āGlauber Rocha I met over the years, then I started making filmsāthereās no doubt Antonio das Mortes had a major impact on Mean Streets and on Raging Bull. On Raging Bull we put in some Brazilian music in homage to Glauber, thereās a couple of pieces of music in there. In any event, I think the last time I saw him was in Venice, 1980. But before that, Tom Luddy brought him overāI had a small house in Los Angelesāand we had a dinner. It was Tom Luddy, myself, and Glauber, and I showed him The Big Shave, a short I had made. And we looked at a John Ford film, The Horse Soldiers; not a great John Ford film, but he liked Ford and he liked westerns he told me.ā
ā[On his favorite of Rochaās filmsā¦] I think itās Antonio, but I go back and forth. Thereās Land in Anguish and Barravento, but Antonio is very much the one I keep checking back with, I keep showing to peopleāif I think they deserve it. Because sometimes some people are gone, some people are like zombies. They have no more feeling or something, I donāt know, and I think itās good to show it to people who willā¦ you know it might help them in their work. Even if they reject it, itās something for them to have a reaction to, rather than whatās being presented today. But, no, I think itās Antonio, I go back and forth, but the music is always in my head and I know it very well. Itās fresh, itās new. It doesnāt cater to tastes of the box office, I mean the box office in a bad way, you know, of a traditional, āOK, now weāre going to sit you down and tell you a nice story.ā This punches you in the face and wakes you up, it opens your eyes. And thatās what you need today, more than ever.ā ā Martin Scorsese on Glauber Rocha
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