Martin Scorsese Quotes

I just - I kind of see it that way. I find the higher angles down. I do - look, you can go back to the staircase shots in "Third Man" or the staircase in "La Dolce Vita." So I just find that visual construction in a frame.

I still dislike phones, yeah!

A panoramic vision of Bob Dylan, his music, his shifting place in American culture, from multiple angles. In fact, reading Sean Wilentz's Bob Dylan in America is as thrilling and surprising as listening to a great Dylan song.

[David Lean's] images stay with me forever. But what makes them memorable isn't necessarily their beauty. That's just good photography. It's the emotion behind those images that's meant the most to me over the years. It's the way David Lean can put feeling on film. The way he shows a whole landscape of the spirit. For me, that's the real geography of David Lean country. And that's why, in a David Lean movie, there's no such thing as an empty landscape.

I was born in 1942, so I was mainly aware of Howard Hughes' name on RKO Radio Pictures.

The only thing I really wanted was the freedom to be able to get what I want on film. I’ve dealt with the MPAA since 1973, so I know how to renegotiate and rework.

I wouldn't presume to be God's point of view.

If Kubrick had lived to see the opening of his final film, he obviously would have been disappointed by the hostile reactions. But I'm sure that in the end he would have taken it with a grain of salt and moved on. That's the lot of all true visionaries, who don't see the use of working in the same vein as everyone else. Artists like Kubrick have minds expansive and dynamic enough to picture the world in motion, to comprehend not just where its been, but where it's going.

The tone of the picture and the atmosphere was in my head and in my blood in a way once I'd decided to make the picture. I had to find my way through that to choose, select, emphasise certain visual elements and sound.

Very often I've known people who wouldn't say a word to each other, but they'd go to see movies together and experience life that way.

I wish I could play music. I think I get as closeas possible with the editing of the films. Over the years musichas been an even more important influence than-or as important as-film.There's no doubt about it. Painting, movement, dance, sculpture-it'sall in cinema.

I accept all awards. I like them.

Oh, the foghorns... even the foghorns, they're all brass. It's something by Ingrid Marshal called Fog Tropes. It's not a sound effect. It's an actual piece of music. If you listen to what's going on after he has a flashback about his wife you'll hear... it sounds like the humpback whales in a way. But it's all music. And we use it again later, too.

Hong Kong cinema is something you can't duplicate anyway.

Every year or so, I try to do something; it keeps me refreshed as to what's going on in front of the lens, and I understand what the actor is going through.

I prefer people who don't get caught, and if they do get caught, I prefer people who don't give in.

I've been thrown out of schools and fired from jobs. I don't want to work. I can honestly say I haven't done an honest day's work in my life.

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.

I think when you're young and have that first burst of energy and make five or six pictures in a row that tell the stories of all the things in life you want to say... well, maybe those are the films that should have won me the Oscar.

I always tell the younger filmmakers and students: Do it like the painters used to...Study they old masters. Enrich your palette. Expand the canvas. There's always so much more to learn.

Now more than ever we need to talk to each other, to listen to each other and understand how we see the world, and cinema is the best medium for doing this.

I'm trying not to let the anger and the violence that erupt take over my life. I guess it comes with the growing process, I don't know. A little mellowing.

It did remind me of something out of Greek mythology - the richest king who gets everything he wants, but ultimately his family has a curse on it from the Gods.

I’m not interested in a realistic look, not at all, not ever. Every film should look the way I feel.

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.

You gotta understand, when moving images first started, people wanted sound, color, big screen and depth.

Working with HBO was an opportunity to experience creative freedom and 'long-form development' that filmmakers didn't have a chance to do before the emergence of shows like 'The Sopranos.'

The storyboard for me is the way to visualise the entire movie in advance.

The bottom line is, I tend to be going back to older and older music.

Well, I think in my own work the subject matter usually deals with characters I know, aspects of myself, friends of mine - that sort of thing.

I don't agree with everything he did in his life, but we're dealing with this Howard Hughes, at this point. And also ultimately the flaw in Howard Hughes, the curse so to speak.

Vic Armstrong is, of course, a legend

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.

I don't know how else to tell the story except to utilise that vocabulary: the rain, the darkness, the mansions, the framing, etc, the lighting and that sort of thing.

I think there's only one or two films where I've had all the financial support I needed. All the rest, I wish I'd had the money to shoot another ten days.

There are times when you have to face your enemies, sit down and deal with it.

Well the thing is that the New York of 1846 to 1862 was very different from downtown New York now. Really nothing from that period still exists in New York.

My films really have to be a part of a whole body of work that says something to me.

If I'm not complaining, I'm not having a good time, hah hah!

Our world is so glutted with useless information, images, useless images, sounds, all this sort of thing. It's a cacophony, it's like a madness I think that's been happening in the past twenty-five years. And I think anything that can help a person sit in a room alone and not worry about it is good.

The most important thing is the script.

You've got to love something enough to kill it.

If everything moves along and there are no major catastrophes we're basically headed towards holograms.

Basically, you make another movie, and another, and hopefully you feel good about every picture you make. And you say, 'My name is on that. I did that. It's OK.' But don't get me wrong, I still get excited by it all. That, I hope, will never disappear.

My father had this mythological sense of the old New York, and he used to tell me stories about these old gangs, particularly the Forty Thieves in the Fourth Ward.

I just wanted to be an ordinary parish priest.

DAYS THAT I'LL REMEMBER is a lovingly assembled and beautifully written collection of conversations, observations, and memories of music, friendship, and days gone by. It's good to be back again with John Lennon, his beloved Yoko Ono, and his trusted chronicler and friend Jonathan Cott.

More than ninety percent of directing a picture is the right casting