Martin Scorsese Quotes
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I mean I have a project that I have been wanting to make for quite a while now; and basically, it's a story of my parents growing up in the Lower East Side.
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People say you should do it this way, someone else suggests that, yes, there's financing, but maybe you should use this actor. And there are the threats, at the end - if you don't do it this way, you'll lose your box office; if you don't do it that way, you'll never get financed again... 35, 40 years of this, you get beat up.
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I happen to like vampires more than zombies.
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The most important thing is, how can I move forward towards something that I can't articulate, that is new in storytelling with moving images and sound?
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On every film you suffer, but on some you really suffer.
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I don't think there is any difference between fantasy and reality in the way these should be approached in a film. Of course if you live that way you are clinically insane.
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I think all the great studio filmmakers are dead or no longer working. I don't put myself, my friends, and other contemporary filmmakers in their category. I just see us doing some work.
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My whole life has been movies and religion. That's it. Nothing else.
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The best I can do is to make a film every two years.
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If everything moves along and there are no major catastrophes we're basically headed towards holograms.
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What the Dalai Lama had to resolve was whether to stay in Tibet or leave. He wanted to stay, but staying would have meant the total destruction of Tibet, because he would have died and that would have ripped the heart out of his people.
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People want to classify and say, 'OK, this is a gangster film.' 'This is a Western.' 'This is a... ' You know? It's easy to classify and it makes people feel comfortable, but it doesn't matter, it doesn't really matter.
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I love the look of planes and the idea of how a plane flies. The more I learn about it the better I feel; while I still may not like it, I have a sense of what is really happening.
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I know that I come from mid-20th century America, urban, specifically downtown New York, specifically an Italian-American area, Roman Catholic - that's who I am. And a part of what I know is there's a decency to people who tried to make a living in the kind of world that was around us and also the Skid Row area of the Bowery; it impressed me.
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My working-class Italian-American parents didn't go to school, there were no books in the house.
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The cinema began with a passionate, physical relationship between celluloid and the artists and craftsmen and technicians who handled it, manipulated it, and came to know it the way a lover comes to know every inch of the body of the beloved. No matter where the cinema goes, we cannot afford to lose sight of its beginnings.
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All my life, I never really felt comfortable anywhere in New York, except maybe in an apartment somewhere.
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I always say that I've been in a bad mood for maybe 35 years now. I try to lighten it up, but that's what comes out when you get me on camera.
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I love studying Ancient History and seeing how empires rise and fall, sowing the seeds of their own destruction.
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I just wanted to be an ordinary parish priest.
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I always tell the younger film-makers and students: Do it like the painters used to...Study the old masters. Enrich your palette. Expand the canvas. There's always so much more to learn.
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The term 'giant' is used too often to describe artists. But in the case of Akira Kurosawa, we have one of the rare instances where the term fits.
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I'd like to do a number of films. Westerns. Genre pieces. Maybe another film about Italian Americans where they're not gangsters, just to prove that not all Italians are gangsters.
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I don't think there's a subject matter that can't absorb 3-D; that can't tolerate the addition of depth as a storytelling technique.