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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.

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
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I'm not a Hollywood director. I'm an in spite of Hollywood director.
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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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More personal films, you could make them, but your budgets would be cut down.
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There's no such thing as simple. Simple is hard.
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I don't like being in houses alone.
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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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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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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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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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You've got to love something enough to kill it.
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I was born in 1942, so I was mainly aware of Howard Hughes' name on RKO Radio Pictures.
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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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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 grew up within Italian-American neighborhoods, everybody was coming into the house all the time, kids running around, that sort of stuff, so when I finally got into my own area, so to speak, to make films, I still carried on.
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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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Basically, you make another movie, and another, and hopefully you feel good about every picture you make. And you say, 'My name is on that. I did that. It's OK.' But don't get me wrong, I still get excited by it all. That, I hope, will never disappear.
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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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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 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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Oh, the foghorns... even the foghorns, they're all brass. It's something by Ingrid Marshal called Fog Tropes. It's not a sound effect. It's an actual piece of music. If you listen to what's going on after he has a flashback about his wife you'll hear... it sounds like the humpback whales in a way. But it's all music. And we use it again later, too.
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