Boardwalk Empire (Boardwalk Empire episode)

"Boardwalk Empire"

Boardwalk Empire episode

Episode no.

Season 1
Episode 1

Directed by

Written by

Cinematography by

Editing by

Original air date

September 19, 2010

Running time

73 minutes^[1]

Guest appearances

Erik Weiner as Agent Sebso
Pearce Bunting as Bill McCoy
Joseph Riccobene as Frankie Yale
John Rue as Mayor Harry Bacharach
Dana Ivey as Mrs. McGarry
Johnnie Mae as Louanne Pratt
Peter McRobbie as Supervisor Elliot
William Hill as Alderman George O'Neill
Victor Verhaeghe as Alderman Damien Fleming
Robert Clohessy as Alderman Jim Neary
Greg Antonacci as Johnny Torrio
Danny Burstein as Lolly Steinmann
Charleigh Parker as Fortune Teller
Frank Crudele as Big Jim Colosimo
Jordan Gelber as Simon
Joe Sikora as Hans Schroeder
Samuel Taylor as Paddy Ryan
Stephen DeRosa as Eddie Cantor
Tracy Middendorf as Babette
Adam Mucci as Deputy Raymond Halloran

Episode chronology

← Previous
—

Next →
"The Ivory Tower"

List of episodes

"Boardwalk Empire" is the pilot episode of the HBO crime drama of the same name. Written by series creator Terence Winter and directed by Martin Scorsese with a budget of $18 million, the episode introduces the character of Nucky Thompson, played by Steve Buscemi, as the corrupt treasurer of Atlantic City who is involved in gambling and bootlegging in 1920. The show used a large ensemble cast and a specially constructed boardwalk set to re-create the Prohibition and Jazz Era,^[2] and was based on Boardwalk Empire: The Birth, High Times, and Corruption of Atlantic City by Nelson Johnson. Filming for the pilot took place at various locations in and around New York City in June 2009. The episode first aired in the United States on September 19, 2010.^[3]

David Hinkley of the New York Daily News awarded the episode five stars, saying, "Watching HBO's new 'Boardwalk Empire' is like sitting in your favorite tavern and hearing someone say, 'Drinks are on the house.' Friends, it doesn't get much better."^[4] Paige Wiser of the Chicago Sun-Times called it "... an event not to be missed," and praised Buscemi in particular, calling his performance "fascinating."^[5] The episode gained a 2.0/5 ratings share among adults aged 18–49 and garnered 4.81 million viewers.^[6] This was the highest rated premiere for an HBO series since the pilot of Deadwood in March 2004. Following this successful debut, HBO immediately renewed the series for a second season.^[7]

