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: Follow Hallie Meyers-Shyer on Instagram   Hallie on IMDb   Goodrich on IMDb   Hollywood Camera Works trainings     Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook https://www.facebook.com/nofilmschool   Twitter https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool   Instagram https://www.instagram.com/nofilmschool   Send us an email with questions or feedback: [email protected] Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Instagram    Mihai Malaimare Jr. on IMDb   Mihai Malaimare Jr.’s website     Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube    https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: Follow Sneha Mendes on Instagram   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: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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   Jourdan Aldredge's article about Eddie AI   Follow Jourdan on LinkedIn   Follow Shamir on X   Shamir on IMDb   Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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  Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: Max Lugavere on Instagram   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: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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’s library of content on No Film School 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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Scott Monahan 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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Jason’s library of content on No Film School 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: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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  Follow Patrick Walsh on IG Grants and Labs List   Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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. Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Follow Nadine Crocker on Instagram Continue the Film on Instagram Learn more about her nonprofit   Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

What happens when you make two micro-budget films back-to-back? For filmmakers Henry Loevner and Stephen Cantor, 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 Stephen Cantor 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 Stephen 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 Henry Loevner on IG Follow Stephen Cantor on Instagram   Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: Follow Ken Kao on LinkedIn Ken Kao on IMDb Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool  YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: Check out Daniel's website Follow Daniel on IG Daniel Garber on IMDb  Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: Ukrainians in Exile: A Documentary Short Film  Follow Assembly Line Entertainment on IG  Follow Janek on X BlueCheck Ukraine  Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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   Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Learn more about your ad choices. Visit megaphone.fm/adchoices

“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: What are the Best Experimental Films of All Time? War Game trailer War Game website  Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Apple Listen to Blacklisted on Spotify  Follow Chris on X Follow Blacklisted Podcast on X  Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]!   Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Mastering Scope and Scale in Screenwriting   Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Want to shoot scenes of your feature film on a GoPro? Want to edit it on the couch next to your dog? That’s exactly what the DP and Editor of the film, A House is Not a Disco, did and the results were fantastic! 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. 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    Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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    Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 ESTA fraud & theft prevention “New Film Market” American Film Convention Hopes To Take Root This Fall This American Life Podcast - Good Guys episode Ren Faire Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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)   Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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   Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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?  Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Oscar-Winning Screenwriter Eric Roth Takes You on a Tour of His Writing Process  Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Here's What Happens When You Win the Nicholl Fellowship in Screenwriting Is This the Tool Filmmakers Need to Find Their Audience? Short: Tall Dark and Handsome Short: The Orgy Short: YES, DADDY Follow Sam on IG Follow Madison on IG Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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  Every Frame a Painting - The Marvel Symphonic Universe  The Art of the Score Podcast  Here’s Everything You May Have Missed at NAB 2024   Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: ALPHA Scrambled The Opening Act  This Place Rules  Channel 5 with Andrew Callaghan Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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] Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 How To Spend $10,000 on Film Festival Submissions… Portland Art Museum PAM CUT Sustainability Labs PAM CUT Tomorrow Theater   Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

