Press tour: HBO's 'Boardwalk Empire' brings Martin Scorsese to television

An Oscar winner, a "Sopranos" producer and Steve Buscemi team up for a tale of Prohibition-era Atlantic City.

Press tour: HBO's 'Boardwalk Empire' brings Martin Scorsese to television

Steve Buscemi in HBO's "Boardwalk Empire."

Credit: HBO/Craig Blankenhorn

Martin Scorsese has wanted to work in television for a long time. With HBO's "Boardwalk Empire," one of the final series paneled at press tour, he finally has his chance.

Appearing via satellite from London, the excitable Oscar-winning director said that the TV drama revolution of the last decade fulfilled the promise of "what we had hoped for in the mid-60s, when films were being made for television at first. We hoped that there would be this kind of a freedom.

"I've been tempted over the years to be involved in (a TV drama) because of the nature of the long form," he added, "and the development of character and plot."

With "Boardwalk Empire" - which debuts Sept. 19, and which is far and away the best thing I've seen for this press tour, and probably going back many, many press tours - Scorsese and writer Terence Winter (David Chase's right-hand man on "The Sopranos") are telling a story that could, in success, last a decade. The series begins in Atlantic City in 1920 on the eve of Prohibition, with Steve Buscemi playing Nucky Thompson, a fictionalized version of legendary Atlantic City fixer Nucky Johnson.

( The series features a number of historical figures like Arnold Rothstein and Lucky Luciano. "I was afraid if people started to Google the real Nucky Johnson, they would get ahead of the story," Winter explained, and calling him Thompson gives him license to significantly depart from Johnson's biography.)

Scorsese has told many gangster stories before, from the 19th century ("Gangs of New York") to the '60s and '70s ("Goodfellas") to today ("The Departed"), and was drawn to Winter's script and the '20s milieu because it gave him a chance to show "the charting of this world" and the start of "America's love affair with the gangster as a sort of tragic hero."

In a separate interview I did with Winter (that will run closer to the premiere), Winter talked about how Scorsese's name was a "magnet" for actors, and led to a cast that included Kelly MacDonald, Michael Shannon, Michael Pitt, Michael K. Williams (Omar from "The Wire"), Dabney Coleman, Gretchen Mol, Michael Stuhlbarg and that was headed by Steve Buscemi, a career character actor suddenly at the center of a sprawling historical crime epic.

Buscemi worked with Winter for a season on "The Sopranos," and briefly with Scorsese on "New York Stories," but said the idea of getting the role of Nucky was so unlikely that when he read the script, "I just thought, 'Wow. I'm almost sorry I've read this, because if I don't get it, I'm going to be so sad.'"

Winter told Buscemi that Scorsese wanted him for the part - "I love the range he has," Scorsese explained, "his dramatic sense, but also his sense of humor." - and it actually took a few moments for the news to sink in.

"My response was, 'Terry, I know you're looking at other actors,'" Buscemi recalled. "And he said, 'No, no, Steve, I said we want you.'" 

Much of Scorsese's career has been spent chronicling stories from the other side of the Hudson, but he "always loved the idea of Jersey," and was struck by the coincidence that the pilot was filmed at the same time that news broke in New Jersey of a sweeping corruption scandal involving Orthodox rabbis and local politicians.

"Interesting state, interesting part of the country," he said. "But I had not really followed NJ politics from the 1940s on. I was kind of pleasantly surprised."

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  • Default-avatar

    Reed How involved will Scorsese be in this? Is he directing any episodes past the pilot?

    August 7, 2010 at 7:34PM EST Reply to Comment
    • Midnight_run_mca255950_talkback_profile

      sepinwall He says he wants to direct more, but scheduling is tough. I've seen five episodes past the pilot, and the other directors (notably Tim Van Patten) have done a very good job of maintaining the style he uses in the first hour.

      August 7, 2010 at 7:37PM EST
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      Jack So, Alan the quality doesn't drop off after the pilot? Thats great to know.

      August 7, 2010 at 7:40PM EST
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    MNIS Really wish I had HBO to watch this. Sadness.

    August 7, 2010 at 8:18PM EST Reply to Comment
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    mratfink Um... Steve Buscemi is just a character actor? really? he's been in a lot of well known movies and he is really recognizable. I think that term sells him a little short.

