Algerian - Editor | January 3, 1940 -
From the moment I met Martin Scorsese in 1962, he educated me about the films that had taught him so much about filmmaking. He had been deeply affected, even as a child, by great films that stretched his mind and struck into his heart, and he was eager to share them with friends and people who worked with him or with actors who were in his films.
Thelma Schoonmaker
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An actor's performance can be improved or shaped - or ruined - by what takes you use, how long you are on the actor's face, what line you put on the other actor's face, and when do you use close-ups or wide shots or two shots.
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In 'Silence,' there was no improvisation at all; really, you're dealing with a script and a 17th century way of speaking.
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I started in documentaries, and that was a great help to me with improvisation, because with documentaries, you're handed a big lump of footage, and you have to shape it and make it into a story - which I love doing.
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'Raging Bull' was badly received at first. It took 10 years for it to be recognised.
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When you're a film-maker, sometimes you have to be a slave to continuity.
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I do think there's not enough film history being taught and appreciated. Maybe it's being taught, but I've heard from professors that young kids don't want to look at black-and-white movies. And that's 85 years of film history, with masterpiece after masterpiece.
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I was just stunned when I came to America. I didn't know anything about rock music or football, and I felt very out of it... America was like a foreign country to me at first.
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Even in 'The Red Shoes,' a film that nobody ever has complaints about, there are enormous continuity bumps, and it doesn't matter. You know why? Because you're being carried along by the power of the film.
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I'm not a big believer in fate, but, boy, I've had a lot of lucky breaks.
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Throwing things out is one of the most difficult and important things you ever have to do.
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In 'Casino,' there was this scene where Bob De Niro tape-records Sharon Stone's phone call. Then he asks her about where she's going, and he catches her in a lie. It was a great scene, especially for Bob's work, but we found that, in light of the whole film, it wasn't needed.
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