30 Minutes With Martin Scorsese
It’s not the first time, and it likely won’t be the last time, that Martin Scorsese inspires us. For the third season of Dinner for Five, John Favreau hosted this episode with maestro Scorsese and asked him, in thirty minutes, insightful questions, from filmmaker to filmmaker.
Scorsese, as always energetic and very clear about his body of work as well as his influences, shares his never dying passion and knowledge about filmmaking. The two men talked about his use of source music vs score, working with editor Thelma Schoonmaker, selecting the best performance vs a clean take, screen testing his movies, collaborating with studios, and many more fascinating subjects you can discover before watching in the Table of Chapters below.
Enjoy the ride, no doubt you will be inspired, and stay until the end credits for a oh-so Scorsese joke.
Table of Chapters
- Chapter 1: Scorsese’s influence on Favreau and Directors in General
- Chapter 2: Scorsese’s use of Camera as a character’s POV
- Chapter 3: Growing with Visual Storytelling
- Chapter 4: Score vs Source Music in Films
- Chapter 5: The Risk of Manipulating Emotions with Scores
- Chapter 6: Story Versus Plot
- Chapter 7: Showing Violence, Editing Inserts and Speed Frame Choices
- Chapter 8: Skipping Frames
- Chapter 9: The Family and Humor themes influenced by Westerns
- Chapter 10: His Interest in the aviator
- Chapter 11: Choosing the best performance vs the clean take
- Chapter 12: Evolution of his message over the years within the same genre
- Chapter 13: Caring About Corrupted Characters
- Chapter 14: Testing Films on Audience
- Chapter 15: The Last Temptation of the Christ
- Chapter 16: His relationship with Thelma Schoonmaker
via The Playlist
More Articles About Scorsese:
- Your Editing Lacks Continuity (But Does It Matter?)
- Scorsese and His Team Talks About Making “Hugo”
- The 85 Films That Shaped Martin Scorsese
- Thelma Schoonmaker Talks About The Art of Editing and Working With Martin Scorsese
check the archives for a taste of it.