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317 results for “dell”
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?
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.
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.
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.
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.
Method Acting Intensive -- Becoming the Character
Two-hour session. We don't rehearse lines -- we build a life. Where did your character grow up? What does their kitchen smell like? What song makes them cry? Once you know that, the lines say themselves. Stella Adler's approach: imagination over memory. Tip: If you're thinking about acting, you're not acting.
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.
Ballet Fundamentals for Actors -- Grace in Motion
Four positions, posture, and how to walk like you own the room. I studied ballet to be a dancer, but it made me an actress. Every movement on screen is a dance -- even sitting down. Sonia Gaskell would say: the spine tells the story.
Humanitarian Storytelling Workshop -- Making the World Listen
How to tell stories that move people to action. I learned this at UNICEF -- you can show a million statistics and nothing changes. Show one child's face and the whole world responds. We work on narrative, photography, and the courage to witness.
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.
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