Browse Items
38 active listings
Umbrella (Singin' in the Rain Replica, Full Size)
Full-size black umbrella, exact replica of the one from the most famous dance sequence in cinema history. Borrow it for your own rain dance, photo shoots, or just because it makes you happy. Tip: The rain was a mix of water and milk -- milk showed up better on camera.
Patent Writing Crash Course -- Protect Your Ideas
Small group (max 4). I'll teach you how to write a patent application: claims, specifications, drawings. The patent is the inventor's sword and shield. Without it, your idea belongs to whoever copies it first. I learned this the hard way with the movie camera.
Film Fight Choreography Session
Learn to design fight scenes for camera. Real combat is ugly. Screen combat is poetry. I'll show you camera angles, timing, and how to sell a punch that misses by six inches. Every fight tells a story -- what's yours?
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.
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.
On-Camera Dialogue Coaching -- Making Every Word Count
Most actors read lines. I teach you to THROW lines -- like darts. Short, sharp, landed. We study Casablanca, The Big Sleep, and The Maltese Falcon. Tip: The audience should feel like they're overhearing you, not listening to you.
Camera Confidence Workshop -- Owning the Lens
The camera is not your enemy. It's your best friend -- the one who sees everything and forgives everything. I teach you how to find your light, your angle, and your truth. We work with a live camera feed so you can see yourself the way the audience sees you.
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.
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.
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 & 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.
13-24 of 38 items (page 2 of 4)
