The No Film School Podcast

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From Madagascar to Hollywood with Director Andrew Kightlinger; Plus, 'Don't Move' Directors’ Microbudget to Sam Raimi-Produced Journey Oct 25, 2024

What does it take to go from indie filmmaking on a shoestring budget to working with legends like Sam Raimi? Andrew Kightlinger’s journey from Madagascar to Hollywood shows how personal experiences shape a filmmaker’s voice. Filmmakers Adam Schindler and Brian Netto share how they moved from microbudget horror films to collaborating with one of the industry’s icons. This episode explores the highs and lows of filmmaking, from preparation and improvisation to building trust on set.

Andrew Kightlinger grew up surrounded by the vibrant landscapes of Madagascar, which ignited his passion for filmmaking. Now directing in Hollywood, his films, like Lost on a Mountain in Maine, showcase his ability to merge personal experiences with visually captivating storytelling. Lost on a Mountain in Maine releases on November 1.

Adam Schindler and Brian Netto began their filmmaking journey with microbudget horror, mastering the craft of tension and suspense. Their latest film, Don’t Move, produced by Sam Raimi, is set to release on October 25, 2024 on Netflix, proving that powerful stories don’t require massive budgets

In today’s episode, No Film School’s Jason Hellerman and GG Hawkins speak with Andrew Kightlinger, Adam Schindler, and Brian Netto to discuss:

Andrew Kightlinger’s journey from Madagascar to Hollywood
How his upbringing influenced Lost on a Mountain in Maine
The need for preparation and improvisation with tight budgets
Schindler and Netto’s move from micro budget films to working with Sam Raimi on Don’t Move
Creating real-time horror with minimal voiceover and non-linear techniques
The role of trust and collaboration in elevating a project

Memorable Quotes:

“The big lesson I learned in that movie was who not to work with, and I won't go into more detail than that, but I think that's a very important lesson in a collaborative field like ours.” (12:03)
“I believe that filmmaking is preparation. Like bar none, that's what your job as a director is to do. So prepare because it's gonna be chaos when you start shooting.” (18:02)
“I knew what I wanted the film to be. And then I also storyboarded the whole movie just with stick figures. I just had an iPad and I drew out all the really complicated stuff to the best of my ability.” (20:06)
“He's the consummate collaborator, like… horror icon, but also like one of the best script to screen notes… he lives up to all of it.” (45:22)
“We became directors together. Our passion for film began together. We founded together. I think the things that we enjoy are slightly different. We like the same movies, but we also have different tastes.” (55:17)
“I think the filmmaking part of it is the fun part and the easy part. It's all the other things that you have to juggle and have the temperament for and the stomach for and the patience for and all those sorts of things.” (1:04:26)

Resources:

Andrew on IMDb

Lost on a Mountain in Maine on IMDb

Adam Schindler on IMDb

Follow Adam on Instagram

Brian Netto on IMDb

Follow Brian on Instagram

Don’t Move on IMDB

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Why Writer-Director Hallie Meyers-Shyer Wrote ‘Goodrich’ for Only Michael Keaton Oct 21, 2024

In filmmaking, finding the right actor can make all the difference, and for Hallie Meyers-Shyer, Michael Keaton was the only choice for the lead role in Goodrich. This episode delves into the creative journey of writing and directing a deeply personal film, navigating the challenges of independent production, and discovering the heart of the story during editing. It also explores how persistence, vision, and collaboration are essential in bringing a project to life.

Hallie Meyers-Shyer is a writer and director known for her heartfelt and character-driven stories. Following in the footsteps of her legendary filmmaking parents, Nancy Meyers and Charles Shyer, Hallie made her directorial debut with Home Again in 2017. Her latest film, Goodrich, is a personal story inspired by her family dynamics, with a lead role written specifically for Michael Keaton. Hallie is passionate about crafting films that blend humor and emotion, creating stories that resonate on a deeply human level.

In today’s episode, No Film School’s GG Hawkins and Jason Hellerman speak with Hallie Meyers-Shyer to discuss:

Insights from the LA Director’s Lab, a workshop that offers directors a space to practice their craft and experiment with creative risks
Why Michael Keaton was the perfect fit for Goodrich and how she wrote the role with him in mind
The personal inspiration behind the story, rooted in Hallie’s experiences with her own family
How to keep pushing forward with a film project, even when financing falls through
The importance of outlining in the writing process and how it provides freedom in creativity
Hallie’s experience working with a tight-knit team and storyboarding the entire film
The emotional discoveries that shaped the film during editing and how the film revealed itself as more than just a comedy

Memorable Quotes:

“I work hard to fully flesh out each character and make them not just servicing the thing that you want to get across in that scene and make them people with a lot of layers and things.” (15:06)
“I kind of always felt this was going to be an independent movie, even though it sort of would have been a studio movie probably 30 years ago.” (18:24)
“I had Pinterest boards for costumes. I had Pinterest boards for every location. I also had a really long time to work on this movie, so I had about six years of images pulled.” (26:27)
“I love editing. I just love it. It's one of my favorite parts, if not my favorite part.” (36:02)
“Something I noticed about Michael Keaton in the editing room (…) is he brings the first scene of the movie into the last scene of the movie.” (37:15)
“I know many super talented writers who can do multiple projects at once. I admire it. I cannot do it. I am so fully immersed in what I'm writing.” (46:27)
“I think it's so important for human stories, personal stories about people and emotions and whatever your life story is, get it out there, keep at it, be your biggest champion, make it happen.” (51:52)

Resources:

Hallie on IMDb

Goodrich on IMDb

Hollywood Camera Works trainings

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Mihai Malaimare Jr. on Instagram

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Navigating Austin Film Fest; DP Mihai Malaimare Jr.: From Film School to Francis Ford Coppola Oct 18, 2024

The Austin Film Festival (AFF) stands out for its unique focus on writers and emerging filmmakers, providing a space for attendees to connect with industry professionals and discover creative collaborations. With its welcoming atmosphere, AFF offers an ideal environment for networking, learning, and exploring new opportunities. The conversation also delves into the career of cinematographer Mihai Malaimare Jr., who shares his journey from film school to working with legendary director Francis Ford Coppola, offering insights into his approach to cinematography and navigating the evolving role of technology in film.

Andy Volk is the Senior Film Programmer at Austin Film Festival. He selects films from around the world and helps shape the festival’s diverse lineup.

Emily Lock is the Conference Director at Austin Film Festival. She organizes panels and events focused on screenwriting and filmmaking.

Mihai Malaimare Jr. is a cinematographer known for Megalopolis and Jojo Rabbit. He began working with Francis Ford Coppola shortly after film school and is recognized for his innovative approach to both film and digital cinematography. Mihai has worked on several acclaimed films, blending artistry with evolving technology.

In today’s episode, No Film School’s GG Hawkins and Ryan Koo speak with Andy Volk, Emily Lock, and Mihai Malaimare Jr. to discuss:

How to make the most of your time at the Austin Film Festival
Why AFF stands out as a community-driven festival
Tips for networking, pitching, and finding creative collaborations at the festival
Mihai Malaimare Jr.’s journey from film school to becoming Francis Ford Coppola’s go-to cinematographer
How Mihai navigates the evolving landscape of VFX-heavy productions and maintains the balance between technology and artistry
Building lasting professional relationships with directors and how to stay open to creative ideas on set

Memorable Quotes:

“[AFF] is one of the more welcoming festivals that I've ever been to, and it really is about community. And I think that's one of the things that we really pride ourselves on at the festival is making it feel really warm and really open.” (7:34)
“It's a very rare opportunity for an aspiring and emerging storyteller to get in a room with someone who's an actual gatekeeper for Hollywood, to hear their perspective on what they're looking for and their advice to emerging voices, and to have the opportunity to speak with them, either one-on-one or in a group, and really pitch themselves.” (16:22)
“I want any of our listeners who sort of skew on the shyer side to practice introducing themselves to somebody that they don't know.” (19:03)
“My advice is watch everything. And I know that sounds trite, but it's so important to get outside your own taste bubble.” (25:34)
“Make space for things that don't jump out at you. And you would be surprised how much you can love something that didn't really necessarily call to you.” (25:58)
“It can be very stressful when you're not prepared, and you're used to productions that are really very carefully planned. If you move an inch, then it's a disaster.” (38:09)
“I'm still trying to figure out why, but I'm more attracted to still photography than stills from other movies.” (52:18)

Resources Mentioned:

Austin Film Festival

On Story podcast

Mihai Malaimare Jr. on IMDb

Mihai Malaimare Jr.’s website

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Applying for Your O-1 Visa To Work in Film and TV Oct 14, 2024

The O-1 visa, also known as the "artist visa," is a crucial step for filmmakers and creative professionals aiming to establish their careers in the U.S. Designed for individuals with extraordinary ability in their fields, the application process can be daunting. This episode offers insights into what it takes to qualify, how to strengthen your application, and common challenges faced by those seeking an O-1. Whether you're in the middle of applying or just starting out, this episode provides a roadmap for navigating the process.

Alabama Blonde is a casting director, costume designer, and performance coach originally from Australia. Now based in Los Angeles, she has navigated the O-1 visa process twice, ultimately securing a green card. Alabama’s multidisciplinary career spans various creative roles, giving her unique insights into the challenges of obtaining visas as an artist working across multiple fields.

Julia Zanin de Paula is a Brazilian filmmaker, director, and editor currently based in New York. With a background in horror films, including her notable short Mother of Monsters, Julia has successfully transitioned from a student visa to an O-1 artist visa. She offers valuable advice on gathering press, awards, and recommendations to strengthen her application.

Sneha Mendis is a producer and screenwriter from India, currently in New York, and in the midst of applying for her O-1 visa. With a background in production and development, Sneha shares her experience of building a case for the visa while working in various roles across film sets in the U.S.

In today’s episode, No Film School’s GG Hawkins and Jason Hellerman speak with filmmakers Alabama Blonde, Julia Zanin de Paula, and Sneha Mendes to discuss:

What qualifies as “extraordinary ability” and how to demonstrate it in your visa application
The key documents and evidence required to strengthen your case, including press coverage, awards, and work offers
The emotional challenges of navigating the visa process and finding support while applying
Common misconceptions about the O-1 visa and why it’s not as "easy" as some think
Financial considerations: the costs of legal fees, recommendations, and union approvals

Memorable Quotes:

“I think being extraordinary is having something that sets you apart from everyone who's doing the thing that you do.” (15:05)
“You know what happens when you're a filmmaker and you are starting your career? You're couch surfing. You know, it's not always easy.” (24:10)
“They can't say Julia will be extraordinary. They have to say Julia is extraordinary right now, and she will be extraordinary in the US.” (25:56)
“You've got to be a little insane to do the O1 visa. You've got to be a little delusional. Because if you don't go all in, you're not going to get it.” (32:34)
If you have a long-term project that the producer has never encountered your visa and has never gone through human resources with your kind of visa, they might not be down to do it.” (43:22)
“It doesn't get easier once you get it. It's just a constant struggle to grow in your career.” (44:20)

Mentioned:

Sneha’s website

Sneha on IMDb

Follow Julia Zanin de Paula on Instagram

Julia’s website

Julia on IMDb

Follow Alabama Blonde on Instagram

Strike the Blonde Casting on Instagram

Find No Film School everywhere:

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Jourdan Aldredge's article about Eddie AI

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How to Scale Video Editing With an AI Storytelling Partner Oct 08, 2024

As AI continues to reshape creative industries, video editing is undergoing a major transformation. Tools like Eddie AI are making the editing process faster, more efficient, and more accessible to filmmakers. By acting as a storytelling partner, AI can quickly generate rough cuts, find key moments in footage, and even suggest alternative storylines, all while freeing up creatives to focus on the art of storytelling. This episode explores how AI is changing the landscape of post-production, addressing both the excitement and concerns about its growing role in filmmaking.

Shamir Allibhai is the co-founder and CEO of Eddie AI, an innovative tool designed to assist filmmakers in streamlining the video editing process. With a background in documentary filmmaking and production work at the BBC, Shamir transitioned into tech to solve the workflow challenges he encountered in the field. His passion for storytelling drives his mission to use AI as a tool to empower creators, making the process of crafting stories more efficient and accessible to all.

Jourdan Aldredge is the tech editor at No Film School, with years of experience covering filmmaking tools, techniques, and trends. A filmmaker and writer himself, Jourdan brings a unique perspective on how technology intersects with storytelling.

In today’s episode, No Film School’s Gigi Hawkins speaks with Jourdan Aldredge and Shamir Allibhai to discuss:

The evolution of video editing and how AI tools can help streamline the process
How Eddie AI functions as a "storytelling partner" for filmmakers, not just an editing tool
The iterative nature of filmmaking and how AI can aid in refining the story during production
Addressing fears around AI in creative industries, including concerns about replacing human creativity
How AI tools can save time and focus more energy on the craft of storytelling
The future of AI in film and how it can democratize storytelling

Memorable Quotes:

“I have this aspiration that more people can tell better stories. And I want to help bring those untold stories out.” (5:04)
“Hey, let's find the most important sound bites on these topics, let's start creating a rough cut, but also, hey, you also need 10 TikToks.” (16:58)
“Imagine if production and post-production weren't the siloed steps. What if they could operate in tandem in a similar sense to an agile workflow?” (20:36)
“I think with every technology we've observed, they've actually led to an increase in productivity or creativity.” (24:13)
“I truly believe that a lot of these tools are like bicycles for the mind.” (36:03)

Mentioned:

Eddie AI

Follow Jourdan on LinkedIn

Follow Shamir on X

Shamir on IMDb

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Bad Shabbos' Editor Talks Mental Health in Post & How Doc Informs Narrative Oct 07, 2024

How do documentary films inform the way we approach narrative filmmaking? What does it mean to care for your mental health in an industry that thrives on constant creativity and long hours? How do documentary editors navigate the emotional toll of handling sensitive, often traumatic stories?

In today’s episode, No Film School’s GG Hawkins speaks with editor Kait Plum to discuss:

Doing a test scene before becoming the editor of Bad Shabbos
The difference between editing doc and editing narrative
Editing a film with many characters
The benefits of doing test screenings for comedy
Facing difficult footage when editing a documentary
The importance of setting boundaries and taking breaks
Using the term “participant” instead of “subject” in documentary filmmaking
What it was like to work on the doc, Mediha
Why networking and mentorship are crucial for aspiring editors

Memorable Quotes

“Working in documentary is so much work. Working in narrative was just fun because everything is there and you have a script.” [5:01]
“We are looking at a lot of harrowing stuff on repeat and having to internalize that.” [30:55]
“I know a lot of fellow documentary editors who deal with depression and anxiety on a regular basis.” [31:02]
“The number one thing in the film industry is to network.” [42:56]

Links:

Bad Shabbos

Mediha

Follow Kait on IG

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Max Lugavere on Instagram

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Death of Pilot Season, Big Pivots & Max Lugavere's Deeply Personal, Long-Game Doc ‘Little Empty Boxes’ Oct 04, 2024

As streaming reshapes the industry, pilot season is a thing of the past, leaving creatives to navigate constant demands and year-round pitching. How do filmmakers find balance when the lines between work and rest blur? And how can unexpected pivots lead to more meaningful projects? This episode explores staying resilient in a world without structure, featuring Max Lugavere's decade-long journey with Little Empty Boxes, a deeply personal documentary about his mother's battle with dementia that evolved in ways he never expected.

Max Lugavere is a filmmaker, health journalist, and New York Times bestselling author. After his mother’s diagnosis with Lewy body dementia, Max chronicled her experience in Little Empty Boxes. The film, which took over a decade to complete, shifted from an investigative piece to an intimate portrayal of love, loss, and resilience.

In today’s episode, No Film School’s Gigi Hawkins speaks with Jason Hellerman, Max Lugavere and Chris Newhard to discuss:

The death of pilot season and how streaming has transformed the TV landscape
The endless cycle of pitching and the impact on writers’ lives
Finding balance between personal life and an unpredictable film industry.
How unexpected creative pivots can lead to more meaningful work.
Max Lugavere’s personal journey documenting his mother’s battle with dementia in Little Empty Boxes
Chris Newhard’s role in reshaping Little Empty Boxes through fresh eyes, helping it evolve into a deeply emotional and impactful documentary

Memorable Quotes:

“The thing with pilot season not existing is interesting because you still have network TV, right? Network TV still generally functions the way it always has, except for it doesn't embrace the buying and research and development behind pilot season anymore.” [5:36]
“The anxiety of pitching year-round is that you're also assuming these execs are reading year-round. They need a break too.” [9:03]
“There were likely overlapping skills that I had learned as a short form content creator that could be applied to long form documentary filmmaking, but of course the amount of money and time and personnel required to create a feature length documentary… it's so different.” [26:28]
“Being in front of the camera allowed me access to some moments that I think you probably wouldn't have been able to catch on film had I not actually had been there.” [41:04]
“I just simply found that going with the emotion instead of trying to fight the tide was more beneficial for me.” [53:24]
“He spent a lot of time and a lot of money trying to make this movie happen. And the first thing I did is I deleted it.” [55:42]

Mentioned:

Little Empty Boxes website

Max Lugavere’s website

The Genius Life podcast

Max Lugavere’s Books

Chris Newhard’s website

Chris Newhard on Instagram

Jason Hellerman on IMDb

Jason’s library of content on No Film School

Jason on Instagram

Jason on X

KYNO editing tool

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Jason’s library of content on No Film School

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The State of Spec Scripts, ‘The Substance’ & Panama Filmmaking Sep 27, 2024

Selling a script can feel like a distant dream, but the process is very much alive. From using platforms like The Black List to writing query letters and building personal connections, breaking into the industry is challenging but not impossible.

Plus, we explore the rise of the Panamanian film industry, how it has evolved, and what it takes to make a mark in a smaller but growing market.

Delfina Vidal is a Panamanian filmmaker known for her documentaries. She has contributed significantly to the growing Panamanian film industry, focusing on telling stories that resonate with local and international audiences.

Arianne Benedetti is a producer and key figure in the Panamanian film scene. She is instrumental in the development of Panama’s cinematic landscape, working on projects that showcase the country’s cultural and artistic diversity.

Maria Isabel Burnes is involved in promoting the Panamanian film industry, playing an essential role in nurturing emerging filmmakers and helping develop a vibrant film culture in Panama.

In today’s episode, No Film School’s GG Hawkins speaks with Jason Hellerman and filmmakers from Panama Delfina Vidal, Arianne Benedetti and Maria Isabel Burnes to discuss:

How to break into the industry by selling or optioning scripts
The importance of getting your work out into the world and building a community around it
The Substance, the film starring Demi Moore, Dennis Quaid and Margaret Qualley, written and directed by Coralie Fargeat
What emerging filmmakers in Panama are doing to grow their film industry
Strategies to create universal stories that can travel beyond local markets
Why female filmmakers are thriving in Panama’s expanding film scene

Memorable Quotes:

"You have to get your story out into the world. You have to be willing to hear the sometimes harsh feedback that these websites deliver.” [05:25]
"Don't stop writing, because maybe the main thing here is: one script can open a couple doors, two scripts can open more, three, you know, onward and upward, but you're gonna need scripts." [16:34]
“It's not just about how great your script is, but how marketable it is. Who sees that they can make money from it? Is this some material that I can get something in return for?” [20:15]
“It’s more common to be on an NFL roster than it is to be a working screenwriter in Hollywood.” [26:21”
“When you're going to work with kids, make sure you have a lot of time before set so they can relate to you and feel very comfortable with you.” [59:02]
“Always, always prepare for the worst. Prepare your coworkers for the worst. Prepare your actors for the worst. Prepare the location that you're working in for the worst.” [1:03:07]

Mentioned:

Jason Hellerman on IMDb

Jason on Instagram

Jason on X

Delfina Vidal on IMDb

Arianne Benedetti on IMDb

Maria Isabel Burnes on IMDb

The Black List

Stage 32

Roadmap Writers

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Learn more about Scott Monahan

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Why Indie Film Distribution Is About To Go Punk Rock Sep 19, 2024

Filmmaking isn’t just about making a great film—it’s about getting that film seen. With traditional distribution models crumbling, independent filmmakers are finding new ways to connect directly with audiences. This episode explores how the indie film landscape is shifting, with filmmakers taking control of their own distribution, marketing, and audience-building strategies. Whether you’re a first-time filmmaker or a seasoned pro, this episode will inspire you to think outside the box and embrace a more grassroots approach to getting your work into the world.

Jon Reiss is a filmmaker, author of the book Think Outside the Box Office, and a media strategist who runs 8 Above, a company that creates custom distribution strategies for indie films. He has consulted with filmmakers and organizations worldwide including The Gotham, IDA, and Film Independent, and has led workshops on distribution and marketing through his 8 Above Distribution Lab. Reiss is currently producing a documentary on robotic performance artist Mark Pauline, and is producing the second season of a podcast, Plantscendence, about people’s psychedelic experiences. He has recently launched a Substack focused on indie film distribution and marketing.

Annamaria Sofillas, a development executive and producer, is the Director of Content at Kino Lorber’s MHz SVOD. She is the lead producer of the documentary "I'm “George Lucas": A Connor Ratliff Story, which premiered at Slamdance ’24 and received theatrical exhibition nationwide through Alamo Drafthouse Cinemas, with digital distribution by Grasshopper Film. Annamaria was instrumental in building NBCUniversal's Seeso and Gimlet Media's scripted division, where she led over 25 long-form television series and 30 stand-up specials, including the GLAAD Award-nominated Take My Wife and BAFTA Award-nominated Flowers.

Scott Monahan, the filmmaker behind Anchorage, has been candid about his experience with self-distribution, highlighting the challenges and successes of taking control of a film’s release.

Glen Reynolds, founder of Circus Road Films, is a producer rep and festival advocate who helps indie filmmakers navigate distribution and find the right partners to bring their projects to audiences.

In this roundtable discussion, No Film School’s GG Hawkins speaks with Jon Reiss, Annamaria Sofillas, Scott Monahan, and Glen Reynolds to discuss:

Why hybrid distribution is essential for indie filmmakers today
How film festivals and events can help grow your audience
Why setting clear release goals is crucial for your film’s success
How building your audience starts long before your film's release
Real-world examples of filmmakers using grassroots promotion and festival tours
Why filmmakers are taking control of their own marketing and outreach strategies
How indie filmmakers are embracing a punk rock mentality to bypass traditional distribution models

Links:

Learn more about Glen Reynolds

Follow Annamaria Sofillas on Instagram

Buy or rent I’m “George Lucas”: A Connor Ratliff Story on Amazon/Apple

I'm "George Lucas": A Connor Ratliff Story Website

Follow I’m “George Lucas” on Instagram

Follow I’m “George Lucas” on Facebook

Follow I’m “George Lucas” on X

8 Above with Jon Reiss Substack

8 Above website

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Jason’s library of content on No Film School

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Imagery, Fall Fest Sales & Director Niclas Larsson on His 'Mother, Couch!' Production Book Sep 18, 2024

Imagery plays a crucial role in filmmaking, shaping how a story visually unfolds. This element must be integrated into the scriptwriting process, rather than being left for production. With fall film festivals in full swing, indie filmmakers are not only focused on storytelling but also on the challenges of navigating the competitive market and selling their films. A strong visual narrative can make all the difference when it comes to standing out and securing distribution deals.

Director Niclas Larsson’s feature film Mother, Couch! brings an intriguing mix of surrealism and family drama to the screen. Premiering at the 2023 Toronto International Film Festival, this film stars Ewan McGregor and explores the strange dynamic of a mother refusing to leave a couch in a furniture store. Its unique visual storytelling and offbeat premise are sure to leave an impression.

In today’s episode, No Film School’s GG Hawkins speaks with Jason Hellerman and Niclas Larsson to discuss:

Why memorable imagery in scripts is key to creating impactful films
The challenges of today’s film festival market and indie acquisitions
Niclas Larsson’s unique creative process and his “Storm Book”
How the physical layout of Mother, Couch! plays a critical role in the story's themes
Why sticking to your gut and vision is essential in the post-production process

Memorable Quotes:

"Imagery is something that should go hand in hand with filmmaking." [1:55]
"We're missing images right from the core. We're relying too much on cinematographers or directors to find them later." [5:08]
"If you can master the short form, if you can really pay attention to every single second of what you're doing and the importance of every second." [24:23]
"Everything we do in scene one to nine needs to be confused, it needs to resemble or picture, convey confusion and displacement." [30:12]
"You make movies for other people—the real people. A singular vision is supposed to be criticized." [01:04:37]
"The level of filmmaking has declined and is declining rapidly. And we need to stay strong, giving an adult audience bang for their buck, because that's our job." [01:04:56]

Mentioned

Jason Hellerman on IMDb

Learn more about Mother, Couch! on IMDb

Niclas Larsson on IMDb

Follow Niclas on Vimeo

Follow Niclas Larsson on Instagram

Find No Film School everywhere:

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Follow Patrick Walsh on IG

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We’re All Halfway Through Writing a Short Film That We Will Direct Sep 13, 2024

Actor Saoirse Ronan recently revealed that she is halfway through writing a short film that she plans to direct— and it feels so relatable. It reminds us that creative struggles are universal, no matter who you are. But being halfway through is not a failure but a part of the journey. Tune in to know what to do to reach the finish line.

In today’s episode, No Film School’s GG Hawkins, Jason Hellerman and guest Patrick Walsh discuss:

Saoirse Ronan is halfway through writing a short film she plans to direct
The relatable struggle of getting stuck halfway through a project
Outlining and having a clear ending in mind to avoid getting stuck in the middle of a writing project
Actors transitioning to directing and the unique perspective they bring
The value of grants, labs, and workshops for filmmakers to get support and feedback
The list of grants and labs that No Film School has launched on its website
The recent positive performance of films at the box office
Patrick’s journey into editing, starting from film studies
Patrick’s experience of destination editing for the film The Uninvited
Technical challenges and workflow of remote editing

Memorable Quotes

“I do think short films are coming back to Hollywood.” [03:03]
“Don’t start writing something you don’t absolutely know how it ends. It’s not worth cranking out 100 final draft pages if you don’t know what happens in the last four.” [3:39]
“Labs beget labs, just as festivals beget festivals.” [15:50]
“These grants are that stepping stone that maybe you didn’t know you needed.” [15:03]
“Seeing these movies do well has been a strong indicator that movies are back, and original ideas with strong genres and points of view have a viable place in the marketplace.” [21:49]
“It’s been good to see Hollywood bounce back a little bit from the strikes and from the MPTP not paying writers and actors what they deserve.” [23:22]
“Films aren’t finished. They’re abandoned.” [51:33]

Links:

Patrick Walsh Website

Grants and Labs List

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Why A LUT Will Save Your Movie (Kinda) Sep 12, 2024

In this episode of the No Film School podcast, GG Hawkins interviews Ryan Thomas, the cinematographer, and Dan Edwards, the colorist, of the film 'I Really Love My Husband'. They discuss the process of color grading and the importance of early collaboration and communication between the director, DP, and colorist. They emphasize the need for budgeting for color grading and creating a LUT (lookup table) before shooting to establish the desired look of the film. They also discuss the dangers of editing in log and the importance of developing a shared vision and trust between the creative team. In this conversation, Dan, GG Hawkins, and Ryan discuss the importance of color grading in filmmaking and how it can enhance the storytelling process. They talk about the role of color in creating a specific mood and atmosphere, as well as the challenges and considerations when working with different skin tones. They also touch on the importance of communication and collaboration between the director, DP, and colorist, and the use of visual references to convey desired looks. The conversation concludes with advice for emerging filmmakers interested in color grading.

Takeaways

Early collaboration and communication between the director, DP, and colorist is crucial for achieving the desired look of the film.
Budgeting for color grading is important to ensure that there is enough time and resources for the process.
Creating a LUT before shooting can help establish the look of the film and avoid surprises in the final grade.
Editing in log can limit creativity and make it difficult to achieve the desired look of the film.
Developing a shared vision and trust between the creative team is essential for a successful color grading process. Color grading plays a crucial role in enhancing the storytelling process by creating a specific mood and atmosphere.
Working with different skin tones requires careful consideration and communication to achieve the desired look.
Collaboration and communication between the director, DP, and colorist are essential for a successful color grading session.
Visual references can be used to convey desired looks and facilitate effective communication.
Investing in a comfortable and well-equipped color grading environment can enhance the client's experience and trust in the process.
For emerging filmmakers interested in color grading, it is recommended to seek out reliable learning resources and invest in a calibrated display for accurate color representation.

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How ‘Continue’ Director Nadine Crocker Turned Rejection Into Two Lionsgate Features Sep 09, 2024

The world of filmmaking is full of challenges, from industry rejection to personal setbacks. Yet, for many independent filmmakers, these obstacles become opportunities for growth and perseverance. This episode explores how passion, persistence, and a refusal to give up can turn seemingly insurmountable odds into career-defining moments. Whether you're an aspiring filmmaker or a seasoned professional, the story of how Nadine Crocker made her mark in the industry is sure to inspire.

Nadine is a filmmaker, actor, and mental health advocate whose latest feature, “Continue,” is based on her own struggles with depression and suicide. The award-winning drama tells the story of a woman who, after a failed suicide attempt, is taken to a mental institution where she finds unexpected friendships, love, and a new purpose. Release by Lionsgate during Suicide Awareness Month, the film has garnered critical acclaim for its raw portrayal of mental health struggles. Nadine not only wrote, directed, and produced “Continue,” but also stars in it, bringing an intensely personal narrative to life. After years of being typecast and facing rejection, she took control of her career.

In today’s episode, No Film School’s GG Hawkins speaks with Nadine Crocker to discuss:

Being dropped by her reps shortly after having her son—and how it led her to make “Continue” independently.
Breaking free from being typecast and proving herself as a writer, director, and producer.
Balancing waitressing and raising a newborn while working on her first feature film.
Securing financing through personal savings and a small group of supportive investors.
Deciding to stop waiting for permission and create her own opportunities.
How “Continue” became a movement for mental health awareness through her nonprofit, Continue On.

Memorable Quotes:

“I did hear like all the time that I was too pretty to play the best friend and I wasn't famous enough to be the lead.” [6:01]

“I'm done asking for permission. I'm making this movie and I don't care what I have to do or how much work or how many years it takes.” [9:16]

“I invested my life savings into this movie, like everything we had, and went back to waitressing so that I could keep the lights on.” [11:30]

"Imagine being dropped in the middle of the ocean with nothing but a hard drive, and you gotta keep it over your head and tread motherfucking water until someone comes." [21:09]

Links:

Continue IMDb

Continue the Film on Instagram

Learn more about her nonprofit

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Back-To-Back Microbudgets, Folk Filmmaking & the Micro-Budget Chain Reaction Feat. ‘Peak Season’ Directors Sep 07, 2024

What happens when you make two micro-budget films back-to-back? For filmmakers Henry Loevner and Steven Kanter, it sparks what they’ve dubbed the “micro-budget chain reaction,” inspiring others in their community to pick up cameras and start shooting. As the industry consolidates and traditional distribution becomes harder to navigate, indie filmmakers are finding new ways to create and share their work, embracing folk filmmaking and using platforms like YouTube to bypass traditional barriers. Peak Season, the duo's second feature, serves as a perfect example of this movement.

In today’s episode, No Film School’s GG Hawkins speaks with filmmakers Henry Loevner and Steven Kanter to discuss:

What the "micro-budget chain reaction" means and how it inspired others to follow in their footsteps
The challenges of making two micro-budget films back-to-back
The impact of friends and community on the rise of indie filmmaking
Their experience shooting Peak Season in Wyoming with a small crew
How the landscape of indie film distribution is changing and why many filmmakers are turning to YouTube
The importance of flexibility and improvisation in low-budget filmmaking
How Peak Season found its audience and landed a theatrical release
Why Henry and Steven are ready to transition to a studio film after their micro-budget projects

Memorable Quotes:

"It's contagious for better or worse... we're making something, and we're not waiting for permission." [5:40]
“Despite all the doom and gloom about the industry in general and how hard it is to make a living, there's never been an easier time to go out and make your film.” [6:43]
“If you just put your movie on YouTube, you can get it out there immediately, which is amazing.” [8:19]
“If you've written a script and it's going to take $10 million to make this movie and you don't have $10 million, then write a new script.” [51:33]
“The only way to do it is you have to just write something small that you can manage. Write something that's set in a single location.” [51:56]

Mentioned

Peak Season on IMDb

Follow Steven Kanter on Instagram

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Why Producer Ken Kao (Cuckoo, The Nice Guys, Mid90s) Wants More Mid-Budget Films Aug 30, 2024

How can you break into the film industry? Especially if you're not in Hollywood or you come from a different profession, like law. Is thick skin essential? Can you balance business with creativity? Producer Ken Kao, co-founder of Waypoint Entertainment, shares insights on these topics, some of his experiences, and recent projects.

Ken’s latest feature, CUCKOO, written and directed by Tilman Singer, stars Hunter Schafer, Dan Stevens, and Jessica Henwick and premiered at the 2024 Berlin International Film Festival. With a diverse portfolio spanning films like Academy Award-winning THE FAVORITE and THE NICE GUYS, featuring Ryan Gosling and Russell Crowe, Ken's expertise and vision have shaped the landscape of modern cinema.

In today’s episode, No Film School’s GG Hawkins speaks with Ken Kao, co-founder of Waypoint Entertainment and producer of some of the most anticipated films of 2024, to discuss:

How Ken started in the industry, moving from lawyer to producer without film school
Advice for emerging filmmakers and indie producers
The Waypoint x Neon partnership and the opportunity in mid-budget films
How he selects projects, being a genre-agnostic producer
How Waypoint stays nimble and adaptive in the ever-changing industry
What every producer or aspiring producer should be consuming and Ken’s media diet beyond movies
Living in Hawaii and maintaining distance from Hollywood
His latest feature, "CUCKOO," by Tilman Singer, starring Hunter Schafer, Dan Stevens, and Jessica Henwick
Waypoint’s involvement in the release of “Longlegs,” directed by Osgood Perkins and starring Nicolas Cage and Maika Monroe
Other projects currently in development

Memorable quotes:

“You never know what's gonna happen when you start making a film” [12:02]

“We're all just trying to make good movies that touch people and that we can be proud of” [20:05]

“I think the vast majority, especially this younger generation of people, if you're gonna get them off their sofas, getting to put their phone down, take 10 to 20 minutes to drive to a theater park and get it and sit there and give up two hours of their time, you need to give them some kind of authentic experience. I think what's good is subjective, but I think their ability to sniff the BS is high.” [21:55]

“As difficult as the film business right now is, I think as a creator, and I'm not just speaking for myself, I'm just speaking for aspiring creators, people that are creating already, in some ways it's as strong as the time has ever.” [41:00]

“A good number of people know when actors are choosing movies to make a buck. And when they really love the material and they're putting themselves in that role, in that movie.” [46:07]

“Trust your taste, trust what you're trying to say to people, and trust your instincts.” [47:33]

Links:

Ken Kao on IMDb

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Crafting Tension: ‘Spermworld’ & ‘How To Blow Up a Pipeline’ Editor Explains Aug 23, 2024

As an editor, should you specialize in documentary film or narrative film? Who says you can’t do both? Editor Daniel Garber proves it’s possible, sharing his unique approach to editing some of his most recent projects. He dives into the nuances of pacing, note-taking, and the art of knowing when not to cut.

In today’s episode, No Film School’s GG Hawkins speaks with editor Daniel Garber to discuss:

Getting his first editing credit and learning from other established editors
Working with director Lance Oppenheim on multiple films
Keeping your expenses low as a filmmaker
How tension emerges from the performances and the pacing of the edit
Differences between doc and fiction
The unexpected moments that happen after a scene has wrapped
A very efficient note-taking process
Working on small indie films compared to large productions
The power of face-to-face interactions

Memorable Quotes

“I go back and forth between documentary and fiction. I get a lot out of that.” [15:05]
With most documentaries, you have way more footage. You’re preparing yourself for a marathon rather than a sprint.” [17:28]
“Making a decision not to cut is a huge part of editing.” [21:30]
“The social aspect of editing is the most rewarding part.” [35:42]

Links:

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Daniel Garber on IMDb

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Ukrainians in Exile: A Documentary Short Film

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Rebuilding the Film Industry, Closure, Plus a $400 Doc Short Aug 20, 2024

TV is oversaturated. California is too expensive to film in. Many audiences are underserved. It’s time we indie filmmakers rebuild the film industry on our terms. Plus, we bid farewell to a beloved host of the No Film School podcast.

In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman, and guest Janek Ambros discuss:

Not waiting on labs or studios to give you the green light
The influx of people looking for jobs in the market
Needing better streamer options for indie projects
The benefits of serving an underserved audience
Why the distribution process is vital
Advice for people who think they are finished with their project
The important reasons Charles insists on working in Davinci Resolve
Why Charles is leaving the No Film School podcast
The origin of the short documentary film, Ukrainians in Exile
Why Janek wanted to keep the movie so simple and so short
Advice for documentary filmmakers

Memorable Quotes:

“We’re going to have this feral resurgence of indie filmmaking because we are so sick of the industry to figure it out.” [5:54]
“Breakdowns lead to breakthroughs. We need to break through because the way it’s been working is not sustainable.” [6:35]
“It should be a lot easier to shoot in California, it shouldn’t be so expensive.” [13:32]
“Because of the way distribution works, distribution never feels finished.” [28:00]
“People think I know all these celebrities, but I don’t. I just annoy every single publicist in Hollywood.” [1:03:07]
“If you want to make a short doc, you can make a short doc. There’s no excuse for that.” [1:07:50]

Links:

Follow Assembly Line Entertainment on IG

Follow Janek on X

BlueCheck Ukraine

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'DÌDI (弟弟)’ Director Sean Wang & Editor Arielle Zakowski on Kid Talent, Short Turnarounds & Angst on the Big Screen Aug 15, 2024

If you were a teen in the early 2000s, the film Dìdi will likely evoke a strong sense of nostalgia. Dìdi, which is said to embrace “the cringier side of adolescence,” premiered at the 2024 Sundance Film Festival where it won the Audience Award for the best U.S. Dramatic film.

In today’s episode, No Film School’s GG Hawkins speaks with Sean Wang and Arielle Zakowski to discuss:

The invaluable experience gained working in advertising
Why the advertising world is a great start for new filmmakers
Feeling emotion through the computer screens in the film
Our silly AOL Instant Messenger user names from the early 2000s
Empowering the young actors and giving them the space to play
How to help actors stop overthinking when they are stuck in their heads
Getting the director’s cut finished in time to submit to Sundance
Being pregnant during post-production
The power of making small, very personal films

Memorable Quotes

“We always wanted to make sure you could feel the person behind the computer.” [15:49]
“Any idea is a good idea. If you try it and it doesn’t work, then we can recalibrate.” [18:47]
“Maintaining any sense of objectivity in the edit is kind of the hardest part.” [31:31]
“The thing you think is just the thing you do for fun that no one will care about, that’s the thing that will help you find your voice.” [33:43]
“Make the things that feel very small and pure and have those build on top of each other.” [35:45]

Mentioned:

Follow Arielle on IG

Follow Sean on IG

Dìdi trailer

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Want To Make Worldbuilding Movies? ‘Borderlands’ EP Emmy Yu on Development, Production & Why VFX Should Be Onboard ASAP Aug 08, 2024

Producers are involved in every step of creating a film, from development to post-production. The role of a producer is not only to keep everyone on the same page but also to remove barriers so the cast and crew can focus on the creative elements needed to create a fantastic film.

In today’s episode, No Film School’s GG Hawkins speaks with Executive Producer Emmy Yu to discuss:

The top two most popular No Film School articles this week
The reasons why having a pitch deck is important
Acting in movies as a child and falling in love with film
Adapting the video game, Borderlands, to the big screen
Working with actors like Cate Blanchett, Kevin Hart, and Jack Black
The challenge of adapting video game characters
Facilitating communication and openness with different departments
Why you need to bring VFX into the process as early as possible
Post-production and building the tone of the film in the edit
The importance of having mentors in your life

Memorable Quotes

“At every single phase of getting a movie made, you have to find different ways to convey what it's going to feel like.” [9:46]
“A producer’s job is to clear the runway for the director so that the director can just focus on making the movie.” [36:05]
“Visual effects needs to be brought on as early as possible.” [42:08]
“There are a lot of ways forward. Don’t get discouraged because what you’re doing might not look like what somebody else is doing.” [49:13]

Mentioned

Borderlands trailer

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What are the Best Experimental Films of All Time?

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Making a Movie Is Scary—This Is How We Manage Our Fear Aug 06, 2024

On this bonus episode of the No Film School podcast, host GG Hawkins is joined by members of the team behind the movie she wrote and directed, 'I Really Love My Husband'. Cinematographer Ryan Thomas and Actors Madison Lanesey and Travis Quinton Young share their own fears and how they overcame them during the filmmaking process. The conversation highlights the importance of embracing fear, taking risks, and having unwavering confidence in the outcome.

Takeaways

- Making movies can be scary, but it's important to embrace fear and take risks.

- Having unwavering confidence in the outcome can help overcome fear and challenges.

- Collaboration and support from a team of trusted individuals can make the filmmaking process less daunting.

- Embracing fear and using it as a tool can lead to personal and artistic growth.

- The satisfaction of seeing the final product and knowing that the hard work paid off is worth the challenges faced during the filmmaking process.

