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Martin Scorsese is a fighter: Battles with cocaine, death threats"¦ and Liza Minelli?

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by Adam Horowitz

I've been reading Peter Biskind's scrumptious chronicle of 1970s Hollywood, Easy Riders, Raging Bulls, and one thing I've learned is that even in that wonderfully liberated climate - with the old studio system collapsing and hippie visionaries seizing power - becoming a successful filmmaker and then staying a successful filmmaker was as hard as ever. A great case in point: Martin Scorsese.

Today the bushy-eyebrowed maestro is in his fourth decade directing, having long proven himself as one of our greatest filmmakers. But Scorsese's rookie years were no cakewalk. Beset with obstacles of all kinds (some of his own making), it's a credit to his determination that he was able to overcome them. The following are 9 things young Marty the dreamer had to contend with.

Coke smuggling, conflict with the Manson family and 7 more after the jump...

Battle #1: Extreme Asthma

content01.jpgScorsese has suffered from chronic asthma ever since he was a boy, but it worsened considerably when he moved from New York to L.A. in 1971. The effects were debilitating: he was in and out of the hospital continuously; he couldn't step foot in a room if someone inside it was smoking; he was forced to keep an oxygen tank by his bed. Worse still, he was prescribed cortisone that made his body blow up (it made him so embarrassed that he'd remain fully dressed on the sand while all his friends skinny-dipped). He also had to take constant puffs from an inhaler which affected him like speed "“ he'd rattle on relentlessly about movies to anyone who'd listen.
Describing his situation, he says, "I never really got much sleep at night because of waking up coughing. I had mounds of tissues around the bed in the morning. By the time I got past an attack in the middle of the night, I took an asthma pill and fell into a really deep, peaceful sleep, it was time to get up again. So I was a little cranky, never quite all there. Wherever I went, I was always late."

Battle #2: A fear of 11s (and the pouch of charms around his neck?)

B0005ZVGH6.01-A3CDPEGSIQM61V._AA280_SCLZZZZZZZ_.jpgDuring the 70s, Scorsese had a panoply of phobias and superstitions, some rooted in his intense Catholic upbringing, others sprung out of his own tortured psyche. He was terrified of flying and would always clench a crucifix in his fist during takeoff. His unlucky number was 11, which meant he wouldn't travel on the 11th, he wouldn't take flights whose digits added up to 11, and he wouldn't take a room on the 11th floor of a hotel. He also carried a gold amulet to ward off evil spirits and he wore a pouch around his neck filled with lucky charms.

Battle #3: Lack of confidence in his work

After high school, Scorsese went to the seminary to study for the priesthood, but soon decided to follow his true passion, enrolling in the film program at NYU. The two movies he felt most inspired by were Citizen Kane and Shadows (John Cassavetes's landmark independent film). After struggling for four years to complete his first feature, Who's That Knocking at My Door? (financed in large part by his dad, and starring a young Harvey Keitel who was working as a court stenographer at the time), Scorsese didn't know how well the movie would be received or who might see it. One of his friends arranged for Cassavetes himself to take a look at it. Amazingly, the legendary director loved it: "This movie is as good as Citizen Kane. No, it's better than Citizen Kane, it's got more heart." When Scorsese heard the praise he almost fainted.

Battle #4: Lack of confidence with women

180px-Scors_2.jpgScorsese, never considered an Adonis by any measure, always felt insecure around women. Even when he became famous, that just seemed to make things more complicated for him. His friend Mardik Martin described his curious predicament: "He had to be "˜Martin Scorsese' for him to deal with a woman, but then he worried she would only like him because he was "˜Martin Scorsese.'" A catch-22, indeed. Scorsese probably would've benefited by meeting more women with taste like that of his second wife Sandy Weintraub. Describing her first glimpse of Scorsese, she says, "I thought Marty was just the cutest thing I had ever seen. He was chubby and he had long hair and no neck, and was shorter than me." She immediately approached him and asked him out to dinner.

Battle #5: The Censorship Board

The ending of Scorsese's brilliant 1976 film Taxi Driver is very violent and bloody; in one shot, a man gets his fingers blown off in full visual detail. Afraid that the picture would be dealt an X rating, Columbia Pictures wanted Scorsese to revise the ending completely, to cut out all the violence. Scorsese was enraged at the suggestion.

