

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3. Medium Shot

Contains a figure from the knees/waist up and is normally used for dialogue scenes, or to show some detail of action. Variations on this include the TWO SHOT (containing two figures from the waist up) and the THREE SHOT (contains 3 figures...). NB. Any more than three figures and the shot tends to become a long shot. Background detail is minimal, probably because location has been established earlier in the scene - the audience already know where they are and now want to focus on dialogue and character interation. Another variation in this category is the OVER-THE-SHOULDER-SHOT, which positions the camera behind one figure, revealing the other figure, and part of the first figure's back, head and shoulder.

Close up
4. Close-Up

This shows very little background, and concentrates on either a face, or a specific detail of mise en scène. Everything else is just a blur in the background. This shot magnifies the object (think of how big it looks on a cinema screen) and shows the importance of things, be it words written on paper, or the expression on someone's face. The close-up takes us into the mind of a character. In reality, we only let people that we really trust get THAT close to our face - mothers, children and lovers, usually - so a close up of a face is a very intimate shot. A film-maker may use this to make us feel extra comfortable or extremely uncomfortable about a character, and usually uses a zoom lens in order to get the required framing.

Extreme Close Up
5. Extreme Close-Up

As its name suggests, an extreme version of the close up, generally magnifying beyond what the human eye would experience in reality. An extreme close-up of a face, for instance, would show only the mouth or eyes, with no background detail whatsoever. This is a very artificial shot, and can be used for dramatic effect. The tight focus required means that extra care must be taken when setting up and lighting the shot - the slightest camera shake or error in focal length is very noticeable.

www.mediaknowall.com. (n.d.). Camera Angles. [online] Available at: https://www.mediaknowall.com/camangles.html.

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Camera angles and movements combine to create a sequence of images, just as words, word order and punctuation combine to make the meaning of a sentence. You need a straightforward set of key terms to describe them.

Describing Shots

When describing camera angles, or creating them yourself, you have to think about three important factors

- The FRAMING or the LENGTH of shot

- The ANGLE of the shot

- If there is any MOVEMENT involved

When describing different cinematic shots, different terms are used to indicate the amount of subject matter contained within a frame, how far away the camera is from the subject, and the perspective of the viewer. Each different shot has a different purpose and effect. A change between two different shots is called a CUT.

Framing or Shot Length

1 . Extreme long shot

This can be taken from as much as a quarter of a mile away, and is generally used as a scene-setting, establishing shot. It normally shows an EXTERIOR, eg the outside of a building, or a landscape, and is often used to show scenes of thrilling action eg in a war film or disaster movie. There will be very little detail visible in the shot, it's meant to give a general impression rather than specific information.
The extreme long shot on the left is taken from a distance, but denotes a precise location - it might even connote all of the entertainment industry if used as the opening shot in a news story.
2. Long Shot

This is the most difficult to categorise precisely, but is generally one which shows the image as approximately "life" size ie corresponding to the real distance between the audience and the screen in a cinema (the figure of a man would appear as six feet tall). This category includes the FULL SHOT showing the entire human body, with the head near the top of the frame and the feet near the bottom. While the focus is on characters, plenty of background detail still emerges: we can tell the coffins on the right are in a Western-style setting, for instance.

3. Medium Shot

Contains a figure from the knees/waist up and is normally used for dialogue scenes, or to show some detail of action. Variations on this include the TWO SHOT (containing two figures from the waist up) and the THREE SHOT (contains 3 figures...). NB. Any more than three figures and the shot tends to become a long shot. Background detail is minimal, probably because location has been established earlier in the scene - the audience already know where they are and now want to focus on dialogue and character interation. Another variation in this category is the OVER-THE-SHOULDER-SHOT, which positions the camera behind one figure, revealing the other figure, and part of the first figure's back, head and shoulder.

4. Close-Up

This shows very little background, and concentrates on either a face, or a specific detail of mise en scène. Everything else is just a blur in the background. This shot magnifies the object (think of how big it looks on a cinema screen) and shows the importance of things, be it words written on paper, or the expression on someone's face. The close-up takes us into the mind of a character. In reality, we only let people that we really trust get THAT close to our face - mothers, children and lovers, usually - so a close up of a face is a very intimate shot. A film-maker may use this to make us feel extra comfortable or extremely uncomfortable about a character, and usually uses a zoom lens in order to get the required framing.

5. Extreme Close-Up

As its name suggests, an extreme version of the close up, generally magnifying beyond what the human eye would experience in reality. An extreme close-up of a face, for instance, would show only the mouth or eyes, with no background detail whatsoever. This is a very artificial shot, and can be used for dramatic effect. The tight focus required means that extra care must be taken when setting up and lighting the shot - the slightest camera shake or error in focal length is very noticeable.

