How to Write a Bestselling Page Turner: Learn from The Da Vinci Code Author Dan Brown’s New Masterclass

“Dan Brown vis­it­ed my Eng­lish class,” remem­bers the New York­er’s Joshua Roth­man. “It hap­pened in the spring of 1998,” five years before Brown hit the big­time with The Da Vin­ci Code, a thriller best known for its colos­sal sales num­bers. “None of us had heard of Brown, or of his book” — his debut nov­el, Dig­i­tal Fortress — “and we were annoy­ing, arty lit­tle snooty-snoots. Why would we want to talk with the author of a ‘tech­no-thriller’ about com­put­er hack­ers?” But the class’ atti­tude did­n’t stop Brown from shar­ing the writ­ing wis­dom he had to offer, deliv­ered in the form of such guide­lines (in Roth­man’s mem­o­ry) as “Set your sto­ry in an exot­ic loca­tion,” “Make your char­ac­ters inter­est­ing peo­ple with secrets,” “Have lots of plot twists,” and “End each chap­ter with a cliffhang­er.”

At the time, Roth­man did­n’t under­stand why Brown would come to his class to “give a bunch of arty high-school kids advice about how to write cheesy thrillers.” But now, as a pro­fes­sion­al writer him­self, Roth­man real­izes “why Brown’s advice was so prac­ti­cal,” and what it had to teach them about the prac­ti­cal con­sid­er­a­tions, even rig­ors, of “how to write for a liv­ing.”

Though he does­n’t men­tion any of his class­mates grow­ing up to become the kind of nov­el­ists Brown is, a great many oth­ers dream of such a writ­ing life, few of whom ever had the chance to ben­e­fit from a class­room vis­it by the man him­self. But they can now enroll in “Dan Brown Teach­es Writ­ing Thrillers,” a new course from online edu­ca­tion com­pa­ny Mas­ter­class whose trail­er you can watch above.

Any fan of Brown’s writ­ing — or the block­buster movies that have been made out of it — knows that, as far as exot­ic loca­tions, char­ac­ters with secrets, plot twists, and cliffhang­ers go, he has hard­ly aban­doned his prin­ci­ples. His Mas­ter­class cov­ers all of those aspects in depth and more besides, from “The Anato­my of a Thriller” to “Cre­at­ing Heroes and Vil­lains” to “Cre­at­ing Sus­pense” to “Pro­tect­ing Your Process.” Brown also devotes two sec­tions to research, which he once called in a Goodreads ques­tion-and-answer ses­sion “the most over­looked facet of writ­ing a suc­cess­ful page turn­er.” If any liv­ing writer knows how to come up with a suc­cess­ful page turn­er, Brown does, and unlike in his nov­els them­selves, he cer­tain­ly does­n’t seem inclined to bury the secret under lay­ers of his­to­ry, sym­bol­ism, con­spir­a­cy, and mur­der. You can enroll in Brown’s new thriller-writ­ing class (which runs $90) here. You can also pay $180 to get an annu­al pass to all of Mas­ter­class’ cours­es.

FYI: If you sign up for a Mas­ter­Class course by click­ing on the affil­i­ate links in this post, Open Cul­ture will receive a small fee that helps sup­port our oper­a­tion.

Relat­ed Con­tent:

1,600 Occult Books Now Dig­i­tized & Put Online, Thanks to the Rit­man Library and Da Vin­ci Code Author Dan Brown

Mal­colm Glad­well Teach­ing His First Online Course: A Mas­ter Class on How to Turn Big Ideas into Pow­er­ful Sto­ries

Mar­garet Atwood Offers a New Online Class on Cre­ative Writ­ing

Judy Blume Now Teach­ing an Online Course on Writ­ing

Stephen King’s 20 Rules for Writ­ers

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

R.I.P. Stan Lee: Take His Free Online Course “The Rise of Superheroes and Their Impact On Pop Culture”

“I grew up in an exurb where it took near­ly an hour to walk to the near­est shop, to the near­est place to eat, to the library,” remem­bers writer Adam Cadre. “And the steep hills made it an exhaust­ing walk.  That meant that until I turned six­teen, when school was not in ses­sion I was stuck at home.  This was often not a good place to be stuck. Stan Lee gave me a place to hang out.” Many oth­er for­mer chil­dren of exur­ban Amer­i­ca — as well as every­where else — did much of their grow­ing up there as well, not just in the uni­verse of Mar­vel Comics but in those of the comics and oth­er forms of cul­ture to which it gave rise or influ­enced, most of them either direct­ly or indi­rect­ly shaped by Lee, who died yes­ter­day at the age of 95.

