Chapter 2 of 30 from Martin Scorsese

Beginnings

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Martin explains how he realized that filmmaking was his true calling in life. He also talks about the importance of watching the old masters of cinema, from Orson Welles to Max Ophüls.

Topics include: You Must Do What You Are Called to Do • Watch the Old Masters

Martin explains how he realized that filmmaking was his true calling in life. He also talks about the importance of watching the old masters of cinema, from Orson Welles to Max Ophüls.

Topics include: You Must Do What You Are Called to Do • Watch the Old Masters

Martin Scorsese

Martin Scorsese Teaches Filmmaking

In 30 lessons, learn the art of film from the director of Goodfellas, The Departed, and Taxi Driver.

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Study with Scorsese

Martin Scorsese drew his first storyboard when he was eight. Today he’s a legendary director whose films—from Mean Streets to The Wolf of Wall Street—have shaped movie history. In his first-ever online class, the Oscar winner teaches his approach to filmmaking, from storytelling to editing to working with actors. He deconstructs films and breaks down his craft, changing how you make—and watch—movies.

Watch, listen, and learn as Martin teaches his first-ever online class.

A downloadable workbook accompanies the class with lesson recaps and supplemental materials.

Upload videos to get feedback from the class. Martin will also answer select student questions.

Reviews

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

I enjoyed that he drew on a wealth of knowledge and experience, and he was truly inspirational in recognizing that he gets into overwhelm but has just learned how to see past it, and do the work.

I can't say enough good things about Martin Scorsese. Every single lesson in this class left me with some new insight, thought, or, since we are talking about film, angle from which to view storytelling in this medium. This was the first but not last time going through this class. I recommend this masterclass for anyone interested in or currently pursuing a career as a filmmaker.

Simply Amazing! Thank You for sharing your experience! God Bless YOU!

Brilliant! I have rewatched a few of Scorsese's films, and now look at them in entirely new ways.

Comments

Don M.

Drawing parallels between the experience of light and imagery inside a church and the experience of seeing films / the work of designing films to create a smilier experience - this is striking. Same with his view of the desire to make films needing to "come from inside you", creating a parallel with a religious vocation - had not expected this. Myself, am not "religious" these days but his statements on these issues speaks a language which I find resonates, and also which speaks about how film, can engage people emotionally at a deep and elemental level.

pablo B.

I like the majority of films of Martin. He is, indeed, a big Director. One of the best in the last 30 years. He inspire me so much that I have write a script that would be perfect to him. It´s a real story and is incredibly awesome. Is also about faith and fight for love. I´m sure he would love it! Anyone has his email?? ;)Thanks!

Diana H.

When I look over all the films he has made I realize so many that resonate with me that I never even knew he was part of. Twenty years ago I did a report for school on the Woodstock Documentary I was just a kid and then the next thing I did was go make a documentary about The Pike Place Market in Seattle. I interviewed my Italian Grandma who worked at the bakery. HAHAHAH! I think many of us who lived in NY always fantasized about old NY because of his films. Hearing what he has to say about his calling and his spiritual life moved me. That it is ok to just know you have a film you have to make not that you have decided you are a career filmmaker. Extraordinary .

A fellow student

Being born in the New York City Regent, there is always something going on in the city to be inspired by and when you think you seen it all you discover something new each day.

A fellow student

Ok having to press the NEXT CLASS button is getting on my nerves. And why does it bounce us out of full screen ?

Partha B.

Powerful narrative about his calling, and his upbringing. And his discussion on the history of old cinema. I wish he described briefly what a nitrate film was, and so forth. Yes, you need to know why you're rejecting some films when you're rejecting. That's your analysis in your mind. I have rejected Bollywood once and for all. I have always rejected it: it is fake, dishonest, fluff, and yes, dishonest (repeat). I have a lot of respect for Satyajit Ray and Martin Scorsese, because they speak to me, and I connect with them through my life.

Margarita

I try to watch older films and classics regularly, but never managed to watch anything by Max Ophuls, ( Kubrick liked him to so he comes highly recommended). I also just bumped into this a list of Scorsese's fav films on mubi: https://mubi.com/lists/martin-scorseses-favorite-films Check them out!

Alexis J.

Love this sort of stuff. The way that Scorsese talks about the history of film is fascinating. To those interested in Americans film history, check out “A Personal Journey with Martin Scorsese Through American Movies” directed by Scorsese. Great 3 part (almost 4hr) documentary on the film that influenced him. One of the best documentaries ever in my opinion!

Sam C.

I took the lesson plan's recommendation and started a Pinterest board with some of my favorite shots in films I've seen. I'd love to see what others have made! https://pin.it/ptcmjzceaeez6w

Starla C.

I'm just starting the Master Class with Scorsese. I'm excited to be challenged and to learn a different perspective than my own. Hoping to kickstart some new personal projects after this!

Transcript

I'm often asked about the relationship between my original desire to enter the priesthood and my love for film. In other words, in a sense, going from one vocation, which is one calling-- it's called one calling, which is to the priesthood-- to another, which is a calling, which it is a commitment to a way of life. And that is to filmmaking. Of course, it's a very personal matter. But I will say that it was a matter of being honest with myself as best I could and realizing that you must do what you're called to do within yourself. The church and cinema, they both made sense to me. One particular priest, who was very, very influential in my upbringing from the age of 11 to age 17 or 18, and that made sense. He really made sense. He made sense about morality and life in the outside world away from the neighborhood and the church we were in. And this was a person that I wanted to be like. Of course, in order to be a true cleric, in that sense, you do have to feel that yourself. You have to be-- there's a commitment that you can't join it because you want to be like somebody else. It has to come from you. And I found all of this started to filter into storytelling, storytelling. This particular priest did help try to balance common sense in the world, and also moral sense. But the world we're in, there was the Bowery. What they'd call the bums at the time living on the Bowery were part of the world that I grew up. There was a criminal element, along with the working class people, who were just trying to stay alive, and the older Sicilians, Neapolitans, who had come to America who didn't speak English. So much was entangled, what went on in that neighborhood, and in my own life. And it was so powerful to me. The desire to tell these stories on film came from that. And a lot of what I experienced in church, for example, the visual impact of the church; the statues, whether they were plaster statues, or whether they were actually beautifully formed versions of some sort of sculpture; devotional paintings; stations of the cross; the light in the Basilica of St. Patrick's Old Cathedral; the light during the daytime, and how it shifted through the stained glass windows; the tone and the mood of the basilica itself; the nature of the rituals-- it was pre-Vatican II-- all informed me, of course, and my approach to cinema as it began making movies. The concept of morality, right and wrong, good and bad, good and evil, and how faith-- how faith is a major element in leading a life that could be a moral life. And how fate can also be something which contains a great deal of doubt. And how there's a struggle for faith. And this is something that comes from that time that was planted at that time. How does one live is the old story, as the mean streets, or a number of the other films. If you're in a world that is a-- you're in the front lines of a world tha...