The No Film School Podcast

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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

Show notes

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

Show notes

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

Show notes

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

Show notes

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

Show notes

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

Show notes

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

Show notes

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

Show notes

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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