**Martin Scorsese: **I have no idea. That's the second time I've heard it. The Argentinian director?

GQ: Yes, Martin Guigui. He directed National Lampoon's Cattle Call.

Martin Scorsese: Really?

GQ: How do you feel about it?

Martin Scorsese: Oh, nothing I could say about it except I don't think I could revisit the material, as they say. I think we said what we had to say at that time. All of us moved on. Different aspects of the same story basically keep making the rounds. You know?

GQ: What aspects?

Martin Scorsese: Rise and fall and self-destruction and the suffering and somehow coming through, in some cases. Coming through the suffering so that you change in a way. I don't know. It's dealing with yourself, really. Ultimately, at the end of Raging Bull, he's looking in a mirror and he's at comfort with himself, to a certain extent. He's not fighting, he's not beating himself up. That's all. So, I don't know where they're going to go.

GQ: To me that film felt so complete.

Martin Scorsese: Yeah. I think it is in terms of the time and place that it covered from him on stage, that's entertainment to him at the mirror at the end of the story and telling those aspects of his life. Yes. I really don't know what Raging Bull II would be.

GQ: I think it's just crazy. I mean you see that happen now with sequels. But it's usually with something like Twilight, where are all kinds of vampire-related spin-offs.

Martin Scorsese: The vampire thing always works for some reason. Always works.

GQ: I would love to hear your theory on that. What do you think it is about vampires?

Martin Scorsese: I happen to like vampires more than zombies.

GQ: Why?

Martin Scorsese: Well, a vampire, quite honestly, you could have a conversation with.

GQ: That's true.

Martin Scorsese: He has a sexuality.

GQ: And you don't want to get kissed by zombie.

Martin Scorsese: Yeah. I mean the undead thing... Zombies, what are you going to do with them? Just keep chopping them up, shooting at them, shooting at them. It's a whole other thing that apparently means a great deal to our culture and our society. There are many, many books written about it and many movies. I saw one in London when I was doing Hugo. I saw one late at night one weekend. It was called Colin, by a young filmmaker [Marc Price]. He shot it, I think, digitally by himself, edited it himself. It was savage. It had an energy that took the zombie idea to another level. Really interesting filmmaking. Disturbing.

GQ: I'll check it out. Your career has been so unpredictable. I think people would have had a hard time imagining that you would do a kids' film before you did Hugo. Some directors want to check off these genre bos: a comedy, a horror film, musical, a sci-fi film. Do you think about it like that?

**Martin Scorsese: **I thought that in the '70s. I tried. I really tried. I mean, we did an exploitation film right away: Boxcar Bertha, which was in the new genre of Bonnie and Clyde at the time. Now that's gone. Mean Streets was Means Streets. If anything, its lineage was as a film because it was really a story about friends and myself and my father. In any event, it had ties to the early gangster films of Warner Brothers in the 1930s. So, that's about it. But the rest, I tried. New York, New York, I tried something there. But I didn't know. I mean Francis Coppola at the time said you have to stay within the conventions of the genre. I said, "I'd like to change it." He said, "It's not going to work."