THANKS!!!!!!!!!!

In reply to this comment by laura:
*quality

Tags for this video have been changed from 'taxi driver, robert deniro, jodie foster, martin scorsese, mohawk' to 'taxi driver, travis bickle, robert deniro, jodie foster, martin scorsese, mohawk' - edited by kronosposeidon

This video has been declared a duplicate; transferring votes to the original video and killing this dupe - dupeof declared by Trancecoach.

blah blah blah blah blah blah
*dupeof=http://www.videosift.com/video/Martin-Scorsese-The-Big-Shave

According to Wikipedia, http://en.wikipedia.org/wiki/Lucia_di_Lammermoor#Trivia, it's been used in;

The "Lucia Sextet" (Chi mi frena in tal momento?) was recorded in 1908 by Enrico Caruso, Marcella Sembrich, Antonio Scotti, Marcel Journet, Barbara Severina, and Francesco Daddi, (Victor single-sided 70036) and released at the price of $7.00, earning it the title of "The Seven-Dollar Sextet". The film The Great Caruso incorporates a scene featuring a performance of this sextet.

The "Lucia Sextet" melody is best known to some from its use by the American slapstick comedy team the Three Stooges in their short films Micro-Phonies and Squareheads of the Round Table, sung in the latter with the lyrics "Oh, Elaine, can you come out tonight...." But the melody is used most dramatically in Howard Hawks' gangster classic "Scarface": Tony Camonte (Paul Muni) whistles "Chi mi frena?" in the film's opening sequence, as he guns down a ganglord boss he has been assigned to protect.

It has also been used in Warner Brothers cartoons: Long-Haired Hare, sung by the opera singer (Bugs Bunny's antagonist); Book Revue, sung by the wolf antagonist; and in Back Alley Oproar, sung by a choir full of Sylvesters, the cat.

The "Lucia Sextet" melody also figures in two scenes from the 2006 film The Departed, directed by Martin Scorsese. In one scene, Jack Nicholson's character is shown at a performance of "Lucia di Lammermoor", and the music on the soundtrack is from the sextet. Later in the film, Nicholson's cell phone ringtone is the sextet melody.

The Sextet is also featured during a scene from the 1986 comedy film, The Money Pit.

In the children's book "The Cricket in Times Square," Chester Cricket chirps the tenor part to the "Lucia Sextet" as the encore to his farewell concert, literally stopping traffic in the process.

An aria from the "mad scene," "Il dolce suono" (from the 3rd Act), was re-popularized when it was featured in the film The Fifth Element in a performance by the alien diva Plavalaguna (voiced by Albanian soprano Inva Mula-Tchako and played onscreen by French actress Maïwenn Le Besco). A loose remake of this film version of the song was covered by Russian pop singer Vitas.

The "mad scene" was also used in the first episode of the anime series Gankutsuou (in place of L'Italiana in Algeri which was the opera used in that scene in The Count of Monte Cristo).

The "mad scene" aria, as sung by Inva Mula-Tchako, was used in an episode of Law & Order: Criminal Intent involving the murder of a young violinist by her opera singer mother (who performs the song right after the murder).

The "mad scene" was released as a music video by Russian male soprano Vitas in 2006.

Among other selections from the opera, the "mad scene", "Verranno a te sull'aure", and "Che facesti?" feature prominently in the 1983 Paul Cox film Man of Flowers, especially "Verranno a te sull'aure," which accompanies a striptease in the film's opening scene.

The opera is mentioned in the novels The Count of Monte Cristo, Madame Bovary and Where Angels Fear to Tread and was reputedly one of Tolstoy's favorites.

"Regnava nel silenzio" accompanies the scene in Beetlejuice in which Lydia (Winona Ryder) composes a suicide note.

A portion of the opera is also used in a key scene of the film The Fifth Element, written and directed by Luc Besson.

Thanks for the promote, kingpin!

In reply to this comment by MrFisk:
*promote

If you liked this, also check out:

http://www.videosift.com/video/The-Films-of-Martin-Scorsese
http://www.videosift.com/video/The-Films-of-Paul-Thomas-Anderson
http://www.videosift.com/video/Coen-Brothers-Films-Mashup

All done by the same poster on YouTube!

Tags for this video have been changed from 'the band, staple singers, the weight, the last waltz' to 'the band, staple singers, the weight, the last waltz, Martin Scorsese' - edited by schmawy

I'm going to make my list more difficult (or maybe easier, depending on your point of view) by limiting myself to current, contemporary, living persons. This removes obvious picks like Kubrick, Welles, Kurosawa and Hitchcock who would otherwise be at the top. Here's my list, in no particular order:

1) The Coens - plural I know, but you can't have one without the other. These brothers have produced masterpieces in every genre they've attempted. Crime, drama, comedy, mobsters, whatever. Always entertaining and very deserving of their recent Oscar.
2) Paul Thomas Anderson. A not terribly prolific director, but a thoughtful one. One of the few whose movies you must attend in the theatre simply because HE made it!
3) Wes Anderson- You can count on Wes for taking you to a place you've never been before, and no matter how fucked up your family may seem to you, the families portrayed in a Wes Anderson film are more disturbed and dysfunctional. Not to say that they're not loving and well-intentioned, just misguided.
4) Clint Eastwood- He has become a master of his craft. Few others will take the time to luxuriate in a scene like Eastwood. His long cuts and deliberate pacing show a respect for the intelligence and attention span of his audience.
5) Martin Scorsese- of all the great Directors born in the new Golden Age of Hollywood in the 1970s, only Scorsese remains at the top of his game. Others such as Spielberg, Lucas (ugh), Coppola, Friedkin etcetera have left their best work in the distant past.