Video: https://vimeo.com/979992225?share=copy

Support the film: gghawkins.com/backourfilm

This episode is Directed & Produced by Max Gibson

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‘War Game’ Directors Jesse Moss & Tony Gerber on Fearless Collaboration, Plus Comic-Con & Experimental Films Aug 03, 2024

“Remain curious. Approach projects not with a notion of what kind of product you want to create in the market, but rather, what do you want to learn.” This advice, which comes from the directors of the documentary War Game, embodies the theme of today’s episode. - It’s okay to create unconventional films about unconventional topics.

In today’s episode, No Film School’s GG Hawkins, Jason Hellerman, and directors Jesse Moss & Tony Gerber discuss:

Robert Downey Jr’s surprising return to Marvel
The culture of Comic-Con and past experiences at the convention
Experimental films - what are they
Why we love experimental filmmaking
Why Jesse and Tony love working together as co-directors
The challenges of filming a real-life political simulation
Having 50 people connected to microphones at once
Letting go of control and ego
Building trust and capturing human moments with documentary subjects
Surrounding yourself with people who have different opinions

Memorable Quotes

“How can I challenge the conventions of normal cinema to stick out?” [15:54]
“This was a hell of a film to collaborate on. This was a real challenging undertaking.” [23:39]
“You want your camera operators to be listening to dialogue because you want them to function like storytellers.” [29:06]
“You don’t just want to work with people who make you feel safe and comfortable. You want people who are going to push you a little bit.” [37:43]

Mentioned:

War Game trailer

War Game website

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Breaking Down the Black List Jul 25, 2024

The Blacklist started as an annual list of the best, unproduced screenplays in Hollywood. Nowadays, it’s an awesome online platform that nurtures and empowers screenwriters from around the world, by helping them showcase their scripts and grow within the industry.

In today’s episode, No Film School’s GG Hawkins, Jason Hellerman, and host of the Blacklisted podcast, Chris Hill, discuss:

How the Blacklist got its start and what it looks like today
The difference between the website and the annual list of scripts
Getting multiple reports on a script
Recurring themes of screenplays on the Blacklist
What life is like after being on the list
The importance of using action descriptions
Approaching your script with a journalistic curiosity
How to avoid writing a purely factual story
The best way to approach writing a biopic
Why you need to write a detailed outline

Memorable Quotes

“One of the best things about the Blacklist is that it intentionally gives you heat.” [15:44]
“You're always pushing that rock up the hill, no matter what level you’re at. The rock isn’t lighter. Now it’s a bigger rock.” [21:05]
“Hollywood isn’t just an IP delivering service. It’s where dreamers go to dream big ideas.” [48:30]

Mentioned

The Blacklist website

Listen to Blacklisted on Spotify

Follow Chris on X

Follow Blacklisted Podcast on X

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Navigate All Facets of Comedy With 'The Office' & 'Abbott Elementary' Director Ken Whittingham Jul 18, 2024

Ken Whittingham has directed shows we all know and love such as, The Office, 30 Rock, and Parks and Recreation. More recently, he has worked on the TV comedy, Abbot Elementary, which uses a mockumentary production style, similar to The Office. While Ken is an award-winning director with over 25 years of experience, he believes in the power of teamwork and respecting everyone on set regardless of their title.

In today’s episode, No Film School’s GG Hawkins speaks with director Ken Whittingham and BraveMaker podcast host Priscilla Lam to discuss:

Selling a script as a new PA
How Ken became a television director
Learning how to clearly communicate with actors
The balance between giving actors autonomy and giving them direction
An awkward moment with Alec Baldwin on the set of 30 Rock
Tone meetings - what are they and why are they important
Treating the documentarian in The Office as if it were a separate character
The power of subtlety in comedy
How Ken and Priscilla met
Transitioning from TV into film
Our favorite shows, movies, and hobbies

Memorable Quotes

“I still get nervous. Every Sunday night before I shoot Monday morning, I’m nervous.” [10:37]
“You can’t get into this business, thinking about money. You have to go with your passion, and really believe in yourself.” [42:56]
“Everybody’s job is important and nobody’s job is more important than the other. It’s a team effort.” [48:01]

Mentioned

Abbott Elementary S2E21

The Office S1E3

Ken's Instagram

Priscilla's Instagram

BraveMaker on Instagram

BraveMaker Film Festival

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How ‘I Saw the TV Glow’ Editor Balances Creative, Tech & Negotiates Higher Pay Jul 15, 2024

As a beginning editor, working on low-budget projects is normal when you’re first starting. Once you get some experience under your belt, there comes a time when you have to start advocating for yourself so that you can get paid more. The “something is better than nothing mindset” can only serve you for so long, before you start to burn out.

In today’s episode, No Film School’s GG Hawkins and editor Sofi Marshall discuss:

Falling in love with editing in high school
What the indie film scene is like in New York
How to editors can make themselves more visible and less excluded
What it’s like to watch a Sundance premiere of a film you worked on
Landing the editing role on I Saw the TV Glow
What it was like to work on two different films at the same time
Sofi’s favorite tools in Adobe Premiere
Cutting the entire film remotely
Taking on too many low-budget projects at the start of her career
Knowing when to ask for more pay

Memorable Quotes

“All of my films have come to me via a direct recommendation, just from people I have met.” [5:05]
“There’s nothing like watching your movie during that first premiere. It’s such a dopamine rush and terrifying at the same time. It’s great.” [8:19]
“No matter how much pre-planning you do, it’s always going to change in the edit.” [23:02]

Mentioned

I Saw The TV Glow

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Mastering Scope and Scale in Screenwriting

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Paramount — Skydance Merger; Scope, Scale & Dragon Battles Jul 11, 2024

Paramount and Skydance are merging. How does that impact the people already involved in those companies and what does it mean for the rest of us? How did House of Dragon pull off the epic Battle of Rook’s Rest, featuring multiple, fighting dragons? Let’s find out together!

In today’s episode, No Film School’s GG Hawkins and Jason Hellerman discuss:

What we know about the Paramount - Skydance merger
Whether or not the merger will result in job losses
An epic battle scene on season 2 of House of The Dragon
What we love about this HBO series
Creating flexibility in your shooting process
The importance of scope and scale
Including establishing shots into your script
The types of oners we find frustrating

Memorable Quotes

“There will always be job losses with mergers because there will always be redundancies.” [7:50]
“Whether you’re in TV or you’re in film, we do need to invest in brutality to make it feel real.” [15:38]
“If you’re just letting your camera roll, no thank you. That is not scale. That is not scope. That is not impressive.” [23:12]

Mentioned

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How To Write a Movie To Shoot (In Three Months) Jul 08, 2024

On this special episode of the No Film School podcast, host GG Hawkins shares her experience of writing her first feature, 'I Really Love My Husband' on a small budget and arguably, an even smaller timeline. She discusses the constraints she faced, the collaborative writing process, and the challenges of receiving feedback. GG emphasizes the importance of pushing through the bad drafts to reach the good ones and highlights the value of constraints in spurring creativity. She also emphasizes the need for support from others and setting deadlines.

Takeaways

Constraints can spur creativity and lead to unique and specific storytelling.
Writing doesn't have to be a lonely process; seek feedback and collaborate with others.
Push through the bad drafts to reach the good ones; don't be discouraged by initial shortcomings.
Setting deadlines and receiving feedback from trusted sources can help refine and improve the script.

Video: https://vimeo.com/979992225?share=copy

Support the film: gghawkins.com/backourfilm

This episode is Directed & Produced by Max Gibson

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The Burden of Unpaid Work, Ramping Up Your Reps & Roth IRAs; Plus ‘A Family Affair’ Screenwriter Carrie Solomon Jul 04, 2024

At what point should you get paid for the work you do to develop a project? What types of conversations should you be having with your agent? How can you show up confidently for potential projects, even though you’re feeling utterly afraid?

In today’s episode, No Film School’s GG Hawkins, Jason Hellerman, and guest Carrie Solomon discuss:

Smart ways to save money as a filmmaker
How to build rapport with your reps and make sure you’re on the same page
The truth about doing development work and how you should approach being paid
An important question you must ask yourself when writing a spec
When Carrie realized she needed to scale up the story for A Family Affair
Getting in the habit of reading scripts
Why she quit working as a PA on Ingrid Goes West
Being thrown into the world of studio writing
How doing improv helped Carrie have less fear when going into meetings
Embracing failure and welcoming fear
The most intimidating part about writing A Family Affair
The difference between likeability and lovability in characters

Memorable Quotes

“It's hard to get money out of Hollywood right now. You’re squeezing water from a stone.” [19:59]
“The only way to make money in this business is if someone loves your idea so much.” [22:35]
“I try to read as many scripts as I possibly can. I’m usually not picking up a book, I’m picking up a screenplay.” [29:00]
“From a very young age, I was a storyteller. And by that, I mean as a child, I was a big fat liar.” [37:54]
“Everyone has their own terrible little journey with finally getting their fingers on the keyboard.” [50:50]

Mentioned

A Family Affair

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Why This Doc Editor Let's Himself Get Lost Jul 02, 2024

While documentary editor Lucas Harger loves “being lost in a sea of footage” when he first starts a project, his approach to editing is intentional and specific. From his initial meeting with the director to establishing the context of characters and theme, this editor knows what it takes to transform raw footage into powerful stories.

In today’s episode, No Film School’s GG Hawkins speaks with editor Lucas Harger to discuss:

Falling in love with the community aspect of making a movie
Becoming the editor of the documentary, Lions of Mesopotamia
The conversation he had with the director at the start of the collaboration
The sacredness of the first watch of the footage
Why he doesn’t throw anything away during the early stages of editing
Customizing your space so you can easily get into the zone
The importance of establishing context - it helps you decide what footage is necessary
Difficulties in sourcing and sorting through archival footage
Getting the film on the timeline as quickly as possible
How working for free has brought him amazing opportunities
Three factors Lucas considers when taking on a new project

Memorable Quotes

“Documentary is the editor’s medium. It’s like the editor’s playground.” [6:03]
“You have to interview the collaborator you’re going to work with just as much as they’re interviewing you. ” [9:22]
“I don’t believe in good shots or bad shots, just appropriate shots. You just pick the most appropriate thing in the moment.” [12:58]
“What are the stories that bring to light the most about the time period, the culture, and this person?” [20:44]
“Consume as much as you can, even if you don’t think it’s directly related to the craft or industry.” [34:07]

Mentioned

Lions of Mesopotamia

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Don’t Sacrifice Creative: ‘A House is Not A Disco’ DP & Editor Share Tools on Staying Lean, Nimble Jun 27, 2024

You don’t have to have high-end tech or complicated processes to create your film. You just need an open mind and a passion for the story you are telling, as we’ll learn from this week’s episode from the DP and editor of A House Is Not a Disco.

In today’s episode, No Film School’s GG Hawkins speaks with cinematographer Eric Schleicher and editor Blake Pruitt to discuss:

How Eric and Blake landed on this film
Why the sound designer had to create sound effects
Having everything outlined and organized in a Google Doc
What gave the film a kaleidoscopic structure
Asking for consent to film party scenes
Keeping the operating team small during production
Matchframing - what it is and why it’s so helpful in the edit
Challenges during the shoot and the edit
The beauty of not having a production company fund the film
Making the space to do projects you’re interested in

Memorable Quotes

“I’m not one to kill myself for a job. Even a dream project, I don’t want to work more than 8 hours a day on this.” [10:24]
“It's more PBS doc than this high-end streamer doc that is out there right now.” [16:22]
“You got an idea? Grab your camera. Shoot what you need.” [39:27]
“Be open to unexpected things happening, but also have boundaries.” [45:47]

Mentioned

A House Is Not a Disco

Fire Island

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‘A Quiet Place: Day One’ Writer-Director Michael Sarnoski's Path from 'Pig' to Studio Franchise Jun 27, 2024

Michael Sarnoski is the director and co-writer of A Quiet Place: Day One, the franchise's third film. The film follows Sam who is trapped in New York City during the early stages of an alien invasion. Michael shares that he was attracted to this film because of the opportunity to explore interesting character dynamics.

In today’s episode, No Film School’s GG Hawkins speaks with Michael Sarnoski to discuss:

Bringing aspects of his feature film Pig to his current film, A Quiet Place: Day One
How the aliens in the film are a vehicle for exploring character dynamics
Michael’s journey as a filmmaker
Giving yourself permission to write something you care about
Figuring out what a “silent New York” would sound like
Balancing VFX and practical effects
Creating a respectful yet constructive environment on set
Michael’s approach to hiring and knowing who to collaborate with

Memorable Quotes

“You just have to find one person that gets your idea and wants to see it happen.” [8:01]
“You have to be constantly focused and moving things forward and not waiting for someone else to step in.” [11:13]
“Write a really inexpensive feature you can shoot with the resources you have, and go do it. You’ll learn a ton.” [32:39]

Mentioned

PIG

A Quiet Place: Day One

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ESTA fraud & theft prevention

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'Ren Faire' Dir Lance Oppenheim Plus Hard Comedy and Hard Questions Jun 22, 2024

What’s the best approach to sharing your resume on LinkedIn? Is it okay to negotiate when you rent gear? What’s the difference between hard comedy and hard “R” comedy? How do you shoot a documentary and make it feel like a movie?

In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman, and guests Lance Oppenheim and Nate Hurtsellers discuss:

A platform that prevents fraud and theft of production equipment
The American Film Market - it’s moving to Vegas!
Having multiple resumes and tailoring them to specific roles
Negotiating gear rentals
Hard comedy - what it is and what it’s not
Lance Oppenheimer’s documentary film, Ren Faire
Letting the film organically find its language and style
The benefits of shooting with a small crew
Feeling all over the place and wanting more control while shooting
Nate’s secret to successfully operating handheld cameras
Why you don’t need a sophisticated setup to be a DP

Memorable Quotes

“Rental companies never want their stuff sitting on a shelf. If it can be working, they want it working.” [19:15]
“Everything in the film industry is a negotiation. Always.” [21:50]
“The design reveals itself the longer you spend working on it.” [56:46
“Sometimes what perfect is, changes based on what’s in front of us.” [64:11]

Mentioned

“New Film Market” American Film Convention Hopes To Take Root This Fall

This American Life Podcast - Good Guys episode

Ren Faire

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An Editing Round Table Of Emmy Contenders Part II Jun 21, 2024

Becoming an editor is more than just learning software and improving your skills. You must listen intently, speak up for yourself, and seek guidance and feedback from others with more experience.

In today’s episode, No Film School’s Grant Vance speaks with editors J. Kathleen Gibson, Joaquin Elizondo, Shelly Westerman, and Payton Koch to discuss:

Their journeys to become editors
All the things Shelly taught Payton as his mentor
Starting as an assistant editor and learning from others
Putting yourself out there and communicating what your goals are
Paying it forward - helping their assistant editors grow and succeed
Working across different genres
Having over 50 hours of footage for a 30-minute show
Responding positively to notes you disagree with
Why you need to be a good listener if you want to be an editor

Memorable Quotes

“Part of what interests me is to be challenged and stretched and do something I haven’t done before.” [18:05]
“A lot of editing is feeling. You have to be empathetic and go with your gut.” [20:38]
“If people know what you want to do and what you’re interested in, most likely they are going to give you an opportunity.” [36:18]
“Be completely tuned into the world. Listen. Pay attention. Bring all that to your projects.” [38:42]

Mentioned

The Morning Show

Griselda

Only Murders in the Building

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Jeff Nichols Discusses the Inspiration, Writing, and Directing of 'The Bikeriders' Jun 20, 2024

Jeff Nichols is the director of the film, The Bikeriders, a story about a 1960s motorcycle club that turns into a menacing gang, known as the Vandals. The film is adapted from Danny Lyon’s book of the same title. The complex nature of The Bikeriders, leaves us asking, “Why are we attracted to dangerous things?”

In today’s episode, No Film School’s Jason Hellerman speaks with director Jeff Nichols to discuss:

Feeling inspired by a photographic documentary book
Deliberately changing the film’s structure from the first hour to the second hour
The importance of character point of view
Why the film style felt appropriate for this story
Casting and location scouting - two of the most important parts of the process
Using photos from the book for location inspiration
Feeling drawn to dangerous characters
Why he doesn’t block scenes or rehearse with actors
Using a documentary-style editing structure
When Jeff realized this story needed to be a movie

Memorable Quotes

“It was by design that the first hour would have one feeling, and the second hour would have another.” [7:58]
“These actors are so damn good. I just get to sit back and watch. Sometimes I forget to yell cut.” [16:14]
“I was trying to build the script on the page to feel like it had been collected and put together like a documentary.” [22:45]

Mentioned

The Bikeriders (trailer)

The Bikeriders (book)

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An Editing Round Table Of Emmy Contenders! Jun 20, 2024

Maura Corey is the picture editor of Gen V, a satire about young adult superheroes. Walter Schulz is the visual effects supervisor behind The Curse, a story about a cursed couple who are part of a reality show. These two creatives share how they got their start, their work process, and what it takes to build a successful career in film.

In today’s episode, No Film School’s Grant Vance speaks with editor Maura Corey and visual effects supervisor Walter Schulz to discuss:

Their relationships with other departments
The benefits of working in both production and post-production
Maintaining the tone and feel of The Boys while editing Gen V
Why there is a comeback for practical effects in TV
The unique, collaborative nature of working on The Curse
A.I. - will it affect editing and VFX
The reason visual effects have improved in television in the past 10 years
The importance of advocating for yourself and telling others your goals
The unique paths they took and opportunities that came their way

Memorable Quotes

“You’d be surprised how much VFX are actually in comedy.” [13:54]
“Visual language is such a strong medium to illustrate an emotional journey.” [21:31]
“Don’t hate any tools….that one tool you hate is going to save you in those two months you are out of work.” [25:41]
“The only way you’re going to be able to move ahead in this business is to tell people what you want to do.” [40:07]
“Don’t be afraid to walk out of your comfort zone. That will change your life.” [47:25]

Mentioned

Gen V

The Curse

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Your Freelance Healthcare Questions Answered Jun 13, 2024

Just how important are character introductions in film? What are the most important steps you need to take before sending out your script? How do you pay for healthcare as a freelance filmmaker?

In today’s episode, No Film School’s Charles Haine and Jason Hellerman discuss:

Why writers need to improve their character introductions
Examples of movie intros we love
Copyright - should you copyright your script before sending it out
Why you should join a writer’s group
Asking for honest, constructive feedback from your network
The importance of log lines
Why most production companies don’t offer health insurance
Exploring public healthcare exchanges

Memorable Quotes

“There’s a million reasons to put a screenplay down after a couple of pages. The reason to keep reading is because you’re interested in the characters.” [10:00]
“Your first twenty pages are about developing a relationship with the reader and having them trust you and be confident in you. Typos break that ability to have that trust.” [24:14]
“The most important people to you in your career are people one step down and one step up the ladder from you.” [40:10]
“The problem with union benefits is the volume of work you have to do to keep them.” [48:57]

Mentioned

What is a Logline?

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Oscar-Winning Screenwriter Eric Roth Takes You on a Tour of His Writing Process

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Choosing Your Next Project & Immediate Next Steps Jun 06, 2024

There's no better feeling than completing a project you’ve been working on for, what feels like, forever. On one hand, you’re relieved but you're also anxious to figure out what to work on next. How do you decide what your new project will be, and what is the most efficient strategy for getting started on it?

In today’s episode, No Film School’s GG Hawkins and Jason Hellerman discuss:

The first questions you need to ask yourself before deciding on your next project
Doing market research and getting feedback on your initial ideas
Narrowing down on your ideas
Writing with specific actors and directors in mind
Developing relationships and keeping track of your interactions
The draft-writing process
Setting parameters for the people who will read your first drafts
Being selective about who will receive your final spec
Why you should give yourself time off

Memorable Quotes

“I do not start writing anything unless I can picture the actors in it.” [10:09]
“I do not start writing until I’m one-hundred percent sure how that idea ends. What’s the ending of the story?” [13:26]
“The best part about this cycle is you’re always cultivating, and you’re always getting better at it.” [33:57]
“I need to live life to come up with ideas. I need to do things to come up with ideas.” [35:32]

Mentioned

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Here's What Happens When You Win the Nicholl Fellowship in Screenwriting

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How to Get Your Short Out In the World & Write to Your Darkest Instincts Jun 03, 2024

In life, we can’t please everyone. There will be people who “get us” and others who simply don’t. It’s the same when you’re a filmmaker. Your work won’t vibe with everyone who sees it, and that’s totally okay! It’s time to face your fears, give it your all, and create those projects that reveal your darkest instincts.

In today’s episode, No Film School’s GG Hawkins speaks with Sam Baron and Madison Lanesy to discuss:

What it’s like to receive polarized reactions
Feeling terrified to share projects with personal subject matter
Career lessons from Ice Age and Mrs.Doubtfire
Having a YouTube video go viral at 17 years old
The story behind the name of Sam’s short, The Orgy
Turning in films as book reports in middle school
The beauty and freedom of improv acting
Sam’s process of submitting shorts
Pushing past fear and discomfort
Working with a team that believes in your project
Making personal sacrifices while working on projects

Memorable Quotes

“Working on any project takes so much from you…so you better make sure it’s a worthwhile project you really care about.” [18:51]
“You need to take the temperature of the audience, but you also need to take the temperature of yourself. If you just do one or the other, you’re going to get out of balance.” [32:00]
“I accidentally proved a concept by being true to my deep, creative nature.” [52:41]
“Get to know yourself as a filmmaker. You are the only you.” [76:42]

Mentioned

Is This the Tool Filmmakers Need to Find Their Audience?

Short: Tall Dark and Handsome

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Every Frame a Painting - The Marvel Symphonic Universe

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Break Up With Your Temp Score & Other Placeholders; Plus, Blackmagic Won NAB May 30, 2024

If you’re a director who has become too attached to the temp score, you’re essentially falling in love with something you can’t have. While it may feel impossible to let go, it is possible. Let’s look at some ways you can break up with your temp score and move on.

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

Why you shouldn’t use temp scores from other movies
Collaborating with composers early on
The benefit of switching up scores in the edit
How directors fall in love with what they see in the edit
How the score is almost like a character within a scene
The dangers of placeholders
Getting attached to character names
NAB - why you should go
Blackmagic cameras - affordable, efficient, and high-quality
The Blackmagic camera phone app on Apple and Android
Shooting with cinema lenses versus still photo lenses

Memorable Quotes

“I’m getting feelings from that movie and it’s impacting my ability to engage with your movie.” [4:30]
“If a director spends six months editing a movie, they get kind of attached to how it looks and how it sounds.” [15:12]
“In post-production, familiarity can breed affection.” [16:57]
“Placeholders are a thing to be conscious of and used strategically.” [29:41]

Mentioned

The Art of the Score Podcast

Here’s Everything You May Have Missed at NAB 2024

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Channel 5 with Andrew Callaghan

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How To Cut Like an Anthropologist from 'Scrambled’ & ‘Alpha’ Editor Sandra Granovsky May 27, 2024

Editing is more than just assembling footage. According to editor Sandra Granovsky, the whole editing process requires an interest and understanding of human nature.

In today’s episode, No Film School’s GG Hawkins speaks with Sandra Torres Granovsky to discuss:

How studying anthropology affected her approach to editing
Following your inner voice while editing
Surrendering to the rhythm of the actor and the perspective of the director
Creating the first editor’s cut
Making something out of nothing
Sandra’s workstation setup
What it was like to work with director Leah McKendrick
Her new project with journalist-director Andrew Callaghan
How text-based editing has improved the editing process

Memorable Quotes

“The way I approach all of it is with an understanding and curiosity of human nature.” [6:43]
“Every decision I make in editing is based on instinct.” [8:56]
“You have to become very creative, and you have to start creating something that’s not there.” [15:34]
“There’s a lot of diplomacy involved in editing.” [16:22]
“I do fifty percent of my editing not in front of the computer. It happens in my head.” [21:05]
“You are writing in the edit. You’re just writing with images and sound.” [21:55]

Mentioned:

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The Pause in Pipeline Programs & What It Means for You May 23, 2024

Is it ethical to encourage people to pursue a career in film when there are such high levels of unemployment in the industry? The Art Directors Guild certainly doesn’t think so which has led the union to pause their annual training program this year.

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

The ADG announcement to suspend the Production Design Initiative program
Being cautious when admitting students to film school
Why we think the ADG made a reasonable decision
Why you should file for unemployment between jobs
How LA and New York feel like smaller markets right now
Seeing where you can fit into the system
Accepting the opportunities that already exist
The benefits of having multiple revenue streams as a filmmaker

Memorable Quotes

“Big production is back to work…but the volume isn’t there.” [13:08]
“You need to be open to letting the industry tell you where it wants you to be for a while.” [15:25]
“Knowing how to do a new thing is always beneficial.” [15:59]
“If you can develop multiple revenue streams, it gives you power in negotiation.” [19:05]

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‘Prom Dates’ Writer & Director on Reviving the Teen Sex Comedy May 20, 2024

Prom Dates, written by D.J. Mausner and directed by Kim Nguyen, is a comedy that follows two best friends who are hell-bent on having the perfect senior prom, despite the fact they broke up with their dates only 24 hours before the big night. This raunchy comedy reminds us that while romantic love may be fleeting, true friendship can survive any adversity that comes its way.

In today’s episode, No Film School’s GG Hawkins speaks with Kim Nguyen and D.J. Mausner to discuss:

Writing the script in just 8 days
How D.J. and Kim immediately clicked
Celebrating the importance of friends in our lives
Developing the dynamic between the two lead characters
Harnessing the amazing energy from the cast
Filming in an old high school in Syracuse
How having a comedy background can improve your writing
The joy of working with gifted talent
A dramatic scene that required considerable emotional gear-shifting
How D.J.’s writing experiment turned into a film

Memorable Quotes

“Directors are like tuning forks. You get so much energy all the time from everyone, whether or not you want it or welcome it. You distill all that energy and harness it.” [15:46]
“Sketch teaches you to get in late and get out early. Stand-up teaches you to have an ear for the audience. Improv allows you to fill in the blanks.” [20:35]
“Stay true to yourself. Your point of view is your superpower.” [30:29]
“The thing you’re excited about, write it. You never know what’s going to happen.” [30:44]

Mentioned:

Prom Dates

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How To Spend $10,000 on Film Festival Submissions…

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Film Fests: The Merits and Scams; Plus, Film Communities Outside of the Bubbles with Amy Dotson May 16, 2024

What film festivals are worth submitting your projects to? Which festivals are legitimate and which ones are scams out for your money? Is it possible to find like-minded creatives to collaborate with, outside of places like L.A. and New York?

In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman, and guest Amy Dotson discuss:

Figuring out what you want to get out of a festival
Reasons why small festivals are awesome
Things to consider when vetting festivals
What Amy learned interning at Pee-wee’s Playhouse
Telling your unique story in only one paragraph
Why you need to constantly update your bio
Moving from New York City to Portland
Thinking about cinematic storytelling in new ways
Collaborations between local artists and big household names
How the Portland Art Museum honors multi-faceted creatives

Memorable Quotes

“What are you going to the festival for? Is it about Hollywood connections or about sharing your film with an audience?” [3:54]
“Being in the mix and connecting with people at a human level is incredibly valuable. You will find those relationships pay off in the long run.” [12:42]
“Everybody is different and that’s okay. It’s not a one-size-fits-all model anymore.” [23:34]
“The goal is to meet other like-minded humans that can help push your career and push you as a human forward.” [29:37]
“There are stories to be told that are less project-centered and more people-centered.” [46:24]

Mentioned

Portland Art Museum

PAM CUT Sustainability Labs

PAM CUT Tomorrow Theater

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Submission Dates for Sundance

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How To Get a Short Film Into Sundance – and Turn It Into a Feature May 13, 2024

“There’s never been a better time to make shorts or watch shorts,” says Mike Plante, the senior short film programmer at Sundance Film Festival. Mike, who has been at Sundance for over 20 years, shares his thoughts on the future of shorts and what his team looks for in the selection process.

In today’s episode, No Film School’s Ryan Koo speaks with Mike Plante to discuss:

Developing motion picture films at the drug store in the ‘90s
Why shorts are a great medium to learn and experiment
Working at festivals and movie theaters
Receiving over 12,000 short submissions in 2024
Disadvantages of creating long shorts
Differences in funding international shorts
Seeing many different types of voices, stories, and styles
Sundance shorts that later became features
What makes you a filmmaker
What Sundance looks for in a short

Memorable Quotes

“You’re always a filmmaker, but there will be months you’re not doing anything on your film.” [2:48]
“You may watch a thousand shorts and nothing is good. Then you just start to lose your mind.” [10:45]
“Your 30-minute short has to be better than three, 10-minute shorts.” [12:25]
“The internet is good for shorts because you can put it up. It doesn’t mean anyone will watch it.” [31:31]

Mentioned

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Original 1980 Shogun series

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‘Shōgun’ DPs on Lenses, Looks & How ‘The Descent’ Brought Them Together May 03, 2024

Long-time friends and colleagues, Christopher Ross and Sam McCurdy, are two of the cinematographers of FX’s mini-series, Shōgun. Filming this series was an incredible experience full of lessons in Japanese culture, lenses, and shooting with cranes.

In today’s episode, No Film School’s GG Hawkins and special guest, cinematographer Ryan Thomas, speak with DPs Christopher Ross and Sam McCurdy to discuss:

How Chris and Sam met
The type of friendships you hold onto in the industry
What it was like working with an international cast and crew on Shōgun
The singular perspectives that ran throughout the larger storyline
What it was like working with other DPs
The lenses they chose to use in this project
Letting the camera find special moments without much interference
What an ASC masterclass is
What gave the show its atmospheric texture
Bringing truth and honesty to every episode
Why making mistakes is so valuable

Memorable Quotes

“From the start of your career to the end of your career, you’re still on some form of learning curve.” [8:47]
“Being true to what you’re shooting and being true to the script and the story is the still most important tool we bring to any job.” [50:33]
“Be brave and stupid in equal measure. Get smarter every time you shoot.” [54:00]
“Don’t necessarily listen to everyone else. Go and figure it out yourself.” [55:01]

Mentioned:

Shōgun

ASC Masterclass

Connect with Ryan on IG

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Why Did the First Page of the 'Challengers' Screenplay Go Viral?

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Writing the Unfilmable & Managing Your Career When SH*T Hits the Fan May 02, 2024

Writing a screenplay is like following a cookie recipe, it’s closer to magic than science. You don’t have to follow screenwriting “rules” to create an amazing story. There’s something else you don’t have to do in your career. When serious problems arise in your personal life, you don’t have to keep working at your typical pace. It’s okay to ask for help and decrease your output.

In today’s episode, No Film School’s GG Hawkins and Jason Hellerman discuss:

The number of “unfilmables” on the first page of the Challengers script
Not getting hung up on the idiosyncrasies of screenwriting
Hooking the reader in the first 10 pages with your confidence
Asking for specific support when things are rough in your personal life
Accidentally lighting a trash can on fire
Taking time to process life’s challenges
Using writing as a way to process loss and sadness
Cancelling meetings and relying on email
The benefits of a meditative practice

Memorable Quotes

“I know what the audience wants to know right now. I know what they need to know, but don’t even know they want to know.” [11:28]
“If your page one sucks, you’ve already lost them.” [12:26]
“If you’re trying to make Hollywood hits with multi-million dollar budgets, page one has to be great!” [15:50]
“You can still be creating, even when you’re in a depressed dark hole.” [28:45]

Mentioned:

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How ‘Challengers’ Screenwriter Justin Kuritzkes Aces Character, Tension and Stakes Apr 29, 2024

Justin Kuritzkes is the screenwriter for the film, Challengers, starring Zendaya, Mike Faist, and Josh O’Connor. The story revolves around tennis pros who are caught in a love triangle. It’s not just about the game of tennis, but about the game of love and power. Let’s dive into Justin’s process of writing such a damn good movie!

In today’s episode, No Film School’s GG Hawkins speaks with writer Justin Kuritzkes to discuss:

How screenplays differ from other written mediums
Building up a story that would realistically exist in the real world
The inspiration behind the story
How writing the movie made tennis less enjoyable for him to watch
Deciding on the setting of the story
Surprising moments during the writing process
Writing in cars, hotel rooms, and airplanes when you are pressed for time
The questions he asked himself before writing the story
Collaborating with actors and getting their feedback
Feeling like you are watching the movie as you write the script

Memorable Quotes

“The thing about screenwriting is that it’s such a rigidly formalistic, medium.” [3:52]
“I started thinking about the movie and I started watching a lot of tennis. Quickly, I became an obsessive tennis fan. I almost didn’t want to write the movie.” [11:40]
“It’s like the big bang. Once the character is there, it’s sort of like “Now, there is light!’” [14:23]
“If you feel like you are watching the movie when you’re writing it, hopefully, other people will feel that way, too.” [24:37]

Mentioned:

CHALLENGERS

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Movies & TV How To Survive Until 2025 For Filmmakers

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Packaging and the Death of Naked Specs Apr 25, 2024

The days of selling naked specs are over. It’s now the filmmaker's job to understand how to package their projects. While many were opposed to packaging in the past, there are effective ways to approach the process that will leave you feeling empowered.

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

The benefits and drawbacks of packaging
Why Hollywood is risk averse right now
Packaging through the eyes of a writer or director
Naked specs - what are they?
What the packaging process looks like
Writing specs that can realistically be created
Why AI will not eliminate the need for skilled creatives
Collaborating with others so they feel comfortable and seen
The problems of measuring stardom

Memorable Quotes

“Your script has to be perfect by the time you turn it in. Nobody wants to develop anything anymore.” [7:48]
“It’s the job of a filmmaker to bend reality as far as you possibly can.” [15:16]
“AI often gives people the heebie jeebies.” [24:15]
“Every measurement tool we have is gibberish.” [27:20]

Mentioned:

Scriptnotes Podcast - Ep 639 Intrinsic Motivation

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A First-Hand Look at the New Blackmagic URSA Cine 12K at NAB 2024

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Live from NAB 2024: Blackmagic's CEO on the URSA Cine 12K & Future of AI Apr 22, 2024

We had the chance to speak to Grant Petty of Blackmagic Design at this year’s NAB conference. It was as much of a conversation about technology and innovation as it was a conversation about human nature.

In today’s episode, No Film School’s Jourdan Aldredge speaks with Blackmagic CEO Grant Petty to discuss:

Developing the URSA Cine with a post-production mindset
Zero-cost options from Blackmagic for beginners
Why Grant doesn’t like to compete with others
PYXIS camera and its features
Creating products that lend to an efficient post-production workflow
Exciting new changes and updates to DaVinci Resolve 19
Grant’s opinion on AI and the future of editing
The moment he fell in love with color correction
Feeling lonely and misunderstood
Why you have to be a ruthless, yet empathetic product engineer

Memorable Quotes

“Business people are some of the stupidest people in the world.” [22:25]
“A lot of this technology is just shit. It’s not very reliable.” [29:11]
“If it gets too smart, it’s just another species to kill. Humans are fantastic at killing everything. We just gotta go hunting computers.” [30:45]
“With creativity comes great loneliness.” [47:58]
“You got to be simultaneously ruthless and simultaneously full of empathy.” [50:00]

Mentioned:

Check out Jourdan's article

Blackmagic URSA Cine

Blackmagic PYXIS

DaVinci Resolve 19

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Maxine’s Baby: The Tyler Perry Story

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Editing Tyler Perry's Life Story with Filmmaker Erick Sasso Apr 19, 2024

Erick Sasso is a multi-hyphenate creative and the editor of the film, Maxine's Baby: The Tyler Perry Story, which documents the life of Tyler Perry. Erick compares the making of documentaries to the making of a meal. You need to use the right ingredients…not too much, not too little. And everyone at the table has to enjoy it.

In today’s episode, No Film School’s GG Hawkins speaks with filmmaker Erick Sasso to discuss:

Making music videos with his friends in high school
Realizing you can reverse engineer in the edit
The importance of charging adequately for your services
How he landed the editing job on Maxine’s Baby
What it looks like to fall in love with the subject
Navigating topics such as abuse and childhood trauma
What it was like seeing emotional reactions from the audience
Important lessons he has learned about being a filmmaker
Setting up projects in Adobe Premiere
Overcoming tech fears and looking forward to new updates
Why editors make the best directors
Focusing on development and learning from others

Memorable Quotes

“Usually you are not charging enough. Usually, you are charging way less than industry standard.” [12:38]
“When you edit a lot, it’s really creepy when you meet people.” [32:59]
“You may think you are a hard worker until you meet someone who is doing 10x your output.” [35:09]
“You need to become a pro at uncertainty.” [60:24]

Mentioned:

Erick's website

Connect with Erick on IG

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Witchcraft (Rod & Noah’s production company)

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Why The 'Blood for Dust' Director & Producer Don't Wait for Permission To Make Movies Apr 19, 2024

Rod Blackhurst and Noah Lang are the dynamic duo behind the film Blood for Dust, starring Kit Harington, Scooty McNairy, and Josh Lucas. These filmmakers share why leading with honesty, openness, and enthusiasm is the key to building strong relationships and creating successful films. You don’t have to be cutthroat in this industry in order to achieve your filmmaking dreams.

In today’s episode, No Film School’s GG Hawkins speaks with director Rod Blackhurst and producer Noah Lang to discuss:

How Rod and Noah began working together
Why you should lead with honesty and enthusiasm
Making movies with the same people over and over again
Understanding what you have agency over in your career
How Scoot McNairy and Kit Harington came onto the project
How meeting David Gordon Green in 2012 eventually led to the making of Blood for Dust
The power of self-awareness and being a kind filmmaker
The vibe on set - having fun amid stress
What it looks like to make an honest living in filmmaking

Memorable Quotes

“You can meet someone on the internet and become homies.” [3:27]
“You don’t need everyone to want to be on your team. You just need some of the right people.” [38:55]
“Being a good person and doing good work matters. It does result in good things happening.” [43:02]
“We’re rowing upstream, going against the grain. We’re out there believing in what we have. Wrestling with our choices, behaviors, actions, our own struggles, and darkness.” [50:44]

Mentioned:

Blood for Dust

Here Alone

Connect with Rod on IG

Connect with Noah on IG

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Where the Road Leads on TikTok

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These No Film School Listeners Won Slamdance and Then Some Apr 12, 2024

Nina Ognjanovic is the director of the film, Where the Road Leads, which won Best Narrative Feature at Slamdance 2023. Nina and her passionate team prove you can successfully market a foreign, indie film on a limited budget and still win at major festivals in the US and worldwide.

In today’s episode, No Film School’s GG Hawkins speaks with Nina Ognjanovic, David Jovanovic, and Jana Bjelica to discuss:

Their experience traveling from Serbia to the United States for Slamdance
Marketing the film using scrappy, creative methods
Their approach to casting and shooting
What it was like to act on multiple projects at the same time
How they handled shooting in an isolated location without cell service
Building trust with the cast, crew, and locals
The Slamdance experience and the reaction of the audience
The first shot of the film - finding a unique solution to a challenge
Setting the production schedule based on the weather conditions
The magic they experienced during production
Why you need to fail and experiment before doing a feature

Memorable Quotes

“It’s hard, but when you love your job, everything is possible” [9:23]
“I was freaking out day after day…my hair started falling off.” [21:35]
“Manage your expectations. Don’t write something you know you can’t deliver.” [30:58]

Mentioned:

Where the Road Leads on Instagram

Pointless Films Production House

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Survive Until 2025 Apr 11, 2024

Were you hoping work would pick back up after last year’s strikes? Unfortunately, work is epically slow, and 2024 is a rough year for the film industry. But just because Hollywood is slowing down, doesn’t mean you have to.

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

The industry post-strike
How higher interest rates are affecting streamers
The unpredictability of a career in film
Accepting the things out of your control
Living with family or friends to lower expenses
The unattainable “American Dream”
Staying creative during this slow year
How famine years can have their benefits
An example of finding career success outside of Hollywood

Memorable Quotes

“Work is epically slow and it’s terrifying.” [3:44]
“If you don’t have three months of cash cushion in your bank account, do not feel bad.” [19:40]
“I don’t think we need to build our identity on outside markers of financial success.” [28:21]
“If you can’t be investing money, you can be investing your energy and creativity into your future career.” [32:52]

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How to Safely Light Chris Hemsworth on Fire Apr 05, 2024

Sam Hargrave is an award winning stuntman and stunt coordinator, second unit director for films like Suicide Squad and Avengers:Endgame, and director of the film Extraction. His second feature film, Extraction 2, is available on Netflix, June 16.

In this episode, No Film School’s GG Hawkins and director Sam Hargrave discuss:

The transition from stunt performing to directing
What a “stunt vis” is and why it's important for efficiency and safety on set
How directing a film is like being a switchboard operator
Why filming Extraction 2 was more challenging than the first film
Wanting to give the audience more the second time around
The specifics to the casting process
Operating the camera on the more dangerous scenes
Landing a helicopter onto a moving train
Making others feel invested in your project
Sam’s approach to emailing those he works with

Memorable Quotes

“I was young and flexible and really wanted to be Jackie Chan.” [4:06]
“There’s so many questions that come the way of the director. It feels like you are a switchboard operator on methamphetamines.” [10:07]
“Communication with other departments is one of the most important things in filmmaking.” [11:50]
“Each movie…is its own unique puzzle. It’s a labyrinth that you and the crew have to work your way through.” [14:34]
“When you can do something practically, always do it.” [23:12]

Resources:

Extraction 2 trailer

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One Moore Hollywood Podcast on IG

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How Heat Shapes Your Career & the Biz Feat Oscar-Nominated Producer Chris Moore & Team Apr 04, 2024

Heat is important to your film career. It means that you and your work are gaining attention and recognition, which can lead to more opportunities in the future. So how can you generate and navigate heat at an industry level? What contributes to “positive heat” or “negative heat?”

