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ADVACNCED CASTING WORKSHOP January 19-25 10am-2pm 35 St Roch Paris 75001

ADVACNCED CASTING WORKSHOP

This 6-day workshop is your opportunity to gain the skills and confidence to win film-acting roles. Perfecting objectives & choices actors are encouraged to create original and personal activities. Actors can shine when they have The Key to their character and attract Casting Directors who want to discover your unique talent. Actors learn from practice how to raise the stakes and pick up the cues.

Your Objective (the centerpiece) should stimulate your Choices. From your Choices actors physically create Organic Activities.  Do you know the film’s tone and style? Is it a genre film?  Actors need to be specific and personal to offer a unique voice and bring the script to life. Auditioning “sides” when you don’t know the script can be like searching for a needle in a haystack; it’s common for actors to work without a script. Using The Character Tree, actors create 3-dimensional individuals while transporting themselves into the role making it uniquely yours.

Here actors meet the moments by keeping your work fresh and being fully present. What you bring in reflects how you’re received so bring in joy, conviction, and ease. Meditate and focus and leave your baggage behind by keeping it simple. Charlie Chaplin said, “Simplicity is no simple thing.” Here actors find the simple truth.

CHARLES WEINSTEIN

Charles directed MELISSA LEO (THE FIGHTER 2011 Academy Award Best Supporting. Actress Laura Linney (THE SAVAGES, LOVE ACTUALLY), Michael Imperioli (SOPRANOS), Calista Flockhart (ALLY McBEAL) Charles has invited many casting directors to his workshop from New York and London and recently hosted Debbie McWilliams who is currently casting JAMES BOND 24.

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ACTING ON CAMERA 2014 PARIS September 15th-21st 10am -2pm, 35 St Roch, Paris 75001

