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

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
Everything
Catastrophe
Moves
Basically
Majors
Major
Towards
Holograms
Along
Catastrophes
Moving
Headed

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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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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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I'm in a different chapter of my life. As time goes by and I grow older, I find that I need to just be quiet and think. There have been periods when I've locked myself away for days, but now it's different - I'm married and we have a daughter who is in my office the whole time.
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The storyboard for me is the way to visualise the entire movie in advance.
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The first element that I connected with was the emotion. Sorry, that's how it goes.
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There's no such thing as simple. Simple is hard.
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Music and film are inseparable. They always have been and always will be.
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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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You gotta understand, when moving images first started, people wanted sound, color, big screen and depth.
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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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We cannot burn Mick Jagger. We want the effect, but we can't burn him.
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The vampire thing always works for some reason. Always works.
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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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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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There is something particularly unique about the films of Hong Sang-soo...it's got to do with his masterful sense of storytelling... as the critic Manny Farber once said of Hitchcock's ROPE Hong Sang-soo's pictures unpeel like an orange.
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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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My working-class Italian-American parents didn't go to school, there were no books in the house.
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The creation of the island, or the impression of the island, as it changes in the mind of the character also came in to play... there was another very important collaborator, Rob Legato, on special visual effects. And then ultimately there's Thelma Schoonmaker, who keeps me focused during the editing of the picture.
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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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