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"Martin Scorsese" exhibition features items from Ransom Center

Makeup stills from "Raging Bull."
Makeup stills from "Raging Bull."

Martin Scorsese’s influential filmmaking legacy is the focus of a new exhibition, aptly titled Martin Scorsese, at the Deutsche Kinemathek—Museum für Film und Fernsehen in Berlin. The exhibition, which opened in January and runs through May 12, purports to examine “the rich spectrum of Scorsese’s oeuvre,” including his sources of inspiration, working methods, and lasting contributions to American cinema. The Ransom Center loaned 19 items from the Robert De Niro and Paul Schrader archives to supplement materials from Scorsese’s private collection. Together, they constitute the first international exhibition about Scorsese.

Martin Charles Scorsese grew up in New York’s Little Italy neighborhood in the 1950s, surrounded by a large Italian family and the high-pressure world faced by working-class immigrants. While life on the streets proceeded according to the rules of local gangsters, Scorsese’s asthma kept him largely confined to the house; he followed the outside world from his perch at the window. His older brother Frank recalls: “Marty had a tough childhood. But I used to keep him close. Take him to movies.”

The role of family, blood kin or otherwise, has been a central theme in Scorsese’s works, starting with the short films he made as a student. Throughout his career, he repeatedly cast family members as extras. Brotherly relationships are particularly prominent in Scorsese films, perhaps a product of growing up with tight bonds to his own brothers, or of the close partnerships he had with friends like Robert De Niro. For example, Scorsese’s 1980 film Raging Bull features brothers Jake La Motta (Robert De Niro) and Joey (Joe Pesci) as a New York boxer and his manager, respectively. Six Ransom Center items related to Raging Bull appear in the exhibition, including De Niro’s boxing gloves and trunks, and makeup test photographs with De Niro’s annotations.

Keychain used in "Cape Fear" by Robert De Niro. Photo by Pete Smith.
Keychain used in "Cape Fear" by Robert De Niro. Photo by Pete Smith.

Scorsese’s extensive knowledge of film history has undoubtedly reinforced his talents as a filmmaker. His 1991 remake of Cape Fear, originally a 1962 thriller directed by J. Lee Thompson, was met with positive critical reception, even inspiring a parody episode of The Simpsons. De Niro received Academy Award and Golden Globe nominations for Best Actor for his role in the film. Five items related to Cape Fear are featured at the Deutsche Kinemathek.

The exhibition pays tribute not only to Scorsese’s legacy as an American cinematic icon, but also to his commitment to the preservation of our international film heritage. The items on display are a testament to the enduring presence of film history as a referential guide for the ever-changing medium.

Gobsmacked: Professor Recounts Class’s Tour of the Ransom Center

Jacket worn by Robert De Niro in 'Taxi Driver' from the Paul Schrader collection.
Jacket worn by Robert De Niro in 'Taxi Driver' from the Paul Schrader collection.

In October, University of Texas at Austin Psychology Professor Marc Lewis brought his freshman Plan II Honors class on a trip to the Ransom Center. Professor Lewis has won numerous teaching awards, including the Regents’ Outstanding
Teaching
Award and the President’s Associates Teaching Excellence Award. Below, Professor Lewis writes about his class’s private tour of the Ransom Center, led by Director Thomas F. Staley.
 

Page from the Shakespeare First Folio.
Page from the Shakespeare First Folio.

Over 30 years of teaching, I can remember many occasions where students were excited and interested, but my Plan II Honors Signature class’s visit to the Ransom Center on October 4 marks the first time that I have heard audible gasps of astonishment. The class arrived with high expectations, knowing that even among the “gems of the university,” the Ransom Center is unique. They had ordered an eclectic collection of treasures to view: the original manuscript of Arthur Conan Doyle’s “A Scandal in Bohemia,” a Shakespeare first folio, Robert De Niro’s jacket from Taxi Driver, Volume 1 of the 1609 Douay Old Testament, original notes from a Woodward and Bernstein interview with Deep Throat, Abraham Ortelius’s 500-year-old map of the New World, a set of original architectural drawings by Frank Lloyd Wright, and various other rare items. The students came expecting that those exhibits would be the highlight of the day; what they did not expect was that the real magic would be a talk by Director Tom Staley followed by a personal tour of the closed, nonpublic sections of the building.