SOPHIE MOUSEL, Actress, FILM ACTING PARIS 2014
“Cet enseignement clair, simple et efficace, ce bel équilibre entre pratique et théorie m’a beaucoup parlé et je conseille, particulièrement aux débutants devant la caméra, sinon à tout acteur motivé, à y participer! Au travail!”
ACTING ON CAMERA 2014 PARIS
September 15th-21st
10am -2pm, 35 St Roch, Paris 75001
Professional Workshops for actors desiring to work in the USA/UK Film industry. Low cost.
This 7-day workshop is for actors and highly motivated individuals desiring to work in the US/UK movie industry. Actors learn, exercise and perfect their skills on-camera. Training includes how to breakdown scripts and scenes; working with objectives, choices, organic activates and creating a specific character tree. Actors are inspired to find “the door” into their character. By working the camera, actors find casting techniques to win roles. Simulating a movie set, actors develop natural blocking and organic activities. All monologues and scenes are filmed with professional equipment and can be used for demo reels.
Charles directed MELISSA LEO (THE FIGHTER 2011 Academy Award Best Supporting Actress , FROZEN -2009 Academy Award Nomination for Best Actress, TREME, 21 GRAMS), Laura Linney (THE SAVAGES, LOVE ACTUALLY), Michael Imperioli (SOPRANOS, THE LOVELY BONES, GOODFELLAS), Calista Flockhart (ALLY McBEAL) Charles and Zach worked together on UNDER THE BRIDGE. Charles has invited many casting directors to his workshop from New York and London and recently hosted Debbie McWilliams who is currently casting JAMES BOND 24.
DAY 1: Orientation. Some handouts will be distributed. “Acting is the ability to live truthfully under imaginary circumstances.” Where did the objective originate? The simpler the objective, the more playable it is. Finding positive objectives to stimulate the imagination.
DAY 2: The size of the objective. “Trying, really trying, that’s the reality of doing.” When the objective doesn’t work or if the objective is blocked, we may improvise until we find an objective that works. “How to keep my monologue alive and fresh through the use of interruption.” Actors choose scenes for demo reels.
DAY 3: The observation exercises. Are you listening to me? From the objective we make choices and from those choices we create organic activities. How to alter a performance from shot to shot, take to take. How about “taking it down?” Or “give it more energy.” Working with close-ups.
DAY 4 Introduction to the Meisner independent activities. Memorize your lines without inflection. How to learn your lines as mechanically as possible. “Never try to be emotional; instead choose an activity with real difficulty in the object of doing.”
DAY 5: “Introduction to Uta Hagen Object exercises. Rehearsal and filming of scenes. Creating the spine of a character. Research a character; the building of a character tree; how to create a past, present and future for your character.
DAY 6: “Most acting is reacting, and you only react if you’re listening.” “ I think if you have a talent for acting, it is the talent for listening.” -Morgan Freeman. Working on accents and microphone levels. How loud or/and how soft should my voice be on camera? What’s my best side and where to look? How to make the camera work for you.
DAY 7: Where to find jobs and work. How to create a CV and demo reel. The importance of good headshots. Wrap party!
Don’t hesitate to participate in Charles Weinstein’s workshops. His teaching is easily accessible, simple and clear, and professionally very useful. Go for it!
Its a great workshop with a perfect balance between theoretical and practical teaching
A simple but very efficient method for all work in front of the camera:
1) Making a character tree, being precise and knowing each detail of your character
2) Choosing a strong objective
3) Making choices to attain it
4) using organic, physical activities to improve your body language and be more clear and expressive
5) Becoming more original in your acting choices
Getting a great insight into the origins of cinema, it’s evolution, the New York movie industry
Acting methods by Meisner, Stanislavsky, Strasberg, Uta Hagen etc.
… getting concrete information about castings and learning auditioning techniques
Many actors here improved their English, whatever level you have and getting ready to work in New York and London film industry.
Le centre d’intérêt et le fil rouge du stage de dix jours en petit comité avec Charles Weinstein a été une méthode qu’il a développée et qu’il a approfondi lors du travail des scènes de film, choisies pour les participants.
Elle consiste à focaliser un objectif bien précis qu’on veut à tout prix atteindre suite à un dialogue, un monologue, une scène quelconque. Cet objectif a un pouvoir étonnant sur la scène à laquelle il donne une direction. Il peut lui prêter un vrai caractère, une réelle force et profondeur. Avoir un but précis rend en outre notre corps plus engagé et son langage plus expressif et stimule l’imagination de l’acteur qui par conséquent fait souvent des propositions plus originales.
À côté d’improvisations et de travail face à la caméra, Charles nous a fait voyager à travers l’histoire du cinéma, les débuts des grands acteurs sur le broadway, le génie de Chaplin, les méthodes de Meisner, Stanislavsky, Strasberg, Uta Hagen et d’autres, en prenant toujours soin de tout illustrer par un exercice ou un extrait de film. L’atmosphère était amicale et le travail s’est fait en détente tout en restant professionnel.
En outre, Charles a tenu à nous mettre dans des conditions de casting pour nous expliquer comment aborder un script en peu de temps.
Le stage a été clos par un petit tournage des scènes répétées, qui peuvent, si besoin, être utilisées pour une bande démo.
Cet enseignement clair, simple et efficace, ce bel équilibre entre pratique et théorie m’a beaucoup parlé et je conseille, particulièrement aux débutants devant la caméra, sinon à tout acteur motivé, à y participer! Au travail!

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FILM ACTING PARIS JULY 17-26 NYC

ACTING ON CAMERA WORKSHOP

New York City Acting

This 10-day workshop is for actors who need to get immersed into the New York movie industry. Enhanced technique with invited award-wining actors and NY casting director. Actors work on scenes and sides to be included into actor’s demo reels. This workshop will be held in Williamsburg Brooklyn where current filming includes GIRLS, BOARDWALK EMPIRE, THE AMERICANS, THE GOODWIFE, TAXI BROOKLYN, (http://www.backstage.com/nyc-film-production-listings/). Scenes will be shot in studio and on location in New York; these scenes can be used for actors reel. The 10-day cost is 400 euros ($550) and 500 euros for room and board (optional) in Williamsburg Brooklyn, Bedford Ave subway. Please contact fap@filmactingparis.com ASAP for interview. Discounted before June 10.

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ACTING ON CAMERA 2014 PARIS June 12-22 2014 10am -2pm, 35 St Roch, Paris 75001

ACTING ON CAMERA 2014 PARIS
June 12-22 2014
10am -2pm, 35 St Roch, Paris 75001
PROGRAM for Actors of FILMACTINGPARIS.COM
“Real experience gives the actor real confidence”

GENERAL
This 10-day workshop is for actors and highly motivated individuals desiring to work in the US/UK movie industry. Actors learn, exercise and perfect their skills on-camera. Training includes how to breakdown scripts and scenes; working with objectives, choices, organic activates and creating a specific character tree. Actors are inspired to find “the door” into their character. By working the camera, actors find casting techniques to win roles. Simulating a movie set, actors develop natural blocking and organic activities. All monologues and scenes are filmed with professional equipment and can be used for demo reels.

