Abel Ferrara's memoir, Scene, published by Séguier editions, offers a personal look at the filmmaker's early life and career. It begins with a dramatic breakup with his first partner at the age of 23, which Ferrara describes as the moment that set him on his path. At the time, he was finishing his studies, without a job, and struggling to find direction. He left with only a guitar and a film reel, marking the start of his journey in cinema. Ferrara's memoir is not written in chronological order, reflecting the way memories are often recalled. He admits he had never written a book before and was learning the process as he went. The book balances his professional achievements with personal struggles, including his addictions, and reflects on his feelings toward his younger self. He expresses regret, particularly for not being present for his daughters during their formative years. Ferrara recalls discovering The Texas Chain Saw Massacre at 23, a film that influenced his early direction. He notes that the movie's success stemmed from its low budget and the public's appetite for violent content, especially targeting women. At the time, he believed he could create similar films, unlike the works of The Godfather or Mean Streets, which he felt were beyond his reach. Ferrara began his career in pornography, stating it was the only way he could make films at the time due to a lack of connections and resources. He filmed himself having sex with his girlfriend in one of his early works, though he admits it did not excite him. He emphasizes the importance of having a business plan, noting that modern filmmakers have achieved success with lower budgets, much like he did in his early years. Reflecting on his career, Ferrara discusses the evolving relationship between directors and studios. He notes that the industry has become more homogenized, with major platforms like Apple, Hulu, Netflix, and Amazon now shaping Hollywood. He mentions Warner Bros.' new label, Clockwork, which finances auteur films, and expresses interest in reaching out to Sean Baker about it. He also recalls his time as a "studio drudge," highlighting the challenges of working within the studio system. He remembers meeting Francis Coppola at an event and expressing admiration for the filmmaker's continued work at an advanced age. Ferrara chose to become a filmmaker rather than a rockstar due to his lack of musical talent, though he continues to play and sing in Rome. He discusses his work on the music video for California by Mylène Farmer, which he directed while under the influence, and the disappointment he felt when another director altered the video's final cut. He reflects on the aesthetic impact of Citizen Kane and discusses the last work that moved him, though he admits he is no longer impressed by cinema but by life itself. He mentions working on a new film, an adaptation of Phèdre set in a gangster universe. Ferrara also touches on his family background, describing his father as a man full of addictions but one who held on. He discusses the prevalence of sexual abuse among his girlfriends, contrasting it with his own upbringing. He acknowledges the importance of being present for others, having had a "good fairy godmother" in his early life.