I HAVE BEEN TALKING TO MARTIN SCORSESE for two minutes and apparently the interview is already over. We’re discussing his most recent movie, Killers of the Flower Moon, which has been nominated for 10 Oscars, including a record 10th best director nomination for Scorsese. But he has been promoting the film since last April, he says. “For the most part, the reaction to the film is beyond encouraging. It’s very, very appreciated. However, I think I want to get back to making something as soon as possible. Like now. Right now. Today.”
Then he makes to get up from his chair and walk off. “Yes, right now. I’m going to leave right now.”
Er …
He sits back down and laughs heartily. “Nothing personal, nothing personal,” he says, as I barely suppress my relief. “No, it’s just that they say, ‘Well, you need to take a rest.’ Really? Time is an issue. Existence, non-existence, is an issue. So, alors, as they say.”
At an age when most film-makers would be retired or winding down (he turned 81 last November), Scorsese still has much to do – and the energy to do it. He almost seems to be ageing backwards. He continues to turn out ambitious – and epically long – movies: Killers of the Flower Moon is nearly three-and-a-half hours; its predecessor, The
