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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.

-Martin Scorsese

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Being A Father At

Martin Scorsese

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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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I'm Trying Not To Let The Anger And The Violence That Erupt Take Over My Life. I Guess It Comes With The Growing Process, I Don't Know. A Little Mellowing.

Popular Music Formed The Soundtrack Of My Life.

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Actually, I Was Rock Climbing On This Film At 7 In The Morning. It Was Quite Unique! But In Any Event, The Colour Of The Leaves Disturbed Me So We Had To Work On That. On The Other Hand, I Didn't Want To Drench It In A Kind Of Depressing Tone.

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The Vampire Thing Always Works For Some Reason. Always Works.

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Parts Of A Whole

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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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 Is Not The Most Brilliant That Excel In Film, But The Most Patient!

Orson Welles Was A Force Of Nature, Who Just Came In And Wiped The Slate Clean. And Citizen Kane Is The Greatest Risk-taking Of All Time In Film. I Don’t Think Anything Had Even Seen Anything Quite Like It. The Photography Was Also Unlike Anything We’d Seen. The Odd Coldness Of The Filmmaker Towards The Character Reflects His Own Egomania And Power, And Yet A Powerful Empathy For All Of Them--it’s Very Interesting. It Still Holds Up, And It’s Still Shocking. It Takes Storytelling And Throws It Up In The Air.

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Food Tells You Everything About The Way People Live And Who They Are.

The More You See, Especially Being Young, The More You See The Past, The More You Can Draw Upon That And The More You Can Make The Present And The Future. It's How You Process The Past And At Oftentimes In The Picture, There Are References To Certain Imagery From Certain Pictures, And Certain Novels.

If It's A Modern-day Story Dealing With Certain Ethnic Groups, I Think I Could Open Up Certain Scenes For Improvisation, While Staying Within The Structure Of The Script.

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.

More Than Ninety Percent Of Directing A Picture Is The Right Casting

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I Just - I Kind Of See It That Way. I Find The Higher Angles Down. I Do - Look, You Can Go Back To The Staircase Shots In "third Man" Or The Staircase In "la Dolce Vita." So I Just Find That Visual Construction In A Frame.

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.

I Don't Think There's A Subject Matter That Can't Absorb 3-d; That Can't Tolerate The Addition Of Depth As A Storytelling Technique.

The Term 'giant' Is Used Too Often To Describe Artists. But In The Case Of Akira Kurosawa, We Have One Of The Rare Instances Where The Term Fits.

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.

Your Job Is To Get Your Audience To Care About Your Obsessions.

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.

I Happen To Like Vampires More Than Zombies.

If You Don’t Like The Films Of Samuel Fuller , Then You Just Don’t Like Cinema.

I Have A Desire To Tell Stories. And I'm Never Quite Satisfied.

[david Lean's] Images Stay With Me Forever. But What Makes Them Memorable Isn't Necessarily Their Beauty. That's Just Good Photography. It's The Emotion Behind Those Images That's Meant The Most To Me Over The Years. It's The Way David Lean Can Put Feeling On Film. The Way He Shows A Whole Landscape Of The Spirit. For Me, That's The Real Geography Of David Lean Country. And That's Why, In A David Lean Movie, There's No Such Thing As An Empty Landscape.

I Know There Were Many Good Policemen Who Died Doing Their Duty. Some Of The Cops Were Even Friends Of Ours. But A Cop Can Go Both Ways.

There Must Be People Who Remember World War Ii And The Holocaust Who Can Help Us Get Out Of This Rut.

Days That I'll Remember Is A Lovingly Assembled And Beautifully Written Collection Of Conversations, Observations, And Memories Of Music, Friendship, And Days Gone By. It's Good To Be Back Again With John Lennon, His Beloved Yoko Ono, And His Trusted Chronicler And Friend Jonathan Cott.

A Panoramic Vision Of Bob Dylan, His Music, His Shifting Place In American Culture, From Multiple Angles. In Fact, Reading Sean Wilentz's Bob Dylan In America Is As Thrilling And Surprising As Listening To A Great Dylan Song.

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It Seems To Me That Any Sensible Person Must See That Violence Does Not Change The World And If It Does, Then Only Temporarily.

There Was Always A Part Of Me That Wanted To Be An Old-time Director. But I Couldn't Do That. I'm Not A Pro.

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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.

Eradicating A Religion Of Kindness Is, I Think, A Terrible Thing For The Chinese To Attempt.

