Latest Martin Scorsese Quotes from Interviews

• I'm trying to find out what the hell we - who we are.

  Martin Scorsese

  Trying, Who We Are, Hell

  "The Modern Lessons Of Martin Scorsese's 17th-Century Epic, 'Silence'". Interview with Steve Inskeep, nprillinois.org. December 20, 2016.

• I think if you think of yourself as religious and if you're given a gift, some may not think it's that great a gift - some critics. But others might, you know. So you say, look - whether it's good, bad or indifferent, this is what I do.

  Martin Scorsese

  Religious, Thinking, Looks

  "The Modern Lessons Of Martin Scorsese's 17th-Century Epic, 'Silence'". Interview with Steve Inskeep, ksut.org. December 20, 2016.

• 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.

  Martin Scorsese

  Men, Looks, Way

  Fuente: www.npr.org

• I wouldn't presume to be God's point of view.

  Martin Scorsese

  Vistas, punto de vista

  Fuente: www.npr.org

• I prefer people who don't get caught, and if they do get caught, I prefer people who don't give in.

  Martin Scorsese

  People, Giving, Caught

  Fuente: www.npr.org

• The real truth, I thought, in terms of what faith is and what Christianity is.

  Martin Scorsese

  Real, Christianity, Term

  Fuente: www.npr.org

• Recuerdo muy bien la guerra de Corea. Y recuerdo a los soldados que fueron prisioneros de guerra a los que supuestamente "lavaron el cerebro", entre comillas, y que se rindieron, por así decirlo. Y cuando volvieron, fueron tratados como parias y traidores.

  Martin Scorsese

  War, Soldier, Korean

  Fuente: www.npr.org

• I tried for about two semesters in a preparatory seminary. But I was about 15 and didn't fully understand what a vocation means.

  Martin Scorsese

  Mean, Two, Vocation

  Fuente: www.npr.org

• 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

  Country, New York, Cities

  Fuente: www.interviewmagazine.com

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

  Martin Scorsese

  Film, Inseparable, Has Beens

  Fuente: www.interviewmagazine.com

• 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

  Fuente: www.indielondon.co.uk

• He tenido la gran suerte de trabajar con Elmer Bernstein y Howard Shore a lo largo de los años, pero siempre he imaginado películas con mis propias partituras, porque no procedo de ese mundo ni de ese periodo del cine. ¿Cómo podría componer mi propia partitura para una película como ésta, que no está necesariamente compuesta de música popular de la radio o de la época, ni de música clásica? Pero ¿y si es música sinfónica moderna?

  Martin Scorsese

  Years, What If, Lucky

  Fuente: www.indielondon.co.uk

• Oh, las sirenas de niebla... incluso las sirenas de niebla, son todas de latón. Es algo de Ingrid Marshal llamado Fog Tropes. No es un efecto de sonido. Es una pieza musical. Si escuchas lo que pasa después de que tenga un flashback sobre su mujer, oirás... suena como las ballenas jorobadas en cierto modo. Pero es todo música. Y lo usamos de nuevo más tarde, también.

  Martin Scorsese

  Fog, Whales, Wife

  Fuente: www.indielondon.co.uk

• 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.

  Martin Scorsese

  Character, Islands, Editing

  Fuente: www.indielondon.co.uk

• 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

  Fuente: www.indielondon.co.uk

• 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

  Fuente: www.indielondon.co.uk

• 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

  Blood, Atmosphere, Sound

  Fuente: www.indielondon.co.uk

• I was rather shaken by all the green trees. I always am. It gets me. I don't want to be funny about it but I am. I loved seeing all the westerns, but I had asthma and couldn't go anywhere, but I loved watching them in Technicolor and seeing the cowboys and the landscapes of Monument Valley and you'd see the forests of the Anthony Mann films and think, 'wow, that's fantastic', but I could never go there!

  Martin Scorsese

  Cowboy, Thinking, Tree

  Fuente: www.indielondon.co.uk

• And so you try your best. Sometimes you go in with one thing, with one desire and come out with something else. In the case of 'The Aviator' it was to create a Hollywood spectacle, but by about the second or third week of shooting you just want to literally survive it. Because don't forget, I also go through the editing process too, and when the film is released I have to talk about it. So, I take all of that very seriously.

  Martin Scorsese

  Editing, Desire, Trying

  Fuente: www.indielondon.co.uk

• Sam Fuller and 'Shock Corridor' can only be conjured as a mantra. 'Shock Corridor' is a classic work of art - it's unique. It comes from the unique experience of being Sam Fuller and yes, there's always that element of 'Shock Corridor' hovering around the picture, but never specifically. In fact, I didn't even screen it because it's in us. It's in me anyway. It's in me. It was a way of conjuring up support just by saying the name, 'Shock Corridor,' as I was going to shoot. Poor Sam [Fuller]...

  Martin Scorsese

  Art, Unique, Names

  Fuente: www.indielondon.co.uk

• 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.

  Martin Scorsese

  Rain, Vocabulary, Darkness

  Fuente: www.indielondon.co.uk

• All I can do is try to do the best work I can. I need to work, I like to work... although I complain about it, but I do like it - and I just need to make the best film I can.

  Martin Scorsese

  Trying, Complaining, Needs

  Fuente: www.indielondon.co.uk

• The first element that I connected with was the emotion. Sorry, that's how it goes.

  Martin Scorsese

  Sorry, Elements, Firsts

  Fuente: www.indielondon.co.uk

• You can be born-again and believe in Jesus, believe in Jesus' ideas and try to live them out, without becoming totally intolerant of other people.

  Martin Scorsese

  Jesus, Believe, Ideas

  Fuente: www.interviewmagazine.com

• Sometimes God picks you up and tells you, "You've been messing around now. You're going to have to stop this, stop that, but I'll give you another chance." And you wonder why you're given another chance. It must be for something; it must be to celebrate life.

  Martin Scorsese

  Giving, Another Chance, Sometimes

  Fuente: www.interviewmagazine.com

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