Martin Scorsese Reveals 'The Departed' Alternate Ending

Martin Scorsese

LOS ANGELES - AUG 11: Martin Scorsese arriving to Emmy Awards 2011 on August 11, 2012 in Los Angeles, CA (Editorial credit: DFree /

In a recent candid interview with GQ, legendary filmmaker Martin Scorsese unveiled that Warner Bros. had approached him with a request to alter the ending of his critically acclaimed film "The Departed." The studio's intent was clear: they envisioned a sequel, a potential franchise born out of this gritty crime drama. This revelation sheds light on the ever-growing franchise frenzy in Hollywood, where storytelling often bows to commercial aspirations.

Scorsese's "The Departed," a riveting tale of deceit and identity, won him his first Best Director trophy. The 2006 film stars Matt Damon as a mole for the Irish mob and Leonardo DiCaprio as an undercover officer, both entangled in a deadly game of cat and mouse. However, the studio's vision seemed to diverge from Scorsese's narrative arc. Warner Bros. allegedly wanted one of the two leads to remain alive at the end, paving the way for a sequel.

“What they wanted was a franchise,” Scorsese said during the interview. This statement encapsulates the studio's desire to capitalize on the film's success by spawning a series of sequels. However, Scorsese's narrative had a different trajectory, one that resonated with audiences at the test screenings. The original ending, which saw the demise of both lead characters, was well-received, but left the studio “very sad, because they just didn’t want that movie. They wanted the franchise. Which means, I can’t work here any more,” as Scorsese remarked.

The acclaimed director didn't mince words when he expressed his concerns about the franchise obsession in Hollywood. He stated, “The danger there is what it’s doing to our culture, because there are going to be generations now that think movies are only those — that’s what movies are.” This sentiment reflects a growing concern among filmmakers and cinephiles about the commercialization of storytelling, where box office numbers often overshadow artistic expression.

Scorsese's critique extends beyond just this instance. He urged fellow artists to “go reinvent. Don’t complain about it. But it’s true, because we’ve got to save cinema.” His words echo a larger narrative within the industry, urging creators to challenge the status quo and strive for originality in storytelling.

He further added, “I do think that the manufactured content isn’t really cinema,” highlighting the distinction between mass-produced franchise films and original cinematic storytelling. This isn't the first time Scorsese has voiced his concerns about the state of cinema amidst the franchise frenzy. His call to action for fellow filmmakers is to reinvent and save the essence of cinema from being overshadowed by commercial ambitions.

The full interview can be read on Deadline, where Scorsese delves deeper into his experiences and shares his insights on the evolving landscape of filmmaking.

This revelation from Scorsese opens up a dialogue about the balance between artistic integrity and commercial success. It also brings to light the pressures filmmakers face from studios keen on capitalizing on successful narratives by extending them into franchises.

As the industry continues to grapple with the balance between artistic expression and commercial viability, Scorsese's revelation serves as a stark reminder of the challenges filmmakers face in preserving the essence of storytelling amidst the clamor for franchises.

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