    August 7, 2010 at 8:24PM EST Reply to Comment
    • Midnight_run_mca255950_talkback_profile

      sepinwall The term's not a slight. You can be a great, famous character actor and still not usually be asked to play the lead in a big project.

      August 7, 2010 at 10:35PM EST
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    Echos Myron Scorsese is such a hack. The only two important American directors of the last 40 years are John Cassavetes and Jon Jost.

    August 7, 2010 at 9:26PM EST Reply to Comment
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      James Obviously you;ve never seen the Goodfellas.

      August 7, 2010 at 9:49PM EST
    • The only response that won't have Alan reaching for the delete key is: "There's a hell of a lot of people who would beg to differ. Have a nice day."

      August 8, 2010 at 4:49PM EST
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      Andrew I see what you're trying to do with the whole independent director thing. Don't worry, we're all sufficiently impressed by your knowledge of alternative and independent cinema.

      August 8, 2010 at 5:19PM EST
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      Andrew And I'll follow that with "Have a nice day" as well, haha

      August 8, 2010 at 5:21PM EST
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      Tausif Khan I would not resort to calling Scorsese a hack because if you listen to him talk about film it is beautiful. I have big trouble with his concept of people that they are unchangeable. I watched Shutter Island and I figured out the twist from watching the trailer. I don't understand why he choice a noir period and setting if he thinks people are unchangable because the whole point of noir is disorientation confusion and identity crisis. Shutter Island represents to me an extreme misuse of noir (and am troubled because it is my favorite genre, theme and/or time period). I watched The Departed and was waiting for some interesting commentary about seedy society and got nothing but the statement of "I was trying to remake Hamlet in Boston ( the prodigal son played by Damon, the ending with everyone dead and rats crawling across government). I have yet to see Raging Bull or Taxi but already having seen two films and have problems with his work and so might not enjoy these.

      August 8, 2010 at 10:40PM EST
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      Tausif Khan *his choice

      *Taxi Driver

      August 8, 2010 at 10:41PM EST
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      Tausif Khan I would also argue that David Lynch and Quentin Tarantino have made significant contributions to film.

      August 8, 2010 at 10:43PM EST
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      Tausif Khan From Fresh Air interview: The 'Big Fan' Team: Patton Oswalt, Robert Siegel

      http://www.npr.org/templates/transcript/transcript.php?storyId=112064202

      Scorsese's philosophy:

      Mr. (Patton) OSWALT: Well, you know, you mentioned "Taxi Driver," and you know, "Taxi Driver," that movie can almost be watched in a loop because the very last image is of the empty rear-view mirror, which is also the very first image. We've just come full-circle, that this guy is going to ride around in this cab until the rage builds up, and he's going to explode again. And it's just going to happen in this endless cycle.

      Similar to how we find Dicaprio's character in in Shutter Island as a mental patient who constantly relives his fantasy as a detective searching for his family while being a mental patient.

      August 8, 2010 at 10:54PM EST
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      wykstrad @Tausif Khan
      Film noir may be all about "disorientation, confusion, and identity crisis" -a point that could be debated- but even with this definition, how does Scorcese's film constitute misuse? Shutter Island is all about confusion, disorientation, and identity crisis- it's about a detective who learns he's something else, and how he chooses to deal with that discovery (in a way that breaks the cycle, no less, so it is moreso about change than any of Scorcese's other films). Taxi driver is an exploration of identity, as well, in that it measures the distance between a hero and a madman, and finds them to be shorter than we might expect. The whole point of film noir may be "disorientation, confusion, and identity crisis," but just as most film noirs bring an end to the disorientation and confusion with the detective's explanation in the denouement, they generally end the identity crisis with the reaffirmation of the detective's identity as lonely, cynical soul.

      Look at the list of famous noir protagonists- how many of them ever change? Sam Spade and Philip Marlowe end each of their adventures exactly where they started, with roughly the same cynical worldview. Maybe Rick's changed at the end of Casablanca, but he still ends the movie where he began it. Film noir is too steeped in episodic influences- the detective novel, for example- to avoid being essentially cyclical.