Camera Angles

The relationship between the camera and the object being photographed (ie the ANGLE) gives emotional information to an audience, and guides their judgment about the character or object in shot. The more extreme the angle (ie the further away it is from eye left), the more symbolic and heavily-loaded the shot.

1. The Bird's-Eye view

This shows a scene from directly overhead, a very unnatural and strange angle. Familiar objects viewed from this angle might seem totally unrecognisable at first (umbrellas in a crowd, dancers' legs). This shot does, however, put the audience in a godlike position, looking down on the action. People can be made to look insignificant, ant-like, part of a wider scheme of things. Hitchcock (and his admirers, like Brian de Palma) is fond of this style of shot.

2. High Angle

Not so extreme as a bird's eye view. The camera is elevated above the action using a crane to give a general overview. High angles make the object photographed seem smaller, and less significant (or scary). The object or character often gets swallowed up by their setting - they become part of a wider picture.

3. Eye Level

A fairly neutral shot; the camera is positioned as though it is a human actually observing a scene, so that eg actors' heads are on a level with the focus. The camera will be placed approximately five to six feet from the ground.

4. Low Angle

These increase height (useful for short actors like Tom Cruise or James McAvoy) and give a sense of speeded motion. Low angles help give a sense of confusion to a viewer, of powerlessness within the action of a scene. The background of a low angle shot will tend to be just sky or ceiling, the lack of detail about the setting adding to the disorientation of the viewer. The added height of the object may make it inspire fear and insecurity in the viewer, who is psychologically dominated by the figure on the screen.

5. Oblique/Canted Angle

Sometimes the camera is tilted (ie is not placed horizontal to floor level), to suggest imbalance, transition and instability (very popular in horror movies). This technique is used to suggest POINT-OF-View shots (ie when the camera becomes the 'eyes' of one particular character,seeing what they see - a hand held camera is often used for this.

Camera Movement

A director may choose to move action along by telling the story as a series of cuts, going from one shot to another, or they may decide to move the camera with the action. Moving the camera often takes a great deal of time, and makes the action seem slower, as it takes several second for a moving camera shot to be effective, when the same information may be placed on screen in a series of fast cuts. Not only must the style of movement be chosen, but the method of actually moving the camera must be selected too. There are seven basic methods:

1. Pans

A movement which scans a scene horizontally. The camera is placed on a tripod, which operates as a stationary axis point as the camera is turned, often to follow a moving object which is kept in the middle of the frame.

2. Tilts

A movement which scans a scene vertically, otherwise similar to a pan.

3. Dolly Shots

Sometimes called TRUCKING or TRACKING shots. The camera is placed on a moving vehicle and moves alongside the action, generally following a moving figure or object. Complicated dolly shots will involve a track being laid on set for the camera to follow, hence the name. The camera might be mounted on a car, a plane, or even a shopping trolley (good method for independent film-makers looking to save a few dollars). A dolly shot may be a good way of portraying movement, the journey of a character for instance, or for moving from a long shot to a close-up, gradually focusing the audience on a particular object or character.

4. Hand-held shots

The hand-held movie camera first saw widespread use during World War II, when news reporters took their windup Arriflexes and Eyemos into the heat of battle, producing some of the most arresting footage of the twentieth century. After the war, it took a while for commercially produced movies to catch up, and documentary makers led the way, demanding the production of smaller, lighter cameras that could be moved in and out of a scene with speed, producing a "fly-on-the-wall" effect.This aesthetic took a while to catch on with mainstream Hollywood, as it gives a jerky, ragged effect, totally at odds with the organised smoothness of a dolly shot. The Steadicam (a heavy contraption which is attached a camera to an operator by a harness. The camera is stabilized so it moves independently) was debuted in Marathon Man (1976), bringing a new smoothness to hand held camera movement and has been used to great effect in movies and TV shows ever since. No "walk and talk" sequence would be complete without one. Hand held cameras denote a certain kind of gritty realism, and they can make the audience feel as though they are part of a scene, rather than viewing it from a detached, frozen position.

5. Crane Shots

Basically, dolly-shots-in-the-air. A crane (or jib), is a large, heavy piece of equipment, but is a useful way of moving a camera - it can move up, down, left, right, swooping in on action or moving diagonally out of it. The camera operator and camera are counter-balanced by a heavy weight, and trust their safety to a skilled crane/jib operator.

6. Zoom Lenses

A zoom lens contains a mechanism that changes the magnification of an image. On a still camera, this means that the photographer can get a 'close up' shot while still being some distance from the subject. A video zoom lens can change the position of the audience, either very quickly (a smash zoom) or slowly, without moving the camera an inch, thus saving a lot of time and trouble. The drawbacks to zoom use include the fact that while a dolly shot involves a steady movement similar to the focusing change in the human eye, the zoom lens tends to be jerky (unless used very slowly) and to distort an image, making objects appear closer together than they really are. Zoom lenses are also drastically over-used by many directors (including those holding palmcorders), who try to give the impression of movement and excitement in a scene where it does not exist. Use with caution - and a tripod!

