Quotes of All Topics . Occasions . Authors
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.
Scorsese is a fan of improv and is always pushing actors to think up something that would make the scene more fun. He loves any idea that helps the scene be alive.
Our professor was Marty Scorsese. Marty was a graduate student, or Mr. Scorsese, which is what I had to call him, and still do when I see him 'cause he gave me a C.
When you're a director, and you look at Scorsese's work, he's always challenging us to push the envelope and break the rules. Someone like that is necessary and a godsend.
Show me a Scorsese film, and I'll show you a movie where he's taken risks. It's just his nature. He's an artist, and artists take risks. He always does what he believes in.
Scorsese has very defined ideas about how to shoot a scene, and he's an editor himself - we cut together. It means he's constantly thinking about my problems while he's filming.
I'd love to find a lifelong female film editor as Scorsese has with Thelma Schoonmaker. I think women are probably, without generalising, sensitive to subtle things as an editor.
If I'm going to produce something, it's going to be with somebody I think is special. Once I go beyond a handful of directors, like Scorsese, there are very few I want to work with.
What always made me proud - almost blushing with pride - is that Francis Coppola, Martin Scorsese, Steven Spielberg all told me that 'The Conformist' is their first modern influence.
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!
While still a young student at film school, I was lucky enough to get a golden ticket to a Martin Scorsese master class at BAFTA in Piccadilly: fancy, but technically still 'the flicks'.
When I was nominated for an Oscar and seated next to Martin Scorsese, there was nothing in my mind that made me think, 'Hey, in three years maybe I'll make another remake of 'Punisher.''
I love working with Scorsese. He's not only a brilliant director and is great working with actors, but he's also a walking human film encyclopedia. It's fun to talk about movies with him.
I knew I wanted to become an actor when I was 7 years old. My dad was working with Alfred Hitchcock, my mom was working with Martin Scorsese - and it was the great summer of my childhood.
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.
There is really no one who hasn't made mistakes in their career. I'm always shocked that people would be so surprised that I might make mistakes. Martin Scorsese has made mistakes - why can't I?
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.
I think I land somewhere between Scorsese and Capra in what I'm drawn to emotionally; I'm drawn to very intense emotion. Capra freaked people out when they saw Jimmy Stewart lose it in 'It's a Wonderful Life.'
Everybody wants you to do this thing that you've always been doing forever. That's what they want: they want Martin Scorsese to make the same film two hundred times rather than trying to be something different.
Working with Scorsese was an absolute dream, and one of my favourite ever jobs was 'Beowulf' because it was just pure acting. Your imagination explodes as you try to imagine you're fighting a dragon or whatever.
I like so many different directors: Scorsese, Coppola, Cassavetes, Jarmusch, Gus van Sant, Woody Allen and the greats like Fellini, Bergman, Tarkovsky and among current filmmakers von Trier, Ang Lee, Wong Kar-wai.
As a younger actor, I had delusions. I would dream of Scorsese and De Niro; I would meet people, and it would be like this, and it would change moviemaking in France, and Paris would become the center of the world.
I'd love to work with Tarantino, Scorsese, Sofia Coppola - all of them! I love thrillers and action movies. I love good horror films. I watched them so much when I was younger that I find it impossible to get scared.
Really, what I'm doing is an attempt to continue the best work of the people I adore: Francis Coppola and Scorsese and Robert Altman and Stanley Kubrick and those amazing directors whose work I grew up with and loved.
Sometimes a producer and an artist get together and they make magic like Quincy Jones and Michael Jackson. As far as my own music career - you could liken my chemistry with Timbaland to Marty Scorsese and Robert De Niro.
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.
Working with Ridley is working with one of the great filmmakers and one of the great raconteurs. You know, it's like, a dinner with Ridley Scott or a dinner with Martin Scorsese? You just want to cut your arm off to get those.
I would love to work with Dustin Hoffman, John Malkovich, Omar Epps, Martin Scorsese, Josh Mond, Woody Allen, Paul Thomas Anderson, and David O. Russell, just to name a few. Those guys are absolutely brilliant at what they do.
I remember watching 'Fargo.' I thought that was cruel. 'GoodFellas,' lots of Scorsese stuff, I think is unnecessarily violent and almost a celebration of violence. I don't see 'Game of Thrones' as being a celebratory violence.
In terms of directors, great actors make directors - Gary Oldman was great to work with, for me; Tim Roth, too. You work with Scorsese and Spielberg and they were wonderful directors, but for me, working with actor/directors is special.
