Teaching
Lilyan Chauvin was also one of Hollywood’s most prominent, sought after and respected acting and directing coaches in the industry. Many of her techniques have become instrumental teaching tools within the industry and have provided inspiration to many other successful educators. As an author and educator she taught internationally at seminars as a keynote speaker, lecturer and adviser.
As the creator and show runner she co-produced and hosted the television series Hollywood Structured, a comprehensive guide to show business careers, Chauvin explored new facets of the industry each week through interviews with top professionals. The 64 episodes covered acting, directing, make up, documentary filmmaking, producing, music, comedy, cinematography, stunt coordinating, modeling, publicity, writing, dancing, sports announcing, production design, entertainment law, agency, casting, union, special effects and more.
Chauvin wrote Hollywood Scams & Survival Tactics, in which she shared many of her own experiences and survival tactics.
She taught acting, multi-cam cinematography and directing for over 10 years at USC and taught acting/directing at UCLA for two years. Some of Chauvin's acting students were Raquel Welch, Suzanne Somers, Margie Haber, Carly Schroeder, Kin and Wil Shriner, and Kevin Nealon. She was a technical advisor and dialogue coach at MGM and worked as a dialogue supervisor/drama coach at Warner Brothers. For many years she ran the Women in Film Director's Workshop which drew large numbers of people from the various aspects of filmmaking.
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Famous quotes containing the word teaching:
“There is no teaching until the pupil is brought into the same state or principle in which you are; a transfusion takes place; he is you, and you are he; then is a teaching; and by no unfriendly chance or bad company can he ever lose the benefit.”
—Ralph Waldo Emerson (18031882)
“Like a prophet, you are possibly teaching us about the workings of the divine mind, but in the process you are ruining the human mind, dear friend.”
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“Whatever I may be, I want to be elsewhere than on paper. My art and my industry have been employed in making myself good for something; my studies, in teaching me to do, not to write. I have put all my efforts into forming my life. That is my trade and my work.”
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