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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.

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
Everybody
Dealt
Rich
Legal
American
Quick
Means
Illegal
Dream
According
Mean
Thinks
Thinking
Streets
Ones

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Music and film are inseparable. They always have been and always will be.
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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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There are times when you have to face your enemies, sit down and deal with it.
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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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I'm not a Hollywood director. I'm an in spite of Hollywood director.
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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'm going to be 60, and I'm almost used to myself.
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Violence is not the answer, it doesn’t work any more. We are at the end of the worst century in which the greatest atrocities in the history of the world have occurred... The nature of human beings must change. We must cultivate love and compassion.
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The most important thing is, how can I move forward towards something that I can't articulate, that is new in storytelling with moving images and sound?
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More personal films, you could make them, but your budgets would be cut down.
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We cannot burn Mick Jagger. We want the effect, but we can't burn him.
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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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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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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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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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The storyboard for me is the way to visualise the entire movie in advance.
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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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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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Sometimes God picks you up and tells you, You've been messing around now. You're going to have to stop this, stop that, but I'll give you another chance. And you wonder why you're given another chance. It must be for something it must be to celebrate life.
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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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