CHARLES WEINSTEIN
Charles directed MELISSA LEO (THE FIGHTER 2011 Academy Award Best Supporting Actress , FROZEN -2009 Academy Award Nomination for Best Actress, TREME, 21 GRAMS), Laura Linney (THE SAVAGES, LOVE ACTUALLY), Michael Imperioli (SOPRANOS, THE LOVELY BONES, GOODFELLAS), Calista Flockhart (ALLY McBEAL) Charles and Zach worked together on UNDER THE BRIDGE. Charles has invited many casting directors to his workshop from New York and London and recently hosted Debbie McWilliams who is currently casting JAMES BOND 24.

DAY 1: Orientation. Some handouts will be distributed. Actors begin with monologues for castings. “Acting is the ability to live truthfully under imaginary circumstances.” Where did the objective originate? The simpler the objective, the more playable it is. Finding positive objectives to stimulate the imagination.

DAY 2: The size of the objective. “Trying, really trying, that’s the reality of doing.” When the objective doesn’t work or if the objective is blocked, we may improvise until we find an objective that works. “How to keep my monologue alive and fresh through the use of interruption.” Actors choose scenes for demo reels.

DAY 3: The observation exercises. Are you listening to me? From the objective we make choices and from those choices we create organic activities. Filming auditions and rehearse scenes.

DAY 4: How to alter a performance from shot to shot, take to take. How about “taking it down?” Or “give it more energy.” Working with close-ups. Rehearsal of scenes with input from coaches.

DAY 5: Creating the spine of a character. Research a character; the building of a character tree; how to create a past, present and future for your character. Rehearsal of scenes with coaches.

DAY 6: “Introduction to Uta Hagen Object exercises. Rehearsal and filming of scenes.

DAY 7: “Never try to be emotional; instead choose an activity with real difficulty in the object of doing.” Continued rehearsal and filming of scenes.

DAY 8: Introduction to the Meisner independent activities. Memorize your lines without inflection. How to learn your lines as mechanically as possible. Filming of scenes.

DAY 9: : “Most acting is reacting, and you only react if you’re listening.” “ I think if you have a talent for acting, it is the talent for listening.” -Morgan Freeman. Working on accents and microphone levels. How loud or/and how soft should my voice be on camera? What’s my best side and where to look? How to make the camera work for you.

DAY 10 Where to find jobs and work. How to create a CV and demo reel. The importance of good headshots. Filming scenes.

Wrap party!

Suggested book list

A Dream of Passion – Lee Strasberg
A Life –by Elia Kazan
Acting for the Camera –by Tony Bill
Acting in Film –Michael Caine
Building a Character – Constantin Stanislavski
Charlie Chaplin, My Autobiography –by Charlie Chaplin
On Acting –Sanford Meiner
On the Technique of Acting –Michael Chekhov
Respect for Acting –Uta Hagen
The Open Door –Peter Brook
Towards a Poor Theatre –Jerzy Grotowski

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LONDON CASTING DIRECTOR January 31, 2-day Workshop

• FILM ACTING PARIS is proud to bring London based casting director Carl Proctor, to Paris to work with our actors. Carl is not only a busy Casting Director and a member of The Casting Directors Guild, he is also one of London’s most in demand headshot photographers. Carl trained as an actor at RADA and worked successfully for many years. He has cast for director Joel Schumacher; SHADOW OF THE VAMPIRE with JOHN MALKOVICH and WILLIEM DAFOE, which received two Oscar nominations. As well as director Trevor Nunn’s TWELFTH NIGHT with BEN KINGSLEY, HELENA BONHAM CARTER and NIGEL HAWTHRONE. Carl will bring recent film/tv sides from London. Actors will get a chance to audition, go over their reels and headshots as well as discus possibilities in London.

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SEEKING ACTORS for January 20- 30th 2014. Film Actors workshop & 2 days with London casting director Carl Proctor. Carl will be in Paris January 31 & Feb 1st.