“His crit­ics would say that for me to thank Stan Lee for cre­at­ing the Mar­vel Uni­verse shows that I’ve fall­en for his self-promotion,” Cadre con­tin­ues, “​that it was Jack Kir­by and Steve Ditko and his oth­er col­lab­o­ra­tors who sup­plied the dynam­ic, expres­sive art­work and the epic sto­ry­lines that made the Mar­vel Uni­verse so com­pelling.”

Mar­vel fans will remem­ber that Ditko, co-cre­ator with Lee of Spi­der-Man and Doc­tor Strange, died this past sum­mer. Kir­by, whose count­less achieve­ments in comics include co-cre­at­ing the Fan­tas­tic Four, the X‑Men, and the Hulk with Lee, passed away in 1994. (Kir­by’s death, as I recall, was the first I’d ever heard about on the inter­net.)

Those who take a dim­mer view of Lee’s career see him as hav­ing done lit­tle more artis­tic work than putting dia­logue into the speech bub­bles. But like no small num­ber of oth­er Mar­vel Uni­verse habitués, Cadre “didn’t read super­hero comics for the fights or the cos­tumes or the trips to Asgard and Atti­lan. I read them for fan­ta­sy that read like real­i­ty, for the inter­play of wild­ly dif­fer­ent per­son­al­i­ties — ​and for the wise­cracks.” And what made super­hero sto­ries the right deliv­ery sys­tem for that inter­play of per­son­al­i­ties and those wise­cracks? You’ll find the answer in “The Rise of Super­heroes and Their Impact On Pop Cul­ture,” an online course from the Smith­son­ian, pre­vi­ous­ly fea­tured here on Open Cul­ture and still avail­able to take at your own pace in edX’s archives, cre­at­ed and taught in part by Lee him­self. You can watch the trail­er for the course at the top of the post.

If you take the course, its pro­mo­tion­al mate­ri­als promise, you’ll learn the answers to such ques­tions as “Why did super­heroes first arise in 1938 and expe­ri­ence what we refer to as their “Gold­en Age” dur­ing World War II?,” “How have com­ic books, pub­lished week­ly since the mid-1930’s, mir­rored a chang­ing Amer­i­can soci­ety, reflect­ing our mores, slang, fads, bias­es and prej­u­dices?,” and “When and how did com­ic book art­work become accept­ed as a true Amer­i­can art form as indige­nous to this coun­try as jazz?” Whether or not you con­sid­er your­self a “true believ­er,” as Lee would have put it, there could be few bet­ter ways of hon­or­ing an Amer­i­can icon like him than dis­cov­er­ing what makes his work in super­hero comics — the field to which he ded­i­cat­ed his life, and the one which has tak­en more than its fair share of deri­sion over the decades — not just a reflec­tion of the cul­ture but a major influ­ence on it as well.

Enroll in “The Rise of Super­heroes and Their Impact On Pop Cul­ture” here.

Relat­ed Con­tent:

1,700 Free Online Cours­es from Top Uni­ver­si­ties

The Great Stan Lee Reads Edgar Allan Poe’s “The Raven”

Stan Lee Reads “The Night Before Christ­mas,” Telling the Tale of San­ta Claus, the Great­est of Super Heroes

Down­load Over 22,000 Gold­en & Sil­ver Age Com­ic Books from theCom­ic Book Plus Archive

Down­load 15,000+ Free Gold­en Age Comics from the Dig­i­tal Com­ic Muse­um

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Margaret Atwood Offers a New Online Class on Creative Writing

FYI: If you sign up for a Mas­ter­Class course by click­ing on the affil­i­ate links in this post, Open Cul­ture will receive a small fee that helps sup­port our oper­a­tion.

FYI: Back in July, Col­in Mar­shall high­light­ed an online writ­ing course being devel­oped by Mar­garet Atwood, the author of The Hand­maid­’s Tale, Cat’s Eye, Alias Grace, and The Blind Assas­sin. As a quick fol­low up, it’s worth men­tion­ing that Atwood’s cre­ative writ­ing course has now gone live.

