DVD details
1
2
Region: USA Germany
Taxi Driver
Columbia/Tristar
03481
Color - 114 min
Released 15 June
1999
Available
List Price: $24.95
Snap Case
Aspect Ratio
1.85 : 1
Anamorphic
Widescreen
Sound:
Regional
Information
Disc Details
Closed Captioning: CC
Master format: Film
NTSC
Sides: 1 (SS-RSDL)
1:
Chapter stops: 28
USA
Macrovision
copy protection
English
2.0 Surround
---------------------------------
Subtitles:
English, Spanish, Portuguese, Chinese, Korean,
Thai
SUPPLEMENTS




Making-of documentary
Storyboard sequence
Original screenplay
Advertising materials
Movie Review
Roger Ebert / January 1, 2004
Are you talkin' to me? Well, I'm the only one here. --Travis
Bickle in "Taxi Driver"
It is the last line, "Well, I'm the only one here," that never gets quoted. It is the
truest line in the film. Travis Bickle exists in "Taxi Driver" as a character with a
desperate need to make some kind of contact somehow--to share or mimic the
effortless social interaction he sees all around him, but does not participate in.
The film can be seen as a series of his failed attempts to connect, every one of
them hopelessly wrong. He asks a girl out on a date, and takes her to a porno
movie. He sucks up to a political candidate, and ends by alarming him. He tries to
make small talk with a Secret Service agent. He wants to befriend a child
prostitute, but scares her away. He is so lonely that when he asks, "Who you
talkin' to?" he is addressing himself in a mirror.
This utter aloneness is at the center of "Taxi Driver," one of the best and most
powerful of all films, and perhaps it is why so many people connect with it even
though Travis Bickle would seem to be the most alienating of movie heroes. We
have all felt as alone as Travis. Most of us are better at dealing with it.
Martin Scorsese's 1976 film (re-released in theaters and on video in 1996 in a
restored color print, with a stereophonic version of the Bernard Herrmann score) is
---------------------------------
a film that does not grow dated, or over-familiar. I have seen it dozens of times.
Every time I see it, it works; I am drawn into Travis' underworld of alienation,
loneliness, haplessness and anger.
It is a widely known item of cinematic lore that Paul Schrader's screenplay for
"Taxi Driver" was inspired by "The Searchers," John Ford's 1956 film. In both
films, the heroes grow obsessed with "rescuing" women who may not, in fact,
want to be rescued. They are like the proverbial Boy Scout who helps the little old
lady across the street whether or not she wants to go.
"The Searchers" has Civil War veteran John Wayne devoting years of his life to
the search for his young niece Debbie (Natalie Wood), who has been kidnapped
by Commanches. The thought of Debbie in the arms of an Indian grinds away at
him. When he finally finds her, she tells him the Indians are her people now, and
runs away. Wayne then plans to kill the girl, for the crime of having become a
"squaw." But at the end, finally capturing her, he lifts her up (in a famous shot)
and says, "Let's go home, Debbie."
The dynamic here is that Wayne has forgiven his niece, after having participated
in the killing of the people who, for 15 years or so, had been her family. As the
movie ends, the niece is reunited with her surviving biological family, and the last
shot shows Wayne silhouetted in a doorway, drawn once again to the wide open
spaces. There is, significantly, no scene showing us how the niece feels about
what has happened to her.
In "Taxi Driver," Travis Bickle also is a war veteran, horribly scarred in Vietnam.
He encounters a 12-year-old prostitute named Iris (Jodie Foster), controlled by a
pimp named Sport (Harvey Keitel). Sport wears an Indian headband. Travis
determines to "rescue" Iris, and does so, in a bloodbath that is unsurpassed even in
the films of Scorsese. A letter and clippings from the Steensmas, Iris' parents,
thank him for saving their girl. But a crucial earlier scene between Iris and Sport
suggests that she was content to be with him, and the reasons why she ran away
from home are not explored.
The buried message of both films is that an alienated man, unable to establish
normal relationships, becomes a loner and wanderer, and assigns himself to rescue
an innocent young girl from a life that offends his prejudices. In "Taxi Driver,"
this central story is surrounded by many smaller ones, all building to the same
theme. The story takes place during a political campaign, and Travis twice finds
himself with the candidate, Palatine, in his cab. He goes through the motions of
ingratiating flattery, but we, and Palatine, sense something wrong.
---------------------------------
Shortly after that Travis tries to "free" one of Palatine's campaign workers, a
blonde he has idealized (Cybill Shepherd), from the Palatine campaign. That goes
wrong with the goofy idea of a date at a porno movie. And then, after the fearsome