PROGRAM for Actors of FILMACTINGPARIS.COM

This 10-day workshop is for professional actors and highly motivated individuals desiring to work in the US/UK movie industry. Training includes how to breakdown scripts and scenes; working with objectives, choices, organic activates and creating a specific character tree. By working the camera, actors find casting techniques to win roles.

WORKING IN LONDON, 2-day workshop with Carl Proctor; he will cover how French actors can thrive in London. Carl has cast for director Joel Schumacher; SHADOW OF THE VAMPIRE with JOHN MALKOVICH and WILLIEM DAFOE, which received two Oscar nominations. Carl also casted director Trevor Nunn’s TWELFTH NIGHT with BEN KINGSLEY, HELENA BONHAM CARTER and NIGEL HAWTHRONE.

CHARLES WEINSTEIN
Charles directed MELLISA LEO (THE FIGHTER 2011 Academy Award Best Supporting Actress , FROZEN -2009 Academy Award Nomination for Best Actress, TREME, 21 GRAMS), Laura Linney (THE SAVAGES, LOVE ACTUALLY), Michael Imperioli (SOPRANOS, THE LOVELY BONES, GOODFELLAS), Calista Flockhart (ALLY McBEAL) Charles and Zach worked together on UNDER THE BRIDGE.

DAY 1: Orientation. Actors given scene material to study. Question and Answer session about the business of acting. What to expect from the industry, and what the industry will expect from you.
DAY 2: “Acting is the ability to live truthfully under imaginary circumstances.” Where did positive objectives to stimulate the imagination. Actors choose scenes for demo reels.

DAY 3: The observation exercises. From the objective we make choices and from those choices we create organic activities. Are you listening to me? “Most acting is reacting, and you only react if you’re listening.” “ I think if you have a talent for acting, it is the talent for listening.” -Morgan Freeman.

DAY 4: Introduction to the Meisner techniques. How to memorize. Filming of scenes. Where to find jobs and work in USA, SAG and non-SAG films. How to create a CV and demo reel
DAY 5: Creating the spine of a character. Research a character; the building of a character tree; how to create a past, present and future for your character.
DAY 6: “Introduction to Uta Hagen Object exercises. Rehearsal and filming of scenes.
DAY 7: “The “Trying To Be Emotional” trap. Bonding with your character. Choosing activities that will create genuine emotion. Continued rehearsal and filming of scenes.
DAY 8: How to take direction. What to do when you hear, “Take it down a bit” or “give it more energy.” Working with close-ups. How to keep your audition alive and fresh. Rehearsal of scenes.
DAY 9: Film auditioning exercises. How not to be you own worst enemy. How to enter an audition room. What’s my best side and where to look? How to make the camera work for you. Filming of scenes.
DAY 10: Working on accents and microphone levels. How loud or soft should my voice be on camera? Drawing your audience in. “It ain’t worth doing if we’re not having fun!“ Completion and distribution of all video material. Wrap party!

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NEW FAP WORKSHOP FALL 2012 OCTOBER 3rd -FEBRUARY 13th 2013

For our first meeting, I am going to go over the structure and expectations of this workshop.  We will also cover the language ( the objective, choices and activities) and techniques of film acting so that we have a standard to work from.  I will propose scenes from movies as well as plays. All actors and directors should also bring material which they’d like to work on. Remember it’s not an acting class, but an opportunity to sharpen your acting skills. Actors should prepare and present a monologue for October 3rd.

Voila, lets get started!

We will begin our workshop October 3rd at 18:30, at 33 rue Lamarck
75018 Paris, Metro: Lamarck/Caulaincourt (#12)

WORKSHOP 2012-2013  pour les acteurs qui souhaiteraient développer leurs compétences professionnelles en anglais. J’ai coaché des acteurs remportant des prix tels que l’Academy Award (Mellisa Léo (THE FIGHTER 2011) ainsi que des stars de télévision comme Michael Imperioli (SOPRANOS et Calista Flockhart (Ally McBeal). Donne aux acteurs les outils nécessaires pour travailler à Hollywood et dans l’industrie du film de New York. Aussi préparer des acteurs français pour les rôles principaux.

For more information please contact

www.Filmactingparis.com

Charles@Filmactingparis.com 0615054828

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