Christiane Brew Actress

14/08/2026

**I don't REMEMBER most of this INTERVIEW**

Which is slightly odd considering it's an interview about my own journey. 😂

I recently sat down with Tobi from *Unpacking Japan* to talk about how on earth I ended up doing what I do in Japan.

We talked about coming to Japan, acting, rediscovering improv & performance in Tokyo, *Shin Godzilla*, being scouted for *Death Stranding*, performance capture, theatre and how supporting other female actors here led to my current project as Murder My Story Productions

But watching it back, what struck me most was how little I remembered of the actual interview.

I'd become completely absorbed in the memories.
I could see myself going back into those moments as I told the stories — and I could see the joy I still have for the work and experiences I've had along the way. Full authenticity.

Tobi is an excellent listener. He gave me space, didn't rush to fill the silences and let me take my time.

And yes, occasionally I couldn't find the word I wanted. Thank you, perimenopausal brain. 😆

Watching those moments back, though, I didn't cringe. I wanted to give myself a little hug. I felt proud of her. 💛

There are so many parts of my journey we didn't even get to — and watching this made me realise quite how much has happened along the way.

But if you'd like to know a little more about me, my work, and the rather unexpected route that's brought me here, this is probably a very good place to start. Is this how you see me?

🎥 Watch the full *Unpacking Japan* interview here:

Meet Christiane, an actress based in Tokyo. She sits down to talk t...

24/07/2026

An exciting new (18m old) project.
There’s much more than just putting on a show. I’ll share more BTS of the conception and progress as the months go on.
But for now, be excited for this 🙏

💌 A Save the Date has arrived...

Sylvia Von Goldbüt requests the pleasure of your company at the wedding reception of her beloved nephew, Edward Nogame, and his bride, Viviane McHeartstopper.

Some celebrations are simply unforgettable.

🗓️ November 5–8, 2026
📍 BC World, Yoyogi

Formal invitations arriving soon…

22/06/2026

Sometimes you just have to have FUN and LAUGH!

These were the objectives of the students on tonight's online Improv Lab. Sometimes, you just need to do something a little different to escape your day and feel connected to people.

So, today we played with a group storytelling activity to feel connection in our disconnected lives. Then we finished off with a storytelling justification activity - things got wonderfully crazy, but wrapped up perfectly.

NOTES:
there are consequences to actions - if you make it happen, justify it;
start sentences with an action verb to keep the story moving;
if you lose the objective it's OK - you can bring it back during the wrap up;
try it in the 1st person as if you're recalling the story



PHOTO: taken at Improvazilla show. Next show: Friday 26th June, 8-10pm
You can also watch me at Pirates of Tokyo Bay Next show: Sunday 28th June, 7.30-9.30pm

24/05/2026

“Don’t try to become someone else.”

One of the biggest misconceptions in acting for me, is the idea that great performance comes from completely transforming into another human being.

But during the intensive, some of the most truthful moments appeared when actors stopped trying so hard to “perform” and became more aware of themselves instead.

Their habits.
Their instincts.
Their tension.
Their humour.
Their vulnerability.
Their impulses.

Not to play themselves, but to understand themselves deeply enough to respond truthfully under pressure.

The most adaptable actors are often the ones who know themselves well.

They can listen, shift, react and collaborate because they aren’t trapped trying to force a version of the scene they planned in advance.

That’s when the work starts to feel alive.

It was a genuine pleasure and honour watching actors challenge themselves, take risks and discover new things about their process over the intensive. It fills me up, and reminds me to practice also being brave and vulnerable.

If this kind of actor training interests you and you’d like to work with me in future intensives or workshops, get in touch.

23/05/2026

“Your scene partner is not your hostage.”

One of the funniest things actors do when they get nervous is start trying to carry the entire scene by themselves.

More talking.
More energy.
More explaining.
More “helping.”

Meanwhile their scene partner is standing there with absolutely nowhere left to go.

A note I gave repeatedly during the intensive was:
“You’re not responsible for the whole scene.”

And honestly, the moment actors relaxed and trusted each other more, the scenes immediately became better.

More listening.
More spontaneity.
More genuine reactions.
Less panic-driven emotional furniture moving.

Acting (and especially an improvised scene) gets much easier when you stop trying to force the scene to survive entirely through your own effort.

Your job isn’t to control every moment.
It’s to stay connected enough to respond truthfully to another person.

Simple.
Terrifying.
Very useful.

22/05/2026

“Good training should make you slightly uncomfortable.”

Not unsafe.
Not ashamed.
Just uncomfortable enough that you start noticing your habits.

Over the intensive, the actors who grew fastest weren’t necessarily the most experienced or naturally confident.

They were the ones willing to:

* experiment
* risk mistakes
* stay open
* let go of needing to look “good”

Most actors are used to protecting themselves.

But some of the most interesting work started appearing the moment people relaxed, listened more, and allowed themselves to genuinely play.

“This is your chance to experiment.”

That became an important reminder throughout the week.

And honestly, we all move between openness and self-protection at different times.

The important thing is noticing it.



Thank you to all the Actors who showed up for themselves and each other during training.

21/05/2026

One of the notes I repeated during the intensive was:

“Keep the energy at an 8, but turn it inwards.”

Actors sometimes feel pressure to show emotion quickly.
To push it outward so the audience immediately understands what the character is feeling.

But often, the more compelling choice is allowing the emotion to exist underneath the surface instead.

Not smaller.
Not weaker.
Just less pushed.

We worked on keeping the emotional intensity alive internally:
holding tension in the body
staying connected to the other person
resisting the urge to force the moment
allowing thoughts and impulses to build naturally

And suddenly the scenes became far more interesting.

Because an audience leans in when they sense someone trying to stay composed.
Trying not to say the thing.
Trying not to break.

That tension feels truthful.

It’s powerful in all performance, but especially on screen where the camera catches even the smallest behavioural shifts.

Sometimes the emotional payoff lands harder because the actor allowed the pressure to build instead of releasing it immediately.

Less forcing.
More inner life.

English Language Film School Japan
Thanks to Soness and Chris for their scene

20/05/2026

One redirect changed the entire room.

Earlier in the intensive, actors had been working on a scripted scene in several different ways. The scenes were good. Thought through. Rehearsed. Safe.

Then during a redirect session, I suddenly changed the positioning within the scene.

And everything shifted.

The actors immediately realised that the “rules” they had unconsciously created around the scene could be broken much further than they’d imagined.

The stakes changed.
The energy loosened.
The scenes became less controlled and more alive.

It’s fascinating how quickly we can become attached to our own plans as actors.

Where we stand.
How we deliver a line.
What emotion we think should happen.
What rhythm feels “correct.”

But sometimes the most truthful moments appear the second you stop trying to protect the version you rehearsed.

After that redirect, the following scenes had a completely different energy to them.

More listening.
More risk.
More discovery.

Less performing.
More responding.

That’s usually where the interesting work begins.