A Quote by Anthony Anderson

Leo couldn't deliver Mr. Martin Scorsese his Oscar with 'The Aviator', but I will go on record to say I will do so in 'The Departed'. — © Anthony Anderson
Leo couldn't deliver Mr. Martin Scorsese his Oscar with 'The Aviator', but I will go on record to say I will do so in 'The Departed'.
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.
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.
I got really into Martin Scorsese as a teenager, so then it was kind of the whole reason I wanted to be an actor. Just like tons of young actors, I think, get freaked out by the Scorsese/DeNiro movies. I loved all his movies in the '90s, too. Then I got a part in 'The Aviator' and couldn't believe it.
I love Martin Scorsese, but there's another indication of what The Oscars are all about. They've ignored Martin Scorsese for going on 35 years now, and I wouldn't be surprised if they passed him over again. He'll get one of The Oscars they give you at the end of your life because they feel guilty for never giving you an Oscar.
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.
Martin Scorsese was very much the actor's director. We were all very in awe of Martin Scorsese.
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.''
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.
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.
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.
In 'Training Day,' Mr. Washington's dry-ice grandeur - the predator's reflexes contrasting with a pensive mouth - deserves regard, and his powerhouse virtuosity will almost guarantee him an Oscar nomination.
We started this together, Leo. Seems only right you come along. You find us a ride, you're in." "Yes!" Leo pumped his fist. * * * * * Jason gazed up at the dragon and shook his head in amazement. "Leo, what have you done?" "Found a ride!" Leo beamed. "You said I could go on the quest if I got you a ride. Well, I got you a class-A metallic flying bad boy! Festus can take us anywhere!
Mr. Bradley-Mr. Martin is two people because it is a statement of the impasse of dualistic universe which he has created, they have created. I think that any dualistic universe ends in Nova. Mr. Bradley-Mr. Martin is a kind of God. A God of stupidity, cowardice, ugliness.
Griffin Dunne and I were both terrified that Martin Scorsese didn't think we were very good - and if he didn't think we were very good, that was it. That was the end of the line. If Martin Scorsese thinks you stink, you stink.
Then there was Nico di Angelo. Dang, that kid gave Leo the freaky-deakies. He sat back in his leather aviator jacket, his black T-shirt and jeans, that wicked silver skull ring on his finger, and the Stygian sword at his side. His tufts of black hair struck up in curls like baby bat wings. His eyes were sad and kind of empty, as if he’d stared into the depths of Tartarus—which he had.
Go on writing plays, my boy, One of these days one of these London producers will go into his office and say to his secretary, "Is there a play from Shaw this morning?" and when she says, "No," he will say, "Well, then we'll have to start on the rubbish." And that's your chance, my boy.
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