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Action Film Preparation Workshop -- Body as Weapon

For The Matrix, I trained four months. For John Wick, six months. I teach you the actor's approach to combat training: not to fight, but to look like you've been fighting your whole life. Jiu-jitsu, judo throws, gun handling, and the physical stamina to do take after take. Tip: Train until the movement disappears and only the character remains.

Screen Acting for Dancers -- When the Music Stops

I won my Oscar in a drama, not a musical. Dancers make extraordinary actors because we understand timing, physicality, and emotional expression through the body. I teach dancers how to carry those skills into dialogue scenes. Tip: Every pause in dialogue is a rest in music. Feel it that way.

Three-Gun Tactical Training Workshop

Pistol, rifle, and shotgun -- safe handling, reload drills, transition drills, and shoot-on-the-move technique. I trained at Taran Tactical for John Wick and now I compete in 3-gun matches for fun. Safety is absolute. We start with fundamentals and build up. Tip: Slow is smooth, smooth is fast.

Dancing in Heels Workshop -- Grace Under Pressure

I danced in three-inch heels on polished floors going backwards. It requires ankle strength, balance, and nerve. We start with low heels on a forgiving surface and work up. Tip: The heel hits the ground differently than a flat shoe -- you must relearn your weight placement from the ground up.

Partner Dance Workshop -- The Art of Following

Everyone wants to learn to lead. Nobody teaches you to follow brilliantly. Following is interpretation in real time -- you feel the lead's intention through your frame and translate it into movement, often in reverse, often in heels. We work on frame, connection, and musical sensitivity. Tip: The best follower makes every leader feel like a genius.

1930s Dance Costume Collection (Gowns, Heels, Feathers)

Three replica gowns from the Astaire-Rogers films: the feathered dress from Top Hat (it shed everywhere -- Fred hated it and I loved it), the satin from Swing Time, and the beaded from Shall We Dance. Includes matching dance heels. Handle with care -- the beading is hand-sewn.

ARCH Motorcycle Experience (Custom KRGT-1)

A ride on the KRGT-1 -- the motorcycle I co-designed with Gard Hollinger at ARCH Motorcycle Company. S&S 2032cc V-twin, billet aluminum frame, handcrafted everything. This isn't a rental. It's a supervised ride experience on a closed course. Because some things you have to feel to understand.

Representation in Film Workshop -- Fighting for the Role

I fought Hollywood's stereotypes for forty years. Sometimes I won. Sometimes I took the role anyway and subverted it from inside. This workshop is about navigating an industry that doesn't see you -- how to advocate for yourself, how to find humanity in limited scripts, and how to build a career when the system is designed to exclude you. Tip: Your anger is valid. Channel it into the work.

Tap Dance -- The Art of Effortless Complexity

My tap style is different from Gene's. He's power. I'm precision. We work on clean sounds, syncopation, and the illusion of spontaneity that only comes from ruthless preparation. Tip: If the audience can see you counting, you haven't practiced enough.

Ballroom Dance Masterclass -- Elegance in Motion

Waltz, foxtrot, quickstep, and the Viennese waltz. I teach you to move across a dance floor as if the floor were made of clouds. Posture, frame, lead-and-follow, and musicality. Tip: Your partner should feel weightless in your arms. If they feel heavy, you're leading too hard.

Top Hat & Tails Costume Set (Screen-Quality Formal Wear)

White tie and tails, silk top hat, white gloves, patent leather shoes, and walking cane. The complete Fred Astaire look from Top Hat. Every piece is dance-functional -- the jacket moves with you, the shoes are flexible, the hat stays on during spins. Tip: Formal wear should make you stand straighter. If it doesn't, it doesn't fit.

Musical Film History Screening & Discussion

We screen one of the great musicals -- Singin' in the Rain, An American in Paris, On the Town, or West Side Story -- and I break down the choreography, camera work, and directorial decisions. Small group, max 10. Come ready to discuss how dance tells story.