Film & TV
Lesson time 1:46 min
Martin dissects the voice-over in François Truffaut's film, explaining how it pushes the story forward and gives the audience copious information about the characters. Martin also analyzes the composition of frames and the effect of the music.
Topics include: Scene From Jules and Jim (1962) Directed By François Truffault
This is the beginning of Jules and Jim-- the first three or four minutes which influence the style of Goodfellas, and Casino and Wolf of Wall Street, and so many. But here you see-- I think a lot of it has to do with the relentlessness of the voiceover and the rapid speech, and also the pace of the music under it. It's pushing the images forward, pushing all of this storytelling forward. They're saying so much about each character. [FRENCH SPEECH] There's no connection-- straight narrative-- with the images. It just goes everywhere. [FRENCH SPEECH] Particularly at this moment, when he's introduced to the girls-- that image comes on very quickly and leaves. The pans now-- the change of locations is something that is completely unexpected. But here, between the voiceover, the movement of the actors in the frame, the compositions in each frame, and the driving force in the music-- the beat of the music under all of this-- it gave me the impression, the possibility of doing an entire film this way, or at least having the freedom. It feels like it's a sense of freedom. Anything can happen at any moment. You weren't tied to a direct story, even in this-- even if it was a story to the extent of a character walking in a scene, sitting down, getting up, walking around, or walking in a park. This is a-- the narrative is completely fractured, I think, by this extraordinary sequence.
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 film class, the Oscar winner teaches his approach, from storytelling to editing to working with actors. He deconstructs films and breaks down his craft, changing how you make and watch movies.
The second half was better than the first, especially when we hit editing which might be the best constructed and most practical lessons.
This class was tremendously more valuable than the first one I tried. I think more practical lessons would be valuable.
I enjoyed hearing about Martin's history and how that factored into the type of films and stories he would tell. I truly believe the filmmakers' identity truly informs their work. The class was less of a hands on apporach as I had hoped, but none the less it was excellent.
I'm an actor and a musician, who's looking to step up and do more with his creativity. I've always thought about filmmaking, and this course inspired me to take that chance and gather all that's required to make the transition.