YouTube Encyclopedic

1/5
Views:
604 998
7 853
54 045
9 397
70 453

Transcription

Martin Scorsese: "Boardwalk Empire" provided an incredible backdrop which we could tell stories about politics, race relations, and, really, the formation of modern America. Timothy Van Patten: The beauty of doing these shows is exploring characters over the course of, hopefully, three, five years. Terence Winter: We told the story of Nucky as a leader and as a person, seeing through his eyes and with the backdrop of the Prohibition years. That's exactly the story we set out to tell and I'm really proud of the way we did it. I certainly feel proud of the work that we've done, and I feel like we're leaving the audience with something that they can enjoy for years to come. - Man: Background. - Man #2: Sound. Man: Camera. Somewhere back in 2007, I had been given the book "Boardwalk Empire" by an executive at HBO, who told me Martin Scorsese was attached to this project. It was a history book, basically. It was the history of Atlantic City. The eureka moment for me came when I read the chapter about Nucky Johnson, who we, of course, fictionalized as Nucky Thompson. This guy was a TV series waiting to happen. In less than two hours, liquor will be declared illegal by decree of the distinguished gentlemen of our nation's Congress. ( men muttering, booing ) To those beautiful, ignorant bastards. ( all cheer ) The period we chose to focus on was the Prohibition years-- 1919 to the early '30s. And they were an incredibly tumultuous time in the United States. In terms of the casting process, you know, first and foremost, we needed our Nucky. We wanted to know who the guy was that we were going to be building this series around. I got a call from Terry Winter and he told me that I had the part. I said, you know, "We'd like to cast you in this role." I said, "I know you're still considering other actors, but I just really appreciate you thinking of me." He almost talked himself out of it. But I said, "No, this is the call. We want you to do it." And he says, "No, Steve. I'm offering you the part." - What do you want, Mickey? - Come on, Nuck. I come to youse hat in hand. Paul Sparks: When I auditioned, I did the thing that I kind of do as Mickey Doyle-- - with the voice and the laugh. - ( giggles ) As I was leaving, Ellen Lewis, the casting director, said, "Can you come back in and do it again?" And this time, they want you to try-- just don't do any of that that you just did. So I did it and, I mean, it was awful. I mean, it was terrible. Or at least I thought it was awful. As I approached my first day with Mr. Scorsese, I wasn't totally sure which character had gotten the part. And no one told me. - My pal Meyer. - Mickey Doyle. How do you do? I had an audition for an 18-year-old, tough, Jewish kid from the Lower East Side of Manhattan. And I thought, "I'm 30, I'm from London, and how am I gonna pull this off?" - Mr. Thompson. - Torrio's man. Stephen Graham: I was at home when the phone went and it was Marty. He just went to me, "Hello, kid. How you doing?" I was like, "Yeah, I'm okay." He was like, "Look, I've got this thing. 'Boardwalk Empire.'" I was like, "Oh, okay." And he went, "I'd love you to play Al Capone." I went, "Yeah, sure. Okay." I went in. I read. They said, "We'd like you to meet Marty." This is all the same day. Spent about an hour and a half talking about growing up Italian in New York. At which point I said, "Marty, do you want me to read for you?" And he said, "Yeah, yeah. Read." I read for him, he said, "Go to wardrobe." First I auditioned for one of the boat captains. And then I heard that they were thinking about me for the brother. And so it, uh, you know, got kicked up a notch. You know, the peculiar thing is that at the same time the feds are raiding Mickey, this shit's happening three miles away. Woman: Ain't that a coincidence. Is there anything you want to say or should I? - Man: Background. - And action. The first day on set was a good first day for me 'cause I didn't have any dialog. The winter of '88, a blizzard of biblical proportions. Macdonald: Martin Scorsese was directing and I thought, "Okay, I can get through the first day." I had on this costume-- very tough to wear in front of all these people you didn't know, you know? And then I had to leap up into his arms and I just heard this-- ( mimics tearing ) --all the way up the back. We all had to go in another room and sew it up. It was just sort of horrifying. My first day on set was actually that scene with Michael. One of the crew members, Charlie, he sort of took me aside and said, "You know, you need to work on your accent a little bit." And I was like, "But I'm shooting in a minute." So I asked Marty if I could have 10 minutes. He went, "Yeah, sure, sure, sure." And Charlie sat with me and I really listened to Charlie's accent. And I went in and I had to-- you know, I had to shake hands with Michael and say, "I'm Al Capone." - Nice talking to you. - You, too. - Jimmy Darmody. - Al Capone. All right, Al. Graham: It was one of them moments where my sphincter was going about 90 miles an hour. I remember the first table read. I was dressed in my audition suit and had worn a bow tie. And, of course, I was the only one there dressed up. ( laughs ) I felt ridiculous. My first table read was, um, nerve-racking. The main thing that stood out to me was that I was the only black in the room. I was just like, "Wow." I had never been the only black in anything before. ( laughs ) Vincent Piazza: My first day on set was like a 14-hour day. And they were like, "Okay, it's time to go." And I remember Mr. Scorsese was like, "We're done? We're done? Like, that's it? That's all we got?" I feel like I'm back in the '70s. I found out what it was to work with Marty. It's like 2:00 in the morning, he comes in, he goes, "Great! Perfect! Really good! Perfect! Let's do a few more." Woman: Fine town, Chicago. Yeah, well, it ain't New York, that's for sure. New York ain't New York now with Prohibition. Woman: It will be if I have something to say about it. It sounds to me like it brings us to the business portion of our meeting. In light of recent developments, I thought it might be a mutual benefit for you boys to meet. I don't recall having had a more satisfying experience with the words that I've been offered to act with. I like this room. One looks down in secret and sees many things. - You know what I saw? - Nah. A servant pretending to be a king. It's just been deeply satisfying every episode. Terry Winter, of course, leading the charge. Howard Korder as well. I had been a fan of Howard Korder's for a long time before I actually met him. Howard Korder: I had met with Terry and Tim when they were starting to put things together and looking for writers. He read the pilot, I offered him the job, and he said, "No." And I called him and I said, "Well, that's not the right answer. That's not how this is supposed to go. It's supposed to be yes, of course." I had worked on a TV series decades earlier. I really didn't think it was for me. I said, "I assure you it'll be completely different. And just give it a couple months, and if you hate it, great, no harm, no foul. If you like it, you know, stay." And so it seemed like a better idea to say yes than no. Do you have a suspect? Nucky: Waxey Gordon comes to mind. - Naturally. - But it's not Waxey. Because Waxey would have to clear it with you and you would've said no because you're in business with me. That could be what I want you to think. It could, but I doubt it. How can you be sure? Because if you were trying to be obvious, you'd never be that obvious. This is why I enjoy our conversations. Wright: The larger narrative arcs are incredibly well-considered. But then the detail that's added once, you know, you receive the first draft, then you'll receive something that you slightly tweak. If it's the night before shooting, and sometimes the morning of shooting, sometimes during shooting, if there's a better line of dialog, it'll go in. In one episode, um, Howard Korder came back with a little tweak to a side scene. - And the line was... - The Negro in question. ( laughing ) And I read-- and I read that and I just laughed out loud because it was so-- it was just the perfect accent to the scene that had preceded it. And it was also so wonderfully authentic. And I said to myself, "Wow. Howard must be a Negro in disguise to have written this." It is not an exaggeration to say I could not have done this show without him. The show would not have been half as good without Howard Korder's involvement. We've been on the road for 18 hours. I need a bath, some chow... and then you and me sit down and we talk about who dies, huh? Korder: The best thing that can happen when you're writing in this serialized world is you discover things you had no idea you were going to do. Winter: We're creating this series as it goes along. So very often I don't share with the cast where their characters are going or where the story arcs are going because we're not settled on it. I think part of the process of not showing the actors what they're going to be doing next provides a surprise for them. And it certainly keeps you in the moment. Macdonald: Margaret always surprised me. I thought I knew what she was all about and she gets the job in the dress shop and then she steals something. And I was like-- ( gasps ) "She's not a thief. This can't be." - Good evening, Madame Jeunet. - Bonsoir. And so many things that were a shock to me-- I thought, "Well, that's quite good 'cause it'll be a shock to the people watching." Early on, there have been debates with actors about-- they want to know what's gonna happen. I said, "Well, if it turns out that the actor you're playing in a scene with in three episodes is your mortal enemy, I don't want you to know that now. I don't want you to play that even subconsciously, so you really shouldn't know that." ( plate shatters ) You've had your last meal in this place. Looking very respectable, James. - What did he promise you? - More than you ever did. I keep my promises. And I'll make you one now. I will ruin you. All of you. It was all very cloak and dagger, which I thought was brilliant. Why should we know everything that's going on if we don't know it as a character? So I was very happy to sort of watch it as an audience member, as a sort of-- as an avid viewer when it came out. I watched him from a blind for three days. He lifted it to scratch his nose. I put a bullet one inch below his eye. It's really hard to pick a favorite Chalky scene. There are so many beautiful moments that I'm so proud of the way they turned out. But I would go with the scene with him and the Ku Klux Klan member. I ain't building no bookcase. I was born in Elgin, Texas. My daddy taught himself the carpenter trade doing for the black folk there. The ancestral energy that I tapped into for that particular scene was real intense for me. These here are my daddy tools. Man: What are you gonna do with them? I ain't building no bookcase. One of my favorite scenes was the scene where I pick up Eli from prison 'cause I got to drive a car. How, big chief. Which way to the Little Big Horn? ( giggles ) How, big chief. Which way to the Little Big Horn? No luggage, right? ( giggles ) Anytime I got to wind people up, it was good. Buscemi: The fight scene that Nucky and his brother had, I think, was one of the highlights. It took us two days to shoot. I slapped Shea. He's that kind of actor that says, "No, just do it." I said, "Are you sure?" He goes, "Yeah, just do it." You come crawling back here because you don't have the balls to finish what you started. We did quite a number of takes of me slapping Shea and I think it was very painful for him. Deborah. Hannah. I always enjoyed the moments that were the more humane moments. Like he's trying to name his daughter. Abigail. Shannon: I thought that was interesting. My favorite scene was in season four when Ron Livingston's character lifts the veil and she's just so blindsided. You and I are here. Together. That's all that matters. - When she discovers that he was playing her... - You get that? ...that look of sheer shock and horror that was in her face broke my heart. And the way they shot it, sort of up above when she runs down the stairs and then sort of almost like an animal trapped-- I'll never forget it. One of my favorite scenes is Gyp's scene in season three when all the gangsters are sitting 'round and he verbally destroys everyone. You smug, kike midget. Creeping around like a fucking dentist with the ether. Why don't you watch your fucking step? Why don't you go sit in the corner, short pants? And then there's you. Fucking breadstick in a bow tie. I really enjoyed that. So what are you saying, Mr. White? Woman: About what? About my buying, let us say, 1,000 cases of spirited... liquor directly from you to our mutual benefit. Cut out the middleman. A lot of the fun in getting cast on this was the fact that Terry Winter was involved. You're not gonna turn down the chance to work with Terry. It just was a no-brainer. When Terry comes down to set, it's like Dad coming down. Everyone's so well-behaved. When I think back of working with Terry, I think of him as a proud father and his children are his words. You do understand I'm the only thing keeping