7. The Aerial Shot

An exciting variation of a crane shot, usually taken from a helicopter. This is often used at the beginning of a film, in order to establish setting and movement. A helicopter is like a particularly flexible sort of crane - it can go anywhere, keep up with anything, move in and out of a scene, and convey real drama and exhilaration - so long as you don't need to get too close to your actors or use location sound with the shots.

See Also On This Site

Sound- basic guide to getting the best sound for your project

Using Your Camera - some basic tips for getting the best images

Image Analysis - a guide to deconstructing and constructing images for meaning

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Camera angles and movements combine to create a sequence of images, just as words, word order and punctuation combine to make the meaning of a sentence. You need a straightforward set of key terms to describe them.

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https://filmlifestyle.com/camera-angles-in-filmmaking/

Camera Angles
The different types of camera angles allow directors to control how a viewer experiences a film. A director can use these angles to show off the protagonist or antagonist’s strength as well as their power struggle against one another.

Point of view, or how the viewer sees what is happening on screen, is one way in which filmmakers have control over perspective and emotion.

In some cases, like in horror movies, the camera will be much lower to show more fear and tension because that’s what people are expecting from a horror movie.

Matt (2021). Camera Angles In Filmmaking: A Definitive Guide • Filmmaking Lifestyle. [online] Filmmaking Lifestyle. Available at: https://filmlifestyle.com/camera-angles-in-filmmaking/.

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Do you ever have trouble capturing the perfect shot? It might be because you are not using all of your tools.

A great way to think about camera angles is that they can help you get a different view or perspective on a scene or subject, and in turn produce a more interesting frame.

In this article, we will explore some of the most common types of camera angles and how they affect our filmmaking.

There are many different types of camera angles that can be used to capture an image, including low-angle shots (from below), high-angle shots (from above), eye-level shots, and bird's eye views.

But, how do these shots affect your filmmaking?

CAMERA ANGLES IN FILMMAKING

What Are Camera Angles In Filmmaking?

There are many angles that a film director can use when filming. Most of them have their own purposes and effects, but it is important to know the basics before shooting any type of scene in order to produce quality work.

Filmmakers use a variety of different camera angles to convey meaning, emotion, and provide information about their subject.

Camera angles can be categorized as being high or low. Low angle shots show the subject from below with an emphasis on power or strength.

High angle shots show the subject from above which gives the viewer a sense of dominance over them.

Camera Angles

The different types of camera angles allow directors to control how a viewer experiences a film. A director can use these angles to show off the protagonist or antagonist's strength as well as their power struggle against one another.

Point of view, or how the viewer sees what is happening on screen, is one way in which filmmakers have control over perspective and emotion.

In some cases, like in horror movies, the camera will be much lower to show more fear and tension because that's what people are expecting from a horror movie.

However, if you were filming something funny for example like "Crazy Stupid Love" then you would want your audience to see where Steve Carell is at all times so that they can laugh with him as he makes his way through this crazy world.

It's up to every director or filmmaker on how they want their story told and who they want their audience to feel connected through it.

How many times have you seen a movie where the director knows exactly what they want to show on the screen?

They use camera angles to their advantage and can make a scene look drastically different.

Camera shots by angle help directors convey emotions, tell stories, and leave an impression on audiences.

Eye Level Shot

Have you ever seen a movie where the camera is placed at eye level and it's following the actor? It gives an interesting perspective for filmmakers, but what does it mean for you?

It captures more of your surroundings so it can be used to create a better context for pictures, videos, and other types of media.

Everyone knows that an eye-level shot is the best way to capture people in their natural state. But what if you stand on a ladder or get your camera up high?

What about when it's not possible to even get close enough for an eye-level shot?

Eye-level shots are an important cinematography technique that can be used to show perspective and give the viewer a sense of what it's like to experience something from the point of view of someone in particular.

Low Angle Shot

A low-angle shot is a type of camera angle that typically points downward from the eye level of the person taking the picture.

These shots make people and objects seem taller and more dominant than they might be in reality, as well as create an illusion of depth.

The most common use for this technique is to show power or dominance on behalf of one side over another, such as when filming an interview between two people who are sitting at different heights relative to each other.

This technique can also lend itself well to showing off architectural features like tall ceilings or columns, making them appear even larger than life.

This type of shot is best for capturing subjects that are looking up at something or someone in a position of power.

It creates an interesting perspective and allows your subject to appear larger than life.

