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	<title>Martin Scorsese Archives • Cinephilia &amp; Beyond</title>
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		<title>Approaching Menace: The American Pathology of Martin Scorsese’s ‘Taxi Driver’—Revisiting a Masterpiece on Its 50th Anniversary</title>
		<link>https://cinephiliabeyond.org/approaching-menace-the-american-pathology-of-martin-scorseses-taxi-driver/</link>
					<comments>https://cinephiliabeyond.org/approaching-menace-the-american-pathology-of-martin-scorseses-taxi-driver/#comments</comments>
		
		<dc:creator><![CDATA[cinephiliabeyond]]></dc:creator>
		<pubDate>Sat, 07 Feb 2026 13:54:01 +0000</pubDate>
				<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Documentary]]></category>
		<category><![CDATA[Editing]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interview]]></category>
		<category><![CDATA[Screenwriting 101]]></category>
		<category><![CDATA[Bernard Herrmann]]></category>
		<category><![CDATA[Cybill Shepherd]]></category>
		<category><![CDATA[Jodie Foster]]></category>
		<category><![CDATA[Marcia Lucas]]></category>
		<category><![CDATA[Martin Scorsese]]></category>
		<category><![CDATA[Melvin Shapiro]]></category>
		<category><![CDATA[Michael Chapman]]></category>
		<category><![CDATA[Paul Schrader]]></category>
		<category><![CDATA[Robert De Niro]]></category>
		<category><![CDATA[Taxi Driver]]></category>
		<category><![CDATA[Tim Pelan]]></category>
		<category><![CDATA[Tom Rolf]]></category>
		<guid isPermaLink="false">https://cinephiliabeyond.org/?p=32914</guid>

					<description><![CDATA[<p>Taxi Driver poster art by Tony Stella https://www.tony-stella.com/ &#160; Loneliness has followed me my whole life, everywhere. In bars, in [&#8230;]</p>
The post <a href="https://cinephiliabeyond.org/approaching-menace-the-american-pathology-of-martin-scorseses-taxi-driver/">Approaching Menace: The American Pathology of Martin Scorsese’s ‘Taxi Driver’—Revisiting a Masterpiece on Its 50th Anniversary</a> appeared first on <a href="https://cinephiliabeyond.org">Cinephilia & Beyond</a>.]]></description>
		
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		<title>Paradise Lost: How Martin Scorsese&#8217;s &#8216;Casino&#8217; Charts the Rise and Fall of a Criminal Empire—Revisiting a Masterpiece on Its 30th Anniversary</title>
		<link>https://cinephiliabeyond.org/casino/</link>
					<comments>https://cinephiliabeyond.org/casino/#respond</comments>
		
		<dc:creator><![CDATA[cinephiliabeyond]]></dc:creator>
		<pubDate>Sat, 22 Nov 2025 17:59:15 +0000</pubDate>
				<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interview]]></category>
		<category><![CDATA[Screenwriting]]></category>
		<category><![CDATA[Screenwriting 101]]></category>
		<category><![CDATA[Casino]]></category>
		<category><![CDATA[Don Rickles]]></category>
		<category><![CDATA[Joe Pesci]]></category>
		<category><![CDATA[Martin Scorsese]]></category>
		<category><![CDATA[Nicholas Pileggi]]></category>
		<category><![CDATA[Robert De Niro]]></category>
		<category><![CDATA[Robert Richardson]]></category>
		<category><![CDATA[Sharon Stone]]></category>
		<category><![CDATA[Thelma Schoonmaker]]></category>
		<category><![CDATA[Tim Pelan]]></category>
		<guid isPermaLink="false">https://cinephiliabeyond.org/?p=39761</guid>

					<description><![CDATA[<p>&#160; By Tim Pelan &#160; This story has to be on a big canvas. There’s no sense in my getting [&#8230;]</p>
The post <a href="https://cinephiliabeyond.org/casino/">Paradise Lost: How Martin Scorsese’s ‘Casino’ Charts the Rise and Fall of a Criminal Empire—Revisiting a Masterpiece on Its 30th Anniversary</a> appeared first on <a href="https://cinephiliabeyond.org">Cinephilia & Beyond</a>.]]></description>
		
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		<title>Play for Play: How The Color of Money’s ‘One For Them’ Assignment Reignited Martin Scorsese’s Hunger for the Work</title>
		<link>https://cinephiliabeyond.org/the-color-of-money/</link>
					<comments>https://cinephiliabeyond.org/the-color-of-money/#comments</comments>
		