you from a lynch mob? You ready... for what happens here? I turn up on the end of a rope. When you work with Terry, be in for some really intense writing. Of course, I had already been a fan of his work on "Sopranos" and the script of "Wolf of Wall Street." I was really impressed with his clear vision for what "Boardwalk Empire" could be. And with his enthusiasm and his vision and insight, it was pretty obvious he'd be the right showrunner. Terry writing at the height of his talent and then Tim Van Patten, who is a maestro-- it's as good as it gets. Tim Van Patten was the first person I spoke to about joining me as we embarked on "Boardwalk Empire." Gangsters and history and, you know, ensemble. There was no way I wasn't gonna do it. Tim, like Howard, is so incredibly responsible for how terrific this show is. It wouldn't be a quarter of what it is, you know-- or wait, I said a half for Howard-- also, Tim's the other half. Okay, it would not be half of what it is without Howard. So the two halves of those guys make up the whole. I don't even need to be involved in this. It's really-- it's them. Sparks: Tim is everywhere at all times. And thank goodness. He's just one of those people that you just know is keeping everything going. Hey, enough with the bohunk cracks. Name's Duffy now. - Man: What? - I changed it. I ain't Mickey Kuzik no more. - Who's after you? - Nobody. - Then why Duffy? - It sounds better is all. A rose by any other name. When you think of a TV show, you pretty much think of, you know, being in a studio and occasionally going out to a location. "Boardwalk" was the exact opposite. ( music playing ) My favorite location was John's Restaurant. Yusef: There we were, dressed as Meyer Lansky, Lucky Luciano, Arnold Rothstein, and Joe Masseria sitting in the back of John's as they might have done, you know, those many years before. Piazza: Knowing that these characters actually inhabited that space and it was Joe Masseria's headquarters, it was just fun. Four Deuces. That was me favorite location. Antonacci: It was really this beautiful mini estate in Bedford-Stuyvesant that was once the country home of F.W. Woolworth. It was just always fun in there, do you know what I mean? Not the fact that there was scantily clad women everywhere, but it was just a fun set, it was a really fun set. I really liked being in Babette's. I thought that was fun when there was entertainment. It was hard to concentrate on what you were meant to be doing. It's a very distracting show to work on. The sets have always been perfect in the detail. When you show up in the morning and you see the amount of work that's been put into that, it really gets your blood pumping. 'Cause your blood's not always pumping really hard at 5:00 in the morning. The set design has been quite amazing. The detail and the sense of place and mood through place has been really spectacular. I'm always very cautious of sort of not overdesigning something or overdoing something 'cause that isn't the point. The point is to support the story and help reinforce the characters. By far my favorite set was the Onyx Club. That was another time I would just pinch myself. Just be like, "This is for me? ( chuckles ) Really? I'm a part of this?" Wallpaper from England, curtain hand-painted in New York. - These chandeliers? - Sconces. They custom-made in Paris. I don't think the audience will ever really know the amount of detail they put into making that Onyx Club. It was beautiful. Step right up, friends. What you waiting for? Lovely ladies direct from Paris, France. - Man: Don't be afraid, fellas. - That original boardwalk set that we only had for three seasons was pretty magical. For the first two years, every time I would turn the corner and look up and see that thin, it would take my breath away. It was, I believe, the largest standing set in New York film history since 1915. Van Patten: When it was finished, Terry and I were walking down this thing and we're going, "Holy shit. If we don't pull this off, we're in trouble." So... ( laughs ) I'd turn up on the boardwalk and there'd be an elephant there. Crazy, amazing extras. Rudy the Congo creep. Hoppy the frog boy. Every time I was there, it was such an experience. Van Patten: When Marty first came to the boardwalk, started at one end-- it was like 300 feet to walk. And I was there throughout the building of the whole thing from the very beginning, so I know where all the secret spots are. And he's going down the set and he's looking and says, "Oh, that's lovely. That's lovely. That's a good angle there." I'm going, "Oh, he found that angle." And then, "Oh, that's lovely. That's a lovely angle, too." Went right to every spot. I'm thinking, "What am I gonna do? I think so, too." ( laughs ) While you were on that boardwalk, you were there. The Ferris wheel, the lights, the children running up and down. So beautifully designed, created, painted, and filmed exquisitely. There's a broad looking to see you. She's been waiting for over an hour. She says it's urgent. She's pregnant. What? - You met her last night. - Last night? She saw you talk or something. Ah, ah, the "Temperaments" League. One of the more exciting things about starting a new season of "Boardwalk" was seeing what suits you had for the season. We fit every leading character and every background person. Every-- every single one was fit to a T. Van Patten: John Dunn has people in undergarments, period undergarments. We're not gonna see them, but they're in them. They're in them. Costumes are very, very important to me, as most things are in film, but costumes I have a special attachment to in creating character and time. Sometimes I would be on set and I would maybe be feeling like, "Do I really have the right, you know, Nucky vibe here?" And then I would catch just a glimpse of myself in a reflection and I wouldn't see me. I mean, I would see the character. I was like, "Oh, I'm okay. I'm okay." - I ran the odds on the way down. - On what? Whether you'd attempt to kill me. - What'd you come up with? - 14-1 against. Dunn: We have wardrobe people all helping dress and tie the ties and do the cuff links and adjust the suspenders. And Michael really took it upon himself to learn to do all of these things. Here I am in my room and I'm using the time to get dressed as a way to get into character. And then all of a sudden you get a knock on the door, "Can I tie your bow tie?" ( mimics explosion ) You know, my world is blown. So in order to keep that momentum and keep that vibe going, I learned how to tie a bow tie. Michael Stuhlbarg tied a bow tie, which is almost impossible, during a take, perfectly. I am lucky to remember my lines. The collars, the spats, the cuff links, the bow tie, the hats. You dress for battle in a way that I don't today. I have a friend, a judge. His daughter's wedding's in a week. I'd like to be able to accommodate him and... the 700 guests. - You haven't stockpiled? - Mm, all sold already. I'm coming up short. Obviously, there have been many features set during the Prohibition period. But there have been very few television series and none which really dealt specifically with Atlantic City. As the new head of Prohibition enforcement in Atlantic City, I do intend to take my duties with the utmost seriousness. - What? - That was a joke. I was joking. I thought you might all appreciate that. The scope of "Boardwalk" was amazing in terms of taking it from the beginning when there was no organized crime, through when we leave off, the beginning of the syndicate. There's a kind of depraved warmth that emanates from the show and this strange comfort that you find in exploring this dangerous world through the lens of these characters. Most stories will take fictional characters and have them be the witness to historical characters whereas "Boardwalk" does a kind of reverse. - Meyer. - Nucky. - Hello. - Been a while. - A.R.'s funeral. - Sad day. Rest his soul. Winter: This was a great opportunity to explore characters that people knew, but didn't necessarily know as younger men. You know, the opportunity to meet Al Capone as the guy who's driving the other guy's car was irresistible for me. I really loved them little scenes where he's at home with his boy or with his wife or with his mother, with his brothers around the table eating dinner and fighting on the floor and stuff like that. - I really enjoyed that. - ( speaking Italian ) No, Ma, they're horsing around. - ( speaks Italian ) - What?! What makes it work for me as an audience member is that it's not just about gangsters. It's about a whole world. Korder: Along with all the beautifully presented explosions and machine-gun fire, we actually have shown a lot more of American culture, American history than maybe people have noticed. The dynamic between men and women was highlighted in a number of different ways. I come from a country where women already have the right to vote. Well, in this country, we're simply trying to protect women from the hard truths of life. By denying them the right to take a meaningful part in it? I would hope that people really appreciate that world of early 20th century African-American history that was explored. Williams: How we worked with each other and how we interacted with the white community. - Chalky White, the proprietor. - Welcome. I'ma shout out to Chicken Bone Beach. My hope always is that we are delivering smart, dark entertainment for adults. ( music playing ) Thou hast fulfilled the judgment of the wicked! Part of doing a gangster show, sadly, is that characters die. And when characters die, the boss has to call the actor portraying that character to tell them that they're written off the show. Huston: I was lying in bed next to my girlfriend at 1:00 in the morning and I got the sides and I turned to her and I was like, "Yeah, I die." She was like, "What do you mean?" She goes, "Does it say that?" I go, "No, it doesn't say it. I just know I die." A couple of days later, I got a message on my phone saying, "Can you call Terry?" And that's the phone call everyone knows. So I was like, "I definitely die." He goes, "Mike, you know, it's that inevitable call that I hate making." I says, "How does he go?" He says, "Trust me. It's going to be beautiful and graceful." I said, "That's all I can ask." I think Terry felt worse for me than I did. He said, "It's just the way we were moving the script." I said, "Okay, thank you. I appreciate it," you know. And I drank two bottles of scotch and a gallon of-- no, I didn't do any of that. ( laughs ) When I called Bob Clohessy, who played Ward Boss Jim Neary, I said, "Bob, it's Terry Winter." He said, "Oh, I guess I'm dead." I've always been a little worried that he's gonna say, "I think now, you know, finally, it's time that you made this call." But fortunately that has not happened. One day I did get a message from Terry Winter's assistant saying-- asking if I could call back, and he never called. And I was like, "Oh, okay." Whigham: I remember one time I didn't answer my phone and I get a, "Hey, it's Terry. Give me a shout." And I turn to my wife and I said, "It's been a nice run. It's done." Before I phoned him back, I told my husband, you know, "I think that's us done." And I think I held the phone, like, "Hey, Terry"-- went in my upper register, "How you doing?" And I called back and it was something completely-- I think he was inviting me to something. I think he said, "You know, listen, we'll do a steak. Why don't we get a steak?" ( out of breath ) "Yeah, a steak would be great, man." "You all right?" "Yeah, yeah. I'm good. I'm good." I don't think he had any idea, you know, what-- what was happening at the other end of the phone. I wasn't sure, actually, whether I was gonna go or not. I may not be able to be killed by a bullet, but I could certainly be killed by the pen. Vinnie Piazza and, you know, Stephen Graham would say, "Well, you can't kill me, I'm Al Capone, I'm Lucky Luciano." And I said, you know, "Until we do the episode where we reveal that you're actually an imposter and the real Al Capone comes in and..." I kind of was met with these blank looks. There have been a couple of times when I arrived to set and one of these scripts that I'm not allowed to read, I'm certain of it, there have been some dead Mickey Doyles in there that have been rewritten. Could you ask him to put the gun away? Please? The first rule of show business is to get off the stage while people still want more and I think we're there. Macdonald: It's really bittersweet because it's been such a huge part of my life for five years. You must please come this way. You can just feel it in the air on set that it's, you know, very intense and very emotional. Mol: I am really sad about it, but I'm incredibly grateful that I got to experience this in the trajectory of my own career. Stuhlbarg: I'm gonna miss it. It's been such a great ride. All good things, you know? Williams: You look up and five years-- five years of your life. The end of an era. ( cheering, applause ) It's part of your life and it's been good. Could be worse. ( chuckles ) Scorsese: The ability to tell the story over 56 hours gave us the incredible luxury of being able to explore our characters, their relationships to one another, obviously, and as a storyteller, this is as good as it gets. ( music playing )

