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Watching a Kubrick film is like gazing up at a mountaintop. You look up and wonder, how could anyone have climbed that high?

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
Watching
Wonder
High
Anyone
Film
Look
Kubrick
Looks
Climbed
Like
Gazing

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I wouldn't presume to be God's point of view.
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Sometimes when you're heavy into the shooting or editing of a picture, you get to the point where you don't know if you could ever do it again.
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The most important thing is the script.
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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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Film in the 20th century, it's the American art form, like jazz.
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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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If you’re looking for the origins of film culture in America, look no further than Amos Vogel.
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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 tried for about two semesters in a preparatory seminary. But I was about 15 and didn't fully understand what a vocation means.
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An interviewer once asked me to discuss my collaboration with Elmer Bernstein, and precisely why I chose to work with him. My first thought was: How could I not work with Elmer, when I had the chance? Simply put, he's the best there is-the very best.
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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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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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You don't make pictures for Oscars.
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The creation of the island, or the impression of the island, as it changes in the mind of the character also came in to play... there was another very important collaborator, Rob Legato, on special visual effects. And then ultimately there's Thelma Schoonmaker, who keeps me focused during the editing of the picture.
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I don't think there is any difference between fantasy and reality in the way these should be approached in a film. Of course if you live that way you are clinically insane.
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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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I accept all awards. I like them.
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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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Well the thing is that the New York of 1846 to 1862 was very different from downtown New York now. Really nothing from that period still exists in New York.
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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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