quote by Cate Blanchett

Working with Martin Scorsese was an absolute minute-by-minute education without him ever being grandiose about it.

— Cate Blanchett

Skyrocket Scorsese quotations

I think they [Martin Scorsese, Johnny Carson, Frank Sinatra] liked my honesty.

My personality. For that, they always treated me great. I, in turn, treated them great. No secret about it. My being who I am - that is that.

In the the late seventies and early eighties, I played background roles in thirty movies... Woody Allen movies, Scorsese films, you name it. Whatever was being shot in New York, I was doing stand-in and background work because I wanted to be close to the camera; I wanted to see what was going on.

I mean, being shot in slow motion doing cocaine by Martin Scorsese is, like, maybe every actor's dream. Nothing will compare to it. Except maybe having kids.

Movies I liked growing up were like Francis Ford Coppolla movies and Scorsese movies.

Scorsese, Spielberg, Tarantino, Peter Jackson - all of you: I'm here, I'm ready.

I can do funny faces, I can sing, I can dance. Hire me!

Marty [Scorsese] knows that when an improvised moment comes out of a real situation, it's gonna have more life and more going on than anything you can imagine and that's how the character can become the story

I've always been drawn to a certain kind of dark aesthetic in cinema and in film, to what's abjected or considered abject. I've been tremendously influenced by noirish cinema whether that's Von Sternberg or Scorsese in the 70s or Lynch, etc.

Ooh, I'd love to be in a movie with Meryl Streep or Martin Scorsese.

There are so many different things I want to do, maybe like a possessed child or an evil something... I don't know!

Tarantino and Jackson is like Scorsese and DeNiro, and their silent communication.

[Martin] Scorsese says one of the great things he loves about it is how Mark can't get the right shot and he's killing people because he can't get the right shot. It's an example of what film-makers are like.

I mean, Scorsese's a genius, and that's one way of shooting.

Snoop Scorsese, that's my director name.

Music was a big thing for me growing up and Scorsese and Tarantino both use music brilliantly in movies. They're probably two of the best at using music.

My experience in work, even going to work with Scorsese, is that people always think there's some magic trick. There's no magic trick. The people who are really good at what they do do simple things really, really well.

I'm a product of older filmmakers I guess, the past where you get to make movies and scenes are what they are. You know if you think about Scorsese back in the day when he was making Taxi Driver, or Coppola or Frankenheimer, Sidney Lumet, they're making films where you witness violence in a real way.

I was kind of a little disappointed when they started building a competition between Marty (Martin Scorsese) and me. I have the greatest respect for him and all the films he's done over the years.

I would like Martin Scorsese to be interested in a female character once in a while, but I don’t know if I’ll live that long.

When Scorsese shoots a violent scene, it's very uncomfortable - it's not like watching 'Rambo.'

I always remember what Bob Dylan said in that [Martin] Scorsese documentary on him. When he was asked about Joan Baez's complaints about the way he treated her when they were together, Dylan laughed and said, "It's impossible to be in love and wise at the same time."

Working on 'The Last Waltz' introduced me to Martin Scorsese, and I had been a movie bug since I was a young kid.

It's interesting to help someone find their vocabulary.

There would not have been a De Niro without a Scorsese.

Regardless of the business aspect of things, is there a reason that there isn't a female Hitchcock or a female Scorsese or a female Spielberg? I don't know. I think it's a medium that really is built for the male gaze and for a male sensibility.

If Martin Scorsese calls, I am available.

And then there the ones, well, you can just run down the list - any of those Oscar-nominated films, they have amazing directors across the board.

I'm, like, y'know, I didn't have a problem doing one scene in Dude, Where's My Car? I'm certainly not going to have a problem doing one scene in a [Martin] Scorsese movie!

Any time someone says you have an opportunity to work with Martin Scorsese you jump at the chance.

I had never done anything with blue screen before, or prosthetics, or anything like that. Lord of the Rings was like stepping into a videogame for me. It was another world completely. But, to be honest, I basically did it so that I could have the ears. I thought they would really work with my bare head.Working with Martin Scorsese was an absolute minute-by-minute education without him ever being grandiose about it.

We were the only ones interested in comedy. Everybody else wanted to be Martin Scorsese.

I think the obvious answer is I was raised in New York City, so growing up, not only myself but my family, like my father, we would watch a lot of Scorsese films.

In Goodfellas they have this one scene where the camera goes down some steps and walks through a kitchen into a restaurant and the critics were all over this as evidence of the genius of Scorsese and Scorsese is a genius.

Leo couldn't deliver Mr. Martin Scorsese his Oscar with 'The Aviator', but I will go on record to say I will do so in 'The Departed'.

Martin Scorsese was very much the actor's director. We were all very in awe of Martin Scorsese.

Griffin Dunne and I were both terrified that Martin Scorsese didn't think we were very good - and if he didn't think we were very good, that was it. That was the end of the line. If Martin Scorsese thinks you stink, you stink.

Tupac Shakur is something that, of course I want to make the Tupac movie, I love Tupac, but when that movie was announced, we didn't even have a script yet. It was just being written. People announce things too soon. If you go to any filmmaker - Clint Eastwood, Oliver Stone, Martin Scorsese, Ben Affleck, Michael Mann - you go in their offices and there are scripts everywhere and there's about four or five of them you really want to make.

I love Martin Scorsese, but there's another indication of what The Oscars are all about. They've ignored Martin Scorsese for going on 35 years now, and I wouldn't be surprised if they passed him over again. He'll get one of The Oscars they give you at the end of your life because they feel guilty for never giving you an Oscar.

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