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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.
Autobiography Collection (The Measure of a Man + This Life)
Both my memoirs. The Measure of a Man won the Grammy for spoken word. This Life tells the full story -- Cat Island, the tomato fields, dishwashing in Harlem, and every role that mattered. Read them in order.
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.
Bokken Set (Oak Practice Swords, Pair)
Two red oak bokken -- standard katana length. These are the training weapons I used before every Kurosawa film. They teach you distance, timing, and respect for the blade. Tip: If you're gripping too tight, you're already losing.
Physical Acting Masterclass -- The Body Tells the Story
I never went to acting school. I learned by doing. My body was my instrument -- the way I scratched, squatted, spat, laughed. Kurosawa once told me to watch how animals move. A tiger doesn't announce itself. It moves, and you KNOW it's a tiger. We work on physicality, gesture, and primal energy.
Samurai Armor Set (Reproduction Do, Kabuto, Menpo)
Full reproduction samurai armor: chest plate (do), helmet (kabuto), and face guard (menpo). I wore gear like this in Throne of Blood and Samurai Trilogy. It changes how you stand, walk, and breathe. Tip: Wear it for an hour before filming -- let your body adapt so the armor disappears.
Japanese Film History Screening & Discussion
We watch one of my films with Kurosawa -- Rashomon, Seven Samurai, Yojimbo, or Ikiru -- and I break down every choice. Camera placement, performance decisions, what was improvised, what was argued about. Small group, max 8. Bring sake or tea.
Film Directing Masterclass -- Composing with the Camera
I teach directing the way I learned painting -- through composition. Where is the eye drawn? What is the relationship between foreground and background? We use storyboards, not shot lists. Every frame should be a painting that moves. Tip: Use multiple cameras. Actors perform differently when they don't know which camera is live.
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.
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