Later in the clip, Brian De Palma and Jay Cocks visit Scorsese a day later to have some cake and celebrate. De Palma mentions to Scorsese that he begins mixing in January, and we can surmise that he is talking about Casualties Of War, which would be released the following summer. The three begin to discuss Scorsese's next picture, which ended up being GoodFellas, although that might not necessarily be what they thought might be his next picture at the time. But when Scorsese is asked if it will be a New York picture, he replies, "I don’t know, it might have to be Chicago." Then he starts laughing, pointing toward De Palma, who had just had great success the year before with a gangster picture shot in Chicago, The Untouchables. "Or maybe Toronto," says De Palma. Scorsese replies, "Toronto is a problem because it’s so clean." (A New York Times obituary of former New York film commissioner Richard Brick, who died this past Wednesday, explains that around this time, "the cost of shooting movies in New York had driven both independent and big-budget studio filmmakers to seek alternative locations, even when authenticity would seem to have been called for.")

When Scorsese tells the camera that he had mistakenly told them yesterday that he was 47 years old (he was 46), De Palma is reminded of something he "found out," and wants to tell Scorsese and Cocks. And when he starts whispering it, Scorsese says, "No-- you say that on the camera." De Palma shakes his head, saying, "No, you can't tell anybody." It sounds like he's saying something about Steven Spielberg, who would have been turning 42 exactly one month later. Scorsese mentions that "he" [Spielberg] came by a few weeks earlier. A couple of years later, Scorsese would make Cape Fear with Spielberg producing.

You can watch the entire documentary in easy order at The Playlist.

Captain America co-screenwriter Stephen McFeely tells Superhero Hype's Edward Douglas how the film's directors, Anthony and Joe Russo, applied other inspirations to the movie, leaving the impression that the elevator scene, at least in part, was perhaps directly influenced by De Palma. "The very first draft of the screenplay looks a lot like the movie," McFeely tells Douglas. "That said, the Russos came in and had all the same and even better touchstones than what we were talking about. They came in and would say, "This feels like a William Friedkin section, feels like a Brian De Palma section," so like that elevator scene was something not quite as interesting as that elevator scene but the Russos came in and went, "Why don't we do this tense built-up elevator thing" and it was all very exciting the whole time we were working on the second draft with them. Chris and I would talk to each other and say, "They're talking a great game. If they can do what they say they want to do, this will be great," and then we had no idea whether the guys from TV would be able to do this. In a way, it was a really great mesh of that they really got the material and they elevated it. It was a real pleasure.

In an interview with Mother Jones' Asawin Suebsaeng, the Russo brothers talk about how the film was influenced by Sydney Pollack's Three Days Of The Condor, itself a film that heavily influenced De Palma, particularly on Mission: Impossible. They also mention several other movie influences, as well as how their film reflects current political anxieties. Here is an excerpt from the Mother Jones article:

Lithgow tells Moret, "You're in a strange sort of isolation booth when you're acting in a film. You don't really have a sense of all the things going on around you. You only really see it when you see the whole film." [Al Pacino said something very similar about working on Carlito's Way. Seeing what the camera was doing while watching dailies, he would say, "Whoa, something's going on there."]

"One thing that really limits you as an actor," Lithgow tells Moret, "is to worry too much about whether you're likeable or not. Actors who worry about how they're coming off, how they look, whether they're sympathetic, those actors are really attaching shackles to their ankles."

Moret follows up, "Well, if not liking them, then what about understanding this person?"

Lithgow: "Yeah, that's what you try to do. You try to understand him, and trace the motives."

Moret: "Do you look to Brian to pull in the reins, so that you don't give a performance that's almost over the top?"

Lithgow: "Yeah, he modulates it. And chases me when I'm too... doing too much, and edits my acting."

After another clip from the film, Lithgow says, "People who see this movie, you know, the questions I've been asked, so many people say, 'God, wasn't it difficult?' Difficult parts to play are the ones where there isn't enough to do. This one was just so much fun. Playing this part is the kind of thing you became an actor hoping to be able to do."