rehearsal in the mirror, he becomes a walking arsenal and goes to assassinate
Palatine. The Palatine scenes are like dress rehearsals for the ending of the film.
With both Betsy and Iris, he has a friendly conversation in a coffee shop, followed
by an aborted "date," followed by attacks on the men he perceived as controlling
them; he tries unsuccessfully to assassinate Palatine, and then goes gunning for
Sport.
There are undercurrents in the film that you can sense without quite putting your
finger on them. Travis' implied feelings about blacks, for example, which emerge
in two long shots in a taxi driver's hangout, when he exchanges looks with a man
who may be a drug dealer. His ambivalent feelings about sex (he lives in a world
of pornography, but the sexual activity he observes in the city fills him with
loathing). His hatred for the city, inhabited by "scum." His preference for working
at night, and the way Scorsese's cinematographer, Michael Chapman, makes the
yellow cab into a vessel by which Travis journeys the underworld, as steam
escapes from vents in the streets, and the cab splashes through water from
hydrants--a Stygian passage.
The film has a certain stylistic resonance with "Mean Streets" (1973), the first
Scorsese film in which Keitel and De Niro worked together. In the earlier film
Scorsese uses varying speeds of slow-motion to suggest a level of heightened
observation on the part of his characters, and here that technique is developed
even more dramatically; as the taxi drives through Manhattan's streets, we see it in
ordinary time, but Travis' point-of-view shots are slowed down: He sees hookers
and pimps on the sidewalks, and his heightened awareness is made acute through
slow motion.
The technique of slow motion is familiar to audiences, who usually see it in
romantic scenes, or scenes in which regret and melancholy are expressed--or
sometimes in scenes where a catastrophe looms, and cannot be avoided. But
Scorsese was finding a personal use for it, a way to suggest a subjective state in a
POV shot. And in scenes in a cab driver's diner, he uses closeups of observed
details to show how Travis's attention is apart from the conversation, is zeroing in
on a black who might be a pimp. One of the hardest things for a director to do is to
suggest a character's interior state without using dialog; one of Scorsese's greatest
achievements in "Taxi Driver" is to take us inside Travis Bickle's point of view.
There are other links between "Mean Streets" and "Taxi Driver" that may go
unnoticed. One is the "priest's-eye-view" often used in overhead shots, which
Scorsese has said are intended to reflect the priest looking down at the implements
of the Mass on the altar. We see, through Travis' eyes, the top of a taxi dispatcher's
---------------------------------
desk, candy on a movie counter, guns on a bed, and finally, with the camera
apparently seeing through the ceiling, an overhead shot of the massacre in the redlight building. This is, if you will, the final sacrifice of the Mass. And it was in
"Mean Streets" that Keitel repeatedly put his finger in the flame of a candle or a
match, testing the fires of hell: here De Niro's taxi driver holds his fist above a gas
flame.
There has been much discussion about the ending, in which we see newspaper
clippings about Travis' "heroism," and then Betsy gets into his cab and seems to
give him admiration instead of her earlier disgust. Is this a fantasy scene? Did
Travis survive the shoot-out? Are we experiencing his dying thoughts? Can the
sequence be accepted as literally true?
I am not sure there can be an answer to these questions. The end sequence plays
like music, not drama: It completes the story on an emotional, not a literal, level.
We end not on carnage but on redemption, which is the goal of so many of
Scorsese's characters. They despise themselves, they live in sin, they occupy mean
streets, but they want to be forgiven and admired. Whether Travis gains that status
in reality or only in his mind is not the point; throughout the film, his mental state
has shaped his reality, and at last, in some way, it has brought him a kind of peace.
Box Office Information
Budget
$1,300,000 (estimated)
Gross
$21,100,000 (USA)
HKD 515,736 (Hong Kong) ( 1977)
SEK 6,283,970 (Sweden)
Admissions
1,200,000 (Germany)
Rentals
$12,569,000 (USA)
Filming Dates
June 1975 - September 1975
Copyright Holder
Copyright 1976 Columbia Pictures Industries, Inc.
---------------------------------
Movie Awards
Academy Awards, USA
Year
Result
Award
Category/Recipient(s)
Best Actor in a Leading Role
Robert De Niro
Best Actress in a Supporting
Role
Jodie Foster
1977 Nominated Oscar
Best Music, Original Score
Bernard Herrmann
Best Picture
Michael Phillips
Julia Phillips
Movie Trivia

Various studios considered producing this film; one suggested Neil
Diamond for the lead role.

