13 Epic Facts About Gangs of New York


Violent criminals and the Big Apple are two of Martin Scorsese’s favorite things, so Gangs of New York was a natural fit, even if the gangs in question were old-timey ones from the 1860s rather than the Joe Pesci kind. Gangs of New York marked Scorsese’s first collaboration (of five, so far) with Leonardo DiCaprio, which may have been a factor in its also being his first box office hit in over a decade. What more is there to know about a bloody epic that was nominated for 10 Oscars but won none of them? Get out your throwin’ knives and your dead rabbits and read on.


Martin Scorsese read Herbert Asbury’s 1928 nonfiction book The Gangs of New York: An Informal History of the Underworld in 1970 and immediately thought it would make a good movie. He didn’t have any money or clout yet though, so he had to wait. He bought the movie rights to the book in 1979, and even got a screenplay written around that time, then spent the next 20 years trying to get the project off the ground before finding a willing financial partner in Harvey Weinstein at Miramax Films.


Leonardo DiCaprio and Martin Scorsese on the set of 'Gangs of New York' (2002)
Mario Tursi/Miramax

What do you do when you want to shoot on location but the location doesn’t exist anymore? You either build it, or you use computers to fabricate it. Scorsese went with the former option, commissioning Italian production designer Dante Ferretti to create a breathtakingly authentic version of New York’s Five Points neighborhood circa 1860. At the legendary Cinecittà Studios in Rome, Ferretti’s team built a mile of sets—stores, saloons, houses, the town square, even the harbor, docks, and ships—all of them fully functional, with no facades. Visitors marveled at how stepping onto the set was like stepping back in time.


A modern historian named Tyler Anbinder, who wrote Five Points: The 19th-Century New York City Neighborhood That Invented Tap Dance, Stole Elections, and Became the World’s Most Notorious Slum and gave Scorsese input on the Gangs screenplay, said Asbury’s book from the ‘20s exaggerated how dangerous the neighborhood was. Anbinder had access to statistics that Asbury did not, and he said, “Other than public drunkenness and prostitution, there was no more crime in Five Points than in any other part of the city.” Asbury had written that “there was one tenement where there was a murder a day,” but in fact, Anbinder said, “there was barely a murder a month in all of New York City” at that time.


At one point in the late 1970s, when Scorsese was earnestly trying to get the film made, he envisioned Dan Aykroyd playing the Leonardo DiCaprio role, with John Belushi in the Daniel Day-Lewis part. Willem Dafoe and Robert De Niro were also attached to play Bill the Butcher at different times. And in his original conception, in the early ‘70s, Scorsese wanted A Clockwork Orange star Malcolm McDowell.



Ever the Method actor, Day-Lewis first took lessons from two Argentine brothers with a butcher shop in Queens, then from a master butcher specially flown in from London. If you listen closely, you can hear producer Harvey Weinstein screaming about the expense. 


The Star Wars creator, then working on Attack of the Clones, had visited the massive set in Rome and told Scorsese that it was probably the last of its kind, that such large re-creations would be done on computers now to save money. Lucas’ know-how in such matters came in handy later, when Gangs needed an elephant and none of the animal wranglers in Italy were able to produce one in time.

Weinstein later recalled that he told Scorsese to keep shooting while he called Lucas and asked for help: “We’re effed! We don’t have [an] elephant! Tell us how to shoot it!” Lucas, an old pro at such things, guided them through the process of filming without the elephant and having it digitally created later. It’s the only thing in the movie that’s completely computer-generated. 


Bill the Butcher was real, though Scorsese changed his surname from Poole to Cutting for the movie to reflect a creative liberty he’d taken, i.e., having the character live to see the Civil War (he was actually murdered in 1855). William “Boss” Tweed (Jim Broadbent) was a real politician who controlled the Tammany Hall political machine, as you may recall from your high school U.S. history class. So were the Schermerhorns, the rich people seen taking a tour of the misery and vice of Five Points. (Interesting footnote: Scorsese’s fifth wife, whom he married in 1999, is one Helen Schermerhorn Morris, a descendant of early New York elites.) Perhaps most surprisingly, Hell-Cat Maggie (Cara Seymour)—the vicious female fighter who bites off victims’ ears—was fact-based, being a composite of the real Hell-Cat Maggie (her real name is unknown) and a few other historical lady criminals.