The great thing about this type of shot is that anyone can do it! All you need is a camera and some creativity!

The following images show examples of what a low-angle shot looks like:

Image 1: A man catches his son after he jumps from the diving board into the pool below (A low-angle shot helps capture their height difference).

High Angle Shot

There are many other ways that filmmakers can use this camera angle to their advantage - for instance, by making the audience feel small and powerless when surrounded by towering buildings or rows of enemies.

The high angle shot can be achieved with a crane, scaffolding, or an elevated surface such as a bridge.

The height at which the camera is placed dictates how low viewers will feel because they will perceive themselves as higher than those below them (and vice versa).

High-angle shots are traditionally used to show a person's power, dominance, and superiority.

This can be achieved by shooting downwards or upwards with a low camera angle.

This perspective allows for more immersive shots which can help with storytelling. Here are a few ways you can use this type of shot:

To create suspenseful tension, as when a character climbs up a tall building or enters an abandoned house

To evoke emotions such as awe and wonder, by shooting from above while looking down at something beautiful like a landscape or cityscape

To create mystery, by showing only part of what's going on in order to build suspense about what might happen next.

How Camera Angles Affect A Movie?

As a filmmaker, you can use camera angles to control the audience's perspective and guide their emotions. Sometimes an establishing shot or close-up is all that is needed to tell the story.

Have you ever noticed that the scene in a movie changes depending on how they are filming it? Well, there is actually some science behind this. The camera angle and perspective can change what is happening in your head.

In fact, if someone filmed something from their point of view, you would be able to see everything just like them. What does this mean for film?

This means that filmmakers must consider camera angles when choosing where to place them during the filming process because it can affect how people interpret the story being told on screen.

For example, if a filmmaker wanted viewers to feel scared or tense during a scene then they could choose an overhead shot with lots of shadows for lighting so that viewers have nowhere else to look but at the action taking

Some scenes use close-ups to show intense emotions or violence. Other scenes use wide shots to show how small characters are in relation to their environment.

These choices help create different feelings and moods for viewers so they know what's going on inside a character's head and understand what's happening around them.

What Is The Most Used Camera Angle?

What is the most used camera angle? The answer to that question may surprise you. In a survey of filmmakers, 98% said that the most common camera angle is the eye-level shot.

This means when an actor walks on screen and we see them from their perspective as if they were looking at us straight in our eyes.

Also, a very popular camera angle is the "over-the-shoulder" shot.

This type of shot has become very popular in recent years because it creates a sense of intimacy that makes the viewer feel as if they are right next to the subject, and allows for shots from all angles.

It's also a great way to show both characters on screen at once while still establishing who is talking or doing what.

The over-the-shoulder shot is typically filmed at eye level with one character looking straight ahead and another looking slightly offscreen (usually right).

Dutch Angle Or Dutch Tilt Shot

This technique has been used in cinema for years and can be seen in films like Alfred Hitchcock's "Psycho." Watch the video to learn more!

The use of this technique, which creates a distorted sense of space and movement, is often used by filmmakers to create suspense.

For example, when an object moves from left to right on screen it appears that it's moving much faster than normal because the camera tilts up as it moves away from us.

Another effect created with this tilt is that objects appear closer than they actually are because they're being viewed at an angle rather than straight-on.

Dutch angle shots have been used for many years in both photography and film production. They are often seen on television shows, sporting events, and commercials.

A Dutch angle shot gives an image or video a disorienting feeling by tilting the camera up from its normal orientation so that everything looks askew.

It can also be achieved by turning the camera sideways during filming with your phone in landscape mode instead of portrait mode.

A Dutch angle shot (also known as a Dutch tilt) is when a camera is pointed upward or downward, creating an unusual angle. This type of shot can be used to create unease in the viewer. It's also been used to show instability and tension in scenes that require it.

It can be used for artistic purposes, and to create a sense of unease in the viewer by making it difficult to tell which way is "up."

The term was coined during World War II when Dutch filmmakers were commissioned by their government to produce newsreels; these films had to be more exciting than German ones because they were meant as propaganda.

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Camera Angles In Filmmaking: A Definitive Guide

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What are camera angles in filmmaking? Learning how to film professional looking videos will help you connect with your audience.

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The long shot, also known as the wide shot, is often times used as an establishing shot in a film, as it normally sets the scene and the character’s place within it. This type of camera shot, shows the full length of the subject while also including a large amount of the surrounding area of the film setting. Some of the most recognizable and iconic scenes in movies, are those that were shot as a long shot. Furthermore, when filming a movie solely from a distance that includes only long shots, it can give a sense of separation between the film itself and the audience. For example the 2019 Oscar winning film, Roma, was solely filmed in a series of long shots. This film technique causes the audience to feel isolated and like they are only allowed to be on-lookers into the story being presented to them, rather than being immersed in the narrative being told.

