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My working-class Italian-American parents didn't go to school, there were no books in the house.

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
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Italian
School
Parents
Book
Parent
Books
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Working
American
House

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The storyboard for me is the way to visualise the entire movie in advance.
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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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I grew up within Italian-American neighborhoods, everybody was coming into the house all the time, kids running around, that sort of stuff, so when I finally got into my own area, so to speak, to make films, I still carried on.
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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.
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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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There must be people who remember World War II and the Holocaust who can help us get out of this rut.
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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.
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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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Music and film are inseparable. They always have been and always will be.
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During Prohibition, Atlantic City created the idea of the speakeasy, which turned into nightclubs and that extraordinary political complexity and corruption coming out of New Jersey at the time. The long hand that they had-and maybe still do-even had to do with presidential elections.
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I accept all awards. I like them.
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I didn't realize there are generations who do not know about the origins of film.
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I also saw the Dalai Lama a few times.
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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 happen to like vampires more than zombies.
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More personal films, you could make them, but your budgets would be cut down.
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I know that I come from mid-20th century America, urban, specifically downtown New York, specifically an Italian-American area, Roman Catholic - that's who I am. And a part of what I know is there's a decency to people who tried to make a living in the kind of world that was around us and also the Skid Row area of the Bowery it impressed me.
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If we just sit and exist, and understand that, I think it will be helpful in a world that seems like a record that's going faster and faster, we're spinning off the edge of the universe.
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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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Every scene is a lesson. Every shot is a school. Let the learning continue.
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