In today’s episode, No Film School’s GG Hawkins and Jason Hellerman speak with Chris Moore, Katie Marpe, and Dennis De Nobile to discuss:

How Chris, Katie, and Dennis entered the industry and how they met
Why you need to promote yourself and your work
The One Moore Hollywood Podcast and the topics they discuss
The difference between “in the business heat” and “out of the business heat”
Seeing big corporations gravitating toward original ideas
How audiences decide whether they will watch a movie or not
Getting feedback on your ideas
Why your idea may be better suited for a different medium
Good Will Hunting - Generating authentic heat with the script
When you realize a script isn’t working
How your attitude and behavior affect the type of heat you generate
Sensing tension of the cast and crew while watching a movie

Memorable Quotes

“It’s like surfing. The best thing to do in your career is to read what’s happening around you and take the wave where it’s taking you.” [4:22]
“You have to be able to sell yourself and your ideas. You can’t just operate in a vacuum and expect somebody to discover you.” [16:12 ]
“Go out and make something you think you would pay for.” [52:12]
“What’s the commercial version of your weirdness?” [1:01:28]
“Heat will come back to you. It will tell you if your shit is good. If you can’t generate any heat, that means your shit is not good.” [1:07:17]

Mentioned:

Follow Chris on IG

Follow Dennis on IG

Follow Katie on IG

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From Landing the Job to Boosting Morale: Sundance DP Roundtable Dives into Filters & More

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Is Achieving the American Dream Possible Through Cinematography? Mar 29, 2024

How do you build a career as a cinematographer when the odds are against you? How do you create opportunities for yourself, when dealing with rejection, financial barriers, and prejudice? Is it possible to pursue your dream without conforming and becoming someone you are not?

In today’s episode, No Film School’s GG Hawkins speaks with cinematographers Bruce Cole and Alejandro Mejía to discuss:

Being drawn to visual art from a young age
The people who encouraged and inspired their creative dreams
Feeling motivated by rejection
Why New York is a great place to start a film career
The importance of having mentors in your career journey
Stigmas they experience in the industry as minorities
Why we need to stop glamorizing film careers
How to maintain balance during long, tedious projects
Cultivating yourself and embracing who you are
Having another creative form of expression outside of film

Memorable Quotes

“I want to do this. I want to travel the world and know the world with a camera.” [14:25]
“New York is probably the best starter city for young filmmakers from all walks of life.” [40:09]
“This is not a speed race. This is a marathon. We are long-distance runners.” [71:28]
“We’re losing that artistry because we are so focused on being someone else.” [79:10]

Mentioned:

More about Bruce

More about Alejandro

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Troubleshooting Tech for Dummies & Bombing an Interview Mar 28, 2024

The small decisions that you make at the beginning of your project, can cause headaches later on. If you want to avoid tech issues in post, then you need to set up your project correctly from the start. Speaking of doing things right from the start, there is a right way and a wrong way to approach your interviews. How should you prepare for your next interview to make sure it doesn’t bomb?

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

Bombing interviews in Hollywood
What not to do during an interview
Going to interviews as a slightly fancier version of yourself
How to respond when someone doesn’t read your script
Feeling guilty for not reading other people’s scripts
Career errors we have learned from
The helpless feeling you get when troubleshooting tech problems
Media management issues in post-production
Sorting through the timeline and looking for weird shots
Why it’s worth bringing on subject matter experts early

Memorable Quotes

“Over-researching is never a mistake when you are given an opportunity.” [2:09]
“Everyone I know has made huge, catastrophic career mistakes and we’ve all kept going.” [9:00]
“Setting up things right from the start makes your life so much easier.” [30:29]
“God bless people in post-production. The most patient humans in the world.” [35:48]

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Let’s Talk About Sex (On Screen) With a Team of Intimacy Coordinators Mar 22, 2024

Should you hire an intimacy coordinator for your next project? What exactly does an intimacy coordinator do? Does having this person on set ruin spontaneity? How can having more structure around intimate scenes, actually encourage freedom and creativity during the storytelling process?

In today’s episode, No Film School’s GG Hawkins speaks with Lisa Jacqueline Starrett, Jamie Monahan, and Renata Soares to discuss:

The role of an intimacy coordinator
What led Lisa, Jamie, and Renata to become intimacy coordinators
Wanting to advocate for actors and their boundaries
How detailed screenwriters should be when writing intimate scenes
Knowing the intention behind sex scenes
How to choreograph and rehearse intimate scenes
Being hired as an “insurance policy” to protect production
What it looks like to be actively pursuing a safe space
Having a consent - forward mentality on set
The types of conversations an intimacy coordinator should have with cast and crew
How to redirect a situation that is not working
Why art doesn’t require graphic nudity to be amazing
How to become an intimacy coordinator

Memorable Quotes

“If you’re thinking of safety protocols for staged violence, why are we not doing the same for intimacy scenes?” [13:21]
“I love thinking about art and intimacy in a way that can move storytelling forward.” [19:10]
“The creative vision of the scene doesn’t come from the intimacy coordinator…we are there to facilitate the vision to become reality.” [30:04]
“We are there to make everyone more comfortable in telling that story.” [56:26]

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To Rent or Buy Gear? Plus, Movies That Made Us Want To Make Movies Mar 21, 2024

You are still a legitimate filmmaker even if you don’t own any gear. Most filmmakers actually don’t own the gear they use and for good reason. And speaking of gear, what movies geared you toward the path of filmmaking?

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

Buying gear or renting gear - which is better?
When you should justify buying gear
Realizing how much work it takes to create a movie
The things that made us want to work in movies
Having fun with genre
Looking for books about the making of movies
The idea of being inserted into the story
How to influence others who don’t enjoy movies
Unpredictable twists that bail out the “bad guy”
The balance between fantasy and reality in a film

Memorable Quotes

“Most professionals rent because gear has wear and tear and you outgrow it.” [5:10]
“In the digital era, shit ages fast!” [11:13]
“I cannot imagine a human with two lungs, two ears, two eyes, and a heart not loving Tokyo Drift.” [27:01]
“I already knew I wanted to be a filmmaker before I read my first IMDb trivia page.” [18:32]

Mentioned:

The Fast and the Furious: Tokyo Drift

Problemista

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Pete Ohs Rethinks How We Make Movies Mar 15, 2024

Who says making a movie requires expensive equipment, a large crew, and a script? Maybe creating a film can be a creative experiment between a couple of friends who are excited about the uncertainty of the journey that awaits. This was the realization Pete Ohs had when he recognized that the typical approach to filmmaking was not for him.

In today’s episode, No Film School’s GG Hawkins speaks with Pete Ohs, Will Madden, Frank Mosley, and Charles Watson to discuss:

Finding a location that is narratively inspiring and accessible
Thinking about the edit while directing
An extremely unique and collaborative way to develop characters
Creating a score that is not traditional to other films
Pete’s unique approach to creating movies
How Pete keeps the budget so low and why it’s important
Feeling excited by the challenge of the limited resources you have
Why the uncertainty of this style of filmmaking is exciting and magical
Their Slamdance Film Festival experience
Other festivals and what they love about them
Starting with what you have available

Memorable Quotes

“Can I make a movie the way I did when I was fifteen?” [14:27]
“It doesn’t have to cost so much money. Filmmaking can just be an activity. It can be just a hobby.” [16:19]
“Every camera that’s new is good enough. You don’t need the newest camera.” [18:09]
“There’s no reason you shouldn’t be making a movie. You can do it if you want to.” [22:26]
“The things you think you need, you probably don’t.” [40:20]

Mentioned:

LOVE AND WORK teaser

Follow Pete on Instagram

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Follow Will on Instagram

Follow Charles on Instagram

Slamdance Film Festival

Film Fort in Idaho

Side Walk Film Festival in Alabama

Overlook Film Fesitval

American Film Festival in Poland

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Heard of The New, Controversial Script Coverage Service The Gauntlet?

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How Your First Ten Pages — Or AI? — Will Determine if Someone Finishes Your Script Mar 14, 2024

Getting your script into the hands of the right people is extremely difficult. What is a desperate screenwriter to do if they seek feedback on their screenplay? Are script coverage services helpful or just another cog profiting from an emerging filmmaker’s hope?

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

Recalling memories from March 2020 when the world “shut down”
Why we are surprised that Nikon bought RED
The acquisition of BorrowLenses
The importance of the first 10 pages of your script
Why the opening scene of The Godfather is so powerful
The Gauntlet - a controversial script coverage service
What infuriates us about AI script coverage
Why AI cannot evaluate creative screenwriting
Hollywood, the hope machine

Memorable Quotes

“In those first ten pages you know, what is this movie and who is it for.” [14:55]
“The idea of AI evaluating your script is fucking horseshit.” [26:08]
“We keep engaging in this fantasy that AI can think. AI cannot fucking think.” [30:52]
“That’s what Hollywood is. It’s a hope machine. You always have perpetual hope that tomorrow you can become famous.” [40:46]

Mentioned:

Lensrentals To Acquire BorrowLenses

Why All AI Script Coverage is a Scam

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‘Damsel’ Director Juan Carlos Fresnadillo Sets Fantasy on Fire (And It Looks Awesome) Mar 08, 2024

If you want to succeed with fantasy and make it a transformative experience, you have to create real characters. To convey realness, you have to go beyond the “good versus evil” narrative of traditional fantasy movies. You have to create duality.

In today’s episode, No Film School’s GG Hawkins speaks with Director Juan Carlos Fresnadillo, to discuss:

Why Juan Carlos became a filmmaker
The complicated family dynamics in his film, Damsel
Why he loves portraying duality in the characters
Why you always have to have a plan, even if you don’t stick to it
How he prepares for production
A happy accident that became one of his favorite shots
The inspiration behind the violent fire in the movie
Creating a proper fire simulation
Why you have to chase your own voice

Memorable Quotes

“I thought ‘oh my god I have to make movies like this.’ ” [5:46]
“I’m much more willing to show the grey zone, because I think that takes you into the reality.” [11:35]
“You have to give space to happy accidents.” [16:26]

Mentioned:

Damsel

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Editors and Post-Sound Have a Crush on Each Other('s Work)

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How We Manage Our Careers — From Annual Goals to Daily Tasks Mar 07, 2024

Regardless if you are new to filmmaking or you have years of experience, you must be strategic about managing your career in film. This includes setting goals, constantly building your portfolio, and knowing how to financially support yourself between paid projects.

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

At what point you should show your film to the cast
Feeling connected to actors you have never met in real life
The importance of writing down specific goals each year
Making money in the short term while working on big projects
The power of sharing your goals with others
How many scripts do successful screenwriters produce each year
What your objective should be when taking general meetings
How to ask if there is a development fund
Narrative lessons from the show Survivor (season 46, episode 1)

Memorable Quotes

“The weirdest thing about post is you feel like you are spending time with these people.” [3:30]
“You don’t have to be squeaky to be advocating for yourself.” [13:20]
“Productions that handled chaos better were the ones with a more thorough plan.” [21:58]
“It’s a conversation. It’s not a dance.” [42:39]

Mentioned:

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Quantum Leap "The Family Treasure"

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How Broadcast Dramas Work, With ‘Quantum Leap’ Writer Shakina Mar 01, 2024

What does it look like to advocate for yourself as a creator? Well, it starts with understanding your value and knowing where you can serve. Then, you have to develop the courage to articulate and offer your expertise. This is exactly what Shakina did to land the role of executive story editor on the NBC series, Quantum Leap.

In today’s episode, No Film School’s GG Hawkins speaks with multihyphenate creator, Shakina, to discuss:

How she got her start as a storyteller
Why framing is just as important in theater as it is on TV
How her experience as a trans person helps her write for Quantum Leap
What it’s like to work with new cast members every week
Why the coming out scene in “The Family Treasure” episode was so powerful
Telling ground-breaking nuanced stories that are unprecedented
Making queer stories more comfortable and less “threatening” for audiences
The fast-paced yet collaborative nature of writers' rooms
Advocating for herself in various roles on set
Creating space for characters we don’t normally see on television

Memorable Quotes

“Just write something that will never get made.” [8:52]
“You have to be in charge of how you see yourself and lean into the skills that bring you the most joy.” [35:47]
“Space without resources and support is a trap.” [40:00]
“Do something every day that pushes you toward your dream.” [41:02]

Mentioned:

Difficult People

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Dissecting Emerging AI and Why Your Human Voice Is So Important Feb 29, 2024

With the rise of AI, will Hollywood begin to neuter your voice? While AI isn’t creating anything original, the immediate convenience of this tool is already impacting our industry. Artificial intelligence is being applied to creative arts, so filmmakers need to understand how it can affect their careers.

In today’s episode, No Film School’s Jason Hellerman speaks with acquisition executive and script consultant, Evan Littman, to discuss:

Why we should be concerned about text-to-video AI tools like Sora
Why large studios have a better chance of going against generative AI models
AI-generated screenplays and copyright laws
Using AI to read and give feedback on scripts
Examples of how unreliable AI can be
Developing your voice as a screenwriter
What newer writers need to understand about breaking into the industry
Why 8/10 on a script isn’t good enough

Memorable Quotes

“This is something a lot of people thought was coming, but it arrived faster than we anticipated.” [2:49]
“A.I. is not making anything. It’s just recombining and generating an output based on what it already has.” [7:38]
“A.I. at this point in time, can’t really generate anything good. What it makes is regurgitated slop.” [11:11]
“You just really need one ‘yes’ to get a movie made. It doesn’t matter if you have a hundred ‘I like its.’ You really need one ‘I love it.’” [42:41]

Mentioned:

Get Made Consulting

GG's survey

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Career-Sustaining Advice for a Consolidating Film Industry Feb 23, 2024

If you are at square one in your filmmaking journey, you are probably confused about where to start. You’re not sure how you are going to pay the bills, let alone finance your projects. You’re also worried about the state of the industry and wondering if you have a shot at success. Our guest, Ana Liza Muravina, believes that if you’re serious about filmmaking, “it’s your responsibility to understand what kind of business you’re getting into.”

In today’s episode, No Film School’s GG Hawkins speaks with filmmaker Ana Liza Muravina to discuss:

How the industry has transformed
The decline of tv and film consumption
What a period of consolidation means for filmmakers
The power of attaching certain elements to your project
Ensuring the project you are pitching is financially viable
Foreign Sales - what are they and how are they impacted by streaming services
Becoming clear on the project you are making
Finding patrons and supporters in your local area
The importance of casting valuable actors
Figuring out what you want out of your career
Having a collaboration agreement and what it should look like

Memorable Quotes

“Streaming tv is going to look a lot like how cable used to look. It’s going to be expensive.” [9:24]
“In our industry and in our society, success is tied to money.” [11:41]
Money is not all concentrated in Los Angeles and New York. Money is wherever there are people who have made money.” [26:45]
“Please make the thing that’s most interesting to you otherwise it’s not going to be interesting and it’s not going to sell.” [28:35]

Mentioned:

Ana Liza Muravina

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OpenAI’s Insanely Powerful Text-to-Video Model ‘Sora’ is Here

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How To Ensure People Can Watch Your Movie (Hopefully) Forever Feb 22, 2024

There’s a very important lesson can we learn from films like 28 Days Later, which is not available in physical format or on streamer. It’s hard to believe a film starring award-winning talent like Cillian Murphy, who is nominated for an Oscar this year, is not commercially available to audiences. Let’s find out how you can make sure your movie doesn’t succumb to the same fate.

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

Staying conscious about the ways our contracts are written
Thinking about where projects will be in 100 years
Automating residual systems - is it a good idea?
Feeling disturbed and disappointed by the lack of physical media available
Pros and cons of text-to-video tools like Sora AI
How AI can be a useful tool if it is subordinate to creatives
Jaywalking in front of self-driving vehicles
What is causing the current short story phenomenon
Why you should be reading screenplays every week

Memorable Quotes

Thinking about your digital legacy is a really interesting thing to try to negotiate and navigate.” [9:15]
“Don’t get too attached to the movie you made because it might just completely go away.” [12:30]
“Your scripts should be entertaining. Your goal is to create a great read.” [43:48]
“I’m against building statues of anybody that’s alive. It’s expensive to take down a statue.” [48:24]

Mentioned:

What are the Ramifications of the New 'Sora' OpenAI App on Hollywood?

Here’s How Sora’s AI Video Could Actually be Good for Filmmakers

Why Are Short Stories Hot In Hollywood Right Now?

Rest of World article

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How First-Time Feature Director Katie Burrell Subverts Ski Comedy... Hilariously Feb 16, 2024

Weak Layers is Katie Burrell’s feature film, which she not only directed but co-wrote and acted in. The film invites us to truly understand ski culture, unlike many unrealistic ski movies of the past. With this film, Katie proves that a novice director can stay true to their vision while also leading with transparency, humility, and positivity along the way.

In today’s episode, No Film School’s GG Hawkins, speaks with Katie Burrell to discuss:

Feeling excited about theatrical releases in ski towns
Creating such a niche film
What Katie can’t stand about other ski movies
The unique, diverse cast and what they brought to the film
Directing in extreme climates
Being honest about her lack of experience
How she kept up morale on set
Why they didn’t do any playback
How they created an organic party vibe on set

Memorable Quotes

“I was militant about making sure that it felt like it was a Hollywood movie, something that could reach into the mainstream.” [6:34]
“No pro skier would ever put their goggles on top of the helmet.” [10:49]
“In all the auditions of the core cast, there was a uniqueness that came through in each of them.” [14:03]
“I was having the best time, all of the time.” [31:26]
“To be somebody’s scene partner and also their director, is a really tricky relationship dynamic.” [37:09]
“Don’t be afraid to admit that you have no idea what you’re doing, because people will rally around you and want to support that kind of attitude.” [43:46]

Mentioned:

Weak Layers

Follow Katie on IG

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Academy Awards Adding a "Casting" Category in 2026

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Are Super Bowl Ads Creative Anymore? Plus, a New Film Camera! Feb 15, 2024

If you’re anything like us, we only watch the Super Bowl for the awesome commercials, but sadly this year’s ads leave much to be desired. While we are disappointed by the Super Bowl commercials, we are happily surprised by two major announcements in the filmmaking space. One announcement comes from The Academy Awards, and the other announcement comes from Kodak.

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

The lack of visuals and creativity in this year’s commercials
Trusting your gut feeling
The Academy Awards - they are introducing a new category
Why people don’t appreciate what a casting director does
Benefits to starting as a casting director
Kodak’s new camera we have all been waiting for - for literally 8 years
How this new camera is great for modern production sets
Why per per-screen averages are more important than box office numbers

Memorable Quotes

“Celebrity gags. It’s not special anymore when literally everyone is doing it.” [7:11]
“There was a moment in the internet where virality could occur organically, by people sharing things because of the joy of it.” [8:59]
“Casting is truly an art and a science.” [15:55]
“The only thing indie filmmakers care about is our per-screen ratio.” [29:14]

Mentioned:

First Footage From the Kodak Super 8 Camera

Chrysler, Born of Fire

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‘The Florida Project’ Producer Francesca Silvestri & ‘Suncoast’ Director Laura Chinn on Unlocking the Director-Producer Relationship Feb 09, 2024

Every year at Sundance, we aim to speak with indie filmmaking teams who have collaborated on some of our favorite movies. Learning from these successful collaborations can help us in our own future projects. Let’s take a look at the collaboration between filmmakers Francesca Silvestri and Laura Chinn, and how their undeniable chemistry helped them in the production of the film, Suncoast.

In today’s episode, No Film School’s GG Hawkins, speaks with Francesca Silvestri and Laura Chinn to discuss:

Feeling both nervous and excited for the wide release of the film
Not having to sell the film at Sundance
Never taking no for an answer
What Laura and Francesca love about working together
Challenges with shooting in certain locations
Tapping into the 2000s nostalgia without overdoing it
Seeing younger casts at Sundance this year
Being at shocked at how many writers don’t write
Trusting that feedback is constructive and helpful
Why self-development is so helpful for filmmakers

Memorable Quotes

“There are so many that have come into my life, that I will never work with again after this experience.” [6:36]
“The 2000s in my opinion were not inherently cool.” [10:54]
“When they tell you it’s bad and they give you a bunch of notes, cry hard and then move on.” [17:28]
“When you do write, you do get better at it. When you do listen to other people’s feedback, you get better at it.” [17:40]
“Work on you man, because everything will get better. Everything will get easier. Writing, directing, producing, whatever it is.” [20:53]

Mentioned:

Suncoast - Streaming on Hulu, Feb 9, 2024

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View the $71 Million Budget for the M. Night Shyamalan Movie 'The Village'

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Indecision Is Death: ‘Argylle’ Director Matthew Vaughn on Titles, Twists & Scripts Feb 08, 2024

Matthew Vaughn, known for films like Snatch, Kick-Ass, and the Kingsman franchise, didn’t actually think he would become a director when he started working in film. Vaughn first became a producer and then transitioned to directing - and are we glad he did! His recent film, Argylle, is a star-packed, action-comedy that you don’t want to miss!

In today’s episode, No Film School’s GG Hawkins, Jason Hellerman and Director Matthew Vaughn discuss:

What we love about the actors in Argylle
How all the twists in the film serve as nice story beats
Secretly copying and reading scripts as an intern
What is was like working with Guy Ritchie
The moment Matthew decided to try directing
Why the script is so important to the whole production process
Work weeks: 6 days versus 5 days
The scariest moment of making a film
Building an industry based off a film
How important the title is to a film’s branding

Memorable Quotes

“I chose to be a producer because I was told you don’t have to have any qualifications, apart from the art of bullshitting.” [13:24]
“I realized from that point, I would never ever make a movie that I didn’t love and believe in the screenplay.” [18:12]
“Indecision is death. Bad decisions can be fixed. No decision can’t be.” [25:38]
“If you do get a day off, just sleep.” [28:11]

Mentioned:

Argylle

Intimacy Workshop for Film, TV, and Theater

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Neon’s Horror Subversion ‘Handling the Undead’ Director Thea Hvistendahl on the Patience To Face Your Nightmares Feb 06, 2024

How do we deal with losing someone we love? Is it even possible to move on? These questions are explored in Handling the Undead, a film that meditates on topics such as grief and loss and the impossible wish of wanting the past to become the present. Handling the Undead, which is based on the best-selling Norwegian novel of the same name, premiered at the 2024 Sundance Film Festival.

In today’s episode, No Film School’s GG Hawkins, speaks with Director Thea Hvistendahl to discuss:

Thea’s feelings and thoughts post-premiere
Having the sound and images tell the story as opposed to dialogue
Her approach to directing and staging actors
Using a mix of real people, prosthetics, VFX, and dolls
Finding the balance between looking dead but not like zombies
The challenges in shooting the final scene
How Thea became a filmmaker
Financing the feature and shooting in multiple countries
Getting the balance right between the different stories within the film
Feeling anxious during the screening process
Trusting her gut feelings in the editing process
Having a much needed celebration when the film was finally finished

Memorable Quotes

“For the human brain, it’s more unsettling the more realistic it is… I wanted it to be as realistic as possible.” [16:15]
“The finale was the hardest part to solve, but it worked in the end.” [20:21]
“It really pains me to do stuff that doesn’t feel right, but sometimes I try it.” [27:29]
“It dragged out a very long time, so it wasn’t like a cathartic moment…It was a very slow finishing process.” [30:07]
“It’s always better to make something…rather than wait and hold back.” [31:16]

Mentioned:

Handling the Undead

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'Expats' Director Lulu Wang on the Power of Saying “No”…and Sound Feb 03, 2024

Let’s say you’re an indie filmmaker and Nicole Kidman asks you to direct her tv show. You say “hell yeah” right? Well, that wasn’t Lulu Wang’s first response when she was approached to direct the Amazon Prime limited series, Expats.

In today’s episode, No Film School’s GG Hawkins, speaks with Director Lulu Wang to discuss:

Why Lulu originally rejected Nicole Kidman’s proposal to direct the show
How she protected her creative vision in a high production, studio project
Exploring and dissecting privilege throughout the show
Where they always start when planning each episode
Changing the visual language in each episode
Episode 5 - It premiered as a standalone film at TIFF
The different perspectives represented in the writer’s room
The benefits to shooting on location
Recording real life sounds while location scouting
Starting a production company to support other filmmakers
Why emerging filmmakers shouldn’t follow industry trends

Memorable Quotes

“I initially said no. I passed on it, because it just felt so typical Hollywood.” [3:35]
“Beauty is very subjective. It has to function within the context of the story.” [7:47]
“The context through which you meet someone, colors the way that you see them.” [12:04]
“I always see it as such a blessing if someone tells me that I’m wrong, or that I can do things better.” [14:06]
“If you follow the trend, you’re always going to be a step behind.” [27:56]

Mentioned:

Follow Lulu on IG

EXPATS

The Farewell

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The 2024 Academy Awards Nominations

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Oscars Snobbery or Misogyny? Plus, Doug Liman's 'Road House' Boycott Feb 01, 2024

Are the Oscars the leading edge of culture, or are they trailing behind? While some of this year's nominations happily surprised us, other nominations have left us wondering if the academy is just voting for what’s familiar. Also, what’s up with big films skipping a theatrical release and going straight to streaming?

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

Favorite films and biggest takeaways from Sundance 2024
Upcoming No Film School episodes highlighting Sundance filmmakers
Jason breaking up a fight in the AMC lobby
Our opinions on the 2024 Academy Award nominations
How the Oscars are staying internationally relevant
Comedy versus drama
An actor who sold his Oscar to pay for healthcare
The dark history behind the Oscars - why they were created
Why Doug Liman is boycotting the premiere of his film Road House
Why filmmakers have to be conscious of audience activation

Memorable Quotes

“One of my favorite things about the Oscars is when they bring attention to a movie that wouldn’t get it otherwise.” [13:23]
“Drama trumps comedy in awards, always. Which I think is bullshit.” [19:00]
“It’s not misogyny, but snobbery.” [27:44]
“All of the craft awards are never the best, it’s the most. It’s never the best edited movie, it’s the most edited movie.” [34:02]
“If we all stay silent and continue to let these big corporate overlords make these decisions…we are going to lose that communal experience.” [42:50]

Mentioned:

How Does Oscar Voting Work?

'Road House' Director Doug Liman Boycotts SXSW Over Amazon Exiling His Movie to Streaming

Brooklyn 35mm

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God Save Texas - The Price of Oil Episode

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Lollapalooza, Oil, & Life-Or-Death Stakes: These Sundance Doc Directors Wear All the Hats Jan 31, 2024

Not all documentary filmmakers planned to be in the documentary space. Some didn’t even know they would be in the film industry to begin with. This is what we talked about in our round table discussion at Sundance, with a group of documentary film directors. Each of these award-winning directors have decades of experience in filmmaking.

In today’s episode, No Film School’s GG Hawkins, speaks with documentary directors Alex Stapleton, Jeff Zimbalist, Michael John Warren, and Tony Gerber to discuss:

Their current projects
What it’s like to finally turn the camera on yourself as a director
How to find yourself and who you really want to be
Their unique paths to becoming documentary filmmakers
Earning more money and having more creative autonomy
Holding onto your projects even if it doesn’t sell right away
Why you should avoid industry chatter
Finding the overlap between your hobby and filmmaking
Figuring out where to start - production or post
A good story is more important than high-tech tools

Memorable Quotes

“Documentaries were a way to insert myself into the heart of certain communities around the world.” [17:30]
“I did not go to film school. I didn’t even finish college.” [19:18]
“It’s okay to not know where you’re going. Sometimes following your gut and not having a master plan is fruitful, and builds wisdom.” [25:44]
“My mother always told me, don’t work in the film business. It’s full of criminals.” [26:08]
“I don’t think about what the audience wants. I think about what the audience doesn’t yet know that they need.” [47:47]
The only thing that matters is story and learning how to tell a good story. The tools are just tools.” [51:16]
“Think about the story. Pick a side of the industry you want to be in. And be so good they can’t say no.” [51:39]

Mentioned:

Alex Stapleton

Jeff Zimbalist

Skywalkers: A Love Story

Michael John Warren

Lolla: The Story of Lollapalooza

Tony Gerber

War Game

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Unpacking the Ethical Minefield of Docs with the Team Behind ‘Subject’

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E-Girl Investigators of Sundance Premiere Neon Doc ‘Seeking Mavis Beacon’ on Ethics, DIY, and How To Ask For What You Need Jan 28, 2024

Jazmin Jones and Olivia McKayla Ross are the creative minds behind the documentary, Seeking Mavis Beacon. The feature, which premiered at Sundance 2024, investigates the disappearance and reexamines the legacy of one of the most influential Black women in technology. The documentary also explores topics like ethics, consent, and having a healthy relationship with technology.

In today’s episode, No Film School’s GG Hawkins speaks with Director Jazmin Jones and Associate Producer Olivia McKayla Ross, to discuss:

How Jazmin and Olivia met and started working together
The benefit of not having a film career before making the project
Why the investigation itself was the priority over the film
How they built the digital world of the film
Consent - how it became part of the narrative
Community organizing versus filmmaking
How street photography taught Jazmin about the importance of consent
The power of using search engines
How they created a safe, beautiful space in their headquarters
Asking for what you need and what you want
Why you should follow your instincts
The magical experience of seeing other people react to the film

Memorable Quotes

“More than using the language of the film industry, we were using the language of collective organizing.” [7:15]
“In community organizing, you’re thinking of the long-term impacts of the things you are doing.” [13:20]
“The longer it takes you to ask for the thing you suspect you might need, the more it costs you.” [27:25]
“Having a room of people laugh at my dad’s dad jokes is like the best thing in the world.” [30:16]

Mentioned:

Seeking Mavis Beacon

Follow Jazmin on IG

Follow Olivia on IG

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Connect with Alejandro on IG

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From Landing the Job to Boosting Morale: Sundance DP Roundtable Dives into Filters & More Jan 27, 2024

At No Film School, we enjoy diving into both the hard skills and soft skills required to be successful in this industry. For example, we enjoy the technical talk of cinematography. We also like diving into things like leadership skills, collaboration decisions, and how to hire or fire. These are some of the things we discuss with a roundtable of cinematographers whose films premiered at Sundance and Slamdance this year.

In today’s episode, No Film School’s GG Hawkins, speaks with cinematographers Bruce Francis Cole, Alejandro Mejia, and Sean Mattison to discuss:

How all three DP’s got connected to their respective projects
Thinking of the setting as a “character” in the story
Working with light and figuring out tone
The benefits of using multiple cameras
Allowing your team the freedom to express themselves
The importance of picking your team
Cutting off stressful energy before it spreads to the rest of the crew
How they decide what projects to work on
Choosing personality over technical ability

Memorable Quotes

“We chose the lenses that had the character built into them.” [24:51]
“What elements can we bring into it visually that will bring the audience into this world?” [26:53]
“If you can pick your team you truly trust in, you can easily allow everyone to do their job.” [33:32]
“We’re sensitive people. We work in a creative field.” [48:17]
“It’s a very New York thing that I learned when I moved there. People either like you or not.” [48:39]

Mentioned

Suncoast

Connect with Bruce on IG

In the Summers

Petro

Connect with Sean on IG

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When Sundance Is the End of Your Festival Run: ‘How To Have Sex’ Director Molly Manning Walker Jan 24, 2024

Molly Manning Walker is the Writer-Director of How to Have Sex. The story follows three British teen girls who find themselves navigating the complexities of sex, consent, and self-discovery while on holiday in Greece. The film has won awards across various film festivals, including British Independent Film Awards, Cannes Film Festival, Athens International Film Festival, and others. It premiered at Sundance 2024 in the Spotlight film section.

In today’s episode, No Film School’s GG Hawkins, speaks with Molly Manning Walker to discuss:

The inspiration behind the film
Realizing her own friendships as a teen were quite harsh
Unexpected reactions from the audience
Exploring the glorification of party culture
The process of choosing a cinematographer
Director vs DP - The POV of the set changes
Why some scenes were heavily scripted and others improvised
Navigating a group of high energy teen actors
The benefit of doing experimental takes
Bringing in an intimacy coordinator so the cast felt protected
How Molly created a safe environment for both cast and crew

Memorable Quotes

“How I see a film set has always been through a lens. Through holding a camera.” [7:16]
“It was definitely difficult navigating six really high energy young people.” [11:47]
“Watch your film on mute and see if it still makes sense.” [24:13]
“The more time you put into something, you eventually break through.” [25:34]

Mentioned

How to Have Sex

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NFS @ Sundance: Community and Creativity at the No Film School Alumni Party Jan 23, 2024

This year No Film School hosted an alumni party at Sundance, and it was amazing to see the community come together in person. The connections made at the party truly embody the ethos behind No Film School - accessibility, humility, and vulnerability.

In today’s episode, No Film School’s GG Hawkins, Ryan Koo, and Jo Light discuss:

The amazing energy in the room at the No Film School Alumni Party
Seeing the community expand into more film groups across the country
Why we love the commitment of filmmakers who continue to create stories
Resources for filmmakers outside of Los Angeles and New York
More films we enjoyed at the festival
Not having specific festival goals and letting opportunities happen naturally
Some of our magical festival moments
Advice we would give to our younger selves

Memorable Quotes

“Let’s try to be vulnerable and human, and recognize we are here because we want to make things.” [5:39]
“Stop Hedging. Grab some friends. Just do it. Plant your flag.” [9:14]
“Going into a dark theater. Turning your damn phone off. And totally giving yourself over to something that no one else in the world has seen before.” [13:12]
“It felt great to come here without a specific expectation, and then be pleasantly surprised.” [20:46]
“Sundance. I’m never not coming to this. I want to be here every year.” [22:43]

Mentioned:

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‘Layla’ Director Amrou Al-Kadhi and Cast on Opening Sundance, Casting Chemistry, and the Power of Subtext Jan 23, 2024

Amrou Al-Kadhi is the Writer-Director of Layla, a story that explores the conflict between desire and identity. The film stars actor Bilal Hasna who plays Layla, a London drag queen, and actor Louis Greatorex, who plays Max, the love interest. The film premiered at the 2024 Sundance Film Festival.

In today’s episode, No Film School’s GG Hawkins, speaks with Amrou Al-Kadhi, Bilal Hasna, and Louis Greatorex to discuss:

The six year process of making the film
What it’s like to watch the film multiple times at Sundance
Unexpected reactions of the audience
How making shorts helped Amrou learn to work on a set
The benefits of working with a director who has acting experience
Why the best actors hold back in some scenes
The reason Amrou encourages actors to play against the lines
Why directors should budget for extra rehearsal time
The casting process and chemistry read

Memorable Quotes

“Feeling the audience be shocked was quite fun.” [7:58]
“Shorts are more like poems, whereas films are more like novels.” [9:05]
“It’s really hard to get actors to lie on screen.” [14:37]
“It’s a family you are building. You are not doing it on your own. It can be really hard, so you need to have people around you, you really trust.” [28:30]

Mentioned

Layla

Amrou Al-Kadhi on IG

Bilal Hasna on IG

Louis Greatorex on IG

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Online Giveaway: Enter to Win

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NFS @ Sundance: Risks, Giveaways and What the Fest Tells Us About the Industry Jan 22, 2024

It’s that time of year again! The time of year we get to meet emerging filmmakers and watch their creative, original, risk-taking films at the Sundance Film Festival. Not only are we networking and enjoying amazing films, but we are bringing some fun surprises to the festival this year.

In today’s episode, No Film School’s GG Hawkins, Ryan Koo, and Jo Light discuss:

Why the Sundance volunteers are so important to the spirit of the festival
Running into people we haven’t seen in over a decade
Hosting a No Film School party at Sundance this year
An online giveaway for No Film School listeners
Films we love and films we have mixed feelings about
Being unexpectedly moved by a beautiful zombie film
An unconventional pairing that gives a fresh perspective on love
Stories that encourage us to bring more originality to our work
Being independent from what’s considered “commercially viable”
Why you need to watch the documentary lineup at Sundance

Memorable Quotes

“This is what I come to Sundance for…This is an original idea that is audacious and creative. It’s something I have never seen before.” [20:00]
“We are not here to be critics. We are not here to give films grades. We are here to be inspired as filmmakers.” [21:00]
“What we come here to see is risk taking.” [32:12]
“We’re all in this community together. We are all trying to get movies made. It’s harder than ever.” [35:21]

Mentioned

Freaky Tales - Directed by: Anna Boden & Ryan Fleck

How to Have Sex - Directed by: Molly Manning Walker

Layla - Directed by: Amrou Al-Kadhi

Handling the Undead - Directed by: Thea Hvistendahl

Love Me - Directed by: Sam & Andy Zuchero

Your Monster - Directed by: Caroline Lindy

Seeking Mavis Beacon - Directed by: Jazmin Jones

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Unpacking the Ethical Minefield of Docs with the Team Behind ‘Subject’

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‘Blackfish’ Director Gabriela Cowperthwaite Turns Blacklist Script ‘I.S.S.’ Into Sci-Fi Thriller Theatrical Release Jan 19, 2024

Not all award-winning filmmakers planned for a career in film when they were younger. Director Gabriela Cowperthwaite found her love of film in her thirties, and has since directed films such as Blackfish, Our Friend, and many others. She recently directed I.S.S., a high-stakes thriller set in the International Space Station, which will be released in theaters on Jan 19.

In today’s episode, No Film School’s GG Hawkins speaks with Director Gabriela Cowperthwaite to discuss:

Unexpectedly starting a career in filmmaking
Wanting to effect change through films
Working for free and doing whatever job she could
A very humbling experience early on in Gabriela’s career
The differences between documentary filmmaking and narrative filmmaking
Surviving the lows during production
The importance of having interests outside of filmmaking
Establishing the world and dynamic between the characters in the film I.S.S
Bringing characters to life who do not fit into a stereotype
Filmmaking - it’s not more glamorous than other jobs

Memorable Quotes

“You really have to put in the work. You really have to collaborate.” [12:14]
“There’s this cool adventurous feeling you have when you’re doing it, because every single day could be a question mark.” [15:55]
“The highs are very high, and the lows are very low.” [16:42]
“It seems like it’s greater than the sum of its parts, but it’s not. It’s just the parts.” [36:36]
“Just remember, it’s one foot in front of the other.” [37:51]

Mentioned

I.S.S. trailer

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Surviving Our Lowest Lows Jan 18, 2024

It’s a given that there will be a series of both highs and lows when you work in film. While the lows can feel brutal, it’s important to remember that they don’t last forever. More often than not, these low moments end up becoming powerful lessons that make us stronger filmmakers in the long run.

In today’s episode, No Film School’s GG Hawkins and Jason Hellerman discuss:

Some of our lowest moments as filmmakers
Being at rock bottom and crawling your way back up
Recognizing when you need rest as an exhausted filmmaker
Finding hobbies outside of film and television
Having people who will help you bounce back
Building strength to sustain yourself on set
How to build meaningful relationships outside of social media
Networking - Don’t always make it transactional

Memorable Quotes

“All of a sudden, I couldn’t breathe and my hands went numb.” [2:22]
“It felt like I was valued and then was immediately devalued, not only as a writer but as a person.” [7:25]
“You learn from having to hit the ground so many times, that you gotta keep getting back up.” [30:31]
“Get off of social media. Get out into the real world. Network in person.” [34:58]

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Crucial Advice on Pitching Your TV Show Jan 12, 2024

If you want to network, grow, and succeed as a filmmaker, you have to learn to get comfortable talking about your work. Luckily there are programs, like the Moonshot Initiative, which help emerging filmmakers successfully pitch their projects without feeling confused or afraid.

In today’s episode, No Film School’s GG Hawkins speaks with nonprofit founders, Tracy Sayre and Katrina Medoff, to discuss:

How the Moonshot Initiative helps advance the careers of underrepresented voices
Working with people in all stages of their career
Offering a safe space for program participants to ask questions
The pilot accelerator program that helps filmmakers pitch tv show ideas
How Tracy and Katrina know when they have found an excellent script
The mentality you need going into a pitch meeting
Writing the pitch before writing the script
Why you have to be comfortable talking about your work

Memorable Quotes

“Never be afraid to ask questions. You can’t walk into every room and assume you know the answer.” [12:45]
“Our audience had ideas, but they didn’t have the connections.” [17:15]
“People hearing pitches want you to succeed.” [23:46]

Mentioned:

The Moonshot Initiative Website

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How a Script Doctor Found His Own Voice

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Industry Etiquette Tips for Social Media and Feedback Jan 11, 2024

If you are a beginner filmmaker who is afraid to receive feedback on your work, you may find you are operating within a bubble. Feedback is such a critical part of the process of becoming a better storyteller. We invite you to get out of that bubble and practice asking for and receiving feedback like a professional.

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

Crafting and curating your public persona
The standard number of pages your script should be
Wasting time arguing on social media
The power of admitting what you don’t know
Why you should ask for feedback early in your career
How to ask for feedback and how to receive it
Why you should never feel bad about asking people for feedback
Having practice feedback sessions with your friends
The overall importance of etiquette as a filmmaker

Memorable Quotes

“The 136-pagers were always gibberish, with no exception.” [7:52]
“We all just need a slice of humble pie, especially in the beginning of our screenwriter careers.” [12:16]
“If you are a filmmaker, you are building a community of peers.” [30:53]
“Sometimes the note you think is dumb, is right.” [43:27]
“The internet is not always right. It is just a place where people are allowed to say anything.” [47:56]

Mentioned:

How to Critique a Screenplay (While Not Being a Dick)

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The Mountain Murder Tapes on TikTok

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How To Make a Movie... For TikTok? Jan 05, 2024

Lately, we keep hearing the advice to grab an iPhone and just start shooting a movie. Well, that’s exactly what the team behind The Mountain Murder Tapes did. Not only was filming very simple, but they kept post-production really scrappy and distributed their project on TikTok!