Filippo, C.S. (2019). Filming 101: Types of Camera Shots and Angles. [online] PolarPro. Available at: https://www.polarprofilters.com/blogs/polarpro/filmmaking-101-types-of-camera-shots-and-angles.

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Filming 101: Types of Camera Shots and Angles

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PolarPro® designs and innovates camera solutions built for rugged conditions, engineered to inspire you to get out and shoot. Camera filters are in our DNA and we’ve spent the last 9 years reimagining and pushing the industry forward with game-changing products like the VND, BaseCamp, Summit, and Li…

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https://www.womansday.com/health-fitness/a25783805/dealing-with-loneliness/

1. Create a list of activities you can do by yourself.
Ironically, if you only ever try to cure your loneliness by surrounding yourself with people, it can be remarkably short-lived. "As soon as that person leaves, you're lonely again," Bahar explains. Instead, have a list of simple activities you enjoy or would be willing to try when you're lonely: a puzzle, playing on your phone, crocheting, quilting, watching movies, painting, screenwriting. The goal is to distract from the acute loneliness in a healthy way.
Better yet, date yourself, says Kate Balestrieri, a licensed psychologist in Los Angeles, California. "We can use [loneliness] as an opportunity to get to know ourselves better," she explains. Take yourself to dinner, a movie, the park, a museum, a place you've always wanted to go. Many people look to relationships to regulate their emotions, Balestrieri says, and feeling lonely can be an opportunity to learn to do that for yourself.

Stinchcombe, C. (2019). How to Deal With Loneliness and Feelings of Isolation. [online] Woman’s Day. Available at: https://www.womansday.com/health-fitness/a25783805/dealing-with-loneliness/.

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Maybe you're new to a city and struggling to make friends. Or the people you love seem to be in a different phase of their lives than you are. Or you've got all the friends you could possibly want, but you still don't feel connected. At one time or another, everyone has felt lonely. It's just one of those things that happens sometimes. The hard part is dealing with loneliness when it overcomes you.

"It's something every human being has gone through or will go through," Lisa Bahar, a licensed marriage and family therapist in Newport Beach, California, tells Woman's Day. But chronic loneliness can have serious health impacts. In fact, a study analysis in Perspectives on Psychological Science suggests this feeling is involved in everything from depression and alcoholism, to strokes, decreased immune system, and early death.

Here's how to deal with loneliness when you inevitably get hit with the blues.

1. Create a list of activities you can do by yourself.

Ironically, if you only ever try to cure your loneliness by surrounding yourself with people, it can be remarkably short-lived. "As soon as that person leaves, you're lonely again," Bahar explains. Instead, have a list of simple activities you enjoy or would be willing to try when you're lonely: a puzzle, playing on your phone, crocheting, quilting, watching movies, painting, screenwriting. The goal is to distract from the acute loneliness in a healthy way.

Better yet, date yourself, says Kate Balestrieri, a licensed psychologist in Los Angeles, California. "We can use [loneliness] as an opportunity to get to know ourselves better," she explains. Take yourself to dinner, a movie, the park, a museum, a place you've always wanted to go. Many people look to relationships to regulate their emotions, Balestrieri says, and feeling lonely can be an opportunity to learn to do that for yourself.

2. Look for activities where you can be alone with other people.

Think MeetUp groups, library clubs, city events, and so on, Bahar says. If you can establish a new hobby that puts you with like-minded people, even better. Always wanted to hike or paint or learn photography? Look for classes or groups that are welcoming to beginners. The goal is to find a place where you'll be around people, even if you're not necessarily making friends. If you happen to meet somebody great there, even better.

3. Make a list of the people you can be with when you're lonely.

Is it a friend, family member, or an acquaintance who keeps things positive? Give yourself a list of people to lean on when you feel like you don't have anyone to talk to. You want to keep your options open, Bahar says, so list as many as you can. Avoid leaning on a single person, if you can - it can put too much pressure on the relationship and leave you reeling if they're not available when you call.

4. Try to be social sometimes - even if you don't feel like it.

Does the idea of talking to new people make you break out in a cold sweat? That's not unusual. Loneliness has a way of making social interaction seem pointless. "At some point, you just have to make yourself do it," Balestrieri says. Daily affirmations, like positive "I" statements, could help. "I am interesting, I have things to offer, I am not afraid of rejection" are a few good examples, Balestrieri says.

5. Try giving back.

Maybe it's volunteering to play with cats at the local animal shelter, dog walking, serving meals at a homeless shelter, or visiting people in nursing homes. Contributing to your community in a way that feels good can be wonderful for loneliness. The interactions can help build positive connections with new people - or pets - who are happy to see you, without leaning too heavily on a friend group, Bahar says.