Afraid that the executives would seize the print, he locked it in the trunk of his car and snuck it off the lot.

Eventually he agreed to cut a few frames of blood spray, but more significantly, he suggested desaturating the colors in the scene, making the blood look a little less red. The ratings board was satisfied with this and awarded the film an R. Ironically, Scorsese was very happy with the desaturation, it was something he always wanted to try. He felt that with the colors muted the scene became even more shocking!

Battle #6: Death threats

250px-Taxi_Driver_still_3.jpgTaxi Driver was nominated for a Best Picture Oscar and Jodie Foster for Best Supporting Actress. Before the Awards, Scorsese received a death threat stating that if "little Jodie" were to win "for what you made her do in Taxi Driver" Scorsese would pay with his life. As it turned out, "little Jodie" didn't win and no attempt on Scorsese's life was made. But several years later, when John Hinckley, Jr., was arrested for attempting to assassinate President Reagan "“ his crazy motive being to impress Jodie Foster - many became convinced that it was Hinckley who'd sent that death threat to Scorsese four years prior. Incredibly, at the same time, Scorsese was also receiving death threats from members of the Manson family after he was asked to play Charles Manson in a made-for-TV movie. (He declined the offer.)

Battle #7: Cocaine and its emotional toll

cocaine-addiction.jpgShortly after Taxi Driver opened, Scorsese started getting heavy into drugs, mostly cocaine (but also Quaaludes and alcohol, to help him come down from the coke). He initially used cocaine as a creative tool, but he quickly realized the drawbacks this presented. "At first you felt like you could make five films at once. And then you wound up spending four days in bed every week because you were exhausted and your body couldn't take it."

But soon addiction took over and there was no looking back. At the 1978 Cannes Film Festival, while giving interview after interview, Scorsese ran out of cocaine and found it impossible to continue.

"No more coke, no more interviews," he declared. Unable to score in Cannes, he quickly dispatched a private plane to Paris

to bring back a new supply. Meanwhile, Scorsese's personality was transforming for the worst. "I was always angry, throwing glasses, provoking people, really unpleasant to be around," he recalls. "I always found, no matter what anybody said, something to take offense at. I'd be the host, but at some point during the evening I'd flip out, just like when I'm shooting." As one might expect, he began to alienate some of those closest to him.

Battle #8: Cocaine and the physical toll

Scorsese describes the above period as a two-year abyss from which he barely came out alive. He makes no bones about it: it was about self-destruction. In his words: "It was a matter of pushing the envelope, of being bad, seeing how much you can do. Embracing a way of life to its limit. I did a lot of drugs because I wanted to do a lot. I wanted to push all the way to the very very end and see if I could die." He almost got his wish that August when he and his friends were sold some "bad coke." It interacted with his asthma medication and other prescription pills, and caused him massive internal bleeding. This was his wake-up call, and thankfully he heard it and went straight. (Interestingly, Scorsese says that gaining this insight into his own self-destructive tendencies enabled him to make his next masterpiece Raging Bull.)

Battle #9: Scorsese's battle with fidelity

a_Liza-Minnelli-02.jpgOne of the movies Scorsese worked on during his coke-fueled period was New York, New York, a musical starring Liza Minelli. Minelli was also struggling with drugs at the time and even though they were both married Scorsese and she carried on an open affair with one another during the production. What's more, Minelli at the same time was carrying on an affair with Mikhail Baryshnikov as well! For Scorsese, of course, all this didn't matter much. "I was making love to different women," he says, "but I didn't find that very interesting." As we already know, his true love was movies.

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15 Fascinating Facts About Candyman
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Helen Lyle (Virginia Madsen) is a Chicago graduate student with a deep fascination with urban legends, which she and her friend Bernadette (Kasi Lemmons) are using as the basis for a thesis project. After they stumble across the local legend of Candyman, a well-to-do black artist who fell in love with a white woman in the late 1800s and was murdered for it, Helen wants to learn more. When she’s told that Candyman still haunts Chicago's Cabrini-Green housing project, and that his spirit can be summoned by repeating his name into a mirror five times, Helen does just that … and all hell breaks loose.