In today’s episode, No Film School’s GG Hawkins speaks with Jacob Seltzer, Benjy Steinberg, and Spencer Levin to discuss:

The inspiration behind the project - “Blair Witch meets Ski Mountain”
Why the actors were the cinematographers
The natural progression of events from different character perspectives
Having a digestible number of POVs in the project
Using improvised versions over the scripted versions
Their very low-tech process of filming and editing
Using a hook in each episode versus a cliffhanger
Why a project like this is so accessible for scrappy filmmakers

Memorable Quotes

“We were in touch with the creepy nature of nature.” [3:35]
“We wanted to get back to the roots of our indie filmmaking and get scrappy.” [4:19]
“It was an experiment in cinematography as much as storytelling.” [5:15]
“So many shots were stolen. We upped the production value of the project by going into places we probably shouldn’t be.” [14:17]
“Within the first second, you have to hook the audience.” [22:56]

Mentioned:

Follow Benjy on IG

Follow Spencer on TikTok

Follow Jacob on IG

#ChadGetsTheAxe

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Filmmaker Resolutions for 2024 Jan 04, 2024

Are you planning on making any new year's resolutions for 2024? Maybe you want to integrate more positive practices into your life? Are there any habits that are hurting you, that you want to work on reducing?

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

Prioritizing your health by getting adequate sleep
Paying attention to the people we surround ourselves with
Being in the present moment and not over analyzing your projects
The benefits of reading for pleasure
Reading film news in paper format versus digital format
Why you should get a treadmill desk
Reasons you should always be writing or developing scripts
Giving a “thumbs down” instead of the middle finger

Memorable Quotes

“Good people are the fucking best. They are the best.” [4:10]
“The only thing you have ultimate control over is writing. You can always write.” [18:55]
“Live your life and figure out what makes you happy.” [22:30]
“I need to stop getting so angry at motherfuckers who drive in the bike lane.” [22:40]

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Why Breaking Story Is Like Breaking a Horse Dec 29, 2023

Breaking story is not easy. When it does finally happen, you feel so good you can’t help but walk around with your chin up in the air and your chest puffed out! Sounds amazing, right! So what does it take to get there? Let’s find out!

In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman, and director Kevin Taylor discuss:

The satisfying moment that unlocks the whole story
Exploring the story without being attached to structure
What to do when you are stuck with a scene that isn’t working
The question Kevin wanted to explore with his film, Last Resort
Writing 8 screenplays during the pandemic
How Kevin’s production experience helped him in his role as a feature director
Allowing the magic to unfold in the frame
Why Kevin wanted to edit his own feature
Why mapping out your story beforehand is so important

Memorable Quotes

“It’s using overly aggressive language to make up for the fact that our job is making up stories and playing with costumes.” [1:02]
“The best part about writing is breaking the story.” [16:28]
“You cannot break the horse, by looking at the horse. You have to get on the horse to break the horse.” [19:50]
“It’s building a muscle. Sitting down and being in that spot so the muse knows where to find you.” [28:39]
“If you ask for help, you’ll get advice, but if you ask for advice, you will get help.” [52:56]

Mentioned:

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The Screenwriting Life Podcast

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Micro Budget by Design With the Screenwriting Life’s Jeff Graham Dec 29, 2023

If you are a micro budget filmmaker, you may think your lack of money is holding you back from having the tools or resources you need. Instead of approaching your project from this limited mindset, we want to challenge you to view your “limitations” as an opportunity, not an obstacle.

In today’s episode, No Film School’s GG Hawkins speaks with director and podcast producer, Jeffrey Crane Graham to discuss:

The beauty of podcasting and providing helpful tools to listeners
Why Jeff advocates table reads throughout development of a project
Exploring topics like grief, fear, and shame in his film, Always Lola
How other people will feel seen through what you’re making
Tips and tricks to stay within your micro budget
How to get talented people invested in your low budget film
Simple, affordable, and effective production tools
Why directors shouldn’t cut their own material
Balance - does it exist for creatives?

Memorable Quotes

“You need to bring on a lot of different perspectives and voices, even if they aren’t necessarily your method or craft.” [4:25]
“Because filmmaking is so hard, you have to will your way through it.” [10:09]
“We were running around like highschool kids making a movie, but with really nice equipment.” [21:34]
“It’s really fun to see what people do without much money.” [31:20]
“People will be so excited to watch you chase your dream. People still want to believe in the power of independent filmmaking.” [34:34]

Mentioned:

Always, Lola

Jeff's Instagram

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A Creature was Stirring

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Indie Horror Duo the LeVecks: From Production To Press On ‘A Creature Was Stirring’ Dec 22, 2023

Damien and Natalie LeVeck are the masterminds behind the film, A Creature Was Stirring. The film is a holiday horror that explores topics such as secrets, guilt, and mental illness. We had the honor of interviewing each filmmaker separately in the past. Now, this married duo is back to discuss all things production, including planning, shooting, and distributing.

In today’s episode, No Film School’s GG Hawkins speaks with director Damien LeVeck and producer Natalie LeVeck to discuss:

Shooting a winter-themed film in the middle of a very hot summer
Using expensive, concert style lasers in the film
Surrounding yourself with a production team you trust
Saying “no” while trying to find a middle ground
Being married and working together - what is that like?
The biggest on set challenge that ended up working out for the better
How having editing experience can become a director’s super power
Why you should make your own press kit and what to include in it
Posting pictures before your film is purchased by a distributor
What makes this horror film unique

Memorable Quotes

“You really need to know what hills you will die on. And what sacrifices are you willing to make.” [6:31]
“Making any independent film is going to be harder than pretty much anything you ever do in your life.” [12:44]
“Movies don’t want to be made.” [13:07]
“You’re not directing to find it in the edit. You’re directing to get the edit you have in your mind.” [19:48]
“The horror movie fans are some of the best fans out there.” [21:07]

Mentioned:

Natalie's LinkedIn

Natalie's on Instagram

Damien’s Instagram

Top Legal Mistakes Filmmakers Make and How To Avoid Them

Piloting Real-Time Post-Collab on Damien LeVeck’s Holiday Horror

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The making of Ryan's film 'Amateur'

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A Shocking Netflix Dump, Plus Lessons From Our Fav Holiday Flicks Dec 21, 2023

Netflix delivered your Christmas gift early this year! For the first time ever, the platform just released all of its streaming data! This “data dump” is beneficial for many in the industry, and it seems we will be getting more of these gifts in the foreseeable future.

In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman, Ryan Koo and writer Amanda Barnes discuss:

The streaming data that was recently released by Netflix
The metric Netflix used in ranking it’s shows and movies
Observations we have been making since the data dump
Using the data as a negotiation talking point for future films
How to avoid chasing others and instead attract attention
Borrowing lines and ideas from our favorite holiday movies
How to respond when you receive shitty notes
The blessings and curses of being a writer
The concessions you make as an indie filmmaker
Handling heavy themes by wrapping them in joy and humor

Memorable Quotes

“What it was like to not know how many people were watching my movie out in the world.” [2:45]
“The one thing Netflix has never done is tell us who is watching what.” [7:26]
“I want to know who’s watching my show, so I can get paid accordingly.” [7:56]
“Oh shit, now I have to learn how to write a Christmas movie.” [51:01]
“If you have a vision and you need it executed your way and only your way, you have to make it yourself. And you have to be okay with the fact that maybe no one will see it.” [57:34]

Mentioned:

Netflix Releases All Its Streaming Data for the First Time Ever

Connect with Amanda on Instagram

Watch ‘Just Like a Christmas Movie’

Watch 'The Holiday Shift'

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'Share?' Director Ira Rosensweig on Full Stack Filmmaking Dec 15, 2023

Ira Rosensweig is the director and editor of Share?, a science fiction thriller that was shot entirely from one fixed camera angle. This film will creep you out, but in a good way, as it prompts you to take an honest look at your relationship with social media.

In today’s episode, No Film School’s GG Hawkins speaks with director and editor, Ira Rosensweig to discuss:

The origin of the film and what Ira hopes to evoke in the audience
How he accidentally fell in love with filmmaking during college
Becoming a “full stack” filmmaker - writing, producing, directing, and editing
Challenges in working with famous celebrities
Being confident and honest regardless of the reactions of others
Directing actors within a short frame of time
Getting excited after receiving rejection
All the challenges they faced during production and post production
Not taking “no” for an answer

Memorable Quotes

“The most expensive lesson I learned as a filmmaker was directing something without knowing how to edit.” [4:45]
“When you can figure out how to use technology to your advantage to tell a story in a different way, there’s nothing better.” [30:17]
“When you strip certain things away and limit your pallet, it makes a much more interesting product.” [37:17]
“Do what drives you and try to make what your passion is. Your passion is the thing that will get it made.” [41:14]

Mentioned:

Follow Share? on TikTok

Watch the Share? trailer

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An IndieCheck out this episode: Film Exec Unpacks The Post-Strike World

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Why Don’t We Have an Indie Streaming Platform? Plus Our 700th Episode! Dec 14, 2023

Wow! It’s wild to think that we have reached 700 episodes of the No Film School Podcast! We feel so honored to share filmmaking knowledge with passionate filmmakers, through these weekly conversations.

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

What we have learned over the last 7 years of this podcast
Asking the questions we wish we had the answers to as beginners
Why it’s important to be engaged in these type of conversations
Having an independent film streaming platform - could it work?
The important role marketing has on the success of indie films
Working with the streaming platforms that already exist
Film Markets - great place to connect with potential distributors

Memorable Quotes

“It’s okay not to know everything. You just have to take one step at a time.” [3:31]
“Writing is like ironing a shirt. You’re going over and over the same area. Trying to make each individual thing perfect.” [7:07]
“How come we don’t build an independent media streaming service, like Netflix for indie movies?” [13:09]
“The platform is not coming to save you. You are the captain of that ship, and you’re steering it.” [25:27]

Mentioned:

Brooklyn 35mm

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Unpacking the Ethical Minefield of Docs With the Team Behind ‘Subject’ Dec 08, 2023

When we watch documentaries, we often don’t think about how these films can leave a lasting impact on the lives of the participants. Not only do the films affect their reputation, but they can affect their businesses, relationships, and mental health. In this unprecedented era of documentary filmmaking, it’s time we take a serious look at the effects these films have on the lives of the subjects.

In today’s episode, No Film School’s GG Hawkins speaks with Jen Tiexiera, Susanne Reisenbichler, Matt Klug, and Josh Harding to discuss:

How each of these filmmakers came to the world of documentary
All the sacrifices involved in creating a documentary film
Being clear about boundaries and expectations with the crew from the beginning
DAWG’s Framework for values, ethics, and accountability in nonfiction filmmaking
The depth of the connection between crew and actors
Finding the participants who would be featured in the films
Shifting the way things are done to improve lives of participants and the crew
Establishing a consent calendar with the participants and what that looks like
The first steps to creating a documentary film

Memorable Quotes

“When you’re bringing the people around you that you’re going to go into battle with, it’s extremely important that everything is out on the table.” [14:00]
“We’re entering a new era of bringing the humanness back into filmmaking.” [19:52]
“I want to document their life. I want to document what they’re doing…It’s about respecting their space. Respecting who they are.” [24:02]
“Documentary is and always should be a really intense collaboration.” [44:03]

Mentioned:

Subject

Follow Susanne on IG

Follow Jen on IG

Chasin' Butterflies

Chasin' Butterflies Record & Movie

Follow Josh on IG

Follow Matt on IG

DAWG Framework

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The Joy of Networking in Hollywood! Dec 07, 2023

Networking…do you have to do it? Yes. Is it awful? No. It doesn’t have to be. It’s actually much easier than you realize!

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

Networking - it doesn’t happen at networking events
Pacing the amount of alcohol you drink while networking
Some great go-to questions you can ask others
Connecting with others outside the usual way we network
Why you need to be able to have normal human chit chat
The questions you should always have prepared answers for
Why you should brag on your friends when networking
Remembering people’s names - you need to improve this skill

Memorable Quotes

“Having a real conversation with people is networking.” [5:42]
“Show up. Be a pleasure to talk to. And don’t be crazy. If you are crazy, try to hide it.” [9:07]
“Treat it like a work event. That refers to attire. That refers to jokes. That refers to drinking. That refers to all of the things.” [11:31]
“Bragging on your friends, even if you don’t think it’s going to pay your rent, it will in full later.” [22:20]
“It pays off to remember people’s names. It really does.” [24:47]

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How ‘May December’ Writer Samy Burch Plays With Power on the Page Dec 01, 2023

Samy Burch is the writer of May December, a story about a married couple who buckles under pressure when an actress arrives to do research for a film about their past. This complicated and sensitive story truly captivates the power of what is not being said.

In today’s episode, No Film School’s GG Hawkins speaks with screenwriter Samy Burch to discuss:

Spending time in audition rooms as the daughter of a casting director
Making sure no actor got cut from this film
How Samy was able to tackle such a complicated and sensitive story
Writing in her apartment coat closet
The hard work and luck involved in getting the screenplay picked up
Protecting the confidence in your own voice.
Presenting power dynamics in her writing
Watching the film alone versus in a theater

Memorable Quotes

“My goal with writing is to write roles that actors think are interesting.” [9:51]
“It’s so hard to be an actor. It really is.” [12:34]
“Protect that confidence in your own voice because that’s the hardest part.” [24:39]
“The tension exists in what’s not being said.” [29:34]

Mentioned:

May December

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New RED Firmware Brings In-Camera LUTs & Zone System Exposure Tool

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What Actors Need To Know About Cinematography, Plus Building Your Post Team Nov 30, 2023

As an actor, will knowing the ins and outs of cinematography enhance your performance? What’s the best way to go about hiring your post-production team? How do you give honest feedback without ruining your reputation?

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

Warmup actors versus burnout actors - what’s the difference
The red camera setting named after actor Giovanni Ribisi
How directors can benefit from taking acting classes
Why hiring people for production is easier than hiring for post
The best way to evaluate the post team in interviews
Paying a flat fee versus paying an hourly fee
Why everyone needs to have a deal memo
Sharing your honest opinion without offending the other person
The magic moments that can happen in post

Memorable Quotes

“It is a lifelong process learning about our art.” [11:07]
“I wish more actors had a better handle on editing.” [11:14]
“Hiring people for production is fifty to a thousand times easier than hiring people for post.” [17:45]
“Your recommendation is your reputation in this industry.” [28:34]
“You should do deal memos on every project you do, for everything you do because it forces people to lay out expectations.” [35:00]
“Post can be way more fun than set. You can give birth to your project again in a new way.” [42:20]

Mentioned:

DP Robert D. Yeoman on Film vs Digital, Long-Term Director Relationships, and Sleep

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Hungry Dog Blues Instagram

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‘Hungry Dog Blues’ Filmmakers Share Secret to Indie Film (Good Follow Up) Nov 24, 2023

What does it feel like to finally finish your first feature? It’s difficult to explain the mix of emotions running through you. To quote the director of Hungry Dog Blues, it kind of feels like “finishing a marathon or coming out of a psychedelic drug trip.”

In today’s episode, No Film School’s GG Hawkins speaks with filmmakers Jason Abrams and Irina Gorovaia to discuss:

The very unique experience of making your first film
The magical sense of community on an indie set
How the film was inspired by a true story
Why people prefer to work on a project that already has momentum
Launching a crowdfunding campaign right before the pandemic started
How the proof of concept made a huge impact on their fundraising efforts
Why frequently following up with investors is so important
The practice of not taking things personally
Why it’s a win if people hate your movie
Understanding you have to wear a lot of hats on your first film
Learning to enjoy every little part of the filmmaking process

Memorable Quotes

“It’s a very unique process to take something through, from nothing to something.” [4:52]
“Everybody wants to be on a moving train. Nobody wants to shovel coal.” [12:16]
“It’s not your job to say ‘no’ for other people.” [30:39]
“Slow down. Take your time. Enjoy every little piece of it. Learn to enjoy every little piece of the filmmaking process.” [58:04]
“You can create just for the sake of creating. Just because you have a story to tell. That’s allowed, too.” [61:57]

Mentioned:

Hungry Dog Blues

Irina's Instagram

Jason's Instagram

Variations on a Theme (YouTube channel)

Resources they used:

Producing

Film Budget Template

Line Producer Tips

Successful Crowdfunding Campaigns

Entertainment Lawyer Help Filmmakers

Creative

Breaking the Fourth Wall

The Art of Suspense

Jumping from Short to Feature

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PILOT Razor Point Fine Line Marker Stick Pens

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Gift Guide 2023 and the Pokémon Cards of Filmmaking Nov 23, 2023

It’s that time of year again. The time of year when we show the filmmakers in our lives how much we appreciate them, with practical gifts that will improve their filmmaking journey.

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

Pulling out a new set of pens for your new project - it’s so satisfying
Using a notebook versus using your phone
Reading “A Swim in a Pond in the Rain” while sitting in a sauna
Understanding the joy and richness of teaching
Why you need a podcast microphone even if you aren’t a podcaster
Why a quarterly planner is better than a yearly planner
The $70 light used on an $80 million movie
Why having a nice notebook improves the quality of your work

Memorable Quotes

“It’s almost like I’m texting, when I’m writing.” [3:21]
“Everyone trusts you if you write a note in a notebook…Everyone thinks you are serious with a notebook.” [5:06]
“I’m not sure I see what you see in this, but the fact that you see it, makes me excited to go on the journey to try to see it.” [11:44]
“Filmmakers should all have nice microphones.” [15:45]
“My life and my specs changed drastically when I got Grammarly.” [20:22]

Resources:

Leuchtturm 1917 notebook

Drehgriffel Nr. 1

Muji Color Gel Pens

Bull and Stash notepads

Pilot Precise Pen

George Saunders “A Swim in a Pond in the Rain”

Sennheiser Profile Streaming Microphone

Rode NT-USB mini

Grammarly plans

Poketo Quarterly Planner

Aputure MC 30 Light

Moleskine unlined notebook

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Our first podcast interview with Yeoman

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‘Asteroid City’ DP Robert D. Yeoman on Film vs Digital, Long-Term Director Relationships, and Sleep Nov 17, 2023

To improve your filmmaking, you have to just go out there and shoot with whatever you have, even if all you have is an iPhone. This advice comes from prolific cinematographer Robert Yeoman, who is joining us on the podcast for a second time.

In today’s episode, No Film School’s GG Hawkins speaks with DP Robert Yeoman and DP Ryan Thomas to discuss:

When Robert first met Director Wes Anderson and what they discussed
Why the director and cinematographer need to be on the same team
Cultivating a family-like atmosphere with the cast and crew
The vetting process for choosing the camera crew
The best way to approach the challenges of complex shots
What Robert does to stay healthy, sharp, and safe while filming
Shooting on film versus shooting on digital cameras
How film has evolved over the years
Why knowing how to edit can help you be a better cinematographer

Memorable Quotes

“If you don’t like the script, you shouldn’t take the film.” [5:38]
“The director is my best friend. I am there to serve the director as best I can.” [6:36]
“I have this ability to not show that I’m nervous, even though inside I might be going nuts.” [19:05]
“Go out and shoot stuff. It doesn’t matter if it’s your iPhone.” [42:09]

Resources:

More on the Netflix shorts Wes Anderson directed

Ryan’s website

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Read Evan’s No Film School articles

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An Indie Film Exec Unpacks The Post-Strike World Nov 16, 2023

“As Hollywood changes post-strike, the only surefire way in the door is to have something great people are excited to make.” If you are a writer looking to break into the industry, you need to know how to write a great script that producers actually want to read.

In today’s episode, No Film School’s Jason Hellerman speaks with acquisition executive and script consultant, Evan Littman, to discuss:

The difference between large studios and indie markets
How indie films are made
Why you should not submit a short
Castability - why you need to write roles for specific actors
The reasons you need representation as a writer
Why it’s a seller’s market right now if your script is ready and it’s a banger
Having a basic understanding of production costs
Log lines we don’t like
Carving out your own little corner of Hollywood

Memorable Quotes

“Horror is a great, communal, theatrical experience.” [9:12]
“I hope I’m not crushing anyone’s soul when I say, ‘nobody really cares about shorts.’” [13:09]
“The strikes are over, but that doesn’t mean it got easier. It means it got harder.” [15:56]
“Know how much your movie costs.” [27:16]
“Do not wait for everyone else to tell you ‘yes.’” [40:04]

Resources:

Get Made Consulting

How to Write a Logline

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Getting accepted into the Sundance Labs on the 5th attempt

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Demystifying Artist Labs and Programs with Tribeca Studios’ Bryce Norbitz Nov 10, 2023

Have you considered submitting an application for a development program or a writer’s lab, but you don’t know where to start? You’re unsure what you should include in your application, and you don’t know what to expect if you do get accepted.

In today’s episode, No Film School’s GG Hawkins speaks with the Director of Artist Programs at Tribeca Studios, Bryce Norbitz, to discuss:

Artist development programs and how they help new filmmakers
What Bryce focuses on when she first reads an application
The benefit of applying to a program even if you don’t get accepted
What the jury has to consider when deciding on a program winner
The credibility that comes with being a program finalist
What it looks like to work with a brand partnership on your film
When you should avoid submitting your story to a lab or program
What applicants should include in their submissions
Attending small, community-driven festivals in order to network
Powerful reasons to attend film festivals as an emerging filmmaker

Memorable Quotes

“Nobody goes into any brand funding without knowing what the brand’s goals are.” [27:35]
“Knowing exactly what you are putting yourself up for will save you energy.” [32:13]
“People need to feel more comfortable shouting themselves out.” [32:38]
“Your career as a filmmaker will likely not be consistent. It will be ever changing.” [35:12]
“My scene was cut, and I never acted again.” [39:06]

Resources:

New Orleans Film Festival

Blackstar Film Festival

Connect with Bryce: untoldstories@tribecafilm.com

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6 Ways to Make the Most of Any Film Course or Project.

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How To Talk About Your Film Career at the Holiday Dinner Table Nov 09, 2023

What’s the most effective way filmmakers can explain what they do, to people who don’t understand the industry? How do you argue against the notion that “film is not a real industry?” What’s the best way to approach a film course, so you can get the most out of it?

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

Educating your family on what it takes to write a screenplay
Navigating outsider opinions on the film industry
Why we can still love filmmaking even if we aren't’ “Spielbergs”
How to get the most out of any film course you take
The most common defense mechanism of a filmmaker
Embracing the knowledge that you will always be learning
Why we can’t fathom the fact AI is writing screenplays

Memorable Quotes

“Many doors are not open in Hollywood, so you have to find a window to sneak through sometimes.” [4:16]
“If they can’t find that passion, I would change the subject to something that’s way worse.” [17:40]
“We deliberately erase the labor of the people who create the art we want to see, because we don’t like thinking about all the effort that went into it.” [19:00]
“You paid to take this class. So just pretend you have something to learn.” [34:13]
“The joy in a screenplay is witnessing another person’s humanity.” [41:12]

Resources:

‘TMNT: Mutant Mayhem’ Production Designer Yashar Kassai on the Future of Animation

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Teenage Mutant Ninja Turtles: Mutant Mayhem

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‘TMNT: Mutant Mayhem’ Production Designer Yashar Kassai on the Future of Animation Nov 03, 2023

Yashar Kassai is the production designer of the Teenage Mutant Ninja Turtles: Mutant Mayhem. The team behind the film pushes the boundaries of animation by adding depth, complexity, and messiness to both the visuals and emotional tone of the film. Yashar describes the design of the film as bad. He says, “it’s like good-bad. It’s like dumb-good.”

In today’s episode, No Film School’s GG Hawkins speaks with production designer Yashar Kassai to discuss:

What it means to be a production designer in animation
Defining the parameters of the world his team built
How being a lame hero is refreshing in a world of ultra serious heroes
Why they intentionally designed the whole film to be “imperfect”
The value in destroying the film over and over again
The power of shaping light to tell your story
What Yashar hopes to see in the future of Western animation
Feeling both terrified and impressed by the capabilities of A.I.
How animation has room for more complexity

Memorable Quotes

“How do you tie together all the brilliant work that’s being put in front of you and make it into one cohesive thing on screen.” [8:40]
“You can do anything you want to, no matter how crazy it is.” [09:09]
“It’s really endearing to be lame as a teenager and not know who you are.” [14:09]
“We thought we had it. We thought we really went for it, but we didn’t.” [18:24]

Resources:

Yashar's Instagram

Yashar's website

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Killers of the Flower Moon

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Avoid Making Your Sets Look Like Sets; Plus, Are Intermissions Back? Nov 02, 2023

Should filmmakers include intentional intermissions on long films? How do you properly film on a set, so it doesn’t look like a set? Is it possible to shoot your entire project using an iPhone?

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

Movie theaters adding intermissions to a Scorsese film without permission
The reason 3D movies in the 1950s used intermissions
Filmmakers creating different formats for different viewing options
Scenarios when filmmakers should plan for intermissions in their films
What GG’s first sound stage experience was like
How to make a set NOT look like a set
Everything we love about Apple’s recent products
How Apple shot their news event entirely on the iPhone 15

Memorable Quotes

“Since the invention of television, every filmmaker has had to think in multiple formats.” [16:14]
“Scorsese can do whatever the fuck he wants and if he says ‘no intermission,’ I will not drink liquid ahead of time.” [17:09]
“There’s a way to shoot with limited resources to still think big.” [25:12]
“A set wall will never look like a real wall no matter how hard you try.” [31:10]

Resources:

Learn to Shoot 35mm

An Apple event shot on the iPhone

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‘Joyland’ Director Saim Sadiq Redefines What It Means To Be a Director

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Why Horror Films Are a Mirror of Society Oct 31, 2023

The horror genre has not always been widely appreciated, yet it is one of the best genres to explore the challenges facing our world at large. “It is very easy to find the horror in reality,” whether it be the current ecological crisis or inequality facing female filmmakers. This genre offers an opportunity to bring awareness to important issues, in an enlightening and entertaining way.

In today’s episode, No Film School’s GG Hawkins speaks with Director Elza Kephart to discuss:

Her experience attending film school in the US as a Canadian filmmaker
Funding a film with insurance money received from a burglary
Getting paid as a director, for the first time, in her 40s
How the Fantasia Film Festival helped her grow in confidence and connections
The differences between the Canadian film industry and the US film industry
Why you shouldn’t rely on the social justice angle for your film
Recognizing gender inequality in the filmmaking industry
Why it’s okay to be a filmmaker who is an introvert
Specific tips to know if you found the right actor

Memorable Quotes

“This is a mature career. It takes decades to build to the point where you have a sustainable career.” [8:05]
“No matter how strange an idea…if it’s coming from an unconscious, organic place, that’s the story you need to follow.” [21:56]
“Expectations: Make a good film and don’t be an asshole.” [40:16]
“If you cast good actors, you almost don’t have to do anything.” [51:34]

Resources:

Slaxx

Kelly Fremon Craig Shares With NFS How To Adapt Beloved Classics for Theaters

The Confidence Code

Hope for Film

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A Creature was Stirring

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Piloting Real-Time Post-Collab on Damien LeVeck’s Holiday Horror Oct 28, 2023

Is the best time to release your horror film during the month of October? Damien LeVeck certainly doesn’t think so. Damien is an award winning filmmaker known for his work in the horror genre. We can’t wait to see his most recent film, A Creature was Stirring. This “Christmas meets horror” movie will be released this December.

In today’s episode, No Film School’s GG Hawkins speaks with filmmaker Damien LeVeck to discuss:

One of the best horror scripts he has ever read
Why he takes script submissions on his website
Taking a good script and making it into a great script
How a Minimum Guarantee (MG) deal works
Using the cloud system provided by Black Magic Design
A simple tech tip that all directors should know
The challenge of writing, directing, producing, and editing your own movie
Doing screenings in order to get honest feedback

Memorable Quotes

“You should be glad you did this, because it might be the only time in your life when you will take these kinds of risks.” [3:39]
“If you cannot see the twist coming on the page, that’s a real feat.” [7:21]
“If you know how to edit, you will be a much better director.” [18:24]

Resources:

Top Legal Mistakes Filmmakers Make and How To Avoid Them

Skubalon Entertainment

Damien’s Instagram

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Check out Ricardo's website

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Breaking Down the Color of Horror with LatinXorcists’ Ricardo Martinez Oct 27, 2023

Ricardo Martinez is a multi-hyphenate Editor, Writer, Director. He is known for his award-winning documentary, The Wall, which won the 2010 SF Latino Film Festival and screened on PBS. If we had to describe Ricardo’s work, we would say he is an expert at “finding the horror and beauty in the reality” of everyday life.

In today’s episode, No Film School’s GG Hawkins speaks with filmmaker Ricardo Martinez to discuss:

The LatinXorcists - a group made of latino screenwriters who love horror
Why he was inspired to create the documentary film, The Wall
Creating a horrifying video trailer for The Bloodstone
What we need to know within the first 5 pages of a script
What makes a good monster story
Exploring the horror in our everyday human fears
Why Ricardo loves using Black Magic tools
Color correction tips and tricks
Our suggestions for some of the scariest movies

Memorable Quotes

“I think there’s beauty in horror as well.” [18:25]
“Making sounds yourself is actually a lot of fun and a cheap way to boost up production costs.” [23:45]
“Every good monster story is not about the monster. The monster means something, it represents something.” [31:49]
“That dread is part of the joy of horror.” [32:48]
“Horror can be so many different things. That’s the joy of horror. There’s such a wide spectrum of types of horror.” [41:12]

Resources:

About the LatinXorcists

Citadel Scavenger

Creators of Earth

Seed to Strain

The Bloodstone Comic

The Handy Foundation

The LatinXorcists website

The LatinXorcists Instagram

Ricardo's Instagram

The Bloodstone Instagram

Burden of Dreams film

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Benji & Stephen's website

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Practical Advice for Practical Effects With the Directors of SXSW Creature Feature ‘Snatchers' Oct 26, 2023

Can you make a feature film using practical effects in a way that feels realistic and not “cheesy?” That’s what the team behind the film, Snatchers did. Snatchers is a horror-comedy film about a teen girl who wakes up nine months pregnant with an alien.

In today’s episode, No Film School’s GG Hawkins and Jason Hellerman speak with filmmakers Stephen Cedars and Benji Kleiman to discuss:

Practical effects - what are they?
Some of our favorite practical effects in film
How practical effects can be more effective than cgi
Scaring away a famous editor with the smell of farts
Finding a balance between cgi and practical effects
How Stephen and Benji approach writing sketches
Transitioning into making feature films

Memorable Quotes

“Horror movies are trying to show you something you can’t fathom or haven’t seen before.” [9:34]
“It’s really hard to be creative while also tamping down on your creativity.” [27:09]
“There’s no greater killer of creativity than feeling insecure.” [38:14]
“If you’re passionate and prepared, you can’t go wrong.” [43:48]

Resources:

Snatchers Trailer

Speruchet Pan Tournegos Short

Stephen's Instagram

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Adventures in Indie Filmmaking and Leveraging Famous Faces Oct 19, 2023

How do you handle post set blues? How do you properly adapt something you don’t have the rights for? What can we all learn from Taylor Swift’s recent movie?

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

Shooting an indie film in panama - excitement, exhaustion, and mosquito bites
All the work involved after wrapping
The importance of screen acting and what’s involved
Being blown away by the commitment and generosity of the cast and crew
What we love about Taylor Swift’s newest film
Why film set people are the best
Adapting without the rights - is it worth it
Benefits to writing unlicensed biopics

Memorable Quotes

“This whole thing is greater than the sum of its parts.” [9:31]
“We need better sound proofing between the theaters please.” [34:15]
“You will lose to money. You will lose every time.” [50:52]

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How 'The Creator' DP Challenges Big Budget Filmmaking with an Indie Mindset Oct 18, 2023

Can you make a big budget, sci-fi film that isn’t a franchise, or a sequel, or a reboot, and tackle it using an indie mindset? That’s what the team behind the film, The Creator did. The film, which tells a story about war between humanity and artificial intelligence, is currently in theaters.

In today’s episode, No Film School’s Charles Haine speaks with DP Oren Soffer to discuss:

Being offered a co-dp position on the film
How shooting on one lens made the VFX much easier to work with
The differences in lenses over time that affect their consistency
Leaning into natural light as much as possible
Wanting to maintain the creative energy of guerilla style filmmaking
How the project originally got the green light from the studio
Working in a very trusting environment
Looking at tons of references images the director pulled from

Memorable Quotes

“The visual effects approach was designed to fit the footage and not the opposite.” [6:53]
“What do we need to add or subtract from that lighting to create a more curated lighting environment?” [22:04]
“The filmmaking process itself felt really scrappy in the best way possible.” [36:39]

Resources:

The Creator

Oren’s website

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Onyx, The Fortuitous, and The Talisman of Souls

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How The Weird Satanist Guy Spawned a Sundance Indie With Demon Puppets Oct 18, 2023

Making a film is a laborious task that requires dedication, passion, discipline, and inspiration. Seeing the success of other filmmakers, who are more often than not in the same position as us, is not only motivational but can be a guiding light for those making their first film.

In today’s episode, No Film School’s Yaroslav Altunin speak with multi-hyphenate creative Andrew Bowser to discuss:

How Andrew came up with the Onyx character
Starting his career as a child actor before becoming a writer and director
Questioning his original script after getting some harsh notes
Why having multi-hyphenate creatives work on the film was necessary
Working with VFX and puppets and the challenges that came with it
Discovering some continuity errors they didn’t catch in the final edit
Why Andrew likes a slower editing process
Not looking down on non traditional film platforms

Memorable Quotes

“It was this revelation. I felt like I had found something to pursue creatively.” [2:23]
“I was led to writing and directing purely out of a want for more control.” [5:39]
“On indies there's not a lot of time to explore.” [40:22]
“Editing for me is such slicing and splicing.” [48:19]

Resources:

Tickets to Onyx The Fortuitous and the Talisman of Souls

https://www.fathomevents.com/events/Onyx-the-Fortuitous-and-the-Talisman-of-Souls/

Andrew’s YouTube Channel

https://www.youtube.com/@BowserVids

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Why You Should Write Your Spec with 'Greenland' Screenwriter Chris Sparling Oct 10, 2023

Don’t be afraid to plant your flag early on. This advice comes from writer Chris Sparling, who is known for the 2010 film, Buried, starring Ryan Reynolds and the 2020 film Greenland, starring Gerard Butler.

In today’s episode, No Film School’s Jason Hellerman speaks with writer and director Chris Sparling to discuss:

The first time Jason and Chris met, 10 years earlier
How Chris starts the writing process
Talking to reps to get an accurate idea of what scripts will be successful
Why Chris writes specs and encourages other writers to do the same
Breaking out of the box people put you in
Recognizing it’s not necessary to go after every single assignment
How to manage your expectations when going out with a new spec
Writer’s block - Is it real and how to overcome it
Why it’s important to rehearse your pitch

Memorable Quotes

“If there’s a real fire in you, that’s the story you want to tell.” [6:10]
“I’m constantly trying to pump out new material that shows another side to what I do.” [12:30]
“You have to get out of your own way and power through it. [30:38]
“Don’t be difficult, but also don’t undervalue yourself.” [42:52]

Resources

Buried

Greenland

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A Step-by-Step Guide to Mastering Your Spec Screenplay

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The WGA Strike is Over - What's Next? Oct 05, 2023

Finally, the WGA strike has come to an end and writers are going to be elated about the new agreement. So what does this new agreement entail and how will it affect the future of Hollywood?

In today’s episode, No Film School’s Charles Haine and Jason Hellerman discuss:

The terms of the WGA contract
Scheduled minimum raises for writers
How feature writers will benefit
What literary material is and how it affects scripts written by A.I.
Using A.I. with open disclosures
Why writing may be one of the hardest roles in the entertainment industry
Why we like minimum room sizes
The potential for a spec boom
Why original spec screenplays are coming back in fashion
Advice for younger writers

Memorable Quotes

“We’re not saying A.I. is the devil.” [6:49]
“Your biggest job as a screenwriter is making identifiable character motivations.” [9:24]
“Characters stop acting like you expect them to act. And then it bothers you as an audience.” [11:08]
“The job of the WGA is to protect its writers.” [13:31]

Resources

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Connect with Andreas online

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The Most Disturbing Shorts at Sundance Sep 29, 2023

The Midnight Shorts section of the Sundance Film Festival is known for creative, weird, and visually innovative horror. The 2023 lineup features short films with dark, weird, cringey stories that were created with love and intention.

In today’s episode, No Film School’s GG Hawkins speaks with the filmmakers behind these shorts to discuss:

What each short film is about and what the stories were inspired by
Digging into our own fears about love, our bodies, the world falling around us
Taking specific topics and situations and making it relatable to the general audience
The biggest cuts that had to get made
Removing redundant scenes that embody similar meaning
How the motion of the camera translates meaning into the final cut
What it’s like to work with live animals on set
The biggest technical challenges
Divulging set secrets
Filming in random people’s apartments in NYC

Memorable Quotes

“Wanting to tell a story about fear and desire and the places that those intersect.” [5:14]
“Every word, every sentence is scrutinized on that level.” [18:50]
“I can’t stand anything redundant at all.” [19:50]

Resources

Pipes

Follow Pipes on IG

Alien0089

Follow Alien0089 on IG

Unborn Biru

Follow Per-Josef on IG

Claudio’s Song

Connect with Daphne online

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The Writer's Strike Ends and Social Media Debates a Screenplay Page Sep 28, 2023

Are you ready for the WGA strike to end? We sure are! After almost half a year, the WGA and AMPTP have announced they have agreed on terms.

In today’s episode, No Film School’s Charles Haine and Jason Hellerman discuss:

WGA writers enjoying meals for free due to the generosity of a certain actor
What a reboot of The Office would mean for writers
The role of unions in the film industry
Why labor movements in Hollywood are not going away
The reason film companies fled New York City in the early 1900s
Arbitrary rules of script writing and why we don’t agree with them
Why you need to write many different scripts

Memorable Quotes

“The union is not about getting people rich. The union, if it does its job right, will get some people rich. But it's making sure that everybody that’s working can at least afford to eat and have shelter.” [7:15]
“The film industry being in Hollywood is at least, partially about labor history.” [12:55]
“People want screenwriting to be so formulaic and so rule-driven.” [17:35]
“You’re not gonna find your voice in the first script you write.” [29:55]

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Aliens Abducted My Parents and Now I Feel Kinda Left Out

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How To Cast, Direct and Make Movies for Kids Sep 23, 2023

Jake Van Wagoner is a director, producer, and actor known for his work on Impractical Jokers and the film Christmas Time. His recent film, Aliens Abducted My Parents and Now I Feel Kinda Left Out, is a family friendly sci-fi feature that premiered at the 2023 Sundance Film Festival.

In today’s episode, No Film School’s GG Hawkins speaks with director Jake Van Wagoner to discuss:

Getting funding for the film from a family friend
The unique title to the movie
Making a film the whole family could enjoy
Building the production team from many great connections
How directing is like being a father
Guiding the child actors in some challenging scenes
Shooting a 93 page script in only 15 days
Using children from his family to act as little aliens
The process of attaching Will Forte to the movie
Lessons he learned from his first feature, Christmas Time

Memorable Quotes

“We shot a movie in 15 days which is bananas.” [12:43]
“Will Forte is the sweetest man on earth…he’s the LAST sweetest man on earth.” [16:10]
“That’s probably my most embarrassing moment in the movie as a director.” [19:48]
“In the end, we are just making a movie. It’s not the end of the world.” [23:55]

Resources

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The iPhone 15 is for Filmmakers, Casting Problems, and a Panamanian Adventure Sep 21, 2023

What unintended shifts to the industry are coming from the current strike? Why is the iPhone 15 the perfect phone for filmmakers? What should you do when one of your lead actors quits right before production?

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

The role of a Production Assistant (PA)
Grinning and bearing your job and feeling burnout later
Why most organizations should unionize
The iPhone 15 - it’s a total gamechanger for filmmakers
Losing a lead actor for a film less than two weeks before filming
Shifting away from people pleasing
Why it is so beneficial to work with casting directors early in your career
No longer feeling bad for asking for help
What’s in our on set binders

Memorable Quotes

“This is such an important structure for supporting people who don’t necessarily have the resources to advocate for themselves.” [7:13]
“We often think about Hollywood as just film and television, but there’s so many more things shooting everywhere, all the time.” [8:13]
“It’s still hard work and a grind, but can it be hard work and a grind where you can afford your fucking rent!” [11:05]
“It is a wild time that a camera this good is going to be walking around in everybody’s pocket all the time.” [22:08]
“I’m shifting away from people pleasing mode. Shifting away from party host mode, to focusing on the end product. Focusing on the story we are telling, and letting that be the only ego.” [27:20]

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SNL Mario Kart Trailer (Edit Time lapse)

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How These SNL Editors Cut an Emmy-Nominated Sketch With 60+ VFX Shots in Two Days Sep 15, 2023

If you are moving quickly, you don’t rise to the occasion. But you fall to your ability. If you do the work to get there, you will create great stuff.

