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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.

Crash Mats & Safety Pads (Full Stunt Kit)

Eight crash mats in various sizes, knee pads, elbow pads, and a body harness. This is the safety equipment my stunt team uses for medium-height falls and wall work. Tip: Never do a stunt for the first time on camera. Rehearse until the fear becomes respect.

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.

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.

Spaghetti Western Costume Kit (Poncho, Hat, Cigarillo Props)

The green poncho, the flat-brim hat, and prop cigarillos from the Dollars trilogy. Leone made me an icon with these three items and Morricone's music. Tip: A costume works when the audience can sketch it from memory. Keep it simple.

Jazz Piano Session -- Improvisation and Film Scoring

I've composed scores for many of my own films. Jazz is conversation -- you listen, you respond, you leave space. We work on basic piano improvisation over blues and jazz standards. No sheet music. Tip: The notes you DON'T play are just as important as the ones you do. Same in acting. Same in life.

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.

Scene Improvisation Workshop -- Finding Truth Without a Script

The 'You talkin' to me?' scene wasn't written. It was felt. I teach you to prepare so thoroughly that when the script disappears, you're still the character. We set up scenarios and go. No safety net. The best moments in film happen when the actor surprises themselves.

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.

Character Wardrobe Kit (Taxi Driver Era)

Army surplus jacket, aviator sunglasses, boots, and the mohawk wig. Travis Bickle's wardrobe tells his whole story before he opens his mouth -- military discipline decaying into isolation. Tip: A character's clothes are their armor. Choose every piece deliberately.