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

Show notes

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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Follow Sneha Mendes on Instagram

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

Show notes

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

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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

Show notes

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

Show notes

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

Show notes

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

Find No Film School everywhere:

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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

Show notes

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

Show notes

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

Show notes

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

Show notes

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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Facebook

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