6. Find a way to move your body that you enjoy.

It's not so much about exercise as it is about getting in touch with your sensory system, Bahar says, which can encourage a state of connection and flow. "What you're trying to do is engage your body and engage your mind out of the loneliness," she explains. Surfing, playing soccer, sailing, walking barefoot in sand or grass - all of these can help you pay attention to the sensations in your body.

7. Consider going to therapy.

Even if you're skeptical of therapy's other values, it can be helpful for loneliness simply because you're being heard and valued and gives you someone to talk to. "Sometimes it's just about somebody listening to you," Bahar says. "And that's very important."

8. See if your company has an Employee Assistance Program (EAP).

If you're looking for help but you don't totally know where to begin, check to see if your employer has an EAP. Often they will offer free or discounted benefits that include access to counselors and therapists who can help you work through your loneliness.

9. Take a social media break.

Social media can bring people together, but it can also make people feel terribly lonely, and experience FOMO, or Fear of Missing Out. A study from the University of Pennsylvania that was published in the Journal of Social and Clinical Psychology found a causal connection between social media use and feelings of depression and loneliness. So know that if your social media is making you feel more distant than connected, you're not alone. Consider deleting the apps from your phone and giving yourself a break.

10. Get some sunshine.

It might seem silly, but getting out in the sunshine and fresh air can do wonders for your mental health. Getting sun can trigger your body to produce endorphins and serotonin, which have positive effects on how you feel. Of course, remember to wear sunscreen.

11. Remember loneliness is temporary.

Even if you're feeling lonely now, that doesn't mean you'll always feel lonely or you'll never find a community that nourishes you. "You are the architect of your future," Balestrieri says. "You get to go out and make new bonds." She adds that absolutely everyone has something to offer in relationships. You've just got to go out and create them.

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Feeling Lonely During Quarantine? Here's How to Cope With Those Sad Feelings

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Maybe you're new to a city and struggling to make friends. Or the people you love seem to be in a different phase of their lives than you are. Or you've got all the friends you could possibly want, but you still don't feel connected. At one time or another, everyone has felt lonely.

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https://www.mind.org.uk/information-support/tips-for-everyday-living/loneliness/tips-to-manage-loneliness/

If you've felt lonely for a long time, even if you already know lots of people, it can be terrifying to think about trying to meet new people or opening up to people for the first time. But you don't need to rush into anything.

For example, you could try doing an online activity where other people attend but you're not expected to interact with them, such as a drawing lesson. Or if you're interested in joining a new group or class, you could ask whoever runs the sessions if you can just watch at first, rather than taking part.

Simply knowing that other people are there may be enough to help with some feelings of loneliness.

www.mind.org.uk. (2019). Tips to manage loneliness. [online] Available at: https://www.mind.org.uk/information-support/tips-for-everyday-living/loneliness/tips-to-manage-loneliness/.

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Social care

While there is no legal solution to loneliness, there may be ways in which the law can help you if you have needs for care and support.

The Care Act 2014 in England and the Social Services and Well-being (Wales) Act 2014 in Wales place general obligations on local authorities to promote wellbeing and to prevent social care needs from arising.

They also contain specific duties for local authorities to help individuals. See our pages on health and social care rights for more information. You can also contact Mind's Legal Line with your specific enquiry.

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Social care While there is no legal solution to loneliness, there may be ways in which the law can help you if you have needs for care and support. The Care Act 2014 in England and the Social Services and Well-being (Wales) Act 2014 in Wales place general obligations on local authorities to promote wellbeing and to prevent social care needs from arising.

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https://www.thesaurus.com/browse/loneliness

HOW TO USE LONELINESS IN A SENTENCE
He remembered standing once before on this very spot, that foreboding of coming loneliness so strangely in his heart.
THE WAVEALGERNON BLACKWOOD
At first I almost perished with loneliness, but now that I have a few acquaintances here I am enjoying it.
MUSIC-STUDY IN GERMANYAMY FAY
It was the starving sense of loneliness, the aching sense of loss, the yearning and the vain desire that made it seem so long.

www.thesaurus.com. (n.d.). Synonyms of loneliness | Thesaurus.com. [online] Available at: https://www.thesaurus.com/browse/loneliness [Accessed 13 Oct. 2022].

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Find 12 ways to say LONELINESS, along with antonyms, related words, and example sentences at Thesaurus.com, the world's most trusted free thesaurus.

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Oscar Winner Animated Short Film 2016 | Piper | Alan Barillaro & Marc Sondheimer/5mins

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Oscar Winner Animated Short Film 2016 | Piper | Alan Barillaro & Marc Sondheimer/5mins

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https://www.youtube.com/watch?v=qAIRXIckfMA

devu singh (2017). piper pixar short film 2016 full. YouTube. Available at: https://www.youtube.com/watch?v=qAIRXIckfMA.

