Browse Items
52 results for “power tool”
Woodworking Jig & Fixture Building
Build a jig that produces identical parts every time. The jig transfers skill from craftsman to tool. A skilled worker makes one perfect piece. A jig lets anyone make a thousand.
Microscopy Workshop -- Seeing Germs
Hands-on microscopy. Prepare slides, stain bacteria, observe microorganisms that cause infection. My father improved the microscope lens. I used the improved microscope to see what was killing surgical patients. One generation builds the tool, the next uses it.
Nunchaku Set (Training Foam + Competition Wood)
Foam pair for learning, hardwood pair for performance. I made these famous but they're actually an Okinawan farming tool. Start with the foam. Trust me.
Heavy Bag (100lb Leather) + Speed Bag Station
Professional-grade heavy bag and speed bag mounted on a steel frame. The heavy bag teaches power. The speed bag teaches timing. Use both. I hit these every morning before sunrise and have since 1962.
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.
The Anti-Hero Workshop -- Power Through Silence
The Man With No Name, Dirty Harry, William Munny. Three different decades, one technique: say less, mean more. I teach you to hold a scene with a look, a squint, and a well-timed pause. We work on screen economy -- every gesture must earn its place.
Screen Presence for Women -- Commanding Without Diminishing
I was told to shrink -- change your nose, lose weight, lower your voice. I did none of it. I teach women to take up space on screen without apology. Posture, gaze, and the power of a well-timed silence. Men take up space instinctively. Women must choose to. That choice is power.
Tap Dance Fundamentals -- Athletic Style
I don't teach pretty tap. I teach POWERFUL tap. We start with shuffles, flaps, and time steps, then build to combinations that use your whole body. I combined tap with ballet and jazz because dance shouldn't live in boxes. Tip: Your tap shoes are percussion instruments. You're not dancing -- you're drumming with your feet.
Tap Dance -- The Art of Effortless Complexity
My tap style is different from Gene's. He's power. I'm precision. We work on clean sounds, syncopation, and the illusion of spontaneity that only comes from ruthless preparation. Tip: If the audience can see you counting, you haven't practiced enough.
Singing for Non-Singers -- Charm Over Range
Irving Berlin, Cole Porter, and the Gershwins all wrote songs specifically for my voice -- and I had barely one octave. The trick isn't range. It's phrasing, charm, and meaning every word. We work on selling a song with personality instead of power. Tip: If you can speak it convincingly, you can sing it.
Villain Masterclass -- Stillness as Terror
Hannibal Lecter doesn't move. Doesn't blink. Doesn't raise his voice. And he terrifies every person in the room. I teach you that villainy isn't volume -- it's precision. We work on stillness, vocal control, and the chilling power of a well-timed smile. Tip: The scariest person in the room is the one who's completely comfortable.
Sophisticated Comedy Workshop -- Charm as a Weapon
Screwball comedy, romantic comedy, light thriller -- I did them all with one tool: precision disguised as ease. We work on timing, physical comedy, the double-take, and the art of making the audience fall in love with you. Tip: Be faster than the audience expects and slower than they need. That gap is where the laugh lives.
25-36 of 52 items (page 3 of 5)