“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 Submission Dates for Sundance Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Original 1980 Shogun series ASC Masterclass Connect with Ryan on IG Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: Why Did the First Page of the 'Challengers' Screenplay Go Viral? Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: Movies & TV How To Survive Until 2025 For Filmmakers Scriptnotes Podcast - Ep 639 Intrinsic Motivation Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: A First-Hand Look at the New Blackmagic URSA Cine 12K at NAB 2024  Check out Jourdan's article  Blackmagic URSA Cine Blackmagic PYXIS DaVinci Resolve 19    Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: Maxine’s Baby: The Tyler Perry Story Erick's website Connect with Erick on IG Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Witchcraft (Rod & Noah’s production company) Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 TikTok  Where the Road Leads on Instagram  Pointless Films Production House Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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] Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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  One Moore Hollywood Podcast on IG Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: From Landing the Job to Boosting Morale: Sundance DP Roundtable Dives into Filters & More More about Bruce More about Alejandro Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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] Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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] Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: Share Grid rental platform  Waking Ned Devine Clue Shirley Temple The Little Rascals  The Secret Garden The Royal Tenenbaums Being John Malkovich The Fast and the Furious: Tokyo Drift  Problemista Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Follow Love and Work on Instagram Follow Frank on Instagram 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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Heard of The New, Controversial Script Coverage Service The Gauntlet? Why All AI Script Coverage is a Scam  Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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  Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: Editors and Post-Sound Have a Crush on Each Other('s Work) Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: Quantum Leap "The Family Treasure"   Difficult People Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: OpenAI’s Insanely Powerful Text-to-Video Model ‘Sora’ is Here  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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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  Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: Academy Awards Adding a "Casting" Category in 2026  First Footage From the Kodak Super 8 Camera Chrysler, Born of Fire Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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  View the $71 Million Budget for the M. Night Shyamalan Movie 'The Village'  Intimacy Workshop for Film, TV, and Theater Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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  Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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  Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: The 2024 Academy Awards Nominations How Does Oscar Voting Work?  'Road House' Director Doug Liman Boycotts SXSW Over Amazon Exiling His Movie to Streaming  Brooklyn 35mm Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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   God Save Texas - The Price of Oil Episode Jeff Zimbalist Skywalkers: A Love Story Michael John Warren   Lolla: The Story of Lollapalooza Tony Gerber   War Game Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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  Unpacking the Ethical Minefield of Docs with the Team Behind ‘Subject’ Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Connect with Alejandro on IG  Petro  Connect with Sean on IG  Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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  Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: Krazy House War Game Dìdi I Saw the TV Glow  A Real Pain Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Online Giveaway: Enter to Win 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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Unpacking the Ethical Minefield of Docs with the Team Behind ‘Subject’ Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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] Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: Moonshot Initiative on IG  The Moonshot Initiative Website Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 a Script Doctor Found His Own Voice How to Critique a Screenplay (While Not Being a Dick) Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: The Mountain Murder Tapes on TikTok Follow Benjy on IG Follow Spencer on TikTok  Follow Jacob on IG #ChadGetsTheAxe Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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] Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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  The Screenwriting Life Podcast Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: Watch on YouTube Watch on Tubi Watch on Apple TV Watch on Prime Video Kevin’s Instagram Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: A Creature was Stirring  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   Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: The making of Ryan's film 'Amateur' 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'  Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: Connect with Ira on Instagram Follow Share? on TikTok Watch the Share? trailer Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: An IndieCheck out this episode: Film Exec Unpacks The Post-Strike World  Brooklyn 35mm Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Subject Film on IG  Follow Susanne on IG Follow Jen on IG Chasin' Butterflies Chasin' Butterflies Record & Movie Follow Josh on IG Follow Matt on IG DAWG Framework Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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] Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: New RED Firmware Brings In-Camera LUTs & Zone System Exposure Tool   DP Robert D. Yeoman on Film vs Digital, Long-Term Director Relationships, and Sleep   Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Hungry Dog Blues 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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: PILOT Razor Point Fine Line Marker Stick Pens  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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: Our first podcast interview with Yeoman More on the Netflix shorts Wes Anderson directed Ryan’s website Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

“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 Read Evan’s No Film School articles Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: Getting accepted into the Sundance Labs on the 5th attempt New Orleans Film Festival  Blackstar Film Festival Connect with Bryce: [email protected] Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: 6 Ways to Make the Most of Any Film Course or Project. ‘TMNT: Mutant Mayhem’ Production Designer Yashar Kassai on the Future of Animation Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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  Teenage Mutant Ninja Turtles: Mutant Mayhem Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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  Killers of the Flower Moon An Apple event shot on the iPhone Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 ‘Joyland’ Director Saim Sadiq Redefines What It Means To Be a Director  Kelly Fremon Craig Shares With NFS How To Adapt Beloved Classics for Theaters The Confidence Code Hope for Film Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: A Creature was Stirring Top Legal Mistakes Filmmakers Make and How To Avoid Them Skubalon Entertainment Damien’s Instagram Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Check out Ricardo's website The Bloodstone Comic The Handy Foundation The LatinXorcists website The LatinXorcists Instagram Ricardo's Instagram  The Bloodstone Instagram Burden of Dreams film  Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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  Benji & Stephen's website Stephen's Instagram Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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] Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: Onyx, The Fortuitous, and The Talisman of Souls 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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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  Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 A Step-by-Step Guide to Mastering Your Spec Screenplay Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Andreas online A Folded Ocean Follow Ben on IG Power Signal Follow Oscar on IG In the Flesh Connect with Daphne online Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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] Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Aliens Abducted My Parents and Now I Feel Kinda Left Out Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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] Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 SNL Mario Kart Trailer (Edit Time lapse) HBO Mario Kart Trailer - SNL “SNL’s” Emmy-nominated “HBO Mario Kart Trailer” sketch edited with Adobe Premiere Pro and After Effects Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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] Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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  Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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] Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 | Official Trailer 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/ Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Follow Laura and Brendan on Instagram Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 The Making Of The Making Of an Autism Short Film masterpiece Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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" Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 More No Film School coverage on MUTT In the Summers Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Molli and Max in the Future Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

