3.
MARTIN’S
EDUCATION
“You can’t learn to make a
film in school. You can have
the opportunity to make
a film in school. The great
thing about film school
is the inspiration and the
ability to give you the
confidence.”
—Martin Scorsese
SU B C HAPTER S
• Learn by Doing
• Find Your Individual Voice
• The Value of a Shot
• A Great Teacher Can Give You
Confidence
CHAPTER RE VIE W
When Martin began his education at NYU in the early 1960s,
Introduction to Film was a two semester–long class taught
by Haig Manoogian, a fast-talking, unsparing professor whom
Martin admired. In his second year of study, Martin took an
introductory production course called Sight and Sound. He
used black-and-white 16-millimeter cameras and learned the
fundamentals of filmmaking, such as lens selection and lighting.
A series of small exercises culminated in a three- to four-minute
film at the end of the semester.
Professor Manoogian was heavily influenced by European
cinema, particularly Italian neorealism. He focused on films
made by artists with individual voices. He wouldn’t let his
students direct unless they had written the script themselves.
He encouraged his students to protect the original spark that led
them to cinema and not be influenced by other kinds of
filmmaking.
Professor Manoogian wanted his students to understand the
potential of the moving image and the cut. Manoogian was
insistent on the value of a shot, and Martin truly learned the
importance of this concept in the editing room. Suddenly he
would find himself using a shot that had been meant for one part
of the film in another place, where it made more sense. Martin
credits his professor as being the spark that gave him the
inspiration to make movies. He gave Martin the confidence to
become a filmmaker, which—along with inspiration—is the
greatest gift Martin believes a teacher can give you.
LE ARN M ORE
• Watch the works of the Italian neorealists, such as Roberto
Rossellini and Vittorio De Sica, and the early films of Luchino
Visconti and Federico Fellini. Also watch the works of French
New Wave filmmakers such as François Truffaut and Jean-Luc
Godard and see if you can trace the effects of Rossellini on
their work.
MARTIN SCORSESE 8
3.
MARTIN’S
EDUCATION
A S SI G NMENT

• Choose three scenes to break down shot by shot. These can be

scenes from films that you love, or films you hate, or films you
want to better understand. Once you’ve picked your scenes,
watch them a few times through. Then, be prepared to have
your hand on the pause button as you write a description of
each shot (meaning each moment between two edit points) in
detail. Describe the action, the framing, the camera
movement, what’s in and out of focus—everything you
observe. By the time you’ve completed this exercise, you will
have a greater understanding of the role each shot plays to
build a compelling scene. If you’re unfamiliar with film
terminology, here are some resources to help you:

• Click here for an article that illustrates the names of

camera shots and angles.
• Click here for an article that will help you familiarize
yourself with standard camera moves.
• If you’re a novice, also check out the British Film
Institute’s online glossary of filmmaking terms.

Mar t in’s N Y U fi lm professor, Haig Manoog ian

MARTIN SCORSESE 9