These freshmen students knew what they experiencing. As one student wrote afterwards: “Walking through rooms filled with original movie posters, books filled with presidential autographs, and other priceless historical artifacts spread casually along shelves was incredible in and of itself, but the places and people Dr. Staley took us to were even more remarkable. Seemingly without ever planning to do so, he showed us the full scope of the Ransom Center’s activities and their significance, everything from the meticulous preservation of the cover from a first edition of The Great Gatsby to colorful sketches of Macy’s parade floats from 40 or 50 years ago.”

Another student was as struck by the excitement of the Center as fully as he was by the items: “Having a backstage pass with Director Tom Staley as guide was a spectacular experience. Simply observing his reactions to the artifacts we saw being restored revealed to me the passion that goes into maintaining this Center.”

Conservator Ken Grant works in the paper lab, consolidating the paint layer on designer Norman Bel Geddes’s 1926 drawing for floats and participants in Macy’s parade. The drawing will be included in an upcoming exhibition on Bel Geddes, with support generously provided by an FAIC/Tru Vue Optium® Conservation Grant. Photo by Kelsey McKinney.
Conservator Ken Grant works in the paper lab, consolidating the paint layer on designer Norman Bel Geddes’s 1926 drawing for floats and participants in Macy’s parade. The drawing will be included in an upcoming exhibition on Bel Geddes, with support generously provided by an FAIC/Tru Vue Optium® Conservation Grant. Photo by Kelsey McKinney.

And: “Around a corner, we encountered an original poster for the 1962 film adaptation of To Kill a Mockingbird—you just don’t find this sort of thing anywhere else. Sometime later in the trip, we were taken to a room where an ancient map a dozen-and-a-half feet long was undergoing a preservation process. You see this sort of artifact on the Discovery Channel and think, ‘Oh, that’s neat!’ but it is only when you see it first-hand that you get a true appreciation for the talent, dedication, and effort that goes into it all.”

Other students commented on the way that the Ransom Center’s collections connect the dots to show artistic flows of thought: “The Ransom Center’s pursuit of an understanding of the creative process and the artistic mind made me completely rethink the process of bringing together collections of art and writing.”

These students had never seen anything like the Ransom Center, and I am pleased that they were wise enough to understand how rare an opportunity they were given. I understood that opportunity as well, and I am not embarrassed to admit that my own jaw dropped more than once during the visit. What an astounding afternoon.

Screenwriter Paul Schrader’s papers open for research

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In the late 1970s, screenwriter Paul Schrader began writing a script titled Born in the U.S.A., and he asked Bruce Springsteen to write a song for the film. The script sat on Springsteen’s table until one day, while working on a song called “Vietnam,” he noticed Schrader’s script, sang the title, and “Born in the U.S.A.” became the hit title song of one of Springsteen’s best-selling albums. Springsteen eventually wrote a new song for the script, which Schrader renamed Light of Day (1987).

Drafts of Schrader’s Born in the U.S.A. and Light of Day scripts and correspondence between Schrader and Springsteen are just a few of the many highlights found in Schrader’s archive, which opens for research today at the Ransom Center.

From drafts of the Taxi Driver (1976) screenplay to Schrader’s baby book, from an outline for Raging Bull (1980) to letters from Schrader’s parents, the archive encompasses Schrader’s career and personal life.

Photographs abound in the archive. Of particular note are film stills, on-set photos, and publicity shots for Taxi Driver, the film that launched Schrader’s career. One photo shows Schrader and a young Jodie Foster at the Cannes Film Festival, and another shows Schrader, Martin Scorsese, and Robert De Niro laughing on set. Invoking De Niro’s Taxi Driver character Travis Bickle, Scorsese inscribed a photo of him with Schrader: “From one Travis to another.” In an e-mail, Schrader wrote that he felt like a Travis Bickle “at one time.”

Immediately following Jaws’s blockbuster success, Steven Spielberg asked Schrader to write a screenplay for what would become Close Encounters of the Third Kind (1977). Spielberg read Schrader’s script, but they didn’t agree on how the story should progress. Spielberg ended up writing the script himself, but drafts and notes for Schrader’s version are included in his archive.

