Any time someone says you have an opportunity to work with Martin Scorsese you jump at the chance.
Directors like Satyajit Ray, Rossellini, Bresson, Buñuel, Forman, Scorsese, and Spike Lee have used non-professional actors precisely in order that the people we see on the screen may be scarcely more explained than reality itself. Professionals, except fo the greatest, usually play not just the necessary role, but an explanation of the role.
You're only as good as your body of work, and everybody has issues, whether it's Steven Spielberg or Martin Scorsese. I'm not comparing myself to those guys, but you learn more from the misses than the hits.
Ooh, I'd love to be in a movie with Meryl Streep or Martin Scorsese. There are so many different things I want to do, maybe like a possessed child or an evil something... I don't know!
Leo couldnt deliver Mr. Martin Scorsese his Oscar with The Aviator, but I will go on record to say I will do so in The Departed.
Scorsese, Spielberg, Tarantino, Peter Jackson - all of you: I'm here, I'm ready. I can do funny faces, I can sing, I can dance. Hire me!
Working with Martin Scorsese was an absolute minute-by-minute education without him ever being grandiose about it.
It's tough to get any film made, even if you're Martin Scorsese. It's just hard to get films made.
Among today's directors I'm of course impressed by Steven Spielberg and Scorsese, and Coppola, even if he seems to have ceased making films, and Steven Soderbergh - they all have something to say, they're passionate, they have an idealistic attitude to the filmmaking process. Soderbergh's Traffic is amazing. Another great couple of examples of the strength of American cinema is American Beauty and Magnolia.
Marty [Scorsese] knows that when an improvised moment comes out of a real situation, it's gonna have more life and more going on than anything you can imagine and that's how the character can become the story
Producing, for me anyway, it's coming up with material. It's sitting down with you know the likes of Martin Scorsese, Johnny Depp, Michael Mann and talking about a movie and really creating something from nothing.
I'm a product of older filmmakers I guess, the past where you get to make movies and scenes are what they are. You know if you think about Scorsese back in the day when he was making Taxi Driver, or Coppola or Frankenheimer, Sidney Lumet, they're making films where you witness violence in a real way.
I actually love Scorsese comedies. He's an underrated comedy director. I think his comedies are some of the best comedies ever made.
I think it's cool when Scorsese will pop up in a movie or something like that. I never want to make a career out of that or anything. I like directing. That's my favorite thing.
[Martin] Scorsese says one of the great things he loves about it is how Mark can't get the right shot and he's killing people because he can't get the right shot. It's an example of what film-makers are like.
The generation now below me were born into a world where if you're a kid with raw talent now, you can roll in and land a lead in a Scorsese film. You don't have to have prove yourself by working up the ranks, doing the classics, and getting the canon under your belt in the way the great Sirs and Dames of mom and dad's generation - the [Ben] Kingsleys and [Helen] Mirrens and [Anthony] Hopkinses and people of that ilk.
I introduced myself to Scorsese and I said, "If you need someone to do craft services, I'm there."
When you start a new project and they say, "Your director is going to be Joe Blo," you're hoping that Joe Blo will be the next Martin Scorsese, but it doesn't always work out that way.
In the the late seventies and early eighties, I played background roles in thirty movies... Woody Allen movies, Scorsese films, you name it. Whatever was being shot in New York, I was doing stand-in and background work because I wanted to be close to the camera; I wanted to see what was going on.
Movies I liked growing up were like Francis Ford Coppolla movies and Scorsese movies.
Actually, I can't stand watching violent scenes in films; I avoid watching horror films. I don't tend to watch action films mainly because I find them boring, but I watch the films of David Cronenberg and Martin Scorsese, usually in a state close to having a heart attack. I'm a complete coward. I make violent films as a result of my sensitivity to violence - in other words, my fear of violence.
If Martin Scorsese calls, I am available. And then there the ones, well, you can just run down the list - any of those Oscar-nominated films, they have amazing directors across the board.
Whatever, man. Scorsese thinks I’m awesome
In Goodfellas they have this one scene where the camera goes down some steps and walks through a kitchen into a restaurant and the critics were all over this as evidence of the genius of Scorsese and Scorsese is a genius.
I think the obvious answer is I was raised in New York City, so growing up, not only myself but my family, like my father, we would watch a lot of Scorsese films.
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