      August 9, 2010 at 1:32PM EST
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      Tausif Khan @ wykstrad thanks for bringing this up I was thinking about this write after I wrote my point about noir being misused. I think you have a fair point but I still stick to the same point.
      The movie Casablanca is hard to call noir because it is not in the postwar period where most of the disorientation took place. If we are to qualify it, we can call it the beginning of the noir period. That being said there are elements of film noir but it is not a noir film. First and foremost we do not find the hard boiled detective or the proletarian tough guy. Rick in the beginning of Casablanca is a successful ambivalent business man who doesn’t like to take sides because he doesn’t want to get involved in anything serious. We know next to nothing about Rick he doesn’t have any convictions. He then suffers a moral crisis and from indecisiveness. He feels if he gets involved things could get worse. He then over comes it and decides to help (relying on his decision making power this I would agree is noir) the good side and there is hope for the future. “I think this is the beginning of a beautiful friendship”. The hope in a better future is decidedly not noir. There is a noted change from ambivalence to taking sides. There is visible growth in the character of Rick. These decisions are something the viewer can identify with because this was the exact moral crisis the United States was in at the beginning of World War II. To help and get Americans killed or to do nothing and let evil triumph. To enter into the breach we would start living life as it truly is a confusion; a national existential crisis.
      A key element of film noir is existential crisis. Nietzsche (the first prominent existentialist) wrote Thus Spake Zarathustra. In the book Zarathustra realizes there is no higher power and nothing to safe guard us from the horrors of life. He suffers from this realization but then sees that the worship of idols has lead to stultification in human growth. He then resolves to teach people to rely on themselves. Jean Paul Sartre’s book Nausea showed that as a result of realizing the weight of the world the completeness of individual objects disorientation is induced. As a result the person gains an inability to act with clear conscience at the precipice of tough decisions and becomes physically nauseous. Sartre believed that hell is other people because other people’s desires complicate living life and make it hard enact one’s own freedom. Therefore own must come to an understanding of their own self reliance. Therefore existential crisis is a moment of profound realization and truth and eventually with the knowledge of the truth of the world one will be able to act to save themselves.
      More emblematic of film noir are the films Maltese Falcon and The Big Sleep. I believe you are right that the detective starts and ends in the same place. I also believe that you are right that films noir are episodic tales. So I am going to tie those two pieces of information together. The detective keeps on learning that his cynical view of the world is correct in that he has to work so hard to maintain his place in it. The proletarain tough guy is a character trait of the noir film. Proletarian implying our hero has to struggle for everything in is life like we do. We identify with the self preserving moves he takes through his self-reliance in the face of femme fatales (misogynistic, but relationships are hard with other people, as Sartre points out that hell is other people, the message can then be for both genders if we take out the misogyny) and violence. We are able to put ourselves in the shoes of the hard boiled detective and proletarian tough guy to come to a better understanding of how tough everyday life is and that every day life or episode in the case of the detective is a struggle.
      Scorsese belies all of this understanding. In Shutter Island the man is crazy from the beginning therefore we can not trust any of his decisions. He is removed from us and distant. He has no control over his own will, really is incapable of seeing reality and can not deal with his actions. He does not come to any realizations on his own and is mentally incapable of doing so. His holders (the doctors who run the facility) let him run around the island and Scorsese let’s the audience think the mental patients mind creates this mystery, which is fictitious, to delude him into thinking he is a hero detective looking to solve his wife’s disappearance. Bottom line is Scorsese wants the audience to believe his mental illness makes him incapable of comprehending reality and his world is one of delusion. This is not a film noir resolution because our hero does not realize anything about himself. By this statement on delusion Scorsese implies the world is in fact more simple and that it is black and white that mentally ill people are mentally ill and criminals are criminals. Because Dicaprio’s character is mentally ill he is incapable of changing his behavior and conceiving of what he and his wife have done. Therefore, in summary, in noir we identify with the confusion of the proletarian tough guy and understand our mortal coil existential struggle. To Scorsese people are who they are and people do horrible things. People are incapable of stopping themselves are deluded and should be separated from society. Therefore I believe misuses noir to the detriment of his film.
      If Scorsese were to give a humanizing critique of noir he would have done well to watch Ron Howard’s A Beautiful Mind. Howard’s film has noirish elements and Nash has a mental disorder but Nash is only able to overcome the disease with the help/love of his wife, friends and students. In this case Howard presents the idea that sometimes self-reliance isn’t enough. Scorsese does not do use the genre/time period theme appropriately nor does he critique it this makes the film unsuccessful.
      Scorsese’s conclusion in the film is a fascile conclusion. Because he is not writing a social science paper, where people are treated as a data rather than human beings, I expect him to have a more nuanced understanding of social relations. He is dealing in the medium of film where we can visually see the slipperiness of understanding humanity. The same critique of a fascile conclusion can be said about The Departed where instead of making a deeply woven tapestry of complicated characters and a critical look at seedy society Scorsese has the characters become mere cyphers for the larger game that Scorsese is playing. To him his characters are as wooden as chess pieces and as well developed.


