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489 results for “youth”
Advanced Tracking & Counter-Tracking
Reading sign on rock, sand, and hardpan. Aging tracks by moisture and wind. Counter-tracking -- how to move without leaving sign. I could track a man across bare rock by the scuff marks and disturbed pebbles. Tip: Everything that moves leaves evidence. Your job is to see what others walk past.
Character Development Workshop -- Who Is Your Hero?
A screenplay is only as good as its main character. In this workshop we build characters from the inside out: dramatic need, point of view, attitude, change. I'll make you answer four questions about your protagonist that will unlock your entire story.
Screenplay by Syd Field (Annotated Copy)
My personal annotated copy of Screenplay -- the book that's been called the bible of screenwriting. Margin notes from 30 years of teaching. Dog-eared pages. Coffee stains from late nights at Musso & Frank. Read it, return it, write your script.
Desert Guerrilla Tactics Workshop
How 38 warriors evaded 8,000 soldiers for years. Water caching, trail deception, ambush sites, disappearing into terrain. The Apache did not fight battles -- we fought a war of movement. Tip: Never be where they expect you. Move at night, rest by day, leave false trails. Make them chase ghosts.
Desert Survival Intensive -- 48 Hours With Nothing
Two days in the desert with a knife and the clothes on your back. Finding water from plants, catching small game, building shade shelters, navigating by stars and landmarks. The Chiricahua Apache lived in this desert for centuries. If you listen to the land, it will keep you alive.
Script Coverage & Notes -- Professional Feedback
Send me your screenplay (120 pages max). I'll read it, write detailed notes on structure, character, and dialogue, and return a 3-page coverage report. I've read over 2,000 screenplays for Cinemobile Systems and another 2,000 for the Royal Swedish Film Institute. I know what works.
The Paradigm Workshop -- 3-Act Structure Masterclass
The workshop that changed screenwriting worldwide. In four hours, I break down the three-act structure using your favorite films. You'll never watch a movie the same way again. Bring a film you love and I'll show you its skeleton. Tip: The first ten pages are everything -- that's where the reader decides to keep going or toss your script.
Niten Ichi-ryu Workshop -- Two-Sword Fighting
My school: long sword in one hand, short sword in the other. Most swordsmen use two hands on one blade. I use one hand on each. The long sword attacks, the short sword defends and creates openings. It requires years. We start today. Tip: Do not grip the sword tightly. Hold it like a bird -- firm enough it cannot escape, gentle enough you do not crush it.
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?
Philosophy of Martial Arts Workshop -- Small Group
Small group session (max 6). We discuss Tao Te Ching, Krishnamurti, and the connection between combat and self-knowledge. Tip: Knowing is not enough, you must apply. Willing is not enough, you must do. Bring a notebook.
Katana & Wakizashi Training Set (Bokken -- Wooden)
Two wooden training swords -- full-length bokken (katana) and short bokken (wakizashi). I killed Sasaki Kojiro with wood. Steel is a privilege, not a right. Master the fundamentals with these before you touch a live blade. Tip: The sword is an extension of your center. Move from the hips, not the arms.
Live Blade Katana (Shinken -- Advanced Students Only)
Folded steel katana, razor edge, 28-inch blade. For advanced students who have completed bokken training. I lend this only after watching you train. If you grip too tight, swing too wild, or show fear of the blade, it stays in my rack. A sharp sword in unskilled hands is a danger to its owner.
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