Martin Scorsese
Martin Scorsese
Martin Charles Scorsese is an American director, producer, screenwriter, actor, and film historian, whose career spans more than 53 years. Scorsese's body of work addresses such themes as Sicilian-American identity, Roman Catholic concepts of guilt and redemption, machismo, modern crime, and gang conflict. Many of his films are also notable for their depiction of violence and liberal use of profanity...
NationalityAmerican
ProfessionDirector
Date of Birth17 November 1942
CityQueens, NY
CountryUnited States of America
It’s often overlooked. It’s labor. That’s at the heart of # collaboration .
I accept all awards. I like them.
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.
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.
Always stay open to surprise.
I loved the idea of seeing the world through a boy's eyes.
When I was growing up, I don't remember being told that America was created so that everyone could get rich. I remember being told it was about opportunity and the pursuit of happiness. Not happiness itself, but the pursuit.
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.
You have to put yourself in a situation, a lifestyle, that makes you do the work. Even if it's a monastery.
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.
If you don’t like the films of Samuel Fuller , then you just don’t like cinema.
You've got to protect whatever creative talent you have left.
[Action's] a Western thing. We think of the hero going into battle, rebelling against a government or an oppressor, but [in KUNDUN] action is nonaction or what appears to be nonaction. That's a hard concept for Western audiences. . . . We wanted to show a kind of moral action, a spiritual action, an emotional action. Some people will pick up on it; some won't.
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.