Plot

In 1920, two masked men ambush a group of bootleggers smuggling Canadian Club whisky from offshore boats into the United States. The scene then cuts to three days prior, as Enoch "Nucky" Thompson, the treasurer of Atlantic County, New Jersey, delivers the keynote address at a Women's Temperance League rally on the eve of Prohibition.^[8] Nucky leaves the rally early and promptly heads to Babette's Supper Club, where a raucous gathering of elected officials, including his younger brother, Sheriff Elias "Eli" Thompson, celebrate the onset of Prohibition and the lucrative bootlegging opportunities it will bring. Nucky appoints his driver, World War I veteran Jimmy Darmody, as an assistant to Paddy Ryan, a young ward boss belonging to Nucky's political machine. As midnight strikes and Prohibition officially goes into effect, the partygoers toast the "death" of alcohol. Moody and uncomfortable, Jimmy leaves.

The following morning, Jimmy and his common-law wife, Angela, discuss their future. Angela wants Jimmy to return to his studies at Princeton University, but Jimmy is convinced that his future lies with Nucky. Meanwhile, Nucky meets Margaret Schroeder, a pregnant member of the Temperance League. He declines to employ her alcoholic husband, instead giving her a wad of money and having Jimmy drive her home. That night, Jimmy and Nucky visit Mickey Doyle's funeral parlor, a front for illicitly distilling alcohol. Jimmy strikes Mickey for tricking him into drinking formaldehyde, nearly compromising the operation. Scolded by Nucky, Jimmy demands a better job than working for Ryan and implies that the war has matured him. Nucky at first cajoles Jimmy, but ultimately challenges him to make his own opportunities.