Brian De Palma was also considered to direct but the producers were
dragged to a private screening of Mean Streets (1973) (Robert De Niro
and Martin Scorsese's previous collaboration) before they told Scorsese
he could direct, but only if he got De Niro to play the lead.

Harvey Keitel was originally offered the part of the campaign worker,
eventually played by Albert Brooks. He decided to take the role as the
---------------------------------
pimp, even though in the script he was black and only had about five
lines.

Rock Hudson was once considered for the role of Charles Palantine, but
was not able to due to his commitment to the TV series, "McMillan and
Wife" (1971).

Robert De Niro worked twelve hour days for a month driving cabs as
preparation for this role. He also studied mental illness.

The scene where Travis Bickle is talking to himself in the mirror was
completely ad-libbed by Robert De Niro. The screenplay details just
said, "Travis looks in the mirror."

Bernard Herrmann wasn't going to write the score for this film, but
agreed to do it when he saw the scene where Bickle pours Schnapps on
his bread.

Harvey Keitel rehearsed with actual pimps to prepare for his role. The
scene where his character and Iris dance is improvised, and is one of
only two scenes in the film that don't focus on Bickle.

Director Martin Scorsese claims that the most important shot in the
movie is when Bickle is on the phone trying to get another date with
Betsy. The camera moves to the side slowly and pans down the long,
empty hallway next to Bickle, as if to suggest that the phone
conversation is too painful and pathetic to bear.

Robert De Niro claimed that the final shootout scene took particularly
long, because of both technical problems and the humor which arose
from the tension created by the carnage in the scene.

Due to her age Jodie Foster could not do some of the more explicit
scenes. Instead her older sister Connie Foster was used as a double.

Legendary composer Bernard Herrmann died on Christmas Eve of 1975,
just hours after completing the recording sessions for this film.

When Travis calls Betsy from a payphone to apologize for having taken
her to a porno movie, he makes that call from the lobby of The Ed
Sullivan Theater (1697 Broadway).
---------------------------------

The sex film Travis takes Betsy to see is Kärlekens språk (1969).

This film was made by Columbia Pictures. There's a scene early in the
movie where a guy leaving Palantine campaign headquarters holds the
door open for Betsy as she goes in. The guy is wearing a white T-shirt
inside-out. You can see a large Columbia Studios logo (backwards)
showing through his shirt.

The restaurant where the cabbies gather to eat was a real-life hangout for
taxi drivers called the Belmore Cafeteria at 29th St. and Park Avenue
South. It has since been demolished, but the apartment building that
replaced it is named the Belmore.

The girl with whom Jodie Foster studied in order to prepare for her role
as Iris also appears in the film, as Iris' friend on the street.

Director Martin Scorsese's mother appears in the picture of Iris' parents
cut out from the newspaper. The picture is hanging on Travis' wall at the
end of the movie.

Due to injuries sustained in an accident during the production of the
1975 movie The Farmer (1977) actor George Memmoli had to decline
the bit-part of the Travis's disturbed passenger who was ultimately
played by the film's director Martin Scorsese.

Director Cameo: [Martin Scorsese] sitting down, behind Betsy as she
walks into the Palantine campaign headquarters in slow-motion. He also
appears as the irate husband in Bickle's cab.

In Paul Schrader's original screenplay, the characters of Sport, the
Mafioso and the hotel clerk were all black. Martin Scorsese felt that,
combined with other events in the film, this would have stacked the deck
too much towards racism, and suggested that those characters be
changed to white men. Schrader relented.

Jeff Bridges was considered for the part of Travis Bickle.

The record that Travis buys for Betsy is "The Silver Tongued Devil and
I" by Kris Kristofferson. In the restaurant they quote from a song on the
album, "Pilgrim Chapter 33" ("he's a prophet...").
---------------------------------

Paul Schrader was inspired to write the script after reading the published
diary of Arthur Bremer, the man who was convicted of shooting
presidential hopeful George Wallace. Eerily, Bremer was 26 years old in
1976 (the year the film was released), the same age as Travis Bickle in
the film.

The producers were looking for a "Cybill Shepherd" type to play the
female lead in the film. When agent Sue Mengers heard this, she
reportedly called them and asked why not hire Cybill Shepherd.

