Pilot Season Ultimate Package I 8 Week Program I Wednesdays I  6:30pm - 9:30pm I Commencing 29th of October, 2014.

We are thrilled to offer this 8 Week Intensive Program conducted by leading experts in their fields. The first four weeks of the program will have you working with Tyler Coppin and your final four weeks with Lyndelle Green. The ultimate package.

USA native Tyler Coppin is the Film & Television Studio International's coach of choice in preparing actors for pilot season. We are extremely fortunate to have Tyler back after a sell out season on Baz Luhrmann's Strictly Ballroom in Sydney.  Tyler is a NIDA Graduate and is a recipient of a Helpmann & Edinburgh Fringe Festival Award.  Tyler has served as dialect coach on feature films Dark City (starring Keifer Sutherland and Jennifer Connelly), The Night we called it a Day (starring Rose Byrne, Dennis Hopper & Portia De Rossi) and Where the Wild Things Are (starring James Gandolfini, Ryan Corr and Mark Ruffalo). Tyler will be working intimately with each student on general American Dialect, giving each performer a firm foundation to work from.  It is suggested that actors record each session as a reference point for future auditions. 

Certified and personally endorsed by Ivana Chubbuck, Lyndelle is one of our core trainers at the Film & Television Studio International and we look forward to having her as an integral part of this program – incorporating those skills learnt with Tyler in American Dialect and applying them to The Chubbuck Technique. Over the duration of this intensive program you will be allocated a partner and will work through scenes from American Pilot scripts – applying The Chubbuck Technique to your newly sharpened American Accent.  This is a must do program for actors wishing to prepare for pilot season or for those simply wanting to learn more about the American market, American Dialect and The Chubbuck Technique.  You won't be disappointed.

These 12 acting tools create a solid foundation that will keep you present and inspire a raw, profound, dynamic and powerful performance.

• Learn to access and trigger truthful emotions quickly.
• Learn to find a character's objective and to personalise your objective in order to go after it with your heart and gut, not just your head.
• Learn to create chemistry with your scene partner.
• Learn to overcome your own emotional, physical and creative blocks.
• Rediscover your passion for acting, through the Chubbuck Technique.

"The difference between The Chubbuck Technique and those developed in the past is that it teaches actors how to use their emotions not as an end result, but as a way to empower a goal.  The Technique teaches actors how to win.  It teaches actors how to win beause this is what people do in real life!  They go after what they want.  Interesting and dynamic people go after what they want in interesting and dynamic ways, creating great emotion and intensity in realising these goals.  They do this subconsiously, whereas the actor must understand himself thoroughly and have the tools to break down a script in order to make this interesting and dynamic behaviour appear and feel like a subconscious process. The Chubbuck Technique stimulates this behaviour, allowing for this natural and powerful human drive to be realised" - Ivana Chubbuck, The Power of the Actor

1. OVERALL OBJECTIVE: What does your character want from life more than anything? Finding what your character wants throughout the entire script.

2. SCENE OBJECTIVE: What your character wants over the course of an entire scene, which supports the character’s OVERALL OBJECTIVE.

3. OBSTACLES: Determining the physical, emotional and mental hurdles that make it difficult for your character to achieve his or her OBJECTIVE.

4. SUBSTITUTIONS: Endowing the other actor in the scene with a person from your real life – that makes sense to your OVERALL OBJECTIVE and your SCENE OBJECTIVE. For instance, if your character’s SCENE OBJECTIVE is, “I need to get you to love me,” then you find someone from your present life that really makes you need that love – urgently, desperately and completely. This way you have all the diverse layers that a real need from a real person will give you.

5. INNER OBJECTS: The pictures you see in your mind when speaking or hearing about a person, place, thing or event.

6. BEATS and ACTIONS: A BEAT is a thought. Every time there’s a change in thought, there’s a BEAT change. ACTIONS are the mini-OBJECTIVES that are attached to each BEAT that support the SCENE’S OBJECTIVE and therefore, the OVERALL OBJECTIVE.

7. MOMENT BEFORE: The event that happens before you begin the scene (or before the director yells, “Action!”), which gives you a place to move from, both physically and emotionally.

8. PLACE and FOURTH WALL: Using PLACE and THE FOURTH WALL means that you endow your character’s physical reality, which, in most cases, is realized on a stage, sound stage, set, classroom, or on location, with attributes from a PLACE from your real life. Using PLACE and the FOURTH WALL creates privacy, intimacy, history, meaning, safety and reality. The PLACE/ FOURTH WALL must support and make sense with the choices you’ve made for the other tools.

9. DOINGS: The handling of props, which produces behavior. Brushing your hair while speaking, tying your shoes, drinking, eating, using a knife to chop, etc., are examples of DOINGS.

10. INNER MONOLOGUE: The dialogue that’s going on inside your head that you don’t speak out loud. Those thoughts that are vulgar, inappropriate, self-indulgent, self-deprecating, paranoid and generally not politically correct. Those thoughts you can’t speak out loud because there would be some form of repercussions.

11. PREVIOUS CIRCUMSTANCES: Your character’s history. The accumulation of life experiences that determines why and how they operate in the world. And then personalizing the character’s PREVIOUS CIRCUMSTANCES to that of your own so you can truly and soulfully understand the character’s behavior and become and live the role.

12. LET IT GO: While The Chubbuck Technique does use an actor’s intellect, it is not a set of intellectual exercises. This technique is the way to create human behavior so real that it produces the grittiness and rawness of really living a role. In order for you to duplicate the natural flow of life and be spontaneous you have to get out of your head. To achieve this you have to trust the work you’ve done with the previous 11 tools and LET IT GO.

“The guesswork is gone. Finally, a book ‘The Power of the Actor’ that provides the nuts and bolts to acting, that shows me how to always be present, how to always have something going on behind my eyes and ultimately, that provides a concrete path for me to really discover and live a role". - Jessica Biel

“Ivana rekindled my love for acting by pushing me to take risks. She showed me that acting isn’t a torturous profession but a creative one, and once I made that distinction, it became a pleasurable one.” - James Franco

“I finally went to a class in Los Angeles with this wonderful teacher, Ivana Chubbuck. Ivana taught me how to take my emotions and take everything that has happened in my life, and use it to make me an effective actor. The stakes have to be high – so it was really an interesting place for me to stand on my feet and fall on my face many times.” - Charlize Theron

To enrol, simply book via our website.  It will automatically be sent to enquiries@filmtv.com.au.  We will then process your application. If you send your application form and all placements have been filled we will be in touch to notify you.  If you have any further queries, please don't hesitate to contact us directly on 1800 FILMTV (1800 345 688).

*All applications are processed on a first in first served basis.  Once your placement has been confirmed, you will recieve a full week by week breakdown on what to expect from your program, together with further course materials which are sent to you via email.

Melbourne Studio I 390 Clarendon Street I South Melbourne I VIC 3205 I www.filmtv.com.au