“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 LinkedIn Connect with Natalie on Instagram Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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) Connect with Alex on Instagram Check out Alex's website Appendage (Full Version) releases October 2023 How Can Cinematography Techniques Help Your VFX? Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 official website 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) Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: Connect with Jessica on IG DGA Parenthood Penalty Campaign What Lessons Should Hollywood Learn From Barbenheimer? Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: Read the SAG Deal and See the Basic Needs the AMPTP Rejected SAG-AFTRA Strike Rules for Creators and Indie Producers Strong Asian Lead - Artist Directory Strong Asian Lead - Free Asian American movies to watch Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: You Feeling This Podcast trailer Andrew’s work Follow Andrew on Twitter Joanna’s work Follow Joanna on Instagram Marcus’ work Follow Marcus on Twitter Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 The Pirate Queen: A Forgotten Legend Monstrorama In Search of Time Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: Bentonville Film Festival Here to Make Friends Meghan’s website Joonam Sierra’s website Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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:   Ghost Ships I am Michael God is a Bullet Get Lost Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: How to make money as a cinematographer Listen to our interview with ‘Mami Wata’ Director and DP The White Lotus season 2 trailer Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: The Boogeyman is in theaters June 2 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: A.I. is about to make social media much more toxic The Hole in the Fence trailer (with English subtitles) Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: Bravo, Burkina! - Presented by Ethical Fashion Initiative & Ikiré Jones Stills from the film: https://drive.google.com/drive/folders/1Mjad6OiPQF8Bncp5QauS1JPPcdGicOdf Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: How to Be A Hollywood Assistant in Film and TV ‘Joyland’ Director Saim Sadiq Redefines What It Means To Be a Director Capella’s website Capella’s Instagram When Is Now podcast Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: The Werking Writer School Charla’s Instagram The Werking Writer on Instagram Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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: Why Is Hollywood Leaving Tarantino Behind? Which Paid Service Gives the Best Script Coverage? We Tested Three Popular Options Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 History of American Screenwriters and Their Guild PreWGA Solidarity on Substack Hollywood CEO Collect Billions… Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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: Are Old Movie Stars the Only Actors that Matter? Heaven’s Gate Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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: Are You There God? It’s Me, Margaret The Edge of Seventeen Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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: Mynette Louie on Mastodon Filmmaker Magazine article Episode with Matt Smuckler How to Get a World-Famous Actor in your Short Film SKYWATCH (a Sci-Fi Short Film) Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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: Lexar DoP Choice OWC Sennheiser Lemo Connectors Filmic Lexar’s Professional CFexpress Type B Card GOLD Series Adobe Premiere Pro Pixotope No Film School Coverage of NAB 2023 Connect With the Guests & Hosts: Cinematography for Actors Coco Butter Family Ian’s Instagram Yaro’s Instagram Raafi’s Instagram Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 More on the Fujifilm Cine Box Lens  Creamsource LNX No Film School Coverage of NAB 2023 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