You can take this class by sign­ing up for a Mas­ter­Class’ All Access Pass. The All Access Pass will give you instant access to this course and 85 oth­ers for a 12-month peri­od.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

An Ani­mat­ed Mar­garet Atwood Explains How Sto­ries Change with Tech­nol­o­gy

Mal­colm Glad­well Teach­ing His First Online Course: A Mas­ter Class on How to Turn Big Ideas into Pow­er­ful Sto­ries

Ursu­la Le Guin Gives Insight­ful Writ­ing Advice in Her Free Online Work­shop

100 Great Sci-Fi Sto­ries by Women Writ­ers (Read 20 for Free Online)

Annie Lei­bovitz Teach­es Pho­tog­ra­phy in Her First Online Course

Josh Jones is a writer and musi­cian based in Wash­ing­ton, DC. Fol­low him at @jdmagness

A Free Course from MIT Teaches You How to Speak Italian & Cook Italian Food All at Once

At MIT, Dr. Pao­la Rebus­co usu­al­ly teach­es physics to fresh­men. But, on behalf of the MIT Exper­i­men­tal Study Group, Rebus­co has devised an appeal­ing course — Speak Ital­ian with Your Mouth Full — where she com­bines teach­ing two things many peo­ple love: learn­ing to speak Ital­ian and cook­ing Ital­ian food. The course sum­ma­ry reads:

The par­tic­i­pants in this sem­i­nar will dive into learn­ing basic con­ver­sa­tion­al Ital­ian, Ital­ian cul­ture, and the Mediter­ranean diet. Each class is based on the prepa­ra­tion of a deli­cious dish and on the bite-sized acqui­si­tion of parts of the Ital­ian lan­guage and cul­ture. A good diet is not based on recipes only, it is also root­ed in healthy habits and in cul­ture. At the end of the sem­i­nar the par­tic­i­pants will be able to cook some healthy and tasty recipes and to under­stand and speak basic Ital­ian.

As Rebus­co explains in a short video, this course has the advan­tage of mak­ing the lan­guage lessons a lit­tle less abstract. It gives stu­dents a chance to apply what they’ve learned (new vocab­u­lary words, pro­nun­ci­a­tions, etc.) in a fun, prac­ti­cal con­text.

Above, we start you off with the first lan­guage les­son in the sem­i­nar. It begins where all basic cours­es start — with how to say your name. Below, you can watch the class learn to cook fresh pas­ta. Along the way, the course also teach­es stu­dents how to make espres­sorisot­tohome­made piz­zabruschet­ta, and bis­cot­ti. Lec­tures for the course can be found on the MIT web site, YouTube and iTunesSpeak Ital­ian with Your Mouth Full also appears in our col­lec­tion of Free For­eign Lan­guage Lessons and 1200 Free Cours­es Online. Buon Appeti­to!

Ingre­di­ents & Cook­ing Instruc­tion:

Food Prepa­ra­tion

Note: An ear­li­er ver­sion of this post appeared on our site way back in 2012.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

How Bak­ing, Cook­ing & Oth­er Dai­ly Activ­i­ties Help Pro­mote Hap­pi­ness and Alle­vi­ate Depres­sion and Anx­i­ety

53 New York Times Videos Teach Essen­tial Cook­ing Tech­niques: From Poach­ing Eggs to Shuck­ing Oys­ters

Sci­ence & Cook­ing: Har­vard Profs Meet World-Class Chefs in Unique Online Course

David Lynch Teach­es You to Cook His Quinoa Recipe in a Weird, Sur­re­al­ist Video

The Futur­ist Cook­book (1930) Tried to Turn Ital­ian Cui­sine into Mod­ern Art

How to Bake Ancient Roman Bread Dat­ing Back to 79 AD: A Video Primer

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Learn How to Play the Theremin: A Free Short Video Course

When Leon Theremin debuted his strange elec­tron­ic device on the world stage, it seemed to many peo­ple more like a curi­ous toy than a seri­ous musi­cal instru­ment. The theremin soon became asso­ci­at­ed with B‑grade sci-fi movies and nov­el­ty sound­tracks, an asso­ci­a­tion that made Clara Rock­more furi­ous. Deter­mined to achieve respectabil­i­ty for the theremin, she cham­pi­oned it as “a legit­i­mate clas­si­cal instru­ment that deserves a place in the pit,” writes Atlas Obscu­ra, “right next to the vio­lins and piano.” Rockmore’s ambi­tions may have been out­sized, but her tal­ent was unde­ni­able. “As seri­ous as any­one has ever been about the theremin… she left behind a num­ber of valu­able lessons,” includ­ing a book, freely avail­able, in which she dis­pens­es some very prac­ti­cal advice.

