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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.

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
Open
Dealing
Within
Script
Story
Staying
Stories
Scripts
Certain
Structure
Think
Scene
Ethnic
Thinking
Groups
Improvisation
Modern
Scenes

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Our world is so glutted with useless information, images, useless images, sounds, all this sort of thing. It's a cacophony, it's like a madness I think that's been happening in the past twenty-five years. And I think anything that can help a person sit in a room alone and not worry about it is good.
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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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As you grow older, you change.
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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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My films really have to be a part of a whole body of work that says something to me.
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The most important thing is the script.
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I don't agree with everything he did in his life, but we're dealing with this Howard Hughes, at this point. And also ultimately the flaw in Howard Hughes, the curse so to speak.
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Zombies, what are you going to do with them? Just keep chopping them up, shooting at them, shooting at them.
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I'm not a Hollywood director. I'm an in spite of Hollywood director.
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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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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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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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I was saying as a joke the other day that I love film editing, I know how to cut a picture, I think I know how to shoot it, but I don't know how to light it. And I realize it's because I didn't grow up with light. I grew up in tenements.
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I grew up in the Lower East Side, an Italian American - more Sicilian, actually.
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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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If everything moves along and there are no major catastrophes we're basically headed towards holograms.
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Death comes in a flash, and that's the truth of it, the person's gone in less than 24 frames of film.
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You've got to love something enough to kill it.
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Every scene is a lesson. Every shot is a school. Let the learning continue.
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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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