“Your sword is sharpened by all the people around you.” If you can let go of control and allow space for playfulness and creativity on set, you will create a great movie. Also, you will become a better filmmaker in the process.  In this episode, No Film School’s GG Hawkins and director of Renfield, Chris McKay, discuss: Imitating adult filmmaking techniques as a kid How the stunt coordinator helped to accomplish a complex fight scene in the movie What is important to consider when selecting your team of collaborators How everyone on set is more focused when employing practical effects Maintaining engagement at all times on set Giving people room to make mistakes and treating them with love and kindness Why he knew Nicholas Hoult and Nicolas Cage would be the right actors for this film Being open to listening - it makes you a better filmmaker Make sure to watch Renfield, in theaters April 14. Memorable Quotes “Action fatigue is real…it’s a real thing.” [15:53] “I like to shoot in the extremes, lens wise.” [22:23] “I want people to find things. I want people to discover things. I want them to make it their own.” [24:46] “Don’t be afraid to go big. Don’t be afraid to be expressive. Don’t be afraid to try things.” [32:14] Mentioned Resources: Renfield The Weather Man Kiss of Death It Could Happen to You Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

What are some ways can you support the writer’s union if they end up going on strike? What should you do when you find yourself resenting the project you are working on? What did Ray Romano learn from his directorial debut, Somewhere in Queens?  In today’s episode, No Film School’s Charles Haine, Jason Hellerman, GG Hawkins, and Yaro Altunin discuss: Why solidarity and support for the WGA is important  Shows being bought out with no residuals How the rest of the industry benefits from writers strikes Television show production during a strike Advice for new writers that are not part of the WGA What you should do if you are falling out of love with your current project The power of being part of a writers group Plus, we have a short conversation with Ray Romano, discussing what it was like to direct his first ever film, Somewhere in Queens, in theaters April 21. Memorable Quotes “Solidarity and support for the writers guild is important because they strike, and it ends up benefiting everybody.” [9:29] “The writers need public opinion on their side as they continue to negotiate for better pay.” [19:16] “Every new stage should let you fall in love with it again.” [37:22] “You have to rely on discipline. You have to keep showing up.” [38:25] “It’s okay to hate your project for a little while.” [43:40] “Fear is okay. Don’t let it stop you.” [64:53] Mentioned Resources: WGA Contract 2023 Scriptnotes Podcast - Strike Authorization Vote Details on Ray Romano’s new film Somewhere in Queens trailer Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

A film is like a baby, and everyone involved is a parent. How do you keep all the parents happy, calm, and on the same page?  In this episode, No Film School’s GG Hawkins and director of Joyland, Saim Sadiq, discuss: The universality of the film and seeing oneself in the characters Why the Cannes Film Festival was the best place for the film to premiere People needing time to process the film after watching it  Keeping only the necessary people on set Not overloading the actors with too much information  Feeling excited about problems that would arise Why it’s so important to have empathy on set from the very beginning  Earning respect on set with a unique directing style Memorable Quotes “There is that one thing, their desire of being visible, that joins them all together.” [17:33] “It is not a scene I would rehearse, ever, because there is improv involved in it.” [21:52] “There’s a lightbulb that goes on. Once that goes on, you need to stop talking immediately.” [27:06] “I was so ready, that even the idea that some problem would happen, was exciting.” [31:43] Mentioned Resources: Joyland Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