But much has changed since her day, includ­ing pop­u­lar meth­ods of instruc­tion and some of the tech­ni­cal design of theremins. Now, aspir­ing play­ers will like­ly go look­ing for video lessons before con­sult­ing Rockmore’s guide, which requires that stu­dents read music in order to tran­si­tion from exer­cis­es to “easy pieces” by Camille Saint-Saëns and J.S. Bach.

One series of video lessons offered by “therem­i­nist” Thomas Gril­lo, an earnest instruc­tor in a white shirt and tie, begins with the very basics and works up to more advanced tech­niques, includ­ing pos­si­ble mods to the device (Gril­lo plays a Moog-made theremin him­self).

Gril­lo opens with a dis­claimer that his short course is “no sub­sti­tute for pro­fes­sion­al­ly done how-to videos on how to play the theremin,” there­by humbly acknowl­edg­ing the low pro­duc­tion val­ues of his series. Nonethe­less, I imag­ine his class­es are as good a place to start as any for new­com­ers to theremin-ing, not a skill one can pick up as read­i­ly online as play­ing the gui­tar or piano.  He clear­ly knows his stuff. With the look and demean­er of a high school alge­bra teacher, Gril­lo patient­ly explains and demon­strates many tech­niques and prin­ci­ples, begin­ning with les­son one above, then con­tin­u­ing in lessons twothree, four, five, six, and sev­en.

Once you’ve reached an inter­me­di­ate stage, or if you already find your­self there, you may ben­e­fit from the instruc­tion of Car­oli­na Eyck, who has car­ried on the seri­ous clas­si­cal work of Clara Rock­more. See her just above per­form a stir­ring ren­di­tion of Rach­mani­nof­f’s “Vocalise,” accom­pa­nied on piano by Christo­pher Tarnow, and check out her YouTube chan­nel for more per­for­mances and short lessons.

Relat­ed Con­tent:

Sovi­et Inven­tor Léon Theremin Shows Off the Theremin, the Ear­ly Elec­tron­ic Instru­ment That Could Be Played With­out Being Touched (1954)

Meet Clara Rock­more, the Pio­neer­ing Elec­tron­ic Musi­cian Who First Rocked the Theremin in the Ear­ly 1920s

Watch Jim­my Page Rock the Theremin, the Ear­ly Sovi­et Elec­tron­ic Instru­ment, in Some Hyp­not­ic Live Per­for­mances

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

 

Yale’s Free Course on The Moral Foundations of Political Philosophy: Do Governments Deserve Our Allegiance, and When Should They Be Denied It?

“When do gov­ern­ments deserve our alle­giance, and when should they be denied it?” It’s a ques­tion that has per­haps crossed your mind late­ly. And it’s pre­cise­ly the ques­tion that’s at the heart of The Moral Foun­da­tions of Polit­i­cal Phi­los­o­phy, a free course taught by Yale polit­i­cal sci­ence pro­fes­sor Ian Shapiro.

In 25 lec­tures (all avail­able above, on YouTube and iTunes), the course “starts with a sur­vey of major polit­i­cal the­o­ries of the Enlightenment—Utilitarianism, Marx­ism, and the social con­tract tradition—through clas­si­cal for­mu­la­tions, his­tor­i­cal con­text, and con­tem­po­rary debates relat­ing to pol­i­tics today. It then turns to the rejec­tion of Enlight­en­ment polit­i­cal think­ing. Last­ly, it deals with the nature of, and jus­ti­fi­ca­tions for, demo­c­ra­t­ic pol­i­tics, and their rela­tions to Enlight­en­ment and Anti-Enlight­en­ment polit­i­cal think­ing.”

You can find an archived web page that includes a syl­labus for the course. Or you can now take the course as a full-blown MOOC. Below find the texts used in the course.

The Moral Foun­da­tions of Polit­i­cal Phi­los­o­phy will be added to our list of Free Polit­i­cal Sci­ence Cours­es, a sub­set of our col­lec­tion 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

Texts:

Arendt, Han­nah. Eich­mann in Jerusalem. New York: Viking, 1963.

Bromwich, David. “Intro­duc­tion” to On Empire, Lib­er­ty, and Reform: Speech­es and Let­ters. New Haven: Yale Uni­ver­si­ty Press, 2000.

Burke, Edmund. Reflec­tions on the Rev­o­lu­tion in France. Oxford: Oxford Uni­ver­si­ty Press, 2009.

Hamil­ton, Alexan­der, John Jay, and James Madi­son. The Fed­er­al­ist Papers. Ed. Ian Shapiro. New Haven, CT: Yale Uni­ver­si­ty Press, 2009.

