I can't help but have my sights set on Scorsese, Cohen Brothers and Spike Jones.
I find it hard to understand why Scorsese has never called. You know, given the natural menace I bring to the screen.
Music was a big thing for me growing up and Scorsese and Tarantino both use music brilliantly in movies. They're probably two of the best at using music.
I'm, like, y'know, I didn't have a problem doing one scene in Dude, Where's My Car? I'm certainly not going to have a problem doing one scene in a [Martin] Scorsese movie!
It was a fabulous experience shooting [in the Aviator], working with Leo [DiCaprio] and Danny Huston in the scene. It was great. I think what was most eye-opening about it was that [Martin] Scorsese was just like any good director you work with.
[Martin Scorsese ] basically works just like any other director. You work the scene, you try to find what's best in it and make it work. That's what it was like.
[Martin] Scorsese probably could have directed Schindler's List and [Steven] Spielberg probably could have directed Goodfellas. But it's as much to do with the difference in culture as it is with race.
John Logan is maybe the No. 1 screenwriter in the world today, not to mention that he won a Tony for Best Play for Red. So he may just be the best writer period right now. He wrote The Aviator, and I was in New York doing a play, and he asked if they would see me for the film, just meet with me. 'Cause that's what Martin Scorsese does.
You know, you have Scorsese who worked with De Niro and - or DiCaprio. You have William Wyler who worked with Bette Davis. You have George Cukor who worked with Katharine Hepburn. I just - people get to be friends and then there's a - that's a - you can take risks together and each time out you take a different risk.
I put myself on tape and the cool thing was that Martin Scorsese had never heard of me. He had never seen [Everybody Loves Raymond]. I was just an unknown actor to him. I don't want to sound conceited, like he has to know who I am, but that seemed a little odd. He's a film genius. He doesn't watch sitcoms.
I am defined also by Woody Allen’s films and Martin Scorsese and Jim Jarmusch and Julian Schnabel or Almodóvar, or by Guillermo del Toro, Iñárritu, Cuarón. Even if we haven’t worked with them, we are all defined by their filmography.
Tarantino and Jackson is like Scorsese and DeNiro, and their silent communication.
Martin Scorsese is doing a 3D movie (Hugo Cabret). A lot of amazing filmmakers are. Not just the obvious of Jim Cameron, but Spielberg is doing it and Peter Jackson has worked in it. In the hands of those types of people, it will just keep getting better and better.
My experience in work, even going to work with Scorsese, is that people always think there's some magic trick. There's no magic trick. The people who are really good at what they do do simple things really, really well.
I had this whole issue of doing a crime film in the 2010s. The genre's been mined very, very heavily. Post-Scorsese, post-Tarantino, post-Guy Ritchie, what do you do? I wasn't attracted to pulp so much as all of a sudden I had a pulp problem. I had to find a way to make this interesting, because there's a lot of crime films that come out on VOD every week, and a number of these star Nicolas Cage.
I'm trying to steal from everybody. So yeah, there's cats that I'm personally affiliated with - Carl Franklin, Paul Thomas Anderson - and others that I don't know personally but their work I'm a big admirer of, like Martin Scorsese. But I'm hoping to come up with a language that is mine, that's specific to my take on this material.
There would be brilliant songs, but, as [Bob] Dylan admitted on the recent Martin Scorsese documentary about him (No Direction Home), the specific muse that inspired "It's Alright Ma" would not return.
I think they [Martin Scorsese, Johnny Carson, Frank Sinatra] liked my honesty. My personality. For that, they always treated me great. I, in turn, treated them great. No secret about it. My being who I am - that is that.
I've always been drawn to a certain kind of dark aesthetic in cinema and in film, to what's abjected or considered abject. I've been tremendously influenced by noirish cinema whether that's Von Sternberg or Scorsese in the 70s or Lynch, etc.
I was kind of a little disappointed when they started building a competition between Marty (Martin Scorsese) and me. I have the greatest respect for him and all the films he's done over the years.
I always remember what Bob Dylan said in that [Martin] Scorsese documentary on him. When he was asked about Joan Baez's complaints about the way he treated her when they were together, Dylan laughed and said, "It's impossible to be in love and wise at the same time."
Snoop Scorsese, that's my director name.
I had never done anything with blue screen before, or prosthetics, or anything like that. Lord of the Rings was like stepping into a videogame for me. It was another world completely. But, to be honest, I basically did it so that I could have the ears. I thought they would really work with my bare head.Working with Martin Scorsese was an absolute minute-by-minute education without him ever being grandiose about it.
I mean, Scorsese's a genius, and that's one way of shooting.
Bill Viola is worth ten Scorseses.
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