In terms of diversity and inclusion, is Hollywood actually making big strides or is the industry regressing? As a writer, are you allowing yourself to be unique and original, or do you rely only on mimicking what has already been done?  In today’s episode, No Film School’s GG Hawkins, Jason Hellerman, and Yaro Altunin discuss: The latest findings from the UCLA Hollywood Diversity Report Why we need to dig deeper into the data  How the inclusion aspect of Hollywood feels like someone is just checking a box Why diversifying cast and crew will make the industry more money Telling specific yet universal stories that can still be loved by many  Our thoughts on how to affect change in Hollywood Commiting to the bit by going all in Having confidence in your own unique voice and perspective Memorable Quotes “The numbers are so bad that we’re failing at a rate that would, in many other industries, send up alarm bells.” [5:22] “Hollywood is both commerce and art. Diversifying sort of satisfies the best of both worlds.” [8:14] “Originality is focused on you having something to say.” [32:37] Mentioned Resources: Did Diverse Movies Save the Box Office?  Overused Jokes in Film and TV Dialogue You Should Avoid Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Kabir Akhtar is an Emmy award winner who has worked on a long list of TV shows, such as Crazy Ex-Girlfriend, Never Have I Ever, and The Sex Lives of College Girls. This accomplished director-editor-producer has directed 45 episodes of TV as of today. In this episode, No Film School’s GG Hawkins and Director-Editor, Kabir Akhtar, discuss: Why Kabir still uses a printed script  Moving to Los Angeles and hearing “no” after “no” Why post is the most important part of the process Understanding editing before you start directing Directing episodes in an existing show versus directing a pilot The different “languages” you have be able to speak as a director Editing scenes you directed yourself Embracing the creative instincts from others on set The right way to step into your leadership role as a director Believing in yourself despite the opinions of others Memorable Quotes “It’s not really who you know, it’s ultimately who knows you.” [8:29] “No one is going to the movies to read a script. No one is going to the movies to watch raw footage.” [14:08] “Fundamentally editing is dark arts. It’s just doing a magic trick all day long.” [20:43] “It’s better to swing and miss than not swing at all.” [33:06] “I was completely convinced that it would happen and that it would absolutely never happen.” [56:20] Mentioned Resources: Connect with Kabir on Instagram More about Kabir Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Should you tell others how much money you make? Should you pay for your own productions? How should you be properly allocating your money?  In today’s episode, No Film School’s Charles Haine, Jason Hellerman, GG Hawkins, and Yaro Altunin discuss: The weird social taboo of not talking about money  Publishing everyone’s day rates out in the open Advocating for yourself and valuing your work  How having a mentor can change the trajectory of your career Why profit sharing is tricky Different ways to invest your money for the future How working in this industry is a long game marathon When you should pay for your own passion projects How community building is so important for your career and finances Memorable Quotes “It should be illegal for people to ask you what you’re currently making, because it is irrelevant to what they are currently offering.” [4:35] “The side hustles are what bridged the gap and paid the rent for me.” [32:45] “You never know what curveball Hollywood is going to throw at you.” [36:13] “Spend longer casting than you think you need to.” [43:10] “Coffee is fancy and delicious.” [49:48] Mentioned Resources: How Much Money Do You Need to Survive in Los Angeles Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Have you ever thought about drawing inspiration for your characters, from your own family? How do you accomplish that in a way that protects them while also being true to the story? In this episode, No Film School’s GG Hawkins and director of Wildflower, Matt Smukler, discuss: Taking a documentary piece and turning it into a narrative feature Being as authentic as possible while not losing his family in the process Knowing immediately who would be casted as the main character Leaning on the screenwriter and main actress to help him tell a young girl’s story Not wanting the audience to recognize his director’s hand Using a feature editor versus a commercial editor The things he wish he knew before making a feature film How a game of tennis helped him find a producer Having his teenage daughter write songs for the film  Memorable Quotes “I got really really lucky. I had all my first choices in this movie.” [15:05] “I do feel like, as a family unit, they are all individually these wildflowers who can exist with very little in terms of human intervention in some ways.” [16:13] “I did want this to feel like it was just happening in sort of real time, in front of us.” [20:02] “I’d rather be in business with someone who's got the hustle than a bunch of credits.” [33:33] “Figure out a story that’s got a beginning, middle, and end that you love and just go do it.” [44:20] Mentioned Resources: Wildflower is Now Available for Streaming Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