We Cannot Burn Mick Jagger. We Want The Effect, But We Can't Burn Him.

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Film In The 20th Century, It's The American Art Form, Like Jazz.

Michael Jackson Was Extraordinary. When We Worked Together On 'bad,' I Was In Awe Of His Absolute Mastery Of Movement On The One Hand, And Of The Music On The Other. Every Step He Took Was Absolutely Precise And Fluid At The Same Time. It Was Like Watching Quicksilver In Motion. He Was Wonderful To Work With, An Absolute Professional At All Times, And It Really Goes Without Saying... A True Artist. It Will Be A While Before I Can Get Used To The Idea That He's No Longer With Us.

Basically, You Make Another Movie, And Another, And Hopefully You Feel Good About Every Picture You Make. And You Say, 'my Name Is On That. I Did That. It's Ok.' But Don't Get Me Wrong, I Still Get Excited By It All. That, I Hope, Will Never Disappear.

I Still Dislike Phones, Yeah!

Music And Film Are Inseparable. They Always Have Been And Always Will Be.

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Could You Double-check The Envelope?

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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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.

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.

The Storyboard For Me Is The Way To Visualise The Entire Movie In Advance.

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.

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.

Well, I Think In My Own Work The Subject Matter Usually Deals With Characters I Know, Aspects Of Myself, Friends Of Mine - That Sort Of Thing.

I Loved The Idea Of Seeing The World Through A Boy's Eyes.

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.

I'm In A Different Chapter Of My Life. As Time Goes By And I Grow Older, I Find That I Need To Just Be Quiet And Think. There Have Been Periods When I've Locked Myself Away For Days, But Now It's Different - I'm Married And We Have A Daughter Who Is In My Office The Whole Time.

You Have To Put Yourself In A Situation, A Lifestyle, That Makes You Do The Work. Even If It's A Monastery.

The Real Truth, I Thought, In Terms Of What Faith Is And What Christianity Is.

I've Been Thrown Out Of Schools And Fired From Jobs. I Don't Want To Work. I Can Honestly Say I Haven't Done An Honest Day's Work In My Life.

I'm Often Asked By Younger Filmmakers, 'why Do I Need To Look At Old Movies?' I've Made A Number Of Pictures In The Last 20 Years And The Response I Have To Give Them Is That I Still Consider Myself A Student. The More Pictures I've Made In 20 Years, The More I Realize I Really Don't Know. And I'm Always Looking For Something Or Someone That I Could Learn From. I Tell The Younger Filmmakers, And The Young Students, That Do It Like Painters Used To Do—that Painters Do—study The Old Masters, Enrich Your Palette, Expand The Canvas. There's Always So Much More To Learn.

I Go Through Periods, Usually When I'm Editing And Shooting, Of Seeing Only Old Films.

You've Got To Love Something Enough To Kill It.

Now More Than Ever We Need To Talk To Each Other, To Listen To Each Other And Understand How We See The World, And Cinema Is The Best Medium For Doing This.

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. In One Sense, It's About Protecting Yourself; In Another Sense, It's About Always Being Open To Surprise, Even From The Set, Because There May Be Some Detail That You Hadn't Noticed. I Think This Is Crucial. There Are Many Pictures That Seem Good In So Many Ways Except One: They Lack A Sense Of Surprise, They've Never Left The Page.

I Think All The Great Studio Filmmakers Are Dead Or No Longer Working. I Don't Put Myself, My Friends, And Other Contemporary Filmmakers In Their Category. I Just See Us Doing Some Work.

It's Interesting That These Themes Of Crime And Political Corruption Are Always Relevant.

Every Scene Is A Lesson. Every Shot Is A School. Let The Learning Continue.

Being Independent... Is Being Innovative Out Of Inspiration As Well As Necessity.

I Certainly Wasn't Able To Get It When I Was A Kid Growing Up On The Lower East Side; It Was Very Hard At That Time For Me To Balance What I Really Believed Was The Right Way To Live With The Violence I Saw All Around Me - I Saw Too Much Of It Among The People I Knew.

Howard Hughes Was This Visionary Who Was Obsessed With Speed And Flying Like A God... I Loved His Idea Of What Filmmaking Was.

I Always Say That I've Been In A Bad Mood For Maybe 35 Years Now. I Try To Lighten It Up, But That's What Comes Out When You Get Me On Camera.

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.

My Working-class Italian-american Parents Didn't Go To School, There Were No Books In The House.

