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I think there's only one or two films where I've had all the financial support I needed. All the rest, I wish I'd had the money to shoot another ten days.

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
Support
Wish
Shoot
Money
Ten
Another
Financial
Film
Films
Two
Needed
Think
Rest
Thinking
Days

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The most important thing is the script.
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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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I would ask: Given the nature of free-market capitalism - where the rule is to rise to the top at all costs - is it possible to have a financial industry hero? And by the way, this is not a pop-culture trend we're talking about. There aren't many financial heroes in literature, theater or cinema.
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I wouldn't presume to be God's point of view.
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Music and film are inseparable. They always have been and always will be.
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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'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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Film in the 20th century, it's the American art form, like jazz.
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You don't make pictures for Oscars.
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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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The cinema began with a passionate, physical relationship between celluloid and the artists and craftsmen and technicians who handled it, manipulated it, and came to know it the way a lover comes to know every inch of the body of the beloved. No matter where the cinema goes, we cannot afford to lose sight of its beginnings.
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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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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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I didn't realize there are generations who do not know about the origins of film.
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You've got to protect whatever creative talent you have left.
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I don't know how else to tell the story except to utilise that vocabulary: the rain, the darkness, the mansions, the framing, etc, the lighting and that sort of thing.
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There's a way that the force of disappointment can be alchemized into something that will paradoxically renew you.
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I always tell the younger filmmakers and students: Do it like the painters used to...Study they old masters. Enrich your palette. Expand the canvas. There's always so much more to learn.
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More personal films, you could make them, but your budgets would be cut down.
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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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