MARTIN SCORSESE / MARTIN SCORSESE • ALL HIS FILMS

Text editor: KONSTANTINOS BLATHRAS

WRITERS: Lefteris Adamidis, Panos Ahtsioglou, Nikos Giakoumelos, Yiannis N. Gakidis, Tasos Goudelis, Robbie Eksiel, Yiannis Zoumboulakis, Konstantinos Kaimakis, Ifigenia Kalantzi, Dimitris Kalantidis, Yiannis Kantea Papadopoulos, Stratos Kersanidis, Vassilis Kechagias , Alexandros Romanos Lizardos, Ninos Fenek Mikelidis, Dimitris Babas, Konstantinos Blathras, Demosthenes Xifilinos, George Papadimitriou, Yiannis Rouzaios, Tasos Rezios, Christos Skyllakos, Miltos Toskas, Despina Triantafyllidou, Nikos Tsagarakis, Yiannis Fragoulis,
Ilias Frangoulis.

With the support of the PANHELLENIC ASSOCIATION OF CINEMA CRITICS

There is a scene in the documentary American Boy: A Profile of Steven Prince, a side project to Taxi Driver, in which Steven Prince recounts, face-to-camera, how he killed a "Mexican-Indian" would-be robber at the gas station where he worked, doing night shifts shifts in the Easter holidays. The robber threatened him with a knife; Prince shot him with a magnum; and when the robber fell half dead, he emptied the rest of the pistol's bullets on him. The protagonist, the scene, the narration, in a style reminiscent of Henry Hill, the narrator or hero in Good Guys, is perhaps the best summary of the cinema made by the Sicilian-born New York director. After all, as Martin Scorsese himself defines it, what is telling a story in motion
matographer: "The telling of a story in itself, simply the telling (story-telling)?" One person, one to one; one telling a story, like the stand-up comedian."

Having reached the top almost at an early age, Scorsese in practice imitated the creatures of his lens, falling into the darkness of failure as many times as rising up. The members of the Panhellenic Film Critics Association, older and younger, with an edition that for the first time has a fully alive creator at its center, connect his "musical pieces" with their texts.