On-Camera Scene Study with 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)
This refreshingly practical On-Camera Scene Study Intensive provides an extremely effective foundation, grounding actors at all stages of their profession in a unique and detailed preparation. This tangible preparedness ultimately liberates them to respond in the moment, to their fellow actors, to the demands of the audition process and a working set.
Actors are first guided through carefully chosen material, applying a complex but accessible system of script analysis with an emphasis on psychological actions and a working tool known as pic-pressions. These are pictures, infused with sense-data which participants are trained in using to fortify their choices with profound results.
In the following days, scenes are put on camera under Seamus’ direction and then played back for actors to receive constructive, incisive feedback on their work.
Over the course of each workshop, a range of technical considerations specific to working on set, are addressed. Workshop participants are given the chance sharpen their understanding of everything from the basics of camera coverage, to the 180-line, to audio considerations.
Ultimately actors leave this workshop with a deeper understanding of their own assets and limitations, and a refreshed confidence in their ability to deliver effectively on set.
NB. Wednesday (17th) 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.