Alexander Techworks

Forest Whitaker

Forest Whitaker is currently playing Cecil Gaines, the butler to eight U.S. Presidents over the span of three decades in the film The Butler. Whitaker enlisted Jean-Louis’ help in order to map out the aging process of this character in a believable way. Jean-Louis has gained a reputation in the industry as an expert in physicalizing iconic political figures, and in coaching actors with the aging process for characters.

Leonardo Dicaprio as J. Edgar
Courtesy: Warner Bros.

Last year, Leonardo DiCaprio worked extensively with Jean-Louis for his award winning performance as J. Edgar Hoover.  Details of the psychological, physical, and emotional journey of J. Edgar Hoover had to be discovered and integrated from within. In J. Edgar, DiCaprio ages from his twenties to his seventies, a daunting challenge for a thirty seven year old actor. The result was a stunning interpretation of the historical figure that garnered DiCaprio worldwide recognition for his acclaimed performance.

Josh Brolin as George W. Bush in “W.”
Courtesy: Lions Gate

Josh Brolin also worked with Jean-Louis in preparation for his role as George W. Bush in W. He came to Jean-Louis to work on expressing Bush’s aging process from the age of twenty to sixty. Besides integrating all the character physicality, Josh had to find a way of mapping the aging process within George W.’s particular life’s history. By using Jean-Louis’s coaching, Josh was able to discover and employ authentic human resources in his body and breath to give life to George W. Bush in stunning detail.

Suraj Sharma as Pi moving as a tiger in “Life of Pi”
Courtesy: 20th Century Fox

As the tale of an Indian teenager sharing a lifeboat with a Bengal tiger, Life of Pi won its author, Yann Martel, a Man Booker Prize in 2002. The film adaptation stars a newcomer, Suraj Sharma, in the title role, and the cast includes Irrfan Khan, Rafe Spall, and Gérard Depardieu. In 2010, Jean-Louis Rodrigue was invited by Ang Lee to consult on the tiger movement and behavior, and to work with screenwriter David Magee on the integration of movement elements in the script.

Suraj Sharma as “Pi” battles the forces of nature.
Courtesy: 20th Century Fox

Prior to Lee’s invitation, Jean-Louis had spent months researching tiger movement at the Los Angeles Zoo for Jean-Pierre Jeunet, the previous director assigned to the project. There, Jean-Louis studied the relationship between tigers and their keepers, and absorbed all kinds of fascinating details regarding tiger behavior, movement, and morphology. Zookeepers Dean Lofgren and Dorothy Balanger were a wealth of information, and they were very generous in allowing Jean-Louis to watch their interactions with the tigers. By observing and gaining the trust of Lulu and Manning, the two Sumatran tigers at the L.A. Zoo, Jean-Louis gathered an enormous amount of information about tiger movement and behavior that was vital to the story.

Bengal tiger, Richard Parker from “Life of Pi”
Courtesy: 20th Century Fox

In tigers and all other big cats, the head to tail connection is a postural reflex, and is used as a balancing device in both everyday movement and in running at top speeds. In this way, the lower body can be supported by the legs and pelvis, and the upper body can be absolutely free with fluid shoulders and a neck that allows a complete range of motion for the head and eyes.

“Life of Pi” Film Poster
Courtesy: 20th Century Fox

Life of Pi is a perfect combination of 3D technological innovation and a strong artistic vision. We are looking forward to seeing this profound story of human and spiritual discovery. In a letter sent directly to Martel, Barack Obama described Life of Pi as “an elegant proof of God, and the power of storytelling.”

Reinvigorated by this work, Jean-Louis Rodrigue and Kristof Konrad will teach an intensive workshop in Animal Studies for actors in creating their characters on November 16-18, 2012 in Los Angeles.

The film opens on November 21, 2012.

Watch trailer here.

Kristof Konrad teaching “Acting for the Camera” Workshop,
Berlinale 2012

Jean-Louis Rodrigue and Kristof Konrad were invited again to be “Experts” at the Berlinale Talent Campus #11. They will present a major component of the new, intensified hands-on program called Talent Actors Stage.  They will present Embodying the Character, an intensive workshop on using the power of movement and physicality in creating a character in film. They also will present Camera Close-Up Acting, an on camera hands-on workshop exploring the skills and tools that are required for extraordinary performances specifically geared for the camera close-up.

The Berlinale Talent Campus is an annual event that takes place parallel to the Berlin International Film Festival. The Campus and its participants from around the world benefit greatly from their proximity to the main festival center 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.

The enormous success that Argo has experienced this fall can largely be contributed to the inspired work of the film’s ensemble. Ben Affleck directed this film impeccably – from spearheading the production of an amazing script, to assembling the incredible artistic team, to his insightful direction in maintaining structure and pace in film making. In the film, Tate Donovan plays Bob Anders, a consular official at the US Embassy in Tehran, with a compelling sense of humanity and accessibility within the heightened circumstances.

