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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?

-Martin Scorsese

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I've Been Extremely Lucky

Martin Scorsese

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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?

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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.

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

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.

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.

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

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 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.

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!

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

For Me, The Key Image Is The Boat Coming Through The Fog At The Beginning. It's Something I Imagined And Liked And I Guess There Are Other References In Other Films I Make - The Similar Type Of Image. But I Think It's Interesting, It's Breaking Through The Mystery, Or Maybe It Stays In The Fog... We Don't Really Know. Where Is He At The Beginning Of The Film, Who Is He?

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.

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.

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.

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

I'm Very Phobic About Flying, But I'm Also Drawn To It.

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.

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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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

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 Happen To Like Vampires More Than Zombies.

The Cinema Began With A Passionate, Physical Relationship Between Celluloid And The Artists And Craftsmen And Technicians Who Handled It, Manipulated It, And Came To Know It The Way A Lover Comes To Know Every Inch Of The Body Of The Beloved. No Matter Where The Cinema Goes, We Cannot Afford To Lose Sight Of Its Beginnings.

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.

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.

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.

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Katherine Jenkins

M. Night Shyamalan

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