“No doubt I’ll always be interested in underworld sto­ries. But no cutesy films about mama’s pas­ta and people getting married. I can’t stand that.”

"We went in thinking, we'll document the Band's last concert and maybe we'll get something, maybe we won't. Then when the footage came back I just said, 'Wow. This is fantastic. We've got a movie.’ ” 

"Televisions blare from every room in the Chateau Marmont. Reagan's in surgery... Jim Brady's near death... Dan Rather's in tears. The coun­try's gone crazy. The world's about to col­lapse... And the Oscars have been postponed until tomorrow."

“Watching the filming, one wonders how many potential ‘taxi drivers’ stalk the city streets. Where does life begin and Central Casting end?”

“I like the idea of spurting blood. It's like a, God, it's really like a purification, you know, the fountains of blood. It's a personal thing”

In 1982, Terrence Rafferty spoke to Martin Scorsese’s longtime editor about the art of the cutting room.

Part two of the Museum of Modern Art’s retrospective of this on-the-cheap studio unleashes a fresh arsenal of little-seen discoveries

“I see myself kind of like a tenor. And a tenor needs to hit those high notes once in a while.”

The Museum of Modern Art's two-part series attests to Republic's legacy of cost-effective genre allure