Here at Hitchcock University you learn from the masters of the craft. We don't bring you speculation about what a filmmaker was thinking, but actually go to the source and bring you lessons from the greatest of all time.
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In this class session, a master returns to us to teach us how a theme can guide a filmmaker's every decision. I also give some disappointing news about the upcoming semester.Taylor Bickel による
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423-Your Mistakes Might As Well Be Your Own (Fedora & Buddy Buddy)
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In this class session, Billy gives us perhaps his greatest lesson about being your own filmmaker, in spite of surrounding circumstances.Hitchcock University: A Free Film School による
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422 - When the Wind at Your Back Isn't Your Own (The Front Page)
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In this class session, Billy gives a pointer on how you can use blocking to help you edit, but more importantly, helps us all understand the lose-lose proposition that is remakes.Taylor Bickel による
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In this class session, Billy teaches us about counterpoint in storytelling, and about how to hide your exposition.Taylor Bickel による
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420 - Billy Troubleshoots (The Private Life of Sherlock Holmes)
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In this class session, Billy doles out some helpful hints to making your life on set much easier.Taylor Bickel による
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419 - He Describes a Pretzel and it Comes out a Doughnut (The Fortune Cookie)
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In this class session, Billy teaches us the beauty in simplicity.Taylor Bickel による
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418 - Billy Swings for the Fences (Kiss, Me Stupid)
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In this class session, Billy teaches us what it's like to be before your time.Taylor Bickel による
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In this class session, Billy teaches us his approach to casting and gives us some insight into how he leveraged the power of efficiency.Taylor Bickel による
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416 - Just a Short Walk from the Bathroom (One, Two, Three)
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In this class session, Billy breaks one of his own rules, and shows what to expect from doing a controversial film.Taylor Bickel による
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415 - Billy is Tops, Creative-wise (The Apartment)
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In this class session, Billy teaches us about how to play into the muses and not fight them.Taylor Bickel による
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In this class session, Billy gives us a lot to think about. From the trick to dealing with every actor, even the most difficult, to comic timing, to what not to show an audience.Taylor Bickel による
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413 - Billy the Architect (Witness for the Prosecution)
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In this class session, Billy gives us his thoughts on story structure, and tells us what he wanted from actors.Taylor Bickel による
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412 - A Partnership Forms (Love in the Afternoon)
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In this class session, Billy tells us all about the man he was born to collaborate with, and how that collaboration went well beyond the writer's room.Taylor Bickel による
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411-What is Photographable (The Spirit of St Louis)
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In this class session, Billy shows us why some stories just aren't made for the screen.Hitchcock University: A Free Film School による
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In this class session, Billy teaches us why harder might be smarter.Hitchcock University: A Free Film School による
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In this class session, Billy teaches us about persistence and closeups.Hitchcock University: A Free Film School による
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408-I Said You Can, That Doesn't Mean You Have To (Stalag 17)
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In this class session, Billy teaches us the importance of decision-making.Hitchcock University: A Free Film School による
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407-Tugging on One End of a Rope (Ace in the Hole)
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In this class session, Billy teaches us about what is needed for great collaboration, and why too much control will hurt you.Hitchcock University: A Free Film School による
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406-Grab 'Em By the Throat (Sunset Boulevard)
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In this class session, Billy teaches us not only how to grab an audience's attention from the fade up, but also how to help keep them there.Hitchcock University: A Free Film School による
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In this class session, Billy gives us insight on three key aspects of visual storytelling.Hitchcock University: A Free Film School による
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In this class session, Billy gives us some of his thoughts on collaboration. Why it works and why it doesn't.Hitchcock University: A Free Film School による
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403-How to Make Your First Film (The Major and The Minor)
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In this class session, Billy teaches us two very important secrets to making your first film.Hitchcock University: A Free Film School による
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In this class session, Billy introduces his own professor, Ernst Lubitsch as he does his best to explain what the Lubitsch Touch is, and why we should all ask ourselves "How would Lubitsch do it?"Hitchcock University: A Free Film School による
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401-The Director Must Be Able to Read (People on Sunday & Mauvaise Graine)
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In this class session, Billy teaches us the importance of sticking to the script, and why deviating can be more of a hassle than it's worth.Hitchcock University: A Free Film School による
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In this class session we meet our professor for the semester, the great Billy Wilder, as he gives us a brief history about himself and the list of films that will serve as our lessons. People on Sunday & Mauvaise Graine Ninotchka The Major and the Minor Double Indemnity The Lost Weekend Sunset Boulevard Ace in the Hole Stalag 17 Sabrina Seven Year …