Travis' name was an homage to the Mick Travis character in If.... (1968)
and O Lucky Man! (1973), the latter of which was supposedly one of
Martin Scorsese's favorite films at the time.

According to Amy Taubin's book, the character of Iris was partially
inspired by Paul Schrader's memory of 1950s' Coppertone ads. One of
Jodie Foster's first acting jobs was a Coppertone commercial.

While it may be true that the scene where 'Robert de Niro' stands before
the mirror and asks his reflection, "You talkin' to me? Well, I don't see
anyone else here" was improvised, the exchange is a quotation from
Shane (1953) where Alan Ladd and Ben Johnson square up to one
another just before their barroom brawl.

Travis Bickle's famous "You talkin' to me?" scene may have been
inspired by De Niro's training under Stella Adler, who (as an exercise)
had her students practice different interpretations of a similar phrase.
The legendary acting teacher was surprised to see one of her former
students use "You talkin' to me?" as a psychotic mantra. Martin Scorsese
was encouraging De Niro just below the camera while shooting the
scene, which lead to the rest of the "dialogue" Bickle has with his
mirror.

The story was partially autobiographical for Paul Schrader, who suffered
a nervous breakdown, literally didn't talk to anyone to months, went to
porno theaters, and developed an obsession with guns when he first
moved out to Los Angeles. Schrader decided to switch the action to New
York City only because taxi drivers are far more common there.
Schrader's script clicked with both Scorsese and De Niro when they read
it.

When Travis is talking to a secret service agent, he gives the false
address of 154 Hopper Avenue, Fair Lawn, New Jersey. There is a
---------------------------------
Hopper Avenue in Fair Lawn, New Jersey, but there is no 154 Hopper
Avenue.

After Brian De Palma, who was originally attached to the project, was
let go, producer Michael Phillips gave him a gross point as a parting gift,
to assuage Phillips' guilt.

Tony Bill, the producing partner of Julia Phillips and her husband
Michael, wanted to make his directorial debut with this movie after
Brian De Palma was cashiered. He was convinced to wait to direct a
film more suitable for his sensibilities.

Around the time Bill was considering directing the movie, the Paul
Schrader script was sent to Al Pacino, but he declined the role. Julia
Phillips never knew whether Pacino declined the role because he didn't
like the script, or because he didn't want to work with Bill.

When Martin Scorsese agreed to direct, he brought Robert De Niro on
board with him, much to the delight of Julia Phillips. Much less
delightful was that DeNiro was committed to making Bernardo
Bertolucci's 1900 (1976) and when he left for Italy, Scorecese
committed to Alice Doesn't Live Here Anymore (1974).

After seeing "? every blonde in town," producer 'Julia Phillips' still
preferred Farrah Fawcett over 'Cybill Shepherd ' for the role of Betsy.
>>> WARNING: Here Be Spoilers <<<
Trivia items below here contain information that may give away important
plot points. You may not want to read any further if you've not already seen
this title.

SPOILER:Robert De Niro's Mohawk was not real, due to the fact that
De Niro still had to shoot scenes for the film with hair after the Mohawk
portions. Makeup artist Dick Smith created a bald cap that was glued to
De Niro's head and the mohawk was made of thick horse hair.

SPOILER: Due to the bloody content of the brothel shootout scene,
cinematographer Michael Chapman agreed to desaturate the colors in
post-production. This explains why the blood appears to be pink instead
of red in that scene. Later, when the DVD was being prepared, Martin
Scorsese wanted to replace it with the original shot, with the blood in its
---------------------------------
original vivid redness, but no print of that original scene could be found,
so the DVD still has the muted colors.

SPOILER: Martin Scorsese was reluctant to edit the climactic (and very
bloody) shootout to avoid an X rating. However, he was amused by the
changes ordered by the MPAA, because they made the final scene even
more shocking than had originally been intended.

