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Storyboard Workshop -- Drawing Your Film Before You Shoot

I painted full-color storyboards for every scene in my later films -- Kagemusha, Ran, Dreams. They're works of art on their own. You don't need to be a great painter. You need to THINK visually. We work with watercolors and ink. Bring your script and we'll draw your film.

Film Editing Workshop -- The Invisible Art

Editing is where the film is truly made. I'll show you how a two-second cut changes everything -- mood, pace, meaning. We work with actual footage. I cut on a Moviola for forty years. Digital is faster but the principles are eternal: rhythm, contrast, surprise. Tip: The best cut is the one the audience doesn't notice.

Watercolor & Ink Set (Kurosawa's Storyboard Kit)

Professional watercolor set, sumi ink, and 50 sheets of storyboard paper with the frame templates I used. This is the exact setup for the Ran storyboards now in museums. Tip: Use big brushes. Small brushes make you fussy. Cinema is bold.

Kurosawa Film Library (Criterion Collection Box Set)

Twenty-five films on Blu-ray. Rashomon through Madadayo. Every film has commentary tracks and my own notes. Watch them in order and you'll see an artist evolve over fifty years. Start with Stray Dog if you want noir. Start with Ikiru if you want to cry.

Suspense Filmmaking Masterclass -- The Bomb Under the Table

I'll teach you to terrify an audience without showing them anything. We study the shower scene in Psycho (70 cuts, no knife-on-skin contact), the crop duster in North by Northwest (silence is scarier than music), and the dinner party in Rope (one continuous take). Tip: Always give the audience more information than the characters have. That's where suspense lives.

Storyboard & Shot Planning Workshop

I planned every frame before we rolled camera. By the time we shot, the film was already made -- the set was just a formality. We'll storyboard a five-minute suspense sequence from your script. Every shot has a PURPOSE. If it doesn't build tension, cut it.

Hitchcock/Truffaut (First Edition, Hardcover)

The definitive book on filmmaking. Truffaut asked me 500 questions over five days. Every answer is a masterclass. This is the first American edition, 1967. Dog-eared at the Vertigo chapter because everyone always goes there first.

Film Score Analysis Workshop -- Music as Fear

Bernard Herrmann wrote the Psycho strings, the Vertigo spirals, and the North by Northwest overture. Without his music, my films are half as terrifying. We study how music creates dread, release, and the false sense of safety. Tip: The scariest sound in cinema is silence followed by a single note.

MacGuffin Writing Kit (Plot Device Workshop Materials)

Cards, prompts, and exercises for creating compelling plot devices. The MacGuffin is the thing the characters care about but the audience doesn't -- it's the excuse for the story, not the story itself. The Maltese Falcon is a MacGuffin. The uranium in Notorious is a MacGuffin. The real story is always about people.

Cinematography Masterclass -- Light Is Everything

Barry Lyndon was lit entirely by candlelight using a NASA lens. The Shining used Steadicam before anyone knew what Steadicam was. 2001 invented front-projection on a scale nobody had attempted. We study how to light a scene so it tells the story before anyone speaks. Tip: Natural light is almost always better than artificial. Learn to see it first.

Photography Fundamentals -- Seeing Before Shooting

I was a Look Magazine photographer before I was a filmmaker. Still photography teaches you composition in ways no film school can. One frame. One moment. No second chances. We shoot on the street with 35mm cameras. Tip: The subject is never the subject. The LIGHT on the subject is the subject.

35mm Film Camera (Arriflex IIC)

The same model I used for Paths of Glory and Spartacus. Pin-registered gate, crystal sync motor. This camera taught me everything about exposure, framing, and the cost of mistakes (film stock isn't cheap). Comes with three prime lenses: 25mm, 50mm, and 85mm.