What began as a low-budget indie film has morphed into a contemporary classic of the horror genre, and essential Halloween viewing. In 1992, English filmmaker Bernard Rose—who got his start working as a gopher on The Muppet Show—turned Clive Barker’s short story “The Forbidden” into Candyman, which was released in theaters 25 years ago today. In honor of the film’s anniversary, here are 15 things you might not have known about Candyman.

1. EDDIE MURPHY WAS CONSIDERED FOR THE LEAD.

Though the role of Candyman turned Tony Todd into a horror icon, he wasn’t the only actor in consideration for the film’s title role: Eddie Murphy was also reportedly a contender for the part. Though it’s unclear exactly why he wasn’t cast, sources have reported that it had to do with everything from his height (at 5 feet 9 inches, he wouldn’t seem nearly as intimidating as the 6-foot-5 Todd) to his salary demands.

2. AN UNEXPECTED PREGNANCY LANDED VIRGINIA MADSEN THE LEAD.

Virginia Madsen stars in 'Candyman'
PolyGram Filmed Entertainment

When asked by HorrorNewsNetwork about how she got the role of Helen in Candyman, Virginia Madsen shared that it was almost by accident: She was supposed to play Bernie, Helen’s friend and classmate, the role that eventually went to Kasi Lemmons.

“I was actually very good friends with Bernard [Rose] and his wife Alexandra,” Madsen said. “She is a wonderful actress, who actually brought Clive Barker’s short story ‘The Forbidden’ to her husband. She thought this would be a great film, and he could direct her. She was supposed to be Helen. I was going to play [Kasi Lemmons'] part, until they made the character African American. Then I was out.

“Right before shooting, Alexandra found out she was pregnant. It was great for me, but it was so sad for her because this was her role; she found this story and really wanted it. So when I was asked to step in I felt like ‘I can’t take my friend’s role.’ She actually came over one day and said ‘It would just kill me to see someone else play this role, you have to be the one who plays it.’ So with her blessing I took on the role. I really tried to work my butt off just to honor her.”

3. IT COULD HAVE STARRED SANDRA BULLOCK.

On the film’s DVD commentary, producer Alan Poul said that had Madsen been unable to step into the role of Helen, the part would have likely been offered to Sandra Bullock, who was still a relative unknown actress at that point. Though she had played the role of Tess McGill in the television adaptation of Working Girl, she was still a couple of years away from Speed (1994), the role that launched her into stardom.

4. ITS OPENING SHOT WAS GROUNDBREAKING.

The film’s opening credits feature a great aerial view of Chicago, which was pretty revolutionary for its time. “We did that with an incredible new machine called the Skycam, which can shoot up to a 500mm lens with no vibration,” Rose told The Independent. “You've never seen that shot before, at least not done that smoothly.”

5. NOT ALL OF THE FILM’S CREEPY DETAILS SPRUNG FROM CLIVE BARKER’S IMAGINATION.

While investigating one of Candyman’s crime scenes, Helen and Bernie discover that the design of the apartment’s medicine cabinet made it a possible point of entry for an intruder. This was not a made-up piece of horror movie fiction. While researching the film, Rose learned that a series of murders had been committed in Chicago in this very way.

6. BERNARD ROSE SEES CANDYMAN AS A ROMANTIC FIGURE.

Tony Todd stars in 'Candyman'
PolyGram Filmed Entertainment

Viewers may think of Candyman as one of the horror genre’s most terrifying villains, but Rose said that “the idea always was that he was kind of a romantic figure. And again, romantic in sort of the Edgar Allan Poe sense—it's the romance of death. He's a ghost, and he's also the resurrection of something that is kind of unspoken or unspeakable in American history, which is slavery, as well. So he's kind of come back and he's haunting what is the new version of the racial segregation in Chicago.

“And I think there's also something very seductive and very sweet and very romantic about him, and that's what makes him interesting. In the same way there is about Dracula. In the end, the Bogeyman is someone you want to surrender to. You're not just afraid of. There's a certain kind of joy in his seduction. And Tony was always so romantic. Tony ties him in so elegantly and is such a gentleman. He was wonderful.”

7. THE BEES IN THE FILM WERE BRED SPECIFICALLY TO APPEAR ONSCREEN.

No, that is not CGI! The bees that play a key role in Candyman are indeed real. So that they looked appropriately terrifying, but were less dangerous to the cast and crew, the filmmakers used newborn bees—they were just 12 hours old—so that they looked fully grown, but had less powerful stingers.

