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10 Movies You Never Realized Were Produced By Martin Scorsese

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Martin Scorsese is renowned for his impressive gangster movies like “Goodfellas“, “Mean Streets“, “The Departed“, “Casino“, and “The Irishman“. However, it’s important to note that Scorsese’s filmography extends far beyond this genre. His works encompass biopics such as “Raging Bull“, historical dramas such as “Killers of the Flower Moon“, Biblical epics like “The Last Temptation of Christ“, character studies including “Bringing Out the Dead” and “Taxi Driver“, concert films such as “The Last Waltz“, documentaries like “No Direction Home“, and even dark comedies such as “After Hours” and “The King of Comedy“.

Apart from the films he himself directed, Scorsese has also been involved in numerous other projects as a producer or executive producer behind the scenes. These include comedies, detective stories, family dramas, tales of the music industry, documentaries about the film world, and more – not just movies about criminals or gangsters.

I’ve curated a list of ten outstanding films, encompassing cult favorites, Oscar contenders, and art-house sensations. These masterpieces, in one way or another, bear the influence of Martin Scorsese. To be precise, I didn’t bother with technicalities like whether he produced them or simply executive produced them, as it seems that these titles are essentially interchangeable given how deeply involved Scorsese appears to be in many of the films he’s associated with, regardless of his official role – this might stem more from contractual obligations than creative differences.

This list serves as just the beginning, as there are numerous other titles that fit the criteria. Martin Scorsese’s IMDb page reveals more than a dozen upcoming productions, both for films and TV series, that he is involved with.

Movies You Never Realized Were Produced By Martin Scorsese

The Grifters (1990)

When multiple other producers presented “The Grifters” – a film adaptation of Jim Thompson’s noir novel – to Martin Scorsese, he believed it would be an excellent movie, but not one for him to direct. Instead, he passed the material along to director Stephen Frears, who oversaw the project with Scorsese’s backing. Although it didn’t achieve massive box office success, the film garnered exceptional criticism and is now considered a cult classic of its time.

Mad Dog and Glory (1993)

The collaboration between Martin Scorsese and Robert De Niro dates back to 1973’s film “Mean Streets.” Over the years, Scorsese has directed De Niro multiple times, and he’s even produced some of De Niro’s other projects. For instance, in 1993’s “Mad Dog and Glory,” a crime comedy featuring Bill Murray and Uma Thurman, Scorsese was not the director, but he would have undoubtedly brought a unique flair to the project if he had been. John McNaughton directed the film, while Richard Price wrote the script, which revolves around De Niro’s character, Mad Dog, who falls for a young woman (Thurman) working for a gangster (Murray). On paper, it seems like a Scorsese production, but in reality, Scorsese would have given the film a distinctly different feel and atmosphere.

Clockers (1995)

Previously, screenwriter Richard Price worked on Mad Dog and Glory and The Color of Money for Scorsese. Initially, Scorsese was also set to direct Price’s script for Clockers, a narrative revolving around New York City police officers and drug dealers. However, Scorsese eventually became drawn toward Casino and switched his focus to that project. As a result, Spike Lee took over the direction of Clockers, creating a joint effort between these two iconic New York filmmakers on this production.

Grace of My Heart (1996)

Martin Scorsese has never personally directed a fictional film similar to “Grace of My Heart,” a drama depicting the music industry of the 1960s. However, he has created numerous documentaries featuring prominent rock stars from that period, such as Bob Dylan, George Harrison, and The Band. In the instance of “Grace of My Heart,” starring Illeana Douglas, Scorsese served as an executive producer. The movie was written and directed by Allison Anders, with Scorsese’s longtime editor, Thelma Schoonmaker, handling the editing process.

You Can Count on Me (2000)

Based on IMDb information, Scorsese became acquainted with director Kenneth Lonergan, introduced by Illeana Douglas (Scorsese’s partner during the 1990s), during auditions for one of Lonergan’s plays. The two developed a friendship and Scorsese decided to serve as an executive producer on Lonergan’s first feature film, “You Can Count on Me.” This movie featured Laura Linney and Mark Ruffalo in lead roles as siblings. It is said that Scorsese leveraged his reputation and clout to support Lonergan against studio executives pushing for changes to the film. The result was a critically acclaimed art-house success, garnering two Academy Award nominations, one of which was for Lonergan’s screenplay.