		<dc:creator><![CDATA[cinephiliabeyond]]></dc:creator>
		<pubDate>Fri, 17 Oct 2025 16:57:47 +0000</pubDate>
				<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interview]]></category>
		<category><![CDATA[Screenwriting]]></category>
		<category><![CDATA[Martin Scorsese]]></category>
		<category><![CDATA[Mary Elizabeth Mastrantonio]]></category>
		<category><![CDATA[Michael Ballhaus]]></category>
		<category><![CDATA[Paul Newman]]></category>
		<category><![CDATA[Richard Price]]></category>
		<category><![CDATA[The Color of Money]]></category>
		<category><![CDATA[Thelma Schoonmaker]]></category>
		<category><![CDATA[Tim Pelan]]></category>
		<category><![CDATA[Tom Cruise]]></category>
		<guid isPermaLink="false">https://cinephiliabeyond.org/?p=38059</guid>

					<description><![CDATA[<p>&#160; By Tim Pelan &#160; After &#8216;The Last Temptation&#8216; was cancelled in ’83, I had to get myself back in [&#8230;]</p>
The post <a href="https://cinephiliabeyond.org/the-color-of-money/">Play for Play: How The Color of Money’s ‘One For Them’ Assignment Reignited Martin Scorsese’s Hunger for the Work</a> appeared first on <a href="https://cinephiliabeyond.org">Cinephilia & Beyond</a>.]]></description>
		
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		<title>‘After Hours’ at 40: Celebrating Scorsese’s Kafka-Inspired New York Odyssey</title>
		<link>https://cinephiliabeyond.org/after-hours/</link>
					<comments>https://cinephiliabeyond.org/after-hours/#comments</comments>
		
		<dc:creator><![CDATA[Sven Mikulec]]></dc:creator>
		<pubDate>Thu, 11 Sep 2025 21:28:39 +0000</pubDate>
				<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Documentary]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Screenwriting]]></category>
		<category><![CDATA[Screenwriting 101]]></category>
		<category><![CDATA[Catherine O'Hara]]></category>
		<category><![CDATA[Griffin Dunne]]></category>
		<category><![CDATA[Howard Shore]]></category>
		<category><![CDATA[Joe Frank]]></category>
		<category><![CDATA[John Heard]]></category>
		<category><![CDATA[Joseph Minion]]></category>
		<category><![CDATA[Koraljka Suton]]></category>
		<category><![CDATA[Linda Fiorentino]]></category>
		<category><![CDATA[Martin Scorsese]]></category>
		<category><![CDATA[Michael Ballhaus]]></category>
		<category><![CDATA[Rosanna Arquette]]></category>
		<category><![CDATA[Teri Garr]]></category>
		<category><![CDATA[Thelma Schoonmaker]]></category>
		<category><![CDATA[Verna Bloom]]></category>
		<guid isPermaLink="false">https://cinephiliabeyond.org/?p=47485</guid>

					<description><![CDATA[<p>&#160; By Koraljka Suton &#160; &#8216;After Hours&#8217; was like an independent film. It was shorter and cheaper. I just wanted [&#8230;]</p>
The post <a href="https://cinephiliabeyond.org/after-hours/">‘After Hours’ at 40: Celebrating Scorsese’s Kafka-Inspired New York Odyssey</a> appeared first on <a href="https://cinephiliabeyond.org">Cinephilia & Beyond</a>.]]></description>
		
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			<slash:comments>1</slash:comments>
		
		
			</item>
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		<title>‘The Last Temptation of Christ’ As a Testament to and an Exploration of Scorsese&#8217;s Own Faith</title>
		<link>https://cinephiliabeyond.org/the-last-temptation-of-christ/</link>
					<comments>https://cinephiliabeyond.org/the-last-temptation-of-christ/#comments</comments>
		
		<dc:creator><![CDATA[cinephiliabeyond]]></dc:creator>
		<pubDate>Tue, 12 Aug 2025 12:18:48 +0000</pubDate>
				<category><![CDATA[Cinematography]]></category>
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		<category><![CDATA[Interview]]></category>
		<category><![CDATA[Screenwriting 101]]></category>
		<category><![CDATA[Barbara Hershey]]></category>
		<category><![CDATA[David Bowie]]></category>
		<category><![CDATA[Harvey Keitel]]></category>
		<category><![CDATA[Jay Cocks]]></category>
		<category><![CDATA[Koraljka Suton]]></category>
		<category><![CDATA[Martin Scorsese]]></category>
		<category><![CDATA[Michael Ballhaus]]></category>
		<category><![CDATA[Nikos Kazantzakis]]></category>
		<category><![CDATA[Paul Schrader]]></category>
		<category><![CDATA[The Last Temptation of Christ]]></category>
		<category><![CDATA[Thelma Schoonmaker]]></category>
		<category><![CDATA[Willem Dafoe]]></category>
		<guid isPermaLink="false">https://cinephiliabeyond.org/?p=38438</guid>

