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His most famous films are ''Film/KingOfNewYork'' (with Creator/ChristopherWalken) and ''Film/BadLieutenant'' (with Creator/HarveyKeitel). These films are shocking for their transgressive mix of violence, sexuality, and Catholic values with an outlaw empathy for crooked criminals as well as the downtrodden and rejected. Ferrara's films glorified TheBigRottenApple era, unsparing about the violence and brutality of the city streets at night in its worst areas but also celebrating the tough, breezy, melting pot that brought immigrants together and made the city and themselves great. Many of his films are almost ethnographic, such as ''China Girl'' (a BMovie-style take on ''Theatre/WestSideStory'' featuring an Italian-American boy and a Chinese-American girl as StarCrossedLovers), as well as a focus on ethnic succession, such as Little Italy, becoming an adjunct to New York's Chinatown, while his later films like ''R'Xmas'' and ''Go Go Tales'' focus on gentrification and how the Giuliani era has muscled out the poor and struggling out of the city (in the case of ''Go Go Tales'' this is given additional heft by the fact that the film was in fact made in UsefulNotes/{{Italy}} with New York made on sets).

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His most famous films are ''Film/KingOfNewYork'' (with Creator/ChristopherWalken) and ''Film/BadLieutenant'' (with Creator/HarveyKeitel). These films are shocking for their transgressive mix of violence, sexuality, and Catholic values with an outlaw empathy for crooked criminals as well as the downtrodden and rejected. Ferrara's films glorified TheBigRottenApple era, unsparing about the violence and brutality of the city streets at night in its worst areas but also celebrating the tough, breezy, breezy melting pot that brought immigrants together and made the city and themselves great. Many of his films are almost ethnographic, such as ''China Girl'' (a BMovie-style take on ''Theatre/WestSideStory'' featuring an Italian-American boy and a Chinese-American girl as StarCrossedLovers), as well as a focus on ethnic succession, such as Little Italy, becoming an adjunct to New York's Chinatown, while his later films like ''R'Xmas'' and ''Go Go Tales'' focus on gentrification and how the Giuliani era has muscled out the poor and struggling out of the city (in the case of ''Go Go Tales'' this is given additional heft by the fact that the film was in fact made in UsefulNotes/{{Italy}} with New York made on sets).


His most famous films are ''Film/KingOfNewYork'' (with Creator/ChristopherWalken) and ''Film/BadLieutenant'' (with Creator/HarveyKeitel). These films are shocking for their transgressive mix of violence, sexuality, and Catholic values with an outlaw empathy for the downtrodden and rejected. Ferrara's films glorified TheBigRottenApple era, unsparing about the violence and brutality of the city streets at night in its worst areas but also celebrating the tough, breezy, melting pot that brought immigrants together and made the city and themselves great. Many of his films are almost ethnographic, such as ''China Girl'' (a BMovie-style take on ''Theatre/WestSideStory'' featuring an Italian-American boy and a Chinese-American girl as StarCrossedLovers), as well as a focus on ethnic succession, such as Little Italy, becoming an adjunct to New York's Chinatown, while his later films like ''R'Xmas'' and ''Go Go Tales'' focus on gentrification and how the Giuliani era has muscled out the poor and struggling out of the city (in the case of ''Go Go Tales'' this is given additional heft by the fact that the film was in fact made in UsefulNotes/{{Italy}} with New York made on sets).

to:

His most famous films are ''Film/KingOfNewYork'' (with Creator/ChristopherWalken) and ''Film/BadLieutenant'' (with Creator/HarveyKeitel). These films are shocking for their transgressive mix of violence, sexuality, and Catholic values with an outlaw empathy for crooked criminals as well as the downtrodden and rejected. Ferrara's films glorified TheBigRottenApple era, unsparing about the violence and brutality of the city streets at night in its worst areas but also celebrating the tough, breezy, melting pot that brought immigrants together and made the city and themselves great. Many of his films are almost ethnographic, such as ''China Girl'' (a BMovie-style take on ''Theatre/WestSideStory'' featuring an Italian-American boy and a Chinese-American girl as StarCrossedLovers), as well as a focus on ethnic succession, such as Little Italy, becoming an adjunct to New York's Chinatown, while his later films like ''R'Xmas'' and ''Go Go Tales'' focus on gentrification and how the Giuliani era has muscled out the poor and struggling out of the city (in the case of ''Go Go Tales'' this is given additional heft by the fact that the film was in fact made in UsefulNotes/{{Italy}} with New York made on sets).