I'm Trying To Find Out What The Hell We - Who We Are.

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.

What The Dalai Lama Had To Resolve Was Whether To Stay In Tibet Or Leave. He Wanted To Stay, But Staying Would Have Meant The Total Destruction Of Tibet, Because He Would Have Died And That Would Have Ripped The Heart Out Of His People.

The Tone Of The Picture And The Atmosphere Was In My Head And In My Blood In A Way Once I'd Decided To Make The Picture. I Had To Find My Way Through That To Choose, Select, Emphasise Certain Visual Elements And Sound.

I Accept All Awards. I Like Them.

I Don't Know How Else To Tell The Story Except To Utilise That Vocabulary: The Rain, The Darkness, The Mansions, The Framing, Etc, The Lighting And That Sort Of Thing.

I Just Wanted To Be An Ordinary Parish Priest.

Death Comes In A Flash, And That's The Truth Of It, The Person's Gone In Less Than 24 Frames Of Film.

[action's] A Western Thing. We Think Of The Hero Going Into Battle, Rebelling Against A Government Or An Oppressor, But [in Kundun] Action Is Nonaction Or What Appears To Be Nonaction. That's A Hard Concept For Western Audiences. . . . We Wanted To Show A Kind Of Moral Action, A Spiritual Action, An Emotional Action. Some People Will Pick Up On It; Some Won't.

Movies Touch Our Hearts, And Awaken Our Vision, And Change The Way We See Things. They Take Us To Other Places. They Open Doors And Minds. Movies Are The Memories Of Our Lifetime. We Need To Keep Them Alive.

I've Been Extremely Lucky To Work With Elmer Bernstein, Howard Shore Over The Years, But I've Always Imagined Films With My Own Scores, Because I Don't Come From That World Or That Period Of Filmmaking. And So How Could I Make Up My Own Score On A Film Like This Where It Isn't Necessarily Made Up Of Popular Music From The Radio Or The Period; It Isn't Necessarily Classical Music. But What If It's Modern Symphonic Music?

The First Element That I Connected With Was The Emotion. Sorry, That's How It Goes.

People Have To Start Talking To Know More About Other Cultures And To Understand Each Other.

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.

I've Seen Many, Many Movies Over The Years, And There Are Only A Few That Suddenly Inspire You So Much That You Want To Continue To Make Films.

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.

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.

Hong Kong Cinema Is Something You Can't Duplicate Anyway.

I Don't Agree With Everything He Did In His Life, But We're Dealing With This Howard Hughes, At This Point. And Also Ultimately The Flaw In Howard Hughes, The Curse So To Speak.

The Most Important Thing Is The Script.

I've Been To North Africa Many Times.

The Problem With Anger Is That It's So Consuming. You've Got To Take It Easy On Yourself At A Certain Point.

If I'm Not Complaining, I'm Not Having A Good Time, Hah Hah!

Having A Good Time

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.

I Think If You Think Of Yourself As Religious And If You're Given A Gift, Some May Not Think It's That Great A Gift - Some Critics. But Others Might, You Know. So You Say, Look - Whether It's Good, Bad Or Indifferent, This Is What I Do.

I Look For A Thematic Idea Running Through My Movies And I See That It's The Outsider Struggling For Recognition. I Realize That All My Life I've Been An Outsider, And Above All, Being Lonely But Never Realizing It.

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.

I Don't Really See A Conflict Between The Church And The Movies, The Sacred And The Profane...there Are Major Differences, But I Could Also See Great Similarities...both Are Places For People To Come Together And Share.

I'd Like To Do A Number Of Films. Westerns. Genre Pieces. Maybe Another Film About Italian Americans Where They're Not Gangsters, Just To Prove That Not All Italians Are Gangsters.

I Always Wanted To Make A Film That Had This Sort Of Chinese-box Effect, In Which You Keep Opening It Up And Opening It Up, And Finally At The End You're At The Beginning.

We’re Face To Face With Images All The Time In A Way That We Never Have Been Before... Young People Need To Understand That Not All Images Are There To Be Consumed Like Fast Food And Then Forgotten – We Need To Educate Them To Understand The Difference Between Moving Images That Engage Their Humanity And Their Intelligence, And Moving Images That Are Just Selling Them Something.

I Think When You're Young And Have That First Burst Of Energy And Make Five Or Six Pictures In A Row That Tell The Stories Of All The Things In Life You Want To Say... Well, Maybe Those Are The Films That Should Have Won Me The Oscar.

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