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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.

Martin Scorsese

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Martin Scorsese
Age: 81
Born: 1942
Born: November 17
Actor
Director
Film Actor
Film Director
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Screenwriter
Television Director
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Queens
New York
Martin Skorseze
Martin Charles Scorsese
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Thelma

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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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Our world is so glutted with useless information, images, useless images, sounds, all this sort of thing. It's a cacophony, it's like a madness I think that's been happening in the past twenty-five years. And I think anything that can help a person sit in a room alone and not worry about it is good.
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I'm trying to find out what the hell we - who we are.
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I remember the Korean War very well. And I remember the soldiers who were POWs who supposedly were brainwashed, quote, unquote, who gave in, so to speak. And when they came back, they were treated like pariahs and traitors.
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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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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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I love movies - it's my whole life, and that's 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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More than ninety percent of directing a picture is the right casting
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The storyboard for me is the way to visualise the entire movie in advance.
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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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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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I didn't realize there are generations who do not know about the origins of film.
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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.
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The only thing I really wanted was the freedom to be able to get what I want on film. I’ve dealt with the MPAA since 1973, so I know how to renegotiate and rework.
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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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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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Film in the 20th century, it's the American art form, like jazz.
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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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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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