How Martin Scorsese Captures Authenticity — Directing Styles Explained

[Music] how do you make films that are highly authentic but also cinematic as far back as I can remember I always wanted to be a gangster this happens to be a theme with our next director today we'll be breaking down the directing style of Martin Scorsese it's very difficult to describe how inspiration hits you where it comes from for me there is no difference between the ring and the sidewalk in the bedroom it's different levels of intensity then it has a narrative of its own [Music] we think of that it's nearly impossible to define a director cinematic style by analyzing a single piece of the filmmaking puzzle we're going to show you how Scorsese approaches his decisions across seven areas of focus so that you can see how each little detail makes up the entire picture before we jump into our examples make sure to subscribe below and click the bell icon to stay in the loop let's jump in our first subject story Scorsese you tends to build stories that take place in in model worlds this can be Wall Street by becoming rich or organized crime but Martin Scorsese is all about character they can be self-destructive obsessive more than anything Scorsese loves flawed characters take Travis Bickel from taxi driver Travis is surrounded by an immoral world be cool he is isolated a complicated man who was both driven into madness by the world around him but yet determined to take charge listen you [ __ ] you screwheads here's a man who would not take it anymore a man who stood up against the scum that [ __ ] the dog's to fill the [ __ ] here is someone who stood up scorsese he crafts his scenes in a way where we empathize with Travis [ __ ] creeps and lowlifes and degenerates we believe his intentions are pure even if we don't agree with his methods so remember if you want to approach story like Martin Scorsese look for flawed characters some of which live in immoral worlds because these characters live in high state settings you'll always have an opportunity for an exciting scene to learn how to build better character arcs check the description for a link to our series on character development where we provide you with a step-by-step guide to craft more compelling characters our second subject production design Scorsese often places his stories in authentic worlds and surrounds them with raw gritty and realistic imagery real apartments real restaurants real villages set in cities such as Paris Tibet Japan Boston and of course New York there's no sci-fi no fantasy and this grounds his narratives in our world take a look at this sequence in the wolf of Wall Street we begin at the auto garage the building is dusty the AC unit is ill hung ask you the available sign hangs ever-so-slightly and wardrobe each of Jordans hometown friends from Queens is dressed in a way that not only informs us of their character but makes us think I know someone back home the dresses like that and that makes it relatable some professional coming the characters may seem ridiculous especially Brad the ultimate Mook watch or March so remember if you want to approach production design like Martin Scorsese surround your characters in the most realistic and raw environments it may not be flashy stylistically but that may be a good thing if you want the viewer to relate to your characters make sure to check the description below for a free production design video masterclass that will help you identify and capitalize on every production design element in your scenes our third subject color often scorsese avoids bold color grades and choices that may distract though he does like to use color to signal danger a color can be associated with characters as an identifying mark look at samraat science suit it's ostentatious color can draw unwanted or unintended attention you know I get calls from back home every [ __ ] day which is a bad idea when you operate in an immoral and secret world let's take a look at good fellows the gang has just pulled off the biggest heist of their lives two million dollars Port Authority police say four million dollars and when one of the gang members makes a large purchase is itse gorgeous they could have made the car white or silver or any other color but he chose pink why because the point of the car is to draw attention don't buy anything don't get anything the exact thing Jimmy was hoping to avoid are you get excited for it I get excited about because you're gonna get us all [ __ ] pinched that's why what are you stupid s'matter with you I apologize what's the matter with you so remember if you want to approach color like Scorsese take advantage of color as a narrative device something that not only elicits emotion on a psychological level but also draws attention to your characters make sure to check the description below for a free e-book on using color and film where we provide numerous examples of color schemes from your favorite films and help you find the right color palette for your own projects our next subject cinematography great cinematography is a combination of many different techniques like lighting camera movement lens choice and framing Scorsese likes to use practical lights to help illuminate his scenes which helps with the authentic look he will use pans tilts zooms and large camera moves to simulate and enhance the emotion of the scene take the camera work in Cape Fear he will use a slow camera move to build dread and suspense or a fast camera move to inject energy if someone is surprised he will amplify this with a quick push in another Scorsese trademark across his films when a character dies he often shows them in an overhead shot you often get the feeling that these shots represent God or the afterlife he was raised Catholic after all so remember if you want to take a chapter from Scorsese cinematography use practical lights in the frame to help illuminate your scene and taiyo camera movement to emotion make sure to