Scorsese wanted his daughter, Francesca, to be in the movie, because that’s your prerogative when you’re a director. Since she was a babe-in-arms, Scorsese wanted to be in the scene with her, and he didn’t want her to be in the Five Points. “After two weeks of working in those sets, and rain and all sorts of things, they became very lived-in. The streets became very muddy,” he said. The safest, cleanest place was the fancy house of some fancy people that Cameron Diaz’s character steals from, with Scorsese as the fancy dad. (Scorsese assures us in the DVD commentary that he would much rather have played a Five Pointer.)


The actor is well known for doing a lot of intense preparation before a film shoot, and for staying in character throughout it. That doesn’t mean he only listened to music that Bill the Butcher would have listened to, though. He told Rolling Stone that he listened to a lot of Eminem on the set: “Every morning around five, especially the song ‘The Way I Am.’ I’ve admired him for a while. I’m always on the lookout for music that might be helpful to a role.” Perhaps Eminem’s bravado, egotism, and showmanship spoke to the Butcher. 


Harvey Weinstein would later exaggerate the “courting” process, but Day-Lewis really did take his time in deciding to take the role. While visiting New York to discuss it with Scorsese (whom he’d worked with on The Age of Innocence), Day-Lewis also met with DiCaprio. The two had a heart-to-heart on a bench in Central Park, and later had dinner with DiCaprio’s friend Tobey Maguire. According to DiCaprio, the future Spider-Man told Day-Lewis, “Y’know, when somebody has a talent like yours, it’s almost their responsibility to do it, to get back in the saddle.” 



Weinstein’s official explanation for delaying the release of the film from December 2001 to December 2002 was that it was too soon after 9/11 for a violent movie set in New York that depicts early incarnations of the NYPD. But Scorsese continued to shoot small “pick-ups” (minor snippets of scenes) well into 2002—so either he was taking advantage of Weinstein’s delay, or Weinstein delayed it so Scorsese could finish. Whatever the case, when the movie was released, it still ended with a time-lapse effect that culminates in a shot of present-day New York—Twin Towers included, even though they’d come down 15 months earlier.

“It had to end with [the modern skyline being built], or the movie shouldn’t have existed,” Scorsese explained. “We did the paintings and edited that skyline sequence before September 11, and afterward it was suggested that we should take out the towers, but I felt ... it’s not my job to revise the New York skyline. The people in the film ... were part of the creation of that skyline, not the destruction of it. And if the skyline collapses, ultimately, they will build another one.” 


To give Weinstein an idea of what he wanted the movie to look like, Scorsese “made” Weinstein watch 80 movies (possibly an exaggeration), including semi-obscure classics like The Man Who Laughs, a silent film from 1928. “Eighty. Can you imagine?” Weinstein recalled. “And remember: no videos, no DVDs. Every movie has to be on the big screen. It was like going to school with Professor Scorsese.” 


The first cut, the throw-in-everything-and-see-what-works version, was three hours and 38 minutes, almost an hour longer than the final cut. Scorsese and his longtime editor, Thelma Schoonmaker, tinkered with it relentlessly, ultimately producing 18 different versions that were screened for various audiences. Weinstein, rightfully nicknamed Harvey Scissorhands for his ruthless trimming of the movies he releases, no doubt urged Scorsese toward a shorter runtime, but Scorsese said he’s happy with the one everybody saw, which is two hours and 47 minutes.

“There’s not one version that I would say, ‘That’s my original version,’” Scorsese said on the DVD commentary. They were more like drafts: “This was all a series of changes and rewrites and restructuring, until finally it comes down to the movie you see in the theater.” 


The legendary and prolific composer, credited with well over 200 scores for movies and television, had worked with Scorsese several times before (including The Age of Innocence, which earned him an Oscar nomination). He composed “a complete score” for Gangs of New York, but over the course of the long editing process, Scorsese’s concept for the music changed. (“He winds up with a Scorsese score, a pastiche,” Bernstein said.) In the end, Scorsese used some orchestral music by Howard Shore, along with contemporary pieces by the likes of Peter Gabriel and U2. You can hear a sample of Bernstein’s version here

Additional sources:
Martin Scorsese’s DVD commentary

10 Forgotten Rankin/Bass Christmas Specials

A scene from Rudolph's Shiny New Year (1976).
A scene from Rudolph's Shiny New Year (1976).
Rankin/Bass Productions

If you're prone to picturing your favorite Christmas characters as stop-motion puppets, you can thank Rankin/Bass. The production company founded by Arthur Rankin Jr. and Jules Bass found success in transforming holiday songs and myths into fully-developed television specials in the 1960s, '70s, and '80s. Their most popular specials, like Rudolph the Red-Nosed Reindeer and Frosty the Snowman, are still staples of holiday programming decades after they first aired.

