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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.

-Martin Scorsese

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I Think There's Only

Martin Scorsese

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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 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.

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

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

And So You Try Your Best. Sometimes You Go In With One Thing, With One Desire And Come Out With Something Else. In The Case Of 'the Aviator' It Was To Create A Hollywood Spectacle, But By About The Second Or Third Week Of Shooting You Just Want To Literally Survive It. Because Don't Forget, I Also Go Through The Editing Process Too, And When The Film Is Released I Have To Talk About It. So, I Take All Of That Very Seriously.

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

[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.

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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.

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.

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I Still Dislike Phones, Yeah!

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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.

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.

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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I Prefer People Who Don't Get Caught, And If They Do Get Caught, I Prefer People Who Don't Give In.

Popular Music Formed The Soundtrack Of My Life.

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I'm Not A Hollywood Director. I'm An In Spite Of Hollywood Director.

I Also Saw The Dalai Lama A Few Times.

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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. 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.

There Are Times When You Have To Face Your Enemies, Sit Down And Deal With It.

Every Year Or So, I Try To Do Something; It Keeps Me Refreshed As To What's Going On In Front Of The Lens, And I Understand What The Actor Is Going Through.

Vic Armstrong Is, Of Course, A Legend

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.

[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've Been To North Africa Many Times.

It’s Also True That I Might Have Never Made Taxi Driver [1976] Were It Not For The Success Of Alice [doesn’t Live Here Anymore, 1974]. The Question Of Commercialism Is A Source Of Worry. Must One Make A Choice, Must It Be A Matter Of Either Setting Your Sights On Winning An Academy Award And Becoming A Millionaire, Or Making Only The Movies You Want To Make And Starving To Death?

All I Can Do Is Try To Do The Best Work I Can. I Need To Work, I Like To Work... Although I Complain About It, But I Do Like It - And I Just Need To Make The Best Film I Can.

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.

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.

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

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?

You Gotta Understand, When Moving Images First Started, People Wanted Sound, Color, Big Screen And Depth.

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

Rock & Roll Seemed To Just Come To Us, On The Radio And In The Record Stores. It Became Our Music. . . But Then We Uncovered Another, Deeper Level, The History Behind Rock And R&b, The Music Behind Our Music. All Roads Led To The Source, Which Was The Blues.

Alcohol Decimated The Working Class And So Many People.

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.

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.

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'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.

If Kubrick Had Lived To See The Opening Of His Final Film, He Obviously Would Have Been Disappointed By The Hostile Reactions. But I'm Sure That In The End He Would Have Taken It With A Grain Of Salt And Moved On. That's The Lot Of All True Visionaries, Who Don't See The Use Of Working In The Same Vein As Everyone Else. Artists Like Kubrick Have Minds Expansive And Dynamic Enough To Picture The World In Motion, To Comprehend Not Just Where Its Been, But Where It's Going.

I Wouldn't Presume To Be God's Point Of View.

There's A Way That The Force Of Disappointment Can Be Alchemized Into Something That Will Paradoxically Renew You.

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.

As You Grow Older, You Change.

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.

There's No Such Thing As Simple. Simple Is Hard.

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.

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

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.

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.

I’m Not Interested In A Realistic Look, Not At All, Not Ever. Every Film Should Look The Way I Feel.

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

The Most Important Thing Is The Script.

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

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

I Wish I Could Play Music. I Think I Get As Closeas Possible With The Editing Of The Films. Over The Years Musichas Been An Even More Important Influence Than-or As Important As-film.there's No Doubt About It. Painting, Movement, Dance, Sculpture-it'sall In Cinema.

I Tried For About Two Semesters In A Preparatory Seminary. But I Was About 15 And Didn't Fully Understand What A Vocation Means.

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.

My Films Really Have To Be A Part Of A Whole Body Of Work That Says Something To Me.

Parts Of A Whole

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

My Whole Life Has Been Movies And Religion. That's It. Nothing Else.

Zombies, What Are You Going To Do With Them? Just Keep Chopping Them Up, Shooting At Them, Shooting At Them.

As A Child I Had Terrible Asthma.

Could You Double-check The Envelope?

More Personal Films, You Could Make Them, But Your Budgets Would Be Cut Down.

All My Life, I Never Really Felt Comfortable Anywhere In New York, Except Maybe In An Apartment Somewhere.

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'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.

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.

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

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.

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.

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

I Was Rather Shaken By All The Green Trees. I Always Am. It Gets Me. I Don't Want To Be Funny About It But I Am. I Loved Seeing All The Westerns, But I Had Asthma And Couldn't Go Anywhere, But I Loved Watching Them In Technicolor And Seeing The Cowboys And The Landscapes Of Monument Valley And You'd See The Forests Of The Anthony Mann Films And Think, 'wow, That's Fantastic', But I Could Never Go There!

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

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.

I Happen To Like Vampires More Than Zombies.

Working With Hbo Was An Opportunity To Experience Creative Freedom And 'long-form Development' That Filmmakers Didn't Have A Chance To Do Before The Emergence Of Shows Like 'the Sopranos.'

I'm Obsessed With New York. I Just Find It So Remarkable. You Really Treasure This City When You Go To Different Countries And You See That There Is No Mix. When You Get Back To The City, It's Such An Exciting Place.

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

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

I Was Born In 1942, So I Was Mainly Aware Of Howard Hughes' Name On Rko Radio Pictures.

You Can Be Born-again And Believe In Jesus, Believe In Jesus' Ideas And Try To Live Them Out, Without Becoming Totally Intolerant Of Other People.

I Grew Up In The Lower East Side, An Italian American - More Sicilian, Actually.

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.

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.

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

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.

When I Was Growing Up, I Don't Remember Being Told That America Was Created So That Everyone Could Get Rich. I Remember Being Told It Was About Opportunity And The Pursuit Of Happiness. Not Happiness Itself, But The Pursuit.

Pursuit Of Happiness

When Everything Is Added Up, The Frequent Blows Weighted Against The Sporadic Triumphs, This Is I Have To Say Not Just A Vocation, It's A Great Gift. But You Also Know This, For Your Work, For Your Passion, Every Day Is A Rededication. Painters, Dancers, Actors, Writers, Filmmakers. It's The Same For All Of You, All Of Us. Every Step Is A First Step. Every Brush Stroke Is A Test. Every Scene Is A Lesson. Every Shot Is A School. So, Let The Learning Continue.

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 Love Movies - It's My Whole Life, And That's It.

When I'm Making A Film, I'm The Audience.

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

Because Of The Movies I Make, People Get Nervous. They Think Of Me As Difficult And Angry. I Am Difficult And Angry, But They Don't Expect A Sense Of Humor. And The Only Thing That Gets Me Through Is A Sense Of Humor.

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Jeane Kirkpatrick

Chester W. Nimitz

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