MEET YOUR COACH
Rich Lund - Founder and Lead Coach
I am an acting coach focused on naturalistic, grounded screen performance. My training comes from years industry experience as well as an Undergrad and Master’s certificate in performance at some of the most prestigious schools in the world.
I’ve taught at some of the best accredited drama schools, including Queensland University of Technology, Arts Ed, National Institute of Dramatic Arts (NIDA), Mountview Academy of Theatre arts and the Griffith Conservatory. Having worked across 3 continents I have had the privilege of studying under some of the greatest practitioners in the world including Eric Morris, Larry Moss, and Les Chantery, Michael Gracey, Robert Benedetti and Ivana Chubbuck.
Theatre credits include: RED (Ad Astra Theatre); KELLY (Queensland Theatre- Winner: Best male actor in a leading role); 1984 (Billie Brown Theatre); 7 STAGES OR THE WORKING TITLE GRIEF STORY (White Bear Theatre); THE CLUB (Metro Arts Theatre); ROMEO AND JULIET (Gardens Point Theatre), THE COAST OF UTOPIA (La Boite); A DOG DREAMS (Marrickville Playhouse); MUCH ADO ABOUT NOTHING (Brisbane Shakespeare Festival) HOT L BALTIMORE (Gardens Point Theatre); LOVE LABOURS LOST (The Mack Theatre); WHEEL OF FORTUNE (Metro Arts); WOGS IN LOVE (Judith Wright Centre of the Arts).
Television and film credits includes: FREEZE! RUNAWAY GROOM! (Tubi); SURVIVORS (Netflix); THE FATAL CONFLICT: JUDEA AND ROME (Amazon); THE LEARNER (Taxi films- Winner: QLD Best short film awards); BLOODLINE (Lionfire Productions); DOG DAYS OF A SUBURBAN BANK ROBBER (Bro’s Films); WHERE DO LILACS COME FROM? (Thorne Productions - Cannes Lions); HOW TO LAND THE PERFECT JOB (Beernuts Productions); CLASSIFIED (MSquare).
My biggest achievement isn’t the work I’ve done. It’s the work I haven’t done.
This industry is full of rejection, I’ve become successful not because of my talent, but because of my perseverance. This is what I work with. This is what sets me apart from the others.
I work with actors who want to stop performing and start behaving truthfully on camera.
My background is rooted in professional acting training and years of working with actors who are serious about craft, not image. I don’t teach shortcuts, tricks, or surface level confidence building. I am interested in how the work holds up when the camera is close and the pressure is real.
My Approach
I do not teach acting as an idea.
I teach it as a repeatable discipline.
Natural acting is not casual.
Realism is not passive.
Grounded performance requires precision, control, and deep listening.
My work strips away habits, tension, performance tricks, and emotional indulgence so actors can access truthful behaviour under text. Especially when the frame is tight and the margin for error is small.
If something is not working, we address it directly.
If something is honest, we protect it.
WHY I TEACH SELF TAPE AS A CORE SKILL
Having worked around the world I’ve noticed one thing:
Self tapes are not a side skill anymore.
They are the industry.
Most actors are losing opportunities not because they can’t act, but because they don’t understand how casting actually experiences a tape.
I train actors to:
Break down casting briefs accurately
Make choices that read immediately
Control energy and stillness on camera
Handle pressure without collapsing
Deliver consistent, grounded work under time limits
Self tape is not about being impressive.
It is about being clear, honest, and trustworthy.
WHY DUBAI?
Having worked around the world I’ve noticed one thing:
Self tapes are not a side skill anymore.
They are the industry.
Most actors are losing opportunities not because they can’t act, but because they don’t understand how casting actually experiences a tape.
I train actors to:
Break down casting briefs accurately
Make choices that read immediately
Control energy and stillness on camera
Handle pressure without collapsing
Deliver consistent, grounded work under time limits
Self tape is not about being impressive.
It is about being clear, honest, and trustworthy.