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Howard Hughes was this visionary who was obsessed with speed and flying like a god... I loved his idea of what filmmaking was.

Martin Scorsese

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Martin Scorsese
Age: 82
Born: 1942
Born: November 17
Actor
Director
Film Actor
Film Director
Film Editor
Film Producer
Screenwriter
Television Director
Voice Actor
Queens
New York
Martin Skorseze
Martin Charles Scorsese
Ideas
Howard
Like
Visionaries
Obsession
Obsessed
Flying
Speed
Loved
Hughes
Idea
Visionary

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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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I think what happened there was just the budget would be too big to build these sets because nothing really exists here in New York of that period you have to build it all.
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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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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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As a kid I watched the Academy Awards on television and always wanted one - or several - like one of my favorite directions, John Ford. He won six. On the other hand, Orson Welles, who's on the top of my list, didn't win any. Alfred Hitchcock didn't win any. Howard Hawks didn't win any.
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One of the things is that the good intentions of Prohibition, from reading over the years and from becoming obsessed with the research of gangs in New York City, seems to have allowed crime figures at the time, like Luciano, Capone, Torrio and Rothstein, to organize to become more powerful, which pulled all the way through until the '70s.
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If it's a modern-day story dealing with certain ethnic groups, I think I could open up certain scenes for improvisation, while staying within the structure of the script.
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Music and film are inseparable. They always have been and always will be.
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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 also saw the Dalai Lama a few times.
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Every scene is a lesson. Every shot is a school. Let the learning continue.
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Always get to the set or the location early, so that you can be all alone and draw your inspiration for the blocking and the setups in private and quiet.
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Sometimes when you're heavy into the shooting or editing of a picture, you get to the point where you don't know if you could ever do it again.
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In truly great films - the ones that people need to make, the ones that start speaking through them, the ones that keep moving into territory that is more and more unfathomable and uncomfortable - nothing's ever simple or neatly resolved. You're left with a mystery.
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I wouldn't presume to be God's point of view.
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Hong Kong cinema is something you can't duplicate anyway.
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As you grow older, you change.
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