scorsesely:

FAVOURITE SHOTS: After Hours (1985)

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freecocaine:

The days go on and on… they don’t end. All my life needed was a sense of someplace to go. I don’t believe that one should devote his life to morbid self-attention, I believe that one should become a person like other people.

(Source: mcavoyer, via thegoodfilms)

Within the nihilistic context of The Departed, Jack Nicholson played mob boss Frank Costello off his fellow actors like a pinball, reveling “in perpetrating the unexpected,” as Shirley MacLaine once described Jack whenever she went up against him in front of the cameras.  “Planned response to Nicholson was not a good move,” she said, following Terms of Endearment.  “Better to leave yourself open.  Homework was better left at home.  He challenged me to take a chance and not plan my moves or feelings.”  Jack did the same with DiCaprio and Damon, catching them off guard and behaving outrageously to elicit authentic surprise.  He spilled lighter fluid and lit a table on fire without telling DiCaprio beforehand and unexpectedly whipped out his strap-on in a porn theater scene with Damon.  —Excerpt from Five Easy Decades by Dennis McDougal

(Source: mattybing1025)

(Source: deniro-pacino-cohen, via scorssese)

(Source: theswintons)

(Source: phil-hartman, via oldfilmsflicker)

Martin Scorsese, photographed by Norman Seeff, 1986

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lynxolita:

Billie Perkins and Jodie Foster photographed by Steve Schapiro on set of Taxi Driver (1976) 

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nicolaswindingrefns:

I’d imagine the whole world was one big machine. Machines never come with any extra parts, you know. They always come with the exact amount they need. So I figured, if the entire world was one big machine, I couldn’t be an extra part. I had to be here for some reason.
Hugo

Martin Scorsese :  In Raging Bull, I guess the boxing scenes have a lot to do with the action sequences in my mind. All this editing and all this camera movement that I’d been exposed to for the past 25 years or 30 years came into play in those sequences, and Hitchcock had a lot to do with it, there’s no doubt, particularly in designing the scene where Sugar Ray Robinson, in the third bout that they have, when La Motta’s on the ropes, looks up at him, and Sugar Ray comes in for the kill. And there’s a kind of edited sequence of punishment that this character’s taking. I based it on, shot by shot, the shower scene of Psycho. And so I designed it correspondingly, in a way. The glove corresponds to a knife. And so, we shot it that way.

(Source: lawyerupasshole, via capsicle)

bicyclethieves:

“You have to remain strong. That’s the kind of filmmaker I want to encourage. Orson Welles was the one who said, you know, you can learn anything you need to know about filmmaking— that’s camera, sound, celluloid, video at this point— in four hours. It has nothing to do with anything. It has nothing to do with it… It has to do with what you want to say. If you feel you have something to say, you’ll find that way to get it said, on film, and not let anyone or anything chip away at that or tarnish it, because it’s something special and precious.”

- Martin Scorsese

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