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SCORSESE
CHRISTOPHER
M I C H A E L
W I E S E
KENWORTHY
P R O D U C T I O N S
All rights reserved. No part of this book may be reproduced in any form or by any
means without permission in writing from the author, except for the inclusion of
brief quotations in a review.
Shoot like Scorsese : the visual secrets of shock, elegance and extreme character
/ Christopher Kenworthy.
pages cm
ISBN 978-1-61593-232-0
2015013291
CONTENTS
I N T R O D U C T I O N vii
H O W T O U S E T H I S B O O K x
C H A P T E R 1 1
BARRIERS: Hugo
C H A P T E R 1 0 121
INTRODUCTION
Everybody knows that Scorsese uses the greatest actors in the
world, so how can you hope to shoot like he shoots? The best
actors need the best directors. Without the right camera moves,
an actors performance is hidden. You can learn to reveal story
and show the depths of your actors performance by learning the
techniques that Scorsese likes best.
Although hes happy to be conventional a lot of the time, in important scenes or vital moments he shows richer style and flare.
There are times when his shots are incredibly deep and ostentatious, and his dialogue setups are so creative that you can hardly
believe youre watching the same director. His skill is to know
when to use the more imaginative shots and when to relax into
more conventional work.
vii
Hes made a lot of films, including many great films that arent
even touched on in this book, but the essential techniques are all
covered here. This book shows you the moments when he rises
out of the ordinary and uses strong visual symbolism to create
subconscious feelings in the audience.
With Scorsese, you often watch a scene and think it had great
acting, but you dont realize how incredibly well planned the
shots were. This book shows how his concentration on framing
and screen direction, along with simple camera moves, makes
him able to tell astonishing stories. Whether hes showing a calm
conversation among the aristocracy, or a taxi driver falling off the
edge of sanity, his films are always thrilling to watch. By the time
youve finished this book you should be able to set up scenes with
the same depth and grandeur as Scorsese, and apply it to your
own style of filmmaking.
viii
I n t r o d u c t i o n
Before you read the chapter, watch the scene in question if you
can and try to see how and why it works. Once youve read the
chapter, watch the scene again, perhaps with the sound down so
you can focus on the camera moves, and see how the scene has
been crafted.
ix
C H A P T E R
O N E
THE MOMENT OF
CHANGE:
Taxi Driver
T a x i
D r i v e r
C hapter
O ne :
T he
M oment
of
C hange
T a x i
D r i v e r
The camera pushes in on Cybill Shepherd at a pace that is noticeably faster than De Niros walking pace. This creates a small
moment of panic for the audience, as though he is looming up on
her. Shepherd is also framed quite centrally, but unlike De Niro she
does not move during this shot. This has the effect of making her
seem like a victim of his world. Shes trapped in the same framing,
but is unable to move. At the end of the shot, the camera pans onto
her so that she is almost in profile, which is the opposite of De
Niros direct gaze. This makes her seem more vulnerable than him.
Push in fast on a motionless character, using a central framing,
and you will make the character seem vulnerable, especially if
you pan to put the actor in profile.
C hapter
O ne :
T he
M oment
of
C hange
T a x i
D r i v e r
C hapter
O ne :
T he
M oment
of
C hange
T a x i
D r i v e r
Brooks repeatedly urges De Niro to leave and pulls him toward the
left of frame, but De Niro always heads back to the center of the
frame, even as Brooks tries to physically move him away. When
Brooks succeeds in moving him to the left, the camera pans to
keep De Niro centrally framed. You can see in the second frame
that De Niro has moved in relation to the background, but the
camera has panned to keep him central. This shows that the character is unrelenting.
10
C hapter
O ne :
T he
M oment
of
C hange
T a x i
D r i v e r
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12
C hapter
O ne :
T he
M oment
of
C hange
T a x i
D r i v e r
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14
C hapter
O ne :
T he
M oment
of
C hange
T a x i
D r i v e r
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