In the mid-1980s, Bob Dylan asked Schrader to direct a music video shot in Japan for his song “Tight Connection to My Heart.” Unhappy with the result, Schrader later called the video “a source of embarrassment.” In addition to scripts, photographs, and film documenting the video production, Schrader’s archive includes a 2002 letter to an executive at Sony in which Schrader looks back on the project 16 years later:

“It was a disaster. Bob had asked me to do it but I really didn’t ‘get’ the new music video language. He didn’t want to do it and by the middle of the shoot I didn’t want to do it. I remember saying to him at one point, ‘Bob, if you ever hear I’m making another music video, just take me out in the back yard and hose me down.’”

When asked how he felt about his archive opening to the public, Schrader responded, “I hope to be too busy to even give it a thought.”

Production still of Paul Schrader, Martin Scorsese, and Robert De Niro on the set of 'Taxi Driver' (1976).
Production still of Paul Schrader, Martin Scorsese, and Robert De Niro on the set of 'Taxi Driver' (1976).

Fellows Find: Analyzing the fight scenes from "Raging Bull"

Paul Schrader's outline for the 1980 film 'Raging Bull.'
Paul Schrader's outline for the 1980 film 'Raging Bull.'

Leger Grindon is a professor of film and media culture at Middlebury College where he has taught since 1987.  He is the author of Knockout:  the Boxer and Boxing in American Cinema (University Press of Mississippi, 2011), Hollywood Romantic Comedy:  Conventions, History and Controversies (Wiley-Blackwell, 2011) and Shadows on the Past:  Studies in the Historical Fiction Film (Temple University Press, 1994).  Grindon spent time working in the Robert De Niro collection in July on a Robert De Niro Fellowship.  He is preparing an essay, “Filming the Fights in Raging Bull,” for a forthcoming critical anthology on the films of Martin Scorsese edited by Aaron Baker and to be published by Wiley-Blackwell.

The object of my research was the film Raging Bull (1980). Robert De Niro’s performance in the film earned him an Academy Award for Best Actor. I was particularly interested in the evolution of the nine boxing sequences in the film. With that in mind, I carefully examined five different screenplay drafts that were among the De Niro papers. These drafts by Emmett Clary, Mardik Martin, Paul Schrader, Robert De Niro, and Martin Scorsese demonstrated the development in thinking about the filming of the various boxing sequences and how they would be integrated into the other dramatic action in the movie.

Jake La Motta, the subject of the film, had 106 professional fights, so the question arises as to why these particular fights were chosen? As a result of my research in the archive, I now have a much clearer picture of the development and meaning of these choices. I was also able to get a better picture of how the staging of the fights changed over the course of the various screenplays. One lasting impression of my work in the archive was that the filmmakers of Raging Bull never stopped making adjustments and changes in their conception of the film. The notes I reviewed on the adjustments made in the final shooting script were illuminating. Furthermore, I was able to look at the many storyboard drawings of the boxing sequences. Some of the boxing sequences have more than 100 drawings and diagrams that were made in preparation for the filming. One sequence has only one drawing. These drawings, diagrams for figure and camera movement, and other notes, give me considerable insight into the planning, conception, and execution of these sequences. I have also received more than 50 photocopied pages from various screenplay drafts and storyboard images from the archives. I will continue to consult them while writing my forthcoming essay.

In the galleries: Russell Banks adapts to a word processor

Russell Banks's notes about his early experiences writing on a word processor.
Russell Banks's notes about his early experiences writing on a word processor.
Today it seems, with iPads and hybrid cars and 3-D blockbusters, technology advancements are, quite literally, right in our faces. Almost jaded by the constant onslaught, we expect constant development and easily adapt, rarely finding ourselves bewildered by new devices. This, however, was not always so.

American author Russell Banks’s 1989 novel Affliction, which in early drafts he titled “Dead of Winter,” was his first attempt to construct a work of fiction on a word processor. Used to typewriters or even plain pencil and paper, the word processor, with its editing capabilities such as formatting or spell check, offered a completely new experience.

In a page of typed notes on display in the Ransom Center’s current exhibition, Culture Unbound: Collecting in the Twenty-First Century, Banks reveals his early experiences using the word processor. He starts off by writing in all caps: “STILL VERY MUCH LEARNING TO THINK ON THIS MACHINE.” Banks reflects on the “strange experience” and how the technology alters his outlook on the writing process.

