Martin Scorsese Quotes
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Young film makers should learn how to deal with the money and learn how to deal with the power structure. Because it is like a battle.
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Being a father at a later age is different from when I had my other two daughters when I was in my 20s and 30s. If you're in your 60s and you're with the kid every day, you're dealing with the mind of a child, so it opens up that childishness in you again.
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Alcohol decimated the working class and so many people.
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Hong Kong cinema is something you can't duplicate anyway.
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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 always wanted to make a film that had this sort of Chinese-box effect, in which you keep opening it up and opening it up, and finally at the end you're at the beginning.
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Being independent... is being innovative out of inspiration as well as necessity.
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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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It’s often overlooked. It’s labor. That’s at the heart of # collaboration .
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Violence is not the answer, it doesn’t work any more. We are at the end of the worst century in which the greatest atrocities in the history of the world have occurred... The nature of human beings must change. We must cultivate love and compassion.
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For me, the key image is the boat coming through the fog at the beginning. It's something I imagined and liked and I guess there are other references in other films I make - the similar type of image. But I think it's interesting, it's breaking through the mystery, or maybe it stays in the fog... we don't really know. Where is he at the beginning of the film, who is he?
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I still dislike phones, yeah!
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It is not the most brilliant that excel in film, but the most patient!
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I'm often asked by younger filmmakers, 'Why do I need to look at old movies?' I've made a number of pictures in the last 20 years and the response I have to give them is that I still consider myself a student. The more pictures I've made in 20 years, the more I realize I really don't know. And I'm always looking for something or someone that I could learn from. I tell the younger filmmakers, and the young students, that do it like painters used to do—that painters do—study the old masters, enrich your palette, expand the canvas. There's always so much more to learn.
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As you grow older, you change.
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An interviewer once asked me to discuss my collaboration with Elmer Bernstein, and precisely why I chose to work with him. My first thought was: How could I not work with Elmer, when I had the chance? Simply put, he's the best there is-the very best.
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I do know that some Buddhists are able to attain peace of mind.
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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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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.
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My whole life has been movies and religion. That's it. Nothing else.
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I prefer people who don't get caught, and if they do get caught, I prefer people who don't give in.
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Actually, I was rock climbing on this film at 7 in the morning. It was quite unique! But in any event, the colour of the leaves disturbed me so we had to work on that. On the other hand, I didn't want to drench it in a kind of depressing tone.
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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 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've been to North Africa many times.
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I remember the Korean War very well. And I remember the soldiers who were POWs who supposedly were "brainwashed," quote, unquote, who gave in, so to speak. And when they came back, they were treated like pariahs and traitors.
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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.
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You don't make up for your sins in church. You do it in the streets. You do it at home. The rest is bullshit and you know it.
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The vampire thing always works for some reason. Always works.
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The first element that I connected with was the emotion. Sorry, that's how it goes.
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