      To conclude I am not saying that beginnings can not match endings in film nor am I disagreeing that there may be inherent qualities to people. What I am saying is that within the noir genre “disorientation, confusion and identity crisis” are key and these elements are supposed to be presented to the audience so that they can personally understand the difficulty of everyday life. Scorsese uses people as ill developed chess pieces. If he wanted to critique the conventions he should have watched A Beautiful Mind first to gain a more complex understanding of life.

      August 10, 2010 at 10:00PM EST
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    MikeF Alan, thanks for the article. Just wondering, any news on who's the composer and who's the DP for this?

    August 8, 2010 at 12:46AM EST Reply to Comment
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    Tim What style is the music theme song for Boardwalk Empire

    August 8, 2010 at 1:08AM EST Reply to Comment
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    Jeff Any 70s rock or is the score period specific?

    August 8, 2010 at 2:28AM EST Reply to Comment
    • Midnight_run_mca255950_talkback_profile

      sepinwall Period specific. And very good.

      August 8, 2010 at 9:44AM EST
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    JanieJones I've seen the trailers on HBO, along with brief interviews. I have very high expectations for the show. Everything you've said to this point makes me even more excited. The sets look amazing!
    And while I've viewed Buscemi as a character actor, having the lead of what sounds to be a great show, adds another layer.
    Also, I don't Scorsese is a hack. I think he's excellent director.
    Some of the Sopranos men are doing well-Weiner, Coulter and Winter immediately come to mind.

    August 8, 2010 at 9:40AM EST Reply to Comment
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    jim Sounds great. In my book Scorsese is the greatest director alive and working. Perfect for this kind of stuff. Goodfellas is the best mafia movie ever made (yes... better than The Godfather). Even less recognized work like Casino and Gangs of New York are some of the finest genre pieces ever put on the big screen (one could argue better than his oscar winner Departed). Taxi Driver, Raging Bull...Mean Streets. The man has directed a lot of all time classics, great movies in many genres and unlike other "once great" directors like Coppola he is still on top of his game.

    But enough about the living legend and more about HBO's LUCK, please! Fienberg didn't even describe the trailer.

    August 8, 2010 at 10:03AM EST Reply to Comment
    • Midnight_run_mca255950_talkback_profile

      sepinwall There wasn't much to describe: shots of the cast, shots of a horse racing. Nick Nolte has a beard. That's it.

      August 8, 2010 at 9:28PM EST
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    LJA Alan, on a scale of "zero to Sopranos," how bad is the violence in this show?

    August 9, 2010 at 1:12AM EST Reply to Comment
  • Madmen_icon_talkback_profile

    LJA Alan, on a scale of "zero to Sopranos," how bad is the violence in this show?

    August 9, 2010 at 1:12AM EST Reply to Comment
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    Jim Alan, Does the pilot deal with race issues?

    August 9, 2010 at 4:12AM EST Reply to Comment
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    JP I'm confused. Is this a series or a miniseries? I have read both.

    August 9, 2010 at 7:54AM EST Reply to Comment
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      Jim This is a regular series

      August 9, 2010 at 2:10PM EST
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      Jim This is a series, not a miniseries

      August 9, 2010 at 2:46PM EST
  • Kittyavatar_talkback_profile

    justjoan123 They like this

    August 10, 2010 at 1:50PM EST Reply to Comment
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    tiger tim The once promising and comnpelling
    BUT NEVER deeply moving Scorese has MADE
    his money and been stale for decades.

    He should have the grace to retire.

    October 9, 2010 at 10:35PM EST Reply to Comment
Alan Sepinwall

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All through his childhood, Alan Sepinwall's relatives told his parents, "All that boy does is watch television! How's he going to make a living doing that?" His career as a TV critic has been 15 years and counting of his attempt to answer their concerns. "What's Alan Watching" is a blog whose title is self-explanatory: Alan watches TV shows, then writes about what he watched. He can be reached at sepinwall@hitfix.com

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