Nucky dines with four major mob figures: Arnold Rothstein and Charles "Lucky" Luciano of New York, and "Big Jim" Colosimo and Johnny Torrio of Chicago. Rothstein and Torrio are eager to buy alcohol from Nucky, but Colosimo declines as he considers it too risky.^[8] Rothstein requests some liquor for a friend's wedding and Nucky agrees to sell him his latest shipment, on the condition that Rothstein's own men pick it up. Rothstein asks to defer payment until the following day. As Jimmy waits for Nucky outside, he befriends Torrio's ambitious bodyguard, Al Capone. The next day, Rothstein, a well-known card shark, takes Nucky's casino for over $90,000. Nucky is furious, realizing that Rothstein has no intention of paying him for the whiskey. As he leaves, he spots Margaret's husband Hans gambling with the money he had given her earlier; the two men argue and Nucky beats Hans and has him thrown out. That night, the drunken Hans severely beats Margaret, causing her to miscarry.

Jimmy, Capone, and an unknown accomplice plot to hijack Rothstein's shipment. The episode returns to the conclusion of the opening robbery, in a montage interspersed with scenes from a comedy routine performed by Eddie Cantor attended by Nucky and his mistress. Capone, startled by a deer, opens fire, resulting in him and Jimmy being forced to kill all four of Rothstein's men. Meanwhile, only three miles away, a team of federal agents raid Mickey's operation. With Eli's help, Nucky deduces that Jimmy had informed on Mickey and therefore must also be involved in the robbery. When confronted, Jimmy admits that he counted on Nucky's forgiveness and again asks for his help with more aggressive criminal enterprises, claiming that violence is all he knows now. Jimmy seals Nucky's complicity by presenting him with a share of the money Capone earned by selling the stolen goods to Torrio, warning Nucky that he can no longer afford to be "half a gangster."

When he learns about Margaret's hospitalization, Nucky has Eli kidnap Hans, who is tied up and taken out to sea. Eli personally beats him to death and throws him overboard. In Chicago, Colosimo prepares to open his restaurant for lunch and is shot in the back of the head by one of Torrio's associates while listening to his favorite Enrico Caruso record. Back in Atlantic City, the radio reports that police, having found Hans' body in a fisherman's net, have named him as the key suspect in the murder of Rothstein's men, implying that Nucky will continue to protect Jimmy. The episode ends with Nucky delivering flowers to a recovering and now-widowed Margaret.

Production

Development

Terence Winter, who had served as executive producer and writer on the HBO series The Sopranos, was hired to adapt the book Boardwalk Empire: The Birth, High Times, and Corruption of Atlantic City on June 4, 2008.^[9] Winter had been interested in creating a series set in the 1920s, feeling that it had never properly been explored before. It was for this reason that he decided to focus his adaption of the book on the Prohibition era section.^[10] On September 1, 2009, it was announced that Academy Award-winning director Martin Scorsese would direct the pilot.^[11] It would be the first time he had directed an episode of television since an episode of Steven Spielberg's Amazing Stories in 1986.^[12] The production would be very ambitious, with some even speculating it would be too large scale for television. "I kept thinking 'This is pointless. How can we possibly afford a boardwalk, or an empire?'" says creator Terence Winter. "We can't call it 'Boardwalk Empire' and not see a boardwalk."^[1] The production would eventually build a 300-foot-long (91 m) boardwalk in an empty lot in Brooklyn, New York at the cost of five million dollars.^[13] Despite a reported budget of up to $50 million,^[14] the pilot's final budget came in at $18 million.^[1]

On why he chose to return to television, Scorsese said "What's happening the past 9 to 10 years, particularly at HBO, is what we had hoped for in the mid-'60s with films being made for television at first. We'd hoped there would be this kind of freedom and also the ability to create another world and create longform characters and story. That didn't happen in the 1970s, 1980s and in the 1990s I think. And of course... HBO is a trailblazer in this. I've been tempted over the years to be involved with them because of the nature of long-form and their development of character and plot."^[15] He went on to praise network HBO by saying, "A number of the episodes, in so many of their series, they're thoughtful, intelligent [and] brilliantly put together... It's a new opportunity for storytelling. It's very different from television of the past."^[16]

Casting

"Scorsese is an actor magnet," commented Winter. "Everybody wants to work with him. I had all these pictures on my wall and I thought, 'I'd really better write some good stuff for these people.'"^[1] In casting the role of Nucky Thompson (based upon real-life Atlantic City political boss Enoch L. Johnson), Winter wanted to stray from the real life Johnson as much as possible. "If we were going to cast accurately what the real Nucky looked like, we'd have cast Jim Gandolfini."^[1] The idea of casting Steve Buscemi in the lead role came about when Scorsese mentioned wanting to work with the actor, whom Winter knew well having worked with him on The Sopranos. Winter sent the script out to Buscemi, who responded very enthusiastically. "I just thought, 'Wow. I'm almost sorry I've read this, because if I don't get it, I'm going to be so sad.' My response was 'Terry, I know you're looking at other actors'... and he said, 'No, no, Steve, I said we want you.'"^[17] Explained Scorsese, "I love the range he has, his dramatic sense, but also his sense of humor."^[17]

The casting of Buscemi was soon followed by Michael Pitt, best known for his role in the Bernardo Bertolucci film The Dreamers.^[18] He was soon joined by Kelly Macdonald, Vincent Piazza and Michael Shannon, who had just received an Oscar nomination for his role in the Sam Mendes film Revolutionary Road.^[19]

Filming

Filming for the pilot took place at various locations in and around New York City in June 2009.^[20] In creating the visual effects for the series, the company turned to Brooklyn-based effects company Brainstorm Digital. Says Glenn Allen, visual effects producer for Boardwalk Empire and co-founder of Brainstorm, "It's our most complex job to date. Everything is HD now, so we have to treat it like a feature film."^[21] "Any time you get to work on a period piece, it's more fun," comments visual effects artist Chris "Pinkus" Wesselman, who used archival photographs, postcards, and architectural plans to recreate the Atlantic City boardwalks as accurately as possible. "We got to explore what the old Atlantic City was really like. The piers were one of the toughest parts because every summer they would change – new houses, new advertisements."^[21] It took two months for the firm to complete all the visual effects for the pilot.^[21]

