深度探访马丁·斯科塞斯丰富多彩的人生，包含他的私人档案，以及与亲友、传奇合作伙伴和这位具有远见的电影大师本人的深度对谈。

Director Martin Scorsese discusses his life growing up in Manhattan and his filmmaking career.

Amazing documentary shows rarely seen side of a master director. 1990 was a very good year for Martin Scorsese. After making a diverse group of films in the 80s, he reunited with Robert DeNiro for "Goodfellas" and later that year shot a segment for "New York Stories", an anthology film of three shorts by Scorsese, Woody Allen, and Francis Ford Coppola. During the editing, the French documentary series "Cinéma, de notre temps" filmed a documentary on the director, and it's a fascinating glimpse into his life, personality, and working habits as he edits his short with long-time collaborator Thelma Schoonmaker.

In this produced by Brett Ratner new retrospective documentary we hear from cast members and additional participants include Harvey Keitel, Leonardo DiCaprio and Terence Winter, creator of Boardwalk Empire and screenwriter of The Wolf of Wall Street. The program gives us thoughts about Scorsese's approach to the material, casting, characters, and performances, costumes and period details, photography, music, and retrospective thoughts about the film. It is filled with memorable stories and observations from a wide array of commentators.

这是著名导演马丁·斯科西斯用四个多小时长度的影片所写的个人电影教科书，同时也是他的个人电影传记兼创作评论，主题是他个人对意大利和意大利电影的感受，从斯科西斯家族的美国移民史，连结到意大利战后电影史，从新现实主义罗塞里尼的《德意志零年》，到安东尼奥尼和费里尼的《八又二分之一》等。斯科西斯向观众展示了他对电影的热情，他认为让更多人对电影感兴趣的最好方式就是将自己的狂热经验与他人分享。

在本部纪录片中，马丁·斯克西斯以文森特·明尼里的《玉女奇遇》开场，向我们抛掷导演与制片人之间永恒的矛盾，进而引出影片的第一部分《导演的两难境地》；《导演是讲故事者》分别介绍了美国三大类型片：西部片、警匪片和歌舞片；《导演是魔术师》则介绍电影的视觉手法和特效等；《导演像走私犯》里介绍他所喜爱的几位导演和其作品；《导演应打破旧习》更是谈及多位举足轻重的知名导演。马丁·斯克西斯通过对老电影片段的剪辑和对人物的访谈，面对镜头侃侃而谈，就像开篇所说：“电影就是疾病，就像吸毒一样。解决之道，就是拍更多的电影”。 在将近四个小时的光影中，马丁·斯克西斯以其独特的风格，向我们介绍了六十年代的美国电影，尤其是他所钟爱的影片以及导演，带领我们一起走进他的美国电影之旅。

Notes on an American Film Director at Work: Martin Scorsese de Jonas Mekas États-Unis, 2005, vidéo, 80’, coul., vostf Jonas Mekas filme Martin Scorsese sur le tournage des Infiltrés. « J’ai rencontré Martin Scorsese quand il était encore un étudiant en cinéma à l’université de New York. Il venait à mes projections. Mais notre amitié a commencé quand il a fait son premier long métrage, Who’s That Knocking at My Door ? Mon frère Adolfas, Shirley Clarke et moi, on a rejoint Marty pour une émission radio de deux heures pour lancer son film. Nous avons passé un très bon moment. J’ai toujours la cassette. On m’a demandé de faire un film de dix minutes sur Marty pour introduire sa rétrospective au Centre Pompidou en 2005. À ce moment-là, Marty était en train de tourner Les Infiltrés. Je lui ai demandé si je pouvais le suivre une semaine ou deux, et il a accepté. C’est ainsi que le film s’est fait. Sebastian, mon fils, m'a rejoint avec une seconde caméra. J’ai fait une version courte, puis une plus longue. Comme j'étais très occupé par d’autres projets, j’ai demandé à Benn Northover, l’un de mes amis, de m'aider à le monter – j’avais quinze heures de rushes – et nous nous sommes beaucoup amusés parce que nous aimons tous Marty. C’est un film de chambre, un hommage personnel à un ami. » Jonas Mekas

故事基于真实事件改编，聚焦于夏威夷动荡时期，一位有抱负的黑帮头目与竞争的犯罪集团激烈斗争，争夺夏威夷地下世界的控制权。在20世纪60-70年代的夏威夷，强大而富有魅力的黑帮头目崛起，建立了群岛上最强大的犯罪帝国，展开了一场残酷的战争，抗击来自美国本土的企业和竞争性犯罪集团，同时力图保护自己的土地。

佛兰迪米尔（罗宾威廉斯）是莫斯科马戏团中的萨克斯风手，虽然与家人朋友快乐的生活在莫斯科，但是他心中仍有点抑郁难伸。 一日，他随马戏团到纽约巡回演出，很快的，便被大都会五光十色的生活所吸引，于是在随团员前往纽约最大百货公司购物时，他在百货公司里突然宣布要投诚。 好心的黑人警卫收留了佛兰迪米尔，随著日子一天天的过去，他发觉从苏联公民转变成美国公民的过程，并不如他想像的容易，有时候是很痛苦、很寂寞的。还好在朋友们的帮助下，佛兰迪米尔在布莱顿海滩找到了萨克斯风手的工作，一步一步的实现了他的美国梦。

"The Countess Cosel" is based on the true story of the beautiful Anna Constantia von Brockdorff, a German noblewoman who became mistress of Augustus the Strong, King of Poland and Elector of Saxony in 1704. Against the backdrop of life at Augustus' court the movie follows the arrival at Dresden of 24-year-old Anna Constantia von Brockdorff, who is an inordinately beautiful and scrupulously devout young married woman; her romance with the king and her "ten year reign" as his mistress - a role she consents to in the belief that she has won the king's love and commitment; and finally, her heartbreak, disillusion and struggle against him. The conflict between Anna and the king arises from the fact that Anna takes seriously not only the relationship, but the written promise of marriage which she manages to secure from him during their courtship. Neither the relationship nor the contract is held in much esteem by Augustus, who replaces her, as he has always done, with another mistress, as soon as she loses for him the charm of novelty. Her valiant refusal to return the marriage promissory note upon request enrages him and delivers her to her miserable fate.