His career has been quite erratic. Ferrara started out working in American [[ExploitationFilm exploitation cinema]]; his earliest films were either [[PornWithPlot porn]] or [[PornWithoutPlot borderline porn]]. His breakthrough film ''Film/TheDrillerKiller'' saw Ferrara entering the post-''Film/TaxiDriver'' world of vigilantism. His early BreakthroughHit was ''Film/Ms45'', an exploitation film that marked his first collaboration with Zoe Lund. For most of TheEighties, Ferrara worked on a variety of projects, never quite making it into the mainstream. TheNineties however would prove to be his decade, he made 9 films in 10 years alongside shorts and music videos, which is remarkably productive for an independent film-maker who has never had a bonafide box-office breakout hit, and in this decade Ferrara made crime dramas, science fiction (his remake of ''Film/BodySnatchers'' and ''New Rose Hotel'', an adaptation of a Creator/WilliamGibson story), horror (''Film/TheAddiction'' which is shot in black-and-white) and also a film-about-filmmaking like ''Snake Eyes'' (also known as ''Dangerous Game'' and stars Music/{{Madonna}} in a dramatic role). The 21st Century had him becoming quasi-arthouse, with his films ''Welcome to New York'' and ''Pasolini'' having him taking on real-figures -- Dominique Strauss-Kahn ([[NoCelebritiesWereHarmed renamed as Monsieur Devereux]]) and Creator/PierPaoloPasolini (one of Ferrara's biggest influences).

to:

His career has been quite erratic. Ferrara started out working in American [[ExploitationFilm exploitation cinema]]; his earliest films were either [[PornWithPlot porn]] or [[PornWithoutPlot borderline porn]]. His breakthrough film ''Film/TheDrillerKiller'' saw Ferrara entering the post-''Film/TaxiDriver'' world of vigilantism. His early BreakthroughHit was ''Film/Ms45'', an action thriller exploitation film that marked his first collaboration with Zoe Lund. For most of TheEighties, Ferrara worked on a variety of projects, never quite making it into the mainstream. TheNineties however would prove to be his decade, he made 9 films in 10 years alongside shorts and music videos, which is remarkably productive for an independent film-maker who has never had a bonafide box-office breakout hit, and in this decade Ferrara made crime dramas, science fiction (his remake of ''Film/BodySnatchers'' and ''New Rose Hotel'', an adaptation of a Creator/WilliamGibson story), horror (''Film/TheAddiction'' which is shot in black-and-white) and also a film-about-filmmaking like ''Snake Eyes'' (also known as ''Dangerous Game'' and stars Music/{{Madonna}} in a dramatic role). The 21st Century had him becoming quasi-arthouse, with his films ''Welcome to New York'' and ''Pasolini'' having him taking on real-figures -- Dominique Strauss-Kahn ([[NoCelebritiesWereHarmed renamed as Monsieur Devereux]]) and Creator/PierPaoloPasolini (one of Ferrara's biggest influences).


His most famous films are ''Film/KingOfNewYork'' (with Creator/ChristopherWalken) and ''Film/BadLieutenant'' (with Creator/HarveyKeitel). These films are shocking for their transgressive mix of violence, sexuality, and Catholic values with an outlaw empathy for the downtrodden and rejected. Ferrara's films celebrated and glorified TheBigRottenApple era, unsparing about the violence and brutality of the city streets at night in its worst areas but also celebrating the tough, breezy, melting pot that brought immigrants together and made the city and themselves great. Many of his films are almost ethnographic, such as ''China Girl'' (a BMovie-style take on ''Theatre/WestSideStory'' featuring an Italian-American boy and a Chinese-American girl as StarCrossedLovers) focus on ethnic succession, such as Little Italy becoming an adjunct to New York's Chinatown, while his later films like ''R'Xmas'' and ''Go Go Tales'' focus on gentrification and how the city in the Giuliani era has muscled out the city-s poor and struggling out of the city (in the case of ''Go Go Tales'' this is given additional heft by the fact that the film was in fact made in UsefulNotes/{{Italy}} with New York made on sets).

to:

His most famous films are ''Film/KingOfNewYork'' (with Creator/ChristopherWalken) and ''Film/BadLieutenant'' (with Creator/HarveyKeitel). These films are shocking for their transgressive mix of violence, sexuality, and Catholic values with an outlaw empathy for the downtrodden and rejected. Ferrara's films celebrated and glorified TheBigRottenApple era, unsparing about the violence and brutality of the city streets at night in its worst areas but also celebrating the tough, breezy, melting pot that brought immigrants together and made the city and themselves great. Many of his films are almost ethnographic, such as ''China Girl'' (a BMovie-style take on ''Theatre/WestSideStory'' featuring an Italian-American boy and a Chinese-American girl as StarCrossedLovers) StarCrossedLovers), as well as a focus on ethnic succession, such as Little Italy Italy, becoming an adjunct to New York's Chinatown, while his later films like ''R'Xmas'' and ''Go Go Tales'' focus on gentrification and how the city in the Giuliani era has muscled out the city-s poor and struggling out of the city (in the case of ''Go Go Tales'' this is given additional heft by the fact that the film was in fact made in UsefulNotes/{{Italy}} with New York made on sets).


His career has been quite erratic. Ferrara started out working in American [[ExploitationFilm exploitation cinema]]; his earliest films were either [[UsefulNotes/{{Pornography}} porn]] or borderline porn. His breakthrough film ''Film/TheDrillerKiller'' saw Ferrara entering the post-''Film/TaxiDriver'' world of vigilantism. His early BreakthroughHit was ''Film/Ms45'', an exploitation film that marked his first collaboration with Zoe Lund. For most of TheEighties, Ferrara worked on a variety of projects, never quite making it into the mainstream. TheNineties however would prove to be his decade, he made 9 films in 10 years alongside shorts and music videos, which is remarkably productive for an independent film-maker who has never had a bonafide box-office breakout hit, and in this decade Ferrara made crime dramas, science fiction (his remake of ''Film/BodySnatchers'' and ''New Rose Hotel'', an adaptation of a Creator/WilliamGibson story), horror (''Film/TheAddiction'' which is shot in black-and-white) and also a film-about-filmmaking like ''Snake Eyes'' (also known as ''Dangerous Game'' and stars Music/{{Madonna}} in a dramatic role). The 21st Century had him becoming quasi-arthouse, with his films ''Welcome to New York'' and ''Pasolini'' having him taking on real-figures -- Dominique Strauss-Kahn ([[NoCelebritiesWereHarmed renamed as Monsieur Devereux]]) and Creator/PierPaoloPasolini (one of Ferrara's biggest influences).

to:

His career has been quite erratic. Ferrara started out working in American [[ExploitationFilm exploitation cinema]]; his earliest films were either [[UsefulNotes/{{Pornography}} [[PornWithPlot porn]] or [[PornWithoutPlot borderline porn.porn]]. His breakthrough film ''Film/TheDrillerKiller'' saw Ferrara entering the post-''Film/TaxiDriver'' world of vigilantism. His early BreakthroughHit was ''Film/Ms45'', an exploitation film that marked his first collaboration with Zoe Lund. For most of TheEighties, Ferrara worked on a variety of projects, never quite making it into the mainstream. TheNineties however would prove to be his decade, he made 9 films in 10 years alongside shorts and music videos, which is remarkably productive for an independent film-maker who has never had a bonafide box-office breakout hit, and in this decade Ferrara made crime dramas, science fiction (his remake of ''Film/BodySnatchers'' and ''New Rose Hotel'', an adaptation of a Creator/WilliamGibson story), horror (''Film/TheAddiction'' which is shot in black-and-white) and also a film-about-filmmaking like ''Snake Eyes'' (also known as ''Dangerous Game'' and stars Music/{{Madonna}} in a dramatic role). The 21st Century had him becoming quasi-arthouse, with his films ''Welcome to New York'' and ''Pasolini'' having him taking on real-figures -- Dominique Strauss-Kahn ([[NoCelebritiesWereHarmed renamed as Monsieur Devereux]]) and Creator/PierPaoloPasolini (one of Ferrara's biggest influences).


His most famous films are ''Film/KingOfNewYork'' (with Creator/ChristopherWalken) and ''Film/BadLieutenant'' (with Creator/HarveyKeitel). These films are shocking for their violence, sexuality, and mix of transgressive Catholic values with an outlaw empathy for the downtrodden and rejected. Ferrara's films celebrated and glorified TheBigRottenApple era, unsparing about the violence and brutality of the city streets at night in its worst areas but also celebrating the tough, breezy, melting pot that brought immigrants together and made the city and themselves great. Many of his films are almost ethnographic, such as ''China Girl'' (a BMovie-style take on ''Theatre/WestSideStory'' featuring an Italian-American boy and a Chinese-American girl as StarCrossedLovers) focus on ethnic succession, such as Little Italy becoming an adjunct to New York's Chinatown, while his later films like ''R'Xmas'' and ''Go Go Tales'' focus on gentrification and how the city in the Giuliani era has muscled out the city-s poor and struggling out of the city (in the case of ''Go Go Tales'' this is given additional heft by the fact that the film was in fact made in UsefulNotes/{{Italy}} with New York made on sets).