SPOILER: Despite being criticized for its violence, only four characters
die - the black youth in the corner shop that Travis shoots, the pimp, the
mafioso and the doorman.
Movie Goofs
 Continuity: Length of Travis' hair.
 Crew or equipment visible: Reflected in a storefront window, in a drive-by
shot of the campaign headquarters.
 Continuity: Fare on meter when Travis' passenger is the cuckolded husband.
 Continuity: The length of Travis' sleeves (after cutting one off).
 Incorrectly regarded as goofs: Iris's sunglasses change from green to blue
when they're having breakfast. This is a character quirk; she changes her glasses
periodically, as the person Iris was modeled on did this.
 Continuity: Number of slices of toast when Iris and Travis are in the diner
 Continuity: The damage on Travis Bickle's army jacket in the shooting scene
and after the shooting scene.
 Continuity: When having coffee with Betsy for the first time, an overhead shot
of Travis shows him beginning to sweep his arm through the air above the table,
but when we immediately cut back to a frontal shot of Travis we see his hand and
arm are clearly on the table by his side.
 Continuity: When Travis gets back into his cab after buying the Kris
Kristofferson album, the beacon on the top reads "3S96", which is consistent with
real New York taxis, which have their medallion number on their roof beacon.
(Medallion numbers are always 4 digits, with the second being a letter.) In the
---------------------------------
next shot, the roof beacon reads "TAXI", which is never on a New York City taxi's
roof beacon, but is often used in movies and TV shows.
 Continuity: After Travis shoots the would-be convenience store robber, the
body moves from leaning against the display, to the floor, and back again as the
owner beats the body.
 Continuity: Iris' hair when she is wearing the green sunglasses while having
dinner with Travis.
 Continuity: The glass into which Travis drops the paracetamol tablet suddenly
appears in front of him. Previously we see that there was only a coffee cup there.
 Errors made by characters (possibly deliberate errors by the filmmakers):
In the anniversary note Travis sends his parents, he refers to July as being the
month containing Fathers Day. In fact, Fathers Day is in June.
 Continuity: The position of the military parachute wings on Travis's green
jacket change from the right side to the left periodically during the film.
 Continuity: In an earlier version Iris's timekeeper discovers a weapon on
Travis, disarms him, then returns it to him as he's leaving. This was later edited
out, but the gun is still visible in the timekeeper's hand when he looks at his watch.
 Crew or equipment visible: In the rider-shot from Travis' point of view, when
he passes the Palantine-supporters office to discover Betsy is not at her desk, there
is a very clear reflection of the cameraman and gripper pushing the dolly.
Movie Filming Locations
13 St between 2nd & 3rd Avenues, Manhattan, New York City, New York, USA
3rd Ave between 13th and 14th St, Manhattan, New York City, New York, USA
(Travis talks to Iris in front of the Variety Theatre)
Ed Sullivan Theatre - 1697 Broadway, Manhattan, New York City, New York,
USA
(Travis' phone call to Betsy)
New York City, New York, USA
Alternate Versions
---------------------------------
 Some TV prints mute all the profanity and severely edit the final shootout in the
brothel. Also removed is a point-of-view shot as Travis aims an unloaded gun out
an upper story window when he meets the gun dealer in the hotel room.
 The first Norwegian theatrical release of this movie was cut a few seconds in
the final shootout in the brothel but some years later the movie passed uncut.
Movie Connections
Referenced in
Rocky (1976)
Hardware Wars (1977)
Poliziotto senza paura (1977)
A Little Romance (1979)