What does “work-life balance” mean to you? How do you come up with new ideas for projects? Can you believe Tarantino is working on his final film of all time? In today’s episode, No Film School’s Charles Haine, Jason Hellerman, GG Hawkins, and Yaro Altunin discuss: Freelance Brain - what it is and how to deal with it How the fear of missing out on opportunities leads us to never taking breaks The unique yet effective things we do in order to generate new ideas Having discipline when it comes to setting boundaries with yourself What we know about Quentin Tarantino’s final film, The Movie Critic Why it’s hard for us to believe Tarantino will only make 10 movies in his career DJI’s exciting new camera system, the Ronin 4D Flex Why the next frontier for technology needs to be affordability  Memorable Quotes “I’m trying to survive and thrive in a culture that I didn’t dictate or build.” [8:39] “You can do better work when you’re present and healthy and not anxious and stressed.” [15:53] “Creativity really thrives within boundaries.” [36:07] “Why get a stabilizer when you can get a chicken?” [47:09] Mentioned Resources: Dolly Parton’s “5 to 9” video FREE Screenplay Beat Sheet Tarantino’s Final Film, The Movie Critic Stabilization Power of Chicken Heads DJI Ronin 4D Flex “Green Theme” by Baroness Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode, No Film School’s GG Hawkins speaks with director C.J. Obasi and Cinematographer Lílis Soares about the film, Mami Wata. They explain their shared vision in creating a film about people of color. They also share how they dealt with challenges like filming the ocean at night and losing almost three weeks of shooting time. Mami Wata premiered at the 2023 Sundance Film Festival where it won the World Cinema Dramatic Special Jury Award for Cinematography. In this episode we talk about: Their intention to shoot a black and white film from day one Wanting to show the value and beauty of people of color in this film Being ghosted by the equipment provider on the first day of shooting Filming for 24 days instead of 6 weeks Not wanting too many shades of gray Treating the ocean as another character How Africans see themselves and portray themselves in film Leveraging an empathetic gaze versus a sympathetic gaze Why being patient is key to being in this industry Memorable Quotes “It’s a story of sisterhood. It’s a story of mortality versus spirituality. It’s also a story about what it means to be African.” [3:43] “The eyes of the ocean are everywhere.” [26:41] “I wanted to do something deeper…something that had more meaning.” [34:34] “It’s like trying to figure out a jigsaw. When you find that one jigsaw, all the pieces make sense.” [35:38] Resources: Find CJ on Instagram Find Lílis on Instagram Mami Wata Movie Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

In today’s episode, No Film School’s Charles Haine, Jason Hellerman, GG Hawkins, and Yaro Altunin discuss the diversity of films at the 2023 Academy Awards. They also chat about the return of comedy, and the difficulties in receiving criticism. In this episode we talk about: The winner of Best Picture - Everything Everywhere All at Once Movies we loved that were not nominated How we are hoping for the return of theatrical comedy  The hilarious and viral trailer for upcoming film, No Hard Feelings A recent interview of Seth Rogen talking about getting negative feedback What you need to consider when brainstorming and writing Sharing critical reviews we have received and our reactions Holding ourselves back due to criticisms  Giving notes that align with the writer’s intention Memorable Quotes “It felt like a year where truly anything could be made and that’s the kind of Hollywood I want to live in.” [5:17] “Google search results started to suck this year.” [6:34] “I think there should be more weird ass rules.” [14:17] “It’s a bummer when somebody’s light can be snuffed out so early.” [37:28] “I also think you just accept that it hurts.” [42:24] Mentioned Resources: Check out the 2023 Academy Award winners Everything Everywhere All at Once No Hard Feelings Seth Rogen’s thoughts on negative reviews Learn more about your ad choices. Visit podcastchoices.com/adchoices

In wake of the 'Everything Everywhere All At Once' Oscar sweep last night, we're republishing No Film School's 2+ hours of geeking out on the film. (Re-Run) 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 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! 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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode, No Film School’s GG Hawkins speaks with director Erica Tremblay and Co-Writer Miciana Alise about the film, Fancy Dance. They discuss what their writing collaboration looked like, as well as challenges they faced during filming. The film premiered at Sundance 2023 and will premiere at SXSW on March 10. Topics discussed: Tackling prevalent problems in indigenous communities How Erica and Miciana met and what it was like writing the script together Applying storytelling into different genres, platforms, and formats Sharing breakthrough moments in complicated scenes Realizing that one still does directing in post production Successfully pulling off a big set piece using ingenuity and networking Having the right people behind the scenes, who really wanted to support the project Learning how to be a more considerate writer Memorable Quotes “We hope it can shine a little light on some of the struggles that Indian country has, with outside forces coming in and trying to tell us how we should be living on our sovereign land.” [5:12] “It makes it a little less painful that you’re not just alone in these deep, dark, scary pages.” [12:29] “There’s this symbiotic relationship of ideas and talent and knowledge that’s passing through two people, ending up on the page.” [12:43] “The biggest thing was learning what the characters didn’t need to say….Just letting them breathe in that uncomfortable moment.” [14:56] “Just be ferocious. You cannot hang your ego on any one scene. You can’t be precious about it.” [22:12] Resources: Fancy Dance Find Miciana on Instagram Find Erica on Instagram Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