Tate has worked with the Alexander Technique since the early nineties. He came to study with Jean-Louis after shooting the pilot for the television series, Partners, starring alongside Jon Cryer. Tate was supposed to be the romantic lead in the pilot episode, but realized that his habits of slumping and walking heavily on his legs and feet were preventing him from fully embodying his character as the romantic lead. Tate decided to study the Alexander Technique on a regular basis in order to deal with these poor habits, and saw his gradual improvement directly within the work on the TV series. This was an unusual but ideal way to develop his work and character. Tate has continued to study the Alexander Technique over the years, and continues to integrate the work on stage and in film.

We congratulate Tate on this remarkable achievement in acting and for being part of such a wonderful cast.

For a look at the Argo trailer, click here.

Bo Eason initially worked with Jean-Louis in 2001 while developing and writing his one-man play, Runt of the Litter, directed by Larry Moss. Jean-Louis was brought in to help Bo develop the physical life of more than twenty four characters, and to deal with habits and tensions caused by injuries that he had sustained as a professional football player with the Houston Oilers. The pair worked together in New York City, where the play became a smash success in its Off-Broadway run. In an interview with the New York Times, Bo said of his work with Jean-Louis that he “had to learn how to breathe and move all over again.” The New York Times Theatre Review hailed Bo’s piece as “one of the most powerful plays in the last decade.”

Over the past ten years Bo has toured the play around the country and developed an educational program called Personal Story Power Event that teaches others to write and perform their stories. This fall he invited Jean-Louis to teach the Alexander Technique for two days as a way for participants to connect with their body and breath, and thus improve the manner in which they communicate their stories. The synergy between Jean-Louis’ and Bo’s talents and energies was truly thrilling. They look forward to collaborating more in the future.

To read more about the Personal Story Power Event, click here.
For more information on Bo Eason’s work or Runt of the Litter, click here.

Scott Speedman as Sam in “Last Resort”

Scott Speedman has been studying and coaching with Jean-Louis for the past four years, with a sharp focus on character preparation. Scott’s ongoing hunger to go deeper into his characters helps him find new ways to bring them alive, making his acting work authentic and exciting. We congratulate Scott and wish him well with this new and challenging character.

After playing Ben on the WB’s Felicity from 1998 to 2002, Scott took a break from television, opting instead to take on roles in films like the Underworld franchise, xXx: State of the Union, Barney’s Version, Citizen Gangster, and the upcoming Barefoot. 

Scott Speedman

In Last Resort, Scott portrays Sam, a character who struggles with leaving his wife (played by Jessy Schram) behind with nothing but a photo by which to remember her. The premise of the show is rather complex: Last Resort centers on the crew of a U.S. nuclear submarine led by Andre Braugher. After ignoring an order to fire nuclear missiles, the submarine winds up being hunted whilst trying to escape to a NATO outpost where they declare themselves to be the world’s smallest nuclear nation. Described as “the heart of the submarine,” Scott’s character work especially pays off in one of the most heartbreaking performances towards the end of the premiere episode.

Last Resort premieres on Thursday, September 27 at 8 p.m. ET on ABC.
Watch the trailer here.

HFAS-Australia students in Animal Study class
with Kristof Konrad

As the Howard Fine Acting Studio in Melbourne begins its second year of operation, it also basks in the remarkable achievement of being one of Australia’s top acting institutions. Two years ago while visiting the Howard Fine Acting Studio in Hollywood, Patrick Constantinou, a young Australian actor and entrepreneur became impressed with the cohesiveness of the acting program and the high quality of the teaching and the faculty. He invited the faculty to create a second studio in Melbourne, where the work could then become more broadly available to actors in Australia.

The faculty teaches in an intensive manner on a rotating system, with teaching periods that last from three to nine weeks. The faculty includes Howard Fine, David Coury, Laura Gardner, Jean-Louis Rodrigue, Kristof Konrad, Marilyn McIntyre, and Ted Brunetti. Howard Fine was first introduced to his mentor Uta Hagen’s work while in high school drama class. Hagen’s work inspires the foundation of training at HFAS and the Alexander Technique is a vital part of this program.

Kristof Konrad in Australia

Kristof Konrad just returned from teaching for three weeks in Melbourne, where both he and Jean-Louis Rodrigue have now taught intensive workshops for the full-time course, the scene study classes, and the master classes. He picked up where Jean-Louis left off, and continued to teach the principles of the Alexander Technique as applied to acting, animal studies, and creating the character. He also presented a state of the art “Acting in Film and the Alexander Technique” workshop. This is one of the most successful workshops that Jean-Louis and Kristof have taught in Los Angeles, New York, Toronto, Berlin, and now, Melbourne.

Kristof Konrad with HFAS-Australia students at the Melbourne Zoo

Giselda Volodi at the
69th Venice Film Festival, 2012

Giselda Volodi at the 69th Venice Film Festival, 2012

Acclaimed Italian actress Giselda Volodi traveled from Rome to Berlin to take the Animal Studies Intensive Workshop with Kristof Konrad in June 2011. Giselda and Kristof have been close friends since their acting training days at the Alexander Fersen Studio in Rome, and she did not want to miss the opportunity to train with both Kristof and Jean-Louis. Giselda took the course as part of her preparation for her leading role in E Stato Il Figlio (It was the Son), directed by Daniele Cipri. The film was screened in competition at the 69^TH Venice Film Festival.