to:

His most famous films are ''Film/KingOfNewYork'' (with Creator/ChristopherWalken) and ''Film/BadLieutenant'' (with Creator/HarveyKeitel). These films are shocking for their transgressive mix of violence, sexuality, and mix of transgressive Catholic values with an outlaw empathy for the downtrodden and rejected. Ferrara's films celebrated and glorified TheBigRottenApple era, unsparing about the violence and brutality of the city streets at night in its worst areas but also celebrating the tough, breezy, melting pot that brought immigrants together and made the city and themselves great. Many of his films are almost ethnographic, such as ''China Girl'' (a BMovie-style take on ''Theatre/WestSideStory'' featuring an Italian-American boy and a Chinese-American girl as StarCrossedLovers) focus on ethnic succession, such as Little Italy becoming an adjunct to New York's Chinatown, while his later films like ''R'Xmas'' and ''Go Go Tales'' focus on gentrification and how the city in the Giuliani era has muscled out the city-s poor and struggling out of the city (in the case of ''Go Go Tales'' this is given additional heft by the fact that the film was in fact made in UsefulNotes/{{Italy}} with New York made on sets).


* DeliberatelyMonochrome: HIs vampire ''Film/TheAddiction'' is shot in black-and-white.

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* DeliberatelyMonochrome: HIs His vampire movie ''Film/TheAddiction'' is shot in black-and-white.


* BlackAndGrayMorality Many times it is about the fight between evil and slightly lesser evil. His most famous film ''Bad Lieutenant'' is about a corrupt cop learning redemption [[spoiler:by pardoning and helping the rapists of a nun escape justice in accordance with the wishes of the nun herself, who forgave her rapists for their crimes]].

to:

* BlackAndGrayMorality BlackAndGrayMorality: Many times it is about the fight between evil and slightly lesser evil. His most famous film ''Bad Lieutenant'' is about a corrupt cop learning redemption [[spoiler:by pardoning and helping the rapists of a nun escape justice in accordance with the wishes of the nun herself, who forgave her rapists for their crimes]].


* DeliberatelyMonochrome: ''Film/TheAddiction'' his vampire film is shot in black-and-white.

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* DeliberatelyMonochrome: HIs vampire ''Film/TheAddiction'' his vampire film is shot in black-and-white.


!!Films With TV Tropes pages

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!!Films With !!Ferrara films with their own TV Tropes pages


His most famous films are ''Film/KingOfNewYork'' (with Creator/ChristopherWalken) and ''Film/BadLieutenant'' (with Creator/HarveyKeitel). These films are shocking for their violence, sexuality, and mix of transgressive Catholic values with an outlaw empathy for the downtrodden and rejected. Ferrara's films celebrated and glorified TheBigRottenApple era, unsparing about the violence and brutality of the city-streets at night in its worst areas but also celebrating the tough, breezy, melting pot that brought immigrants together and made the city and themselves great. Many of his films are almost ethnographic, such as ''China Girl'' (a BMovie-style take on ''Theatre/WestSideStory'' featuring an Italian-American boy and a Chinese-American girl as StarCrossedLovers) focus on ethnic succession, such as Little Italy becoming an adjunct to New York's Chinatown, while his later films like ''R'Xmas'' and ''Go Go Tales'' focus on gentrification and how the city in the Giuliani era has muscled out the city-s poor and struggling out of the city (in the case of ''Go Go Tales'' this is given additional heft by the fact that the film was in fact made in UsefulNotes/{{Italy}} with New York made on sets).

to:

His most famous films are ''Film/KingOfNewYork'' (with Creator/ChristopherWalken) and ''Film/BadLieutenant'' (with Creator/HarveyKeitel). These films are shocking for their violence, sexuality, and mix of transgressive Catholic values with an outlaw empathy for the downtrodden and rejected. Ferrara's films celebrated and glorified TheBigRottenApple era, unsparing about the violence and brutality of the city-streets city streets at night in its worst areas but also celebrating the tough, breezy, melting pot that brought immigrants together and made the city and themselves great. Many of his films are almost ethnographic, such as ''China Girl'' (a BMovie-style take on ''Theatre/WestSideStory'' featuring an Italian-American boy and a Chinese-American girl as StarCrossedLovers) focus on ethnic succession, such as Little Italy becoming an adjunct to New York's Chinatown, while his later films like ''R'Xmas'' and ''Go Go Tales'' focus on gentrification and how the city in the Giuliani era has muscled out the city-s poor and struggling out of the city (in the case of ''Go Go Tales'' this is given additional heft by the fact that the film was in fact made in UsefulNotes/{{Italy}} with New York made on sets).