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321 - You're a Good Friend Quentin (Once Upon a Time...In Hollywood)
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In this class session, Quentin teaches us about about making characters strong enough they don't need a story, and how to structure a day in the life movie to keep it interesting.Taylor Bickel による
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320-Rodriguez Becomes James Cameron (Alita: Battle Angel)
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In this class session, Rodriguez teaches us about how all those years of doing low budget films taught him how to make a movie with a massive budget.Taylor Bickel による
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In this class session, Quentin teaches us his method to suspense, and it's not what you expect.Taylor Bickel による
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318-Y'All Done Heard the Man (Django Unchained)
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In this class session, Quentin teaches us how he leads a movie, and how that helps produce his unique style.Taylor Bickel による
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317-The Character is the Character (Inglourious Basterds)
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In this class session, Tarantino teaches us about creating three-dimensional characters.Taylor Bickel による
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316-Where Real Cars Crash into Real Cars (Death Proof)
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In this class session, Tarantino gives us a master course on working within a genre and within set pieces.Taylor Bickel による
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315-Rodriguez Continues Pushing the Envelope (Planet Terror)
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In this class session, Rodriguez teaches us about working in a genre, but still thinking outside the box.Taylor Bickel による
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314-Robert Rodriguez's Balancing Act (Sin City)
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In this class session, Rodriguez shows us how he balances collaboration with doing so many jobs himself, why both are important, and how they are actually related.Taylor Bickel による
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313-The Five Point Palm Exploding Heart Storytelling Technique (Kill Bill Pt 2)
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In this class session, Quentin gives us another masterclass on storytelling.Taylor Bickel による
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312-A Half-Breed Japanese-Chinese American Movie (Kill Bill Pt 1)
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In this class session, Quentin teaches us how to borrow from your influences and inspirations, without stealing from them.Taylor Bickel による
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311-Rodriguez Blazes a Trail (Once Upon a Time in Mexico)
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In this class session, Robert Rodriguez teaches us perhaps his most important lesson yet, and inspires us with a simple mantra. Be technical!Taylor Bickel による
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In this class session, Rodriguez teaches us how to embrace the latest technologies, and not get hung up on the ways of old.Taylor Bickel による
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In this class session, Rodriguez teaches us that being outside of Hollywood is actually an advantage.Taylor Bickel による
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308-Rodriguez Takes an Assignment (The Faculty)
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In this class session, Rodriguez covers a lot of ground as he teaches us about collaboration, the importance of pre-production (especially when it comes to effects), and the art of editing.Taylor Bickel による
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307-You Catch an Audience Off Guard with This (Jackie Brown)
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In this class session, Quentin teaches us his method for adaptations and how to evade the pressure of a massive success.Taylor Bickel による
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306-When Individuals Collaborate (From Dusk Till Dawn)
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In this class session, Rodriguez shows us how he can still be collaborative while maintaining a unique voice and technique.Taylor Bickel による
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305-Rodriguez Makes a Little Look Like a Lot (Desperado)
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In this class session, Rodriguez teaches us how to make very limited resources look like a major motion picture, and encourages us that practice is the only way to keep improving.Taylor Bickel による
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304-Oh I'm Sorry, Did Quentin Break Your Concentration (Pulp Fiction)
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In this class session, Quentin shows us not only how to think outside the box, but how it leads to making an impression on your audience.Taylor Bickel による
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303-Quentin Doesn't Tell You Anything, But He Shows You Everything (True Romance)
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In this class session, Quentin teaches us what makes a story different from a situation, and helps us understand what filmmaking is at it's core.Taylor Bickel による
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In this class session, Robert Rodriguez gives us the groundwork for how to make films on the lowest budget possible, and gives us a step by step guide on what it means to make a film on your own.Taylor Bickel による
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301-Quentin Didn't Create the Situation, He's Dealing With It (Reservoir Dogs)
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In this class session, Quentin teaches us the foolproof method of directing a movie.Taylor Bickel による
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In our first class session back, we get a preview of what our third semester will bring, as we introduce our latest masters to Hitchcock University, Quentin Tarantino and Robert Rodriguez.Taylor Bickel による
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In our final class session, Marty reminds us of the importance of remaining flexible, and embracing inspiration.Taylor Bickel による
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221-Marty Crafts Performances (Wolf of Wall Street)
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In this class session, Marty teaches us how to craft a performance from pre-production through post-production.Taylor Bickel による
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In this class session, Marty teaches us about the history of film, while tackling its future.Taylor Bickel による
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