Workshop
On-Camera Scene-Study Workshop with Séamus McNally
Séamus McNally
Séamus McNally is a seasoned filmmaker, working as a professional acting coach and teacher for over twenty years. He coaches actors and consults directors internationally for a wide array of film and television productions.
Recent projects include:
Roots, Orange is the New Black, The Night Of, Black Mirror, Vinyl, Too Old to Die Young (N.W. Refn), The Widow, Clarice, Star Trek: Strange New Worlds, American Rust, Book of Clarence, Ministry of Ungentlemanly Warfare (G. Ritchie).
As a filmmaker, Seamus recently co-directed the feature film Intet (Nothing), based on the classic young adult novel. Nominated by Danish Film Academy for best youth film and best adapted screenplay.
He has also directed numerous short films including: To Paint the Portrait of a Bird, The Hypnotist, Sketches of Honey, Good Old Days, Exchange Place, an excerpt from Mike Leigh’s Ecstasy to name a few. His films have premiered at Cannes, Montreal, Woodstock, Mill Valley, and won Best Short Film at the final NY/Avignon Film Festival.
Read more & testimonials: Testimonials – CAVALE STUDIO (cavalestudionyc.com)
With his unique approach to script analysis, Seamus helps actors explore Stillness and Presence while also introducing a special technique for inhabiting Beats and Actions. The goal is that course participants will solidify and elevate their connection to the craft and leave with a refreshed confidence in their ability to deliver exceptional work.
First, participants are guided through scenes which have been chosen in advance, applying a system of script analysis which emphasizes psychological actions.
The next step, inhabiting the analysis, further explores character thinking and motivation by vigorously sinking into the individual causal thinking behind each action – which in turn defines each beat. At this stage participant will also begin applying a working tool known as pic-pressions (pictures infused with sense-data), which help fortify their choices, often with profound results. With the first two days being as dense as they are with new, layered and detailed input, participants work privately on the third day. They process all they’ve taken in, often meeting with scene partners or synthesizing new working tools with those they already have.
On the two final days the scenes are rehearsed as new working elements are strengthened within the group – now with the added element of the camera and monitor. The scenes are captured under Seamus’ direction and then played backand given constructive, incisive feedback.
All material is deleted at the end of the workshop.
NB. Wednesday (Oct. 29th) is a a private work day for the actors to digest what they have learned and what they must still prepare for, maybe get together with their scene partners etc. and not a day off.