Life Lessons Camera Choices

By: Diana Alonzo Martí

Life Lessons directed by Martin Scorsese tells the story of Lionel Dobie (Nick Nolte) a desperate artist that has an obsession with his assistant Paulette (Rosanna Arquette). He has an art exhibition in 3 weeks and has an artist block and the only way of him being able to paint is to be with Paulette. His goal is to get her to sleep with him for maximum inspiration. Paulette has other plans though.. She wants him to call her a good artist since it’s so important for her coming from such a respected artist. Lionel won't do so though, since he believes her art is not good and it would be lying to art which is the only thing remaining true to him.

Throughout the film Lionel doesn't talk or do much and he isn't the nicest person either, but we get to connect with him by the way filmmakers decide to use camera. Most of the film is told through his POV which gives us that personal connection to Lionel. We get to understand his character because of the shots and in a way we get to see what thoughts are in his mind too. There are only two times in the whole film where we are not with him which is the two times we are with Paulette. We also get to know much more context about the character by what the camera shows us.

In the opening scene of the film the first image we see is a palette with accumulated paint in it with a palette knife stabbed through the dry paint surface, buckets with paint brushes of all types, and empty squashed paint tubes. Next a cut to a man's feet pacing around, then we see his face with a plain reaction, then his hand which holds a cigarette and in the other he is fidgeting with a rag. Next we cut to an alcohol bottle with a glass next to it; he picks the glass up and takes a sip and then angrily steps in a blue paint tube which makes a stain in the wall. Next we see a doorbell buzzer as it rings and he throws a rag at it in anger. Through all of this we get to meet the character without him even speaking or barely doing anything. We only get to see the environment he lives in, which is a mess, and his addictive and desperate habits like smoking and drinking. He also paces around as if he were rushed or desperate about something. Since the beginning of the film we are set up to understand that this is going to be about a desperate artist and later we know that what he wants is to be with a girl.

When Lionel arrives from the airport with Paulette to his studio we are introduced to the painting which is the reason why he brought Paulette after all. In a single tracking shot Lionel and Paulette both walk in the studio; Paulette heads to her room and Lionel goes right to the canvas. He stays there watching the canvas and then he realizes he needs Paulette. We cut to a close up over the shoulder where he sees Paulette's room. We stay there watching with him and then he turns around to the canvas. We get to see what he is watching which is the empty canvas and then the canvas shows us what it’s watching which is the face of a man in despair. Then we go from a Close up to Long shot to see Lionel standing in front of the black paint stroked canvas.. It almost makes him seem lost on a desert. In that scene we get to understand what he feels which is that feeling of defeat by not being able to paint something.

The camera operated by Nestor Almendros gives us almost metaphorical shots that visually mean something else making our sub-consciousness take the message and giving us a deeper understanding of the film. The camera also keeps interest in the viewer; there is not much action physically but the camera does all the movement making the film visually interesting. The unique way the film was shot also gives a feel of originality which helps us connect to Lionel. The movie is strongly driven by pans, zoom in or zoom out shots, close ups, inserts, long shots, moving shots, and of course point of view shots. Without these components the film wouldn't be able to achieve such personal connection to the characters making the film a cinematic disaster and shame to Scorsese. Of course though, Scorsese pulled off all the risks of camera movements that other directors would say is non editable and made a masterpiece.

Long Shot of Lionel looking at the canvas.

Insert of paint Lionel uses to make the painting.