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The sound and the scenes changing were perfectly matched.

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 Oscar Winner Animated Short Film 2018,  Bao Short Film/7mins

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 Oscar Winner Animated Short Film 2018,  Bao Short Film/7mins

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Hayes, J. (2019). Bao Short Film By Disney Pixar. YouTube. Available at: https://www.youtube.com/watch?v=7rspQR7rhf0.

When Bao became an adult and continuously fought against his mother, I recalled my mother.

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Oscar Winner Animated Short Film 2020/2021, If Anything Happens I Love You

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Oscar Winner Animated Short Film 2020/2021, If Anything Happens I Love You

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https://www.youtube.com/watch?v=3kH75xhTpaM

This animation depicts the devastation caused to an American family when a 10-year-old daughter was shot in her school.

www.youtube.com. (n.d.). If Anything Happens I Love You TRAILER. [online] Available at: https://www.youtube.com/watch?v=3kH75xhTpaM [Accessed 24 August 2022].

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Tiger Stores Web Animations by Manuel Marsol (2009-2014)

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Tiger Stores Web Animations by Manuel Marsol (2009-2014)

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vimeo.com. (n.d.). Tiger Stores Web Animations by Manuel Marsol (2009-2014). [online] Available at: https://vimeo.com/182554722

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video combining mixed reality and artwork

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video combining mixed reality and artwork

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https://vimeo.com/182554722

vimeo.com. (n.d.). Tiger Stores Web Animations by Manuel Marsol (2009-2014). [online] Available at: https://vimeo.com/182554722.

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Tiger Stores Web Animations by Manuel Marsol (2009-2014)

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Some animations and illustrations (for web and tv screens at shops) I've done for Tiger Stores (2009-2014).

Music: "Let's go" by The Feelies.

www.manuelmarsol.com

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Academy Award for Best Documentary Feature Film 2019 |  American Factory, Steven Bognar, Julia Reichert and Jeff Reichert

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Academy Award for Best Documentary Feature Film 2019 |  American Factory, Steven Bognar, Julia Reichert and Jeff Reichert

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Netflix (2019). American Factory | Official Trailer | Netflix. YouTube. Available at: https://www.youtube.com/watch?v=m36QeKOJ2Fc.

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American Factory | Official Trailer | Netflix

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Academy Award for Best Documentary Feature Film 2020/2021  | My Octopus Teacher, Pippa Ehrlich, James Reed and Craig Foster

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Academy Award for Best Documentary Feature Film 2020/2021  | My Octopus Teacher, Pippa Ehrlich, James Reed and Craig Foster

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My Octopus Teacher | Official Trailer | Netflix

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Academy Award for Best Documentary Feature Film 2022  | SUMMER OF SOUL

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Academy Award for Best Documentary Feature Film 2022  | SUMMER OF SOUL

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"Winner of the Best Documentary Critics Choice Award as well as the Grand Jury Prize and Audience Award at the Sundance Film Festival, SUMMER OF SOUL (...OR, WHEN THE REVOLUTION COULD NOT BE TELEVISED) is an exhilarating experience. In his acclaimed debut as a filmmaker, Ahmir "Questlove" Thompson presents this powerful and transporting documentary that's part music film and part historical record, created around an epic event that celebrated Black history, culture and fashion. Over the course of six weeks in the summer of 1969, just one hundred miles south of Woodstock, The Harlem Cultural Festival was filmed in Mount Morris Park (now called Marcus Garvey Park). The footage was largely forgotten – until now. SUMMER OF SOUL shines a light on the importance of history to our spiritual well-being and stands as a testament to the healing power of music during times of unrest, both past and present. The film includes concert performances by music legends Stevie Wonder, Nina Simone, Sly & the Family Stone, Gladys Knight and the Pips, Mahalia Jackson, B.B. King, The 5th Dimension and more"

SearchlightPictures (2021). SUMMER OF SOUL | Official Trailer | In Theaters and on Hulu July 2. YouTube. Available at: https://www.youtube.com/watch?v=slFiJpAxZyQ [Accessed 4 July. 2022].