Maniac (1980)
Mother's Day (1980)
Ms. 45 (1981)
Coup de torchon (1981)
Zapped! (1982)
Blue Thunder (1983)
The King of Comedy (1983)
Calamari Union (1985)
Moving Violations (1985)
Willy/Milly (1986)
Wise Guys (1986)
Mona Lisa (1986)
Evil Dead II (1987)
You Talkin' to Me? (1987)
Yinghung bunsik II (1987)
Caruso Pascoski di padre polacco (1988)
Epidemic (1988)
Feds (1988)
Friends, Lovers, & Lunatics (1989)
Die xue shuang xiong (1989)
Back to the Future Part III (1990)
Jacob's Ladder (1990)
Look Who's Talking Too (1990)
The Hard Way (1991)
Lai wong (1991)
Dice Rules (1991)
Johnny Suede (1991)
My Own Private Idaho (1991)
Cape Fear (1991)
JFK (1991)
Stalking the President: A History of American Assassins (1992)
---------------------------------
Gao yang yi sheng (1992)
Unforgiven (1992)
Bad Lieutenant (1992)
Aladdin (1992)
Sidekicks (1992)
Di shi pan guan (1993)
Sökarna (1993)
The Last Party (1993)
True Romance (1993)
Sunny Side Up (1994)
Trzy kolory: Bialy (1994)
The Lion King (1994)
Natural Born Killers (1994)
Léon (1994)
Pulp Fiction (1994)
Desperado (1995)
Haine, La (1995)
Blood & Donuts (1995)
Leaving Las Vegas (1995)
Dead Presidents (1995)
Boca a boca (1995)
Nick of Time (1995)
Casino (1995)
The Size of Watermelons (1996)
From Dusk Till Dawn (1996)
Trainspotting (1996)
Fargo (1996)
Kids in the Hall: Brain Candy (1996)
Fear (1996)
Swingers (1996)
Nick and Jane (1997)
Meat (1997)
Beverly Hills Ninja (1997)
Career Girls (1997)
Kiss Me, Guido (1997)
Conspiracy Theory (1997)
An Alan Smithee Film: Burn Hollywood Burn (1997)
Seal of Approval (1997)
Men (1997)
Tic Tac (1997/II)
Alien: Resurrection (1997)
The Borrowers (1997)
Jackie Brown (1997)
I Shoot Myself (1998)
Silent Rain in the Ninth (1998)
---------------------------------
The Big Lebowski (1998)
Torrente, el brazo tonto de la ley (1998)
Quest for Camelot (1998)
AFI's 100 Years... 100 Movies (1998) (TV)
The Parent Trap (1998)
Enemy of the State (1998)
"Liten film, En" (1999) (mini)
Staring at Headlights (1999)
Pups (1999)
Summer of Sam (1999)
An Invited Guest (1999)
Human Traffic (1999)
Bleeder (1999/I)
The Muse (1999)
All the Rage (1999)
Forever Mine (1999)
Bringing Out the Dead (1999)
The Apartment Complex (1999) (TV)
From Dusk Till Dawn 3: The Hangman's Daughter (2000) (V)
American Psycho (2000)
In the Weeds (2000)
Envol, L' (2000)
Mirakel (2000)
Meet the Parents (2000)
The Upsell (2001)
Weiße Rauschen, Das (2001)
Familjehemligheter (2001)
Pacte des loups, Le (2001)
15 Minutes (2001)
AFI's 100 Years, 100 Thrills: America's Most Heart-Pounding Movies
(2001) (TV)
Training Day (2001)
The Making of 'Cape Fear' (2001/II) (V)
Grand Theft Auto III (2001) (VG)
The Omen Legacy (2001) (TV)
Joe Somebody (2001)
Shot at the Top, A: The Making of 'The King of Comedy' (2002) (V)
One Hour Photo (2002)
May (2002)
R.S.V.P. (2002/I)
Kuutamolla (2002)
The Salton Sea (2002)
Big Trouble (2002)
Punch-Drunk Love (2002)
Spider (2002)
---------------------------------
Mafia (2002/II) (VG)
All On Accounta Pullin' A Trigger (2002) (V)
Nel cuore della notte (2002)
The Real Thing (2002)
Equilibrium (2002)
Gangs of New York (2002)
Easy Riders, Raging Bulls: How the Sex, Drugs and Rock 'N' Roll
Generation Saved Hollywood (2003)
Rugrats Go Wild! (2003)
AFI's 100 Years... 100 Heroes & Villains (2003) (TV)
Detroit (2003/II)
Wasabi Tuna (2003)
Smala Sussie (2003)
The Year of the Rat (2003) (V)
Monster (2003)
Grace and the Storm (2004)
The Football Factory (2004)
Fahrenheit 9/11 (2004)
Usher (2004)
Michael Blanco (2004)
Matando Cabos (2004)
Collateral (2004)
In Good Company (2004)
Constantine (2005)
Spoofed in
Water Power (1977)
The Jerk (1979)
Sballato, gasato, completamente fuso (1982)
Xing ji dun tai (1983)
The Toxic Avenger (1985)
Evil Dead II (1987)
Back to the Future Part III (1990)
The Hard Way (1991)
I'm Your Man (1992)
Stay Tuned (1992)
Aladdin (1992)
