Film & TV

Finding Your Personal Story

Jodie Foster

Lesson time 09:07 min

To help you find the story you want to tell, Jodie gets personal. She speaks candidly about failure, identity, and self-knowledge so you can learn her process for authentic filmmaking.

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Jodie Foster
Teaches Filmmaking
In her first-ever online class, Jodie Foster teaches you how to bring stories from page to screen with emotion and confidence.
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Preview

Moving you doesn't mean that you have to be in a puddle crying on the floor. "Moving you" means what inspires you, what interests you, what makes you passionate, what makes you obsessed, what makes you stay up all night thinking about something over, and over, and over again. Sometimes I understand what moves me, and sometimes I don't. For example, for some reason-- I don't know why-- when I see two people dancing, it just it brings a tear to my eye. And I'm not really sure why. Why is that? Do I have some kind of childhood trauma -- childhood trauma revolving around dancing? I don't think so. I think as I start pondering it, and I say watch, maybe, you know, two ballet dancers, or as I watch an older couple in a ballroom, you know, learning how to dance the tango, you know, what is it that gets me? And as I start thinking about that, you know-- why am I moved, why am I moved-- I start chipping away at those ideas. I come to understand that it's something about maybe two opposites that come together imperfectly to lean against each other in opposite ways-- this continual movement of two opposites trying to connect and not quite able to connect. So there, I took the personal experience-- something that had its foundation almost in something unconscious. And I was able to chip away at the ideas behind it. As you make a film, you're obsessed and attracted to something emotional. And then you try to chip away at the whys. If you can understand why something moves you, or even without understanding-- if you can experience being moved, then you can move somebody else. That, to me, is the most important role that filmmaking has is connection and making people better instead of worse. And the best way to start that is by hopefully trying to get better instead of worse. Big theme for me is-- is it people in spiritual crisis. I keep coming back to this. You know, every movie I tend to be drawn to, that I want to spend years on is about somebody who's going through a spiritual crisis. And this person-- this man or this woman-- is-- is trying to make sense of their life because they're trying to get better instead of worse. There are some directors that are really interested in behavior and in themselves, and they're not that interested in their character trying to repair themself. Martin Scorsese, for example, is really fascinated by men and violence and how they live this life or this culture of violence. But he's not as interested in how they repair that and become somebody better or become somebody greater. That's not his area of interest. But for me, that really is. And you'll notice that many of my characters are struggling with, you know, how do I become a more realized person? And that-- in many cases, that is the whole object of the film is to take that person from a lost state, from a broken state, to a state where they can suddenly, maybe start to repair themselves, whether it's the little boy in "Little Man Tate," ...


Storytelling in action

Go behind the scenes with two-time Oscar-winner Jodie Foster, star of Silence of the Lambs and director of Little Man Tate. In her first online film class, she’ll teach you how to bring your vision to life. Jodie discusses her experience on both sides of the camera to guide you through every step of the filmmaking process, from storyboarding to casting and camera coverage. Everyone has a story. Learn how to tell yours.



Reviews

4.7
Students give MasterClass an average rating of 4.7 out of 5 stars.

Is reallly cool to learn how to direct and create a story but also as an actor be aware of the process and what filmaking is as a actor-director.

I adored this Master Class with Jodie. I had the great honor of working with her twice and she is one of the absolute best!! Thank you so much for this!!!

Good class. Just remember you're in competition with YouTube, which is free. Get the Masters that have been forgotten that we all admire, copy, and emulate. Thanks and keep going.

best method, best masterclass i've done so far. she has a really easy way of explaining and showing things.


Comments

Tyler S.

I love how she talks about failure and feeling like a failure to herself, despite the numerous accomplishments she has achieved. It's super relatable and it's very true that feelings of failure can in fact be the motivator, rather than a negative thing.

Dan U.

I’m ‘feeling’ this artist whom I grew up watching and so adore because she never acted as a character...she because the character. Most importantly....when I say feel I mean those emotions that are almost impossible to describe but we all recognize them when they are projected toward us or we project them. Foster has that ability and is in a class by herself. Mia Shaw is pr has made meaningful contributions. Stay tuned....

Mia S.

"The stories that I choose to tell are usually, really quite difficult things to face. They're reckonings. That's something that I'm really drawn to is a reckoning - of myself, or of the other characters. To me, that's a bittersweet thing - the beauty of understanding but also the beauty of understanding how small you really are. And who you thought you were at the beginning, what you were obsessed with, what you were drawn to, inspired by - that story that you had to tell also transforms because you transform. It's a way of kind of repairing the self, and I don't know any other way. I guess that's the part that compels me to continually make films and to use that as my medium, is - I don't know what to do with all of these thoughts and feelings, and the only way that I know how to work them out and to come to terms with them is to get that paper and to write it down, to make choices, make decisions and say 'That's it, that's it, that's it,' kind of the way when you do an eye exam, you say 'that's in focus but that isn't' - shoving that to the side - 'that's in focus, but that isn't.' Every choice that you make, that kind of decisiveness, is a narrowing to be able to hone in on something that is simple and true."

Mia S.

