A Quote by Martin Scorsese
If you’re looking for the origins of film culture in America, look no further than Amos Vogel.
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Amos Vogel was a mentor, a guiding light for me. In his presence, you always rose. But his importance to me is of minor significance. What is significant is that with him an entire epoch ends. The Last Lion has left us.I am still not capable - or rather unwilling - to understand the fact that Amos passed away, because a man like him cannot be dead. His traces are everywhere.
The further and further we look out with our telescopes and the further and further we look in with our microscopes, the larger and larger and smaller and smaller the universe becomes in order to escape the investigation because we are the universe looking at itself.
There are many similarities between India and America. If you look at the last few centuries, two things come to light. America has absorbed people from around the world and there is an Indian in every part of the world. This characterizes both the societies. Indians and Americans have coexistence in their natural temperament. India and the United States of America are bound together, by history and by culture. These ties will deepen further.
Fast drivers can see no further than slow drivers, but they must look further down the road to time their reactions safely. Similarly, people with great projects afoot habitually look further and more clearly into the future than people who are mired in day-to-day concerns.
If you want to talk further about a relationship with Russia, look no further than the Clintons. As we've said time and time again, Bill Clinton was paid half a million dollars to give a speech to a Russian bank, and was personally thanked by Putin for it. Hillary Clinton allowed one-fifth of America's uranium to - reserve to be sold to a Russian firm whose investors were Clinton Foundation donors. And the Clinton campaign chairman's brother lobbied against sanctions on Russia's largest bank and failed to report it. If you want to talk about having relations, look no further than there.
Very often the people who are shooting your film do not look like you if your film is brown-centric in some way. What is very interesting is to be going through these scenarios and turning around and looking at so many faces that are not yours. Even though those faces are looking at you in love, it puts you in a space when you are on a plantation in that condition. I think that it allows you to see further into possibly what that place really was for someone else, except thank God we're with people who love and respect us.
Look at your life. Look at the ways in which you define who you are and what you’re capable of achieving. Look at your goals. Look at the pressures applied by the people around you and the culture in which you were raised. Look again. And again. Keep looking until you realize, within your own experience, that you’re so much more than who you believe you are. Keep looking until you discover the wondrous heart, the marvelous mind, that is the very basis of your being.
When we look out into space, we are looking into our own origins, because we are truly children of the stars.
This film business, perhaps more so in America than in Europe, has always been about young sexuality. It's not true of theatre, but in America, film audiences are young. It's not an intellectual cinema in America.
If I ever go looking for my heart's desire again, I won't look any further than my own back yard. Because if it isn't there, I never really lost it to begin with!
I've worked with people who are much further to the left than I am and much further to the right than I am. At the end of the day, who gives a ... . Good for you. This is America. Vote your conscience.
For proof that our culture has gone to the dogs, look no further than the bizarrely parental ways many Americans talk about our furry friends.
The language of film is further and further away from the language of theater, and is closer to music. It’s abstract but still narrative. Everything feels less rehearsed. It’s more experimental than classical.
My first film I made, "Permanent Vacation," we shot in 1979 for like $12,000, part of which I got a fake car loan for that Amos Poe told me you could do that. And, yeah, I had no idea what I was doing. It was just like, well, we're going to try and do this. Partly because I had been following Amos Poe and Eric Mitchell around for about a year, and I worked on some of Eric's films as a sound recordist and stuff.
When you're making a film, you don't really have time to consider what the whole of your film is. And then, when you're releasing your film and promoting your film, you're looking at it in a different way. Then, as you move away from it, you start to look at it objectively and think, 'What could I have done better?'
They know they’ve won,” Carter guessed. “They’re making a show of it.” “Yes,” Amos said. “Well, let’s blow up the boats or something!” I said. Amos looked at me. “Is that your strategy, honestly?
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