In today’s episode, No Film School’s GG Hawkins and Yaro Altunin speak with SNL editors, Chris Salerno and Ryan Spears to discuss:

How Chris and Ryan started working at SNL
Common traits for people who succeed in their line of work
Realizing quickly that certain things are done for a reason
What is was like editing the Mario Kart sketch
The biggest challenges they faced in editing the trailer
Telling jokes in the most efficient manner
Learning to trust your initial instincts
Advice for emerging sketch editors
Working with mixed frame rates
Favorite sketch moments of all time

Memorable Quotes

“You really have to adapt, just keep moving, and trust your instincts.” [10:35]
“You have to learn to trust what your initial instinct to the footage is, because sometimes you don’t have time to have a second instinct.” [26:34]
“It’s really just finding what the intention of the piece is at its heart.” [34:25]

Resources:

Connect with Ryan on IG

Ryan's website

Connect with Chris on IG

Chris's website

HBO Mario Kart Trailer - SNL

“SNL’s” Emmy-nominated “HBO Mario Kart Trailer” sketch edited with Adobe Premiere Pro and After Effects

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Secrets to a Happy Set Sep 14, 2023

What important lessons can we learn from the current WGA strike? Is there a possibility that writers can make deals with individual studios versus the AMPTP? How do you maintain morale and set the tone for each day on set?

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

Why trying to split up your opponents is a good strategy
How low stock numbers may incentivize executives to end the strike
Why trying to split up your opponents is a good strategy
Getting sufficient sleep and having good food on set
Taking time off and planning non-film related activities
Why you need to invest in hiring a fixer during production
The best way to set the tone for each day of shooting
Our experiences working on a quiet set
How to handle the hard days on set

Memorable Quotes

“Experienced negotiators like to negotiate on as many terms as possible and try to exhaust their opponents.” [6:27]
“When we start to shoot that scene, it should become a quiet set by accident.” [32:22]
“The nice thing about set is that it never feels like you are alone trying to solve anything.” [38:14]
“Don’t overcommit to what you put on the page.” [42:36]

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How “Blackberry” Editor Induces Anxiety in Comedy Sep 08, 2023

Curt Lobb is a Canadian editor known for his work in TV series and films, like The Kid Detective, I Used to Be Funny, and Tales from the Territories. He recently edited the film, BlackBerry, the story of the meteoric rise and catastrophic demise of the world's first smartphone. This doc-style film, which released May 2023, perfectly captures the chaos of business.

In today’s episode, No Film School’s GG Hawkins speaks with editor Curt Lobb to discuss:

Starting his career in the industry as an assistant camera operator
How he got his first paid editing jobs
What it was like being an assistant editor on The Dirties
Giving a frantic feeling to the film, BlackBerry, in the edit
Curt’s approach to editing a scene
Meshing different emotions like humor and anxiety
Using your own instincts in the edit before getting the director’s feedback
What is was like editing in an old train station
Special shortcut keys he loves to use in editing
Going into a project with respect for the story you are telling
Knowing the right time for a joke or not

Memorable Quotes

“The editing side of things was always the most exciting for me.” [5:12]
“I didn’t really turn anything down for a long time.” [10:12]
“Instead of having to pick the best take of something. I’m comparing what's already there in the assembly.” [21:29]

Resources:

BlackBerry

The Dirties

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Strike Updates & Questions Directors Need To Answer in Prep (Feat. A Director in Prep) Sep 07, 2023

Where are things at with the current WGA and SAG strikes? How do these strikes affect the way we think about work-life balance? How can you make sure all your ducks are in a row, when preparing to shoot a low-budget, indie film?

In today’s episode, No Film School’s GG Hawkins and Jason discuss:

What took place between the WGA and AMPTP in a recent meeting
The incredibly difficult role of being a showrunner
Paying feature writers on a weekly basis
Shooting an ultra, low budget, indie film in small island in Panama
The No Film School Production Checklist for Directors
Why chemistry is so underrated when it comes to casting
Storyboarding more transitions between different scenes
Benefits to filming rehearsals on an iPhone
Being nickel and dimed on the softwares you need as a filmmaker

Memorable Quotes

“We need to remember how important it is to have a sustainable life when you are doing any job.” [6:04]
“We don’t like wondering where our food is going to come from.” [7:58]
“I’m treating it like it’s my life grad school thesis. My No Film School thesis.” [14:59]
“You can really only learn by doing.” [39:37]

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Anchorage | Official Trailer

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Grit, Hustle and Self-Distribution: Learnings From Team Behind "Anchorage" Sep 01, 2023

The feature film, Anchorage, is a true indie film that was shot in 5 days and created on a self-funded, budget of only $54,000. The film, which was originally planned to be a short, has gone on to receive 11 awards and 10 nominations across 17 festivals. The film’s team has been independently producing a theatrical tour, across the US and in the UK.

In today’s episode, No Film School’s GG Hawkins speaks with Scott Monahan, Dakota Loesch, Erin Naifeh, and Spencer Showalter to discuss:

Getting coverage in big publications like The Guardian
Developing a short into a feature using the same budget
Selling family heirlooms in order to finance the film
The process of shooting in the high desert for five days
Letting actors move around and do what they wanted to do
Putting your crew together based on personality not talent or budget
Learning how to do an assembly cut before bringing on the editor
Cutting and editing depending on what feels right to the story
Playing at Music Box Theater alongside Oppenheimer and Asteroid City
The 3 most powerful words you can say as a director

Memorable Quotes

“The movie changed from a short to a feature, but the budget was the same.” [7:40]
“We had structure but we also had freedom to improvise and be organic.” [9:35]
“Sometimes it’s more important what other people bring to your project than what you are bringing to your project.” [35:07]
“We’re not good will hunting, we are bad will hunting.” [41:37]

Resources:

Anchorage IG/FB/X: @anchoragemovie

Anchorage | Deeper Into Movies Screening (FREE)

YES, Manchester | September 6th 7:30pm

https://dice.fm/event/gax26-anchorage-qa-6th-sep-yes-the-pink-room-manchester-tickets?lng=en-US

Anchorage | Deeper Into Movies Screening (FREE)

TT Liquor, London | September 9th 3:30pm

https://dice.fm/event/l5d6r-anchorage-qa-9th-sep-tt-liquor-store-london-tickets?lng=en-US

Anchorage | Curzon Q&A Screening

September 12th Curzon Hoxton 6:40pm

https://www.curzon.com/ticketing/seats/HOX1-12139/

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How To Write a Screenplay in Ten Days and Shoot a Movie in Less Aug 31, 2023

Making a micro-budget film in a short span of time may feel like an impossible task. What would you say if we told you that these limitations actually make the filmmaking process easier? How is it possible to have more freedom when you are dealing with more restrictions?

In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman speak with filmmakers Matt Hirschhorn and Eric Cohen to discuss:

The origin of Wine Club and how Matt and Eric reverse engineered the film
How the limitations and parameters of shooting a micro-budget film is liberating
Staying calm in the face of a literal storm during a rain out in California
Cultivating a ‘no assholes’ policy during filming
Having the entire film edited by the Second AC who had no prior editing experience
Why they are considering self distribution
Their trick for shooting very quickly
Not knowing how the cast would work together before filming
Attending film school in North America as an immigrant

Memorable Quotes

“You can get the best out of you, when you know what you can’t do.” [8:17]
“Instead of overthinking and suffocating the story, it’s letting the story evolve and become what it wants to be.” [10:17]
“This kid ended up editing the entire movie.” [15:19]
“Getting that double coverage in one set up was so critical. It let us capture so much, so quickly.” [26:31]

Resources:

How to Write a Screenplay in 10 Weeks

Follow Wine Club movie on Instagram

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Follow Laura and Brendan on Instagram

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How To Reinvent a Classic With Birth/Rebirth’s Laura Moss and Brendan J. O’Brien Aug 25, 2023

Laura Moss and Brendan J. O’Brien are the writers behind the film, Birth/Rebirth, which premiered at the 2023 Sundance Film Festival. The film was inspired by Mary Shelley's novel Frankenstein, but with a focus on the madness and monstrosity of motherhood.

In this episode, No Film School’s GG Hawkins speaks with writers Laura Moss and Brendan J O’Brien to discuss:

How Laura and Brendan met and their very unique relationship
One of the best pieces of advice Laura ever received on scriptwriting
Finally getting accepted into the Sundance Labs on the 5th attempt
Advice for anyone who applies to Sundance Labs and gets rejected
The amazing experience working with the production company
The biggest challenge they had in post-production
Using natural sounds like ultrasounds and fetal heartbeats
Weaving in sound design and score in a complicated scene
What it was like working with a six-year-old actor for a horror film
Casting Judy Reyes as one of the stars

Memorable Quotes

“We got to know each other. We fell in love. We got married. We got divorced. And then we started really writing together in earnest.” [5:14]
“One rejection does not mean you are punted.” [14:03]
“The thing you think is going to be the easiest, turns out to be the hardest thing in the movie.” [29:56]
“We both have had so much rejection behind us and so much rejection in front of us.” [46:35]

Resources:

Birth/Rebirth

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The Making Of The Making Of an Austin Short Film masterpiece

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How To Actually Shoot a Movie On Your iPhone Aug 24, 2023

Emerging filmmakers have heard the following advice over and over again. “There’s no excuse not to start filming. You can make a movie on your iPhone.” Well, shooting a film on your iPhone is more complicated than it sounds, especially when you have such a short deadline.

In this episode, No Film School’s GG Hawkins speaks with director Meghan Ross and editor Lauren Paige Sanders to discuss:

Working with Adobe to create a short film, on an iPhone, in only 30 days
Realizing they would have to be really flexible for the project
How editing moved faster by syncing footage early on in Adobe Premiere
Filming on three different iPhones
Trusting the editor’s vision and storytelling abilities
Working with an aggressive post timeline
Why Meghan decided to star in the film herself
Why it's important to have an AD
One of Lauren’s favorite things she has ever edited
Using hot keys for everything you do in editing
Adobe’s goal behind this short film

Memorable Quotes

“Working with an iphone instead of camera footage sounds easier, but it can be more challenging.” [6:25]
“I like to be challenged in terms of editing. I like when stuff isn’t just laid out there for me and I have to figure it out.” [23:47]
“Go with what you know, but feel free to explore outside of that.” [36:36]
“You’re sharing this work on stage with this team of people. You are sharing the failures and you’re sharing the wins.” [38:32]

Resources:

Meghan’s website

Lauren’s website

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SNL Vet On Directing, Producing and Shooting Sketch, Parody and Satire Aug 18, 2023

Alex Buono is a director, producer, cinematographer, and executive producer who is known for his work on television shows such as Saturday Night Live, Documentary Now! and Russian Doll. He is currently working as the Directing Producer on a tv series, Based on a True Story, which is now available for streaming.

In this episode, No Film School’s GG Hawkins speaks with Director Producer Alex Buono to discuss:

Working at SNL soon after graduating film school
How his time at SNL forced him to develop dexterity in his work
Figuring out how to create different styles for each episode of Documentary Now!
Bending genres and finding tone for the show, Based on a True Story
Getting certain shots out of your system
Being influenced by Brian De Palma and the Cohen Brothers
Good exercises for young filmmakers to try out
Being a Directing Producer - it’s not for everyone
How directing and producing is like being a project manager
Being the copilot that helps bring someone else’s vision to life

Memorable Quotes

“There was no time to worry about it. There was no time to overthink things. You just had to go and do it.” [5:07]
“Find ways to tell a really gripping documentary, but in a really silly way.” [15:44]
“If you grow up as a cinephile and as a film nerd, there’s just certain types of shots you are just desperate to do.” [19:01]
“For most directors it is a real managerial job. You have to enjoy that and really want that role.” [37:40]

Resources:

Russian Doll

Documentary Now!

Based on a True Story

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Rock & Roller Grace Potter Explains Her Filmic Inspirations, Aspirations Aug 17, 2023

You love film just as much as you love music, so which career do you pursue? This is a difficult decision to make when you feel pulled in both directions. Well, who says you have to choose one or the other? Maybe you can combine your passions together and make something extra special.

In today’s episode, No Film School’s GG Hawkins and Jason Hellerman speak with singer-songwriter, Grace Potter to discuss:

Ending a film major in order to pursue a fast-moving, music career
How being in a music studio is like doing post production for a film
The difference of pacing in film versus music
Writing a set list as if it were a mini movie
Why watching other people hate your work is a good thing
Collaborating with director Catherine Fordham
Eating spaghetti for breakfast everyday
Making Ridley Scott the best cup of coffee
Not being allowed to watch television growing up
Writing alone versus collaborating with others

Memorable Quotes

“There’s more permission and more patience with music fans than with film and tv, which is weird and unfair.” [7:54]
“I don’t think there is a time for ‘no.’ There’s no time for ‘no’ when you’re in an inventive space.” [15:24]
“You find out so much more about yourself when you stop trying to cover up your intentions.” [21:56]
“It’s not about taking yourself and putting yourself into someone else’s world. It’s about finding where you fit, in a world that everyone’s creating together.” [47:56]
“No means yes.” [55:16]

Resources:

Song "Mother Road"

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More No Film School coverage on MUTT

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“Mutt” Director and Actor Unpack Career-Launching First Feature Aug 11, 2023

Vuk Lungulov-Klotz is a transgender filmmaker, cinematographer, and director of short films such as Still Liam and River Fork. Vuk’s feature film, Mutt, premiered at the 2023 Sundance Film Festival. The film’s leading actor, Lio Mehiel, won the Special Jury Acting Award at the festival. The film is set to release in theaters across the United States starting August 18.

In this episode, No Film School’s GG Hawkins speaks with director Vuk Lungulov-Klotz and actor Lio Mehiel to discuss:

Why Vuk included a few jokes early on in the story
The frustrating process of finding actors
How Lio immediately related to the script
Bonding at a summer camping festival before shooting the film
All the difficulties of shooting a film in NYC
The process of finding locations and what they should have done differently
Coordinating ADR sessions during edit
The surreal feeling they felt at the world premiere
Feeling stressed and anxious by people hyping up the movie
The difference between screening a film in the US versus Europe
Working alone as an actor versus working with an agency

Memorable Quotes

“It was the perfect vehicle to showcase the portrait of a trans man today.” [3:55]
“If you can’t laugh about something, then we’re really screwed.” [6:48]
“I have never read such a beautiful slice of life that represents this experience.” [10:00]
“Anytime you can get practice in front of the camera, do it.” [39:58]
“By the end of the film, I could hear the theater crying.” [46:12]

Resources:

Mutt

In the Summers

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Molli and Max in the Future

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How “The Bear” Editor Harnesses Chaos Across Film and TV Aug 10, 2023

What is the difference between editing a film versus editing television episodes? How do you efficiently cut while shooting and what are the benefits to doing so? How should you react when the director or producer gives you feedback that you may disagree with?

In today’s episode, No Film School’s GG Hawkins speaks with editor, Joanna Naugle, to discuss:

Why Joanna fell in love with editing and how she got started in her career
Why she loves working in tv with multiple editors
The different mindset between editing a feature versus editing tv episodes
Using temp design and soundwork for the film, Molli and Max in the Future
The only editing software she ever uses
The workflow at her post house and the flexibility it offers her and the other editors
The benefits to cutting while shooting
Setting the scene for a beautiful doughnut montage in The Bear
Being open-minded to try other ideas and bringing in other collaborators
Editors growing too attached to their footage

Memorable Quotes

“It’s a way to talk about very human things in a very extraordinary, extraterrestrial way.” [12:56]
“Every single shot was a VFX shot in that movie.” [14:08]
“What’s the note behind the note?” [28:45]
“You owe it to the people you are working with, especially if they are the director or producer, to at least try their idea.” [29:19]
“I try not to be too precious with that first cut…I don’t think you should spend too much time obsessing over all the little details.” [32:18]

Resources:

Joanna's website

Senior Post on Instagram

The Bear

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Top Legal Mistakes Filmmakers Make and How To Avoid Them Aug 04, 2023

“Blissful ignorance of the system hurts more people in the long run.” If you are an emerging filmmaker who is not aware of the legalities involved in filmmaking, you should really consider hiring a lawyer. You may think you can’t afford a lawyer, but what you really cannot afford to do is remain in your ignorance.

In today’s episode, No Film School’s GG Hawkins speaks with lawyer/indie film producer, Natalie LeVeck, to discuss:

Becoming a full-time entertainment lawyer and a part-time indie film producer
The difference between manager, agent and a lawyer
Different types of lawyers and their roles
Why not having a lawyer is one of the worst things you can do
Why you should find a manager before finding a lawyer
Keeping quiet about your ideas so no one steals them
The most important deal of the entire film
Paying the writer a percentage versus a flat fee
All the things you need to save in your Chain of Title file
Getting your SAG deposit back
What you need to do when you first get the Distributor contract
Talent contracts and the clauses to include
Thinking about what’s important and not important to you
Talking to your attorney’s prior clients

Memorable Quotes

“If you are lucky enough to land a deal with a studio, you absolutely must have a lawyer helping you.” [12:17]
“You can’t copyright an idea.” [18:49]
“If you’re an indie producer and you read something you like, I would grab those rights as soon as humanly possible.” [22:12]
“The entertainment law world is so small that people do care about their reputation.” [47:13]
“The more we are informed, the more we can bring to the table.” [53:53]

Resources:

A Creature was Stirring - in theaters Nov 2023

Connect with Natalie on Instagram

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How To Shoot and Edit for Visual and Practical FX With “Appendage” Editor Aug 03, 2023

Alex Familian is the editor for the horror film, Appendage, which follows the story of a young fashion designer who struggles with anxiety and self-doubt. The main character’s feelings eventually manifest into a gross, ferocious growth which sprouts from her body and yells mean, demeaning phrases at her.

In today’s episode, No Film School’s GG Hawkins and Yaro Altunin speak with Editor Alex Familian discuss:

How the current WGA and SAG strikes are impacting his work in post-production
What we love about improv
Maintain work-life balance when your spouse is also a filmmaker
The differences between the feature version and short version of the film
Practical versus virtual effects
The crazy, speaking mechanism puppeteers created for the “appendage” character
Differences between an online editor and offline editor
What it was like to edit while the film was still being shot
Why we prefer macbooks over desktops
Alex’s go-to effects he uses during editing

Memorable Quotes

“I’m basically putting together a cut of the film with 25% of the movie missing.” [3:58]
“It taught me how to be okay with failing.” [7:15]
“Whole movie was cut and finished on a Macbook Pro.” [31:34]
“People made editing software difficult on purpose so that other people wouldn’t know how to use it.” [36:08]

Resources:

Appendage (Full Short)

Check out Alex's website

Appendage (Full Version) releases October 2023

How Can Cinematography Techniques Help Your VFX?

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King Coal official website

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How Appalachia-Based Filmmakers Blend Doc and Myth in “King Coal” Jul 28, 2023

Elaine McMillion Sheldon is a director and writer known for documentaries, such as the Netflix Original Documentaries, Heroin(e) and Recovery Boys. Her latest film, King Coal, premiered at the 2023 Sundance Film Festival. This “part fable, part documentary” is about the complex, coal culture in Central Appalachia.

In this episode, No Film School’s GG Hawkins speaks with Emmy-winning filmmakers, Elaine McMillion Sheldon and Curren Sheldon to discuss:

The inception of the film and how it became a hybrid style
What the lens vetting process was like
Not using any artificial light
The reason behind focusing on the young characters in the film
Why it’s important to have bad ideas
Pushing through moments of vulnerability
Where Elaine got inspiration from
Working with a breath artist to create all the crazy sounds in the film
All the wonderful support they received from labs and grants
Why you need to have a long-term version

Memorable Quotes

“How do we make this feel almost like a dream, almost like an imagined future?” [7:51]
“This film required a level of failure and vulnerability that made me insecure at moments. But ultimately made me grow as a filmmaker.” [14:09]
“Having a long view of your career is so healthy otherwise you’re gonna get burnt out and depressed.” [31:20]
“Most of this industry lives in a bubble, on a coast.” [42:08]

Resources:

King Coal trailer

King Coal on Instagram

Here is the upcoming 2023 theatrical:

August 11th - DCTV- New York City, NY (weeklong)

August 18th - Aperture Cinema - Winston-Salem, NC (weeklong)

August 25th - Laemmle Glendale - Los Angeles, CA (weeklong)

August 28th -Harris Theater - Pittsburgh, PA (Select shows during the week)

August 31- Floralee Theater - Charleston, WV (Select shows)

September 1st - The Nightlight - Akron, OH (weeklong)

September 1st- Zoetropolis Cinema - Lancaster, PA (two-week run)

September 1st - Central Cinema - Knoxville, TN (weeklong)

September 4th - The Woodward Theater - Cincinnati, OH (one night)

September 8th - Wexner Center of the Arts - Columbus, OH (one night)

September 9th - Museum of the Moving Image- Queens, NY (one night)

September 15th- Raleigh Playhouse- Beckley, WV (one night)

September 21st - The Lyric Theater- Blacksburg, VA (one night)

September 22nd - The Granada Theater- Bluefield, WV (one night)

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The DGA Deal Point Everyone Should Be Talking About, Plus Strike Updates Jul 27, 2023

While most of us are focused on the current WGA and SAG strikes, the DGA has some internal issues it is working on fixing. Currently, DGA members who have to take time off to care for their newborn children, are being penalized for it. These members are working to get the DGA to change their policies in order to have a more equitable and just industry.

In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman and director Jessica Dimmock discuss:

The reason Jessica started the DGA Parenthood Penalty campaign
The changes the DGA is making to their contracts
Why you should be active in your guild
Realizing the DGA wasn’t asking their members for feedback
Recent strike updates
How creatives take big risks just like the studios do
Pressure testing your script by anonymously submitting for feedback
Finding out how much money your film will cost to make
Supporting films with big marketing budgets

Memorable Quotes

“What’s astounding to me, is that these battles had to be fought in 2017 and not 1977.” [6:33]
“Unions and guilds set their policy based on the will of their membership.” [15:59]
“It shouldn’t be surprising that people have children…People are going to have families.” [21:38]
“The first thing you should be doing is writing 6 more feature scripts.” [42:44]

Resources:

DGA Parenthood Penalty Campaign

What Lessons Should Hollywood Learn From Barbenheimer?

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"Plan C" Editor Reveals the Skill Every Creative Should Foster Jul 21, 2023

How does one balance their wellbeing while also working 16 hours a day? How do you sift through 300 hours of documentary film footage in an efficient manner? What type of people skills and character traits are necessary if you are thinking of becoming an editor?

In today’s episode, No Film School’s GG Hawkins, Yaro Altunin and Editor Meredith Rathiel Perry

discuss:

The film, Plan C, and what it was like to create such a timely documentary
Working remotely from a 28 acre farm in Washington
Why Meredith was excited to work on this particular documentary
Feeling retraumatized over and over again when editing documentaries
What is was like to manage 300 hours of footage
Cool tricks for keyboard shortcuts
Why ripple deleting is so satisfying
Helping directors through the birthing process of their films
What really makes you a good editor
Remembering to be excited about the things that are working

Memorable Quotes

“You’ve been working 16 hour days for a month and you’re like ‘what am I doing with my life, I am so tired.’” [16:02]
“With docs you are shaping the story whereas a narrative has a script.” [29:18]
“I am a really visual screenwriter. I can see what I’m writing.” [30:40]

Resources:

Plan C

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Read the SAG Deal and See the Basic Needs the AMPTP Rejected

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Your Double Strike Questions Answered: Waivers, Indies, Subscriptions and More Jul 20, 2023

As of June 13, SAG joined the writers union and is now on strike. This is the first time, since 1960, that the WGA and SAG have been on strike against the AMPTP. So what is the strike about, why isn’t the DGA also on strike, and can we simultaneously support the strike while also continuing to work in film?

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

Minimum Basic Agreement (MBA) - why it’s so important
Why arguing only about AI is not effective for the strike
Our thoughts on the DGA not striking
Knocking over food delivery robots in Los Angeles
Writers coming out and discussing how poor the pay is
Why you should not do cosplay at Comic Con this year
Why boycotting subscription services won’t actually help
Physically supporting people on the picket line
Why indie filmmakers should seek waivers from unions
Our theories on how long the SAG strike will last
Why new filmmakers should be excited this is going on right now
How you can avoid working for an AMPTP company

Memorable Quotes

“What you want to be negotiating on is as many fronts you can possibly, emotionally sustain. Because that is how you actually win these battles.” [4:19]
“It’s very rare you win battles by picking a single subject.” [4:27]
“We will see this golden, indie surge afterwards. We are going to see a lot of amazing films coming out of this. ” [39:15]
“This industry isn’t done. We care about the future of the industry and we want to set it up properly to thrive way into the future.” [42:53]

Resources:

SAG-AFTRA Strike Rules for Creators and Indie Producers

Strong Asian Lead - Artist Directory

Strong Asian Lead - Free Asian American movies to watch

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Why You Shouldn't Choose a Lane as a Filmmaker Jul 14, 2023

So you’re a beginner filmmaker who isn’t sure what path to take. Do you focus on commercials, television, documentaries, or feature films? Well, who says you have to pick just one lane and stick to it?

In today’s episode, No Film School’s GG Hawkins and director Natalia Leite discuss:

Natalia’s path to writing and directing
Why she is so grateful she started her career in documentaries
Creating an environment where people feel comfortable to break script
Being belittled on set of her first feature film and standing up for herself
Why she doesn’t like to physically rehearse the script
What is was like to prepare actors for sexual assault scenes in her second feature
How vulnerable it is to be an actor
The benefits of approaching different formats as a director
How she likes to shotlist the edit
Allowing yourself the learning curve in your film career

Memorable Quotes

“I just love that mish-mash of stuff of how to blur the lines of what’s real and what’s not.” [8:39]
“I love working with actors and I always try to connect with them on a deep, vulnerable level.” [15:40]
“There’s so much to be had in collaborating and fulfilling someone else’s vision.” [32:46]

Resources:

Natalia’s Instagram

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What Indie Filmmakers Can Learn From ‘Indiana Jones’ Jul 13, 2023

What can we, as independent filmmakers, learn from movie franchises with big legacies? How is AI affecting the careers of writers and actors? What is the best way to properly insure film equipment in the event it gets stolen?

In today’s episode, No Film School’s Charles Haine and GG Hawkins discuss:

Box Office numbers for Indiana Jones and the Dial of Destiny
The Blumhouse model versus the studio model
The lack of spark and zest in legacy films
Weird pacing in big studio movies that confuse us
Lessons indie filmmakers can take from the Indiana Jones franchise
The crazy TikTok “teenage filter”
Using AI to alter acting performances in post production
Why insuring your film gear is extremely important
Whether or not your homeowners policy will cover your film gear
Voluntary parting - is it considered theft or fraud

Memorable Quotes

“That 300 million dollar movie that you think is a safe bet, often isn’t.” [3:34]
“Writers and actors are facing huge, catastrophic changes based on A.I.” [29:42]
“Unity is everything here. Unity is the only thing we have to try and exert any power.” [31:39]

Resources:

Her Arts Lab in Italy

Asteroid City

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You Feeling This Podcast trailer

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What Podcasters and TV Writers Can Learn From Each Other Jul 07, 2023

What are the similarities and differences when it comes to working in film versus working in podcasting? What lessons can we take from filmmaking into the audio space, and vice versa?

In today’s episode, No Film School’s GG Hawkins, Andrew Barbot, Joanna Hausmann, and Marcus Thorne Bagalà discuss:

The inspiration behind this roundtable discussion
Starting in TV and moving into podcasting
Opportunities for experimenting and world building
Hijacking listeners imaginations through podcasting
The differences in casting for podcast shows versus tv shows
The challenges involved in scripted podcasts
Using sound design to avoid exposition
Grounding your podcast in specificity
Being much more aware of sound and audio
People getting into the space that don’t understand it

Memorable Quotes

“Maybe I forgot about it because I just blacked it all out.” [11:49]
“You have flexibility in audio that you don’t have in tv and film.” [19:19]
“Is this something you want to spend hours of your week doing, not because an audience will like it, but because it will come naturally to you.” [39:54]

Resources:

Andrew’s work

Follow Andrew on Twitter

Joanna’s work

Follow Joanna on Instagram

Marcus’ work

Follow Marcus on Twitter

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The Pirate Queen: A Forgotten Legend

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The Boundary-Pushing Tech at Cine Gear and Tribeca Jul 06, 2023

Immersive gaming, augmented reality, and new camera technology. We experienced all of this and more at the 2023 Cine Gear Expo and the 2023 Tribeca Festival.

In today’s episode, No Film School’s GG Hawkins and Yaro Altunin discuss:

The immersive gaming floor at Tribeca
How important it is to lean into the format you are using to tell a story
Using AI to craft art, not generate it
The similarities of cameras at the Cine Gear Expo
Explaining what an ND filter is
Reading scripts on a tablet
Why you need to properly slate every shot
Where we get our clapper boards
The movies we are excited to see this summer
What scares us about streaming services

Memorable Quotes

“This really did feel like it was a storytelling setting with an escape room experience.” [3:17]
“The gaming world is exploding as the filmmaking world is in a less than stable place.” [8:16]
“You can go to any company and pick up any camera, and shoot an incredible movie with it.” [21:12]
“It’s a pivotal moment that transforms a set into a scene.” [33:13]

Resources:

Tribeca Festival

Cine Gear Expo

Monstrorama

In Search of Time

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What Can Tribeca Doc Editors Teach Us About Tools, Tone and Working Remote? Jun 30, 2023

How do you figure out your film’s story in the edit, when your story has no script at all? The skill of editing is absolutely critical to the filmmaking and storytelling process.

In today’s episode, No Film School’s GG Hawkins and editors, Kelly Kendrick and Jamie Boyle discuss:

Their experiences at the 2023 Tribeca Film Festival
The similarities between the documentaries
How to tell a story with multiple characters
Balancing the dark moments and joyous moments by toggling between the characters
The challenges in portraying well-intentioned, yet flawed characters
What the collaborative process looked like during editing
Receiving feedback and taking in the essence of the notes being given
Integrating text and print into the documentaries
Favorite editing tools and hacks

Memorable Quotes

“We didn’t want to try to tell people how to feel about the stories.” [19:18]
“You kind of become a middle man and you don’t even know what’s been communicated to everybody.” [40:18]
“I don’t think there really is an unhelpful note, it’s more so just getting to the seed of what they’re needing.” [43:27]
“It’s so satisfying to make a scene shine before you’re sending it out to festivals or directors.” [52:19]

Resources:

Tribeca Film Festival

Every Body

Breaking the News

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How To Sell Your TV Show Plus a Sundance Episodic Darling Jun 29, 2023

So you have written a tv show that you want to sell, but how do you do it? How do you get people to become intrigued and vested in your idea? How much should you practice your pitch, and can you use gimmicks in the pitch meeting to grab attention?

In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman and the team behind the show, Chanshi discuss:

Defining what an “If Come” is
Realizing that the showrunner must have past experience on other other tv shows
Answering the ‘why now’ and ‘why you’ in a pitch meeting
How to not feel icky when selling an idea
Evaluating agents and managers just like they evaluate you
Using unique gimmicks and stunts when pitching
Chanshi - a hilarious, heartfelt, yet dark tv show filmed in Israel
Why they didn’t write the main character as ‘more likable’
Difficulty casting American actors in Israel
What it was like having two directors on set for the show

Memorable Quotes

“Your excitement for the idea will be contagious.” [13:10]
“When you’re selling anything, you’re not just looking to sell it. You’re looking to find the right partner.” [14:02]
“You cannot practice your pitch enough.” [27:09]
“We both hated writing. That’s what brought us together.” [51:25]
“Finish on time or we’re going to shut your cameras off.” [60:00]

Resources:

Chanshi

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Bentonville Film Festival

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The Festival Challenging Industry Norms & It's Best Feature Doc Winner Jun 23, 2023

The Bentonville Film Festival (BFF) was founded in 2015 by Academy Award–winning actress Geena Davis. The mission of the festival is to influence mainstream media to increase diversity and the presence of underrepresented groups in their content. We were honored to speak to two filmmakers who presented projects at the 2023 festival.

In this episode, No Film School’s GG Hawkins, director Meghan Ross, and filmmaker Sierra Urich discuss:

Meghan’s project, Here to Make Friends, and its diverse cast and crew
The difficulties Meghan had in filming her episodic proof in Texas, when abortion became illegal
Sierra’s film, Joonam, that won ‘Best Documentary Feature’ at BFF
What it was like to watch footage with actual subtitles, compared to the translation she received during filming
Getting excellent feedback and guidance from a supervising editor
Discovering the storyline in post production
How the most uncomfortable scenes end up being the most meaningful
Forgetting about the physical filming tools as much as possible
What it was like to feature her film at Sundance 2023

Memorable Quotes

“There’s a requirement for inclusivity in all the films that are featured at Bentonville.” [6:21]
“Pay yourself first because if you don’t, you may never get paid.” [29:31]
“When you’re dealing with real people with real personalities, you’re just along for the ride with them.” [36:48]

Resources:

Here to Make Friends

Meghan’s website

Joonam

Sierra’s website

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Big Movies Require Big Risks - 'God is a Bullet’ Producer and Financier Talks Filmmaking Jun 22, 2023

In order to make your movie, you need money. So how do you get over that uncomfortable feeling of asking people to invest in your project? And once you have the financing, how do you get over the fact that your movie is not going to be appreciated by all audiences?

In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman and producer Michael Mendelsohn discuss:

The wonderful process of discovering classic movies
Our parents sheltering us from watching certain scenes in famous movies
The best way you can become good at packaging and pitching a project
What it’s like to film underwater, deep in the Baltic Sea while a war is going on nearby
Breaking into the industry at 17 years old
People claiming titles without actually doing the work
Taking stories of actual experiences and then putting them to screen
The types of stories Michael typically leans towards

Memorable Quotes

“Stop doing impersonations of your favorite filmmakers and start figuring out what you have to say.” [4:10]
“I’m shooting there and the neighboring countries are at war. Missiles flying over, submarines, helicopters, airplanes…while we were filming.” [26:54]
“I have met several people that are back-biting, double-crossing, jerks who think they’re going to make it that way.” [39:04]
“Being okay with not being okay with everyone, is something we need to lean into as storytellers.” [54:38]

Resources:

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‘Extraction 2’ Director Sam Hargrave’s Advice on Oners, Stunts, and Emails Jun 16, 2023

Sam Hargrave is an award-winning stuntman and stunt coordinator, second unit director for films like Suicide Squad and Avengers: Endgame, and director of the film Extraction. His second feature film, Extraction 2, is available on Netflix, June 16.

In this episode, No Film School’s GG Hawkins and director Sam Hargrave discuss:

The transition from stunt performing to directing
What a “stunt vis” is and why it's important for efficiency and safety on set
How directing a film is like being a switchboard operator
Why filming Extraction 2 was more challenging than the first film
Wanting to give the audience more the second time around
The specifics to the casting process
Operating the camera on the more dangerous scenes
Landing a helicopter onto a moving train
Making others feel invested in your project
Sam’s approach to emailing those he works with

Memorable Quotes

“I was young and flexible and really wanted to be Jackie Chan.” [4:06]
“There’s so many questions that come the way of the director. It feels like you are a switchboard operator on methamphetamines.” [10:07]
“Communication with other departments is one of the most important things in filmmaking.” [11:50]
“Each movie…is its own unique puzzle. It’s a labyrinth that you and the crew have to work your way through.” [14:34]
“When you can do something practically, always do it.” [23:12]

Resources:

Extraction 2 trailer

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Live From TriBeCa plus a Film That Takes on Toxic Frat Culture Jun 15, 2023

The Tribeca Film Festival is celebrating its 22nd anniversary in New York City. It is a big part of the festival circuit and we at No Film School love everything about it. From how it got its start, to the great networking benefits to attending.

In today’s episode, No Film School’s Charles Haine and GG Hawkins discuss:

The history of the Tribeca Film Festival
Differences between Tribeca and Sundance
GG’s experience attending the 2023 festival
Reconnecting with people at the festival
The importance of taking time to attend film festivals
Excited to watch the show Jury Duty

Plus, we share a short conversation with director - writer, Ethan Berger. He describes the process of creating his feature film, The Line, which premiered at the 2023 Tribeca Film Festival. The film portrays the blind adherence to tradition told through the lens of a fictional college fraternity. The film is both cringey, yet fascinating to watch and is the perfect examination of what is wrong with the tradition that still exists on college campuses.

Memorable Quotes

“The vibe of Manhattan is just contagious.” [4:09]
“The festivals are for staying in the mix.” [4:57]
“It is a concentrated investment of your time that pays off, from a networking perspective.” [9:46]
“You only want people to be in your movie, who want to be there.” [26:14]
“All art is about provoking an emotional response from an audience, and it should feel intentional.” [35:55]

Resources:

Jury Duty

The Line

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How to make money as a cinematographer

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‘White Lotus’ DP Explains the Difference Between Shooting Film & TV Jun 09, 2023

Xavier Grobet is a cinematographer for movies and television shows. He is known for his work on films such as Focus and Nacho Libre and tv shows like The Watchmen and WeCrashed. Xavier is also the cinematographer for the Emmy-award-winning show, The White Lotus, which is available for streaming on HBO Max.

In this episode, No Film School’s GG Hawkins and cinematographer Xavier Grobet discuss:

Growing up surrounded by photography
Different opportunities Xavier had when attending film school in Mexico City
Starting his film career as a camera assistant
Meeting director-producer Mike White on the set of Nacho Libre
All the elements that make a fun and great working environment
Creative differences between film and tv shows
Controlling the look of the show
How the gaffer and board operator hacked into the hotel server where they shot White Lotus
How to pull off cross-shooting
Sharing inspiring stories of others in the film industry who never gave up

Memorable Quotes

“I do love documentaries. I wish I had done more in my career.” [7:24]
“It’s been an evolution from film language to tv language.” [16:53]
“Usually I like having a LUT created from the beginning and just stick to it.” [25:11]
“The best thing to do is to be as close as possible to your liking from the get-go.” [25:50]
“Find your own and just pursue every possible opportunity that you have.” [41:43]

Resources:

Listen to our interview with ‘Mami Wata’ Director and DP

The White Lotus season 2 trailer

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How to Transition Roles Within the Film Industry Feat. ‘Flamin’ Hot’ Director Eva Longoria Jun 08, 2023

It can be quite tricky to pivot from one career path in the film industry to another path. What should you do when you start climbing one ladder and realize you want to jump onto another ladder?

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

Ladders - avoid getting on the wrong one
Not wanting to be put into a box
How having a gap in your resume is not a bad thing
The best ladder to jump on if you don’t know which ladder to climb
Building our identity on our craft
How you should market yourself if you are a “multi-hyphenate” professional
Why you should consider having multiple websites

Plus, we share a short conversation with Eva Longoria, who is a great example of someone who has climbed different ladders in the industry. Eva is not only a talented actor, but she is also a producer and director. Eva offers words of advice for new filmmakers and she describes what it was like to direct her recent film, Flamin' Hot. The film is based on the inspiring true story of Richard Montañez, the Frito Lay janitor who channeled his Mexican American heritage and upbringing to turn the iconic Flamin’ Hot Cheetos into a snack that disrupted the food industry and became a global pop culture phenomenon. The film will be available for streaming on June 9.

Memorable Quotes

“The higher you climb, the easier it is to hop to other verticals.” [1:58]
“There’s this intense pressure to build our identity on these external things.” [15:25]
“There’s not a recipe. You just do it. You learn by doing.” [27:04]
“If you have a device like that, you gotta set it up early. You gotta set up the rules of your world right at the top.” [36:44]

Resources:

Flamin’ Hot trailer

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The Boogeyman is in theaters June 2

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How to Craft a Freaky Jump Scare With ‘Boogeyman’ Director Rob Savage Jun 02, 2023

Rob Savage is a multi-award winning director and writer who is known for his films such as Host, Dawn of the Deaf, and Dashcam. His recent film, The Boogeyman, is a classic horror movie based on a short story written by Stephen King. The Boogeyman will be in theaters on June 2, 2023.

In this episode, No Film School’s GG Hawkins and director Rob Savage discuss:

Rob’s intention for how we wanted the film to be perceived
The themes of grief and poor communication throughout the film
How the teenage character helped to bridge two opposite perspectives
Rob’s process for crafting scare scenes
Figuring out different modes of terror for different scenes
Why you need to focus on one idea versus having too many options
What the emptiness of the house represents
Giving the actors the opportunity to move things around their set bedrooms
What surprised him about making a studio film

Memorable Quotes

“We’ve got to act like we are making a classic horror movie. We’ve got to treat this deadly serious.” [10:15]
“The creature really represents the dark unspoken within all of us.” [11:39]
“I’m always looking for actors who are going to bring a bit of their own personality into the DNA of the movie.” [18:42]
“The house is kind of an extension of how the characters are feeling.” [35:31]

Resources:

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A.I. is about to make social media much more toxic

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Why We’ll Be Babysitting AI To Avoid a Cliche Hellhole Jun 01, 2023

Will artificial Intelligence end our jobs and the world as we know it, or is its “intelligence” limited? While many of us feel nervous for the impact it may have on our careers, A.I. is also opening up new opportunities to those who want to break into the industry.

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

The A.I. marketing tool that is being used to gain attention
Thinking about whether or not we would use A.I. for certain things
Why we don't think A.I. will be able to make great films
The terrifying, yet fascinating, new filter TikTok is rolling out
How AI tools can help us democratize film making
Knowing how to make the right decisions at the right times

Plus, we have a short conversation with Joaquin del Paso and Lucy Pawlak, discussing what it was like to collaborate on the film, The Hole in the Fence. The film, which draws on actual events, dissects politics and privilege through a story that exposes the fault lines of contemporary Mexican society. The film is now available for streaming.

