Advanced Screen Acting Techniques

In these classes Brad will be working toward giving the students an indepth understanding of how to bring a Film / TV script/scene to life in front of the camera. The main focus areas will be making dynamic choices that sit well outside of the generic choices most actors make in regards to the thematic obligation of the piece. Will also look at simple camera techniques that assist in arming the student with confidence and range in the audition room and then translating that onto set. Audition technique will be examined with a focus on presenting the CD with a revelation in the room….Increasing the possibility of callback or booking the role. Scenes to be explored will cover genres…Sci Fi, Drama and Comedy from both films and television. The sessions will always be geared toward industry relevant material. Cold reading last minute rewrites and meeting directors visions/expectations will also be closely examined.

Brad’s teaching approach centres on instrumental and emotional connection, with an intense focus on scene/script analysis. He has studied personally with Eric Morris in Los Angeles as well as with Anthony Brandon Wong (Chubbuck Technique) and others in addition to his own in depth training via QUT. Brad has been seen most recently playing popular villain, ‘Jacka Hills’, on long running hit television series, Neighbours, as well as in the much lauded PAWNO, which screened at MIFF 2015, was a finalist at Cinefest, and was nominated for an AACTA Award. In 2016 he also hit Australian TV screens in the highly anticipated mini-series, BROCK, based on the life of racing driver, Peter Brock; and in kids television series, Mako Mermaids, which screens on Network Ten, Disney and Netflix worldwide. 2017 heralds a role for Brad in Blue Murder: Killer Cop, the long-awaited sequel to Blue Murder. Other recent credits include San Andreas, with Dwayne ‘The Rock’ Johnson and the worldwide hit series, Miss Fisher’s Murder Mysteries.

He has worked with such Hollywood luminaries as Harvey Keitel, in Fatal Honeymoon (2012) Cuba Gooding Jr in Deception (2013) and Ray Liotta in Bad Karma (2012). He is also well known by TV fans worldwide as ‘the man who shot Lisa McCune’ in popular Australian series, Sea Patrol. Other notable credits include the terrifying role of ‘Derek’ in the award-winning revenge film, The Horseman, (2009) and the irascible ‘Big Elvis’ in 2007’s comedy of errors, Crooked Business and a role alongside William Hurt in 2006’s Stephen King series, Nightmares and Dreamscapes.

 To apply please send your headshot and CV.

Celebrating the Voice

Exploring, connecting, and celebrating your voice

Helen is a writer, accent and acting coach, and her practice in all these areas has led her recently to focus on perhaps the most significant asset of your acting life: your voice. If acting is about communicating stories and images, ideas and emotions, then every actor is reliant on a fit, flexible body and a similarly able, strong, voice which can effortlessly attract, contact and engage witnesses – other people around you at work and play, alongside you in performance, or in your audience – be it in a cinema, theatre or lounge room!

Once an actor’s voice is free, wide-ranging and vibrant, it needs regular attention, challenges and care to maintain that ideal state. A voice that can change another’s mind or heart – or even move the world a little – is usually the result of a lifetime of commitment to it: and this hard fact can sometimes leave even the most motivated among us a little overwhelmed by the demands on our time and energy. 

When my fellow actors become my clients, I encourage them to embrace their own voices and commit to their care; but I know how challenging this has been during my own varied career. Money is often not available for what might seem like a luxury activity. Time is short with commitments to work and family. So my job is to link voice-work to everyday life, and the craft of acting, and to make sure my services are affordable and attuned to each person’s situation and needs.

My holistic approach is to interweave voice exploration and development into the daily exercises and challenges of this extraordinary profession; it is achievable in small grabs, or in seamless combination with other disciplines. It becomes one with the actor’s physical training, imaginative day-dreams, improvisation exercises, script-reading, and audition preparation. We breathe when we move; we describe and share our dreams; we speak invented words in acting class with multiple intentions, we read aloud from scripts, and we fill multiple and various spaces with sound when we audition and perform. Instead of an inhibiting extra burden, your voice-work can be a liberating bonus. You own it; it frees you. A teacher or coach is the golden 5% of your activities, keeping you inspired, technically sound, and making sure your voice is heard. 

My life-long study and appreciation of the great teachers Cicely Berry, Kristin Linklater, and Patsy Rodenburg, among others, whose passion for voice has become a gift for actors and other teachers, has led to my eclectic but simple approach: it’s a natural fit with the credo of The Factory and its founders – to make our practice enjoyable, exciting and rewarding! Joining forces to encompass voice-work with acting study, Helen and The Factory are literally “spreading the word” to the wider family of aspiring artists of the screen and stage. 

Class times for 2019 are yet to be set. 

Scene Study and Analysis

The main focus areas will be making dynamic choices that sit well outside of the generic choices most actors make in regards to the thematic obligation of the piece. Will also look at simple camera techniques that assist in arming the student with confidence and range in the audition room and then translating that onto set. Audition technique will be examined with a focus on presenting the CD with a revelation in the room….Increasing the possibility of callback or booking the role. Scenes to be explored will cover genres…Sci Fi, Drama and Comedy from both films and television. The sessions will always be geared toward industry relevant material. Cold reading last minute rewrites and meeting directors visions/expectations will also be closely examined.

These classes are for 10 weeks and are on Monday Nights at 7pm- 10pm for $650. 

Our new ten week block is commencing 19th February please email to enrol. Classes are $600 for ten weeks