Locke, John. Two Trea­tis­es of Gov­ern­ment and a Let­ter Con­cern­ing Human Under­stand­ing. Ed. Ian Shapiro. New Haven, CT: Yale Uni­ver­si­ty Press, 1988.

Mac­In­tyre, Alas­dair. After Virtue. Notre Dame, IN: Uni­ver­si­ty of Notre Dame Press, 2007.

Mill, John Stu­art. On Lib­er­ty. Ed. David Bromwich and George Kateb. New Haven, CT: Yale Uni­ver­si­ty Press, 2003.

Noz­ick, Robert. Anar­chy, State and Utopia. New York: Basic Books, 1974.

Rawls, John. A The­o­ry of Jus­tice. 2nd edi­tion. Cam­bridge, MA: Har­vard Uni­ver­si­ty Press, 1999.

Shapiro, Ian. Demo­c­ra­t­ic Jus­tice. New Haven, CT: Yale Uni­ver­si­ty Press, 1999.

Shapiro, Ian. Moral Foun­da­tions of Pol­i­tics. New Haven, CT: Yale Uni­ver­si­ty Press, 2003.

Tuck­er, Robert C., ed. The Marx-Engels Read­er. 2nd ed. New York: W.W. Nor­ton, 1978.

The Science of Beer: A New Free Online Course Promises to Enhance Your Appreciation of the Timeless Beverage

The brew­ing of beer is as old as agri­cul­ture, which is to say as old as set­tled civ­i­liza­tion. The old­est recipe we know of dates to 1800 B.C. Over cen­turies, beer moved up and down the class lad­der depend­ing on its pri­ma­ry con­sumers. Medieval monks brewed many fine vari­eties and were renowned for their tech­nique. Beer descend­ed into pubs and row­dy beer halls, whet­ting the whis­tles not only of farm­ers, sol­diers, sailors, and pil­grims, but also of burghers and a bud­ding indus­tri­al work­force. Dur­ing the age of mod­ern empire, beer became, on both sides of the Atlantic, the bev­er­age of work­ing-class sports fans in bleach­ers and La-Z-Boys.

A craft beer Renais­sance at the end of last cen­tu­ry brought back a monk­ish mys­tique to this most ancient bev­er­age, turn­ing beer into wine, so to speak, with com­pa­ra­ble lev­els of con­nois­seur­ship. Beer bars became gal­leries of fine pol­ished brass, pun­gent, fruity aro­mas, dark and seri­ous wood appoint­ments. Craft beer is fun—with its quirky names and labels—it is also intim­i­dat­ing, in the breadth of com­pli­cat­ed con­coc­tions on offer. (Hip­sters and penu­ri­ous rev­el­ers revolt­ed, made a fetish of Pab­st Blue Rib­bon, Milwaukee’s Best, and ye olde malt liquor.)

“Has craft beer peaked?” won­ders The Wash­ing­ton Post’s Rachel Siegel. You can prob­a­bly guess from the ques­tion that most trends point to “yes.” But as long as there is wheat, bar­ley, and hops, we will have beer, no mat­ter who is drink­ing it and where. One last­ing effect of beer’s high­brow few decades remains: a pop­u­lar schol­ar­ly appre­ci­a­tion for its cul­ture and com­po­si­tion. You can study the typog­ra­phy of beer, for exam­ple, as Print mag­a­zine has done in recent years. A new online course applies the tools of empir­i­cal and soci­o­log­i­cal research to beer drink­ing.

“The Sci­ence of Beer,” taught by a cadre of stu­dent teach­ers from Wagenin­gen Uni­ver­si­ty in Hol­land, explores “how [beer is] made, the raw mate­ri­als used, its sup­ply chain, how it’s mar­ket­ed and the effect of beer con­sump­tion on your body.” (This last point—in a world turned against sug­ar, carbs, and gluten—being part­ly the rea­son for craft beer’s decline.) Should your voice qua­ver when you approach the upscale reclaimed wal­nut bar and sur­vey unfa­mil­iar lagers, ales, stouts, bocks, porters, and hefeweizens… should you hes­i­tate at Whole Foods when faced with a wall of bev­er­ages with names like incan­ta­tions, this free class may set you at ease.