Memorable Quotes

“People who work in the A.I. industry keep talking about how it could potentially end the world.” [1:35]
“The indie film aesthetic and indie film content was driven by available resources.” [21:22]
“The biggest skill of a working professional is knowing when you have to make a decision.” [26:27]
“Living in that gray area is scary, but sometimes it’s absolutely necessary.” [27:50]

Resources:

The Hole in the Fence trailer (with English subtitles)

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Bravo, Burkina! - Presented by Ethical Fashion Initiative & Ikiré Jones

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An Accidental First Feature—Walé Oyéjidé’s on His Stunning ‘Bravo, Burkina!’ May 26, 2023

Walé Oyéjidé is a director, writer, designer, photographer, musician, and lawyer who uses the power of storytelling to combat bias. His debut feature, Bravo, Burkina!, had its world premiere at the 2023 Sundance Film Festival. The film is about a Burkinabé boy who flees his village and migrates to Italy. When later disillusioned by heartbreak, and haunted by memories of home, he travels through time in hope of regaining all he has lost.

In this episode, No Film School’s GG Hawkins and director Walé Oyéjidé, discuss:

Not being rigid about the format you use to tell a story
Thinking more about the voice of the filmmaker instead of the budget of the project
Changing the bias people have towards refugees by casting them for his projects
How naivety can help us make big leaps and take chances
Giving your team time to work together before committing to a larger, more serious project
Contributing deeply to the local communities he works with
Why it takes decades to figure out your voice
Appreciating all the rejections you get

Memorable Quotes

“Finding your voice from the beginning, that’s more precious than any particular tools.” [7:38]
“We should not be shy about understanding why we are on this planet.” [17:09]
“You’re doing yourself and the world a disservice by not being your best self.” [49:21]
“It is better to be quiet than it is to be frivolous.” [52:14]

Mentioned Resources:

Stills from the film: https://drive.google.com/drive/folders/1Mjad6OiPQF8Bncp5QauS1JPPcdGicOdf

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How to Be A Hollywood Assistant in Film and TV

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How To Navigate Hollywood Power Structures and What SAG Striking Means for the WGA May 25, 2023

If you have ever been treated like garbage by others with power positions, we can relate. How do you respond to that type of treatment? Do you “kill them with kindness” or do you yell right back at them? Is there a way that we can train those in the industry to start being more conscious and kind?

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman are joined by award-winning creator, Capella Fahoome to discuss:

Loving the passion-driven film industry
How Hollywood should be a place where we can collectively create and treat each other with mutuality
Using technology to improve quality of life, not eliminate it
Finding a balance between being kind and protecting yourself from exploitation
Why email is not effective to use when communicating to those with power
What things will look like if SAG decides to go on strike
Why groups need to publicly demand things
Talking about foreign films that have really moved us
The benefits that come with watching foreign films

Memorable Quotes

“No one person can know everything. You have to have these relationships.” [3:56]
“Hollywood is a collection, for all of us creatives to come and meet and collaborate in one place.” [5:21]
“We can use A.I. for good. We don’t have to use it to eliminate people’s livelihood.” [9:03]
“I hate the term soft skills…they are more important than the hard skills and calling them soft skills make them seem like towels.” [14:20]

Resources:

‘Joyland’ Director Saim Sadiq Redefines What It Means To Be a Director

Capella’s website

Capella’s Instagram

When Is Now podcast

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The Werking Writer School

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How To Break Into TV and Keep Healthy Boundaries May 19, 2023

When it comes to following your dream of breaking into the entertainment industry, you have to hustle in order to make that dream a reality. The question is, when does all that hustling become toxic to your well-being?

In this episode, No Film School’s GG Hawkins and writer Charla Lauriston discuss:

How Charla manages living between LA and Vancouver
Having this terrifying and weird desire to do stand up comedy
Taking writing seriously versus not taking it seriously
Having a sense of urgency when you dive into a new career in entertainment
What she learned from making a terrible web series
Why the pandemic felt like a gift
Growing out of the constant, hustling lifestyle
Why she decided to go back to social media after taking three years off

Memorable Quotes

“Our profession is very anxiety inducing.” [12:05]
“If you have the creativeness in your soul and you don’t nurture it, you will go crazy.” [18:48]
“It’s very very hard to put up boundaries because there is very little structure in the work that we do.” [37:54]
“Where I am is enough. Where I am is okay.” [42:15]

Resources:

Charla’s Instagram

The Werking Writer on Instagram

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Why Is Hollywood Leaving Tarantino Behind?

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Is Your Project Fellowship-Ready? Plus, Find The Perfect IP For You May 18, 2023

With the WGA being on its third week of strike, we can’t help but start to think about all the ways the industry is changing and what that looks like for us filmmakers. Will Hollywood still seek out our creative ideas, or will we be pushed to only making IP projects in order to market an existing idea? And how does this all affect brand new filmmakers who are struggling just to get their short films accepted into labs?

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

Making the most out of a difficult situation, with fun events for those on strike
Keeping an eye out on the bargaining dates for DGA and SAG
A story about a development executive who was willing to support GG’s stance on the WGA strike
What bums us out about IP and the future of the industry
Figuring out which IP’s you would like to make your own
What labs are actually looking for when you apply
How to know when your projects are ready for labs and festivals
The benefits to developing projects in a group
Building on yourself so you can keep getting better

Memorable Quotes

“Get out there and picket, because your future in Hollywood is dependent on it. Whether you are in the WGA or not.” [6:29]
“I try to write things that I know I could potentially make.” [20:39]
“If the story stands out…people will look past things that require budgets.” [36:28]
“If your mom loves it, ask someone else.” [42:43]

Resources:

Which Paid Service Gives the Best Script Coverage? We Tested Three Popular Options

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A Step-By-Step Guide to Indie Film: From Labs to Sundance to Theaters May 12, 2023

Laurel Parmet is a director and writer who has been nominated and awarded for her shorts, Kira Burning and Spring. Kara Durrett is a producer who works in both independent film and television, producing films such as Save Yourselves! and Topside. We were honored to speak to both of them about their recent film, The Starling Girl, which made its world premiere at the 2023 Sundance Film Festival.

In this episode, No Film School’s GG Hawkins, director Laurel Parmet, and producer Kara Durrett discuss:

The surreal, emotional feeling of premiering at Sundance
What the film, The Starling Girl, is about
Why Laurel believes going to film school was invaluable for her
Getting fully financed and then losing it all when the pandemic started
Pitching a film - how to do it and why it’s so amazing
What the remote editing experience was like
Plotting out each scene to encourage certain audience emotions
Feeling fortunate from the positive response after premiering at Sundance
The process of bringing a film to the screen
How to maintain stamina on projects that take years to make
What you need to do before deciding to become a producer

Memorable Quotes

“Eventually it all fell apart and we didn’t know how we were going to make the film, and it was pretty dark for me.” [19:33]
“Everytime you pitch, you are honing in on what is the most important part of the story.” [24:46]
“Make sure you realize you are running a marathon, not a sprint, because it’s a long road.” [34:38]
“Pick the people you adore and then make something together.” [55:07]

Mentioned Resources:

The Starling Girl

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History of American Screenwriters and Their Guild

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Live From the WGA Picket Line and Why It Matters to You May 11, 2023

The Writer’s Guild of America went on strike on May 2, 2023. The strike is more than just writers putting down their pens and picking up their picket signs, to fight for their rights. This strike also symbolizes “the beginning of a bigger conversation about morality and labor practices” throughout corporate America.

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

Recent interactions with union members out on the picket lines
Phil Rosenthal’s history with the WGA
What screenwriting is now compared to what it used to be
How detrimental the mini-rooms are
Studios using loopholes to get out of paying rates they already agreed to
Hollywood CEOs making millions every year while others are getting laid off
Feeling encouraged by the solidarity between all the unions in the industry
Not submitting to the Sundance labs in order to support WGA
How the WGA strike is impacting more than just the television and film industry

Memorable Quotes

“I think it’s a little sad that I’ve worked on four shows, but have no production experience.” [2:14]
“You gotta strike when things are unfair. No matter what your job is.” [4:11]
“It’s not even a show business problem, it’s a corporate America problem.” [6:22]
“United we bargain. Divided we beg.” [19:50]
“Fifty grand is not enough to live in Los Angeles. It just isn’t.” [28:04]

Resources:

Phil Rosenthal’s website

PreWGA Solidarity on Substack

Hollywood CEO Collect Billions…

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How To Nail Camp Across Genres May 05, 2023

Traci Hays is a DGA Award-nominated director, a production designer, and art director who has received numerous awards for the various shorts she has directed. Her feature directorial debut, Tangled, was named a “must-see movie” by The Hollywood Reporter. She recently directed Blood, Sweat and Cheer, her second feature, which is a dark love letter to Heathers, Mean Girls, The Breakfast Club, and Clueless.

In this episode, No Film School’s GG Hawkins and director Traci Hays, discuss:

Traci’s dream of becoming a pro soccer player before becoming a director
Being rejected to film school
Meeting incredible collaborators and established mentors in the industry
All the lessons Traci learned as a production designer
Adapting a book to a film for the movie, Tangled
How a soccer team connection led to a directing opportunity
Being surprised by the very thoughtful and meaningful notes from the producers
Filming Blood, Sweat and Cheer in only 13 days
Casting actors that were serious about the dance scenes

Memorable Quotes

“Having that background as a director feels like a superpower.” [12:29]
“To be in the middle of it, the middle of the chaos, is sort of where I thrive.” [14:15]
“On a lower budget fast moving train, what will kill your day more than anything else is company moves.” [33:15]
“I even tried to learn the dance and let me tell you, I did not get very far.” [40:39]

Mentioned Resources:

Tangled

Blood, Sweat and Cheer

Traci’s website

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Are Old Movie Stars the Only Actors that Matter?

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How To Salvage a Toxic Production and the Death of the Movie Star May 04, 2023

Are the best movie stars only the older ones? What’s the difference between celebrities of the past compared to today’s stars? What are some effective strategies you can use to navigate a troubled production?

In today’s episode, No Film School’s Charles Haine, Jason Hellerman, GG Hawkins, and Yaro Altunin discuss:

Flaws from NRG’s recent study on who the biggest movie stars are
Getting fatigued from frequently released franchise movies
Why direct access to newer movie stars makes them more relatable and less mysterious
The old ‘four quadrant’ movie model
Micro-targeting different types of audiences
Why Heaven’s Gate is not a horrible movie
Reasons to hire slowly and fire quickly
Figuring out how your team prefers to receive feedback
Sharing takeaways from a successful short film production
Being the ‘glue guy’ who rallies everyone together

Memorable Quotes

“Some people are famous enough to be known even in the Amazon rainforest.” [12:30]
“The demographics of the world are so much more complicated.” [23:23]
“No matter how you problem-solve on projects big or small, you have to keep morale up.” [30:59]
“Most troubled productions are personality conflicts.” [33:15]

Mentioned Resources:

Heaven’s Gate

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Are You There God? It’s Me, Margaret

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Puberty and Filmmaking—Not So Different! ‘Are You There God?’ Director Kelly Fremon Craig Apr 28, 2023

Kelly Fremon Craig is a writer and director who has earned awards and nominations for her first feature, The Edge of Seventeen. Her second feature, Are You There God? It's Me, Margaret, is based on the very famous Judy Blume novel of the same name. A main theme of this film is what it’s like to undergo the complicated process of puberty, which is ironically similar to Craig’s experience with the screenwriting process.

In this episode, No Film School’s GG Hawkins and director Kelly Fremon Craig, discuss:

How this film brought a sense of relief from embarrassment
Why the worst place to create from is a place of self-consciousness
Accepting the complicated emotions that arise during the writing process
Trying to render the truth of an experience
Letting kid actors give their authentic reactions on camera
Giving actors the freedom to play and create on set
How she decided to shoot a very specific scene in the film
Figuring out how to shoot more intimate moments without crossing the line
Why directors need to get different versions of a shot
Watching all the different takes and pulling out the nuggets
What Kelly hopes this film will inspire viewers to do

Memorable Quotes

“I felt such a crushing pressure not to screw it up.” [5:44]
“I love creating a set, an atmosphere on set, where everybody feels safe to try even their wildest ideas.” [16:54]
“I like that ‘fly on the wall’ style of shooting where you feel like you’re eavesdropping.” [24:12]
“Every single different version is a different tool in your toolbelt.” [26:54]
“It’s treasure hunting on set. You’re just looking for little diamonds.” [29:04]

Mentioned Resources:

The Edge of Seventeen

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Mynette Louie on Mastodon

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Golden Elevator to Indie Film? Plus, Rolling Calls Apr 27, 2023

How can a truly independent film find success at the large film festivals? How does one manage to get well-known actors to star in your film? The answer is simple, yet takes effort. You need to get in the mix!

In today’s episode, No Film School’s Charles Haine and GG Hawkins discuss:

The truth about getting an indie feature made
Golden elevator films versus free-range films
Big actors starring in small, independent films
Hustling your network and constantly building connections
Thinking strategically about certain relationships you have in the industry
Learning how to accept “no” and still maintain a professional relationship
Steps an emerging producer should follow to grow their career
Rolling Calls - what are they?

Memorable Quotes

“Everybody that gets into Sundance knows each other.” [4:27]
“There are a lot of people who want to appear to be a filmmaker.” [26:06]
“I hate to say it, but it depends upon how big your bank account is.”[27:20]
“Rolling calls is an art and a science.” [35:33]

Mentioned Resources:

Filmmaker Magazine article

Episode with Matt Smuckler

How to Get a World-Famous Actor in your Short Film

SKYWATCH (a Sci-Fi Short Film)

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'Chevalier' Director Stephen Williams on Big Breaks Outside of Hollywood Apr 21, 2023

Stephen Williams is a producer, director, and writer who has worked on popular TV shows such as Lost, Undercovers, and Watchmen. He recently directed, Chevalier, a film based on the true story of one of France’s most important composers. Chevalier is about the journey of understanding oneself better, through the trials and tribulations that life sends one’s way.

In this episode, No Film School’s GG Hawkins and director Stephen Williams, discuss:

Growing up in Jamaica and skipping class to go to the movie theater
Starting as a PA in a production house in Toronto, Canada
Moving to Hawaii to produce and direct episodes of Lost
Comparing the role of producer to the role of director
A scene in Chevalier, that was like a rap battle, but with violins
Selecting collaborators behind the camera with the same care you cast the performers
An example of how his collaborators saved him from making a mistake
Thinking about the impact his career has on his family
How to tell a narrative story about a real person
Identifying and connecting to the journey of the main character

You can watch Chevalier in theaters on April 21, 2023.

Memorable Quotes

“Literally on a Friday I was pushing a broom as a PA, and on a Monday, I was a director at this company.” [9:00]
“I just didn’t find anything that really warranted me stopping what I was doing, until I read Chevalier.” [19:25]
“I want everyone to feel free…completely free to bring all of themselves to the table.” [28:18]
“My working life is really important to me, but it pales in comparison to my family life.” [34:52]
“Not everything has to be factually true…It just has to be essentially true.” [42:44]

Mentioned Resources:

Chevalier trailer

More of Stephen’s work

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Lexar’s Professional CFexpress Type B Card GOLD Series

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Day 2 of NAB 2023: Innovation, Battle Testing Camera to Cloud Apr 21, 2023

It’s Day 2 of NAB 2023, and Tech Editor Yaroslav Altunin and NAB host Raafi Rivero sit down to share more details about the conference. Joining the episode are special guests, Haeleigh Royall and Indeana Underhill of Cinematography for Actors, and producer Ian McClellan of Coco Butter Family. We all agree the one word that comes to mind when describing NAB 2023 is “innovation.”

In today’s episode, we discuss:

Recognizing the need for imagination with the rise of virtual production
Seeing NAB from the perspective of a newbie
Speaking to Stefan Karle from DoPchoice about their accessible gear
How OWC is accommodating workflow solutions
Being impressed by Sennheiser’s wireless microphone
Meeting the CEO of the companies that you love at NAB
The issues we had filming NAB on Day 1
Collaborating with people that aren’t in your same physical location
Filmic’s 106 bit color reader
Lexar’s amazing new memory card
The benefits to automatic transcription now offered by Adobe Premiere Pro
Being inspired by every booth we visited

Memorable Quotes

“For virtual production, you have to be even more imaginative. You have to be able to sink yourself deeper into a world.” [9:31]
“The cloud is so integrated into these products…before it was kind of a whisper and now it’s more of a shout.” [11:26]
“Green screen doesn’t exist anymore. It doesn’t have to.” [15:53]
“They could start editing a clip that you’re not done shooting, and they can be in different parts of the world.” [38:32]
“Everyone is innovating in their direction of interest, and there’s still infinite potential.” [45:23]

Mentioned Resources:

Adobe Premiere Pro

Pixotope

No Film School Coverage of NAB 2023

Connect With the Guests & Hosts:

Cinematography for Actors

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Day 1 of NAB 2023: The Largest Community of Creatives and the Philosophy of What Makes a Camera Great Apr 18, 2023

Tech Editor Yaroslav Altunin and NAB host Raafi Rivero sit down to discuss Day 1 of NAB 2023. So what does the most prominent tech trade show have to offer this year? How about some of the hottest pieces of kit? The duo also chat about Blackmagic Design CEO Granty Petty, filming on Fujifilm cameras with Frame.io, and what makes the community of this trade show such an essential part of the broadcast and cinematic medium.

In today’s episode, we discuss:

The incredibly intense and exciting experience of going to NAB
The history of NAB and who the conference is for
A truly innovative product Creamsource developed themselves
Camcorders - would we ever use one again
Being confused by some of Canon’s newest lenses
How cine zooms are catching up to prime lenses
Unique ways people have been using Fuji’s Cine Box Lens
New features being added to Davinci Resolve studio post production software
Black Magic Design - They are building both products and a community
Applying cloud-based technologies to shows like The Lord of the Rings: The Rings of Power
Tools that get out of your way and help you be a better creative

Memorable Quotes

“This is a mirrorless camera I can throw in my backpack.” [10:28]
“Am I crazy or is it the same lens just on opposite ends of the spectrum?” [14:25]
“Get a 12K…It’s a dope camera. Go get one right now.” [33:08]
“The cloud is matter of fact. The cloud is the state of the art.” [40:31]
“A needle in the haystack problem has been solved by A.I.” [46:59]

Mentioned Resources:

DaVinci Resolve

Lexar

Fujifilm X-T5

Mastodon

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“Smile” Director and DP Share the Secret Rules to Their On-Set Success Nov 08, 2022

In today’s episode, we talk to director Parker Finn and cinematographer Charlie Sarroff about working together on the set of horror film, Smile. They share their special process of creating the film. Smile is in theaters now!

In this episode, we talk about…

Parker looking for the right “partner in crime” to make the film with
How Parker’s short spread like wildfire
Selling the pitch to Paramount Pictures
Using cinematic language to work toward themes of the story
Why Parker prefers a shot list over a storyboard
What influenced the camera choice
Thinking about the audience and what the film is doing to them

Mentioned in the episode:

Smile

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James Gunn - CEO of DC Studios

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How to Get Commercial Directing Gigs and Brand New Camera Tech We Love Nov 03, 2022

It’s smart to figure out the box you want to be in, since the industry is going to put you in a box anyway. Then you need to learn to appreciate your time in that box.

In this episode, we talk about…

James Gunn, director of Guardians of the Galaxy, running the superhero division of DC
Showing up for others and celebrating their successes with them
The SONY A7R V and its unique AI feature
How Artificial Intelligence is getting nuts
The number one thing that makes a spec fail
Why making a simple spec is hard

Memorable Quotes

“One person’s success is not your failure.” [13:19]

“Your goal with a spec, is that it should feel like a real commercial. It should trick people in an agency into thinking it’s a real spot.” [28:58]

“Product work is a very specific universe.” [33:43]

“Arrested development is phenomenal, but there's a gift in being able to do Seinfeld.” [39:48]

Mentioned in the episode:

Sony A7R V

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How This 15 Year Old Shot a Horror Short and Got it To Cannes Oct 28, 2022

Horror is best when it's balanced. It’s like baking, if one ingredient is off, it doesn't work. Teenage filmmaker, Jessica Nipperess, shares how she created the film, Devil Bean.

In this episode, we talk about…

Why Jessica is drawn to film festivals
The Black Magic Pocket Cinema Camera and the difference it made for shooting
The main challenges in directing Devil Bean
Feeling emotionally disconnected from a script written by someone else
Using original music to help tell the story of a film
Post production and the many changes made to the film
Tapping into serious horrors that are helpful to the world

Memorable Quotes

“Films have always been like a chance to learn more about filmmaking through the experience of learning it.” [5:02]

“This is what the film will be like, but less pigs and more coffee.” [18:56 ]

“Horror is like a playground where we put out all of our fears and anxieties, and explore them in a way that feels safe and makes sense to us.” [25:42]

Mentioned in the episode:

Jessica Nipperess

Devil Bean

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Will AI Make Movies Without Us

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How to Give Notes That Help and What AI Will Do to Filmmaking Oct 27, 2022

You win some and you lose some. This is what happens when there are shifts in the industry, and AI is bringing with it a major shift.

In this episode, we talk about…

Shortverse - The place filmmakers, industry pros, and fans of short film can connect
The complexity and inevitability of AI being used in filmmaking
Feeling frustrated yet fascinated for the future of AI
Why giving and receiving feedback is one of the biggest skills you need to practice
Different strategies behind giving notes
Being extreme - We throw out gold stars yet we rip things to shreds
The best accessories for shooting film on an iPhone

Memorable Quotes

“I am not gonna say it feels industry focused, but right now it feels a little industry-focused and I am A-OK with that.” [8:55]

“The rate at which it’s developing and changing what we can do and who does what, is pretty insane and exciting and intimidating. And it’s just going to completely alter workflows.” [15:57]

“This is going to cost people their jobs eventually. It’s not right now. But give it 5 years…and some people are gonna be screwed.” [22:37]

Mentioned in the episode:

Shortverse

Word Player

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Paul Feig Teaches Us the Nuances of Comedy and Collaboration Oct 25, 2022

Want to be a filmmaker? Then you have to be confident enough to have no confidence in yourself. This is the advice from Paul Feig, This is the advice from Paul Feig, director of The School For Good and Evil, Bridesmaids, and television shows like Freaks and Geeks, The Office, Arrested Development and Nurse Jackie.

In this episode, we talk about…

Applying lessons learned from his standup career and acting career
Having more than enough film to choose from in case certain jokes bomb
Setting the rules at the beginning of a film
Remaining consistent with your style throughout the film
How Paul handles making film for streaming services
Hooking the audience so they will make a complete journey with the characters
Why there is no excuse for beginner filmmakers wanting to start their career

Memorable Quotes

“The reason comedy never wins awards is because if you do it right, It looks easy.” [9:09]
“You can make a movie as crazy as you want, as long as you set the rules in the first five minutes.” [21:12]
“The hardest thing in the world is to tell a complete story, in two hours.” [24:49]

Mentioned in the episode:

Watch The School For Good and Evil now!

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Fuji Box Lens for Filmmakers

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When and How to "Run and Gun" Wisely Oct 20, 2022

What do large studios, “run and gun” filmmakers, and project stakeholders all have in common? They lack humility.

In this episode, we talk about…

Talent Development Programs being mandated by the DGA
TikTok creators becoming show runners for NBC Universal
Studios being desperate for larger audiences
Getting arrested for “running and gunning”
How to prepare for a “run and gun” and what to do if you are caught
Fuji’s new box lens with crazy zoom ranges and vibration reduction
Fuji’s X-H2s camera joins the Cloud
Using Davinci Resolve on the new iPad Pro

Memorable Quotes

“It feels like a true disconnect and a flashy name grab.” [7:59]
“Don’t force someone doing something interesting, to do something stale because you’re the powerful powerbroker.” [15:52]
I feel very strangely about the future of film. I feel very strangely about the future of traditional storytelling with a camera. I think it’s gonna change and I think we gotta be ready for it.” [23: 52]

Mentioned in the episode:

Fuji X-H2s shoots files to the Cloud

New iPad Pro

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Lyle Lyle Crocodile is in theaters

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How Can You Option Valuable IP and Get it Made with Josh Gordon and Will Speck Oct 18, 2022

Josh Gordon and Will Speck are the directing duo behind the film, Lyle, Lyle, Crocodile. This duo explains the complex process of adapting a well-loved, children’s book to the big screen.

In this episode, we talk about…

How Josh and Will first met and what inspired them to direct projects together
Dividing the directing responsibilities between them
Their unique approach to producing such a complex film
Why they chose to adapt this particular story into a performance-based musical
How they convinced the IP owners to give them permission for the project
Honoring the artwork from the book in the making of the film

Memorable Quotes

“Something about otherness and about acceptance of things that don’t appear the way that you want them to.” [15:30]
“There’s something about what you have to impose on these characters, or creatures, in the absence of them speaking...and it also makes them more soulful.” [23:42]
“There’s nothing more complicated than a human-being. A human being is unpredictable.” [27:59]

Mentioned in the episode:

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Box Office Smarts for Filmmakers or How To Make Your Movie When Something Like it Bombed Oct 13, 2022

Why is there such a weird fixation on the box office numbers from the first three days of film’s release? We don’t think a film’s success should be determined this way.

In this episode, we talk about…

How some films that did poorly the first few days at the box office, became popular afterward
Putting too much pressure on the box office release
How to pitch a film that is similar to another movie that previously flopped
When pitching, remember the phrase “similar but different”
Challenges that actors have to endure
The top four pieces of editing software for film
Why DaVinci Resolve is the best overall editing software

Memorable Quotes

“It’s insane what can be produced from something that had a crummy first three days.” [6:02]

“They really really really seem to put all their eggs in the box office basket.” [8:52]

“The thing that broke my heart…is that most of the videos don’t even get a view.” [29:57]

“Auditions are the worst. The Worst. Everything about it sucks…The experience is miserable.” [31:33]

Mentioned in the episode:

DaVinci Resolve

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"Bodies Bodies Bodies" Director Halina Reijn Shares Her Directing Process Oct 11, 2022

Preparation, preparation, preparation. Director Halina Reijn shares why it is important to prepare before filming and how that process (and No Film School!) helped her on Bodies Bodies Bodies.

In this episode, we talk about…

How Halina started as an actress before becoming a director
Implementing ideas from theater into the filmmaking process
Leading with a vision and accepting collaborative ideas
Having a flexible storyboard in order to make changes intuitively
Rehearsing camera work before rehearsing with actors
An economic and efficient way to do table readings
Focusing on the wellbeing of actors on the set of Bodies Bodies Bodies

Memorable Quotes

“When I direct I love everybody to learn their lines like little machines, like little robots.” [09:32]

“We’re all equal and we’re going to build this building together and you are as much responsible for getting it up in the air as I am.” [13:08]

“Time is so expensive…Every fucking second counts. Your preparation is everything.” [14:35]

“Acting is the most embarrassing profession of all time.” [23:04]

Mentioned in the episode:

Bodies Bodies Bodies

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How to Stay Healthy During #SetLife Oct 07, 2022

Your brain is part of your body. The way you eat on set will affect how you think on set.

In this episode, we talk about…

How audiences will draw connections from vague story explanations
Charles’ theory on a recent tech mishap on Episode 7 of House of The Dragon
Changing the factory settings on your television
Ideas on how to improve the superhero genre
Why characters don’t always have to be going through an intense internal conflict
Easy and healthy alternatives to the unhealthy food on set
Being aware of how food will affect your brain and body while you are working
Preventing decision fatigue

Memorable Quotes

“There’s such an invaluable lesson about the power of an audience’s imagination and brain that gets disrespected left and right by people thinking they have to spell out the entire equation. You can just put ‘two plus two’ on the board; you don’t have to put ‘equals four.’ ” [08:19]

“These characters are the human experience on a test drive…as a crash test dummy. We’re putting them through extremes of what can be endured, of what can be solved, of what can be experienced.” [32:19]

“If I am at the Craft service table, I am getting a bag of skittles. So I just don’t go to the Craft Service Table. I avoid it.” [47:14]

Mentioned in the episode:

House of The Dragon

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'The Redeem Team' Director Jon Weinbach Teaches Us How to Sell The Stories We Love Oct 04, 2022

Have you ever wondered how you can make your niche documentary appealing to a wider audience? Jon Weinbach, a sports documentary filmmaker, shares his techniques on how to do that very thing.

In this episode, we talk about…

What influenced Jon to pursue documentary filmmaking
His background as a journalist for the Wall Street Journal
Jon’s journey with sports docs such as 30 for 30 and The Last Dance
The Redeem Team, a film about the 2008 U.S. Olympic Men's Basketball team
Developing a deeper narrative to the basketball film
Interview techniques - be authentic and ask new questions
Pitching the documentary to the Netflix executives

Mentioned in the episode:

The Redeem Team on Netflix

30 for 30

The Last Dance

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Hanks announced the release of his upcoming novel

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How Do You Make Money While Pursuing a Filmmaking Career? Sep 30, 2022

Your confidence is low and so is your bank account. You are lacking work opportunities and need consistent work. In this episode, we discuss the steps you need to take to overcome this common struggle.

In this episode, we talk about…

Using A.I. voice generators for iconic characters instead of going for a fresh take
Weird casting traditions on TV shows of the past
Tom Hanks’ debut novel, The Making of Another Motion Picture Masterpiece
What we think Hanks’ best films are
Being a movie slut - loving movies so much you can’t choose the “best” one
Maintaining the wide-eyed excitement for movies
Eliminating shame and self-judgment

Memorable Quotes

“It is interesting to think about the negotiation process of turning yourself over to a specific corporate entity.” [10:58]

“Movies are like pizza, you can find something delicious in almost every one of them.” [40:15]

“All of us forever, forever, at all levels, are just taking whatever work we can get and hoping to do cool shit next.” [41:28]

Mentioned in the episode:

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Debunking and Decoding the Industry with 'Superbad' and 'Confess, Fletch' Director Greg Mottola Sep 27, 2022

Today’s guest is Greg Mottola, director of Superbad, Adventureland, and new film Confess,Fletch. Greg discusses how to navigate gatekeepers, his experiences working with great comedic talent, and today’s challenges within the film industry.

In this episode, we talk about…

Greg’s experience working on various television series, such as Arrested Development
Staying confident when projects do not catch up in the mainstream
How artists can survive financially and mentally in this tough industry
The streaming industry and how it has changed the financial model
Directing the films Superbad and Adventureland
The differences between the original Fletch and Confess, Fletch
Sneaking social commentary into comedy movies

Mentioned in the episode:

Confess, Fletch - Available streaming and in theaters

Fletch - Original 1985 film

Superbad

Adventureland

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How to Shoot Sex Scenes Responsibly, Even Without A Big Budget Sep 23, 2022

Are sex scenes a necessary part of the plot in your projects? If so, then there are ways to be intentional when filming these parts. Everyone will feel comfortable and you will get a great scene in the process.

In this episode, we talk about…

The premiere of The People’s Joker at the Toronto International Film Festival
Classic indie films versus the “out there” indie films
Intimacy Coordinators and the benefits to having one on set
Being intentional and mindful in shooting sex scenes
Feeling overwhelmed by infinite possibilities when starting a new project
Not following the trend when developing your next project
Being committed to the hard parts of a project means you will see it through to completion

Mentioned in the episode:

The People’s Joker

Los Angeles Plays Itself

House of the Dragon

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What's The Cost of Doing Work You Care About? Jerrod Carmichael Explains Sep 20, 2022

Filmmakers want to present our craft to the world, and that craft is made with a particular vision. Sometimes sticking to this vision means we will lose out on other opportunities. Comedian and filmmaker, Jerrod Carmichael, explains why he is willing to take that risk.

In this episode, we talk about…

Stand-up comedy and how it is an immediate art form
Developing thick skin from being a stand-up comedian
Getting the plug pulled on a major project
How his film, On the Count of Three, melds comedy with darkness and honesty
Jerrod’s perspective on what a film’s premise should be
Protecting the main idea of a film - Keep the idea intact
His multiple roles on the set of his film
The premiere of his film at the 2021 Sundance Film Festival

Mentioned in the episode:

On the Count of Three

Licorice Pizza

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2 or 3 Things I Know About Her

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Is There Still a Place in Cinema for Rule Breakers? Sep 15, 2022

Just because something is different doesn’t mean it is wrong. Sometimes “breaking the rules” is precisely what makes films so great.

In this episode, we talk about…

Famous French-Swiss filmmaker, Jean-Luc Godard
The unique perspective French filmmakers brought to the industry in the mid-1900s
Jean-Luc Godard and his malicious compliance to “the rules” in filmmaking
Being careful in the edit room - Don’t fall in love with the temp score
A list of Godard films to watch for those who are unfamiliar with his work
How one needs to consider context when crossing the line in film
The problem with flat fee distributors

Mentioned in the episode:

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Face Down Your Filmmaking Challenges with this Approach From Medieval Director Petr Jakl Sep 13, 2022

Most filmmakers don’t have the resources to make a film turn out exactly the way we plan, but if we can apply the “Judo-style of Filmmaking,” we can still create wonderful projects. Filmmaker Petr Jakl explains how he applied this approach to the new film, Medieval, starring Ben Foster and Michael Caine.

In this episode, we talk about…

What made Petr decide to make the film about famous Czech military leader - Jan Žižka
Re-writing the script and getting the script to big actors such as Ben Foster and Michael Caine
Working with Caine and developing friendship with the actor
Trying to have no big expectations for the film’s release
How shooting the film was “the most brutal experience” of Petr’s life
The various challenges that arose during specific battle scenes
How Petr’s Judo training helped him overcome the challenges of filming

Mentioned in the episode:

Medieval

Jan Žižka

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Atlas Mercury 1.5X Anamorphic Lenses

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How to Become More Hireable and What We like About the Fuji X-H2 Sep 09, 2022

For those working in the entertainment industry, it is important to learn how to: hire, manage, and fire.

In this episode, we talk about…

Looking to collaborate with people who can properly deliver on projects
When evaluating potential hires, ask yourself these questions:
Is their type of work the right work for THIS project?
Is their work style the right work style for ME ?
Hiring slowly and firing quickly
Giving feedback and asking for feedback
Having the right attitude - Be willing to learn and improve
Comparing the new Fuji X-H2 and the Fuji X-H2S that released earlier this year
The affordable anamorphic lens set by Atlas Lens Co

Mentioned in the episode:

Fujifilm X-H2 camera

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How to Find Your Way Into the Industry with Jessica M. Thompson Sep 06, 2022

We are joined by Jessica Thompson whose feature film, The Light of the Moon, won the Audience Award for Best Narrative Film at the SXSW Film Festival in 2017. Thompson explains how she got started in the film industry and shares her approach to choosing projects to work on.

In this episode, we talk about…

Being influenced by her favorite filmmakers - She decided to start her career as an editor
Moving from Australia to New York City for better opportunities in the film industry
Thompson’s approach to projects - She only does projects she is truly passionate about
Managing nerves before pitching for a script and dealing with disappointment if the pitch is rejected
How Thompson pitched five times before getting hired to direct the film The Invitation
Taking acting classes to help her better understand and communicate with the actors she works with
What specific approach Thompson applies during rehearsal time

Mentioned in the episode:

Jessica M Thompson - Filmography

Film: The Invitation

Film: The Light of the Moon

The Four Agreements

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Joe Dante Believes You Can Create Amazing Things Sep 02, 2022

We are joined by legendary filmmaker, Joe Dante, who directed movies like Gremlins, The Howling, and Innerspace. A true cinephile, Joe shares his experiences of working with great collaborators such as Spielberg and Corman. He also explains that while filmmaking has changed since he started, newer filmmakers still have the opportunity to create great films.

In this episode, we talk about…

Working for Roger Corman at the beginning of Joe’s career
How Joe first became a “film nut”
The influence cartoons had on his films
Adding his naturally fragmented personality to each of his films
When working on studio films, it can be difficult to be expressive
Exposing more people to great films that are underappreciated or underseen
New filmmakers can accomplish a lot, even with little financial resources

Mentioned in the episode:

Trailers from Hell

Joe’s Podcast - The Movies That Made Me

Joe’s Curated List of Monstrous Mayhem - September 3 on Shout Factory TV

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Theodore Roosevelt's "The Man in the Arena"

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When is the Right Time to Take Big Career Swings? Sep 01, 2022

When thinking of making a big career swing, we have all asked ourselves the question, “What’s the right move here?” Making big swings can be tricky since there is no way to know what the outcome will be and if we are making the right decision. Charles, Todd, GG, and George give their insight into this tricky situation.

In this episode, we talk about…

Changes happening at Warner Bros and how their branding approach seems like a bad idea
Should filmmakers put themselves in a box by self identifying as a certain “brand” of creator
Making project decisions based on cash flow or based on ambition
Incrementalism and how any progress toward the larger goal is good
Realizing there are large factors outside of our control
Not expecting a specific outcome when deciding to take the big career swing
Aiming back at the center of the target every time you get pushed off course
How the editing process is just like cooking

Mentioned in the episode:

Warner Bros. Discovery's Agenda Is Now Clear... and It's Not Pretty

HBO 1983 Intro

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Yes, You Can Still Do This... and Audiences Need You to! Aug 30, 2022

Unfortunately it seems that many filmmakers are holding back from making comedy films. Comedy is a necessary genre and thankfully we still have some filmmakers who are producing hilarious films that meet audience needs. John Hamburg, from Meet the Parents and Zoolander, shares his process for creating great comedies.

In this episode, we talk about…

Me Time, John’s latest film that is now available on Netflix
John’s opinion on why there are less comedies on the big screen
Finding out what needs improvement by the feedback given in test screenings
John’s experience writing for Meet the Parents and Zoolander
Plot based comedies versus joke based comedies and which strategy John implements in his films
Why John never directs actors to “be funny”
The first step to writing a comedy film - Developing a character

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China Sends Hollywood a Message Aug 27, 2022

Do you think the success of a film should be measured on how many markets it reaches and how much money it generates? The average filmmaker needs to remember that they do not have to appeal to everyone in order to be successful.

In this episode, we talk about…

MoviePass returning with tiered platform prices
How you can watch ads to earn movie credits by allowing the app to track your eye movement
China’s request for movies that are catered to their culture, customs, and audience
The two choices filmmakers have in response to territory-specific movie demands:
Keep the film and plot as is and risk not being distributed in certain territories and markets
Offer different versions of the film that will be acceptable to all territories
Measuring the success of a film by considering many factors, not only the box office stats
Why filmmakers should define success by their own individual values
How filmmakers like Michael Mann, are influenced by others, like Jean-Pierre Melville, to continue evolving film into wonderful works of art

Links to Resources:

MoviePass

Le Samouraï - film by Jean-Pierre Melville

Army of Shadows - film by Jean-Pierre Melville

Thief - film by Michael Mann

Heat - film by Michael Mann

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How to Identify Your Filmmaking Voice and Expand Beyond It Aug 23, 2022

Filmmaker, actor, & writer Cherien Dabis shares how navigating clashing cultures and embracing multiple perspectives expanded her voice and helped grow her career…

In this episode, we talk about…

How dangerous stereotypes inspired Cherien to become a storyteller
Embracing the outsider perspective in both Arab and American cultures
Transitioning from festivals to working with comedy legends
Seizing opportunities to learn and a reminder to not take yourself too seriously
Advice for managing the waiting game between gigs
Staying true to yourself and knowing the people who want your voice will find you
Honoring the choice to say no and being responsible about what you create

Links to Resources:

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https://nofilmschool.com/hollywood-income-gap-for-poor-or-middle-class-people

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How Can You Navigate Hollywood if You Aren't Rich or Connected? Aug 18, 2022

Reacting to Sydney Sweeney’s hot take about income struggles…shedding light on the litany of inequalities of the film industry, and tech news about Aputure’s latest tube lighting…

In this episode, we talk about…

Context of Sydney Sweeney’s life and making rich people problems relative
How residual payouts for actors has changed due to streaming
Recognizing the impact of wealth and family connections in the film industry
Acknowledging income, housing, and information inequality
The benefits of when privileged people speak out against inequalities
Aputure’s new MT Pro’s impressive pixel feature
Understanding professional vs. consumer pricing models for film gear

Links to Resources:

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How to Create Your Directing Opportunities with Liz Allen Rosenbaum Aug 16, 2022

Purple Hearts director Elizabeth Allen Rosenbaum reflects on her journey from underexposed dailies in film school to directing a Netflix feature that has come under heavy fire for it's political stance.

In this episode, we talk about…

The necessity of being a student of film in every way possible
Creating a sense of scarcity and leveraging lunchtime screenings
Befriending TA gatekeepers and finding a new writing partner
How saying what you want can lead to work like Purple Hearts
Managing the delicate balance of trusting your audience vs. being heavy-handed
Threading the needle of fantasy while telling the story you want to tell
The challenge of ensuring all characters’ perspectives are valid and balanced

Links to Resources:

Walter Murch episode: https://megaphone.link/NNLLC3056218334

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https://nofilmschool.com/warner-bros-cancelled-supehero-movies

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Find Out What the Hell Happened with HBO Max Aug 11, 2022

Will bots get an unreleased cut of “Bat Girl”? Can women even pay attention to a TV show? A moment of silence for HBO Max employees…and why you need to see the movie “Nope”...