* SlidingScaleOfIdealismVersusCynicism: His films are pretty firmly on the cynical end as far as portraying the world goes though his portrayal of human nature is somewhat more optimistic as he is fond of portraying people whose good intentions are at odds with the world they inhabit. ''Film/BadLieutenant'', despite soul-crushingly bleak, does portray it's title character as being a fundamentally lost person who isn't beyond redemption.
* VigilanteMan: Several of his films explore the concept of Vigilantism and question how far is too far when it comes to delivering justice outside the legal system.

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* SlidingScaleOfIdealismVersusCynicism: His films are pretty firmly on the cynical end as far as portraying the world goes though his portrayal of human nature is somewhat more optimistic as he is fond of portraying people whose good intentions are at odds with the world they inhabit. ''Film/BadLieutenant'', despite soul-crushingly bleak, does portray it's its title character as being a fundamentally lost person who isn't beyond redemption.
* VigilanteMan: Several of his films explore the concept of Vigilantism vigilantism and question how far is too far when it comes to delivering justice outside the legal system.


He also made a video for MyleneFarmer's song California. It is as sleazy as one would predict.

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He also made a video for MyleneFarmer's song California.''California''. It is as sleazy as one would predict.



!!Films

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!!Films!!Films With TV Tropes pages


His career has been quite erratic. Ferrara started out working in American [[ExploitationFilm exploitation cinema]]; his earliest films were either [[UsefulNotes/{{Pornography}} porn]] or borderline porn. His breakthrough film ''Film/TheDrillerKiller'' saw Ferrara entering the post-''Film/TaxiDriver'' world of vigilantism. His early BreakthroughHit was ''Film/Ms45'', an exploitation film which marked his first collaboration with Zoe Lund. For most of TheEighties, Ferrara worked in a variety of projects, never quite making it into the mainstream. TheNineties however would prove to be his decade, he made 9 films in 10 years alongside shorts and music videos, which is remarkably productive for an independent film-maker who has never had a bonafide box-office breakout hit, and in this decade Ferrara made crime dramas, science-fiction (his remake of ''Film/BodySnatchers'' and ''New Rose Hotel'', an adaptation of a Creator/WilliamGibson story), a Vampire Story (''Film/TheAddiction'' which is shot in black-and-white) and also a film-about-filmmaking like ''Snake Eyes'' (also known as ''Dangerous Game'' and stars Music/{{Madonna}} in a dramatic role). The 21st Century had him becoming quasi-arthouse, with his films ''Welcome to New York'' and ''Pasolini'' having him taking on real-figures -- Dominique Strauss-Kahn ([[NoCelebritiesWereHarmed renamed as Monsieur Devereux]]) and Creator/PierPaoloPasolini (one of Ferrara's biggest influences).

to:

His career has been quite erratic. Ferrara started out working in American [[ExploitationFilm exploitation cinema]]; his earliest films were either [[UsefulNotes/{{Pornography}} porn]] or borderline porn. His breakthrough film ''Film/TheDrillerKiller'' saw Ferrara entering the post-''Film/TaxiDriver'' world of vigilantism. His early BreakthroughHit was ''Film/Ms45'', an exploitation film which that marked his first collaboration with Zoe Lund. For most of TheEighties, Ferrara worked in on a variety of projects, never quite making it into the mainstream. TheNineties however would prove to be his decade, he made 9 films in 10 years alongside shorts and music videos, which is remarkably productive for an independent film-maker who has never had a bonafide box-office breakout hit, and in this decade Ferrara made crime dramas, science-fiction science fiction (his remake of ''Film/BodySnatchers'' and ''New Rose Hotel'', an adaptation of a Creator/WilliamGibson story), a Vampire Story horror (''Film/TheAddiction'' which is shot in black-and-white) and also a film-about-filmmaking like ''Snake Eyes'' (also known as ''Dangerous Game'' and stars Music/{{Madonna}} in a dramatic role). The 21st Century had him becoming quasi-arthouse, with his films ''Welcome to New York'' and ''Pasolini'' having him taking on real-figures -- Dominique Strauss-Kahn ([[NoCelebritiesWereHarmed renamed as Monsieur Devereux]]) and Creator/PierPaoloPasolini (one of Ferrara's biggest influences).


