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340 results for “ai”
Professional Condenser Microphone (RCA 44-BX Ribbon)
The same model microphone I used for Mercury Theatre broadcasts. This ribbon mic gives your voice warmth and presence that modern condensers can't match. Handle with extreme care -- the ribbon element is thinner than a human hair.
Kung Fu Comedy Workshop -- Fighting and Falling with Style
I'll teach you to take a hit, sell a fall, and make the audience laugh while you're in pain. We use chairs, ladders, and tables as props -- everything in the room is a weapon and a punchline. Tip: Always show the whole body. Wide shots let the audience see the skill. Close-ups are for actors who can't fight.
Stunt Safety & Fall Training Workshop
Before you can do a stunt, you need to know how to fall. We cover breakfalls, rolls, wall hits, and stair tumbles on mats. I've broken nearly every bone in my body -- YOU don't have to. Safety isn't about being careful. It's about being PREPARED. We drill until the landing is automatic.
Prop Weapons Collection (Breakaway Chairs, Rubber Bottles, Foam Pipes)
Sugar glass bottles, balsa wood chairs, foam pipes, rubber bricks -- everything you need for a prop fight scene. I've used more chairs as weapons than any actor in history. They break beautifully on camera and barely sting in person. Barely.
Acrobatics Fundamentals -- Flips, Rolls, and Wall Runs
Peking Opera trained me in acrobatics from age six. I teach forward rolls, backward rolls, cartwheels, wall runs, and basic flips -- all on safety mats. You don't need to be young. You need to be willing. Sammo Hung and I still warm up with these moves. Tip: Your hands and feet should never land at the same time.
Minimalist Film Directing Workshop -- Two Takes and Print
I direct fast and quiet. No yelling, no ego, no fiftieth take. We shoot a short scene with available light, two cameras, and maximum two takes per setup. Tip: Trust your actors. Hire good people and get out of their way. The director's job is to create an environment where the truth can happen.
Method Research Intensive -- Becoming Someone Else
I don't start with the script. I start with the world. Where does the character live? What's in his pockets? What radio station does he listen to? We build a character from the ground up -- wardrobe, daily routine, voice, walk. Tip: Spend a day living as the character before you memorize a single line.
Boxing Training Session -- Raging Bull Fundamentals
Jake LaMotta trained me for a year. I learned jab, cross, hook, uppercut, and the footwork of a middleweight. Boxing teaches you rhythm, distance, and controlled aggression -- all of which translate directly to screen performance. We wrap hands, hit bags, and spar light.
Boxing Gear Set (Gloves, Wraps, Heavy Bag)
16oz training gloves, 180-inch hand wraps, and a 70lb heavy bag with ceiling mount. The same weight class gear I trained with for Raging Bull. Hit the bag for twenty minutes and tell me acting isn't physical work.
Complete Shakespeare (Riverside Edition, Annotated)
My personal Riverside Shakespeare -- every play, every sonnet. Heavily annotated in pencil. Richard III has three colors of markup from three different productions. Hamlet has coffee stains from 1979. These margins contain forty years of wrestling with the greatest writer in the English language.
Opera Singing for Actors -- Voice as Instrument
I studied opera before acting. Vocal training teaches breath control, projection, and emotional range that transforms film performances. We warm up with scales, work on one aria, and apply the techniques to spoken text. You don't need to be a singer. You need to be a breather.
IPA (International Phonetic Alphabet) Training Kit
Flash cards, audio recordings, and workbook for mastering the International Phonetic Alphabet. This is the foundation of all dialect work. Once you can READ sound, you can reproduce any accent on earth. I use this system for every role. No exceptions.
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