Todd Longwell Over the course of his long career, Martin Scorsese has amassed scores of producing credits on projects ranging from “Uncut Gems” to “Once Were Brothers” and “Vinyl” in addition to his own work on films such as Oscar and PGA nominee “Killers of the Flower Moon.” His love of cinema and preservation of it is well established, making him a more than worthy recipient of the PGA’s David O.
Selznick Achievement Award in Theatrical Motion Pictures. But, technically speaking, Scorsese wasn’t much of a producer during the first three decades of his career.
He’s listed as a producer on his early short films “Vesuvius VI” (1959) and “The Big Shave” (1967) and an associate producer on the music documentary “Medicine Ball Caravan” (1967).
But he didn’t take another producing credit until the 1990 feature “The Grifters,” directed by Stephen Frears, and he didn’t take one on a film he directed until 2010’s “Shutter Island.” What changed?
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