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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.

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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Gangsters
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Western
Really
Comfortable
People
Easy
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Gangster

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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.
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You've got to love something enough to kill it.
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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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Film in the 20th century, it's the American art form, like jazz.
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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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I was saying as a joke the other day that I love film editing, I know how to cut a picture, I think I know how to shoot it, but I don't know how to light it. And I realize it's because I didn't grow up with light. I grew up in tenements.
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The first element that I connected with was the emotion. Sorry, that's how it goes.
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Eradicating a religion of kindness is, I think, a terrible thing for the Chinese to attempt.
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There is something particularly unique about the films of Hong Sang-soo...it's got to do with his masterful sense of storytelling... as the critic Manny Farber once said of Hitchcock's ROPE Hong Sang-soo's pictures unpeel like an orange.
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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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The storyboard for me is the way to visualise the entire movie in advance.
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Very often I've known people who wouldn't say a word to each other, but they'd go to see movies together and experience life that way.
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There are times when you have to face your enemies, sit down and deal with it.
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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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There's a way that the force of disappointment can be alchemized into something that will paradoxically renew you.
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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 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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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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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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