Martin Scorsese Quotes

I think from an early age I was aware of how a camera can tell a story, how a movie camera can affect how the narrative is told.

It's not a film-maker's job to explain his technique, but to tell his story the best way he can.

I love directing. It's where my heart is, and it's the way my mind works.

The technology available for film-making now is incredible, but I am a big believer that it's all in the story.

You can have a bunch of great actors in a film, but if you don't have anyone telling a great story, it's a moot point.

I don't believe in one slow panning-shot to show a place. It should unfurl in the story itself.

Moviemaking is about telling a story. And you need to know what story you are going to tell.

A novel is both a story and a piece of writing. A movie is a story and a piece of filmmaking.

It really doesn't matter whether it's an ensemble cast or it's a lead or what is perceived as a commercial or non-commercial or an offbeat film. None of that would matter, what really matters is the story and who's telling the story.

If there's an opportunity to tell a story through acting or directing or cinematography or a book, I will embrace that opportunity.

It was cinematographer George C. Williams who first told me about 'Sakhavu.' He said that the script was good and asked me to listen to it. Later, Sidhartha Siva called me and narrated the script over the phone.

With 'Nobody Knows,' I consciously set out to make a fiction film, which is a different approach from 'Distance,' but I still applied a lot of the things I learned from making 'Distance': for example, how to use the camera in relation to the children and how to create the right atmosphere on set.

What I like to do with every film is to bring a form, like a cinematographic proposal. If you watch 'S21,' it's a form; 'Duch, Master of the Gates of Hell' is a different proposal.

My films are personal-voice-driven films about human characters and the place we live. Technically, I'm an independent filmmaker.

I always wanted to work with Ashutosh Gowariker because of the interesting ways in which he depicts stories in his films.

As a director, what I'm trying to do is to create interesting stories.

I realised that I enjoyed direction while making 'DCH.' The process of putting a film together and working with the cast and crew felt good.

I learned a lot from Direk Brillante Mendoza and Bing Lao.

You could make a film out of just about anything so long as there is a clear vision about the story.

I have a list of things I want to say through my films and I have started doing that.

I'm not the greatest reader. I feel like I have a bit of dyslexia or something, and that's probably why I became a filmmaker. I have the need to communicate, the need to tell stories; and the need to understand stories led me to movies.

I think you can make a gorgeous movie on any piece of equipment. Look at 'Tangerine,' which is a beautiful movie shot on an iPhone. You see so many movies that are impeccably shot but are vapid, and there's no audience for that except for other cinematographers who just like to watch two-hour-long music videos.

Documentaries are inherently instinctual; you're constantly moment to moment, determining what the best place for the camera is to tell the story, usually in service of natural lighting.

As a filmmaker, every tool you get to tell the scene better is important.

When I went to Jamia, I thought I wanted to be a cinematographer or photographer because I liked telling stories in pictures, but my teachers explained that if you want to tell your own stories then that is what a director does.