Weeks 1–3 · The setup
Frame, light, sound and a slate that sounds like a person.
The programs, in detail
Four programs of 8 to 12 weeks. Every one produces footage you'd actually be willing to send.
Program 01 · The room is your room now
Self-tapes & auditions
Casting sees hundreds of tapes. The technical bar is simple and non-negotiable: clean frame, decent audio, neutral background. Everything after that is choices, and that's where we spend the time — specific, playable choices made in the first three seconds of the scene.
Weeks 4–6 · Choices
Breaking down sides fast and committing to something specific.
Weeks 7–9 · Cold reading
Working with almost no prep time, the way it actually happens.
Weeks 10–12 · Tape week
A taped audition every week, reviewed and re-shot.
Weeks 1–3 · Analysis
Objectives, obstacles and beats, on paper before you're on your feet.
Weeks 4–6 · On your feet
Playing the scene and adjusting live in class.
Weeks 7–9 · Listening
Letting your partner change what you do.
Weeks 10–12 · Two contrasting scenes
One dramatic, one comedic, both taped.
Program 02 · Play the scene, not the mood
Scene study
Most flat performances come from playing an emotion instead of pursuing something. We break scenes into beats, name the objective in active language, and rehearse until you're listening to your partner rather than waiting to say your line.
Program 03 · An instrument that holds up
Voice & movement
Camera work forgives less than theatre: a tight jaw or a habitual shrug shows immediately. We work on breath support, clarity and the physical tics you don't know you have. If you ever feel vocal pain, stop and see an ENT — coaching isn't medical care.
Weeks 1–2 · Breath
Support, release and the warm-up you'll keep using.
Weeks 3–4 · Clarity
Articulation and pace without sounding stiff.
Weeks 5–6 · The body
Spotting and dropping habitual tension on camera.
Weeks 7–8 · Range
Stretching what you can play, taped before and after.
Weeks 1–2 · Headshots
Choosing the shots that match what you actually get cast as.
Weeks 3–4 · The reel
Cutting for the first twenty seconds, not for chronology.
Weeks 5–6 · Submissions
A weekly routine on the platforms you already use.
Weeks 7–8 · Meetings
General meetings and talking about your work without apologizing.
Program 04 · Materials and submissions
The business
Most actors lose opportunities on materials rather than talent. We review headshots, cut a reel that leads with your strongest twenty seconds, tidy the resume, and set a weekly submission routine. We are not an agency: we make no submissions for you and take no commission.
Got a tape due this week?
Twenty minutes to talk through where your tapes keep falling short, and what to change first. Free.