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Camera Confidence Workshop -- Owning the Lens
The camera is not your enemy. It's your best friend -- the one who sees everything and forgives everything. I teach you how to find your light, your angle, and your truth. We work with a live camera feed so you can see yourself the way the audience sees you.
Vintage Pin-Up Photography Lighting Kit
Three-point lighting setup from the golden age of Hollywood glamour. Key light, fill light, backlight, plus a butterfly diffuser for that soft, luminous look. This is how they shot me, Garbo, and Dietrich. Tip: The backlight is the secret -- it separates you from the background and makes your hair glow.
Screen Presence Workshop -- Less Is Everything
I teach you what Billy Wilder taught me: the camera sees everything you're thinking. You don't need to show it -- you need to FEEL it. We work on stillness, listening, and the art of the reaction shot. Tip: Most young actors try to DO too much. Stop doing. Start being.
Stella Adler's Acting Technique (First Edition)
Stella Adler's own handbook, first edition. She studied with Stanislavski in Paris -- the only American actor who did. This book is the foundation. Strasberg got the attention, but Adler got the method right.
Givenchy Little Black Dress (Replica, Size 6)
Museum-quality replica of the Breakfast at Tiffany's dress. Hubert made the original for me in 1961. This one is for costume research, photo shoots, or just feeling invincible for an evening. Handle with care -- it's lined in silk.
Character Development Workshop -- Who Is Your Hero?
A screenplay is only as good as its main character. In this workshop we build characters from the inside out: dramatic need, point of view, attitude, change. I'll make you answer four questions about your protagonist that will unlock your entire story.
Method Acting Intensive -- Becoming the Character
Two-hour session. We don't rehearse lines -- we build a life. Where did your character grow up? What does their kitchen smell like? What song makes them cry? Once you know that, the lines say themselves. Stella Adler's approach: imagination over memory. Tip: If you're thinking about acting, you're not acting.
Scene Study Workshop -- Reacting, Not Acting
Bring a scene partner. We work two scenes in two hours. I watch, I redirect, I provoke. Most actors prepare what they're going to say. Wrong. Prepare to LISTEN. The other actor's lines should change something in you every single time.
Makeup & Prosthetics Kit -- Physical Transformation
The kit I used to age myself for the Godfather screen test. Spirit gum, cotton balls, dental plumpers, hairpieces, and scar wax. Your face is clay. Tip: Physical transformation starts a chain reaction -- change your jaw and your voice changes, your posture shifts, the character emerges from the body outward.
Improvisation for Film Actors -- Finding the Moment
Film improv is not comedy improv. It's about being so deeply in character that when the script breaks, you don't. The 'I coulda been a contender' speech in On the Waterfront -- half of that was written, half was felt. Learn to blur the line.
Film Noir Acting Workshop -- The Art of the Anti-Hero
I teach you to play the guy who's seen too much but still does the right thing. Noir isn't about shadows -- it's about moral ambiguity. We work on understatement, world-weariness, and how to deliver a line like you've been thinking it for years. Tip: Never raise your voice when lowering it works better.
Screenplay by Syd Field (Annotated Copy)
My personal annotated copy of Screenplay -- the book that's been called the bible of screenwriting. Margin notes from 30 years of teaching. Dog-eared pages. Coffee stains from late nights at Musso & Frank. Read it, return it, write your script.
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