Reception

Critical reception

The pilot episode received acclaim from television critics.^[22] TV Guide's Matt Roush praised the marriage of Scorsese and Winter, saying it "... brilliantly marries Martin Scorsese's virtuosic cinematic eye to Terence Winter's panoramic mastery of rich character and eventful story," and finished his review by stating "It's the most purely—and impurely—enjoyable storytelling HBO has delivered in ages, like a movie that you never want to end."^[23] Variety's Brian Lowry praised the show for returning network HBO to top form, saying, "This is, quite simply, television at its finest, occupying a sweet spot that—for all the able competition—still remains unique to HBO: An expensive, explicit, character-driven program, tackling material no broadcast network or movie studio would dare touch... For those wondering when the channel would deliver another franchise to definitively put it on top of the world, Ma, the wait is over: Go directly to 'Boardwalk.'"^[24] "One of the unexpected joys of 'Boardwalk Empire,' though, lies in the way the show revels in the oddities of its time, peeling back the layers of polite society to reveal a giddy shadow world of criminals and politicians collaborating to keep the liquor flowing," says online magazine Salon's Heather Havrilesky who went on to call the pilot "breathtaking."^[25] Roberto Bianco from USA Today said in his review that Boardwalk Empire was "Extravagantly produced, shockingly violent and as cold and hard as ice, 'Boardwalk Empire' brings us back to the world's former playground at the start of Prohibition—and brings HBO back to the forefront of the TV-series race."^[26]

However, not all critical reviews were favorable. Nancy Franklin of The New Yorker felt that the series too closely echoed The Sopranos, and went on to say that "... the first episode alone cost nearly twenty million dollars–and it looks authentic in a way that, paradoxically, seems lifeless. You're constantly aware that you're watching a period piece, albeit one with some vivid scenes and interesting details."^[27] Chris Barsanti from PopMatters affords the show six out of ten, remarking that the series "... doesn't begin in the most thought-proving manner..." and added that the character of Jimmy Darmody is a "dud" and Michael Pitt gives "a one-note performance."^[28] Aaron Riccio of Slant praised the series overall (awarding it three and a half stars), but commented that the show was "too big" and had too many subplots. "The plots that Boardwalk Empire does settle on are too complex for a single episode," he said, "... while this style of drawn-out, season-long storytelling can work the writers don't establish enough tension up front to carry the back-heavy narrative."^[29]

Accolades

Ceremony	Category	Recipient(s)	Result
63rd Directors Guild of America Awards	Outstanding Directing for a Drama Series	Martin Scorsese	Won
63rd Primetime Emmy Awards	Outstanding Directing for a Drama Series	Martin Scorsese	Won
63rd Primetime Creative Arts Emmy Awards	Outstanding Art Direction for a Single-Camera Series	Bob Shaw, Douglas Huszti, Debra Schutt	Won
	Outstanding Cinematography for a Single-Camera Series	Stuart Dryburgh	Nominated
	Outstanding Hairstyling for a Single-Camera Series	Michael Kriston, Jerry DeCarlo	Nominated
	Outstanding Make-up for a Single-Camera Series (Non-Prosthetic)	Nicki Ledermann, Evelyn Noraz	Won
	Outstanding Single-Camera Picture Editing for a Drama Series	Sidney Wolinsky	Won
	Outstanding Sound Editing for a Series	Philip Stockton, Eugene Gearty, Fred Rosenberg, Marissa Littlefield, Steve Visscher, Jennifer Dunnington, Marko Costanzo	Won
	Outstanding Sound Mixing for a Comedy or Drama Series (One Hour)	Frank Stettner, Jeff Pullman, Tom Fleishman	Nominated
	Outstanding Special Visual Effects for a Series	Robert Stromberg, David Taritero, Justin Ball, Paul Graff, Richard Friedlander, Steve Kirshoff, J. John Corbett, Brian Sales, Ah Dee	Won

Ratings

On its original airing at 9 pm, "Boardwalk Empire" gained a 2.0/5 ratings share among adults aged 18–49 and garnered 4.81 million viewers.^[6] The episode was re-played twice that night, once at 10:15 pm and again at 11:30 pm Taking these broadcasts into account, a total of 7.1 million Americans viewed the episode on the night of its original broadcast, and is the highest rated premiere for an HBO series since the pilot of Deadwood in March 2004. Following this successful debut, HBO immediately renewed the series for a second season.^[7]

References

^ ^a ^b ^c ^d ^e Littleton, Cynthia (August 7, 2010). "HBO lays big-bucks bet on 'Boardwalk'". Variety. Retrieved August 10, 2010.
^ Littleton, Cynthia (2012). "HBO lays a big-bucks bet on 'Boardwalk' – Entertainment News, TV News, Media – Variety". variety.com. Retrieved January 4, 2012.
^ "Shows A-Z – boardwalk empire on hbo". The Futon Critic. Retrieved August 10, 2010.
^ Hinkley, David (September 17, 2010). "'Boardwalk Empire' impressively recounts roaring 20's". New York Dailys News. Retrieved September 29, 2010.
^ Wiser, Paige (September 17, 2010). "HBO hits jackpot with mob series 'Boardwalk Empire'". Chicago Sun-Times. Archived from the original on September 21, 2010. Retrieved September 27, 2010.
^ ^a ^b Seidman, Robert (September 21, 2010). "SundayCable Ratings: Boardwalk Empire Premieres; Rubicon Still Struggling + The Glades, Mad Men, Kardashians & Lots More". TV by the Numbers. Archived from the original on June 25, 2012. Retrieved September 22, 2010.
^ ^a ^b Seidman, Robert (September 21, 2010). "Boardwalk Empire Renewed By HBO; Premiere Telecast Averages 4.8 Million". TV by the Numbers. Archived from the original on September 24, 2010. Retrieved September 22, 2010.
^ ^a ^b "Boardwalk Empire: Boardwalk Empire - Season 1, Episode 1 - TV.com". tv.com. 2011. Retrieved December 29, 2011.
^ "Terence Winter Set to Write Martin Scorsese's Boardwalk Empire". MovieWeb. June 4, 2008. Retrieved August 10, 2010.^{[permanent dead link]}
^ Goldman, Eric (August 7, 2010). "Scorsese Introduced Boardwalk Empire". IGN. Retrieved August 10, 2010.
^ Andreeva, Nellie (September 1, 2009). "Scorsese to Direct Pilot for HBO's 'Boardwalk Empire'". Back Stage. Retrieved August 10, 2010.
^ Hercules (August 7, 2008). "Scorsese May Direct First TV Show Since AMAZING STORIES!!!". Ain't It Cool News. Retrieved August 10, 2010.^{[permanent dead link]}
^ Johnson, Lynda (August 8, 2010). "Boardwalk Empire Pilot, $18 Million 'Bigs Buck Bet' for HBO". The National Ledger. Archived from the original on January 4, 2013. Retrieved August 10, 2010.
^ Barna, Ben (January 15, 2010). "HBO's 'Boardwalk Empire' Cost $50 Million: How They Gonna Make It Back?". Black Book. Archived from the original on October 18, 2011. Retrieved August 10, 2010.
^ Finke, Nikki (August 7, 2010). "TCA: Why Marty Scorsese Is Now Doing TV". Deadline Hollywood. Retrieved August 10, 2010.
^ Jeffery, Morgan (August 9, 2010). "Martin Scorsese praises HBO". Digital Spy. Retrieved August 10, 2010.
^ ^a ^b Sepinwall, Alan (August 7, 2010). "Press Tour: HBO's Boardwalk Empire brings Martin Scorsese to television". Hit Fix. Retrieved August 10, 2010.
^ Mitovich, Matt (January 2, 2009). "Pilot News: Michael Pitt Walks Boardwalk for HBO and Scorsese". TV Guide. Retrieved August 10, 2010.
^ Hit Fix Staff (January 29, 2009). "New Oscar nominee joins Scorsese's HBO pilot". Hit Fix. Archived from the original on January 16, 2010. Retrieved August 10, 2010.
^ Guthrie, Marisa (June 8, 2009). "HBO Not 'Hung' Up on Decision Making". Broadcasting & Cable. Retrieved August 11, 2010.
^ ^a ^b ^c Lipkin, Michael (August 4, 2009). "DUMBO biz Brainstorm and Martin Scorsese team up for HBO project 'Boardwalk Empire'". NY Daily News. Retrieved August 11, 2010.
^ "Boardwalk Empire – Season 1 Reviews, Ratings, Credits, and More at Metacritic". metacritic.com. 2011. Retrieved December 30, 2011.
^ Roush, Matt (September 16, 2010). "Roush Review: Dazzling Boardwalk: I'll Drink to That!". TV Guide. Retrieved September 29, 2010.
^ Lowry, Brian (September 12, 2010). "Boardwalk Empire Review". Variety. Retrieved September 29, 2010.
^ Havrilesky, Heather (September 11, 2010). ""Boardwalk Empire": Gangsters return triumphantly to HBO". Salon.com. Archived from the original on September 19, 2010. Retrieved September 29, 2010.
^ Bianco, Robert (September 17, 2010). "HBO builds a mighty, brutal 'Boardwalk Empire'". USA Today. Retrieved September 29, 2010.
^ Franklin, Nancy (September 20, 2010). ""Boardwalk Empire" re-creates the heyday of Atlantic City". The New Yorker. Retrieved September 30, 2010.
^ Barsanti, Chris (September 19, 2010). "'Boardwalk Empire': A Man Apart". PopMatters. Retrieved September 30, 2010.
^ Riccio, Aaron (September 18, 2010). "Boardwalk Empire: Season One". Slant. Retrieved September 30, 2010.