8. TONY TODD WAS STUNG 23 TIMES, AND GOT A BONUS EACH TIME IT HAPPENED.

Photo of Tony Todd in 'Candyman'
PolyGram Filmed Entertainment

In addition to allowing the filmmakers to cover his face with bees, Todd actually agreed to film a scene in which he had a mouthful of bees—and that, too, was all real. He told TMZ that he wore a dental dam to prevent any bees from sliding into his throat—which doesn’t mean that he didn’t suffer a sting or two … or 23, to be exact, over the course of three Candyman movies. Though it might have been worth it. “I had a great lawyer,” he told TMZ. “A thousand dollars a pop.”

9. THE BEES WEREN’T GREAT NEWS FOR MADSEN, EITHER.

Madsen, too, had to get up close and personal with those bees—a fact that almost forced her to pass on the role. “When Bernie was first asking me to do the role I said, ‘Well, I can’t. I’m allergic to bees,’” she told HorrorNewsNetwork. “He said ‘No you’re not allergic to bees, you’re just afraid.’ So I had to go to UCLA and get tested because he didn’t believe [me]. I was tested for every kind of venom. I was far more allergic to wasps. So he said, ‘We’ll just [have] paramedics there, it will be fine!’ You know actors, we’ll do anything for a paycheck! So fine, I’ll be covered with bees.

“So we a had a bee wrangler and he pretty much told us you can’t freak out around the bees, or be nervous, or swat at them, it would just aggravate them. They used baby bees on me. They can still sting you, but are less likely. When they put the bees on me it was crazy because they have fur. They felt like little Q-tips roaming around on me. Then you have pheromones on you, so they’re all in love with you and think you’re a giant queen. I really just had to go into this Zen sort of place and the takes were very short. What took the longest was getting the bees off of us. They had this tiny ‘bee vacuum,’ which wouldn’t harm the bees. After the scene where the bees were all over my face and my head, it took both Tony and I 45 minutes just to get the bees off. That’s when it became difficult to sit still. It was cool though, I felt like a total badass doing it.”

10. PHILIP GLASS COMPOSED THE SCORE, BUT WAS DISAPPOINTED IN THE MOVIE.

When Philip Glass signed on to compose the score for Candyman, he apparently envisioned the final film being something totally different. According to Rolling Stone, “What he'd presumed would be an artful version of Clive Barker's short story ‘The Forbidden’ had ended up, in his view, a low-budget slasher.” Glass was reportedly disappointed in the film, and felt that he had been manipulated. Still, the haunting music is considered a classic score—and Glass’s own view of it seems to have softened over time. “It has become a classic, so I still make money from that score, get checks every year,” he told Variety in 2014.

11. MANY OF THE FILM'S SCENES WERE SHOT AT CABRINI-GREEN.

In 2011, the last remaining high-rise in the Cabrini-Green housing project was demolished. Over the years, the property—which opened in 1942—gained a notorious reputation around the world for being a haven for violence, drugs, gangs, and other criminal activities. While the project’s real-life history weaves its way into the narrative of Candyman, it only makes sense that Rose would want to shoot there. Which he did. But in order to gain permission to shoot there, he had to agree to cast some of the residents as extras.

“I went to Chicago on a research trip to see where it could be done and I was shown around by some people from the Illinois Film Commission and they took me to Cabrini-Green,” Rose said. “And I spent some time there and I realized that this was an incredible arena for a horror movie because it was a place of such palpable fear. And rule number one when you're making a horror movie is set it somewhere frightening. And the fear of the urban housing project, it seemed to me, was actually totally irrational because you couldn't really be in that much danger. Yes, there was crime there, but people were actually afraid of driving past it. And there was such an aura of fear around the place and I thought that was really something interesting to look into because it's sort of a kind of fear that's at the heart of modern cities. And obviously, it's racially motivated, but more than that—it's poverty motivated.”

