childhood he portrayed the life of the gangster from his childhood perspective and started Goodfellas with the line: "As far back as I can remember, I've always wanted to be a gangster.". In a way he painted a portrait of gangster royalty just like Velasquez did. What this did in the film itself could be the same thing that happened in this film, it introduced instability in a previously stable system of representation, or at least it seemed like a stable system of representation, but there are numerous examples where the narrative voice and the entrance of the camera intertwines with the protagonist in a way that it is ambivalent if the story is really told by the protagonist, or the director, which indeed makes this system rather unstable from the beginning, but it is not easily visible and can be easily neglected.
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But he ended up in a Catholic high school and thought he wanted to become a priest up until he „stumbled upon the film department“ (Scorsese and Brunette, 5) at the NYU. This was something that changed his life and changed his view towards Catholicism. „Scorsese explains a critical element in his own work, and offers an insight into the mystical gaze. ‘I don’t really see a conflict between the church and the movies, the sacred and the profane … I believe there’s spirituality in films, even if it’s not one which can supplant faith … It’s as if movies answer an ancient quest for the common unconscious.“ (Leonard, 99). He, just like his characters, culturally belonged or wanted to belong to a certain group of people that never managed to fit into their „natural“ surrounding, or they can see further in comparison to their community. According to Shadoian, what changed the modern gangster film is
But he ended up in a Catholic high school and thought he wanted to become a priest up until he „stumbled upon the film department“ (Scorsese and Brunette, 5) at the NYU. This was something that changed his life and changed his view towards Catholicism. „Scorsese explains a critical element in his own work, and offers an insight into the mystical gaze. ‘I don’t really see a conflict between the church and the movies, the sacred and the profane … I believe there’s spirituality in films, even if it’s not one which can supplant faith … It’s as if movies answer an ancient quest for the common unconscious.“ (Leonard, 99). He, just like his characters, culturally belonged or wanted to belong to a certain group of people that never managed to fit into their „natural“ surrounding, or they can see further in comparison to their community. According to Shadoian, what changed the modern gangster film is