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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.
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.
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.
Silent Film Acting Workshop -- Expression Without Words
I learned to act in silent film, where your face and body ARE the language. No dialogue to hide behind. We work on facial expression, gesture, and the art of conveying a complete story through movement alone. Tip: Silent film acting isn't bigger than sound film acting -- it's more PRECISE.
International Film Career Workshop -- Beyond Hollywood
When America wouldn't cast me fairly, our went to Europe and became a star in Berlin, London, and Paris. I teach you to think globally -- how to navigate international film industries, work in multiple languages, and build a career that doesn't depend on one country's approval. Marlene and I became friends because we both refused to be limited.
Zero-Budget Filmmaking Workshop -- Pather Panchali Method
I made the most acclaimed debut film in Indian history with no money, no studio, and no experience. I teach you to work with what you have: natural light, real locations, non-professional actors, and a story worth telling. We plan a short film using only resources within walking distance. Tip: Limitations are not obstacles. They are your style.
Surrealist Filmmaking Workshop -- Dreams as Cinema
Logic is for accountants. Cinema is for dreamers. I teach you to build a film from images, feelings, and memories instead of plot outlines. We start with your strangest dream and work backward to a script. Tip: The image comes first. Then the meaning. Never the other way around. If you start with a message, you'll make a lecture, not a film.
Italian Cinema History -- Neorealism to Surrealism
We screen one of my films alongside a Rossellini or De Sica film and trace the evolution from neorealism to surrealism. How did Italian cinema go from Bicycle Thieves to 8 1/2 in fifteen years? The answer is autobiographical. We'll trace it together. Nino Rota's music is mandatory.
Film Music Composition Workshop -- Scoring Your Own Film
I composed the music for my later films because nobody else could hear what I heard. Indian classical ragas, Western orchestration, and folk melodies -- all serving the image. We study the sitar-and-flute scoring of the Apu Trilogy and learn to write music that enhances without overpowering. Tip: The best film music makes you forget it's there.
Graphic Design & Film Poster Workshop
I designed every poster, title card, and publication for my films. Typography is architecture. Layout is storytelling. We design a film poster from scratch -- concept, typography, illustration, and final composition. Bring a film idea or I'll give you one. Tip: A poster is a one-second film. It must convey mood, genre, and intrigue in a single glance.
Satyajit Ray Film Collection (Criterion, Complete)
The complete Criterion Collection of my films -- the Apu Trilogy, Charulata, The Music Room, Days and Nights in the Forest, and more. Subtitled in English. Kurosawa said seeing these films was like seeing the sun and moon. Start with Pather Panchali. Bring tissues.
Dramatic Lighting Workshop -- Chiaroscuro for Photographers
One light source. Complete darkness. That's all you need for the most dramatic images in the world. I'll teach you to see light the way I painted it -- as a weapon. Works for painters, photographers, and filmmakers. Bring your camera or your canvas.
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