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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: 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
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Ethnic
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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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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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Vertigo is probably my favourite Hitchcock film and probably one of my favourite films of all time. It's a film that I'm obsessed with. I saw it on its first release in vista vision, projected in vista-vision, at the Capitol Theatre in New York. That moment when the nun comes up in the end... it's just an extraordinary shot.
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I remember the Korean War very well. And I remember the soldiers who were POWs who supposedly were brainwashed, quote, unquote, who gave in, so to speak. And when they came back, they were treated like pariahs and traitors.
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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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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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As a child I had terrible asthma.
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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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My films really have to be a part of a whole body of work that says something to me.
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The only thing I really wanted was the freedom to be able to get what I want on film. I’ve dealt with the MPAA since 1973, so I know how to renegotiate and rework.
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People say you should do it this way, someone else suggests that, yes, there's financing, but maybe you should use this actor. And there are the threats, at the end - if you don't do it this way, you'll lose your box office if you don't do it that way, you'll never get financed again... 35, 40 years of this, you get beat up.
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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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You don't make pictures for Oscars.
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You've got to protect whatever creative talent you have left.
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There are movies that change the whole way in which films are made, like Klute, where Gordon Willis’s photography on the film is so textured, and, they said, too dark.
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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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Any film, or to me any creative endeavour, no matter who you're working with, is, in many cases, a wonderful experience.
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If everything moves along and there are no major catastrophes we're basically headed towards holograms.
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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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