"When a producer is hiring a director onto a job, he or she is hiring an unknown. A producer is hiring somebody who he's handing all of the reins to - he's handing all the power, really, to the director. And that's why it is such a scary thing to do for producers; it's probably why most of the directors that you've met in the past have been straight white men. Because frankly and psychologically, producers have always been comfortable handing over the risk of those reins to somebody that looks a lot like them. But these days, we have a much more diverse group of people, and producers are looking for that extra special thing that makes you more qualified than somebody else. What is that thing in a pitch that you're going to bring to the room that makes them trust you, that makes them feel that you have a strong vision, that when push comes to shove and there's a problem that you're going to be able to find it within you to troubleshoot. And I always believed that a personal, emotional language and a personal connection is the best thing to bring into that room. Yes, you can talk about the shots you're going to use, your casting choices, the intellectual reasons for why you like the project. The thing that has the most resonance is that you have a central, personal connection to the material. Don't feel shy about laying that out in the room. It's something that producers and the people that are in the business of hiring you will be very attracted to."

Mia S.

"Sometimes people ask me that question, 'Why are you talking about failure? You've accomplished so many things, how can you possibly have that feeling about yourself?' Well obviously, it's not an objective fact - our feelings about ourselves, our feelings of failure come from within. The feeling of never being good enough, being an imposter, a feeling maybe perhaps because I was a 'prodigy' as a child, for lack of a better word, is that I never believed that any of the attention that I got that I deserved. It just felt like I was born with good fingers or the ability to speak a language or I was born with a skill that I had no control over and that I kept getting a lot of attention for. Sometimes I like to describe it as being raised in the public eye, as having been dosed with a bunch of steroids, and you look in the mirror all the time and you're like, 'Oh wow, I have big muscles.' And then at some point, you have to stop taking those steroids, and you don't recognize the person in the mirror. That foundation - your foundation of your belief in yourself - is really on sand. It's not a real foundation, and you have to learn again to appreciate and understand what's worthy about yourself without the medication of the public eye."

Mia S.

"Big theme for me is people in spiritual crisis. I keep coming back to this - every movie I tend to be drawn to, that I want to spend years on, is about somebody who's going through a spiritual crisis. And this person - this man or this woman - is trying to make sense of their life because they're trying to get better instead of worse. There are some directors that are really interested in behavior and in themselves, and they're not that interested in their character trying to repair themself. Martin Scorsese, for exmaple, is really fascinated by men and violence and how they live this life or this culture of violence, but he's not as interested in how they repair that and become somebody better or greater - that's not his area of interest. But for me it really is, and you'll notice that many of my characters are struggling with, 'How do I become a more realized person?' And that - in many cases - is the whole object of the film, is to take that person from a lost state, a broken state, to a state where they can suddenly maybe start to repair themselves. Whether it's the little boy in 'Little Man Tate,' who is split between those two sides of himself and wants to bring those two sides of himself - represented by these two women - together in order to be a repaired and whole person; as an artist, whether it's in 'Home for the Holidays,' Holly Hunter is fired at the beginning of the movie and everything in her life that day is wrong and she's trying to piece together by going home these bits and pieces of her past to figure out who she was that was beautiful that she's forgotten. 'The Beaver' is about a broken man who's probably chemically depressed and probably desperately in need of medication - he's torn between thinking that life is either a life sentence or a death sentence, and rather than choose either one of those, he decides to save himself by using a survival tool: a puppet that he puts on his hand that he can then talk through. And by splitting himself, he can somehow repair this damaged self. 'Money Monster' is really about these three men that are motivated and obsessed and tortured by their feelings of masculine failure in front these incredibly strong women that they continue to disappoint. So the theme of failure is a big one for me - I grapple with it. I'm obsessed with it, and it doesn't matter what I accomplish, I always feel like I'm a disappointment in my eyes. And maybe that's a motivator to get me to continually try to be better."

Mia S.

"'Moving you' doesn't mean that you have to be in a puzzle crying on the floor. 'Moving you' means what inspires you, what interests you, what makes you passionate, what makes you obsessed, what makes you stay up all night thinking about something over and over and over again. Sometimes I understand what moves me and sometimes I don't. For example, for some reason - I don't know why - when I see two people dancing, it just brings a tear to my eye, and I'm not really sure why ('Why is that? Do I have some kind of childhood trauma revolving around dancing? I don't think so'). I think as I start pondering it and I say, watch maybe two ballet dancers or as I watch an older couple in a ballroom learning how to dance the tango - what is it that gets me? And as I start thinking about that - why am I moved? - I start chipping away at those ideas. I come to understand that it's something about maybe two opposites that come together imperfectly to lean against each other in opposite ways - this continual movement of two opposites trying to connect and not quite able to connect. So there I took the personal experience - something that had its foundation almost in something unconscious- and I was able to chip away at the ideas behind it. As you make a film, you're obsessed and attracted to something emotional. And then you try to chip away at the 'why's. If you can understand why something moves you - or even without understanding, if you can experience being moved, then you can move somebody else. That, to me, is the most important role that filmmaking has, is connection and making people better instead of worse. And the best way to start that is by hopefully trying to get better instead of worse."

Eddy J.

This is great. She is very insightful. We are learning from all her years of experience starting from childhood as an actor. The lessons are very well laid out and planned.

Vern N.

Loving this. I’ve always wanted to make movies but I just didn’t know where to start. As someone in their 40’s, on a completely different career path, I just struggle wondering how to get into that other world and this helps me draw focus onto maybe looking at just making something I care about and see where it goes from there.

Xavier L.

Jodie Is a Great Teacher! She brought so much clarity too something that can be so complicated! Thank you for the lessons.