There's no such thing as simple. Simple is hard.— Martin Scorsese
The most successful Martin Scorsese quotes to discover and learn by heart
You don't make up for your sins in church.
You do it in the streets. You do it at home. The rest is bullshit and you know it.
As a child I had terrible asthma.
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'm not interested in a realistic look - not at all, not ever. Every film should look the way I feel.
I love movies - it's my whole life, and that's it.
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.
Cinema is a matter of what's in the frame and what's out.
I loved the idea of seeing the world through a boy's eyes.
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.
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.
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.
And as I've gotten older, I've had more of a tendency to look for people who live by kindness, tolerance, compassion, a gentler way of looking at things.
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.
I also saw the Dalai Lama a few times.
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.
The most important thing is the script.
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.
Howard Hughes was this visionary who was obsessed with speed and flying like a god... I loved his idea of what filmmaking was.
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.
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.
I love studying Ancient History and seeing how empires rise and fall, sowing the seeds of their own destruction.
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.
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.
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.
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 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.
[Kubrick] was unique in the sense that with each new film he redefined the medium and its possibilities. But he was more than just a technical innovator. Like all visionaries, he spoke the truth. And no matter how comfortable we think we are with the truth, it always comes as a profound shock when we're forced to meet it face-to-face.
People have to start talking to know more about other cultures and to understand each other.
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.
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.
If your mother cooks Italian food, why should you go to a restaurant?
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.
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.
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.
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.
I tried for about two semesters in a preparatory seminary.
But I was about 15 and didn't fully understand what a vocation means.
I just wanted to be an ordinary parish priest.
There must be people who remember World War II and the Holocaust who can help us get out of this rut.
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 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.
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.
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.
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 grew up in the Lower East Side, an Italian American - more Sicilian, actually.
Any film, or to me any creative endeavour, no matter who you're working with, is, in many cases, a wonderful experience.
The vampire thing always works for some reason. Always works.
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.
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.
All my life, I never really felt comfortable anywhere in New York, except maybe in an apartment somewhere.
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.