Not only will you learn about the dif­fer­ent types of beer, but “after this course, tast­ing a beer will be an entire­ly new sen­sa­tion: you will enjoy it even more since you will bet­ter under­stand what’s inside your drink.” Enroll­ment for the 5‑week course began this past Mon­day and the class is cur­rent­ly open and free. (Make sure you select the “Audit” option for the free ver­sion of the course.) You should expect to devote 2 to 4 hours per week to “The Sci­ence of Beer.” Please, study respon­si­bly.

Relat­ed Con­tent:

Dis­cov­er the Old­est Beer Recipe in His­to­ry From Ancient Sume­ria, 1800 B.C.

The First Known Pho­to­graph of Peo­ple Shar­ing a Beer (1843)

The Art and Sci­ence of Beer

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Martin Scorsese Teaches His First Online Course on Filmmaking: Features 30 Video Lessons

FYI: If you sign up for a Mas­ter­Class course by click­ing on the affil­i­ate links in this post, Open Cul­ture will receive a small fee that helps sup­port our oper­a­tion.

Last Sep­tem­ber, online edu­ca­tion com­pa­ny Mas­ter­class announced that they’d soon launch Mar­tin Scors­ese’s very first online course, “Mar­tin Scors­ese Teach­es Film­mak­ing.” Now it has opened for enroll­ment, at the usu­al Mas­ter­class cost of $180 for an all-access pass to the 85 cours­es on the site, a list that also includes Spike Lee and Wern­er Her­zog’s takes on the same sub­ject. For a com­pa­ny that has quick­ly made its name by enlist­ing famous instruc­tors, they could hard­ly do bet­ter than Scors­ese, whose own name has become a byword for auteurism in late 20th- and ear­ly 21st-cen­tu­ry Amer­i­can cin­e­ma.

“If you’re intrigued by moviemak­ing as a career, this isn’t the class for you,” Scors­ese says in the class’ trail­er above. “But if you need to make movies, if you feel like you can’t rest until you’ve told this par­tic­u­lar sto­ry that you’re burn­ing to tell, then I could be speak­ing to you.” Its 30 lessons, which cov­er every­thing from his life and edu­ca­tion to devel­op­ing a style to cast­ing actors to shoot­ing on a low bud­get, might also appeal to those who sim­ply love Scors­ese’s movies.

He illus­trates his instruc­tion­al points by draw­ing on his own for­mi­da­ble fil­mog­ra­phy and the vast expe­ri­ence that has gone into it (includ­ing the phys­i­cal ill­ness that descends upon him before view­ing each rough cut), a process that no doubt pro­vides count­less insights into what makes his work so pow­er­ful.

But the cur­ricu­lum also goes well beyond Scors­ese-on-Scors­ese, as one might expect from a man unabashed­ly dri­ven by a pure love of cin­e­ma — of, seem­ing­ly, all of cin­e­ma. In the final sec­tion of the course, Scors­ese breaks down scenes from Stan­ley Kubrick­’s Bar­ry Lyn­don, Jacques Tourneur’s Out of the Past, François Truf­faut’s Jules and Jim, Alfred Hitch­cock­’s Ver­ti­go, and Fed­eri­co Fellini’s 8 1/2, exam­in­ing the tech­ni­cal ele­ments that fill them with their dis­tinc­tive mag­ic. His enthu­si­asm has sure­ly inspired almost as many of his fans to go into film­mak­ing as has his work itself, but even those who lack the burn­ing desire to tell cin­e­mat­ic sto­ries them­selves know that if there’s any view­ing expe­ri­ence as com­pelling as watch­ing a Scors­ese movie, it’s watch­ing Scors­ese talk about movies. Learn more about Scors­ese’s course here.

You can take this class by sign­ing up for a Mas­ter­Class’ All Access Pass. The All Access Pass will give you instant access to this course and 85 oth­ers for a 12-month peri­od.

Relat­ed Con­tent:

Mar­tin Scors­ese Cre­ates a List of 39 Essen­tial For­eign Films for a Young Film­mak­er

Mar­tin Scors­ese Makes a List of 85 Films Every Aspir­ing Film­mak­er Needs to See

Spike Lee to Teach an Online Course on Film­mak­ing; Get Ready By Watch­ing His List of 95 Essen­tial Films

Aaron Sorkin, Cre­ator of The West Wing & The Social Net­work, Teach­es Screen­writ­ing in an Online Class

Great Film­mak­ers Offer Advice to Young Direc­tors: Taran­ti­no, Her­zog, Cop­po­la, Scors­ese, Ander­son, Felli­ni & More

Wern­er Her­zog Teach­es His First Online Course on Film­mak­ing

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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Open Culture was founded by Dan Colman.