All great directors or anyone who has a strong vision like Scorsese needs to have a lot of support around them. I think from the very beginning - when we met each other - he realised he could trust me to do what was right for his movies.
I'm very lucky. Most of my friends wait long times for jobs and also don't get the chance to work on 20 films, like I have, with someone like Scorsese. I love working for him. I just would never - I can't imagine working for anybody else.
Scorsese would talk to me about this movie 'The Heiress' with Olivia de Havilland. We were talking about this scene in it, and suddenly we were rolling. It was very intentional, and I didn't realize - because we talk old movies all the time.
I think Woody Allen calls it 'anxiety of influence.' When you're in your formative years and you watch a movie that makes you want to make movies... For Wes Anderson, it's Truffaut. I'm sure for P.T. Anderson it was Scorsese and Jonathan Demme.
Regardless of the business aspect of things, is there a reason that there isn't a female Hitchcock or a female Scorsese or a female Spielberg? I don't know. I think it's a medium that really is built for the male gaze and for a male sensibility.
'Straight Outta Compton' is my first biopic, my first period piece, and I got a chance to kind of get out there like some of my idols, you know, like Scorsese, Spielberg, Spike Lee, the guys who came before me. You know, I'm feeling good about it.
Whether you're Godard or Almodovar or Scorsese, it's text, text, text. Everything begins with the text, and this is a source of great anguish to me. So please let cinema get on with doing what it does best, which is expressing ideas in visual terms.
Truth be told, actually, my favorite director of the Movie Brats was not Scorsese. Loved him. But my favorite director of the Movie Brats was Brian de Palma. I actually met De Palma right after I'd done 'Reservoir Dogs,' and I was very beside myself.
I'm a De Niro fan. I went eleven years without seeing a movie; the last one before that, February 1980, was De Niro and Scorsese in 'Raging Bull,' and when I went back, it was 'Cape Fear,' with De Niro and Scorsese. I picked up right where I left off at.
Well into the '40s, it wasn't uncommon for big-budget Hollywood movies to contain little or no underscoring, and many of today's directors, following the lead of Martin Scorsese in 'GoodFellas,' accompany their films with pop records, not original music.
What's the hardest thing about making a show like 'Vinyl' or 'Handmaid's Tale' is they are expecting movie-level cinematic quality in every way - from the performances to the visuals and the shots - especially on a show where you are doing Scorsese style.
I knew nothing about editing when I met Mr. Scorsese... Through a series of weird events, I ended up at New York University, and there was Martin Scorsese, and he had some troubles with a film I was able to fix. That's the only reason I became a filmmaker.
Scorsese and De Niro taught me to bring out the natural side of myself. And they taught me to think of myself as the average guy. Sometimes the average guy belongs in a role more than your matinee idol-type of person. We have to have people we can relate to.
Martin Scorsese was being given an honorary doctorate, and one of the tutors asked if there was a student film he particularly liked. He mentioned our film. There was a dinner after the final show just for the tutors, but I was smuggled in to meet Scorsese over dessert.
I would love to share the screen with Meryl Streep, wouldn't we all? I would love to work with Spielberg and Scorsese; that would be lovely. I'm also a huge fan of Johnny Depp and the way he creates his characters, so that would be fun. I mean, any of the greats, really.
It is tricky because I do wear a lot of vintage on the red carpet, and usually when I'm getting ready, I'll say, 'We need to make sure that I don't look like I'm in a Scorsese film today.' Sometimes I do something a little bit more modern with my hair. You have to mix it up.
There really isn't a dream role, but there's a dream situation where I could work with a director that I idolize. So, the idea of working with David Fincher or Paul Thomas Anderson or Wes Anderson or Scorsese or Spielberg or any of the guys I really idolize is a dream for me.
One of the things I've discovered at my age is I must have enchantment. And that was not clear to me in my earlier years. When I look at my favorite films, the Frank Capra - even Scorsese, even 'Goodfellas,' what makes that movie so remarkable is there's enchantment in their world.
Sit down at your computer or open your nearest mobile device and Google these words: 'Directed by.' What's the first predictive text that comes up? Martin Scorsese? Quentin Tarantino? Ingmar Bergman? Chances are the first name Google suggested was Robert B. Weide. That's me. Sort of.
Hollywood is a wonderful machine for making big movies. In France, we make smaller and more personal films, but if things keep changing, this will disappear. The industry in Italy is practically gone. Cinecitta now is used mostly by filmmakers from others places, like Martin Scorsese.