Quotes

I think the women have a particular ability to work with strong directors. They can collaborate. Maybe there's less of an ego battle.

I'm not a person who believes in the great difference between women and men as editors. But I do think that quality is key. We're very good at organizing and discipline and patience, and patience is 50 per cent of editing. You have to keep banging away at something until you get it to work. I think women are maybe better at that.

People expect artists to be too normal, I think. I've been around enough of them now to see that they're very extraordinary human beings who behave differently than ordinary human beings. If they weren't as sensitive as they are they wouldn't be great artists. They are not the same as us. People should just learn to accept that.

For me, Raging Bull (1980) is like my baby. It was my first major feature film. It is pure gold - beautifully directed, incredibly well acted, wonderful sound effects - that being my first break in feature film, making it is like my firstborn.

From MTV on, the speed of editing has increased, and that is now entering into narrative editing. People are not relying on good shots to tell the story, and I don't think you can sustain that kind of cutting for the full length of a film.

That is the one that has never gotten recognition. But I can't tell you how many people talk to me about that movie. There is a ripple that's going on. Bertrand Tavernier, the really wonderful French director, just wrote a review of it again. I have friends, when they have friends over for dinner, they make them watch it. It never got its due because it's about compassion. That's why. Everybody hated Casino (1995). They would say, 'It's not GoodFellas (1990). That's right. It's not. It's Las Vegas. It's not GoodFellas (1990). And now everybody loves Casino (1995). Now it's a big cult film. Raging Bull (1980) was a disaster and wasn't recognized for 10 years. The King of Comedy (1982) was a disaster, now everybody loves The King of Comedy (1982). This happened to so many of [Martin Scorsese] our films. But the one that's never, ever come back is Bringing Out the Dead (1999).

Film schools tell me they have a hard time getting students to watch older films, particularly black and white ones, and it is devastating. That is like throwing away 85 years of the art, when masterpiece after masterpiece were being made.