Neal McDonough Event

In this special presentation Ardavany facilitated a discussion with McDonough who  shared his experience working on film and television sets with Steven Spielberg, Clint Eastwood, Jon Avnet, and others. The evening was a unique opportunity to hear first-hand what its like behind-the scenes and learn techniques for on-camera action. The lively discussion provided actors, directors, agents, managers and artists alike with insight into the Ardavany Approach’s innovative method to enhanced perception and creative expression. The presentation was followed by Q&A.

Neal McDonough Event

Neal McDonough studied acting at the London Academy of Dramatic Arts and Sciences after graduating from Syracuse University in 1988. A character actor and leading man, McDonough essayed flinty, often dangerous roles in films and on television throughout the late 1990s and early 2000s until he came to the attention of Steven Spielberg, who cast him in pivotal roles in both his HBO production “Band of Brothers” (2001) and “Minority Report” (2002). The exposure gained him a foothold in Hollywood, where he impressed on both the small screen with “Boomtown” (NBC, 2002-03), which brought him both praise from the press and a Golden Satellite Award for Best Supporting Actor in 2004, and in theaters with Clint Eastwood’s “Flags of Our Fathers” (2005). He continued to divide his time between mediums for the next few years, garnering positive press for turns like his unstable salary man on “Desperate Housewives” (ABC, 2004- ) while solidifying his status as one of the most dependable performers in the business.

Power For The People

On March 29, Te’nda PR Harris interviewed Ardavany for the KPFK 90.7 show “Connections”. The interview covers Tom’s philosophy on the art of acting.

KPFK Interview Part 1

KPFK Interview Part 2

Harris: How does one know that they are an artist?

Harris: You’re an acting coach. Let’s start with the acting. How about that?

Ardavany: Its interesting, I’m an acting coach, its a privilege to even make reference to that because acting is a nice analogy for taking action. So I’m actually an action coach. I teach people how to be more proactive in whatever they happen to be doing and helping them understand the elements that actually create true action — which is alignment of mind, body, and spirit. So there is a little bit of a spiritual thing going on. When I say spirit, I’m making a reference to that individual person being in balance between themselves and their environment. An individual in balance can be considered a spiritual person. There is an energy about them and clarity about them and when there is an energy and clarity about an individual, you can say that person is spiritual, or charged with the energy of life….They understand that they need to keep these things in the fore front of their existence whereas other people might not have the courage to leave the little box that they exist in to see what else is out there. And not even out there, just right in front of their own noses. Right directly, right here, right now… …The first step an individual needs to take is they need to know themselves. With any teaching that has any weight, the individual needs to know that they are embarking on a journey of knowing themselves more explicitly. And it gets to a point once they observe themselves enough that they’re ready to share their experience with somebody else and to engage other people in dialogue and in practice in whatever is that they’re doing…. So you have three basic steps, that anybody moving through this artistic process needs to move through to in the direction that they want to go in. They need to work on themselves, they need to practice with other people and they need to get into the confines of a community and support that community… The typical road for an actor is breaking down their script, finding themselves in that material and then going into the audition process to share that material and actually winding up in a production…. Your ability to share your experience is what defines a good actor. Its not happening above the shoulders, its happening in the body and its moving through space and you’re literally moving your life force through space.

Starting June 7, the Ardavany Approach will be offering a weekly class at our new Hollywood location.  Classes

are designed for students to master their relationship with the camera. Class modules consist of scene study, cold reading, character development, and mastering the art of auditioning. Class sessions blend interactive exercises that encourage curiosity and imagination with conscious breathing techniques that allow one to enter into the gateway of personal authenticity. Simply and effectively, The Approac

h teaches the actor to deeply understand his or her history and character by unveiling his personal truth and archetypal journey. With these tools, the actor can proceed with purposeful dimension into future storylines.

The address is 646 Beachwood Dr. Across from Paramount studios on Melrose.

Ongoing Class $250.00/month

Hollywood Classes are held on Mondays at 7:15 P.M.