His career has been quite erratic. Ferrara started out working in American [[ExploitationFilm exploitation cinema]]; his earliest films were either [[UsefulNotes/{{Pornography}} porn]] or borderline porn. His breakthrough film ''Film/TheDrillerKiller'' saw Ferrara entering the post-''Film/TaxiDriver'' world of vigilantism. His early BreakthroughHit was ''Film/Ms45'', an exploitation film which marked his first collaboration with Zoe Lund. For most of TheEighties, Ferrara worked in a variety of projects, never quite making it into the mainstream. TheNineties however would prove to be his decade, he made 9 films in 10 years alongside shorts and music videos, which is remarkably productive for an independent film-maker who has never had a box-office hit, and in this decade Ferrara made crime dramas, science-fiction (his remake of ''Body Snatchers'' and ''New Rose Hotel'', an adaptation of a Creator/WilliamGibson story), a Vampire Story (''Film/TheAddiction'' which is shot in black-and-white) and also a film-about-filmmaking like ''Snake Eyes'' (also known as ''Dangerous Game'' and stars Music/{{Madonna}} in a dramatic role). The 21st Century had him becoming quasi-arthouse, with his films ''Welcome to New York'' and ''Pasolini'' having him taking on real-figures -- Dominique Strauss-Kahn ([[NoCelebritiesWereHarmed renamed as Monsieur Devereux]]) and Creator/PierPaoloPasolini (one of Ferrara's biggest influences).

to:

His career has been quite erratic. Ferrara started out working in American [[ExploitationFilm exploitation cinema]]; his earliest films were either [[UsefulNotes/{{Pornography}} porn]] or borderline porn. His breakthrough film ''Film/TheDrillerKiller'' saw Ferrara entering the post-''Film/TaxiDriver'' world of vigilantism. His early BreakthroughHit was ''Film/Ms45'', an exploitation film which marked his first collaboration with Zoe Lund. For most of TheEighties, Ferrara worked in a variety of projects, never quite making it into the mainstream. TheNineties however would prove to be his decade, he made 9 films in 10 years alongside shorts and music videos, which is remarkably productive for an independent film-maker who has never had a bonafide box-office breakout hit, and in this decade Ferrara made crime dramas, science-fiction (his remake of ''Body Snatchers'' ''Film/BodySnatchers'' and ''New Rose Hotel'', an adaptation of a Creator/WilliamGibson story), a Vampire Story (''Film/TheAddiction'' which is shot in black-and-white) and also a film-about-filmmaking like ''Snake Eyes'' (also known as ''Dangerous Game'' and stars Music/{{Madonna}} in a dramatic role). The 21st Century had him becoming quasi-arthouse, with his films ''Welcome to New York'' and ''Pasolini'' having him taking on real-figures -- Dominique Strauss-Kahn ([[NoCelebritiesWereHarmed renamed as Monsieur Devereux]]) and Creator/PierPaoloPasolini (one of Ferrara's biggest influences).


One of the key figures of the American independent who has remained esoteric, obscure and marginal. His most recent films haven't even found distributors for a US release, and most of his films are nowadays funded in Europe [[GermansLoveDavidHasselhoff where he is considered one of America's greats]]. [[NeverAcceptedInHisHometown Within America]], Ferrara used to be called "the [[PoorMansSubstitute poor man's]] Creator/MartinScorsese" which Ferrara [[IllTakeThatAsACompliment even embraced a few times]]. Scorsese is one of Ferrara's influences, and Scorsese has also praised him as one of America's great talents.

to:

One of the key figures of the American independent film industry who has remained esoteric, obscure and marginal. His most recent films haven't even found distributors for a US release, and most of his films are nowadays funded in Europe [[GermansLoveDavidHasselhoff where he is considered one of America's greats]]. [[NeverAcceptedInHisHometown Within America]], Ferrara used to be called "the [[PoorMansSubstitute poor man's]] Creator/MartinScorsese" which Ferrara [[IllTakeThatAsACompliment even embraced a few times]]. Scorsese is one of Ferrara's influences, and Scorsese has also praised him as one of America's great talents.

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