The Key to Reserva

United States, Spain

2007

10 Min

Color

1.85:1

English

Currently 3.5/5 Stars.
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EXEC Quique Camín, Aitana R. Coca, Tito Coca

PROD Marjie Abrahams, Jules Daly, Emma Tillinger

CAST Simon Baker, Kelli O'Hara, Michael Stuhlbarg, Christopher Denham, Richard Easton, Martin Scorsese, Ted Griffin, Nellie Sciutto, Thelma Schoonmaker

Martin Scorsese is interviewed about a 3-minute script by Alfred Hitchcock that he found and is planning to shoot. The action turns to a classical music concert that is taking place in a theater. A young man around 40, a spy or a detective, opens the door to a theater box. He is looking for something that he finally finds inside a light bulb. A young woman from the audience looks up. A violist stops playing when he sees him. Our detective is trying to open the light bulb when the violist arrives. They fight. The musician falls on the audience. The music stops. Our man opens a box containing a bottle of “cava” and two cups. The story returns to Martin Scorsese talking about a missing page. Then, we move to the end. The protagonist and the young lady from the audience are toasting with cava in a romantic position. —IMDb

Director

Martin Scorsese

Martin Scorsese was born in New York City and soon developed a passion for cinema and a particular admiration for neo-realist cinema which inspired him and influenced his view or portrayal of his Sicilian heritage. After graduating from NYU Film School in 1966 and making a number of shorts, he shot his first feature-length film Who’s That Knocking at My Door (1968) with fellow student, actor Harvey Keitel, and editor Thelma Schoonmaker both of whom were to become long-term collaborators. Mean Streets followed in 1973 and provided the benchmarks for the ‘Scorsese style’. After Scorsese directed Alice Doesn’t Live Here Anymore, the trio was reunited for the dark journey of Travis Bickle in Taxi Driver. After New York, New York Scorsese released Raging Bull. The acclaimed biography of middleweight fighter Jake LaMotta was followed by exploration of fans as pariah in The King of Comedy, dark-comic dreams in After Hours and pool sharks in The Color of Money. Scorsese outraged some religious… read more