“... continued to falter, it might be this: the younger generation of directors (Brian De Palma and Martin Scorsese especially), who were drawn irresistibly to the Hitchcockian themes of romantic obsession and male violence, responded to the way that Herrmann’s music invokes a yearning for a prelapsarian age in which these two qualities are not fatally ...”

“... Hours (1955) or Cape Fear (1962). (Both films were remade in the 1990s, by Michael Cimino and Martin Scorsese respectively; Haneke himself remade Funny Games in Hollywood in 2007.) The difference is that the criminals in The Desperate Hours or Cape Fear have a motive for assaulting the family, whereas in Funny Games they terrorise for the sake of ...”

“... Uninvited by Bill Clinton to join other high-achieving Italian-Americans, such as Nicolas Cage, Martin Scorsese and ex-baseball player Joe Garagiola, at the bean-feast held in honour of President Oscar Luigi Scalfaro, Corso is typecast as an involuntary amnesia case, a sleeve-tugger of enormous charm. A street poet in an age that has no use for poets ...”

“... In Martin Scorsese’s Casino, Ace Rothstein (Robert De Niro) remarks that Las Vegas is about ‘selling people dreams for cash’ and, in a memorable elaboration of this cliché, that ‘it does for us what Lourdes does for hunchbacks and cripples.’ Much the same has been said about the culture of cinema, and how Scorsese’s film stands in relation to its subject is an interesting question ...”

“... from within, from a recognition and rejection of human alikeness between watcher and villain. Martin Scorsese’s brutal, dazzling film about everyday life in the lower ranks of the Mafia, GoodFellas, plays with this gothic scheme of the watcher drawn into the criminal underworld, but with an irony that partly accounts for the work’s shocking ...”

“... In Martin Scorsese’s​ new film, Killers of the Flower Moon, a man asks another man to ask another man to kill another man. This sounds like the beginning of a joke, and the degree of delegation verges on the comic. The last man is killed, so the rest of the story is not funny. But then why are the first and second men screaming at each other in a farcical quarrel about back and front? Because the dead man was thought to have attempted suicide and the plan was to make it look as if he had succeeded ...”

“... drive; he didn’t do email; he didn’t answer the phone; and, with the exception of a few Martin Scorsese films, he didn’t go to the movies. He didn’t see many plays beside his own. He stuck to his last. His mind was more or less in a perpetual reverie about finding and wrangling his stories. By his own calculation, he spent about three ...”

“... I streak around later. I have a brief moment of panic. Is it wrong to meet the pope? Then: if Martin Scorsese did it, it’s probably fine.The photographer Andres Serrano is tall and his look is pastoral. His colour is mild and his eyes look like two skips of a stone across the water. This is not true in pictures but it is true in person. He walks ...”

“... scrambling movie decade that gave us Robert Altman, Francis Ford Coppola, Steven Spielberg and Martin Scorsese, there was nary a murmur from her (just imagine what she might have made of Elaine May’s Mikey and Nicky). We know from Nunez and others that Sontag boogied in Studio 54, and yet where was her disco inferno deep-think? Disco as tribal ...”

“... the movies, and in those days the movies looked down on TV from a great height. (In 2007, when Martin Scorsese agreed to direct the pilot of HBO’s Boardwalk Empire, it transpired that the director of Goodfellas had never watched The Sopranos.) Besides, whereas in film, as Biskind puts it, ‘writers are often treated like scum, television is a ...”

“... with his interlocutor’s recording machine. Here the ‘posthumous conversations’, as Martin Chalmers has it, raise other questions. In one Hammerstein says: ‘If it had been up to me, I would already have fired on the Nazis in August 1932.’ What he actually said was: ‘If the National Socialists come to power legally, that is acceptable to ...”

“... being photographed. He isn’t a ‘known American’ or a spokesman for himself in the way of Scorsese, Coppola, Tarantino, Spike Lee or just about any other director. For fifty years he has been involving us in questions about cinema – what it is, what it might be, whether it matters. He has perplexed his admirers; several of his films are regarded by ...”

“... In Martin Scorsese​’s film adaptation of The Age of Innocence, facsimiles of James Tissot’s paintings hang on the walls of the Beauforts’ Gilded Age mansion, the setting for the annual Opera Ball, where New York plutocrats dance with women in Tissot-inspired dresses. An oversized replica of Too Early (1873) shows the sniggering that meets a group of early arrivals at a ball ...”

“... had made ‘a film for everybody’. The Godfather was an ideal merging of ‘commerce and art’. Martin Scorsese’s Mean Streets was ‘a triumph of personal filmmaking’ and a gripping thriller. For Sontag, these films were merely a case of Hollywood ‘plagiarising’ European innovations and rendering them ‘banal’. For Kael, they rejuvenated ...”

“... booth glows faintly behind Anna, in the depth of the shot, as she paces restlessly up and down. In Martin Scorsese’s The King of Comedy (1982), fantasist Rupert Pupkin (Robert De Niro), on a first date with barmaid Rita (Diahnne Abbott), hopes to impress her by leafing through his autograph album. It’s not long before our attention drifts away from ...”