His semi-based-on-true-life tale of scoundrelous traders, The Wolf of Wall Street, became massive, bringing in nearly $400 million globally. But for Scorsese, who grew up Catholic and has always in one way or another tackled spiritual themes in his work, the idea of turning Silence into a movie was like a talisman carried in a pocket, an idea he carted around with him through the years and more than two decades’ worth of films.Įvery director wants a hit–it buys him or her, among other things, a bit of leverage and freedom in terms of what gets made next–and in 2013, Scorsese had one. ![]() Stories about the suffering and spiritual crises of Portuguese missionaries ministering to persecuted Catholics in Japan weren’t an easy sell then, and they’re even less so now. Scorsese wanted to turn Shusaku Endo’s 1966 novel Silence into a film when he first read it, in 1989. That’s what cinematographer Rodrigo Prieto pulls off in Martin Scorsese’s Silence, a picture that, by all reasonable logic of how movies get made these days, shouldn’t even exist.
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