Classes, Workshops & Private Coaching
"The big thing about directing myself is I brought in one of my dear old friends to direct me, my friend Matt Del Negro, he directed me whenever I was on camera. He really was a huge part of making the film. When I did Argo... Ben Affleck got to go back and watch himself at the monitor... But we didn’t have the luxury of having the playback" --Actor/Director Chris Messina (Argo, The Newsroom, The Mindy Project) on his directorial debut, Alex of Venice. --Vanity Fair
Scene Study: On-going. Mondays at 630pm in the Shepard Studio, 2nd floor at:
The Flight Theater, 6472 Santa Monica Blvd. Los Angeles, CA 90038
Working on scenes from plays with a scene partner. Monologue work accepted as well as current material from work or auditions. $200/month (4 sessions)
(Click here or email firstname.lastname@example.org to inquire about availability) Limited access.
Private Coaching: All levels - FaceTime/Skype sessions available. Audition tapes, Audition prep, role prep, content creation (re-shaping an existing narrative, help with finding tone and which medium/venue best suits it, or finding a new story that resonates for you, turning in weekly pages. Price upon request.
(Click here or email email@example.com to schedule a One on One session)
The reality for most actors is that we have less time with the material than we would like. Auditions come in last minute, we find ourselves on set within a day and, before we know it, the gig is over. It's easy to get caught up in the idea of "booking jobs" or, on the other end of the spectrum, lulled into a sense of complacency on longer-running jobs. Either way, we lose sight of our craft, and our passion to tell stories. Once that happens, we are sunk. It's easy to slip into bad habits if we jump to conclusions about our character or rely on charm and general truths about the scene instead of digging deeper to be more specific.
Whether working on classical plays or more contemporary material, the intent of my class is to help actors develop their own way of working that can support them for the long haul and help them be the best storytellers they can be. If you're writing, it's not much different: what's the story you want to tell, how does it resonate with you, and what is the best tone and medium within which to execute it? Preparation, a sense of play, work ethic and ownership over one's particular take on the material are key in my eyes. No one can tell you the "right" way to play a scene or a character, but a teacher's job is to help you find your way of playing it."
Matt's Teaching Philosophy...
"I didn’t start out as a writer, I started out as an actor and I had a sort of bad experience in school where I was told I couldn’t do things, or I wasn’t as good at things, ya know what I mean? So I had to overcome that feeling in myself, could I write? And thanks to my co-actor, Matthew Del Negro, who is in the movie, who also is my good friend, we had these conversations about this idea I wanted to put on paper and he encouraged me to the point where I actually did." --Actor/Writer/Director Blake Robbins (Oz, Sons of Anarchy, The Office) on his Writing/Directorial debut, the Award-Winning The Sublime and Beautiful. --Reel News Daily
"My approach is straightforward; What's your "jumping off point" with the character? How do you initially relate to their set of circumstances and what's the tone of the piece? If it were an orchestra, what instrument are you playing? Get to know the world of the piece and you can start to find your character's place within it. Once you find your way in, the exploration is endless.
Some words from some pros...