Quentin Tarantino Quotes

Scorsese's been a hero of mine since I was young. If you saw 'Swingers,' you know I was definitely fixated on his body of work.

We were in love with 'Mean Streets' and 'Taxi Driver.' We had no idea why nothing remotely like that was done in Denmark.

I'm an absolute fan of 1970s New York in films like 'Mean Streets' and 'Dog Day Afternoon.'

I'm a child of that, the 'Bonnie and Clyde' to 'Raging Bull' period, you know. Those are the films that heightened my interest in acting and movies and everything.

When I was a teenager, you wanted to go to the movies. Go and see 'Mean Streets,' go and see 'The Conversation,' go and see 'Taxi Driver.'

When we were cutting 'Raging Bull,' Martin Scorsese was watching 'The Films of Hoffmann' on a 16-mm print over and over and over again.

I'd rather go for Scorsese and De Niro. I just think he was so much better.

Music was a big thing for me growing up and Scorsese and Tarantino both use music brilliantly in movies. They're probably two of the best at using music.

Martin Scorsese is one of the great filmmakers of all time.

You read a script and its based on 'Reservoir Dogs' and 'Pulp Fiction', and it goes right in the bin.

While still a young student at film school, I was lucky enough to get a golden ticket to a Martin Scorsese master class at BAFTA in Piccadilly: fancy, but technically still 'the flicks'.

Preston Sturges is one of my favorites. I learned about dialogue and timing from him - louder, faster, funnier. But I do love Mel Brooks.

I'd love to work with the people who really got the film industry going again through the '70s: Peter Weir, Bruce Beresford, Gillian Armstrong, Fred Schepisi.

When Scorsese shoots a violent scene, it's very uncomfortable - it's not like watching 'Rambo.'

I think Woody Allen calls it 'anxiety of influence.' When you're in your formative years and you watch a movie that makes you want to make movies... For Wes Anderson, it's Truffaut. I'm sure for P.T. Anderson it was Scorsese and Jonathan Demme.

My favorite Tyler Perry movie? Ugh, how can you decide? For me, it's basically like: Kurosawa, Tyler Perry, Martin Scorsese, in that order.

I worked with the best directors - Martin Scorsese, John Huston, David Lynch, Alfred Hitchcock. Alfred Hitchcock was great.

Every little interaction I had with Scorsese is forever tattooed on my brain.

From 'Midnight Cowboy' to 'Taxi Driver' is a brief era whose grit, beauty, and violence has been quite mythologized.

I'm influenced by those '40s, '50s, and '60s films: things like 'The Apartment' - I was a big fan of Billy Wilder.

For me, the stamp that I impose on stuff comes from the fact that in the '80s, when I was starting to write movies, I looked back to the '70s. So the films I enjoyed as a kid were the thrillers that came out of the '70s. Back then, you didn't have action movies; you had adventure films or thrillers.

I turned down a film that was offered to me in the very early '80s, a Scorsese film. That probably wasn't a good career move.

I had seen 'Lock, Stock and Two Smoking Barrels' and I thought that was a different kind of film than I'd seen before, with that kind of editing and slick camera movements.

Noir' has been talked about a great deal in the discussion of 'The Black Dahlia,' but De Palma's palllete couldn't be less monochrome; it's the very definition of garish.

A lot of comedies in the 1980s and 1990s had all these colors and were so brightly lit. But John Landis had this dark style, like a Scorsese film.