A Coach is not a Director
Casting - Which scenes are useful? Can the actor cover the inner and outer characteristics of the character? How can you find the appropriate physicality, rhythm and emotion in the actor?
Beats and Actions - The breakdown of a script into beats and actions as preparation. This saves precious time on the day of the shoot. It permits spontaneous and surprising interactions between the different characters in scene.
Emotional Break Outs - What does an actor need in a highly emotional scene? There are several approaches which can open up the actor. On set, this could be something I work on with the actor to obtain the wanted results.
Feedback - A coach is a sparring partner. A coach should not give advice, however well meant, but rather have the courage and knowledge to discuss the vision. You are the boss and the coach is your supporter. As that coach, I can give you feedback on the believability, rhythm and expression of the actors and what ‘tool’ could help to alter the performance if you are not satisfied.
Daphne Charizani, Im Feuer, 2018
Katrin Gebbe, Pelikanblut, 2018
Momo, Schmerzfreie Gesellschaft, 2018
Antje Velsinger, Massive Dreams, 2018
Johannes Suhm, Der Mann der die Welt aß, 2018/2019
Sabine Bernardi, Romeos 2011, Tatort 2016
Wendy Pillonel, Les Heures-Encre, Kurzfilm) 2017, L.A. Shorts International Festival
Stefan Schaller, Fünf Jahre Leben, 2013, Filmfestival Max Ophüls Preis 2013
Katrin Gebbe, Tore tanzt (Un certain regard, Cannes) 2013
Ivana Lolovicz, Sitting Next to Zoe, 2013
Niccolò Castelli,Tutti Giù, 2012
Mike Schaerer, Stationspiraten, 2010