Quote

There are two kinds of power you have to fight. The first is the money, and that's just our system. The other is the people close around you, knowing when to accept their criticism, knowing when to say no.

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
Power
Accepting
Firsts
Fight
First
System
Kind
Knowing
People
Fighting
Kinds
Money
Criticism
Two
Accept
Around
Close

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More personal films, you could make them, but your budgets would be cut down.
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The most important thing is the script.
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You don't make pictures for Oscars.
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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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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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The storyboard for me is the way to visualise the entire movie in advance.
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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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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 just wanted to be an ordinary parish priest.
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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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I've been thrown out of schools and fired from jobs. I don't want to work. I can honestly say I haven't done an honest day's work in my life.
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I also saw the Dalai Lama a few times.
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We cannot burn Mick Jagger. We want the effect, but we can't burn him.
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I think all the great studio filmmakers are dead or no longer working. I don't put myself, my friends, and other contemporary filmmakers in their category. I just see us doing some work.
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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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My father had this mythological sense of the old New York, and he used to tell me stories about these old gangs, particularly the Forty Thieves in the Fourth Ward.
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Working with HBO was an opportunity to experience creative freedom and 'long-form development' that filmmakers didn't have a chance to do before the emergence of shows like 'The Sopranos.'
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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 want to classify and say, 'OK, this is a gangster film.' 'This is a Western.' 'This is a... ' You know? It's easy to classify and it makes people feel comfortable, but it doesn't matter, it doesn't really matter.
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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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