In this episode, we talk about…

Merger-specific math and tax benefits of not releasing “Bat Girl”
A sexist breakdown of viewership for HBO Max vs. Discovery Plus
What the merger means for the future of HBO Max and the people who love it
How the right hand doesn’t know what the left hand is doing in the film industry
Jordan Peele’s nod to the history of cinema and power of the camera in “Nope”
Using a 3D camera rig to capture day for night scenes
Recognizing the incredible evolution of sound design in film

Links to Resources:

Nope: https://nofilmschool.com/jordan-peele-nope-imax

Nope Cameras https://nofilmschool.com/Large-Format-Cinematography-Goes-Giant-with-New-IMAX-Film-Cameras

Warner Brothers:

https://nofilmschool.com/what-exactly-going-warner-bros-discovery

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https://nofilmschool.com/nope-movie-explained

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How 'Nope' Editor Nicholas Monsour Creates Perspective and Meaning Aug 09, 2022

“Nope” Editor Nicholas Monsour sheds light on cutting scenes with Jordan Peele and finding the balance between ambiguity and intention…

In this episode, we talk about…

Communicating with Jordan Peele without breaking the bubble of what he’s creating
Approaching a script both intuitively and analytically as an editor
Creating intentional perspectives and a specific language for the film
Why reaching an elevated level means not forcing footage to be something it isn’t
Learning what to keep vs. what to toss and understanding the rhythm of a film
The intentionality behind Jordan’s films and drawing attention to Black cinema
Recognizing how much blockbusters have changed over the past 20 years

Links to Resources:

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How Do You Know When Your Edit is Done? Aug 04, 2022

How do you maintain perspective as an editor? Can you really do nothing to get ahead? Have you experienced the runner’s high of editing? Plus DaVinci Resolve 18 and killer new cloud tools…

In this episode, we talk about…

What editorial perspective entails and the emotional rollercoaster of editing
Suggestions for gut-checking yourself in the editing process
Recognizing if you’re truly listening to feedback vs. looking for a gold star
Why it’s okay to be picky about who gives you notes
The philosophy behind “Do nothing, stay ahead” and what Napoleon’s inbox would look like today
Why it’s time to make the switch to Blackmagic Design’s DaVinci Resolve 18

Links to Resources:

Walter Murch Interview on Editing - https://podcasts.apple.com/nz/podcast/cinematic-legend-walter-murch-on-editing-sound-design/id1078804724?i=1000491356114

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The New Soft Skills You Need as a Modern Filmmaker Jul 28, 2022

Filmmakers creating trolly news cycles and buying bots to gain online attention… Hollywood myth about keeping your project a secret to prevent it from being stolen... latest cloud storage tools by Blackmagic.

In this episode, we talk about…

The phenomenon of creating a trolley news cycle by filmmakers
Filmmakers are buying bots to gain attention on social media
Soft skills you can develop to be a good filmmaker
The idea of putting your vision on the market
Debunking the myth that you shouldn't talk about your project with anyone.
Not getting worried about your idea being stolen — it's much cheaper to buy it from you than to steal it.
WGA arbitration to save your projects from plagiarism
Blackmagic's latest cloud tools —Cloud Pod, Cloud Store Mini, and Proxy Generator

Links to Resources:

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Here's How This DP Did Something Nobody's EVER Done Before Jul 26, 2022

Cinematographer Bianca Cline explains how she shot the feature film Marcel The Shell With His Shoes On which is now playing in theaters.

In this episode, we talk about…

The necessities that stop motion needs
Using a rotating camera around the subject
Incorporating stop motion into a live-action movie
Creating a visual language for the movie
The idea behind making the documentary more cinematic
An insight into cinema from the viewpoint of a cinematographer
The power of music and cinematic language
Planning how the parts will be stitched together during the editing process
Cameras used for shooting stop motion and other scenes
Why Bianca decided to do this film
Advice for people who want to make documentaries

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Is it Bad That Spielberg and A.I. Generators Are Playing in Our Sandbox? Jul 21, 2022

Filmmakers trolling in the attention economy, Steven Spielberg’s music video debut…AI art and whether a true craftsperson or artist will always beat out a machine?

In this episode, we talk about…

Russo brother’s trolly comments and the benefits of trolling
Importance of marketing, calling cards, and making a name for yourself
Challenge of launching new IP or a new multiverse
How losing a production job to Spielberg is like trying to guard Lebron James
Odd celebrity projects like Dive and Planet Hollywood
What artificially intelligently generated artwork means for the future of art
Whether anything can be original when everything that was created before is the palette we have to work with

Links to Resources:

Dall-E Mini: https://huggingface.co/spaces/dalle-mini/dalle-mini

Spielberg’s Restaurant: https://www.mentalfloss.com/article/537115/why-steven-spielbergs-nautically-themed-dive-restaurant-sunk

Mumford Spielberg Video: https://nofilmschool.com/spielberg-music-video

Russo Bros comments: https://nofilmschool.com/russo-bros-theatrical

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This is Why You Can Do Better Work Even With Limitations Jul 14, 2022

Does Taika Waititi really believe director’s cuts are stupid? Working conditions of VFX teams for Marvel movies…a possible replacement for VFX work, viral shorts turning into features, ARRI’s latest release and more…

In this episode, we talk about…

Whether director cuts are worthless or worth releasing
The impact of CGI on digital post-production
How VFX removes limitations while creating infinite canvas problems
Business tips for Marvel and Disney’s VFX department
Bad VFX isn’t a lack of skill, it’s a lack of time and resources
Marcel the Shell: Turning shorts into features with grant money
Power of sticking to the original intention vs. going for the big fish
ARRI’s new lighting OS and camera-activated trigger

Links to Resources:

Walter Murch episode: https://megaphone.link/NNLLC3056218334

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How To Create Amazing Cinematic Sequences with the 'Elvis' Editors and Cinematographer Jul 12, 2022

Editors Jonathan Redmond and Matt Villa and DP Mandy Walker share how they helped create the dizzying and epic Elvis through the vision of Baz Luhrman. Elvis is in theaters now!

In this episode, we talk about…

Determining what to include and scratching Baz Luhrman’s itch
Why Baz Luhrman considers biopic a dirty word
Visually contextualizing what influenced Elvis’ music without dialogue
Using original footage like Easter eggs and balancing scenes played by Austin
Details about the emotional sizzle reel made for studios
Organic process of trial & error when deciding what to cut from 4+ hours of film
Maintaining perspective on what’s working and what’s not
Mediums and tools used to create the visuals for Elvis
Lenses used to capture the different decades throughout the film
Replicating lighting and scouring Australia for vintage rock ‘n’ roll lights
Selling the illusion that Austin Butler is Elvis Presley
16 weeks of prep and testing meticulously planned sequences, lighting, visual effects
Moving from metaphorical to physical and creating a world people can feel
Constantly communicating with Baz and finding the harmony of visual language

Links to Resources:

Elvis - https://elvis.warnerbros.com/

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How You Can Benefit from Finding Filmmaking Communities Jul 07, 2022

Plus we talk about comments from Tom Cruise and James Cameron

In this episode, we talk about…

How much Tom Cruise and the film industry has changed from the first Top Gun movie to Maverick
The problem with long climaxes thanks to Michael Bay and Christopher Nolan
Creating a story worth telling vs. destroying every last fiber of a franchise
Scientology is still bad but at least Maverick has age-appropriate love interests
James Cameron’s deliberate old-man trolling about his 3-hour movie
Declining appeal of long movies as well as shows with too many seasons
Advice for emerging filmmakers: Less is more and storytelling matters most
Building community through backyard cinema and low-level networking events
Details about Laowa’s anamorphic lenses, Atlas Lens’ Orion Silver Edition, and finding the perfect combination of camera, lenses, and lighting

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Here is How a Random Crush Turned into Someone's Break Through Feature Jul 05, 2022

Screenwriter Heidi Lux talks about how having a random crush at 30 turned into a YA movie…

In this episode, we talk about…

Heidi’s journey from Polish immigrant family trauma to writing jokes for a living
Why it’s better to write for a herpes commercial vs. star in a herpes commercial
Listening to yourself and understanding the power of failure
Heidi’s writing experience and strong base in satire and comedy
Turning adult misery into successful young adult fodder
Value of learning how to interpret feedback and the process of “vomit first drafts”
Cold emailing managers and not giving up until you find the right audience
Tubi TV and what comes next for Heidi
Advice for screenwriters: Never use semicolons, Do use fast language, and Study your craft

Links to Resources:

Crushed - https://tubitv.com/movies/661023/crushed

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The Personal and the Political of Filmmaking in Unprecedented Times Jun 30, 2022

This week we discuss the Supreme Court's decision to repeal the Roe Wade decision, recent tech news, and we answer a question about finding your first on-set experiences.

In this episode, we talk about…

Impact of the Supreme Court's decision on Roe v. Wade on the entertainment community
A look at how abortion affects men
Making abortion a topic that is open and accessible so that it isn't stigmatized
The impact of parenting decisions on your career
Parental leave in the entertainment industry
Shooting on Alexa Atlas Anamorphic Lens
Some screenwriting advice
Site recommendations and networking strategies for finding production subs
Tips when you're doing job hunting

Links to Resources:

Websites for job hunting:

Mandy: https://www.mandy.com/

Feedly: https://feedly.com/

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Unlocking the Challenges of Directing Actors with Sophie Hyde Jun 28, 2022

Sophie Hyde, director of the movie Good Luck to You Leo Grande, talks about her career, filmmaking in various aspects, and how good performances can impact the success and lifespan of a movie. Good Luck to You Leo Grande is an actor dominant movie, with most of its scenes focusing on two characters. It is available to stream on Hulu.

In this episode, we talk about…

What inspired Sophie to start a career in filmmaking
About the documentaries, she has made so far
Sophie’s experience working in the Australian film industry and the international film industry
The idea behind the movie 52 Tuesdays and how it came to be
The challenges of directing actors
Making a film with a low budget
Sophie’s approach for making Good Luck to You Leo Grande
Sophie’s views on the visual style of Good Luck to You Leo Grande
Encouragement for filmmakers to get through the noise when they have something they want to say

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Let's Face Filmmaker Imposter Syndrome Together Jun 23, 2022

Serving a higher purpose as a filmmaker…the struggles of imposter syndrome and the Bradley Cooper fan club…DJI’s new releases and radar stuff…films and events relevant to Juneteenth…

In this episode, we talk about…

Whether we are “living in a tiresome, lame commercial culture of filmmaking”
Making art for something bigger than yourself, your voice, your ego
Recognizing imposter syndrome and how directors find their North Star
Bradley Cooper’s beef with his film industry peers and “the nom he deserved”
Keeping perspective when working in elite circles and being surrounded by success
The importance of holding people accountable for bad behavior
DJI’s new RS3, RS3 Pro, and DJI Transmission and LiDAR tech
Recommended films and events to learn more about Juneteenth

Links to Resources:

‘Miss Juneteenth’ Writer/Director Shows Us How to Beat the Odds - https://nofilmschool.com/miss-juneteenth-channing-godfrey-peoples

Robert Eggers Explains How the Devil is in the Details on ‘The Northman’ - https://nofilmschool.com/robert-eggers-northman

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Straightforward Ways to Be a Better Director from 'Hustle' Director Jeremiah Zagar Jun 21, 2022

Director Jeremiah Zagar, who directed the Netflix movie Hustle, shares many valuable filmmaking lessons and how he made a phenomenal movie with people who had never acted before.

In this episode, we talk about…

Making an independent art film with a sports story
The freedom and possibilities he got while shooting with real basketball players
The idea of evolving the narrative direction through each fight
How to get good performances from people who don't act professionally
Tips on working with actors and helping them to do their best and not freeze while on camera
His experience while working with Adam Sandler, Queen Latifah, Robert Duvall, Kenny Smith, and others
Advice for people who want to shoot in a digital format but want to capture the anamorphic look
Behind-the-scenes stories from the movie set
How he handled self-doubt while making the movie
Learning from failures and recognizing the fact that perfect is not always in the cards

Links to Resources:

First feature series, Ryan Koo and Amateur https://nofilmschool.com/tags/firstfeature

Link to Hustle on Netflix https://www.netflix.com/in/title/80242342

Winning time interview https://megaphone.link/BLU1506714910

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Find Out What's Happening to the Streaming Business Model and What's Next in Lenses from Cine Gear Jun 16, 2022

Why safety matters on set…cutting through the glut of streaming content constantly available…the highs and lows of crypto in Hollywood…and unique lenses featured at Cine Gear…

In this episode, we talk about…

Sarah Polley’s traumatic experience with director Terry Gilliam
The importance of safety on set and holding people accountable for safety
Culture shift around humane leadership and psychologically safe work environments
How Netflix changed expectations for viewers and how we consume shows
Binging vs. slow drip model and getting your audience to know you exist
The easy access and comforting company of a streaming library
Trying to understand the Hollywood and crypto bubble
Advice around using crypto to finance your film
Details about Cine Gear and the latest attempt at mimicking vintage lenses

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Go Inside the Editing of "Top Gun: Maverick" Jun 14, 2022

Editor Eddie Hamilton tells us about cutting Top Gun: Maverick, building his career, and working with Tom Cruise.

In this episode, we talk about…

Making the jump from editing shorts to major blockbuster films
Advice for setting your bar high and doing the best work you can possibly do
Ultimate escapism and which movie made Eddie fall in love with the film industry
Whether shooting IMAX footage changes the direction of the story
Little stick jets, iPhones, and other tricks used during filming Maverick
Working with heavy hitters of the film industry and the one-person committee of Tom Cruise
Passion, hard work, and delivering a great night at the movies
Cutting scenes for the big screen and why every second matters
Stress testing scenes to provide an emotional journey for the audience
Reshooting until it’s exactly right to create the perfect movie
Editing tips for filmmakers and helping your audience connect to the characters

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Learn From The "Sketchy" Things We Did When We Started Out... Jun 09, 2022

When should you use a contract? Do you know what a deal memo is and how to use one? Tech news about Apple’s M2 processor and words of wisdom for a young filmmaker we wish we’d known 20 years ago…

In this episode, we talk about…

Elon Musk’s latest news stunt and who really benefits from contracts
Where ownership by default lies vs. “work for hire”
Differences between contracts vs. deal memos and when to use each
Advice to have contract conversations first and red flags to avoid
Apple’s shockingly powerful new MacBook Air with M2 processor
Ask No Film School: “How can I get my first film out to the public?” “Which microphone should I purchase to record with my phone?”
Options for dual system sound and why sound people always get paid
Suggestions to watch past festival films, use online platforms to share your film, and to always keep making stuff
Remember: Your first film should not be your last—use it as a learning opportunity to get better

Links to Resources:

5 Day Deal Video Creators Bundle 2022 - https://nofilmschool.com/5daydeal2022

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Make Your Feature by Embracing Fear Jun 07, 2022

Next Exit’s director Mali Elfman recalls the journey of bringing her directorial debut to fruition during the height of the pandemic and how sometimes you have to embrace fear and failure to experience success…

In this episode, we talk about…

Taking a film to production after 10 years in development
The beauty of creating a film crew pod during the pandemic
Juggling the triple threat of being a writer, producer, and director
The value of crew members and knowing productions can’t run without PAs
Benefits of being solutions-oriented vs. being a combative director
Prioritizing sleep during filming and shifting away from grind culture
How sharing an unfinished passion project led to Next Exit
Creating a supportive production environment for cast and crew
The need to understand the practicality of how to shoot your film, its budget and constraints
Speaking from your heart and giving yourself permission to embrace failure
Details about the Tribeca Film Festival and hope for what comes next

Links to Resources:

Next Exit by Mali Elfman is premiering at the Tribeca Film Festival on June 10 - https://tribecafilm.com/films/next-exit-2022

5 Day Deal Video Creators Bundle 2022 - https://nofilmschool.com/5daydeal2022

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https://www.latimes.com/opinion/story/2022-05-30/top-gun-maverick-memorial-day-tom-cruise-pentagon-propaganda

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What's Your Responsibility as a Filmmaker AND Film-watcher? Jun 02, 2022

What business does the Pentagon have in films? Are filmmakers and film-watchers truly aware of the message they are sending and receiving? Plus details about ARRI’s Alexa 35 and first new sensor in 14 years and Fuji’s new digital camera…

In this episode, we talk about…

Recognizing the glorification of violence in America vs. the rest of the world
Acknowledging the need for hierarchy in filmmaking
The Pentagon’s surprising connection to over 2500 films
Responsibility of filmmakers and the audience to be aware of the impact of film
Advice for making decisions about money and which clients and collaborators you’re open to before the offer’s on the table
Handling messages with care and the necessity of research in film
Details about ARRI’s long-awaited release of the new Alexa 35
Fujifilm’s X-H2S and the first collaboration of Fujifilm and Fujinon

Links to Resources:

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Film Festival Founders Share How You Can Grow from the Festival Experience May 31, 2022

Dances With Films founders Leslee Scallon and Michael Trent join us to discuss the festival's 25 year anniversary, its history and selection process, and how they keep it a festival for filmmakers by filmmakers…

In this episode, we talk about…

What led Michael and Leslee to found the Dances With Films Festival
Orion’s cease and desist letter and “Festival of the Unknowns”
Creating a sustainable model by prioritizing film and championing new talent
Why DWF is held in Los Angeles and respect for the film selection process
Acknowledging not all films are good and why filmmakers need to keep practicing
Engaging with new filmmakers and preparing them for the industry
Watching the whole film and looking for the heart when selecting films for DWF
How all films not chosen receive “pass” letters that include positive comments
The challenge of DWF’s programming and how it’s evolved over the years

Links to Resources:

Dances with Films - https://danceswithfilms.com/

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Do Movie Stars Still Matter for Indie Filmmakers? May 26, 2022

Is Tom Cruise the last movie star? Can you make an indie film without a celebrity? The never-ending challenge of finding your audience, casting unknowns who are the right fit, and Sirui’s affordable anamorphics…

In this episode, we talk about…

Defining what it means to really be a movie star
Whether franchise movies mean less power for actors
Letting CGI Stan Lee live in Marvel movies forever
Measuring success and significance in the film industry and media
Pre-digital effects feelings and the different joys actors bring
Tom Cruise vs. Tyler Perry and how Tyler Perry is the modern Charlie Chaplin
Why indie films no longer need a big celebrity who’re trying to be serious
The challenge of finding an audience interested in your work
Recognizing that different people scale to different size screens
Benefits of casting the actor who’s good and right for the part
Sirui’s affordable lenses and the growing lens space

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Will This Be James Cameron's WATERloo? May 19, 2022

Avatar is back after a long layoff since it changed the game. What can it offer filmmaking and audiences now?

In this episode, we talk about…

Memorable dialogue, characters, and stories of other James Cameron movies vs. Avatar
Whether Avatar 2 can bridge the 13 year technology gap since the first release
Regarding Henry and shutting down production over cheap caviar
Consummate craftsman vs. self-destructive tendencies
H&Y’s new Revoring’s surprisingly user-friendly magnetic filter setup

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How This Writing Team Got Their First Feature (With a Little Help From This Podcast!) May 17, 2022

Aviary writers Jennifer Raite and Chris Cullari explain how a prior interview from the No Film School Podcast helped them connect with their lead actress and how to create an egoless partnership that producers want to work with…

In this episode, we talk about…

Producing a film during COVID with a little less than 14 days to shoot
Fielding a cast who’s down for the film’s size, location, and shooting schedule
What it’s like working with actors who help move production forward easily
Writing a script that’s achievable even with significant limitations
Creating a horror film focused on new information vs. new kills
The power of collaboration and advice for putting ego aside
Studying other films and directors like studying game footage for athletes
Suggestions for getting your first feature made and the value of establishing relationships within the industry
Learning when, where, and how to put your foot down and pushback for the story

Links to Resources:

The Aviary - https://www.amazon.com/Aviary-Malin-Akerman/dp/B09KG7ZF3Q

Malin’s Interview on NFS Podcast - https://nofilmschool.com/malin-akerman-chick-fight

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The Problem with TV, The Cat People's Narrative, And a Tool That Finally Crosses the Streams May 12, 2022

A journey from Georgia to Middle Earth…why you should protect and insure your gear…Have streamers broken TV? DJI’s new drone and MASV’s massive ability to share large video files…

In this episode, we talk about…

Camera theft and reselling a path to bigger dreams
The Cat Person narrative and who gets to tell the story
Vice’s article addressing two worldviews of showrunning
Film industry’s apprenticeship problem and how writers rooms don’t need to be hell
A life of continual growth vs. the delusion you have finally arrived
The issue of paying people for 22 episode seasons vs. 6 episode seasons
How DJI’s new 249 gram Mini drone skirts the law
Drawbacks of sharing video files and benefits of using MASV (Massive.io)
How MASV crosses WiFi streams and backwards rigging tools for film

Links to Resources:

Cat Person Story - https://www.newyorker.com/magazine/2017/12/11/cat-person

Vice Story - https://www.vice.com/en/article/epxeze/television-is-in-a-showrunning-crisis

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Award-Winning Director John Madden Talks Crafting Tension in 'Operation Mincemeat' May 10, 2022

Accomplished director John Madden shares his extensive film and radio experience and breaks down the art of storytelling in ‘Operation Mincemeat’…

In this episode, we talk about…

Entering the film industry by way of theater, British television, and radio drama
The overlap of radio film and how rhythm is key to cinematic storytelling
Learning to put story first, script first, sound first as a film director
Operation Mincemeat’s origin and ties to Hitchcock’s “The Man Who Never Was”
Ongoing speculation, conspiracy theories, and the craft of narrative
Recognizing a world unfamiliar with World War II cinematic literature
When a story jumps off a page and attracts the actors you want
The balance of casting from choice actors and leaning on a casting director
Embracing the fact the film will live on a digital platform

Links to Resources:

Operation Mincemeat - https://www.netflix.com/title/81428563

Post on Dramatic Irony - https://nofilmschool.com/Dramatic-Irony-Definition-and-Examples

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Word of Mouth and Making Good Movies Still Works! May 05, 2022

Do you listen when friends recommend seeing a specific movie at the theater? Will Audio Design Desk change the future of sound editing? And what cameras you should use for filming if you don’t want to shell out $10K…

In this episode, we talk about…

Pre-existing IP and public domain vs. movie IP and a guaranteed audience
What counts as a real movie (to everyone but that one Disney executive)
Recognizing word of mouth success still exists and pushing for a theater experience
Audio Design Desk’s tedium-free playful and creative process of editing sound
ADD’s embedded sync points and ability to easily shift the vibe of your project
AskNoFilmSchool: What is a small, light digital camera that would make the best director’s viewfinder? Or does everybody still use Artemis?

Links to Resources:

NAB YT playlist: https://www.youtube.com/playlist?list=PL9cTD-waVSEGff8ODI3sQKVoRersp6gdW

Audio Design Desk: https://add.app/

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Filmmaking Tools and Tech That Excite Us the Most as We Wrap Up NAB 2022 May 03, 2022

NAB 2022 is coming to a close and we're reflecting on the most amazing things we saw, the innovations we're inspired by, and the changes we believe the future of film tech holds for filmmakers everywhere.

In this episode, we talk about…

Teradek’s cloud-based post-production and portable mixing solutions and affordable line for filmmakers
Aputure’s growth and other upcoming small companies to watch
Robots with cameras and Frame.io’s futuristic wireless transmission
Audio Design Desk’s mind-blowing software solution for audio designers
Battery options and Came-TV’s dual V-mount charger
High end lenses, Maxon, and the evolution of effects work
Going for the tools you need but recognizing the free or less expensive alternatives
ARRI’s rise to the top and where camera systems will go from here
How filmmakers can leverage technology to push the industry forward
Cutting through the noise with branding, storytelling, and design principles
The possibility of better things and embracing cinema all over again

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These Innovations Let You Light However You Want Apr 27, 2022

Day two of NAB 2022 for us was all about lighting, and as one of the most innovative areas in film tech these days, it meant we were busy. Aputure grabbed center stage with some new developments, but we saw demonstrations of lights doing things they could never do before, in a myriad of ways. These days, how you light is limited only by your imagination.

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Robert Eggers Explains How the Devil is in the Details on 'The Northman' Apr 26, 2022

Visionary Director Robert Eggers joins us to talk about inspiration, struggles, humility, and confidence on set.

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The First Day of NAB 2022 Introduces Insane New Workflows Apr 25, 2022

We're kicking off NAB 2022 with the latest in camera and lens technology, a recap of some of the crazier things we saw, plus a look ahead to all the things we'll be bringing to you in the coming days.

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There May Be No Better Way to Learn and Get Inspired Than This Apr 23, 2022

Turner Classic Movies host Eddie Muller talks about the impact of studying classic films at the TCM Film Festival.

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The Genius Talent Behind "Everything Everywhere All At Once", All at Once Apr 22, 2022

Everyone once in a while a movie comes out that blows our collective hearts and minds. "Everything Everywhere All at Once" is that movie, and these are the people who made it.

We're blessed to have an extra-special episode this week featuring The Daniels (Writer/Director team behind the film) as well as their frequent collaborators Larkin Seiple (DoP) and Paul Rogers (Editor) to talk about EVERYTHING that went into crafting this modern classic.

See the movie, then listen to this as a companion piece!

link to the film: https://a24films.com/films/everything-everywhere-all-at-once

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What Happened to All The Sex in Movies? Apr 21, 2022

Has sex changed in movies? Is 40 too old to launch a new career? Where do we get ideas for films? And tech news about Blackmagic Design’s latest release…

In this episode, we talk about…

The evolution of erotic thrillers and how genres never die
Male gaze vs. female gaze, shifting morals and expectations of what’s believable
Ask No Film School: Is 40 too late to start a career in the film industry?
Where ideas for screenplays come from and deciding which ideas to pursue
The difference between ideation vs. execution and valuing results over process
Protecting your creative process and gifts from the Boomers
Details about Blackmagic Design’s latest cloud solution release

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A Round Table On Apps Every Filmmaker Needs Apr 19, 2022

Guy Goldstein, founder and CEO of WriterDuet, Gad Tisch, founder and President of Croogloo, Steve Vitolo, CEO and founder of Scriptation, Zach Lipovsky, co-founder of Shotlister, and Lawrence Sher, founder and CEO of ShotDeck discuss 5 apps that every filmmaker needs…

In this episode, we talk about…

WriterDuet-real time collaboration software built for co-writing and compatible with all standard formats
Croogloo-production management solution for film and television crew
Scriptation-simplifies the script revision process by digitally transferring notes across script revisions
Shotlister-creates a better way to know how much time and shots are left in a film shoot
ShotDeck-massive database of movie and tv images and a tool for research, references, and inspiration
Pushing new tools to become the norm in the film industry from the ground up
The benefit of immediate gains without advanced functions
Challenges that still need to be addressed and the value of transparency
Union vs. non-union reception and approval of apps
The massive wave of change happening in the ocean of content creation
Whether or not our generation will be accepted with our use of efficiency multipliers

Links to Resources:

Writerduet- https://www.writerduet.com/

Croogloo- https://croogloo.com/

Scriptation- https://scriptation.com/

Shotlister- https://www.shotlister.com/

Shotdeck- https://shotdeck.com/

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NAB is Coming And Here is Why We're Pumped Apr 14, 2022

Specs about all the shiny new tech released before the annual NAB show and the unfortunate reality of bad projection experiences…

In this episode, we talk about…

ARRI stabilizer systems and B-mount battery system
DJI’s wireless microphone with 800+ ft of transmission capability
Sirui’s new 75mm full frame anamorphic lenses and anamorphicmingle.com
Details about TLS-True Lens Services’ Vega lenses and the challenge of flares
Ask No Film School: Why do movies look better at my home vs. my local theater? And how much control do theaters really have with the projector?

Links to Resources:

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How This First Time Filmmaker Got Elite Talent on Her Side Apr 12, 2022

Filmmaker Hannah Bergholm discusses her groundbreaking feature debut, Hatching, which premiered at Sundance 2022, how she found financing for the project, and how it was to work with some of the industry's best artists...

In this episode, we talk about…

How Hanna created an opportunity for herself to make her directorial debut
The process of developing the film and getting the first feature made
Using workshops for pitching ideas to investors and sales agents to obtain financing
The lessons Hanna learned from her short filmmaking experience helped her with her feature film
Messages she was trying to convey through the film's themes and concepts
Style choices and the reason behind the creepy and lifeless design of the house in the film
Approaching the animatronic designer, special effects team, etc. to work on the project
Creating and designing the visual creatures for the film
Understanding what it means to shoot with a puppet and how technical it is
The thematic story behind the house and why she switched the character to a girl

Links to Resources:

Hannah Bergholm - https://www.imdb.com/name/nm1028093/

Hatching - https://www.imdb.com/title/tt12519030/

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Plagiarizing Film Students and Was 'The Godfather' Lit Poorly? Apr 07, 2022

Why plagiarism is never okay…what happens when you criticize classic scenes from the Godfather, Canon’s new feature two years post release, and why $9K isn’t enough to finish your film…

In this episode, we talk about…

The ethical obligation of creators to avoid plagiarism at all costs
Opting for collaboration instead of stealing someone’s work
What happens when the internet calls out the darkness of The Godfather
Inherent desire to make the right choice when filming
Learning in public and remembering aesthetics change over time
Orson Welles diaper baby and the value of cross-disciplinary skills in filmmaking
Unlocking the context of past work to understand the evolution of film
Canon’s new internal RAW update to the C70, 2 years after its release
Recognizing the increasing upgrade speed of cameras, lenses, and lighting
Ask No Film School: Where can I go to get my film through post for $9K?
Resources on NoFilmSchool.com to learn editing and filmmaking skills yourself

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How This First Time Filmmaker Got it Done By Laying it All on The Line Apr 05, 2022

Nadine Crocker recalls the roller coaster of challenges she faced while filming her directorial debut "Continue" and why more films need to address suicide and mental health issues…

In this episode, we talk about…

What inspired Nadine to take on her directorial debut
Nadine’s 10 year journey of writing, performing, exploring and sharing the story of Continue
How reading other scripts and taking acting classes helped Nadine craft her first screenplay
Calling in favors, donuts and begging to create a film in 19 days
Being your authentic self and sharing your passion and story to help others
The importance of finding a team that has a genuine connection to your material
Trying to finish edits when the whole world shut down and moving forward in complete fear
Recognizing you have to keep working other jobs even if you’re making a film
Challenges of the festival circuit and having blind faith in your work no matter what happens
Letting go of what you can’t control and creating a film you truly love
Details about Nadine’s upcoming projects and shedding light on suicide, trauma, and mental health

Links to Resources:

Continue - https://www.imdb.com/title/tt8005600/?ref_=ttfc_fc_tt

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What To Do With Your Hands... At a Film Festival or Awards Show Mar 31, 2022

Are handshakes ever okay? Should festivals have workplace rules? Should you use your hands to slap someone who made a joke about your wife? What else happened at the Oscars and Aputure’s new releases…

In this episode, we talk about…

Challenge of returning to extreme networking socializing events
The end of handshakes as we know it
Creating a PSA and implied HR rules to make film festivals safer for all
Acknowledging public spaces can bring up pandemic anxiety
Game of comparisons surrounding Will Smith slapping Chris Rock
Avoiding assumptions about the headspace or intentions of other people
Advice for filmmakers: Always do your research and mitigate your expectations for screenings and awards
Free speech and whether a joke is punching across vs. punching down
Other notable highlights from the Oscars
Aputure’s launch of new tube lights and mat lights

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Learn Directly From these 2021 Academy Award Filmmakers Mar 25, 2022

The Oscar Special Edition Mashup Academy Awards Extravaganza featuring a plethora of ridiculously talented folks responsible for creating Dune, Nightmare Alley, Licorice Pizza, No Time Die, Belfast…

In this episode, we talk about…

Editing choices in Licorice Pizza and knowing when you’ve got it right
Navigating different directors and working with Paul Thomas Anderson
Sir Kenneth Branagh explains why Belfast is filmed from the perspective of a child
Sir Kenneth’s inspiration and the emotional truth of his family’s experience
Nightmare Alley’s artistic influences and how it’s an original noir vs. an artifact or art movie
Tapping into 13 year old Denis Villeneuve to create the newest version of Dune
Joe Walker and the challenge of cutting a film that stays true to the original 600+ page story
Greig Fraser and what it was like being trusted as the DP for Dune
Chris Corbould’s Insight to shooting No Time to Die on film vs. preparing scenes for IMAX
Camera testing and approaching different angles for so many different actors
How Tamara Deverell’s research and Luis Sequeria’s costumes made Nightmare Alley a time machine
Theo Green and Mark Mangini and the intricate process of creating languages, sound, and the Bene Gesserit voice for Dune

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Who Will Win The Streaming War and All Your $$? Mar 25, 2022

Who will win the streaming services war? Can we really protect the digital content we make today? Tech news about Imax and why film is here to stay, just like TikTok…

In this episode, we talk about…

What Amazon’s purchase of MGM means for filmmakers
Why the MGM library is not up for grabs
Content tontine and the fight to be the last streaming service standing
Full circle of how streaming services might turn into a cable subscription
Dumping films in the East River and the implication of the digital transition of films
Just because something’s digitized or on film doesn’t mean it’ll last forever
Recognizing the need for multiple copies and better long term storage options
Imax’s new camera bodies and work in lens technology
Film’s not going anywhere so keep using the tools that make sense to you

Links to Resources:

Link to Missing Movies - https://missingmovies.org/list-of-missing-movies/

Tontine definition - https://en.wikipedia.org/wiki/Tontine

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The Oscar Nominated Art Team Behind "Nightmare Alley" Mar 23, 2022

Production designer Tamara Deverell and costume designer Luis Sequeria illuminate the process behind building the brilliant and haunting world of Nightmare Alley…

In this episode, we talk about…

Jumping at the opportunity to go deep into a Deco world with Guillermo del Toro
What influences helped create a film that’s essentially a time machine
Brooklyn Museum’s inspiration on the handcrafted design of Nightmare Alley
International hunt for fabrics and why 90% of the costumes are custom-made
Differences between building costumes for the carnival vs. city scenes
Symbolism of the funhouse and themes of circles and arches
Pictorial research and creating the aged, unwashed look of the Depression era
Why the final carnival scenes are dusty and devoid of color
Trepidation around color and saturation and staying true to the time period
Making every frame a painting and the unique perspective of still moments

Links to Resources:

Episode from Nightmare Alley DP and Editor: https://megaphone.link/BLU1430569925

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Dune: A Masterclass in Bringing a World to Life Through Sound Mar 22, 2022

Mark Mangini and Theo Green dive into the intricate layers of building the sound for Dune and how they helped create a science-fiction universe grounded in reality…

In this episode, we talk about…

Getting the Blade Runner band back together
What it was like experiencing sand dunes for the first time
Running reconnaissance for sound team members and resources
The multiple layers of editing production sound and actors’ dialogue
Creating the structure of language and sound palette for Dune
The process of building the ancestral skill of the Bene Gesserit voice
Beauty of discovery and finding balances for clouds of voices
Documentary realism and a universe that we acoustically recognize
Creating 3200 bespoke sounds to achieve analog reality
Thematic approach to universe building and communication
How worm vocalizations were born and developed

Links to Resources:

Previous Mark Mangini Episode: https://megaphone.link/NNLLC2924908228

Episode with Greig Fraser and Joe Walker (dp and editor of Dune) https://megaphone.link/BLU5444028269

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The Tragedy of People Missing the Point of Movies Mar 20, 2022

How do you respond to a movie that’s not about you? How did Jane Campion get it so right for Sam Elliott but so wrong with Venus and Serena? Latest Apple news and a sincere explanation of why we just aren’t sold on NFTs and crypto…

In this episode, we talk about…

Understanding that not every movie has to be about you to be relevant
Cancel culture and the job of a film critic
How Pixar’s Turning Red is just Godfathers for Asian women
Whether Jane Campion can recover from her cringy remarks to Venus and Serena Williams
A review of Apple’s upcoming Mac Studio release and move to Apple silicon
A less inflammatory response to frustrations with NFTs and crypto
Recognizing cons abound, the world is on fire, and why it’s always best to invest in what you understand

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Find Out Why These Producers Read ‘Mass’ and Had to Make It Mar 16, 2022

Mass producers Dylan Matlock and J.P. Ouellette open up about their experiences of reading a script so powerful they immediately knew they wanted to bring it to life…

In this episode, we talk about…

Riding in a van full of models while crying over a script
The process of securing resources to make this film happen
Two days of table work and one month to prepare for filming
How shorter hours on set allowed time for more creativity
Actors’ preparation of shooting 8-12 pages a day and rolling into the emotions
Addressing gun violence and shared trauma without political agenda
Embracing a story that focuses on reconciliation, grieving, and moving forward
Recognizing different responses to the film and the preventative opportunity it presents
Restoring a sense of community and being able to see the humanity in others through the characters from Mass

Links to Resources:

Watch Mass: https://www.amazon.com/gp/video/detail/amzn1.dv.gti.0f1b4af4-1251-4041-a439-c553555fbc7d?tag=deciderrg-20

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3 Filmmaking News Stories That Push All Kinds of Buttons Mar 14, 2022

Does Sam Elliot know he’s not a real cowboy? Would you watch the Oscars if it was broadcast like the Super Bowl? Whether we can move past the term “urban” and ideas of virtue signaling…

In this episode, we talk about…

Deconstructing the myth of the American Westerns and Sam Elliot’s mustache
More Oscar drama and a suggestion for a 5 hour Super Bowl-esque broadcast
Advocating for a creative way to excite audiences about the filmmaking process
Zoe Kravitz as Catwoman and moving past “urban” characters
The reality of rejection and audition success rates of actors
Ask No Film School: Should people start boycotting Chinese made goods, specifically filmmaking equipment?
Addressing virtue signaling and the need to take action

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The Not-So-Secret Hack That Makes 'Winning Time' So Amazing Mar 09, 2022

'Winning Time' is a win for filmmakers everywhere. By combing period mediums and camera angles, these two DPs take us back in time.

In this episode, we talk about…

Capturing the cultural knowledge tied to this era and keeping film living in the dirty bottom end of the 70s
Playground of production design and blurring the line between new footage vs. found footage
The beauty and challenge of filming sports scenes with original cameras from the 70s and 80s
Recreating larger than life, and very tall, historical figures and how basketball lends itself to the storytelling process
The secret weapon of rollerblades and broadcast angles
Tackling complicated issues and filming with care and respect for the stories being told
Sneaking in different cameras and testing what works
Addressing the limitations of shooting on film and why it makes sense for Winning Time

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Why Does The Academy Hate Actual Filmmaking? Mar 03, 2022

Calling out bullshit propaganda videos, praising Ukrainian filmmakers, Aputure LED light news, a badass editing MasterClass, and why the Academy Awards may never really be about the craft of filmmaking…

In this episode, we talk about…

Shout out to Ukrainian filmmakers and a reminder to check the metadata when videos seem suspect
Sean Penn, World War 2 film directors, and TikTokers on the ground in Ukraine
Details about Aputure’s new affordable 1200dPro
Jason Levine’s live interactive masterclass series for film editing
Breaking the fear of editing and how creating content is becoming more common
Learning best practices and options to become certified through the masterclass
8 significant categories being cut from the Academy Awards broadcast
“It’s almost like the Oscars aren’t really about honoring quality filmmaking”
Recognizing the reward is in the work, not an Oscars statue
Shifting out of monoculture and giving attention where attention’s deserved

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Want To Binge The Best Movies Ever? This Month You Can... Mar 01, 2022

I used to think the Oscars were pretty worthless, Then TCM host Dave Karger changed my mind. We walk through the history of the Oscars, share our favorite non-winning films, and make a strong case of how the Oscars really do shine a light on movies that people might not otherwise see…

In this episode, we talk about…

Historical context of the Academy Awards and its evolution over 75 years
How marketing turned the Oscars from a one-night affair to a months-long season of campaigning
The ebb and flow of what it means to win or lose an Oscar
Details about TCM’s Annual 31 Days of Oscar Festival
Recognizing trends of Oscar winners by decade
Award categories and the differences between Best Screenplay vs. Best Picture
Advice for filmmakers to pay attention to the director’s branch and writer’s branch
Suggestions for new award categories to bring attention to the craft of filmmaking
Examples of amazing movies nominated for an Oscar that didn’t win
Whether the Oscars needs a separate musical comedy category
How TCM crafts their intros, outros, and movie rotation
Whether Oscars are given in recognition of past work or purely because of a specific performance

Links to Resources:

TCM 31 Days of Oscar - https://www.tcm.com/31days

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Investors Scamming Filmmakers and a New Camera That Blows Our Mind Feb 24, 2022

Why isn’t Francis Ford Coppola using Decentralized Pictures to fund Megalopolis? How long will Moviecoin, NFTs and cryptocurrency in filmmaking last? Exciting Panasonic release and advice for how to handle the budget of your first production…

In this episode, we talk about…

Francis Ford Coppola’s decision to borrow $120 million to make the movie he wants
Everybody wants to work with people they like and people who are historically successful
Playing the studio game vs. painting outside the lines, making white whale films
Genre-bending stories and the evolution of the theatrical experience and television
Moviecoin and signs that NFTs are still bullshit
Challenges of making a movie, distributing and marketing it to cut through the noise
The future of cryptocurrency in filmmaking and how most things will be watched by less people but more things will be made
Release of the Panasonic G86 camera with micro four thirds sensor and other camera news
Ask No Film School: How do I handle the budget for my first production?

