内容摘要：Winnie Keben stands in her homestead as the sun sets at Meisori village in Baringo County, Kenya, Wednesday, July 20, 2022. (AP Photo/Brian Inganga)

Winnie Keben stands in her homestead as the sun sets at Meisori village in Baringo County, Kenya, Wednesday, July 20, 2022. (AP Photo/Brian Inganga)

SCORSESE: I’ve been wanting to do this for years. I tried doing this back in 1980 with RAI Television in Rome. Then it fell apart and I put the energies into “The Last Temptation of Christ,” “Kundun,”— the ones that were obviously in that realm of what you may call spirituality.

Here, they came by and it was actually going to happen. I said, “Yeah, I’ll go with this.” They said, “This is the outlet.” I said, “Alright, as long as we have the freedom to express what we want.” They went with the scripts. They went with the shoot. They went with the cuts. Now what I think is: Do we take these thoughts or expressions and only express them to people who agree with us? It’s not going to do us any good. I’m talking about keeping an open mind.Shooting in Manhattan and shooting in Oklahoma (where “Killers of the Flower Moon” was filmed) are two different things. Being around people on a farm that is one-tenth bigger than the size of Manhattan is very different than being on 63rd Street. You begin to see the world from how they perceive it. Just to understand what daylight and nighttime means in rural areas. That was a revelatory experience being out there for that long.SCORSESE: The filmmaking comes from God. It comes from a gift. And that gift is also involved with an energy or a need to tell stories. As a storyteller, somehow there’s a grace that’s been given to me that’s made me obsessive about that. The grace has been through me having that ability but also to fight over the years to create these films. Because each one is a fight. Sometimes you trip, you fall, you hit the canvas, can’t get up. You crawl over bleeding and knocked around. They throw some water on you and somehow you make it through. You go to another. Then you go to another. This is grace, it really is.

For me, it’s not that cinema is a god. It’s the expression of God. Creativity is the expression of God. Something happens in you when it clicks, when it works. Not everybody thinks it works, but maybe you do. But something happens and there’s no way of expressing that, except that it’s a gift. For me, it’s a gift to experience and existing for that moment. So it comes through cinema. It comes through movies. Even a commercial because commercials are not easy. You have to tell a story in less than 45 seconds. My last picture was three hours, 15 minutes. (Laughs) Come on!SCORSESE: It’s an option but I’m still working on it. There’s a very strong possibility of me doing a film version of Marilynne Robinson’s “Home,” but that’s a scheduling issue. There’s also a possibility of me going back and dealing with the stories from my mother and father from the past and how they grew up. Stories about immigrants which tied into my trip to Sicily. Right now, there’s been a long period after “Killers of the Flower Moon.” Even though I don’t like getting up early, I’d like to shoot a movie right now. Time is going. I’ll be 82. Gotta go.

SCORSESE: You’re guided by: Is it worth doing at this late stage in your life? Can you make it through? Is it worth your time? Because now, the most valuable thing aside from people I love, my family, is time. That’s all there is.

SCORSESE: Some older ones I’ve been watching. There was one film I liked a great deal I saw two weeks ago calledThe album, the quietest of the series, worked as an allegory on the trials of fame — a topic long covered by the most successful purveyors of pop. Retrospectively, it works best as a film’s soundtrack than a stand-alone record, ambitious. Like the movie, it gestures at criticism of the celebrity-industrial complex without accomplishing it. It seems obvious, now, to learn that the movie predates the record.

The film’s strength far and away is its score, composed by Tesfaye with Daniel Lopatin (better known as the experimental electronic musician Oneohtrix Point Never and for hisand “Uncut Gems” scores). It builds from Tesfaye’s discography and morphs into something physical and psychedelic — at its most elated, dread-filled and clubby. It is so affecting, it almost distracts from moments of dizzying cinematography, with the films’ penchant for spinning frames, zooms into upside skylines, blurred vision and erratic lights.

Those tools feel better suited for a music video, the kind of sophisticated visual world Tesfaye has developed in his pop career. They elevate his euphoric, layered, evocative dance-pop, but they do not translate in this film.“Hurry Up Tomorrow,” a Lionsgate release, is rated R by the Motion Picture Association for language throughout, drug use, some bloody violence and brief nudity. Running time: 105 minutes. One and a half stars out of four.