All my life, I never really felt comfortable anywhere in New York, except maybe in an apartment somewhere. Martin Scorsese More Quotes by Martin Scorsese More Quotes From Martin Scorsese 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. Martin Scorsese differencespeoplemoving I loved the idea of seeing the world through a boy's eyes. Martin Scorsese eyeboysideas I love studying Ancient History and seeing how empires rise and fall, sowing the seeds of their own destruction. Martin Scorsese sowingempiresfall 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. Martin Scorsese artistmattersight Watching a Kubrick film is like gazing up at a mountaintop. You look up and wonder, how could anyone have climbed that high? Martin Scorsese gazingwonderlooks 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. Martin Scorsese citiesnew-yorkcountry 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. Martin Scorsese donejobsschool The storyboard for me is the way to visualise the entire movie in advance. Martin Scorsese way 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. Martin Scorsese movieinspireyears Music and film are inseparable. They always have been and always will be. Martin Scorsese inseparablehas-beensfilm 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. Martin Scorsese mafiabullshithome I’m not interested in a realistic look, not at all, not ever. Every film should look the way I feel. Martin Scorsese filmlooksway 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? Martin Scorsese awardssightwinning 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? Martin Scorsese importantsoundmoving 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. Martin Scorsese fitgiantsartist You don't make pictures for Oscars. Martin Scorsese oscars 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. Martin Scorsese artisttakenmind 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. Martin Scorsese powerfulphotographycharacter 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. Martin Scorsese atmospheresoundblood You have to remain strong. That's the kind of filmmaker I want to encourage. Orson Welles was the one who said, you know, you can learn anything you need to know about filmmaking- that's camera, sound, celluloid, video at this point- in four hours. It has nothing to do with anything. It has nothing to do with it... It has to do with what you want to say. If you feel you have something to say, you'll find that way to get it said, on film, and not let anyone or anything chip away at that or tarnish it, because it's something special and precious. Martin Scorsese strongspecialneeds