					<description><![CDATA[<p>&#160; By Koraljka Suton &#160; Ever since he was a little boy, director Martin Scorsese wanted to make a movie [&#8230;]</p>
The post <a href="https://cinephiliabeyond.org/the-last-temptation-of-christ/">‘The Last Temptation of Christ’ As a Testament to and an Exploration of Scorsese’s Own Faith</a> appeared first on <a href="https://cinephiliabeyond.org">Cinephilia & Beyond</a>.]]></description>
		
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			<slash:comments>1</slash:comments>
		
		
			</item>
		<item>
		<title>‘Kundun’: Martin Scorsese’s Serene Meditation on the Transient Nature of Life</title>
		<link>https://cinephiliabeyond.org/kundun/</link>
					<comments>https://cinephiliabeyond.org/kundun/#respond</comments>
		
		<dc:creator><![CDATA[cinephiliabeyond]]></dc:creator>
		<pubDate>Wed, 15 Jan 2025 11:46:10 +0000</pubDate>
				<category><![CDATA[Cinematography]]></category>
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		<category><![CDATA[Barbara DeFina]]></category>
		<category><![CDATA[Koraljka Suton]]></category>
		<category><![CDATA[Kundun]]></category>
		<category><![CDATA[Martin Scorsese]]></category>
		<category><![CDATA[Melissa Mathison]]></category>
		<category><![CDATA[Roger Deakins]]></category>
		<category><![CDATA[Thelma Schoonmaker]]></category>
		<guid isPermaLink="false">https://cinephiliabeyond.org/?p=39036</guid>

					<description><![CDATA[<p>&#160; By Koraljka Suton &#160; It is no secret that Martin Scorsese is a devoutly religious man. His life-long quest [&#8230;]</p>
The post <a href="https://cinephiliabeyond.org/kundun/">‘Kundun’: Martin Scorsese’s Serene Meditation on the Transient Nature of Life</a> appeared first on <a href="https://cinephiliabeyond.org">Cinephilia & Beyond</a>.]]></description>
		
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		<item>
		<title>The Cinematic Legacy of Donald E. Westlake</title>
		<link>https://cinephiliabeyond.org/the-cinematic-legacy-of-donald-e-westlake/</link>
					<comments>https://cinephiliabeyond.org/the-cinematic-legacy-of-donald-e-westlake/#respond</comments>
		
		<dc:creator><![CDATA[cinephiliabeyond]]></dc:creator>
		<pubDate>Wed, 12 Jun 2024 21:57:25 +0000</pubDate>
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		<category><![CDATA[Donald E. Westlake]]></category>
		<category><![CDATA[Koraljka Suton]]></category>
		<category><![CDATA[Martin Scorsese]]></category>
		<category><![CDATA[Mise à sac]]></category>
		<category><![CDATA[Parker]]></category>
		<category><![CDATA[Point Blank]]></category>
		<category><![CDATA[Richard Stark]]></category>
		<category><![CDATA[The Grifters]]></category>
		<category><![CDATA[The Hot Rock]]></category>
		<category><![CDATA[The Outfit]]></category>
		<category><![CDATA[The Stepfather]]></category>
		<category><![CDATA[Tomorrow Never Dies]]></category>
		<guid isPermaLink="false">https://cinephiliabeyond.org/?p=52842</guid>

					<description><![CDATA[<p>&#160; June 12, 2024 &#160; By Koraljka Suton &#160; I subscribe basically to the theory that a movie is not [&#8230;]</p>
The post <a href="https://cinephiliabeyond.org/the-cinematic-legacy-of-donald-e-westlake/">The Cinematic Legacy of Donald E. Westlake</a> appeared first on <a href="https://cinephiliabeyond.org">Cinephilia & Beyond</a>.]]></description>
		
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		<title>Scorsese’s Sexless Period Drama ‘The Age of Innocence’ as a Visceral Depiction of Emotional Starvation and Internalized Violence</title>
		<link>https://cinephiliabeyond.org/the-age-of-innocence/</link>
					<comments>https://cinephiliabeyond.org/the-age-of-innocence/#respond</comments>
		
