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    Storytelling Through Eyelines | Cinematographer Carolina Costa on Apocalypse Now

    Storytelling Through Eyelines | Cinematographer Carolina Costa on Apocalypse Now

    06:31 |
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    Directing Actors 101: Rehearsals | Director Thomas Barnes

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    Building Character Through Props | Director Michael Tyburski on 'The Sound of Silence'

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    Film Noir's Characters and Tropes | Film Historian Foster Hirsch

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    Act 1 | NYU Professor Uses Se7en (and others) to Explain Story Structure

    Act 1 | NYU Professor Uses Se7en (and others) to Explain Story Structure

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    Film Noir's Visual Style | Film Historian Foster Hirsch

    Film Noir's Visual Style | Film Historian Foster Hirsch

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    Using Iconography to Breathe Life Into a Bedsheet | Writer/Director David Lowery on A Ghost Story

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    Act 3 | NYU Professor Uses The Godfather (and others) to Explain Story Structure

    Act 3 | NYU Professor Uses The Godfather (and others) to Explain Story Structure

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    Act 2 Part 1 | NYU Screenwriting Professor on Why You Should Split Act 2 in Half

    Act 2 Part 1 | NYU Screenwriting Professor on Why You Should Split Act 2 in Half

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    Storytelling Through Eyelines | Cinematographer Carolina Costa on Apocalypse Now

    Storytelling Through Eyelines | Cinematographer Carolina Costa on Apocalypse Now

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    Directing Actors 101: How Tasks & Blocking Bring Out Emotions | Director Thomas Barnes

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    Philosophy, Art, and Vampires in Jim Jarmusch's 'Only Lovers Left Alive’ | Part 4

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    How Aspect Ratio Affects Storytelling | Writer/Director David Lowery on A Ghost Story

    How Aspect Ratio Affects Storytelling | Writer/Director David Lowery on A Ghost Story

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    Directing Actors 101: Tactile Qualities | Director Thomas Barnes

    Directing Actors 101: Tactile Qualities | Director Thomas Barnes

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    What is Film Noir? | Film Historian Foster Hirsch

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    The Origins of Film Noir | Film Historian Foster Hirsch

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    Editing 101: The Benefits of Mechanical Cutting | Editor/Professor Richard Pepperman

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