Martin Scorsese Quotes - Page 7

I'm not videotaping my life, but in a way I am trying to put certain things about myself on canvas.

On the one hand, you're the same person, but as you get older, you change somewhat, and you never know how it's going to affect your work.

I wish I could play music. I think I get as closeas possible with the editing of the films. Over the years musichas been an even more important influence than-or as important as-film.There's no doubt about it. Painting, movement, dance, sculpture-it'sall in cinema.

Because of the movies I make, people get nervous. They think of me as difficult and angry. I am difficult and angry, but they don't expect a sense of humor. And the only thing that gets me through is a sense of humor.

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.

The bottom line is, I tend to be going back to older and older music.

We cannot burn Mick Jagger. We want the effect, but we can't burn him.

I can't really envision a time when I'm not shooting something.

As a child I had terrible asthma.

Hong Kong cinema is something you can't duplicate anyway.

All my life, I never really felt comfortable anywhere in New York, except maybe in an apartment somewhere.

Eradicating a religion of kindness is, I think, a terrible thing for the Chinese to attempt.

Well, I think in my own work the subject matter usually deals with characters I know, aspects of myself, friends of mine - that sort of thing.

Well the thing is that the New York of 1846 to 1862 was very different from downtown New York now. Really nothing from that period still exists in New York.

If it's a modern-day story dealing with certain ethnic groups, I think I could open up certain scenes for improvisation, while staying within the structure of the script.

An interviewer once asked me to discuss my collaboration with Elmer Bernstein, and precisely why I chose to work with him. My first thought was: How could I not work with Elmer, when I had the chance? Simply put, he's the best there is-the very best.

I think what happened there was just the budget would be too big to build these sets because nothing really exists here in New York of that period; you have to build it all.

I don't like being in houses alone.

I also saw the Dalai Lama a few times.

I don't really see a conflict between the church and the movies, the sacred and the profane...there are major differences, but I could also see great similarities...Both are places for people to come together and share.

I've been to North Africa many times.

I think all the great studio filmmakers are dead or no longer working. I don't put myself, my friends, and other contemporary filmmakers in their category. I just see us doing some work.

I love the look of planes and the idea of how a plane flies. The more I learn about it the better I feel; while I still may not like it, I have a sense of what is really happening.

I'm very phobic about flying, but I'm also drawn to it.

Every year or so, I try to do something; it keeps me refreshed as to what's going on in front of the lens, and I understand what the actor is going through.