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SUMMER OF SOUL | Official Trailer | In Theaters and on Hulu July 2

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Academy Award for Best Documentary Feature Film(2017-2022)

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Academy Award for Best Documentary Feature Film(2017-2022)

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https://en.wikipedia.org/wiki/Academy_Award_for_Best_Documentary_Feature_Film

2017(90th) [10]
Icarus | Bryan Fogel and Dan Cogan

2018(91st)
Free Solo | Elizabeth Chai Vasarhelyi, Jimmy Chin, Evan Hayes, and Shannon Dill

2019(92nd)
American Factory | Steven Bognar, Julia Reichert and Jeff Reichert

2020/21(93rd)
My Octopus Teacher | Pippa Ehrlich, James Reed and Craig Foster

2021(94th)
Summer of Soul | Questlove, Joseph Patel, Robert Fyvolent and David Dinerstein

Excerpt From: Wikipedia. (2022). Academy Award for Best Documentary Feature Film. [online] Available at: https://en.wikipedia.org/wiki/Academy_Award_for_Best_Documentary_Feature_Film [Accessed 28 August 2022].

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Writing, Directing, and Producing Documentary Films and Digital Videos

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Writing, Directing, and Producing Documentary Films and Digital Videos

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"In a new edition of this popular guidebook, filmmakers Alan Rosenthal and Ned Eckhardt show readers how to utilize the latest innovations in equipment, technologies, and production techniques for success in the digital, web-based world of documentary film.

All twenty-four chapters of the volume have been revised to reflect the latest advances in documentary filmmaking. Rosenthal and Eckhardt discuss the myriad ways in which technological changes have impacted the creation process of documentary films, including how these evolving technologies both complicate and enrich filmmaking today. The book provides crucial insights for the filmmaker from the film’s conception to distribution of the finished film. Topics include creating dynamic proposals, writing narration, and navigating the murky world of contracts. Also included are many practical tips for first-time filmmakers. To provide context and to illustrate techniques, Rosenthal and Eckhardt reference more than one hundred documentaries in detail.

A new appendix, “Using the Web and Social Media to Prepare for Your Career,” guides filmmakers through the process of leveraging social media and crowdsourcing for success in filmmaking, fund-raising, and promotion. A day-to-day field manual packed with invaluable lessons, this volume is essential reading for both novice and experienced documentary filmmakers."

Excerpt From: zh.b-ok.cc. (n.d.). Writing, Directing, and Producing Documentary Films and Digital Videos | Alan Rosenthal, Ned Eckhardt | download. [online] Available at: https://zh.b-ok.cc/book/2860146/f02267 [Accessed 24 June 2022].

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Writing, Directing, and Producing Documentary Films and Digital Videos (Alan Rosenthal, Ned Eckhardt) (z-lib.org)

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During the summer vacation, I went to more places and tried to record some more videos to inspire me for my final film. I also spent a lot of time in different libraries and bookshops looking for more books for ideas, and I watched a lot of movies at night to see how others organise their ideas.

Tianling Xu(BG), 2022

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Chapter 2 BGM is some chords I played.

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Finally choose this sound as chapter 1 BGM

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Finally choose this sound as chapter 1 BGM

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Chapter 1 background music source, brought my ukulele with my flatmate to Cambridge and record what he played that while, love this riff.

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Tianling Xu(BG), 2022.

Different kind of music evoke different emotions to audience, I have recoded many sounds including my friend made, chords I played an some raw backgrounds, I tried many of them in the app to see the effect, but sometimes I don't know which one is the best, so seek for some other friends's help, asked them to listen and tell me how they feel, that did helped.

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Dear professors,

Throughout these 15months, I learnt a lot and I have made one year's illustration videos. I have found my direction of my future career with my tutors' guidance and my hardwork through 2021-2022. It's a great honour for me to spend this time with my tutors at UAL.

Thank you so much.

BG, 2022.

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https://vimeo.com/bgtlx
www.bgtlx.com
https://www.instagram.com/bgtlxart/

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Study MA illustration at Camberwell college of Arts, the University of the Arts London.

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31/10, 2022, wasn't sure of the chapter's name

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31/10, 2022, wasn't sure of the chapter's name

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Tianling Xu(BG), 2022

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01/11, 2022, wasn't sure of the briefs, changed many time.

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01/11, 2022, wasn't sure of the briefs, changed many time.

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Tianling Xu(BG), 2022

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film name struggling for days.

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Tianling Xu(BG), 2022

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Tianling Xu(BG), 2022

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Tianling Xu(BG), 2022

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Tianling Xu(BG), 2022

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Tianling Xu(BG), 2022

# data[].attributes.body
Tianling Xu(BG), 2022

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Tianling Xu(BG), 2022

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Tianling Xu(BG), 2022

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Tianling Xu(BG), 2022

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Tianling Xu(BG), 2022

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Tianling Xu(BG), 2022

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Tianling Xu(BG), 2022

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Tianling Xu(BG), 2022

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Tianling Xu(BG), 2022

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MP4 for brief, Tianling Xu(BG), 2022

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Boats and boating--Equipment and supplies

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pic for the brief

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Richmond Park, Tianling Xu(BG), 2022