12. THE FILM’S PRODUCERS WERE WORRIED THAT THE FILM WOULD BE CONSIDERED RACIST.

During pre-production, Candyman’s producers began to worry that the film might draw criticism for being racist, given that its villain was black and it was largely set in an infamous housing project. “I had to go and have a whole set of meetings with the NAACP, because the producers were so worried,” Rose told The Independent. “And what they said to me when they'd read the script was 'Why are we even having this meeting? You know, this is just good fun.' Their argument was 'Why shouldn't a black actor be a ghost? Why shouldn't a black actor play Freddy Krueger or Hannibal Lecter? If you're saying that they can't be, it's really perverse. This is a horror movie.'”

13. STILL, SOME FILMMAKERS COMPLAINED THAT IT WAS RACIST.

In a 1992 story in the Chicago Tribune, some high-profile black filmmakers expressed their disappointment that the film seemed to perpetuate several racist stereotypes. “There’s no question that this film plays on white middle-class fears of black people,” director Carl Franklin (Out of Time, Devil in a Blue Dress) said. “It unabashedly uses racial stereotypes and destructive myths to create shock. I found it hokey and unsettling. It didn't work for me because I don’t share those fears, buy into those myths.”

Reginald Hudlin, who directed House Party, Boomerang, and Marshall, described the film as “worrisome,” though he didn’t want to speak on the record about his specific issues with the film. “I've gotten calls about [the movie], but I think I'm going to reserve comment,” he said. “Some of my friends are in it and I may someday want to work for TriStar.”

For Rose, those assessments may have been hard to hear, as his goal in adapting Barker’s story and directing it was to upend the myths about inner cities. “[T]he tradition of oral storytelling is very much alive, especially when it's a scary story,” he told The Independent. “And the biggest urban legend of all for me was the idea that there are places in cities where you do not go, because if you go in them something dreadful will happen—not to say that there isn't danger in ghettos and inner city areas, but the exaggerated fear of them is an urban myth.”

14. IT’S STILL THE ROLE THAT MADSEN IS MOST RECOGNIZED FOR (ESPECIALLY AT AIRPORTS).

Kasi Lemmons and Virginia Madsen in 'Candyman'
PolyGram Filmed Entertainment

Though she earned a Best Supporting Actress nomination in 2005 for Alexander Payne’s Sideways, in 2012 Madsen said that Candyman is still the role she is most recognized for—especially at airports.

“More people recognize me from that movie than anything I’ve done,” she told HorrorNewsNetwork. “It means a lot to me. It was after years of struggling. As an actor, you always want a film that’s annual, like It’s a Wonderful Life or A Christmas Story. I just love that I have a Halloween movie. Now it’s kind of legend this story. People have watched it since they were kids, and every Halloween it’s on, and they watch it now with their kids. That means a lot to me. The place I get recognized the most is the airport security for some reason. Every person in airport security has seen Candyman. Maybe it makes them a little afraid of me.”

15. THERE WAS AN ACTUAL CANDYMAN KILLER.

Though the Chicago-based legend of Candyman is a work of fiction, there was an actual serial killer known as “Candyman” or “The Candy Man.” Between 1970 and 1973, Dean Corll kidnapped, tortured, and murdered at least 28 young boys in the Houston area. Corll earned his sweet nickname from the fact that his family owned a candy factory.

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Grand Central Terminal is Hosting a Film Festival of its Own Cameos
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Even if you’ve never set foot in New York City, chances are you’re intimately familiar with Grand Central Terminal. A sprawling, architecturally awesome railway station located on East 42nd Street in Manhattan, it’s been a favorite of Hollywood location scouts since its first onscreen appearance in the 1930 musical Puttin’ on the Ritz.

According to Times Square Chronicles, the terminal is now set to host an event worthy of its rich cinematic history: a film festival. On Thursday, October 19, screenings in the terminal’s Vanderbilt Hall will include clips from some of its most notable movie appearances. The show will culminate in a feature-length presentation of Alfred Hitchcock's 1959 classic North by Northwest, notable for a scene in which star Cary Grant eludes his pursuers by making his way through Grand Central.

The Museum of the Moving Image and Rooftop Films are collaborating on the special event, titled Grand Central Cinema. North by Northwest begins at 7:30 p.m., but that ticketed admission is already sold out and the waiting list is at capacity. Fortunately, the montage of clips will play all day from 7 a.m. to 5:30 p.m. Historians will also be giving presentations of the site's history on screen throughout the program. Admission is free.

[h/t Times Square Chronicles]

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