Buy Now

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Venice Beach Studio

In this special presentation Ardavany facilitated a discussion with Gerald who shared his experience working on set with James Cameron in Avatar. Gerald shared his insights on the future of acting, especially what Cameron refers to as “performance capture”. The interview was a unique opportunity to hear first-hand what its like behind-the scenes and learn techniques for on-camera action. The lively discussion provided actors, directors, agents, managers and artists alike with insight into the Ardavany Approach’s innovative method to enhance perception and creative expression.

Matt Gerald

A graduate of the Wharton School of Business, Matt Gerald recently performed the coveted role of vicious mercenary, Corporal Wainfleet in James Cameron’s epic 3D thriller, Avatar. The film has become the highest-grossing film of all time making over $2.2 billion. Since Avatar, Gerald has completed two features, Elektra Luxx and a remake of the 1984 classic Red Dawn. Gerald is currently filming the high octane action/drama, Faster, with Dwayne “The Rock” Johnson and Billy Bob Thornton. Gerald’s previous credits include Magnolia, Tigerland and big-budget blockbusters like S.W.A.T., T3: Rise of the Machines, and XXX2: State of the Union. He also played Tommy Hisk on the Emmy Award winning show, The Shield and held major guest-starring/recurring roles on Life, CSI: Crime Scene Investigation, E-Ring, Without a Trace, Saving Grace, Lie to Me, and The Unit.

The thing that drove Ardavany to develop his own acting techniques is the realization that, as an actor, most of the great teachers he wanted to be tutored by had departed this earth some time ago.  And the few that were around were so old that they not make the end of a study session.  While many of these teachers left behind books and the work of their students, like Marlon Brando, is caught on celluloid for all to see – who is teaching the next generation of Brandos?

The basis to Ardavany’s approach is that each person in the collaborative process of filmmaking must first fully understand each others roles and needs.  Ardavany believes that most filmmaking today is at best a work ‘in-progress’.  Due to the nature of filmmaking scans are shot and then the production team moves on.  Fear and financial risk are often at the heart of a decision as to whether or not a scene was nailed.  Ardavany says, ideals like faith and trust are BS in business, hence (the need for) an education that takes the faith out of the art, so that the science of art can be measured and predicted allowing for more productive communication between producers and artists.

Tom Ardavany came to Maline High School last week to teach a class of students about the Approach; his acting technique that deals with script, camera and action application.

Ardavany began the session by having the students sit close together and be quiet and listen – not to think – just to receive through the senses.  The whole classroom was quiet.

Ardavany then taught that what matters most as an actor is what is happening this moment and only this moment.  He told the children that past and future were not important, but the present was all that was important.

Becoming present to the now is a big tool and a starting point to everything he teaches.

A part of the Ardavany Approach is receiving through the senses, which he calls, “The Breath of Impression,”… which is in the in and out of how people process thought and are aware of the thought.  Many students struggled to know if it was appropriate to bring themselves to a given text of a script or play.  Ardavany taught that a script/screenplay or play is “captured time,” and the actor releases time into the present moment.  “The kids were left with a fresh idea of acting and what their responsibilities are as an artist,”  Ardavany said after the presentation.

“A Christmas Carol”

American Chronicle – December 20, 2008

From the moment the choir starts singing on stage, the audience is launched into “A Christmas Carol” at the Edgemar Theatre in Santa Monica.

Featuring both performers with disabilities and able-bodied performers on one stage, Charles Dickens’ “A Christmas Carol” was produced by The Media Access Office and Gabriel Rayes  Productions.  Directed by Tom Ardavany, “A Christmas Carol” is meant to move the audience and it delivers on many levels as the disabilities disappear on stage while the audience focuses on the performances, story and actors of equal talent.  That is a credit to the director for the show’s comfortable pacing and the narrator’s flow of story.

The Traditional story focuses on a miser known as Ebenezer Scrooge.  Played by actor Daniel Zacapa, Scrooge is angry, cruel and makes an impact with the vocal bark of “humbug!”  When Scrooge pushes the wheelchair users outside and yells in the faces of youth carolers, you instantly understand the character’s ugliness.