For Banks, the word processor made it seem as if productivity was non-existent. He writes: “The simple mechanics of the task get in the way right now, but surely no more than the simple mechanics of pencil and paper. Since there is no object, no product on paper emerging as I go, there seems to be no activity. That’s the greatest difference at present. This is not quite thinking and not quite writing, either, but something in between—until printed.”

In the diary-like notes, Banks indulges himself with such observations “to work out how to use the thing to do the thing.” Those observations must have helped: Banks published Affliction in 1989, and it was later adapted into an award-winning film in 1997 by Paul Schrader, whose archive also resides at the Ransom Center.

Photo Friday

Each Friday, the Ransom Center shares photos from throughout the week that highlight a range of activities and collection holdings. We hope you enjoy these photos that reveal some of the everyday happenings at the Center.

Assistant Archivist Nicole Davis (left) and Archivist Jennifer Hecker work on cataloging the papers of lawyer Morris Ernst. Some of the more than 900 processed and unprocessed boxes of the Ernst collection surround Davis and Hecker as they work on making the collection accessible in fall 2011. Photo by Anthony Maddaloni.
Assistant Archivist Nicole Davis (left) and Archivist Jennifer Hecker work on cataloging the papers of lawyer Morris Ernst. Some of the more than 900 processed and unprocessed boxes of the Ernst collection surround Davis and Hecker as they work on making the collection accessible in fall 2011. Photo by Anthony Maddaloni.
Curator of Photography David Coleman (left) and Bill Ewing, Director of Curatorial Projects for Thames & Hudson, work with the Arnold Newman collection for a future project with the Foundation for the Exhibition of Photography. Photo by Anthony Maddaloni.
Curator of Photography David Coleman (left) and Bill Ewing, Director of Curatorial Projects for Thames & Hudson, work with the Arnold Newman collection for a future project with the Foundation for the Exhibition of Photography. Photo by Anthony Maddaloni.
Archivist Amy Armstrong works on cataloging the collection of screenwriter and director Paul Schrader, locating a costume worn by Willem Dafoe in ‘Light Sleeper’ (1992). Photo by Anthony Maddaloni.
Archivist Amy Armstrong works on cataloging the collection of screenwriter and director Paul Schrader, locating a costume worn by Willem Dafoe in ‘Light Sleeper’ (1992). Photo by Anthony Maddaloni.
Files that are being cataloged from the collection of screenwriter and director Paul Schrader. Photo by Anthony Maddaloni.
Files that are being cataloged from the collection of screenwriter and director Paul Schrader. Photo by Anthony Maddaloni.
Curator of Academic Affairs Danielle Sigler (center) shares collection items for ‘Banned, Burned, Seized, and Censored,’ a 2011 fall exhibition that examines the multi-faceted machinery of literary censorship during the inter war years. Photo by Anthony Maddaloni.
Curator of Academic Affairs Danielle Sigler (center) shares collection items for ‘Banned, Burned, Seized, and Censored,’ a 2011 fall exhibition that examines the multi-faceted machinery of literary censorship during the inter war years. Photo by Anthony Maddaloni.

View a slideshow of materials from Paul Schrader collection

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Learn more about screenwriter and director Paul Schrader donating his collection to the Ransom Center.

Paul Schrader's outline for 'Raging Bull' (1980).
Paul Schrader's outline for 'Raging Bull' (1980).

Screenwriter and director Paul Schrader donates collection to Harry Ransom Center

Undated photo of Paul Schrader. Unknown photographer.
Undated photo of Paul Schrader. Unknown photographer.
Screenwriter and director Paul Schrader has donated his collection to the Harry Ransom Center. Schrader wrote screenplays for such iconic films as Taxi Driver (1976), Blue Collar (1978), Raging Bull (1980), American Gigolo (1980), The Mosquito Coast (1986), and Affliction (1997).

Schrader had previously donated Robert De Niro’s costume from Taxi Driver after De Niro donated his archive to the Ransom Center in 2006. The costume is now on display in the Ransom Center’s exhibition Making Movies, which runs through Aug. 1.

The Schrader collection consists of more than 300 boxes and includes outlines and drafts of scripts and screenplays, correspondence, production materials, videos, audio tapes, press clippings, photographs, and juvenilia.

The collection will be made accessible once it is processed and cataloged. A small case of materials from the collection will be on display in the Ransom Center lobby through March 21.