Alexander Techworks

Leonardo DiCaprio and Armie Hammer in J.Edgar - photo courtesy Warner Bros.

Larry Moss has been coaching Leo DiCaprio for many years for such films as “The Aviator”, “The Departed” , and “Shutter Island”. When Leo was set to play J. Edgar Hoover in “J.Edgar” , Moss recommended that Leo work with Jean-Louis Rodrigue to find the complex psycho-physical life of this character. Also the extraordinary script by Academy Award winner Dustin Lance Black, traces J. Edgar from his 20’s to his 70’s, a challenging physical and movement transformation for DiCaprio and a magnificent opportunity to collaborate with Jean-Louis. Director Clint Eastwood said to Reuters that “Hoover was a very complex person. The homosexual aspect is just one of many. I would say that’s the least of his problems.

Leonardo DiCaprio and Dame Judi Dench

But he was also very clever, whether rightfully or wrongfully, he was very clever about keeping himself in a certain position in life, so it is an interesting study.” Hoover, who died in 1972, was the first director of the Federal Bureau of Investigation, and he served nearly four decades at the helm of the U.S. law enforcement agency. “He is a fascinating character, and I think I am the right person to do it , not because I knew him or anything, but I did grow up with him,” Eastwood said. “He was an iconic figure.”

http://jedgarmovie.warnerbros.com/index.html

Reza Safai in "Circumstance"- photo courtesy of Relativity Media

Reza studied the Alexander Technique with Jean-Louis Rodrigue as part of his MFA in acting at the UCLA School of Theater Film and Television from 1996-1999.  He stars in Iranian-American writer-director Maryam Keshavarz’s debut feature “Circumstance,” in a complex leading role, which won the Audience Award at Sundance in January and played at numerous festivals over the past year, including OutFest in Los Angeles and the prestigious New Directors/New Films series for 2011.  Reza plays a intense and complicated man who is a crack addict recently released from jail, and is desperately looking for a way to fit in to society and not surprisingly turns to religion. His twisted sense of holiness leads him to become a member of the morality police and from his lofty perch puts his whole family under surveillance.

Nikohl Boosheri and Sarah Kazemy in "Circumstance"- photo courtesy Relativity Media

A suspenseful tale of love and family upended by obsession and suspicion, Circumstance is also a provocative coming-of-age story that cracks open the hidden, underground world of Iranian youth culture, where a young woman’s most electrifying passions can become the most dangerous of secrets. The film has opened nationwide to celebratory reviews.

We congratulate Reza and we look forward to seeing more of his work.  Watch trailer and videos about Circumstance: http://www.youtube.com/watch?v=wNZkS-hc6oM

http://www.youtube.com/watch?v=RLr_0h_dv1k

Clemence Poesy

French actress Clémence Poésy enjoys international success for roles in both her native language and English.  She is known for playing the character Fleur Delacour in the Harry Potter films, James Franco girlfriend in 127 hours, and Chloe, the mysterious young woman who sells drugs in Martin Magdonah’s Oscar nominated film In Bruges. Clemence has been studying the Alexander Technique with Agnes de Brunhoff, her teacher inParis,  for several years to find enormous freedom and to connect on a deeper level with her characters.  She is very enthusiastic about the work and says “i am more than ever cherishing the freedom alexander technique creates and working on it’s application on the singing voice quite a lot”. 

For her new film about Joan of Arc Silence of Joan, Clemence wanted to prepare with Jean-Louis and came to Los Angeles for coaching.  She wanted more intense on-set lessons to deal with the physical and emotional demands of the role. Unfortunately being a low budget indie film there was no budget to bring Jean-Louis.  They are both looking forward to working together on a new project. 

 The film opens in France on January 1, 2012.

Watch trailer: http://www.youtube.com/watch?v=BnJ0I7-IWqU

The Lincoln Center production, directed by Marianne Elliott and Tom Morris,  has won the Tony Award for best play and a special Tony for “outstanding artistry” to the Handspring Puppet Company which designed the life-size horses. 

Peter Hermann "War Horse" photo: Paul Kolnik

 But puppets is hardly the word for them, according to Peter Hermann, who portrays Hauptmann Friedrich Muller, a captain in the German cavalry during World War.   In the Broadway version of “War Horse”, Peter says that “if you look closely you can see the workmanship and the care and the love that went into making them. And I think it’s impossible to look into the puppets’ eyes and not see life in there.”
Originally produced at the National Theatre, the play’s team of imaginative and sensitive puppeteers bring Joey, a half-thoroughbred who is sold into a World War I cavalry regiment, to life-size existence. And it is in movement and how Joey is summoned into being, along with an assortment of other animals, that gives this production its ineffably theatrical magic. Steven Spielberg has directed a film version of “War Horse,” a 1982 novel for children by Michael Morpurgo. But nothing on screen could replicate the specific thrill of watching Joey take on substance and soul, out of disparate artificial parts, before our eyes.Peter is a long-time student of the Alexander Technique, having first studied in Los Angeles with Jean-Louis and Kristof, and then later in New York with Jessica Wolf. Peter says about the Technique that “The absolute best Alexander classes are given daily by my four-month old son. Jean-Louis and Kristof are a close second.  They are not only expert in the theory and application of this incredible technique but pursue their work with a vibrant, contagious love. Their endeavor to help performers choose a new physical life that allows them to be more fully present–in essence, to use themselves differently–is profound, and has implications not only for life on the stage, but for life in general. Jean-Louis and Kristof create a beautiful work environment: safe, rigorous, personal–and sprinkled with a healthy dose of humor. I am so grateful to have had the opportunity to work with them. And they don’t spit up nearly as much as my son!”

