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384 results for “1-on-1”
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.
Humanitarian Storytelling Workshop -- Making the World Listen
How to tell stories that move people to action. I learned this at UNICEF -- you can show a million statistics and nothing changes. Show one child's face and the whole world responds. We work on narrative, photography, and the courage to witness.
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.
Chess Set (Tournament Grade Staunton)
I played chess on every set I ever worked on. Between takes, between scenes, during lunch. It teaches you to think three moves ahead -- exactly what an actor needs. This is a regulation Staunton set with a roll-up vinyl board. I'll play you a game if you rent it.
On-Camera Dialogue Coaching -- Making Every Word Count
Most actors read lines. I teach you to THROW lines -- like darts. Short, sharp, landed. We study Casablanca, The Big Sleep, and The Maltese Falcon. Tip: The audience should feel like they're overhearing you, not listening to you.
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.
Singing Coaching -- Finding Your Breathy Best
I sang Happy Birthday to a president and Diamonds Are a Girl's Best Friend to the world. My voice wasn't perfect -- it was MINE. I teach you to stop imitating and start expressing. We work on breath control, phrasing, and emotional delivery. You don't need range. You need truth.
Commanding the Room -- Presence and Dignity on Screen
I teach you to walk into a scene and own it without raising your voice or clenching your fist. Power isn't volume. It's stillness when everyone else is shouting. We work on posture, eye contact, and the silence between words. Tip: Before you say your first line, stand still for three seconds. Let the audience come to you.
Dialect & Accent Coaching -- From Caribbean to Classical
I rebuilt my voice from a thick Bahamian accent to classical American diction. I can teach you to do the same with any accent. We work on vowel placement, consonant precision, and rhythm. The goal isn't to erase where you're from -- it's to choose how you sound for each role.
Film Directing Fundamentals -- Telling the Story Through the Lens
I directed nine films. The trick is knowing what the camera should see versus what the audience should feel. Those are often different things. We work on shot selection, actor direction, and visual storytelling. Bring a short script and we'll storyboard it together.
Public Speaking Masterclass -- The Voice That Cannot Be Ignored
Whether you're addressing a boardroom or a protest march, your voice must carry conviction. I'll teach you pacing, breath control, and how to land a sentence so it stays in the room after you've left. Harry and I spoke at the March on Washington. The microphone helps, but the message does the work.
Samurai Screen Combat Workshop -- The Way of the Blade
Katana work for film. Proper draw, strike, and resheath. We use bokken (wooden swords) first, then move to iaito (blunt steel). I'll teach you the difference between real kenjutsu and what looks good on camera. Kurosawa insisted on realism -- the audience can feel a fake swing. Tip: Speed comes from relaxation, not tension.
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