Mardik Martin

Made films the shows talk about.

Wikidata Q6758676: matched by corpus:resolve, told apart by the only person by that name on Wikidata.

Counted as writer, the making department they hold the most credits in. The films the hosts said they wrote, which the two lists below run through too: Who's That Knocking at My Door (1967); Mean Streets (1973); New York, New York (1977); Raging Bull (1980); The Last Waltz.

Draws on

What the speakers say they, or a film of theirs, drew on. Each is a speaker's account: “the maker said so” when they report the maker's own words, “the host's read” when the read is theirs.

Annie Hall (1977): 1 line

  1. unmapped (zeitgeist precedent) · through Raging Bull (1980), which they wrote: Annie Hall ⇒ Raging Bull (the host's read). Annie Hall established the late-70s map for human-frailty stories with comedy and fragile men, which Scorsese then exploited to horrify.
    “part of that map is is Annie Hall.”
    Blank Check with Griffin & David · Raging Bull with David Krumholtz · 1:32:35 · Griffin Newman or David Sims (0.40 sure it was them)

Italianamerican (1974): 1 line

  1. lineage (dialogue rhythm source) · through Raging Bull (1980), which they wrote: Italianamerican ⇒ Raging Bull (the host's read). Scorsese's parents fighting in Italianamerican and American Boy taught him the rhythm replicated in Raging Bull's family fight scenes.
    “And so much of his parents fighting in Italian American is the feeling of the family fight scenes in this movie.”
    Blank Check with Griffin & David · Raging Bull with David Krumholtz · 1:58:33 · Griffin Newman or David Sims (0.40 sure it was them)

New York, New York (1977): 1 line, within their own work

  1. career (career crisis) · through Raging Bull (1980), which they wrote: New York, New York ⇒ Raging Bull (the host's read). New York, New York's failure and bad reviews, with drugs and a collapsing marriage, pushed Scorsese toward making Raging Bull as a lifeline.
    “New York, New York comes out to bad reviews.”
    Blank Check with Griffin & David · Raging Bull with David Krumholtz · 0:46:51 · Griffin Newman or David Sims (0.40 sure it was them)

On the Waterfront (1954): 1 line

  1. unmapped (meta ending) · through Raging Bull (1980), which they wrote: On the Waterfront ⇒ Raging Bull (the host's read). LaMotta recites the Waterfront monologue flat; the film swapped it in for Shakespeare, which Michael Powell vetoed.
    “So they they instead go for the on the waterfront because that's kind of like that's his iconography.”
    Blank Check with Griffin & David · Raging Bull with David Krumholtz · 0:55:17 · Griffin Newman or David Sims (0.40 sure it was them)

Rocky (1976): 1 line

  1. theme (anti-genre) · through Raging Bull (1980), which they wrote: Rocky ⇒ Raging Bull (the maker said so). Scorsese shot in black and white to differentiate from Rocky-era bright red-white-and-blue boxing movies, and producer Winkler produced both.
    “Number one, I want to differentiate from the Rockies and all the other sort of boxing movies right now.”
    Blank Check with Griffin & David · Raging Bull with David Krumholtz · 1:08:55 · Griffin Newman or David Sims (0.40 sure it was them)

Drawn on by

What the speakers say drew on them or a film of theirs, marked the same way.

Boogie Nights (1997): 1 line

  1. lineage (influence) · through Mean Streets (1973), which they wrote: Mean Streets ⇒ Boogie Nights (the maker said so: the Boogie Nights commentary track). Per the commentary track, Anderson lifted images from Mean Streets, Goodfellas and other Scorsese films for Boogie Nights.
    “Paul Thomas Anderson explained how he just ripped off images he saw in Mean Streets or in Goodfellas”
    The Big Picture · The ‘Babylon’ Watch-Along · 0:24:42 · unknown (0.30 sure it was them)

Raging Bull (1980): 1 line, within their own work

  1. career (career crisis) · through New York, New York (1977), which they wrote: New York, New York ⇒ Raging Bull (the host's read). New York, New York's failure and bad reviews, with drugs and a collapsing marriage, pushed Scorsese toward making Raging Bull as a lifeline.
    “New York, New York comes out to bad reviews.”
    Blank Check with Griffin & David · Raging Bull with David Krumholtz · 0:46:51 · Griffin Newman or David Sims (0.40 sure it was them)

The Color of Money (1986): 1 line

  1. people (origin of collaboration) · through Raging Bull (1980), which they wrote: Raging Bull ⇒ The Color of Money (the host's read). Newman watched Raging Bull on Ovitz's recommendation and wanted to work with Scorsese.
    “Paul Newman watches Raging Bull on, I guess Ovid's his recommendation and says, like, that's one of the best things I've ever seen.”
    Blank Check with Griffin & David · The Color of Money with Chris Ryan · 0:53:44 · unknown (0.30 sure it was them)

The King of Comedy (1982): 1 line

  1. lineage (spiritual sequel) · through Raging Bull (1980), which they wrote: Raging Bull ⇒ The King of Comedy (the host's read). King of Comedy is a part-2 of sorts about a delusional comedian, echoing LaMotta's stand-up, and is part of a De Niro trilogy with Taxi Driver.
    “There's the king of comedy, the spiritual sequel to Raging Bull.”
    Blank Check with Griffin & David · Raging Bull with David Krumholtz · 1:55:42 · unknown host (0.30 sure it was them)

What the speakers said they did

Writing (5) everyone in writing

What was said about them, by kind

No claims join them to a film or another person.

Fun items about them

None.