I just read this before seeing Lucky's new feature, and read "point" as something to make, as opposed to something to spend. Good laughs.

In reply to this comment by Sarzy:
Whoops, thought I had a point. I'll be back!

Here are these films in order...

(It starts with the back-end of The Terminator titles)

13 Superman (1978) Directed by Richard Donner Title Design by: Sheldon Elbourne
14 Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) Directed by Stanley Kubrick, Title Design: Pablo Ferro
15 The Virgin Suicides (1999) Directed by Sofia Coppola, Title Designer: Geoff McFetridge
16 Our Latin Thing (1972) Directed by Leon Gast, Title Design by: Unknown
17 Delicatessen (1991)Directed by Marc Caro & Jean-Pierre Jeunet Title Design by: Marc Bruckert
18 Pi (1998) Directed by Darren Aronofsky, Title Design by: Jeremy Dawson
19 Se7en (1995) Directed by David Fincher, Title Design by: Kyle Cooper
20 Hollow Man (2000) Directed by Paul Verhoeven, Title Design by: The Picture Mill
21 Casino (1995) Directed by Martin Scorsese, Title Design by: Saul Bass
22 Alien (1979) Directed by Ridley Scott, Title Design by: Saul Bass
23 Matzes (2004) Directed by Margien Rogaar, Title Design by: Karst-Janneke Rogaar & Roel Wouters.
24 North by Northwest North by Northwest (1959) Directed by Alfred Hitchcock Title Design by: Saul Bass
25 Panic Room (2002) Directed by David Fincher, Title Design by: The Picture Mill

The other 12 chosen can be seen here...

http://www.youtube.com/watch?v=R7p1v6NWnhw

Ali Ibrahim "Farka" Touré (October 31, 1939 in Timbuktu, Mali - March 6, 2006 in Bamako, Mali) was a Malian singer and guitarist, and one of the African continent's most internationally renowned musicians. His music is widely regarded as representing a point of intersection of traditional Malian music and its North American cousin, the blues. The belief that the latter is in fact historically derived from the former is reflected in Martin Scorsese's often quoted characterization of Touré's tradition as constituting "the DNA of the blues."

http://en.wikipedia.org/wiki/Ali_Farka_Toure

So lucky to have seen this recently, thanks to PM and James. I uploaded the video and James sifted it.

I am Cuba (Spanish: Soy Cuba; Russian: Я Куба, Ya Kuba) is a Cuban/Soviet film produced in 1964 by director Mikhail Kalatozov at Mosfilm.The movie was not received well by either the Russian or Cuban public and was almost completely forgotten until it was re-discovered by filmmakers in the United States 30 years later. The movie's acrobatic tracking shots and idiosyncratic mise en scene prompted Hollywood directors like Martin Scorsese to begin a campaign to restore the movie in the early 1990s.

http://en.wikipedia.org/wiki/Soy_Cuba

This is the iconic scene from Elia Kazan's "On the Waterfront" in which Terry (Marlon Brando) delivers his brother Charlie a heartfelt scolding. "I coulda had class... I coulda been a contender, instead of a bum, which is what I am - let's face it."

This is often listed as perhaps the greatest scene of acting in a motion picture, and gained more popularity after Martin Scorsese's "Raging Bull," which featured Jake LaMotta (Robert De Niro) reciting the scene word-for-word in his dressing room.

http://en.wikipedia.org/wiki/On_the_waterfront

Robert Leroy Johnson (May 8, 1911 – August 16, 1938) is among the most famous Delta Blues musicians and arguably the most influential. He is an inductee of the Rock and Roll Hall of Fame. Considered by some to be the "Grandfather of Rock-and-Roll," his vocal phrasing, original songs, and guitar style influenced a range of musicians, including Led Zeppelin, The Allman Brothers Band, Bob Dylan, The Rolling Stones, Jimi Hendrix, and Eric Clapton, who called Johnson "the most important blues musician who ever lived."

Of all the great blues musicians, Johnson was probably the most obscure. All that is known of him for certain is that he recorded 29 songs; he died young; and he was considered one of the greatest bluesmen of the Mississippi Delta.

There are five significant dates in Johnson's life: Monday, Thursday and Friday, November 23, 26, and 27, 1936, he was in San Antonio, Texas, at a recording session. Seven months later, on Saturday and Sunday, June 19–20, 1937, he was in Dallas at another session. Everything else about his life is an attempt at reconstruction. Director Martin Scorsese says in his foreword to Alan Greenberg's filmscript Love In Vain: A Vision of Robert Johnson, "The thing about Robert Johnson was that he only existed on his records. He was pure legend."

- More @ <ahref="http://www.videosift.com/video/In-Search-of-Robert-Johnson">Wikipedia