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328 results for “film”
Musical Film History Screening & Discussion
We screen one of the great musicals -- Singin' in the Rain, An American in Paris, On the Town, or West Side Story -- and I break down the choreography, camera work, and directorial decisions. Small group, max 10. Come ready to discuss how dance tells story.
Top Hat & Tails Costume Set (Screen-Quality Formal Wear)
White tie and tails, silk top hat, white gloves, patent leather shoes, and walking cane. The complete Fred Astaire look from Top Hat. Every piece is dance-functional -- the jacket moves with you, the shoes are flexible, the hat stays on during spins. Tip: Formal wear should make you stand straighter. If it doesn't, it doesn't fit.
1930s Dance Costume Collection (Gowns, Heels, Feathers)
Three replica gowns from the Astaire-Rogers films: the feathered dress from Top Hat (it shed everywhere -- Fred hated it and I loved it), the satin from Swing Time, and the beaded from Shall We Dance. Includes matching dance heels. Handle with care -- the beading is hand-sewn.
Action Film Preparation Workshop -- Body as Weapon
For The Matrix, I trained four months. For John Wick, six months. I teach you the actor's approach to combat training: not to fight, but to look like you've been fighting your whole life. Jiu-jitsu, judo throws, gun handling, and the physical stamina to do take after take. Tip: Train until the movement disappears and only the character remains.
Line Mastery Workshop -- 200 Reads and Freedom
My technique is brutally simple: read your script 200 times. Not 50. Not 100. Two hundred. By read 150, the words dissolve into your nervous system. By read 200, you're free to play. We work on a five-page scene in this session. You'll read it aloud until it transforms. Tip: Boredom is the gateway to mastery. Push through it.
Shakespeare Intensive -- King Lear and the Weight of Language
I've played Lear, Othello, Prospero, and Antony. Shakespeare terrifies actors because the language is dense. I teach you to find the human being inside the verse. We work on one soliloquy -- breath, thought, emotion, and the moment where the character breaks through the poetry. Tip: Shakespeare wrote for actors, not scholars. Speak it like a human being.
Representation in Film Workshop -- Fighting for the Role
I fought Hollywood's stereotypes for forty years. Sometimes I won. Sometimes I took the role anyway and subverted it from inside. This workshop is about navigating an industry that doesn't see you -- how to advocate for yourself, how to find humanity in limited scripts, and how to build a career when the system is designed to exclude you. Tip: Your anger is valid. Channel it into the work.
Silent Film Acting Workshop -- Expression Without Words
I learned to act in silent film, where your face and body ARE the language. No dialogue to hide behind. We work on facial expression, gesture, and the art of conveying a complete story through movement alone. Tip: Silent film acting isn't bigger than sound film acting -- it's more PRECISE.
Vintage Qipao Collection (1920s-1940s Silk Dresses)
Five hand-tailored silk qipao dresses in the styles I wore on screen and in life. Each one is a work of art -- embroidered, fitted, and designed to make a statement. I was the most photographed Asian woman in the world. These dresses are why. Borrow for shoots, exhibitions, or costume reference.
International Film Career Workshop -- Beyond Hollywood
When America wouldn't cast me fairly, our went to Europe and became a star in Berlin, London, and Paris. I teach you to think globally -- how to navigate international film industries, work in multiple languages, and build a career that doesn't depend on one country's approval. Marlene and I became friends because we both refused to be limited.
Zero-Budget Filmmaking Workshop -- Pather Panchali Method
I made the most acclaimed debut film in Indian history with no money, no studio, and no experience. I teach you to work with what you have: natural light, real locations, non-professional actors, and a story worth telling. We plan a short film using only resources within walking distance. Tip: Limitations are not obstacles. They are your style.
Film Music Composition Workshop -- Scoring Your Own Film
I composed the music for my later films because nobody else could hear what I heard. Indian classical ragas, Western orchestration, and folk melodies -- all serving the image. We study the sitar-and-flute scoring of the Apu Trilogy and learn to write music that enhances without overpowering. Tip: The best film music makes you forget it's there.
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