Martin Scorsese Quotes About Film

Quotes about: Film

• Cinema is a matter of what's in the frame and what's out.

  Martin Scorsese

  Movie, Gambling, Film Directing

  FaceBook post by Martin Scorsese from Jul 08, 2013

• Film in the 20th century, it's the American art form, like jazz.

  Martin Scorsese

  Art, Jazz, Film

  "What Inspires Martin Scorsese". Interview with Jeremy Berger, www.askmen.com.

• If you’re looking for the origins of film culture in America, look no further than Amos Vogel.

  Martin Scorsese

  America, Culture, Looks

  "Amos Vogel, a Leading Figure of Modern American Film Culture, Dies at 91" by Mike Barnes, www.hollywoodreporter.com. April 25, 2012.

• I’m not interested in a realistic look, not at all, not ever. Every film should look the way I feel.

  Martin Scorsese

  Looks, Way, Film

  Interview with Roger Ebert, www.rogerebert.com. March 7, 1976.

• 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.

  Martin Scorsese

  Italian, Numbers, Pieces

• 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

  Gazing, Looks, Wonder

• If you don’t like the films of Samuel Fuller , then you just don’t like cinema.

  Martin Scorsese

  Cinema, Film, Ifs

• Music and film are inseparable. They always have been and always will be.

  Martin Scorsese

  Film, Inseparable, Has Beens

  Source: www.interviewmagazine.com

• I didn't realize there are generations who do not know about the origins of film.

  Martin Scorsese

  Generations, Realizing, Film

  "Martin Scorsese Talks Hugo Blu-ray" by Brian Gallagher, movieweb.com. February 28, 2012.

• Death comes in a flash, and that's the truth of it, the person's gone in less than 24 frames of film.

  Martin Scorsese

  Gone, Film, Flash

  "A history of violence". Interview with Ed Pilkington, www.theguardian.com. October 6, 2006.

• When I'm making a film, I'm the audience.

  Martin Scorsese

  Jobs, Play, Film

  "Are we ever going to make this picture?". Interview with Alex Williams, www.theguardian.com. January 2, 2003.

• 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.

  Martin Scorsese

  Running, Kids, Italian

  Interview with Jeff Otto, www.ign.com. December 17, 2004.

• 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.

  Martin Scorsese

  Depressing, Morning, Unique

  Source: www.indielondon.co.uk

• [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.

  Martin Scorsese

  Photography, Country, Real

• 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.

  Martin Scorsese

  Battle, Film, Structure

  "The Two Hollywoods: The Directors; Woody Allen; Martin Scorsese". www.nytimes.com. November 16, 1997.

• 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.

  Martin Scorsese

  Want, Able, Film

• 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.

  Martin Scorsese

  Thinking, Reality, Differences

  "Scorsese on Scorsese". Book editing by Ian Christie, David Thompson, 2003.

• 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?

  Martin Scorsese

  Thinking, Keys, Fog

  Source: www.indielondon.co.uk

• 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

  Taken, Artist, Mind

• 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.

  Martin Scorsese

  People, Want, Matter

  "Martin Scorsese Defends 'The Wolf of Wall Street': 'The Devil Comes With a Smile' (Q&A)". Interview with Scott Feinberg, www.hollywoodreporter.com. December 31, 2013.

• 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

  Years, What If, Lucky

  Source: www.indielondon.co.uk

• 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.

  Martin Scorsese

  Chinese, Film, Ends

• There is something particularly unique about the films of Hong Sang-soo...it's got to do with his masterful sense of storytelling... as the critic Manny Farber once said of Hitchcock's ROPE Hong Sang-soo's pictures unpeel like an orange.

  Martin Scorsese

  Unique, Orange, Rope

• 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

  Strong, Special, Needs

• Vertigo is probably my favourite Hitchcock film and probably one of my favourite films of all time. It's a film that I'm obsessed with. I saw it on its first release in vista vision, projected in vista-vision, at the Capitol Theatre in New York. That moment when the nun comes up in the end... it's just an extraordinary shot.

  Martin Scorsese

  New York, Vision, Theatre

  Source: www.indielondon.co.uk

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