Quote

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.

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
Grows
Jokes
Didn
Picture
Film
Cutting
Light
Realize
Love
Grow
Tenements
Think
Grew
Editing
Thinking
Realizing
Joke
Saying
Shoot

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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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If I'm not complaining, I'm not having a good time, hah hah!
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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 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.
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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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It did remind me of something out of Greek mythology - the richest king who gets everything he wants, but ultimately his family has a curse on it from the Gods.
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If you’re looking for the origins of film culture in America, look no further than Amos Vogel.
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The storyboard for me is the way to visualise the entire movie in advance.
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I prefer people who don't get caught, and if they do get caught, I prefer people who don't give in.
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Your job is to get your audience to care about your obsessions.
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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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As you grow older, you change.
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There was always a part of me that wanted to be an old-time director. But I couldn't do that. I'm not a pro.
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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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The most important thing is the script.
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If everything moves along and there are no major catastrophes we're basically headed towards holograms.
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Rock & roll seemed to just come to us, on the radio and in the record stores. It became our music. . . But then we uncovered another, deeper level, the history behind rock and R&B, the music behind our music. All roads led to the source, which was the blues.
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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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Film in the 20th century, it's the American art form, like jazz.
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Could you double-check the envelope?
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