The Family (2013)

In their latest collaboration, Scorsese and De Niro brought us “The Family,” with De Niro shining on screen while Scorsese handled production duties as an executive producer. Fans of Scorsese will appreciate the familiar setting, as De Niro portrays an American mobster who moves his family into the Witness Protection Program and finds themselves in a quaint French village instead. Luc Besson, a renowned French filmmaker, took charge of directing and co-writing this project.

Life Itself (2014)

Roger Ebert and Martin Scorsese forged a lasting friendship that spanned decades. This bond began when Ebert praised Scorsese’s first feature, “Who’s That Knocking at My Door?” (1968), during its premiere at the Chicago International Film Festival. Later, Ebert wrote a book featuring essays and reviews on Scorsese’s career. Fast forward to when Steve James was hired to direct a documentary adaptation of Ebert’s memoir, “Life Itself,” Scorsese not only agreed to be interviewed for the film, he also took on an executive producer role in the project.

The Snowman (2017)

In this article, we’re discussing another movie that Martin Scorsese nearly directed but ultimately stepped away from, instead taking on executive producer duties. Kathryn Bigelow was responsible for editing this film while Tomas Alfredson took over as director following Scorsese’s departure (due to his involvement in other projects). Despite Scorsese’s contributions to the production, the result was a confounding and stiff thriller based on Jo Nesbø’s successful detective novel series. Later, Alfredson admitted that the film suffered due to time constraints during production, as he wasn’t able to shoot many of the scenes according to the original screenplay.

Uncut Gems (2019)

Martin Scorsese, a longtime admirer and supporter of Josh and Benny Safdie, the New York filmmakers, took on the role of executive producer for their 2019 film “Uncut Gems.” This collaboration reportedly allowed them to elevate their budget and casting compared to earlier independent films like “Heaven Knows What” and “Good Time.” The outcome was a riveting thriller and an intriguing character study of a compulsive gambler, portrayed by Adam Sandler in a standout performance. This film is arguably the finest production Scorsese has ever been involved with, though he did not direct it himself.

Maestro (2023)

Not only one, but two renowned film directors, Martin Scorsese and Steven Spielberg, were associated with the production of “Maestro.” Initially, it was Spielberg who introduced star Bradley Cooper to the project following Scorsese’s departure from the Leonard Bernstein biopic. As Spielberg contemplated directing the movie, Cooper effectively advocated for his replacement. The unusual sequence of credits in the end titles, “Produced By Martin Scorsese,” “Produced By Bradley Cooper,” and “Produced by Steven Spielberg,” is a testament to this unique collaboration.

Movies You Never Realized Were Produced by George Lucas

Kagemusha (1980)

George Lucas has never shied away from acknowledging the influence that Akira Kurosawa’s samurai films, particularly “The Hidden Fortress”, had on ‘Star Wars’. After his tribute to Kurosawa became one of the most successful blockbusters ever, Lucas returned the favor by aiding Kurosawa in completing his last historical epic, ‘Kagemusha’, when its initial funding ran dry. Lucas stepped in as executive producer and helped secure the necessary funds to complete the film.

Body Heat (1981)

Lawrence Kasdan forged a significant partnership with Lucas in the 1980s, jointly penning blockbusters such as “The Empire Strikes Back” and “Raiders of the Lost Ark.” When Kasdan ventured into directing with the sultry thriller “Body Heat,” Lucas played a covert role as an unaccredited executive producer.

In recent years, he admitted that he chose not to credit himself on the film due to concern that if audiences knew it was a George Lucas production, the discussion would have solely revolved around him. “I said, ‘Larry, if I put my name on that movie, it’ll be all about me. It’ll be all about me making these kinds of movies, and we don’t want that. I want it to be you making this movie.’

Twice Upon a Time (1983)

The initial animated movie of George Lucas’ career, produced by Lucasfilm, marked his debut in animation. As an early backer of the project, he played a significant role in transferring it to The Ladd Company, led by Alan Ladd Jr., who had previously financed the making of the original Star Wars. Despite limited distribution on home video over the years, this unique animated film can now be found on a DVD from Warner Archive.

Latino (1985)

In 1985, Haskell Wexler’s film “Medium Cool,” which focused on the Contras in Nicaragua, was produced by Lucas’ production company. Interestingly, just like with “Body Heat,” Lucas did not credit himself for this movie at Cannes Film Festival in 1995, presumably due to the same reasons of anonymity.