On Christmas Eve, Scrooge is visted by his business partner’s ghost, Jacob Marley (actor Benjamin Ciaramello).  Marley’s Ghost is one of the most dramatic characters in the show, as he captures the depths of despair, while he drags chains wrapped around his body.  Incredible makeup helps to convert his character.  As the action unfolds, he effectively shows and emotional outrage, which envelopes his soul.

As promised, three spirits follow with visits.

“A Christmas Carol”

Features Tribute to Director Corey Allen

American Chronicle – December 20, 2008

Charles Dickens’ “A Christmas Carol” at the Edgemar Center for the Arts features disable and able-bodied actors in a rousing show.

At the endo of the opening night performance, an emotional moving presentation was held to honor Director Corey Allen, who has a long history as an advocate for performers with disabilities.  When his home was destroyed by recent fires, Allen;s Emmy for Best Direction of a “hill Street Blues” episode was destroyed.  The cast proudly presented Allen with a new Emmy as he received a standing ovation for his work in the entertainment industry.

Casting Director Zimmerman was extremely pleased to honor Corey Allen.

“I never met any of my grandfathers and Corey, over the last decade becoming his assistant and his friend, it feels like family.  Every time I go over to visit people ask, ‘Is he your father or grandfather?’  To see him honored and to see joy from others is very special,”  Zimmerman said.

In casting the show, Zimmerman was happy to be part of the process.

“I guess I’m a people person, I just love getting new family.  The more shows I do, the more family I get,” Zimmerman noted.  “This is such a beautiful time of the year and to have Corey involved and everyone here involved, we’re all one blue planet.  We’re all on stage together and you forget someone happens to be in a wheelchair or someone else has Cerebral Palsy or an inner struggle.  In a way, we all have our own disability.”

“ASK AN ACTING TEACHER: How can you use improvisation in preparing for a role?“

by Tom Ardavany

Improvisation is the art of finding your freedom within a moment. Acting in film is about creating and shaping moments for the camera. One cannot create and shape moments without freedom. So where do we get some of this freedom stuff? It’s right here in the present.  The present is what people who have presence command. They have cultivated their moment-to-moment existence into an energy that makes them magnetic.

This improvisational condition in an artist opens the magic door to unrestricted, unabashed intercourse with the “now”, allowing attention, feelings and thoughts to naturally progress, eventually giving way to fully expressed actions and words. At that instant, life attains continuity and rhythm, leaving your audience lost in your performance.

Film at its best is improvisation, with an outline. The words in a script are not the limitation for your action, they serve as a catalyst for your free spirit to fly, giving life to the moment and guaranteeing an experience for you and your audience. Once this improvisational spirit is awakened in the artist the possibilities become endless and the environment in which one is working becomes one’s playground.

Here’s a simple exercise for the on-camera artist to engage this improvisational spirit and prepare for a role: Observe your breath.  Try it. Do it until you become more relaxed and you notice an increased level of perception. You might hear sounds that were there the entire time that you weren’t picking up on before. Or you might notice objects, colors or reflections in your immediate space.  Any sensory enhancement is an indication that you’re moving into the present. You might also notice something else: you are free of anxiety and apprehension and ready to realize your potential and have fun too.

Tom Ardavany

“I know we are on to something special when we work. The Approach is powerful.”
Josh Holloway
(aka Sawyer)

Sign up for our new Monday class in Hollywood.

The goal of these intimate group sessions is to help you master your relationship with the camera. Class modules consist of scene study, cold reading, character development, and mastering the art of auditioning. Class sessions blend interactive exercises that encourage curiosity and imagination with conscious breathing techniques that allow one to enter into the gateway of personal authenticity. Simply and effectively, The Approach teaches the actor to deeply understand his or her history and character by unveiling his personal truth and archetypal journey. With these tools, the actor can proceed with purposeful dimension into future storylines.

Ongoing Intermediate Class $250.00/month

Hollywood Classes are held on Mondays at 7:15 P.M.