Quotes By Martin Scorsese

Some of my films are known for the depiction of violence. I don't have anything to prove with that any more.

The best I can do is to make a film every two years.

I've seen many, many movies over the years, and there are only a few that suddenly inspire you so much that you want to continue to make films.

You never know how much time you have left.

People have to start talking to know more about other cultures and to understand each other.

I loved the idea of seeing the world through a boy's eyes.

And as I've gotten older, I've had more of a tendency to look for people who live by kindness, tolerance, compassion, a gentler way of looking at things.

As you grow older, you change.

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 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.

As a child I had terrible asthma.

Our world is so glutted with useless information, images, useless images, sounds, all this sort of thing. It's a cacophony, it's like a madness I think that's been happening in the past twenty-five years. And I think anything that can help a person sit in a room alone and not worry about it is good.

I mean, music totally comes from your soul.

I was born in 1942, so I was mainly aware of Howard Hughes' name on RKO Radio Pictures.

You gotta understand, when moving images first started, people wanted sound, color, big screen and depth.

I've always liked 3D.

I go through periods, usually when I'm editing and shooting, of seeing only old films.

What the Dalai Lama had to resolve was whether to stay in Tibet or leave. He wanted to stay, but staying would have meant the total destruction of Tibet, because he would have died and that would have ripped the heart out of his people.

I love studying Ancient History and seeing how empires rise and fall, sowing the seeds of their own destruction.

The most important thing is, how can I move forward towards something that I can't articulate, that is new in storytelling with moving images and sound?

Alcohol decimated the working class and so many people.

Any film, or to me any creative endeavour, no matter who you're working with, is, in many cases, a wonderful experience.

I happen to like vampires more than zombies.

I've been to North Africa many times.

It's hard to let new stuff in. And whether that admits a weakness, I don't know.

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

The cinema began with a passionate, physical relationship between celluloid and the artists and craftsmen and technicians who handled it, manipulated it, and came to know it the way a lover comes to know every inch of the body of the beloved. No matter where the cinema goes, we cannot afford to lose sight of its beginnings.

One of the things is that the good intentions of Prohibition, from reading over the years and from becoming obsessed with the research of gangs in New York City, seems to have allowed crime figures at the time, like Luciano, Capone, Torrio and Rothstein, to organize to become more powerful, which pulled all the way through until the '70s.

Young film makers should learn how to deal with the money and learn how to deal with the power structure. Because it is like a battle.

Cinema is a matter of what's in the frame and what's out.