Mishima: A Life in Four Chapters (1985)

In addition to contributing to Paul Schrader’s biographical film about Yukio Mishima, Lucas and Lucasfilm were actively involved. Unlike other films mentioned, Lucas not only lent his name to this movie, he even had it prominently displayed as one of the two individuals who “presented” the film on some posters for Mishima. I’ll discuss the other credited individual shortly.

Labyrinth (1986)

The Labyrinth is primarily recognized as Jim Henson’s swansong as a director, a film that dared to present a fantastical vision which initially faced skepticism from both critics and viewers. It was not a typical Muppet production.

However, it shared ties with Lucasfilm, given George Lucas served as an executive producer for the project. Reports suggest he also contributed unacknowledged work on the script and final editing stages.

Howard the Duck (1986)

The first Marvel comic-based feature film to hit theaters wasn’t centered around Spider-Man or the Fantastic Four; instead, it was the 1986 release of “Howard the Duck,” based on a quirky character created by writer Steve Gerber and artist Val Mayerik. Despite George Lucas’ role as a producer, and some groundbreaking special effects, the movie turned out to be a notorious box-office flop. To this day, it might just be the strangest Marvel film ever made.

Captain EO (1986)

In an effort to create a 3D film centered around pop sensation Michael Jackson, Disney sought assistance from George Lucas and his company, Lucasfilm, for co-production. George Lucas then collaborated on the script for the movie titled “Captain EO”, which followed the dance-filled escapades of a space explorer in a galaxy reminiscent of “Star Wars”. The film was directed by Francis Ford Coppola, who was both a mentor and longtime friend to Lucas, marking the first time Coppola had directed a script partially written by Lucas. The film ran in Disney parks for 12 years before being reintroduced as a tribute to Jackson following his death in 2009. Additionally, this project signified the start of an enduring collaboration between Lucas and Disney’s theme parks, resulting in attractions based on “Star Wars” and “Indiana Jones”.

Tucker: The Man and His Dream (1988)

Regarding Coppola: During the 1980s when he faced financial difficulties following a string of high-profile failures, Lucas lent a hand to his longtime friend by joining Coppola’s production of “Tucker: The Man and His Dream” as an executive producer. Jeff Bridges played the lead role in this film, portraying maverick inventor Preston Tucker who created his own car to challenge the American automobile industry, but ultimately found himself pushed out by his wealthier competitors. This tale of perseverance in the face of financial adversity resonated deeply with both Coppola and Lucas.

Radioland Murders (1994)

In this paragraph, we’re discussing a George Lucas film that seems almost forgotten today. Not only did Lucas produce it, but he also penned its story – a 1930s-set screwball comedy with a whodunit plot centered around a radio station. The movie featured Mary Stuart Masterson and Brian Benben from “Dream On”, and unfortunately, it was one of Lucas’ biggest box office disappointments, earning less than $1.5 million.

Red Tails (2012)

The last film produced by Lucasfilm before it was sold to Disney, and the first since “Radioland Murders” not associated with either the “Star Wars” or “Indiana Jones” universes, was “Red Tails.” This drama centers around the Tuskegee Airmen during World War II. George Lucas had been developing this material for decades, with his initial work starting in the late 1980s. At one point, Lucas even considered creating a trilogy of grand war films based on the Airmen, but by the time the film was released, “Red Tails” was a standalone story that Lucas largely financed himself due to difficulty finding a studio willing to support the project.

Strange Magic (2015)

As a movie aficionado, I recently stumbled upon George Lucas’ latest creation (excluding his executive producer role in “Indiana Jones and the Dial of Destiny”), an intriguing animated film. This project was allegedly envisioned as a female-centric counterpart to “Star Wars,” transforming into a whimsical pop musical fairy tale about a princess enamored with the King of a mystical forest. Much like “Red Tails,” Lucas poured his heart and soul into this production, investing more than a decade of his time on it, both before and after he parted ways with Lucasfilm and sold it to Disney.

The term “strange” seems fitting for this peculiar blend of quirky characters and an “American Graffiti”-style soundtrack featuring tunes from yesteryears. Unfortunately, the film flopped at the box office, recovering only a paltry portion of its reported $100 million budget.

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2025-02-04 23:26

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