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Martin Scorsese (b. Nov 17, 1942) is an Italian-American filmmaker who, with the help of two gigantic eyebrows living on his forehead has been a driving force in Hollywood for nearly half a century.

Snafu, captain
Leah, Kim, co-pilots
AVC: You’ve said that he’s a Travis Bickle-like character. Do you see other parallels to Taxi Driver? RG: Well, I think not really, because so much of what that character was going through was based on coming back from Vietnam, and it was a much more political film about the realities of what people were experiencing at the time. This film is much more of a fairy tale and a myth. AVC: Do you feel they share the same fantasy of needing to rescue the girl? RG: Yeah, I think they share that fantasy of needing to be a hero. I think you have to find a way to identify with them in order to play them. I guess there’s something about you don’t know why you’re attracted to a character, but you’re attracted to them enough to want to— it’s like when a song comes on, and you feel like dancing. You don’t know why; you just want to dance. It’s hard to analyze that feeling, and if you do, you get far away from it. Read more of the interview here

AVC: You’ve said that he’s a Travis Bickle-like character. Do you see other parallels to Taxi Driver?

RG: Well, I think not really, because so much of what that character was going through was based on coming back from Vietnam, and it was a much more political film about the realities of what people were experiencing at the time. This film is much more of a fairy tale and a myth.

AVC: Do you feel they share the same fantasy of needing to rescue the girl?

RG: Yeah, I think they share that fantasy of needing to be a hero. I think you have to find a way to identify with them in order to play them. I guess there’s something about you don’t know why you’re attracted to a character, but you’re attracted to them enough to want to— it’s like when a song comes on, and you feel like dancing. You don’t know why; you just want to dance. It’s hard to analyze that feeling, and if you do, you get far away from it.

Read more of the interview here

winnith: Drive - A Lynchian Taxi Driver? I can’t say that Drive is a direct iteration of Scorsese’s Taxi Driver, but there are certainly many similarities between the main characters. The Driver and Travis Bickle both have dark pasts that make it difficult for them to communicate with the rest of the world. Yet, they have a very strong sense of what is right and wrong, and will do anything in their power to defend their beliefs - ANYTHING. Both of them enter a path of no return once they discover someone (and perhaps in a deeper sense - SOMETHING) that they need to protect. The biggest difference between the structure of these two films is that the audience goes along for the ride in Travis Bickle’s transformation as a rogue defender, while the Driver’s actions come as a surprise each and every time. The transformation is in the audience, and not in the character.

winnith:

Drive - A Lynchian Taxi Driver?

I can’t say that Drive is a direct iteration of Scorsese’s Taxi Driver, but there are certainly many similarities between the main characters.

The Driver and Travis Bickle both have dark pasts that make it difficult for them to communicate with the rest of the world. Yet, they have a very strong sense of what is right and wrong, and will do anything in their power to defend their beliefs - ANYTHING. Both of them enter a path of no return once they discover someone (and perhaps in a deeper sense - SOMETHING) that they need to protect. The biggest difference between the structure of these two films is that the audience goes along for the ride in Travis Bickle’s transformation as a rogue defender, while the Driver’s actions come as a surprise each and every time. The transformation is in the audience, and not in the character.

(Source: winnith)

bbook:

A Comparative Character Study: Taxi Driver vs Drive

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