check the description below for a free cinematography techniques cheat sheet that provides dozens of helpful tips that will hone your craft for Scorsese camerawork isn't enough to make things cinematic our next subject editing Scorsese and his editor Thelma Schoonmaker have a few calling car one is their ability to cut out dull moments there is a blistering pace and energy provided by the cuts quick take the chase scene from the departed as william follows colin we have quick little slices of imagery cut in for energy and context feet on the pavement bodies walking in front of the frame obscuring both our view but also Williams as he tries to focus the sound is pulled out its a jagged chase achieved with jagged cuts and slow motion the sudden appearance of a car screeching to a halt when Williams phone rings we get three quick cuts on his face and as the tension grows and Colin readies his knife the edit slows down quite possibly one of the most notable editing techniques Scorsese uses his voice-over narration combined with montage Vegas everybody's gotta watch everybody else take this scene from casino he uses his pants to blend cuts together as if the camera were jumping around the casino floor from the floor men the shift bosses are watching the pit bosses the casino manager is watching his shift bosses I'm watching the casino manager and the eye in the sky watching soil even into the backroom add the rafters plus we had a dozen guys up there most of the next cheats who every trick in the house so remember if you want your editing to take lessons from Scorsese's films use the energy and pacing of your cuts to support the motivation behind each moment in your scene use montage and voice-over to support the intentions of the scene why would you be so cruel to the chain of [ __ ] hibachi restaurants to take me down next sound design Scorsese sound design is all about enhancing the action on-screen take the scenes in Raging Bull West course a/c and his sound designer Frank Warner used various sounds to enhance the energy in the scene sometimes it was dry ice on glass he used the Bray of an elephant during punches or horse shudder [Music] other times the drum distorted tapped a time or two Scorsese often uses sound design to help mask or even punctuate cuts with a pop of flashbulbs [Applause] and when something is really important the richest sound you have to offer is silence [Music] [Applause] so remember if you want to use your sound design to take lessons from Scorsese use unconventional and exaggerated sounds to support the visuals focus on creating a mood there is one more thing that Scorsese is known for music gods they ware and Scorsese uses music in his films a lot he leans towards rock music and I want what I gotta get him I got enough mouths to feed instead [Music] he's been quoted as saying he cuts his films to music linked to his memories as a child where neighbors had their radios faced towards a street music poured down on him from the city windows above and will often have scenes with diegetic music which is when the source of the music inhabits the physical space of the scene [Music] happy pee I've got those happy feet give them up lowdown pee and then being dancing and the style of music could be described as fun Skol says he loves to let the music in his films helped to dictate the rhythm of his cut take this scene from the departed we begin the scene outside the music is there but it's muted when we move inside the music is louder but still in the background as if it were playing over the convenience store radio keep on calling me Babu is sing [ __ ] I'm trying to help you I'm your friend so when William goes to pay the store owner hey you fellas come from Providence Dissidia business where we come from is in our whatever in cannolis the sound has been turned up and the energy of the music matches the energy of the sea so remember if you want to use music the way Scorsese does let the rhythm influence your cut build scenes that can have a Dietetic source of music blend both of the moments together for greater impact to see the entire fight scene from The Departed chart by short make sure to check the description below for a link to the storyboard so how does Scorsese build films that are both authentic but also cinematic Scorsese is drawn towards authentic stories and often uses real-life accounts for his films he uses production design that heightens the authenticity and dissolves the barrier between viewer and screen he uses color as a narrative device and avoid distracting color grades his cinematography is tied to the characters emotions and will support them by any means necessary very stylized for Scorsese and shoemaker there is a blistering pace and energy provided by the cuts his sound design can be extremely and at other types non-existent he uses real-life music that inspires both his visuals and his cut the result his films have a heightened sense of reality ground in style they are both authentic but also cinematic there are even more Martin Scorsese film making techniques which didn't we touch off which real favorite was all this legal absolutely [ __ ] not tell us in the comments don't forget to sign up for studio binder it's free to get started subscribe to our channel below click the bell icon for notifications and follow us on our Instagram page we'll see you in the next video [Music] you

Channel: StudioBinder

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Keywords: Martin Scorsese Movies, Directing, Filmmaking theory, Filmmaking, Film school, Filmmaking directing, Martin Scorsese Irishman, Directing movies, Video Essay, Film Analysis, Martin Scorsese new movie, Martin Scorsese directing, Martin Scorsese Masterclass, Watchmojo, Every Frame a Painting, The art of silence, filmriot, Netflix, Goodfellas, Taxi Driver, The Departed, The Irishman, Raging Bull, Martin Scorsese editing

Id: XCLmvbe3D2A

Length: 20min 19sec (1219 seconds)

Published: Mon Nov 25 2019