Private Coaching for Actors · Berlin & Online
STOP WAITING. START ACTING.
You act. Maybe you trained formally, maybe you taught yourself, maybe you've done a workshop or two — it doesn't matter. What matters is the camera has never met the actor you actually are. This is where you get seen.
Three places currently open
Apply for a placeThe real problem
You're not under-trained. You're under-seen.
Most actors who belong here aren't stuck because they lack talent or training — formal or not. They're stuck because nothing has ever captured what they can do. The truest, strangest, most alive parts of your range have never once been put in front of a lens.
It usually shows up in three ways:
You're waiting for permission
Your craft has been on hold — waiting for a callback, a yes, someone to finally pick you. You've handed your progress to casting directors, agents, "when I book something." The work doesn't start when you're cast. It starts now.
You're always in someone else's material
Every scene you've performed has belonged to someone else — their films, their version first. You can do the work, but you've never had material that's actually yours.
You have more — and no proof of it
No footage that's truly you. No reel that feels like them would say, "that's the actor I am."
That's the gap this closes: not more training, but finally being seen — in work that's your own.
The shift
From performer to author.
This is not an acting class. It's where you stop waiting to be chosen and start making the work yourself — present, precise, and in command of your own process. You become the author of what you make, not a performer executing someone else's direction. That's the whole shift. Everything below is how we get you there.
How the shift happens
Material made for you. Not for anyone else.
Nothing here is off the shelf. I build the work around you — what you need, where you're stuck, what your range hasn't shown yet. That takes a few forms, and we use whichever the moment calls for:
Scenes I write for you
Short, original scenes built around silence, timing, inner action, restraint and clarity — designed to challenge you, not flatter you.
Scenes we create together
Using my Structured Improvisation for the Camera method, we generate scenes that couldn't have been scripted — alive, unrepeatable, and unmistakably yours.
Exercises designed for you
Targeted work aimed at exactly what you need to move forward. Often an exercise is a scene — so we shoot it, and the training becomes footage you keep.
No recycled monologues. No competing with the original. Whatever form it takes, you create material that belongs entirely to you — and you keep everything we make, for reels, submissions, or your own archive. It's yours.
What we work on
The craft, from the inside.
Acting for the camera
Scale, attention, listening — being true at the size the lens asks for.
The scene from inside
How scenes function from within the role, not performed at it.
The director relationship
Staying active without pushing — collaborating, not waiting for instruction.
Camera awareness
Framing, proximity, duration — and how each changes a performance.
Process
How to prepare without closing yourself off — arriving ready and still open.
Your project
Direct support for whatever you're working on now, at any stage.
Improvisation is one of the ways we create — but the focus is always clarity, authorship and precision.
How it works
Yours to use, at your pace.
01 · Choose your hours
A 10-hour or 20-hour program. Once you're in, the hours are yours.
02 · Use them your way
Intensively, or spread over weeks and months. Lots of flexibility.
03 · Stay active between us
Work on your own, then review your progress with me.
04 · Berlin or online
We meet at my studio in Berlin, or online if you're elsewhere.
Two ways to work
Custom, or guided — your call
Option A
A custom path
We work on whatever you need in the moment — your particular needs, the area you most want to move forward, or whatever project you're currently on. Nothing fixed in advance.
Option B
A structured program
Or you follow my existing lesson- and practice-driven program — a path I already use to teach this, step by step, if you'd rather be guided than choose.
And the material we make is always yours to use — for reels, submissions, or your archive. But that's optional, never the point. We can just as easily work for the sake of exploration alone, with no aim of publishing anything.
The two formats
Choose the depth that fits. Application only — the next step is to apply, not to buy.
Installments available via Klarna — pay in 3, 6 or 12 months.
Voices from the work
What actors say
"His directing and guidance made me feel so comfortable that, at several moments, it made me feel things I had not felt before."
— Auron, Actor
"As a brilliant director and teacher, he has a unique intuition for pushing students out of their comfort zones in the most empowering way."
— Sivas, Director
"I feel very inspired for my own projects, and I would do another one soon. It was both fun and powerful."
— Natasa, Actor
Where this comes from
My approach
I believe in work that feels personal, alive and honest. Filmmaking and acting are not only about technique. They are about attention — to people, to moments, to emotion, to what appears when everyone involved is truly present.
I value independence, directness and real connection. I'm interested in work that doesn't hide behind formulas, trends or empty professionalism, but stays close to the human experience. That's what I try to protect in this coaching: a way of working where the process matters, the person matters, and what comes out of it carries something genuine.
Your coach
Flavio García García
I'm a Berlin-based award-winning film director and a dedicated film teacher. Since 2005 I've shared practical filmmaking knowledge through workshops, courses and one-to-one coaching.
I work in independent cinema, and I specialise in helping actors become more truthful, free and alive on camera — as authors of their own work, not only performers in someone else's.
I keep the program small on purpose, so the work stays personal and the match is real. My films have screened at 40+ international festivals and venues — Cineteca Matadero, MUSAC, Alcine, Pragda New York — with awards including Best Movie and Best Mobile Movie at Movil Film Fest 2009.
Why application only
Not a filter. A match.
It's not about credentials
Self-taught, workshop-trained, or years into the profession — all of it belongs here. What matters is that you already act and you're ready to work seriously, not which school you went to.
It's about demand
Spots are genuinely limited. I keep the program small on purpose, so I can give each person real attention rather than spreading myself thin.
It's about connection
Coaching this personal only works when we're genuinely on the same page. The application is how we both find that out, before any commitment.
Brand new to acting and never worked on a set? Start with one of my group workshops — it's the right first step, and the door to private coaching stays open afterwards.
The application
Stop waiting. Apply.
If you've read this far, you already know the difference between waiting and working. Tell me a little about you and where you are — I read every application myself and reply personally.
No payment now. You'll hear back within a few days, whether or not there's a place.
Your application
I read every application personally and reply by email or WhatsApp.
Questions
Frequently asked questions
Do I need formal training to apply?
I'm a complete beginner — can I still apply?
Does coaching happen in Berlin, online, or both?
How flexible are the hours, really?
What if my application isn't accepted?
Can I pay in installments?
Still have a question?
Get in touch
Not ready to apply yet, or just want to ask something first? Send a message below.