External links

"Boardwalk Empire" Archived October 1, 2017, at the Wayback Machine at HBO
"Boardwalk Empire" at IMDb

Boardwalk Empire

Awards and nominations

Episodes

Season 1	"Boardwalk Empire" "The Ivory Tower" "Broadway Limited" "Anastasia" "Nights in Ballygran" "Family Limitation" "Home" "Hold Me in Paradise" "Belle Femme" "The Emerald City" "Paris Green" "A Return to Normalcy"
Season 2	"21" "Ourselves Alone" "A Dangerous Maid" "What Does the Bee Do?" "Gimcrack & Bunkum" "The Age of Reason" "Peg of Old" "Two Boats and a Lifeguard" "Battle of the Century" "Georgia Peaches" "Under God's Power She Flourishes" "To the Lost"
Season 3	"Resolution" "Spaghetti & Coffee" "Bone for Tuna" "Blue Bell Boy" "You'd Be Surprised" "Ging Gang Goolie" "Sunday Best" "The Pony" "The Milkmaid's Lot" "A Man, a Plan..." "Two Imposters" "Margate Sands"
Season 4	"New York Sour" "Resignation" "Acres of Diamonds" "All In" "Erlkönig" "The North Star" "William Wilson" "The Old Ship of Zion" "Marriage and Hunting" "White Horse Pike" "Havre de Grace" "Farewell Daddy Blues"
Season 5	"Golden Days for Boys and Girls" "The Good Listener" "What Jesus Said" "Cuanto" "King of Norway" "Devil You Know" "Friendless Child" "Eldorado"

Characters

Soundtrack

Category

Awards for "Boardwalk Empire"

Directors Guild of America Award for Outstanding Directing – Drama Series

1971–2000

Daniel Petrie for "Hands of Love" (1971)
Robert Butler for "Dust Bowl Cousins" (1972)
Charles S. Dubin for "Knockover" (1973)
David Friedkin for "Cross Your Heart, Hope to Die" (1974)
James Cellan Jones for Jennie: Lady Randolph Churchill (1975)
Glenn Jordan for "Rites of Friendship" (1976)
John Erman for "Second Hour" (1977)
Gene Reynolds for "Prisoner" (1978)
Roger Young for "Cop" (1979)
Roger Young for "Lou" (1980)
Robert Butler for "Hill Street Station" (1981)
David Anspaugh for "Personal Foul" (1982)
Jeff Bleckner for "Life in the Minors" (1983)
Thomas Carter for "The Rise and Fall of Paul the Wall" (1984)
Will Mackenzie for "My Fair David" (1985)
Will Mackenzie for "Atomic Shakespeare" (1986)
Marshall Herskovitz for "Pilot" (thirtysomething) (1987)
Marshall Herskovitz for "Therapy" (1988)
Eric Laneuville for "I'm in the Nude" (1989)
Michael Zinberg for "Vietnam" (1990)
Eric Laneuville for "All God's Children" (1991)
Rob Thompson for "Cicely" (1992)
Gregory Hoblit for "Pilot" (NYPD Blue) (1993)
Charles Haid for "Into That Good Night" (1994)
Christopher Chulack for "Hell and High Water" (1995)
Christopher Chulack for "Fear of Flying" (1996)
Barbara Kopple for "The Documentary" (1997)
Paris Barclay for "Hearts and Souls" (1998)
David Chase for "The Sopranos" (1999)
Thomas Schlamme for "Noël" (2000)