 http://www.lct.org/showMain.htm?id=199

Bigelow directing in "The Hurt Locker"

My long time friend, director Lynn Hamrick, invited us to the DGA’s heartfelt tribute to director Kathryn Bigelow. This was an unusually special and charged evening because it was part of their year long 75th Anniversary Celebration, the fifth in a series of twenty-five events honoring the Guild’s “Game Changers”. Though Bigelow has rightly resisted being defined by her gender, that was the subject most discussed throughout the evening. Though her creative achievements are significant, her designation as “Game Changer” is based on her success as a female director.

Kathryn Bigelow

Kathryn Bigelow has distinguished herself as one of Hollywood’s most innovative filmmakers. Her recent directorial achievement, “The Hurt Locker”, was released in 2009 to box office success and was honored by critics on over 250 top ten lists. The film, written by Mark Boal and produced by Bigelow and Boal, garnered numerous accolades and awards, including the DGA Award for Outstanding Directorial Achievement in Feature Film and seven Academy Awards including Best Director, Best Picture, and Best Screenplay. Kathryn is definitely a groundbreaker and fully embodies poise, clarity and creativity. She has great empathy and patience for everyone she works with and that is obvious in her presence. We are looking forward to her next picture.

Kathryn Bigelow, Amazonian-Imperial, and Mark Boal

The series of colleagues who made their way to the stage included a charming Walter Hill, who met Bigelow just after her first film, “The Loveless“. He thought that she was Amazonian imperial, calm, with a great smile and possibly too intellectual, ivy-league educated and well read. “No good will come of this in show business”, he said, to knowing laughter from the audience.The consensus of all her actors and colleagues was that Kathryn was an incredibly hard worker with endless stamina, always calm under grueling conditions, and they all praised her vision and the loyalty she inspires with her cast and crew.

THE BERLINALE TALENT CAMPUS 2011

Nine years old and going strong: The idea of the Berlinale Talent Campus has lost nothing of its freshness and international attraction. This is what Dieter Kosslick, artistic director of the Berlinale, said of his pet project, which is part of the annual Berlin International Film Festival. He invited three years ago Jean-Louis Rodrigue to participate as one of the Experts, to mentor the chosen 350 filmmakers attending the Campus.

Ralph Fiennes discussing Acting and Directing (Photo: Peter Himsel, Berlinale, 2011)

The Berlinale Talent Campus is an annual event that takes place parallel to the Berlin International Film Festival. The Campus and its participants benefit greatly from their proximity to the main festival centre and the European Film Market (EFM). The 350 young students or graduates from film schools and/ or film professionals early in their careers are invited to learn from top experts through lectures, seminars and workshops, and have the opportunity to build international networks.

Your Body Speaks with Jean-Louis Rodrigue (Photo: David Ausserhofer, Berlinale 2011)

This year Jean-Louis taught two hands-on workshops; one workshop was called “Your Body Speaks: The Art of Presenting Your Film. This workshop focused on how the director and producer present their project to potential studio executives and investors, and learning effective ways of using physical awareness, confident body language, and engaging the imagination and emotions of their audience to successfully pitch their project. The other workshop was called “Embodying The Character” as part of Talent Actors Stage, assisting actors to enhance their technique and develop craft. One of the filmmakers participating in the “Your Body Speaks” workshop sent the following feedback:

Embodying The Character with Jean-Louis (Photo: Jacub Koncir, Berlinale, 2010)

“What a fabulous seminar! Thank you so much! I pitched my accordion fairy tale script to you and the class, and that experience led to a plethora of wonderful encounters. Thanks to your workshop and the new relaxed confidence it instilled in me, I pitched the heck out of my project at EFM the next day, and got meetings with major producers from all over Europe! Most importantly, I felt much more courage in general — not only talking about my project but conceiving of myself as an artist whose work is worth talking about. Amazing how our bodies influence our minds.”

Wim Wenders at Berlinale Talent Campus (Photo: Peter Himsel, Berlinale, 2011)

Jean-Louis was among 150 experts working in film who collaborated with filmmakers from around the world. Other experts included Isabella Rossellini who is also the President of the Jury of the festival, Harry Belafonte, Ralph Fiennes, Istvan Szabo, composer Michael Nyman, Paul Schrader, and Wim Wenders.

Berlinale Talent Campus Website

Kristof Konrad and Sarah Prikryl

“PARACUSIA”: A strange audio phenomenon is plaguing the four inhabitants of a small outpost on Mars. When the sound intensifies; breeding paranoia and threatening the lives of the crew, it’s up to their leader, Sarah, to abort the mission. However, none of them is prepared for what’s outside. The film is directed by Christopher Dreisbach.

Kristof Konrad and Brian Miller

“Paracusia” is a science fiction thriller written and produced by Brian Miller, a young and upcoming screenwriter graduating from the MFA program at AFI. His talent was quickly recognized by Harvey and Bob Weinstein, who optioned and produced his film Apollo 18, opening on April 22. Kristof has previously worked on four films produced by Brian and is looking forward to working with him on many more space adventures!

http://apollo18movie.net/