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From the Classroom to the Streets: The Making of Who’s That Knocking at My Door, Martin Scorsese’s debut feature.
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Leonardo DiCaprio in The Aviator (2004)
“…watching them brings to mind a comment made by john ford to a collaborator who was complaining about the miserable weather conditions in the desert when they were trying to shoot a picture. the guy said ‘look, mr. ford, what can we shoot out here?’ and ford replied, ‘what can we shoot? the most interesting and exciting thing in the whole world - a human face.’” - martin scorsese on john cassavetes’ films in a personal journey with martin scorsese through american movies
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John Cassavetes December 9, 1929 – February 3, 1989
When I hear the term “independent filmmaker,” I immediately think of John Cassavetes. He was the most independent of them all. For me, he was and still is a guide and teacher. Without his support and advice, I don’t know what would have become of me as a filmmaker. The question, ‘What is an independent filmmaker?’ has nothing to do with being inside or outside of the industry or whether you live in New York or Los Angeles. It’s about determination and strength, having the passion to say something that’s so strong that no one or nothing can stop you. Whenever I meet a young director who is looking for guidance and advice, I tell him or her to look to the example of John Cassavetes, a source of the greatest strength. John made it possible for me to think that you could actually make a movie—which is crazy, because it’s an enormous endeavor, and you only realize how enormous when you’re doing it. But by then it’s too late.
Nothing could have stopped Cassavetes except God, and He eventually did. John died much too soon, but his films and his example are still very much alive. He once said, “You can’t be afraid of anyone or anything if you want to make a movie.” It’s that simple. You have to be as tough as he was. He was a force of nature. — Martin Scorsese
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» Great Directors | Martin Scorsese “Cinema is a matter of what’s in the frame and what’s out. There’s no such thing as simple. Simple is hard.”
Source: schmuckonwheels
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If you don’t know who all of these are meant to be, shame on you.
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Martin Scorsese on the Importance of Visual Literacy
I think it is good if a young person wants to express themselves and take a video camera and go out. They’re going to find that they have to frame the image, and in framing the image, they’re going to find that they have to interpret what they want to say to an audience. And how do you point the audience’s eye to look where you want them to look and to get the point, the emotional, psychological point that you want to get across to them. They’re going to have to make that decision. The real making of the filmmaker’s when they look through that viewfinder to tell the story, and I don’t mean just telling a story man goes, you know, boy meets girl, boy loses girl, boy gets girl. No, I mean a story could be rain hitting a tree, leaves. That could be your story, you know, but how?
Martin Scorsese
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Set me free. (x)
•Shutter Island Scenery [3/10]
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“For the Record: Scorsese in Concert” A show that showcased the soundtracks from Martin Scorsese’s films.
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Happy Birthday Martin Charles Scorsese! (born November 17, 1942) “What does it take to be a filmmaker in Hollywood? Even today I still wonder what it takes to be a professional or even an artist in Hollywood. How do you survive the constant tug of war between personal expression and commercial imperatives? What is the price you pay to work in Hollywood? Do you end up with a split personality? Do you make one movie for them, one for yourself?”
Movies touch our hearts and awaken our vision, and change the way we see things. They take us to other places, they open doors and minds. Movies are the memories of our lifetime, we need to keep them alive.
Martin Scorsese (via howtocatchamonster)
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“…it was at once their cross and salvation. john’s approach was warm, embracing, focused on people. relationships were all he was interested in. the laughter and the games, the tears and the guilt; the whole roller coaster of love. cassavetes embodied the emergence of a new school of guerrilla filmmaking in new york. his films were literally made on the credit plan. john was fearless, a true renegade setting up one psychodrama after another with the complicity of a whole close group of actor friends. he insisted on having fun when making films while looking for some kind of truth. maybe even a revelation.” - martin scorsese on john cassavetes in a personal journey with martin scorsese through american movies
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“…watching them brings to mind a comment made by john ford to a collaborator who was complaining about the miserable weather conditions in the desert when they were trying to shoot a picture. the guy said ‘look, mr. ford, what can we shoot out here?’ and ford replied, ‘what can we shoot? the most interesting and exciting thing in the whole world - a human face.’” - martin scorsese on john cassavetes’ films in a personal journey with martin scorsese through american movies
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“…both are places for people to come together and share a common experience, and i believe there’s a spirituality in films, even if it’s not one which can supplant faith. i find that over the years many films address themselves to the spiritual side of man’s nature - from griffith’s film intolerance to john ford’s the grapes of wrath, to hitchcock’s vertigo, to kubrick’s 2001 and so many more. it’s as if movies answer an ancient quest for the common unconscious. they fulfill a spiritual need that people have to share a common memory.” - martin scorsese, a personal journey with martin scorsese through american movies