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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.

Martin Scorsese

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Martin Scorsese
Age: 81
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
Heavy
Picture
Point
Ever
Sometimes
Editing
Shooting

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You have to put yourself in a situation, a lifestyle, that makes you do the work. Even if it's a monastery.
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We cannot burn Mick Jagger. We want the effect, but we can't burn him.
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That subject matter has never left me...The more you're in the material world, the more there is a tendency for a search for serenity and a need to not be distracted by physical elements that are around you.
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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.
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When I'm making a film, I'm the audience.
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Mean Streets dealt with the American Dream, according to which everybody thinks they can get rich quick, and if they can't do it by legal means then they'll do it by illegal ones.
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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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I've seen many, many movies over the years, and there are only a few that suddenly inspire you so much that you want to continue to make films.
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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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Every scene is a lesson. Every shot is a school. Let the learning continue.
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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.
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I didn't realize there are generations who do not know about the origins of film.
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My films really have to be a part of a whole body of work that says something to me.
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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.
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Movies touch our hearts, and awaken our vision, and change the way we see things. They take us to other places. They open doors and minds. Movies are the memories of our lifetime. We need to keep them alive.
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Hong Kong cinema is something you can't duplicate anyway.
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Eradicating a religion of kindness is, I think, a terrible thing for the Chinese to attempt.
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Your job is to get your audience to care about your obsessions.
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I was born in 1942, so I was mainly aware of Howard Hughes' name on RKO Radio Pictures.
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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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