2001–present

Alan Ball for "Pilot" (Six Feet Under) (2001)
John Patterson for "Whitecaps" (2002)
Chris Misiano for "Twenty Five" (2003)
Walter Hill for "Deadwood" (2004)
Michael Apted for "The Stolen Eagle" (2005)
Jon Cassar for "Day 5: 7:00 a.m. – 8:00 a.m." (2006)
Alan Taylor for "Smoke Gets in Your Eyes" (2007)
Daniel Attias for "Transitions" (2008)
Lesli Linka Glatter for "Guy Walks Into an Advertising Agency" (2009)
Martin Scorsese for "Boardwalk Empire" (2010)
Patty Jenkins for "Pilot" (The Killing) (2011)
Rian Johnson for "Fifty-One" (2012)
Vince Gilligan for "Felina" (2013)
Lesli Linka Glatter for "From A to B and Back Again" (2014)
David Nutter for "Mother's Mercy" (2015)
Miguel Sapochnik for "Battle of the Bastards" (2016)
Reed Morano for "Offred" (2017)
Adam McKay for "Celebration" (2018)
Nicole Kassell for "It's Summer and We're Running Out of Ice" (2019)
Lesli Linka Glatter for "Prisoners of War" (2020)
Mark Mylod for "All the Bells Say" (2021)
Sam Levinson for "Stand Still Like the Hummingbird" (2022)
Peter Hoar for "Long, Long Time" (2023)

v t e Primetime Emmy Award for Outstanding Directing for a Drama Series
1950s	Jack Smight for "Eddie" (1959)
1960s	Robert Mulligan for The Moon and Sixpence (1960) George Schaefer for Macbeth (1961) Franklin J. Schaffner for The Defenders (1962) Stuart Rosenberg for "The Madman" (1963) Tom Gries for "Who Do You Kill?" (1964) Paul Bogart for "The 700 Year Old Gang" (1965) Sydney Pollack for "The Game" (1966) Alex Segal for Death of a Salesman (1967) Paul Bogart for "Dear Friends" (1968) David Greene for "The People Next Door" (1969)
1970s	Paul Bogart for "Shadow Game" (1970) Daryl Duke for "The Day the Lion Died" (1971) Alexander Singer for "The Invasion of Kevin Ireland" (1972) Jerry Thorpe for "An Eye for an Eye" (1973) Robert Butler for "Part III" (1974) Bill Bain for "A Sudden Storm" (1975) David Greene for "Part I: Chapters 1 & 2" (Rich Man, Poor Man) (1976) David Greene for "Part 1" (Roots) (1977) Marvin J. Chomsky for Holocaust (1978) Jackie Cooper for "Pilot" (The White Shadow) (1979)
1980s	Roger Young for "Cop" (1980) Robert Butler for "Hill Street Station"(1981) Harry Harris for "To Soar and Never Falter" (1982) Jeff Bleckner for "Life in the Minors" (1983) Corey Allen for "Goodbye, Mr. Scripps" (1984) Karen Arthur for "Heat" (1985) Georg Stanford Brown for "Parting Shots" (1986) Gregory Hoblit for "Pilot" (L.A. Law) (1987) Mark Tinker for "Weigh In, Way Out" (1988) Robert Altman for "The Boiler Room" (1989)
1990s	Thomas Carter for "Promises to Keep" / Scott Winant for "The Go-Between" (1990) Thomas Carter for "In Confidence" (1991) Eric Laneuville for "All God's Children" (1992) Barry Levinson for "Gone for Goode" (1993) Daniel Sackheim for "Tempest in a C-Cup" (1994) Mimi Leder for "Love's Labor Lost" (1995) Jeremy Kagan for "Leave of Absence" (1996) Mark Tinker for "Where's 'Swaldo?" (1997) Mark Tinker for "Pilot" (Brooklyn South) / Paris Barclay for "Lost Israel, Part 2" (1998) Paris Barclay for "Hearts and Souls" (1999)
2000s	Thomas Schlamme for "Pilot" (The West Wing) (2000) Thomas Schlamme for "In the Shadow of Two Gunmen: Part I" & "Part II" (2001) Alan Ball for "Pilot" (Six Feet Under) (2002) Christopher Misiano for "Twenty Five" (2003) Walter Hill for "Deadwood" (2004) J. J. Abrams for "Pilot" (Lost) (2005) Jon Cassar for "Day 5: 7:00 a.m. – 8:00 a.m." (2006) Alan Taylor for "Kennedy and Heidi" (2007) Greg Yaitanes for "House's Head" (2008) Rod Holcomb for "And in the End..." (2009)
2010s	Steve Shill for "The Getaway" (2010) Martin Scorsese for "Boardwalk Empire" (2011) Tim Van Patten for "To the Lost" (2012) David Fincher for "Chapter 1" (2013) Cary Joji Fukunaga for "Who Goes There" (2014) David Nutter for "Mother's Mercy" (2015) Miguel Sapochnik for "Battle of the Bastards" (2016) Reed Morano for "Offred" (2017) Stephen Daldry for "Paterfamilias" (2018) Jason Bateman for "Reparations" (2019)
2020s	Andrij Parekh for "Hunting" (2020) Jessica Hobbs for "War" (2021) Hwang Dong-hyuk for "Red Light, Green Light" (2022) Mark Mylod for "Connor's Wedding" (2023)

v t e Martin Scorsese
Awards and nominations Filmography Bibliography Unrealized projects
Feature films	Who's That Knocking at My Door (1967) Boxcar Bertha (1972) Mean Streets (1973) Alice Doesn't Live Here Anymore (1974) Taxi Driver (1976) New York, New York (1977) Raging Bull (1980) The King of Comedy (1982) After Hours (1985) The Color of Money (1986) The Last Temptation of Christ (1988) Goodfellas (1990) Cape Fear (1991) The Age of Innocence (1993) Casino (1995) Kundun (1997) Bringing Out the Dead (1999) Gangs of New York (2002) The Aviator (2004) The Departed (2006) Shutter Island (2010) Hugo (2011) The Wolf of Wall Street (2013) Silence (2016) The Irishman (2019) Killers of the Flower Moon (2023)
Short films	What's a Nice Girl like You Doing in a Place like This? (1963) It's Not Just You, Murray! (1964) The Big Shave (1967) "Bad" (1987) New York Stories (segment "Life Lessons", 1989) Made in Milan (1990) The Key to Reserva (2007) The Audition (2015)
Produced only	The Grifters (1990) Mad Dog and Glory (1993) Clockers (1995) The Hi-Lo Country (1998) The Young Victoria (2009) Maestro (2023)
Television	"Boardwalk Empire" (2010) Vinyl (2016) Pretend It's a City (2021) Martin Scorsese Presents: The Saints (2024) An Afternoon with SCTV (TBA)
Documentaries	Street Scenes 1970 (1970) Italianamerican (1974) American Boy: A Profile of Steven Prince (1978) The Last Waltz (1978) A Personal Journey with Martin Scorsese Through American Movies (1995) My Voyage to Italy (1999) The Blues: Feel Like Going Home (2003) No Direction Home (2005) Shine a Light (2008) A Letter to Elia (2010) Public Speaking (2010) George Harrison: Living in the Material World (2011) The 50 Year Argument (2014) Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese (2019)
Related	Collaborations Robert De Niro Leonardo DiCaprio Sikelia Productions Goncharov

This page was last edited on 27 May 2024, at 02:54

From Wikipedia, the free encyclopedia