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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.

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
Tried
Understand
Means
Didn
Preparatory
Two
Seminary
Mean
Semester
Vocation
Fully

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There's no such thing as simple. Simple is hard.
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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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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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Any film, or to me any creative endeavour, no matter who you're working with, is, in many cases, a wonderful experience.
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As a kid I watched the Academy Awards on television and always wanted one - or several - like one of my favorite directions, John Ford. He won six. On the other hand, Orson Welles, who's on the top of my list, didn't win any. Alfred Hitchcock didn't win any. Howard Hawks didn't win any.
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I know that I come from mid-20th century America, urban, specifically downtown New York, specifically an Italian-American area, Roman Catholic - that's who I am. And a part of what I know is there's a decency to people who tried to make a living in the kind of world that was around us and also the Skid Row area of the Bowery it impressed me.
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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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Being a father at a later age is different from when I had my other two daughters when I was in my 20s and 30s. If you're in your 60s and you're with the kid every day, you're dealing with the mind of a child, so it opens up that childishness in you again.
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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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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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The first element that I connected with was the emotion. Sorry, that's how it goes.
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One of the things is that the good intentions of Prohibition, from reading over the years and from becoming obsessed with the research of gangs in New York City, seems to have allowed crime figures at the time, like Luciano, Capone, Torrio and Rothstein, to organize to become more powerful, which pulled all the way through until the '70s.
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I love movies - it's my whole life, and that's it.
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The storyboard for me is the way to visualise the entire movie in advance.
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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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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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Eradicating a religion of kindness is, I think, a terrible thing for the Chinese to attempt.
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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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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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