Masterclass.martin.scorsese.teaches.filmmaking.... Official
Most filmmaking courses teach “rules” (e.g., 180-degree rule). Scorsese teaches why you break them. He spends 15 minutes on a single shot from The Age of Innocence explaining how a slight camera push-in conveys repressed desire. He emphasizes “finding the emotion first, then the technique.”
Surprisingly, Scorsese spends little time on his own fame. Instead, he credits his influences (John Cassavetes, Powell & Pressburger, Satyajit Ray). He admits his mistakes – e.g., a failed dolly shot on Taxi Driver that he now regrets. That humility is rare.
Scorsese is a rambler. Some lessons feel like he’s searching for a point. The 4 hours could easily be condensed to 2.5. The workbook helps, but the video sometimes lacks clear takeaways.
If you approach it as a , you’ll leave inspired. If you expect a blueprint for your first indie feature, you’ll be disappointed. MasterClass.Martin.Scorsese.Teaches.Filmmaking....
The Scorsese MasterClass is less a “how-to” and more a It will make you a more critical viewer, a more intentional storyteller, and a more passionate filmmaker. But it will not teach you to pull focus or write a shooting schedule.
Here’s a deep, critical review of . Overview Released in 2017 as part of MasterClass’s early premium lineup, Martin Scorsese Teaches Filmmaking is often cited as one of the platform’s flagship courses. Unlike technical “how-to” classes (e.g., on lighting or editing software), Scorsese’s approach is philosophical, historical, and deeply personal . The class consists of roughly 4 hours of video across 30 lessons, accompanied by a 72-page workbook.
He constantly references his own films. That’s fine – it’s his class. But it means less time on universal principles. For example, his advice on directing children is just “be patient with them” – no concrete technique. His section on low-budget filmmaking is nostalgic (“We shot Mean Streets in 24 days”) but not actionable for today’s indie filmmaker. Most filmmaking courses teach “rules” (e
Unlike live workshops or university courses, MasterClass is one-way. You watch, you take notes, but there’s no homework critique. For a craft like directing, that’s a major limitation. You won’t get notes on your scene. Comparison to Other Filmmaking Courses | Course | Best for | Technical? | Feedback? | |--------|----------|------------|------------| | Scorsese MasterClass | Vision, tone, acting, editing | No | No | | David Lynch MasterClass | Creativity, meditation, sound design | No | No | | Aaron Sorkin (Writing) | Dialogue, structure | No | No | | Full Sail/NYFA (real degree) | Hands-on skills | Yes | Yes | | YouTube (e.g., Every Frame a Painting) | Specific techniques (e.g., Kurosawa’s editing) | Sometimes | No |
Scorsese brings in his longtime editor, Thelma Schoonmaker (3x Oscar winner). They break down the “Funny How?” scene from Goodfellas frame by frame. You see how a pause in dialogue, a cut on a blink, or a mismatched eyeline creates tension. This alone justifies the course cost.
It includes shot lists, script pages, and viewing assignments (e.g., “Watch The Red Shoes and note how color tracks character”). It’s designed to make you an active viewer, not a passive listener. Weaknesses & Limitations (Honest Critique) 1. Lacks Technical Depth If you want to learn how to set up a C-stand, expose for night exteriors, or sync sound – this course has nothing for you. Scorsese assumes you have a crew for that. He never discusses cameras, lenses by model, or lighting setups. For some, that’s inspiring; for others, frustratingly vague. He emphasizes “finding the emotion first, then the
A supplement to hands-on practice. Watch it, then go shoot a 2-minute scene applying one of his principles (e.g., “frame for the eyes” or “cut on gesture”). That’s where the real learning happens.
The course is called “Teaches Filmmaking,” but screenwriting gets only two short lessons. There’s almost nothing on raising money, festivals, distribution, or dealing with studios. Scorsese acknowledges he’s had producers handle the business side – so he doesn’t teach it.
