I work out every character's journey before the session, so we go straight into the choices instead of spending your hour reading. Then we work every line. Zoom or in person, and I can read in, tape you, and direct while you film.
Most actors open the sides, get an idea, and then circle it for three days. We go the other way round: what your character needs, what's in the way, who you're really talking to, and what you're doing about it.
Harrison Booth — "Got the job. And the same casting directors keep coming back with more auditions."
Alina — "I did not know how to work that script. I'd happily send this tape to the casting director."
Then book the two-hour first session at £100. Hour one covers the fundamentals of the technique — the core concepts and the exercises you'll actually use. Hour two puts them straight onto your material.
It's designed for a small piece: one to two pages, a commercial, a day player, a cameo. If your material runs longer than about a page and a half we may go into extra time to finish it properly, and I'll tell you that at the start rather than at the end.
Book it with enough time to rehearse before you record. The session gives you the plan; you still need an evening to live in it.
Every booking is automatically allocated up to three hours in case we need them. You're only charged for time we actually use beyond the session you booked. Payment plans on request.
Most self-tape sessions hand you a camera and an hour. Here we build the performance first and the tape is what comes out of it.
Day one — ninety minutes on Zoom. We take your sides through the first five steps: objective, obstacles, substitution, inner objects. You leave with a script that tells you exactly what to do.
Overnight — you rehearse it.
Day two — you come to the studio and we film it together, with me directing. As many takes as the work needs. You leave with the tape.
By the time you stand in front of the camera the performance already exists, so the filming is about catching it rather than finding it. You don't need to have worked with me before — day one starts at the beginning of the technique.
This is for a tape that matters: a recall, a first lead, a casting director you've been trying to reach. Not the quick turnaround.
Send me the sides before you book and I'll confirm which one you need. £45 secures the date. Guidance on exactly which clips to share with industry professionals is included. In person in London — the address comes with your confirmed date.
Almudena Iglesias — "I had a connection with the text that I hadn't felt before. It just flew naturally."
What to bring: your sides, two printed copies, and a change of clothes if you want one — garments that suggest the world of the character. Nothing hired, just a sense of it from what you already own.
Ten hours across the whole script, so you arrive at rehearsals or on set knowing exactly what you're doing. Split across as many sessions as your schedule needs, in the run-up to your first day.
Book it as soon as you have the script. The more time I have with the material before we start, the further we get. If your shoot dates move — and they usually do — tell me and we move with them.
Reading fee included — I analyse every character's journey before we begin. On-set coaching is possible; email me with the dates and the production and we'll talk it through.
Sunny Sanghera — ten hours across the whole script, preparing his first lead role.
As soon as I can — but I need a moment with the text in advance, because that's what makes the session worth the money. Email me with the deadline in the subject line and forward the casting email with all the material attached.
Same-day and late-Friday slots are £105.
Book the £100 two-hour session. We move quickly through the core concepts and the fundamental exercises, then put them onto your material.
The one thing I'd ask: leave yourself time to rehearse before you record. The session gives you the plan and the choices — you need an evening to make them yours before the camera goes on.
Everything you've got: the casting breakdown, the sides or full script, and any notes from your agent, the casting director or the director. If you don't send the material in advance I can't prepare, and the session becomes an expensive read-through.
Yes. I can read in, tape with you, and direct while you film — all at the same hourly rate.
That's a large part of what I do. We find what's emotionally at stake, make it personal, and set you up so you can let go safely and play — and put it down at the end.
Every booking is automatically held for up to three hours in case we need them, and you're charged for any additional time we use. I'll flag it during the session, not afterwards.
Payments are non-refundable, and no-shows or late cancellations forfeit the session. Genuine life problems are respected and rescheduled if you communicate with me early.
One-to-ones fix the audition in front of you. The monthly class is where you stop needing them — and the Private Intensive is the same thing one to one, six or ten weeks, wherever you are.
Deadlines, material, whether your piece is too long for the two-hour session. I answer my own messages.