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Classic Screenplay Collection (Bound Scripts)

Bound shooting scripts of Chinatown, Annie Hall, Thelma & Louise, American Beauty, and The Shawshank Redemption. These are the scripts I used in my workshops for decades. Read them with a highlighter. Study how they handle plot points. Tip: Read scripts, not books about scripts.

Action Scene Workshop -- How to Throw a Punch on Camera

Film fighting is NOT real fighting. I'll teach you camera angles, pull distances, reaction timing, and how to sell a hit. We'll choreograph a 30-second fight scene by the end of the session. Bruce Lee taught me the value of screen combat efficiency -- I'm passing it on.

Comedy Timing Workshop -- The Art of the Pause

Comedy lives in the silence between lines. I teach you where to breathe, where to look, and where to let the audience catch up. We study Some Like It Hot and Gentlemen Prefer Blondes frame by frame. Tip: If you're rushing the punchline, you don't trust the joke.

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.

Stella Adler's Acting Technique (First Edition)

Stella Adler's own handbook, first edition. She studied with Stanislavski in Paris -- the only American actor who did. This book is the foundation. Strasberg got the attention, but Adler got the method right.

Makeup & Prosthetics Kit -- Physical Transformation

The kit I used to age myself for the Godfather screen test. Spirit gum, cotton balls, dental plumpers, hairpieces, and scar wax. Your face is clay. Tip: Physical transformation starts a chain reaction -- change your jaw and your voice changes, your posture shifts, the character emerges from the body outward.

Improvisation for Film Actors -- Finding the Moment

Film improv is not comedy improv. It's about being so deeply in character that when the script breaks, you don't. The 'I coulda been a contender' speech in On the Waterfront -- half of that was written, half was felt. Learn to blur the line.

Screen Presence Workshop -- Less Is Everything

I teach you what Billy Wilder taught me: the camera sees everything you're thinking. You don't need to show it -- you need to FEEL it. We work on stillness, listening, and the art of the reaction shot. Tip: Most young actors try to DO too much. Stop doing. Start being.

Givenchy Little Black Dress (Replica, Size 6)

Museum-quality replica of the Breakfast at Tiffany's dress. Hubert made the original for me in 1961. This one is for costume research, photo shoots, or just feeling invincible for an evening. Handle with care -- it's lined in silk.

Opera-Length Gloves & Tiara Set (Tiffany's Costume Kit)

Black satin opera-length gloves, rhinestone tiara, and oversized sunglasses. The complete Holly Golightly look. Tip: Accessories don't complete an outfit. They complete a character.

Film Noir Acting Workshop -- The Art of the Anti-Hero

I teach you to play the guy who's seen too much but still does the right thing. Noir isn't about shadows -- it's about moral ambiguity. We work on understatement, world-weariness, and how to deliver a line like you've been thinking it for years. Tip: Never raise your voice when lowering it works better.

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.