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How Two Very Different Paths Led To Filmmaking Careers Feb 22, 2022

Talia Lugacy (writer/director of indie film This is Not a War Story which is nominated for a Spirit Award) and Chad Galster (editor of the acclaimed series Yellowstone and 1883) share their different experiences of how film school influenced their current careers and remind us there’s no right way to filmmaking…

In this episode, we talk about…

Watching a Clockwork Orange obsessively and loving a certain level of excellence
Going to film school at NYU and showing up to film sets vs. film classes
Talia’s experience of moving to LA as a PA and why she went back to NYC
How attending acting school as a teenager eventually led to the film Descent
Working through trauma and staying at a monastery to practice Rinzai Zen
How Talia accelerated her writing practice and where This Is Not a War Story came from
Why it’s best to focus on your craft vs. what’s out of your control as a filmmaker
Chad’s decision to leave science and pursue his childhood dream of making movies
The benefits of USC’s film program and spending hours getting work experience as a student
Becoming the guy known for editing and getting his first credit
Advice to work hard, follow your passion, and be willing to pivot
How Chad’s music background influences his work as an editor
Experimenting with sound and being careful not to spoon feed the audience
How larger aspects of editing decisions impact the overall story and lessons
Committing to authenticity to help with audience engagement

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This Eye-Tracking Tech Could Change Filmmaking and Watching Feb 17, 2022

The return of MoviePass, tech updates, and how eyeball tracking gets us one step closer to the perfect shot…

In this episode, we talk about…

MoviePass’s new eyeball tracking model
How “watch this to get this” ads might impact content and filmmaking
Orwellian implications of tech vs. artistic possibilities
The art of storytelling in advertising in an attention economy
Shooting in ProRes RAW and using EditReady for a quick and easy transcript process
Ask No Film School: Is there an adapter where I can use PL mount lenses on my EF mounts camera?
The missing mirror, shallower lens mounts and why filmmakers should care about lens choice

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Creating Subtext in The Power of The Dog Feb 15, 2022

The Power of the Dog Editor Peter Sciberras breaks down the process of choosing the right cut, respecting the audience, and creating the slow burn of Bronco Henry…

In this episode, we talk about…

How cutting music videos led to Peter’s editing career
Peter’s approach to getting hired for The Power of the Dog
Letting the audience figure things out vs. what you need to tell them
Piecing together an interactive story with specific clues
The funnest part of an editor’s job and focusing on believability
Ongoing conversations to determine which scene should go where and why
Finding an artificial way to make details feel organic
Final phase of fine tuning and calibration and knowing when a film is done with edits

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https://nofilmschool.com/how-much-should-you-charge-video-work-take-survey-and-lets-find-out

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In a World of Mostly Bad Things, Make Something Good Feb 10, 2022

The 'shocks' and 'snubs' of the Oscars, the toxic fandom surrounding The Last Jedi, and whether or not you’re ready to make the leap into a creative career…

In this episode, we talk about…

The weird political gamesmanship of the Oscars
The bubble of which films are nominated for Best Picture
How Spider-Man is this year’s Dark Knight
Why more theaters need to offer independent films
Has any other film been as polarizing as Star Wars The Last Jedi?
Toxic fandom, monoculture, and Hollywood’s lack of original ideas
Ask No Film School: How to know when it’s time to leave your full time job and make the leap doing your own thing
What to expect from freelance clients and the challenges of pursuing a career in the creative or entertainment industries
Advice to practice and make things to figure out what you like, especially while the risk is low
Let yourself go through the bad to get to the good

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https://nofilmschool.com/how-much-should-you-charge-video-work-take-survey-and-lets-find-out

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Station 11 DP's Teach Creating New Looks in Familiar Genre Feb 08, 2022

Station 11’s cinematographers Steve Cosens and Daniel Grant dive into the details of creating a world enduring a pandemic, while the world is enduring a pandemic…

In this episode, we talk about…

How Steve and Daniel got their start in cinematography
A shared love of film processing and what it’s like working with a partner cinematographer
The irony of making a show based on a pandemic, during a pandemic
Creating a future that’s welcoming and lush vs. using apocalyptic imagery
Acknowledging filming started before COVID based on a book written in 2014
How they make decisions for shots and camera angles for each episode
Capturing the overarching theme of extreme close ups and extreme wides
What it was like shooting in big open spaces like abandoned airports
Collaboration and testing process to determine which camera lenses and light sources to use

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Censorship, Changed Endings, and The Big Chungus of Gear Feb 03, 2022

China’s happy ending to Fight Club, nerding out about DJI’s new 4D camera and Skydio drones…

In this episode, we talk about…

China’s take on Fight Club and whether Fight Club holds up in today’s world
Why Fight Club’s “new” version is going viral and Chuck Palahniuk’s response
Recognizing late 1990s movies that capture the anticipation of a shift in culture
Shooting with a DJI 4D and why it’s more of a documentary vs. cinema camera
How different lenses impact the DJI’s performance
Creating a 4D Big Boy, shoulder mounts and other cool tricks
Comparisons between the 4D, 12K, and 6K
Skydio and the sky market for filming
New editing capabilities for drone footage and drone testing experiences
Depth maps and why camera data matters to filmmakers

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What Cameras Are Most Popular for Sundance Filmmakers? Jan 27, 2022

Which cameras and lenses are being used at Sundance? Why stunt people deserve an Academy Award even if it doesn’t make the show and verifying SpiceDAO’s $3 million intellectual property mistake…

In this episode, we talk about…

Results of the annual No Film School Filmmakers Survey
How filmmakers are diversifying their toolkit and why Sony cameras are gaining popularity
Two types of filmmakers in owner-operator space: lenses vs. camera system
Improving image quality and the benefits of Blackmagic’s 6K Pocket Cinema Camera
Whether stunt and behind the scenes people deserve an awards category
The art form of stunt performers and their commitment to film
Why Canon cameras are a solid choice and which cameras compare
SpiceDAO’s ill-informed approach to acquiring intellectual property
The tricky space of copyright and trademark laws

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How Driving to LA With Nothing But the Dream Worked For These Guys Jan 25, 2022

From competing in the Channel 101 short film festival to writing for Rick and Morty and other hit tv shows, Willy Roberts and Wade Randolph explain why you can’t be precious about anything and why it’s always better to just get out there, make stuff and have fun…

In this episode, we talk about…

Moving to LA pre-9/11 and boxing porn at the Hustler warehouse
How one job at non-union movie has led to work 20 years later
Finding what you want to do vs. being a people pleaser
The only way to become a writer and get an agent
Networking vs. creating through collaboration and fun
Advice for writing a pilot: Start with Episode Two instead of the origin
How creative synergy can make a show better if you listen to it
A reminder to make yourself laugh and shoot what works
The phenomenon of the writer’s room and trusting yourself to be vulnerable
Why comedy is less about the audience and more about enjoying yourself
Pitching to execs and why they need to see themselves in your work
Suggestions for getting started, finding your voice and community, and having a thick skin

Links to Resources:

Real Life Sci-Fi with Wade & Willy Podcast: https://podcasts.apple.com/us/podcast/real-life-sci-fi-with-wade-willy/id888092892

Willy’s Instagram - https://www.instagram.com/willybadmovies/

Googy on YouTube - https://www.youtube.com/watch?v=xPC7t3Vnp3k

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A Rights-Buying Story So Weird it Might Be a Joke Jan 20, 2022

What does it really mean to get canceled, are NFTs just another con, and why sometimes it’s better to not know just how hard things can get…

In this episode, we talk about…

The undoing of Joss Whedon and the reality of cancel/consequence culture
NFTs, intellectual property and buying land on Earth 2.0
The wild west of the financial industry and its impact on filmmaking
The increasing affordability of camera car cranes for indie filmmakers
Ask No Film School: Pros and cons of Light Motion & Audio organization
Ups and downs of running a production company

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https://nofilmschool.com/money-survey

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The Secrets Behind Directing Great Television From Someone Who Does It Jan 18, 2022

Dan Attias, who has directed seemingly every great show from the last few decades, breaks down his prolific directing experience and getting to the authenticity of storytelling…

In this episode, we talk about…

What sparked Dan’s interest in directing
How being a visiting series director is like the impulses of an actor
What happens when two people who have different understandings collide
The importance of connecting to the script and truly caring about the story
Key challenges of directing television vs. feature films
How to talk to actors who already have an established role
Why generalness is the enemy of creativity
The emotional rollercoaster of being a director
Example of Dan’s directing experience to create more depth to the story and characters
Reaching the height of storytelling and having a beginner’s mind

Links to Resources:

Dan's Book -https://www.amazon.com/Directing-Great-Television-Inside-Golden/dp/1615933298

https://nofilmschool.com/guide-tv-directing-success

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How to Make the Slow Time of Year Busy Jan 13, 2022

Memorializing the celebrities we’ve lost recently, circling back to work during the lull of January and calling out the state of Alabama when you’re just trying to be safe…

In this episode, we talk about…

In Memoriam: Celebrities who have passed away within the past 6 months
Film recommendations for Peter Bogdanovich and Sidney Poitier
Why January is typically the slowest time of the year for the film industry
Adjusting to stay safe when safe feels different everywhere you go
Why prioritizing team safety never changes

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How Do You Raise Money at a Film Festival? Jan 07, 2022

Is Spider-Man No Way Home Oscar worthy? How you can raise money at Sundance or other festivals and what makes the Skydio Drone worth checking out…

In this episode, we talk about…

Spider- Man No Way Home’s box office record during the pandemic
The disappearance of the Golden Globes and the relevance of the Oscars
Phenomenon of billboards and how films cut through the noise
How to get people to watch a $20 million dollar movie with a $55 million dollar cast
Making a film that tells a story vs. a film that teaches a lesson
Why Skydio’s Drone should be on filmmaker’s radars
Sundance news and different strategies to fundraise at festivals
What the No Film School crew is looking forward to in 2022

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https://www.focusfeatures.com/wolf/watch/

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Nathalie Biancheri on Writing and Directing 'Wolf' Jan 06, 2022

Nathalie Biancheri shares her non-traditional path to filmmaking and her creative process behind writing and directing the feature film ‘Wolf’...

In this episode, we talk about…

Nathalie’s No Film School approach to filmmaking
How loving books and writing led to making documentaries
Working hard, perseverance and luck and making the jump from Nocturnal to Wolf
Managing anxiety and going all in on getting the film done
The inspiration for Wolf and the importance of thematic connections
What audiences interpret vs. filmmaker’s intention
How Nathalie determined her main focus for Wolf
Advice for maintaining confidence and pushing through self-doubt

Links to Resources:

https://nofilmschool.com/best-coming-of-age-movies

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Nora Fingscheidt On Being 'Drafted' to Direct a Large Scale Feature Jan 04, 2022

Nora Fingscheidt shares what it’s like to be plucked from German filmmaking to direct a Netflix feature film starring Sandra Bullock…

In this episode, we talk about…

How Nora skipped “Development Hell” and got hired for The Unforgivable
Shifting from System Crasher to a commercial film with a massive Hollywood set
How the core work of directing remains the same regardless of film types
What it’s like to work with giants of cinema and dealing with the unexpected challenges of filmmaking
How COVID interrupted production and impacted casting, locations and filming
Conversations about the story being told and the power of silence in Unforgivable
What the research process entailed and making it feel like an American story
Examining the life of an incarcerated woman and acknowledging different perspectives on racial experiences
Advice for new filmmakers to experiment, be as a radical as possible, stay true to your own voice and give yourself time

Links to Resources:

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Licorice Pizza's Editor and DP On Breaking Rules with PTA Dec 23, 2021

Andy Jurgensen and Michael Bauman break down the process behind making Licorice Pizza look, feel and sound just like the 70’s…

In this episode, we talk about…

How Andy got his foot in the door as an editor and built his career
Using internal screenings to understand the flow of the movie
Process of using dailies to narrow down shots and discover problems
World building with specific choices of sound and specific details
Knowing when sequences work and focusing on the core of the film
Making decisions about what to cut and not being afraid to cut good stuff
Experimental cuts that emotionally worked despite not being in the script
Differences in the US vs. British film systems
Evolution of workflow and collaborative approach to shooting
PTA’s style of decisive and confident shooting
Processing, stock choice and lighting to create a 70’s look on film and the influence of American Graffiti
Challenges of a small crew, using family and keeping everyone safe during COVID
Breaking rules to embrace naturalism and imperfections

Links to Resources:

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https://nofilmschool.com/nightmare-alley-meaning

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Nightmare Alley DP and Editor Shed Light on Crafting Utter Darkness Dec 21, 2021

Dan Laustsen and Cam McLauchlin dive into some of the nooks and crannies and hidden crevices of 'Nightmare Alley'…

In this episode, we talk about…

Insight to artistic influences, color palettes, and cameras
Making an original noir vs. an artifact or art movie
Delicious low-hanging fruit and balancing realism
Working within Guillermo’s bubble of storytelling
Exploring a character’s free will or destiny and feeling your way through the edits
Details about shooting different nights sequences and lighting schemes
Keeping the film whole even when pacing changes
Happy accidents and shooting the final scene in one take

Links to Resources:

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Why Make Movies? 2021 In Review Dec 16, 2021

Wrapping up the best of 2021, consuming content Gangnam Style and Todd’s tinfoil hat corner…

In this episode, we talk about…

Acknowledging we’re now in a place where everything is pandemic created
Whether or not movies should stay true to the book or polish the story
Favorite movies and shows released in 2021
Being happy about seeing movies at the theater again
Geeking out about filming in color vs. black and white
Not knowing what’s good and the shift away from monoculture
Why it’s still worth it to make films despite the flooded market
How the film industry is changing due to the pandemic
Remembering that good content always finds its audience
Top tech news of the year

Links to Resources:

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Sir Kenneth Branagh on 'Belfast', Cinema History, Growing Up, and Being Human Dec 14, 2021

Sir Kenneth Branagh shares how his own family’s experiences influenced Belfast, his new film that focuses on adult-sized issues like 'the troubles' in Ireland from the perspective of a child…

In this episode, we talk about…

Making a film from the perspective of a child
Sir Kenneth’s Western inspiration and influences from his own father
Capturing feelings vs. facts and trusting what makes sense
Notes from Sir Kenneth’s siblings and focusing on the emotional truth of their family’s experience
Writing about the jump of generations and tapping into the universal family unit
Advice about directing a child the same way as adults and thinking about the why of scenes
Allowing a combination of playfulness and professionalism
Challenges of shooting in black and white as the main storytelling tool and using color with purpose

Links to Resources:

Belfast - https://www.focusfeatures.com/belfast

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What’s Going On With the Austin Film Festival Screenplay Coverage? Dec 09, 2021

Did the Austin Film Festival bite off more than it can chew? And updates about the ongoing film workers' labor issues with IATSE and Blender’s newest software release and amazing community…

In this episode, we talk about…

No Film School’s relationship with the Austin Film Festival
The difference between reading scripts for a studio vs. festival
What is the goal of submitting your script to a film festival?
Separating competition from coverage and understanding what script reading requires
Understanding you can only grow anything as big as your ability to manage it
Being aware of submitting to film festivals vs. The Black List or Academy Nicholl Fellowships
Update about IATSE, strike authorization vote and potential leadership changes
Blender’s 3.0 update and learning from kids on Patreon

Links to Resources:

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Dolph Lundgren On Hollywood, Ambition, and Changing Course Dec 08, 2021

You may know Dolph Lundgren from his never-ending list of action-packed roles, but you may not really know Dolph Lundgren at all...

In this episode, we talk about…

What led Dolph away from MIT and changed the course of his life
What happens when the first big movie role you land is ROCKY IV
How meditation, therapy, and 'Aquaman' gave Dolph the confidence to shift to directing
Making the transition from action to drama by treating the audience with respect
Pushing the envelope and Dolph’s current inspirations for film ideas
Advice for filmmakers to focus on the story they want to tell and how they want to affect the audience
Dolph’s experience of filming Castle Falls with constraints on time, resources, and budget
How directing has turned Dolph into a student of film

Links to Resources:

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Why Comic-Con is for Filmmakers Dec 02, 2021

How the NFS crew handled their first in-person event at Comic-Con and updates about the ongoing labor dispute between IATSE and film industry workers...

In this episode, we talk about…

Covering Comic-Con in the pandemic era
Benefits of the indie-atmosphere of Comic-Con
Panel experiences and crossovers between fans and creators
Advantages of a smaller Comic-Con compared to past years
Continuing labor battle between film industry workers and IATSE
Opportunities for civic engagement to truly make a difference in union relations
How to make a small fortune in the film industry

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DP Robert Yeoman on Shooting With Wes Anderson Nov 30, 2021

Robert Yeoman has worked with Wes Anderson since his very first film Bottle Rocket and shares the ins and outs of what it takes to get those very specific Wes Anderson shots...

In this episode, we talk about…

Robert’s entry into the world of being a cinematographer
Robert’s experience shooting low budget commercials and 25 day, $2 million movies
How Wes and Robert ignored the studio about what lens to use in filming Bottle Rocket
What it’s like to work on a Wes Anderson film: small crews, storyboarding, specificity, stress, and schedules
Shooting French Dispatch and Wes’ extensive movie prep, film library, and testing film stocks
The value of shooting on film, especially in black and white

Links to Resources:

The French Dispatch: https://www.searchlightpictures.com/thefrenchdispatch/

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Turn Your Holidays into a Filmmaking Laboratory Nov 25, 2021

How to handle awkward questions about your job with a pitch, weird tech news, and why more production companies need to budget for crew needs...

In this episode, we talk about…

Connecting with others about filmmaking when they know nothing about filmmaking
Opening up Pandora’s box of people’s interests, opinions, and judgments about film
Treating conversations as opportunities to practice your pitch and be proud of your work
A reminder that if you don’t have a concrete thing you’re working on, you should have a concrete thing you’re working on
Whether we should stop asking the question “What do you do?”
Details about Vitec’s acquisition of Savage Seamless
Good Deal/Bad Deal—Working on a film with a long commute and no hotel provided by production

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How to Shoot a Feature in One Take. FOR REAL. Nov 23, 2021

Philip Barantini shares how a restaurant gig inspired a one-take feature film with no cuts and no time for traditional actor’s notes...

In this episode, we talk about…

How acting can help or hinder your path to directing
Acknowledging imposter syndrome and pushing forward
The inspiration behind filming a feature in one take
Adapting the Sony Venice to film for 92 minutes
2 Rules of filming Boiling Point:
The camera is never allowed to just float off on its own—it has to always be motivated by a person
Never repeat a move
How Philip directed a one-take film during the onset of COVID lockdown

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Sony Venice 2 Drops Here is What You Should Know Nov 18, 2021

Will Movie Pass make a comeback? Plus tech news about Sony’s Venice 2 and Quasar Science’s new light...

In this episode, we talk about…

Whether Movie Pass can bounce back from bankruptcy
Gym and vegetables vs. donuts and movies people
Movie Pass’ business model and well movies
New Venice 2 and changes to color science
Venice’s improvements and acknowledging smaller camera bodies are a big deal
Red’s RAW recording patent and victory over Apple and Sony
Details about Quasar Science’s Double Rainbow tube light

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What’s it Like to Write a Movie For Marvel? Nov 15, 2021

Guests today Ryan and Kaz Firpo made a huge career jump from directing documentary films to writing a script for Marvel; they’re sharing what that experience was like.

In this episode, we talk about...

How even at the highest level of film-making, its essence is the same - a group of people making stories.
The career journey of these two filmmakers.
A movie the two co-wrote that was placed on The Black List (for great scripts that have not yet been produced) and got them attention that led to Eternals.
Tips for a successful General Meeting.
What experiences and themes they drew from writing the script.
Behind the scenes looks at the process of writing for Marvel, working with Chloé Zhao, and working with Marvel’s braintrust, The Parliament.
What it was like for them to finally see the movie finished!

Links to Resources:

Eternals - https://www.imdb.com/title/tt9032400/

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Optioning Scripts for Indie Filmmakers, When to Drone, and GOOD DEAL/BAD DEAL Nov 12, 2021

Today’s episode includes a deep dive into option contracts and what you need in them.

In this episode, we talk about...

The indie side of writer-director relationships.
What you need in your option agreement from an indie perspective of producing and directing movies.
The different ways writers approach their work on an indie project versus a commercial project.
Why it’s a good idea to bring a lawyer onto your project for you.
How DJI has come out with a new drone!
Why indie filmmakers should be aware of the drones out on the market and how they can incorporate them into their movies.
A discussion on drone shots within film.
A Good Deal/Bad Deal discussion of working on an unpaid proof of concept with the hope (but not guarantee) that you might get paid work on the feature.
The film industry practice of paying each other with favors.

Links to Resources:

The new DJI Mavic 3 - https://www.dji.com/mavic-3

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'The Harder They Fall' and 'The Master' DP on Creating a Modern Western Look Nov 11, 2021

The Western is one of the original movie genres, a key part of American culture, and a great way to talk about themes that affect us all today.

In this episode, we talk about...

How this new Western is completely told from a Black perspective
The cinematographer Mihai Malaimare’s career and how he got started.
The first camera Mihai started shooting with and the differences between shooting movies on film vs digital.
Shooting stills and how that informed Mihai’s career.
How he prepared for making a Western in the modern-day by looking back on Western classics.
The visual decision-making process for the film.
Certain challenges for filming The Harder They Fall.
Advice for folks who want to become cinematographers.

Links to Resources:

Watch The Harder They Fall - https://www.netflix.com/title/81077494

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Dune DP Greig Fraser and Editor Joe Walker Break Down Crafting a Cinematic Epic Nov 04, 2021

Get ready for tons of insight on this massive film!

In this episode, we talk about...

How the team conquered the challenge of presenting such a dense, beloved, and influential book on the screen.
How the team tried to keep elements of the book that may not be the most cinematic, but were important to stay true to the original.
The use of montages in the film to convey speed and excitement and how the use of visions were incorporated.
Hans Zimmer’s work creating the score and how editors work when they don’t know what the final music will be yet.
How decisions were made of how much to cut from filmed scenes.
Tricks and strategies used when filming scenes and editing them to create tension in the film.
What conversations went on to decide the backstory of the world of Dune and what it looked like.
How they achieved the transportive, sensory effects of the movie.
Wonderful ways contrast was used in the film to create an engaging experience for the viewer.

Links to Resources:

Dune - https://www.imdb.com/title/tt1160419/

No Film School Content on Dune:

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Edgar Wright and Krysty Wilson Cairns Dissect 'Last Night in Soho' Nov 02, 2021

We’re so lucky to have Edgar Wright returning to the show along with his co-writer Krysty Wilson Cairns to dive into the themes and crafting of their new horror movie, “Last Night In Soho”!

In this episode, we talk about...

How the movie is a sort of love letter to experiencing a story.
The 60s nostalgia present in the movie and whether the Good Old Days really were good.
The messaging of the movie, including themes of time travel and trauma.
The film’s relatable portrayal of feeling like a fish out of water.

Links to Resources:

Last Night in Soho - https://www.imdb.com/title/tt9639470/

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Manfrotto Camera Movement Week and Box Office Victories Oct 29, 2021

It's Manfrotto Camera Movement week at No Film School, check out all our great camera movement content!

In this episode, we talk about...

How Manfrotto has rolled out a whole new system that is going to make things a lot easier for filmmakers!
An analysis of the features in the new Manfrotto system.
The DJI 4D - a really cool new type of camera - and how it works and what type of shooting it’s good for.
An in-depth review and discussion of the new Macbook Pro.
How we’ve just had our biggest box office weekend since the pandemic - which is great news for the industry!
How Dune is totally worth seeing in IMAX and what makes the film so special.
Why some movies are really best seen in the movie theater.
The French Dispatch and the value of niche movies.

Links to Resources:

Manfrotto - https://www.manfrotto.com/

DJI 4D - https://www.dji.com/ronin-4d

Dune - https://www.imdb.com/title/tt1160419/

The French Dispatch - https://www.searchlightpictures.com/thefrenchdispatch/

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Film Set Tragedy Oct 28, 2021

Shock waves went throughout the entertainment industry and beyond when the unthinkable happened and cinematographer Halyna Hutchins was shot and killed by a live round on the set of the film Rust.

This sort of thing should never happen.

The circumstances surrounding the event have become clearer in the days since, only adding to the horrific nature, even as we break it all down in an attempt to process it during this podcast, there were some further disturbing details yet to be released.

Perhaps the most chilling fact is that this incident is not as isolated as we'd wish it to be. There have been numerous incidents of deaths on film sets due to negligence and poor working conditions.

Can anything change that?

We encourage readers to donate to various causes including this Gofundme page raising funds for Halyna's husband and 9-year-old son.

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IATSE’s New Contract Oct 23, 2021

Today’s episode sees the return of Good Deal, Bad Deal, along with other important industry and tech news!

In this episode, we talk about...

How the union IATSE has been threatening to go on strike to get a living wage for everyone and better meal and rest breaks - but instead of a strike, a deal was just reached.
Why many feel IATSE should have gone on strike since they had the leverage to do so.
The particulars of the deal that was reached, what they mean, and whether or not the deal is “good” or “bad”.
The case for an 8-hour work day in the film industry.
How a negotiation isn’t over until it’s over, and IATSE could still ask for more changes.
How Apple has released their new Macbook Pro and a discussion of this computer’s exciting new features.
What the new Macbook Pro means for work-life balance.
A discussion about the best gear to use for remote recording and livestream setups.

Links to Resources:

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Justin Long, Christian Long, and Justin Chon for 'Lady of the Manor' and 'Blue Bayou' Oct 19, 2021

Tune in for a discussion about two great movies with three great guests - some of whom are actors who have now moved behind the camera!

In this episode, we talk about...

Why Justin Chon decided to star in his movie, even though he didn’t initially set out to.
How Justin Chon creates a safe and open environment on set, how he works with his DPs, and other insights into his process.
How Justin Chon chose and secured his co-star.
The challenges of working with children.
How Justin Chon went about researching the issue at the crux of Blue Bayou.
How Lady of the Manor came about and how Christian and Justin created its “odd couple” style comedy.
The similarities to the play Blithe Spirit and how the writers just may have been inspired by it!
The rather surprising choice to write this type of comedy script for women!
How they approached the directing process for Lady of the Manor.
Why keeping the plot simple can be really key in comedies.

Links to Resources:

Lady of the Manor - https://www.imdb.com/title/tt11826450/

Blue Bayou - https://www.imdb.com/title/tt11121664/

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Should You Pay For Script Coverage? Oct 15, 2021

Get ready for a deep dive into script coverage, whether or not you should pay for it, and which platforms are best for it.

In this episode, we talk about...

What script coverage is and why a writer might want to hire a coverage service.
Price points for different script coverage services and what those prices might include.
What script coverage can lead to (there are success stories) versus what your odds of success from the services are.
A script coverage experiment trying three different services - linked below.
How subjective Hollywood is and why you need to learn which notes to take and which to ignore.
How Canon, surprisingly, just dropped a brand-new, dual fish-eye VR lens.
How the new James Bond movie, No Time to Die, is out now and is proving to have a lot of filmmaking lessons for us all.
The interesting push and pull between making a James Bond movie stay true to the originals and still be appropriate for today’s modern world.
Amazon’s new involvement in the James Bond franchise.
Whether or not we’ll ever see a female or BIPOC Bond.

Links to Resources:

Script Coverage Experiment - https://nofilmschool.com/screenplay-coverage-services

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Fuqua, Gyllenhaal, and Melfi on THE GUILTY and THE STARLING Oct 13, 2021

Antoine Fuqua and Jake Gyllenhaal discuss the surprising results of filming in COVID confined spaces and Theodore Melfi shares his experience of writing and going for the yes...

In this episode, we talk about…

The challenge of creating a film with limited space and characters
How shifting the story to Los Angeles changed Fuqua’s approach to the film
How the pandemic impacted production and why directors and actors must always have complete trust with each other
Why you have to trust in the magic of filming
How Kevin Melfi went from working at an Italian cafe to making feature films
The difference between lying vs. saying yes
Remembering how simple filmmaking can be—six simple shots!
How Kevin learned to direct and communicate with actors by studying them in acting classes
Advice for raising money to fund a film and how filmmaking is more accessible
Kevin’s journey as a writer and why he believes directors and filmmakers need the skill to write
Screenplay books, guidelines and how Kevin operates when writing a film

Links to Resources:

Turn Cheap Miniatures Into Awesome Visual Effects

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Check out our new video on lighting night shoots: https://www.youtube.com/watch?v=J66WWsCp7XE

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Bond is Back And We're Chatting With No Time To Die's Visual Wizards Oct 08, 2021

This mini bonus episode features two awesome guests who both worked on the new James Bond film, Linus Sandgren the cinematographer, and Chris Corbould the special effects supervisor.

In this episode, we talk about...

How the process went shooting the movie on film and how they chose which sections to film differently for IMAX.
Setting the mood for different scenes by carefully choosing the filming location.
Behind the scenes thoughts about some of the really cool shots in the film.
How the team approached shooting close-ups for so many different actors, from a technical standpoint.

Links to Resources:

No Time to Die - https://www.imdb.com/title/tt2382320/

iPhone 13 Review - https://www.youtube.com/watch?v=ZXUENXWD_gw

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STRIKE! And Russians in Space... With Cameras? Oct 07, 2021

Lots of big and exciting news in the film industry this week, including the recent strike authorization vote by IATSE!

In this episode, we talk about...

IATSE, the union representing thousands of TV and film employees, has authorized a strike to gain equal pay for new media (such as streaming services), higher bottom rates for living wages, and adequate rest breaks.
How the resounding “Yes” vote for the strike got negotiations to start moving again.
The support and solidarity that’s been seen in the film community about the strike - but how much are these supporters putting their money where their mouth is?
Thoughts on the roles of unions, pay scales for different positions in the industry, how this all affects producers, and more.
How Russia sent a film crew to space to shoot a movie at the International Space Station!
Exciting news regarding the iPhone 13’s camera’s LiDAR capabilities.
An Ask No Film School question regarding how we can help support the IATSE strike, if it happens.

Links to Resources:

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Sara Colangelo Tells The Truth in 'Worth' Oct 05, 2021

Today’s topic is a recent film that does a great job with one of the trickiest types of stories to tell in film-making - true stories which the audience is already familiar with.

In this episode, we talk about...

The timing for the film’s release, and all the ways that makes it more poignant.
The process for bringing the film to Sundance, then making a deal with Netflix, and then adding high-profile backers like the Obamas.
Sara’s career as a writer and director.
How she got involved with this project, how 9/11 impacted her, and how she brought her experiences in post-9/11 NYC to the film.
How Sara likes to change genres and experiment with her range, and how she is able to land a variety of films to work on.
Ways Sara simplifies her cerebral thought process to communicate directions to actors.
Choices Sara made as she was deciding how to film the movie and the types of cameras used.
What Sara is currently writing and other ideas she has in the pipeline.
The cultural shift that happened after 9/11 and how it even impacted the kinds of movies being made.
Sara’s advice for new filmmakers - which is to only take projects you’re excited about!

Links to Resources:

Worth - https://www.imdb.com/title/tt8009744/

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What Does the Huge CAA News Mean For You? Sep 30, 2021

What does the Big Four becoming the Big Three mean for filmmakers? Will IATSE’s potential strike really change the underpaid long hours of film production? And news about Aputure’s new bright light...

In this episode, we talk about…

Details about the merger between CAA and ICM
What challenges indie filmmakers may face because of the merger
The minor bright side of the merger for streaming services
What the merger means for future WGA or union negotiations
A refresher on packaging and understanding the current state of packaging
The dystopian Wild West of Hollywood and what the Solidarity Slate fails to address
IATSE’s impending strike and the evolution of filmmaking work days
Aputure’s launch of the Light Storm 1200d Pro LED light

Links to Resources:

Solidarity Slate: https://www.solidarityslate.com/

IATSE: https://iatse.net/

Turn Cheap Miniatures Into Awesome Visual Effects

Subscribe to our newsletter for news, contests, deals, and a FREE ebook at https://nofilmschool.com/screenwritingbook.

Check out our new video on lighting night shoots: https://www.youtube.com/watch?v=J66WWsCp7XE

You can read about all this and more at https://nofilmschool.com/. You can also check out our Gear Guides and Entertainment News on the right hand side.

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How Two Friends Turned an Inside Joke into a Feature Film Sep 29, 2021

Patricia Gomez and Elza Kephat share the 15-year journey that led to their new horror film SLAXX.

In this episode, we talk about…

Collaboration and splitting the writing and production processes
Hospital booze and graveyard zombies
The arts and sciences of the film industry
Patricia and Elza’s experience with perfecting and performing their pitch
Letting intuition vs. intellect guide you in filmmaking
The intention behind focusing on fast fashion in Slaxx
What’s next for Patricia and Elza

Links to Resources:

Turn Cheap Miniatures Into Awesome Visual Effects

Subscribe to our newsletter for news, contests, deals, and a FREE ebook at https://nofilmschool.com/screenwritingbook.

Check out our new video on lighting night shoots: https://www.youtube.com/watch?v=J66WWsCp7XE

You can read about all this and more at https://nofilmschool.com/. You can also check out our Gear Guides and Entertainment News on the right-hand side.

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Ed Burns Shares the Art of Indie Film Compromise Sep 24, 2021

Guest Ed Burns is one of a very small number of filmmakers who have been in the thick of the Indie film scene since the 90s and he has invaluable knowledge to share.

In this episode, we talk about...

Ed’s film Summer Days, Summer Nights and how his childhood helped inspire it.
How Ed selected the eclectic music for the film’s soundtrack.
Compromises that need to be made to keep the budget low for Indie films, what cannot be compromised on, and how Ed decides between the two.
Why Indie filmmakers need the skillset of being able to make last minute changes to accommodate schedule and budget.
Ed’s creative process as a writer and how he identifies the good ideas.
How Ed is able to make sure his work is up to par when he’s wearing multiple hats - like writer, director, and actor - all on the same project.

Links to Resources:

Summer Days, Summer Nights - https://www.amazon.com/Summer-Days-Nights-Pico-Alexander/dp/B09CZCS82R

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Just How Cinematic IS This New iPhone 13?! Sep 23, 2021

Take a deep dive into the advanced film-making features on the new iPhone, plus learn about some important union news for two different unions in the film industry.

In this episode, we talk about...

How the iPhone 13 just came out and it has two features that are relevant to filmmakers.
How amazing it is that you can just about film a legit film on a phone with today’s iPhone camera quality and features.
Aperture has announced a new light: the Nove P600c.
How the WJA just had an election.
How IATSE, an umbrella union that covers many film workers (and theatrical stagehands), might have a historic strike soon.
The issues in the entertainment industry that are causing the pending strike, such as long work hours and unlivable wages.

Links to Resources:

IA Stories Instagram - https://www.instagram.com/ia_stories/

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Welcome To The Wild West Of Streaming Wars and Digital Cameras Sep 16, 2021

There’s lots of important news in the film world this week that the gang is going to tackle and break down for you, many of which have implications for the future of the art of filmmaking.

In this episode, we talk about...

How Paramount is restructuring - the Chairman and CEO is being replaced. The new CEO has an interesting story, having ascended from being a child actor in the 90s to a director, to this current position.
How Paramount has joined “The Streaming Wars” and is trying to create more content for their digital platform to get more viewers subscribed.
Why we might see a lot of reboots of older Paramount movies.
Whether the Streaming Wars are the death of art or a great way to get more movies and shows produced.
Disney has announced they’re going back to theaters! This is following them releasing full-length movies on Disney+ for an upcharge during the pandemic.
How long you used to have to wait for a new movie to come out on VHS/DVD versus the new model, where Disney can release a movie in the theater and then on their streaming service about 45 days later.
Canon has rolled out a new camera called the R3 which is mostly a stills camera and, while it may not be the highest resolution camera on the market, it’s great for filmmakers.
This camera’s amazing technology of scanning your retina in the viewfinder to try to keep in focus whatever you’re looking at and how this feature has upsides and downsides.

Links to Resources:

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How to Carve a Sundance Worthy Doc From Hours of Archival Footage Sep 14, 2021

Matt Yoka, director, producer and editor of Whirlybird discusses why he made a film centered on high-speed chases and the family behind this medium of reporting and filmmaking, and how he mastered zen and the art of movie marketing during lockdown.

In this episode, we talk about…

How Los Angeles Plays Itself sparked the creation of Whirlybird
Focusing on high-speed pursuits and providing an emotional character-focused experience vs. intellectual experience
45 minutes of beautiful VHS glitches
Matt’s experience at the Sundance Film Festival and Covid’s impact on marketing the film
How excessive film-watching during quarantine inspired Matt as a filmmaker
Why it’s almost impossible to end a documentary
Advice to approach filmmaking focused on the story you want to share with a “less is more” mindset

Links to Resources:

Turn Cheap Miniatures Into Awesome Visual Effects

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Check out our new video on lighting night shoots: https://www.youtube.com/watch?v=J66WWsCp7XE

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Working on Labor Day Sep 09, 2021

What made Shang-Chi’s opening so successful and when’s the last time you played Dance Dance Revolution?

In this episode, we talk about…

“Shang-Chi and the Legend of the Ten Rings”: 2nd biggest box office opening of the pandemic
Preserving theatrical releases and “Petty” headlines
Evolution of subtitles and reality of product placements in film budgets
Good Deal/Bad Deal: Working on holidays
Tech news about Red’s new V-Raptor camera and Fuji’s upcoming sensors and lenses

Links to Resources:

Turn Cheap Miniatures Into Awesome Visual Effects

Subscribe to our newsletter for news, contests, deals, and a FREE ebook at https://nofilmschool.com/screenwritingbook.

Check out our new video on lighting night shoots: https://www.youtube.com/watch?v=J66WWsCp7XE

You can read about all this and more at https://nofilmschool.com/. You can also check out our Gear Guides and Entertainment News on the right hand side.

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Paul Schrader Tells Us the Keys To Character Study and How 'Taxi Driver 2' Almost Happened Sep 07, 2021

Every once and awhile, a movie comes along that resonates and connects with people, becoming an instant classic. A screenwriter who makes multiple of these movies is even rarer, but Paul Schrader is one of those gems.

In this episode, we talk about...

The literary inspirations Paul drew from when creating the characters in his film Taxi Driver.
Other iconic characters Paul has written over his career.
The things Paul looks for he gets notes and who he seeks to take notes from.
Whether or not Paul thinks about the actor when he’s writing a character.
What drives Paul’s confidence as a writer/director.
Paul’s story about Taxi Driver 2.

Links to Resources:

Turn Cheap Miniatures into Awesome Visual Effects - https://www.youtube.com/watch?v=VMuf2bHdGrY

The Card Counter (in theaters now) - https://www.focusfeatures.com/the-card-counter

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What Could Blockchain Coming to Hollywood Mean For Filmmakers? Sep 02, 2021

Should you be a writer’s room PA? What’s up with blockchain technology and what does it mean for Hollywood? Also, is it really okay to skip out on watching work you helped create but had no control over?

In this episode, we talk about…

Good deal or bad deal: Kath’s experience as a writer’s PA
Lessons from the bad deals and the need for boundaries
Questions around the Coppola’s blockchain and the need for “Film Beans”
Why it’s okay Tarantino never watched True Romance or Natural Born Killers
New photo tech with Polycam

Links to Resources:

Turn Cheap Miniatures Into Awesome Visual Effects

Subscribe to our newsletter for news, contests, deals, and a FREE ebook at https://nofilmschool.com/screenwritingbook.

Check out our new video on lighting night shoots: https://www.youtube.com/watch?v=J66WWsCp7XE

You can read about all this and more at https://nofilmschool.com/. You can also check out our Gear Guides and Entertainment News on the right hand side.

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Turning Disappointment into Growth with Shawn Levy Aug 31, 2021

Shawn Levy, director, co-writer, and producer of “Free Guy”, joins the show to discuss how to approach failure, humility and why you’ve got to really know yourself and see yourself to find the path that’s right for you.

In this episode, we talk about…

What led to Levy’s “Hollywood System Career”
The power of seeing yourself with harsh clarity to truly know thyself
Understanding on the other side of the hard path is a chance at greatness
Reconciling the idea of your identity with who you really are and what you can be
Knowing how to use your words, persona and vision to inspire movie stars (and money) to bet on you
Spielberg’s advice on knowing when you’ve got it right
Why Shawn believes directing requires decisive leadership and being clear about what you want
Learning the language of actors so you can put them in the mood and the moment so they can be great
What Shawn and Ryan Reynolds added to the Free Guy script and why it worked
How Shawn picks his projects based on comedic and heart-felt content

Links to Resources:

Turn Cheap Miniatures Into Awesome Visual Effects https://www.youtube.com/watch?v=VMuf2bHdGrY
Subscribe to our newsletter for news, contests, deals, and a FREE ebook at https://nofilmschool.com/screenwritingbook.
Check out our new video on lighting night shoots: https://www.youtube.com/watch?v=J66WWsCp7XE
You can read about all this and more at https://nofilmschool.com/. You can also check out our Gear Guides and Entertainment News on the right hand side.
Please like us on Facebook, follow us on Twitter, and check us out on Instagram!
Ask us questions at editor@nofilmschool.com!

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Free Range Production Assistants and Billion Dollar Deals Aug 26, 2021

Details about Adobe’s multibillion-dollar deal to acquire Frame.io and why film industry workers deserve the same care as free range chickens...

In this episode, we talk about…

Frame.io’s capabilities
The growing reality of video being made by collaborative teams
3 reasons Frame.io is worth what Adobe paid for the acquisition
A common love-hate relationship with Adobe
Letter from top cinematographers addressing long working hours
Why the entire film industry needs 8 hour workdays and why it may never happen
How our culture always romanticizes filmmakers putting in extra effort

Links to Resources:

Frame.io

https://www.frame.io/

Turn Cheap Miniatures Into Awesome Visual Effects