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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: 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
People
Easy
Makes
Doesn
Film
Classify
Matter
Gangster
Feel
Gangsters
Feels
Western
Really
Comfortable

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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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I just wanted to be an ordinary parish priest.
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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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Young film makers should learn how to deal with the money and learn how to deal with the power structure. Because it is like a battle.
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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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The most important thing is the script.
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It did remind me of something out of Greek mythology - the richest king who gets everything he wants, but ultimately his family has a curse on it from the Gods.
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If we just sit and exist, and understand that, I think it will be helpful in a world that seems like a record that's going faster and faster, we're spinning off the edge of the universe.
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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?
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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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I didn't realize there are generations who do not know about the origins of film.
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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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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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Every scene is a lesson. Every shot is a school. Let the learning continue.
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Hong Kong cinema is something you can't duplicate anyway.
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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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The only way I was able to defend myself was to be able to take punishment. Then I got a lot of respect. They said, Oh, he's okay, he can take it. Don't hit him. The guys were pretty big, and I had asthma.
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More personal films, you could make them, but your budgets would be cut down.
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You've got to love something enough to kill it.
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There are two kinds of power you have to fight. The first is the money, and that's just our system. The other is the people close around you, knowing when to accept their criticism, knowing when to say no.
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