But not every holiday film that played under the Rankin/Bass banner was an instant success. After adapting the most beloved Christmas stories, the company broadened its definition of holiday material, with varying degrees of success. Some films were forgettable, and others were so strange and unsettling that young viewers forced themselves to forget. Here are some Rankin/Bass specials that may be missing from holiday television marathons this year.

1. Rudolph’s Shiny New Year (1976)

Scene from Rudolph's Shiny New Year.
Rankin/Bass Productions

After the stressful events of his 1964 Christmas special, Rudolph deserved a vacation. In Rudolph's Shiny New Year (1976), the red-nosed reindeer barely has a day to rest before being sent on his next adventure. When Santa Claus and his reindeer return home to the North Pole after delivering presents on Christmas, they learn that Happy the Baby New Year is missing. It’s up to Rudolph to bring him home before midnight on New Year’s Eve or else the calendar will be stuck at December 31. And because it wouldn’t be a Rankin/Bass cartoon without a terrifying villain, a vulture named Eon the Terrible is racing to catch Happy first so he can live forever. Thankfully, Rudolph has a caveman, a Medieval knight, and Benjamin Franklin on his side.

2. The Little Drummer Boy, Book II (1976)

Scene from The Little Drummer Boy, Book II.
Rankin/Bass Productions

The Little Drummer Boy from 1968 ends with the birth of Jesus Christ, a.k.a. the events of Christmas. This meant that Rankin/Bass’s most overtly religious Christmas special wasn’t an obvious choice for a follow-up, but the studio still released one in 1976. The Little Drummer Boy, Book II is inspired by "Silver Bells"—a song whose lyrics have nothing to do with the first Christmas at Bethlehem. In the sequel, the drummer boy Aaron and the wise man Melchior join forces to protect silver bells made for baby Jesus from the Roman soldiers plotting to steal them.

3. Nestor, the Long-Eared Christmas Donkey (1977)

Scene from Nestor, the Long-Eared Christmas Donkey.
Rankin/Bass Productions

By the late 1970s, it was apparent that Rankin/Bass was running out of Christmas myths to expand into television specials. Nestor, the Long-Eared Christmas Donkey, their 1977 stop motion film, tells the story of an outcast donkey who experiences a series of traumatic events during the Roman Empire. After being bullied by other animals, left for dead by his owner, and suffering the loss of his mother, Nestor becomes a hero by carrying a pregnant Mary to Bethlehem, where she gives birth to Jesus. Needless to say, Nestor, the Long-Eared Donkey didn’t have the same cultural impact as Rudolph the Red-Nosed Reindeer.

4. The First Christmas: The Story of the First Christmas Snow (1975)

Scene from The First Christmas.
Rankin/Bass Productions

It may have a happy ending, but The First Christmas (1975) is the bleakest movie on this list. An orphaned shepherd named Lucas is taken in by a group of nuns after he’s blinded by lightning. When snow falls during the abbey’s Christmas pageant, Lucas miraculously regains his eyesight and sees snow for the first time. The story swaps Rankin/Bass's signature humor and fantasy for heavy-handed sentimentality, which may be why it didn’t land as well with kids as the company’s other holiday specials. One highlight is a voice performance by Angela Lansbury as the narrator.

5. Jack Frost (1979)

Scene from Jack Frost.
Rankin/Bass Productions

So this film from 1979 is technically a Groundhog Day special, but its connection to winter means it’s usually lumped in with the rest of Rankin/Bass’s Christmas programming. A groundhog named Pardon-Me-Pete (voiced by Buddy Hackett) narrates the story of Jack Frost. After Jack Frost falls in love with a woman on Earth, Father Winter agrees to make him human, with the catch that Jack will turn back into a sprite if he fails to obtain a house, a horse, a bag of gold, and a wife by the first sign of spring. The special is notable for its weird characters, including a villain with a clockwork horse and henchmen. And—spoiler alert!—because Jack doesn’t get the girl at the end, it’s one of the few Rankin/Bass films that doesn’t have a happy ending.