Day of the Tentacle (1993) (VG)
Cops and Robbersons (1994)
Phantasm III: Lord of the Dead (1994)
The Brady Bunch Movie (1995)
The 67th Annual Academy Awards (1995) (TV)
Hackers (1995)
"Percy Tårar" (1996) (mini)
Schizophreniac: The Whore Mangler (1997) (V)
Dead Eye Dick (1997)
---------------------------------
Beverly Hills Ninja (1997)
8 Heads in a Duffel Bag (1997)
Evil Ed (1997)
Career Girls (1997)
No Budget Story (1998)
Quest for Camelot (1998)
With Friends Like These... (1998)
The Godson (1998)
From Dusk Till Dawn 3: The Hangman's Daughter (2000) (V)
Love & Sex (2000)
Waiting (2000/I)
Me, Myself & Irene (2000)
The Adventures of Rocky & Bullwinkle (2000)
Fast Food (2000/I)
15 Minutes (2001)
Shrek (2001)
The Lord of the G-Strings: The Femaleship of the String (2002) (V)
Big Trouble (2002)
Días de fútbol (2003)
Catch That Kid (2004)
References
King Kong (1933)
The Small Back Room (1949)
Journal d'un curé de campagne (1951)
The Tales of Hoffmann (1951)
Shane (1953)
The Searchers (1956)
Murder by Contract (1958)
Psycho (1960)
Dokonjo monogatari - zeni no odori (1963)
2 ou 3 choses que je sais d'elle (1967)
If.... (1968)
Meng long guojiang (1972)
Mr. Majestyk (1974)
The Texas Chain Saw Massacre (1974)
Sometime Sweet Susan (1974)
The Man with the Golden Gun (1974)
The Eiger Sanction (1975)
Featured in
Precious Images (1986)
Hollywood Uncensored (1987)
The 62nd Annual Academy Awards (1990) (TV)
Oscar's Greatest Moments (1992) (V)
Music for the Movies: Bernard Herrmann (1992)
100 Years at the Movies (1994)
---------------------------------
AFI's 100 Years... 100 Movies (1998) (TV)
The Lady with the Torch (1999)
AFI's 100 Years, 100 Thrills: America's Most Heart-Pounding Movies
(2001) (TV)
Zuotian (2001)
New York at the Movies (2002) (TV)
A Decade Under the Influence (2003)
AFI's 100 Years... 100 Heroes & Villains (2003) (TV)
(Ohne Titel) (2003)
Scorsese on Scorsese (2004) (TV)
Features
"Bandstand" (1952)
Kärlekens språk (1969)
"The Young and the Restless" (1973)
The Swedish Marriage Manual (1974)
Edited into
Visions of Light (1992)
Making 'Taxi Driver' (1999) (V)
"I Love the '70s" (2003) (mini)
Movie Soundtrack
 "LATE FOR THE SKY"
By Jackson Browne
Courtesy of Asylum Records
 "HOLD ME CLOSE"
Lyrics by Keith Addis
Music by Bernard Herrmann
Full Cast and Crew
Directed by
Martin Scorsese
Writing credits
Paul Schrader
(written by)
Cast (in credits order) verified as complete
Robert De Niro
....
Travis Bickle (as Robert DeNiro)
Cybill Shepherd ....
Betsy
Peter Boyle
....
Wizard
Jodie Foster
....
Iris Steensma
Harvey Keitel
....
'Sport' Matthew
Leonard Harris
....
Sen. Charles Palantine
---------------------------------
Albert Brooks
....
Tom
rest of cast listed alphabetically:
Diahnne Abbott
....
Concession girl
Frank Adu
....
Angry black man
Gino Ardito
....
Policeman at rally
Victor Argo
....
Melio (as Vic Argo)
Garth Avery
....
Iris' friend
Harry Cohn
....
Cabbie in Bellmore
Copper Cunningham
....
Hooker in cab
Brenda Dickson-Weinberg ....
Soap opera woman (as Brenda Dickson)
Harry Fischler
....
Dispatcher
Nat Grant ....
Stickup man
Richard Higgs
....
Tall Secret Service man
Beau Kayser
....
Soap opera man
Victor Magnotta ....
Secret Service photographer (as Vic Magnotta)
Bob Maroff
....
Mafioso
Norman Matlock ....
Charlie T
Bill Minkin
....
Tom's assistant
Murray Moston
....
Iris' timekeeper
Harry Northup
....
Doughboy
Gene Palma
....
Street drummer
Carey Poe
....
Campaign worker
Steven Prince
....
Andy (gun salesman)
Peter Savage
....
The john
Martin Scorsese
....
Homicidal passenger in Travis' cab
Nicholas Shields ....
Palantine's aide
Ralph S. Singleton ....
TV interviewer (as Ralph Singleton)
Joe Spinell
....
Personnel officer
Maria Turner
....
Angry hooker
Robin Utt....
Campaign worker
William Donovan ....
Police officer (uncredited)
Jean Elliott
....
Clerk at Sam Goody store (uncredited)
Jason Holt
....