Set in Sicily during the Mafia’s most violent years, the movie tells the story of a working class family who has lost their little daughter, Serenella, mistakenly hit by a bullet of organized crime. You may expect this to be a heartbreaking drama but E Stato il Figlio is in fact a black comedy. Giselda plays Loredana, the wife who is trapped in this crazy family like a goldfish in a bowl.  The actress found the physicality and energy of her character while investigating various methodologies and animal explorations in the four-day Berlin Animal Studies Intensive Workshop.

Watch the trailer here.

Her next film is Wes Anderson’s “The Grand Budapest Hotel” starring Johnny Depp.

Giselda Volodi in “E Stato Il Figlio”

Gavin Robins

Gavin Robins, an Australian movement director and choreographer, came to study with Jean-Louis Rodrigue as part of a fellowship grant awarded to him by The Winston Churchill Memorial Trust of Australia. This research fellowship targeted the leading movement coaches and teachers in the US, as well as individuals and companies working in the fields of animation, visual effects, and technology for the stage and screen.

As a leading movement director and choreographer, Gavin’s work focuses on the biomechanics of the actor and the animation of the actor for both the stage and screen. He has created large-scale visual and aerial performances in many theatre and circus festivals throughout the world.  He was instrumental in the training and choreography of the Tin Symphony in the Opening Ceremony of the 2000 Olympics. Gavin has worked with major performing institutions including Sydney Theatre Company, Opera Australia, Bell Shakespeare Company, Queensland Theatre Company, and the National Institute of Circus Arts.

King Kong – Live on Stage

One of the most exciting aspects of Gavin’s research was the training he undertook with Jean-Louis, as stated in his research: “It was great to meet him and observe his wonderfully encouraging and precise ways of working with actors. I am already planning to bring him out to Australia so we can run a series of master classes together. Jean-Louis believes that we share the same ideologies in how to promote a more embodied character in performance, and the range of physical skills and expertise we have are complimentary to one another.”

For Gavin, Global Creatures opened the door to more opportunities, such as joining the creative team of How To Train your Dragon, a co-production with Dreamworks Animation that shows off more incredible life-like creatures such as the mythical dragons that permeate the film.  Global Creatures also created “Walking With Dinosaurs,” the Arena Spectacular, and a project based on the award-winning BBC TV series.

How to Train your Dragon

Currently he is the Aerial/Circus Director for Global Creature’s next project King Kong. One of the greatest love stories of all time, King Kong – Live on Stage will feature a cast of more than 40 onstage actors, singers, dancers, and puppeteers.  The show will open in Melbourne, and later on Broadway in 2013.

“The training Jean-Louis gave me has empowered me with new approaches to develop signature gestures for character, a detailed knowledge of period movement and manner, principles and application of Alexander technique, analysis of animal behavior, and image work.”
GAVIN ROBINS
Movement Director – Aerial Choreographer
Global Creatures, Australia

Luke Kirby and Michelle Williams in “Take this Waltz”
Courtesy: Magnolia Pictures

And you’ll carry me down on your dancing
To the pools that you lift on your wrist
Oh my love, oh my love
Take this waltz, take this waltz
It’s yours now, it’s all that there is.
- Leonard Cohen, from “Take This Waltz”

Courtesy: Magnolia Pictures

Canadian actor Luke Kirby started studying with Jean-Louis and Kristof last spring at the Animal Studies Intensive Workshop in New York. Kirby had lessons in the Alexander Technique while training as an actor at the National Theatre School of Canada, and was eager to learn more about incorporating animal studies into his acting work and character development.

In the romantic comedy, Take This Waltz, Kirby makes use of his dynamic physicality and appealing energy. The story revolves around a young couple (played by Michelle Williams and Seth Rogen) in a relationship that’s settled into flat routine. When a handsome artist and rickshaw driver (Luke Kirby) moves into the neighborhood, the marriage becomes threatened.

While sharing a cab from the airport, Daniel and Margot (Kirby and Williams, respectively) cover quite a distance from banter to open flirtation. Daniel (Kirby) has the cockiness of a skilled seducer, embarrassing Williams’ character as a way of establishing intimacy. The plot thickens when the pair discovers that they live on the same street. Daniel’s varied professions provide plenty of quirkiness for one character, but it’s a nice touch that Kirby looks like a leaner, prettier version of Rogen.

Luke Kirby and Michelle Williams underwater in “Take this Waltz”
Courtesy: Magnolia Pictures

“We had an exhaustive rehearsal process before shooting the film, but this was the one scene we actually didn’t rehearse. So Michelle [Williams] had never heard those words and Luke [Kirby] had never had to say those words in front of Michelle before [...] I was trying to play with the idea of how much sexier the idea of somebody can be than they are in actuality, so the main passion and main erotic part of the relationship between Daniel and Margot really happens in words and looks and in silences. Once there’s actual physical contact, [the eroticism between them] becomes quite diminished.”

Watch the trailer here.