6. Rudolph and Frosty's Christmas in July (1979)

Scene from Rudolph and Frosty's Christmas in July.
Rankin/Bass Productions

In 1979, Rankin/Bass gave two of its most iconic Christmas characters—Frosty the Snowman and Rudolph the Red-Nosed Reindeer—their own movie. The studio was so confident in the product that Rudolph and Frosty's Christmas in July even had a brief theatrical release overseas. But the film has failed to take the place of the original specials in the public consciousness—maybe because seeing snow snakes terrorize Rudolph and watching an evil wizard transform into a tree were too much for younger viewers to handle.

7. Pinocchio's Christmas (1980)

Scene from Pinocchio's Christmas.
Rankin/Bass Productions

The story of Pinocchio may not be the first thing that comes to mind when you think of Christmas, but that didn’t stop Rankin/Bass from turning the classic Italian fairytale into a holiday special. Pinocchio's Christmas (1980) features many of the same themes and characters as The Adventures of Pinocchio—only this version of the tale centers around the puppet’s first Christmas. Santa Claus even makes a cameo appearance.

8. The Stingiest Man in Town (1978)

Scene from The Stingiest Man in Town.
Rankin/Bass Productions

Charles Dickens’s A Christmas Carol is one of the most widely adapted stories of all time, so of course it shows up in Rankin/Bass’s filmography. An insect named B.A.H. Humbug narrates this musical retelling from 1978, with Walter Matthau starring as Ebeneezer Scrooge. The Stingiest Man in Town joins Frosty the Snowman as one of the few Rankin/Bass Christmas productions made with traditional 2D animation instead of stop-motion.

9. The Leprechauns' Christmas Gold (1981)

Scene from The Leprechaun's Christmas Gold.
Rankin/Bass Productions

Rankin/Bass’s streak of mashing up Christmas with other holidays reached peak weirdness in 1981. That’s when the studio released The Leprechauns' Christmas Gold—a story that follows a young Irish sailor who helps a clan of leprechauns protect their gold from an evil banshee named Old Mag the Hag. By trying to create a special that could air around Christmas and St. Patrick’s Day, the filmmakers ended up with something that made little sense at any time of year.

10. The Life and Adventures of Santa Claus (1985)

Scene from The Life and Adventures of Santa Claus.
Rankin/Bass Productions

In 1970, Rankin/Bass explored how Kris Kringle became Santa Claus with Santa Claus Is Comin’ to Town. Fifteen years later, the studio produced a film that provided an alternate origin story for the character, based on L. Frank Baum's 1902 children's book of the same name. This second special wasn’t as well-received as the first. It starts with an antler-sporting sorcerer called the Great Ak finding an abandoned baby in the forest. The child is taken in and raised by wood nymphs, eventually growing up to become a jolly man who delivers toys to children—all while fighting monsters called Awgwas on the side. It ends with a council of mythical beings granting Santa Claus immortality. What was arguably Rankin/Bass’s most unusual Christmas special was also the last to use stop-motion animation.

2020 Golden Globes: The Full List of Nominees

Andrew Scott stars in Fleabag.
Andrew Scott stars in Fleabag.
Steve Schofield/Amazon Studios

Awards season is officially upon us and we're all rushing out to the movie theater—or, more frequently, our own couches—to load up on some of the year's biggest movie and television titles.

Now that the 2020 Golden Globe nominations have been announced, it's clear that Netflix's investment in original content like Martin Scorsese's The Irishman and Noah Baumbach's Marriage Story, which scored the most nominations with six, was a wise decision.

On the television side, streaming emerged victorious as well; The Crown landed a total of four nominations while Phoebe Waller-Bridge's Amazon hit Fleabag earned three, including one for "Hot Priest" Andrew Scott, who was a notable Emmy snub. Amazingly, Game of Thrones was nominated for just a single award: a Best Actor in a Drama Series nomination for Kit Harington.

Below is the full list of nominees for the 77th annual Golden Globe Awards, which will take place on January 5, 2020.

