Winner of the BAFTA Fellowship
Interview with MARTIN SCORSESE
Q.	Mr Scorsese, when Max von Sydow was describing you, and I will quote him exactly, as "the greatest American director of his generation", the camera -- you won't know this -- panned to you, and you looked quite emotional at that moment.  I take it that tonight is a night for you, full of emotion and joy?
MARTIN SCORSESE:  Well, it is, it is.  And I hadn't expected the emotional impact at that point, you know.  It is a long show and you are sitting there and it is quite ... and it is quite overwhelming to have Max von Sydow just there to give -- to present this award to you.  It is just an extraordinary thing.
And to think, too, when I go back to 1945/46, the first British films that I saw and how formative they were.  I keep using that word, "formative".  But that is what it means, it means that you're formed from that.  The work that you saw in clips comes from the inspiration that I saw at the age of five, six, seven, eight.  That, of course, and the American films and the Italian films.  But the British works -- the British films were a lifeblood to me; you know?
Q.	We are being broadcast all over the place just now.  I am getting questions in from viewers.
Katrina, who lives in the UK, asks whether we can expect from you, to see you make more family films, because clearly this has been an --
MARTIN SCORSESE:  Yes.  No, the Hugo film which came from the book, the Brian Selznick book, The Invention of Hugo Cabret.  I think it really comes from so much time I have been spending with my family, and we have a young daughter now, who is about 12.  She was about 9 or 10 when the picture started.  And so spending time with her and becoming part of her world, her imagination, her friends; and when you have a child late in life, it's -- it's a different -- a different kind of dynamic.  I have two older daughters.
But if a story comes along that I feel can be something which has a genuine emotion to it and that has a genuine sentiment, rather than sentimental, I think I would love to have the time to do one more.
Q.	Congratulations on your award.
MARTIN SCORSESE:  Thank you.
Q.	You worked with a number of British talents in Hugo, which is an amazing film.  Which other British talents have caught your eye, do you think are amazing at the moment?
MARTIN SCORSESE:  At the moment, I was -- I have been looking at, over the past year, a number of films.  The work of Andrea Arnold and of course Lynne Ramsay, the Kevin film, that was ... it was amazing.  And Joanna Hogg's film, Archipelago, and Kill List, Wheatley's picture.  Again, these films have -- I can't really ... the range, if you go from Archipelago to Kill List, I mean, it is quite something.
So for me, it is a constant, a constant -- and I have not even scratched the surface yet of all the ones I have to catch up with, you see; along with the British talent, Michael Fassbender and so many others.
Q.	The young lady from Bloomberg at the back?
MARTIN SCORSESE:  I don't know anything about money.  (Laughs).  Sorry.
Q.	No, I am the arts correspondent.
MARTIN SCORSESE:  Oh good, okay.
Q.	I just wondered if I could ask you to give an appraisal of The Artist, as a film historian and a great director yourself and a lover of cinema.  Here we have an excellent movie sweeping up all the awards.
MARTIN SCORSESE:  Yes.  It is always a tricky thing to talk about other people's films, but it is a film I admire greatly.  It is a charming film and I know that Michel really studied very much the silent cinema.  He was talking -- in Los Angeles, we were talking about Frank Borzage and Murnau and von Sternberg, although he was not interested in von Stroheim for some reason.  He had another reason.
But the film Greed, unfortunately, was so cut up that the final version of it now, there's so many stills for scenes that are missing that it breaks the visual rhythm, he felt.  But you could ask him that.
But we talked about that silent language of cinema and it is really interesting and I hope that a film like The Artist gets a younger generation back to the source too.  Because when you see a restored silent film, not the ones I saw when I was a kid, because when we were kids, the silent films we saw were jumpy and scratchy and you couldn't see any people's faces and it was duped.  But they've been restored.  The man who does such a wonderful job, of course, is Kevin Brownlow.  He is the one.
Once you get to see these things at their real -- how shall I put it? -- the real speed, the pace, the acting is a whole other language which I think you get a sense of in The Artist, and also the -- the rhythm and paciness.  Like music, you know.  It is quite extraordinary.
Q.	What is next for you, if I might ask?
MARTIN SCORSESE:  I am not sure yet.  Thank you.
Q.	You touched on the influence of your young daughter.  Does she have any sway?  Would she want you to do a music project?  I know you have done the Rolling Stones.  Who are her idols and her film idols?
MARTIN SCORSESE:  Oh.  She loves Alec Guinness, yes.  Yeah, it is fantastic because Alec Guinness.  Alastair Sim, but mainly Alec Guinness, I think.  She also loves Chaplin, she loves Grace Kelly.  But they don't realise.  When they're young enough, if you're showing these films, especially on a big screen, they think they are made yesterday.  They don't know, you see.  They get a sense of, maybe, the films, the black and white.  Well, maybe there is to something explain black and white is used sometimes, et cetera.
But she really reacted very strongly to Horse's Mouth and the Ladykillers, and goes around talking about them all the time; which is a favourite of mine too.  Chaplin, of course, Keaton, Harold Lloyd.  But primarily, we just showed her Giant, a film by George Stevens.  And of course, she sees the other films at the weekend, I guess, with her friends.  Not that -- I guess -- I know, certain films she has seen that -- But apparently you have to catch it on the first night, on Friday night, otherwise it is -- I don't know what happens.  I just don't know what happens.  It disappears, I guess.
I talked for long.  I have to go.
Q.	I'm told you have to be dragged off for photography.
MARTIN SCORSESE:  Oh!
Q.	When will you let her watch Taxi Driver?
MARTIN SCORSESE:  Oh!  That's a while yet.  That is a while.  Goodfellas too!  Okay, thank you, thank you.
(End of interview)