		<dc:creator><![CDATA[Sven Mikulec]]></dc:creator>
		<pubDate>Tue, 31 May 2022 23:25:57 +0000</pubDate>
				<category><![CDATA[Cinematography]]></category>
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		<category><![CDATA[Daniel Day-Lewis]]></category>
		<category><![CDATA[Edith Wharton]]></category>
		<category><![CDATA[Elmer Bernstein]]></category>
		<category><![CDATA[Geraldine Chaplin]]></category>
		<category><![CDATA[Jay Cocks]]></category>
		<category><![CDATA[Joanne Woodward]]></category>
		<category><![CDATA[Koraljka Suton]]></category>
		<category><![CDATA[Martin Scorsese]]></category>
		<category><![CDATA[Michael Ballhaus]]></category>
		<category><![CDATA[Michelle Pfeiffer]]></category>
		<category><![CDATA[Robert Sean Leonard]]></category>
		<category><![CDATA[Thelma Schoonmaker]]></category>
		<category><![CDATA[Winona Ryder]]></category>
		<guid isPermaLink="false">https://cinephiliabeyond.org/?p=47032</guid>

					<description><![CDATA[<p>&#160; May 31, 2022 &#160; By Koraljka Suton &#160; When asked back in 1993 what the most violent movie he [&#8230;]</p>
The post <a href="https://cinephiliabeyond.org/the-age-of-innocence/">Scorsese’s Sexless Period Drama ‘The Age of Innocence’ as a Visceral Depiction of Emotional Starvation and Internalized Violence</a> appeared first on <a href="https://cinephiliabeyond.org">Cinephilia & Beyond</a>.]]></description>
		
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		<title>And Unto Dust We Shall Return: On Martin Scorsese’s &#8216;The Irishman&#8217;</title>
		<link>https://cinephiliabeyond.org/the-irishman/</link>
					<comments>https://cinephiliabeyond.org/the-irishman/#respond</comments>
		
		<dc:creator><![CDATA[cinephiliabeyond]]></dc:creator>
		<pubDate>Tue, 24 Nov 2020 02:41:33 +0000</pubDate>
				<category><![CDATA[Cinematography]]></category>
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		<category><![CDATA[Reviews]]></category>
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		<category><![CDATA[Al Pacino]]></category>
		<category><![CDATA[Harvey Keitel]]></category>
		<category><![CDATA[Joe Pesci]]></category>
		<category><![CDATA[Martin Scorsese]]></category>
		<category><![CDATA[Robert De Niro]]></category>
		<category><![CDATA[Rodrigo Prieto]]></category>
		<category><![CDATA[Steven Zaillian]]></category>
		<category><![CDATA[Thelma Schoonmaker]]></category>
		<guid isPermaLink="false">https://cinephiliabeyond.org/?p=40182</guid>

					<description><![CDATA[<p>&#160; By Theo Zenou This review contains spoilers. &#160; The Irishman, Martin Scorsese’s hyped return to the gangster genre, is [&#8230;]</p>
The post <a href="https://cinephiliabeyond.org/the-irishman/">And Unto Dust We Shall Return: On Martin Scorsese’s ‘The Irishman’</a> appeared first on <a href="https://cinephiliabeyond.org">Cinephilia & Beyond</a>.]]></description>
		
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		<title>Scorsese On the Ropes: The ‘Kamikaze’ Film-Making of ‘Raging Bull’</title>
		<link>https://cinephiliabeyond.org/raging-bull/</link>
					<comments>https://cinephiliabeyond.org/raging-bull/#comments</comments>
		
		<dc:creator><![CDATA[cinephiliabeyond]]></dc:creator>
		<pubDate>Sat, 14 Nov 2020 09:13:07 +0000</pubDate>
				<category><![CDATA[Cinematography]]></category>
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		<category><![CDATA[Interview]]></category>
		<category><![CDATA[Screenwriting 101]]></category>
		<category><![CDATA[Frank Warner]]></category>
		<category><![CDATA[Jake LaMotta]]></category>
		<category><![CDATA[Mardik Martin]]></category>
		<category><![CDATA[Martin Scorsese]]></category>
		<category><![CDATA[Michael Chapman]]></category>
		<category><![CDATA[Paul Schrader]]></category>
		<category><![CDATA[Raging Bull]]></category>
		<category><![CDATA[Robert De Niro]]></category>
		<category><![CDATA[Thelma Schoonmaker]]></category>
		<category><![CDATA[Tim Pelan]]></category>
		<guid isPermaLink="false">https://cinephiliabeyond.org/?p=35333</guid>

					<description><![CDATA[<p>&#160; By Tim Pelan &#160; Scorsese’s Raging Bull is not your dad&#8217;s boxing movie. It&#8217;s certainly not a story of [&#8230;]</p>
The post <a href="https://cinephiliabeyond.org/raging-bull/">Scorsese On the Ropes: The ‘Kamikaze’ Film-Making of ‘Raging Bull’</a> appeared first on <a href="https://cinephiliabeyond.org">Cinephilia & Beyond</a>.]]></description>
		
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