Best Motion Picture, Drama

The Irishman
Marriage Story
The Two Popes

Best Motion Picture—Musical or Comedy

Once Upon a Time in Hollywood
Jojo Rabbit
Knives Out
Dolemite Is My Name

Best Motion Picture—Foreign Language

The Farewell
Pain and Glory
Portrait of a Lady on Fire
Les Misérables

Best Director, Motion Picture

Bong Joon Ho, Parasite
Sam Mendes, 1917
Todd Phillips, Joker
Martin Scorsese, The Irishman
Quentin Tarantino, Once Upon a Time … in Hollywood

Best Screenplay—Motion Picture

Noah Baumbach, Marriage Story
Bong Joon-ho and Han Jin-won, Parasite
Anthony McCarten, The Two Popes
Quentin Tarantino, Once Upon a Time in Hollywood
Steven Zaillian, The Irishman

Best Original Score, Motion Picture

Alexandre Desplat, Little Women
Hildur Gudnadottir, Joker
Randy Newman, Marriage Story
Thomas Newman, 1917
Daniel Pemberton, Motherless Brooklyn

Best Original Song—Motion Picture

Beautiful Ghosts, Cats
I'm Gonna Love Me Again, Rocketman
Into the Unknown, Frozen II
Spirit, The Lion King
Stand Up, Harriet

Best Actor in a Supporting Role in Any Motion Picture

Tom Hanks, A Beautiful Day in the Neighborhood
Anthony Hopkins, The Two Popes
Al Pacino, The Irishman
Joe Pesci, The Irishman
Brad Pitt, Once Upon a Time in Hollywood

Best Actress in a Supporting Role in Any Motion Picture

Kathy Bates, Richard Jewell
Annette Bening, The Report
Laura Dern, Marriage Story
Jennifer Lopez, Hustlers
Margot Robbie, Bombshell

Best Actor in a Motion Picture—Musical or Comedy

Daniel Craig, Knives Out
Roman Griffin Davis, Jojo Rabbit
Leonardo DiCaprio, Once Upon a Time in Hollywood
Taron Egerton, Rocketman
Eddie Murphy, Dolemite Is My Name

Best Motion Picture—Animated

Frozen II
How to Train Your Dragon: The Hidden World
Missing Link
Toy Story 4
Lion King

Best Actor in a Motion Picture—Drama

Christian Bale, Ford v Ferrari
Antonio Banderas, Pain and Glory
Adam Driver, Marriage Story
Joaquin Phoenix, Joker
Jonathan Pryce, The Two Popes

Best Actress in a Motion Picture—Drama

Cynthia Erivo, Harriet
Scarlett Johansson, Marriage Story
Saoirse Ronan, Little Women
Charlize Theron, Bombshell
Renée Zellweger, Judy

Best Actress in a Motion Picture—Musical or Comedy

Awkwafina, The Farewell
Ana de Armas, Knives Out
Cate Blanchett, Where'd You Go, Bernadette
Beanie Feldstein, Booksmart
Emma Thompson, Late Night

Best Performance by an Actor in a Limited Series or Motion Picture Made for Television

Christopher Abbott, Catch-22
Sacha Baron Cohen, The Spy
Russell Crowe, The Loudest Voice
Jared Harris, Chernobyl
Sam Rockwell, Fosse/Verdon

Best Performance by an Actress in a Limited Series or Motion Picture Made for Television

Kaitlyn Dever, Unbelievable
Joey King, The Act
Helen Mirren, Catherine the Great
Merritt Wever, Unbelievable
Michelle Williams, Fosse/Verdon

Best Television Limited Series or Motion Picture Made for Television

Catch-22, Hulu
Chernobyl, HBO
Fosse/Verdon, FX
The Loudest Voice, Showtime
Unbelievable, Netflix

Best Performance by an Actress in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television

Patricia Arquette, The Act
Helena Bonham Carter, The Crown
Toni Collette, Unbelievable
Meryl Streep, Big Little Lies
Emily Watson, Chernobyl

Best Performance by an Actor in a Television Series, Drama

Brian Cox, Succession
Kit Harington, Game of Thrones
Rami Malek, Mr. Robot
Tobias Menzies, The Crown
Billy Porter, Pose

Best Performance by an Actor in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television

Alan Arkin, The Kominsky Method
Kieran Culkin, Succession
Andrew Scott, Fleabag
Stellan Skarsgård, Chernobyl
Henry Winkler, Barry

Best Television Series—Drama

Big Little Lies, HBO
The Crown, Netflix
Killing Eve, AMC
The Morning Show, Apple TV+
Succession, HBO

Best Performance by an Actress in a Television Series, Drama

Jennifer Aniston, The Morning Show
Olivia Colman, The Crown
Jodie Comer, Killing Eve
Nicole Kidman, Big Little Lies
Reese Witherspoon, The Morning Show

Best Television Series—Musical or Comedy

Barry, HBO
Fleabag, Amazon
The Kominsky Method, Netflix
The Marvelous Mrs. Maisel, Amazon
The Politician, Netflix