Extra (uncredited)
Debbi Morgan
....
Girl at Columbus Circle (uncredited)
Billie Perkins
....
Friend of Iris (uncredited)
Harlan Cary Poe ....
Campaign worker (uncredited)
Produced by
Phillip M. Goldfarb ....
Julia Phillips
....
Michael Phillips ....
associate producer
producer
producer
Original Music by
Bernard Herrmann
---------------------------------
Cinematography by
Michael Chapman
Film Editing by
Tom Rolf
Melvin Shapiro
Casting by
Juliet Taylor
Art Direction by
Charles Rosen
Set Decoration by
Herbert F. Mulligan
(as Herbert Mulligan)
Costume Design by
Ruth Morley
Makeup Department
Irving Buchman ....
makeup artist
Mona Orr....
hair stylist
Dick Smith
....
special makeup
Production Management
Phillip M. Goldfarb ....
production manager (uncredited)
Second Unit Director or Assistant Director
Robert P. Cohen ....
DGA trainee (as Robert Cohen)
William Eustace ....
second assistant director
Peter R. Scoppa
....
assistant director
Ralph S. Singleton ....
second assistant director (as Ralph Singleton)
Art Department
Leslie Bloom
Dave Goodonoff
Cosmo Sorice
....
....
....
property master (as Les Bloom)
assistant property master (as Dave Goodnoff)
scenic artist
Sound Department
Rick Alexander
Gordon Davidson
James Fritch
Sam Gemette
David M. Horton
Les Lazarowitz
....
....
....
....
....
....
sound re-recording mixer (as Dick Alexander)
sound effects editor
sound effects editor (as Jim Fritch)
sound effects editor
sound effects editor (as David Hourton)
sound mixer
---------------------------------
Roger Pietschmann ....
Vern Poore
....
Robert Rogow
....
Tex Rudloff
....
Frank E. Warner ....
Shinichi Yamazaki ....
sound recordist
sound re-recording mixer
boom operator
sound re-recording supervisor
supervising sound effects editor
music editor
Special Effects by
Tony Parmelee
....
special effects
Visual Effects by
David Nichols
visual consultant
....
Other crew
Keith Addis
....
assistant to producers
Keith Addis
....
lyricist
Marion Billings
....
special publicist
Jackson Browne ....
singer
Julia Cameron
....
special thanks
Kay Chapin
....
script supervisor
Al Craine ....
wardrober
Loretta Cubberley ....
special thanks
Pat Dodos
....
secretary to the producers
Jerry Drange
....
special thanks
Sylvia Fay
....
atmosphere casting (as Sylvia Faye)
Connie Foster
....
double: Jodie Foster
Richard B. Goodwin
....
special thanks (as Richard Goodwin)
Raymond Hartwick ....
transportation coordinator (as Ray Hartwick)
Jack Hayer
....
special thanks
Bernard Herrmann ....
thanks
Alec Hirschfeld
....
assistant camera
Amy Holden Jones ....
assistant to director (as Amy Jones)
Eugene Iemola
....
production assistant
Bill Johnson
....
assistant camera
Linda Kopcyk
....
special thanks
Kris Kristofferson ....
special thanks
Marcia Lucas
....
supervising editor
Charlie McCarthy ....
special thanks
Howard Newman ....
publicist
Dan Perri ....
title designer
Hank Phillippi
....
special thanks
Richard Quinlan ....
gaffer
Ed Quinn ....
grip (as Edward Quinn)
Noni Rock
....
production office coordinator
Renate Rupp
....
secretary to the producers
---------------------------------
Fred Schuler
Steve Shapiro
Chris Soldo
Gary Springer
George Trirogoff
Robert Ward
William Ward
Billy Weber
Josh Weiner
Sandra Weintraub
Ron Zarilla
Michael Zingale
Dave Blume
Dan Coplan
Bernard Herrmann
Paul Kimatian
Steven Spielberg
....
....
....
....
....
....
....
....
....
....
....
....
....
....
....
....
....
camera operator
special photography
production assistant
production assistant
assistant editor
key grip
best boy (as Billy Ward)
assistant editor (as William Weber)
still photographer
creative consultant
assistant camera
camera operator: second unit
musical director (uncredited)
location security (uncredited)
musical director (uncredited)
still photographer (uncredited)
supervising editor (uncredited)
---------------------------------