In today’s episode, No Film School’s Charles Haine, Jason Hellerman, and GG Hawkins discuss their concerns over the insidious ways big data is affecting hollywood. They also unpack the benefits and disadvantages to entering screenwriting contests.  We discuss: The scary way big data is now being used in the industry How commerce is pushing back on creativity The best way to approach screenwriting contests Our worries about screenwriting contests and who actually benefits from them Feeding into the “hope machine” in order to get into the industry An anecdote about Triangle of Sadness Why there are no rules to convey your message when it comes to screenwriting Memorable Quotes “It is interesting to think about the data that’s being tracked on what you watch and where it can go…Is this something they are selling to people?” [6:40] “In an industry that’s already shrinking…putting A.I. behind it is a little worrisome.” [8:15] “The safest bet is not the best story.” [9:25] “There are things other than the checkboxes that make a movie what it is.” [12:52] “As a writer, as a director, you can use whatever you want to get your point across.” [42:20] Resources: I am Worried About Big Data and Hollywood Triangle of Sadness Denver the Guilty Dog Free Screenwriting E-book Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

If you bring your full self to a festival, to a film, to any project, whilst helping others shine in the process, you will find your place in this industry. In this episode, GG Hawkins speaks with director, Ella Glendining about her feature film, Is There Anybody Out There? She also speaks with cinematographers Lauretta Prevost and Laura Valladao on recent Sundance films they worked on. We discuss: Being a vehicle for communicating your passion Feeling self conscious about filming oneself everyday for a documentary film The surreal experience of having a film premiere at Sundance Accessibility, open captioning and inclusive viewing experiences at the festival Prioritizing everyone’s comfort in the making of a film  Figuring out how to shoot and edit a purely black and white film Limiting air flow on set during Covid Experiences working with nonactors How emerging filmmakers should approach attending film festivals Memorable Quotes “I think anybody who’s ever felt other or left out or discriminated against, hopefully will be able to take something very powerful from the film.” [11:23] “I didn’t really notice I was making a feature until I was in the editing suite.” [19:10] “You must, must, must stick to your gut. Like if you absolutely know something is right, then it is.” [22:46] “Texture is so important in black in white because you don’t have color information to help you understand the space and the depth.” [33:14] “It’s the first time I’ve really felt like an adult here…I feel like a grown up.” [38:56] Resources: Find Ella on Instagram Find Laura on Instagram Laura’s website Find Lauretta on Instagram Lauretta’s website Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

In today’s episode, we discuss storytelling in both the show and video game adaptation of The Last of Us. Also, we talk about Warner Bros suing South Park and how it speaks to the frustrations creatives are experiencing in the industry.  In today’s episode, No Film School’s Charles Haine, Jason Hellerman and GG Hawkins discuss: The things we wanted to see in a flashback episode of The Last of Us Expecting to see more sophisticated and interesting video game adaptations in the future Good actors versus bad actors in regards to legal contracts The after effects of a change in studio ownership How frustrating Hollywood is for a lot of creatives Why development is still so important Memorable Quotes “The more you do this filmmaking thing, the more empathy you have with people struggling with these challenges.” [11:50] “The problem with all flashbacks is we know what happens after.” [16:33] “Create a writing profession where breaking in doesn’t cost you ten years of your life and you get paid no money.” [37:10] Resources: The Last of Us Show The Last of Us Game South Park lawsuit Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today’s guest is award winning editor, Mikkel E.G. Nielsen. Mikkel is an editor and director known for films such as Sound of Metal, Beasts of No Nation, and most recently, The Banshees of Inisherin. Mikkel shares what he appreciates most about being a film editor. In this episode, we discuss… What Mikkel appreciates the most from his time in film school in Denmark Realizing you can treat material in many different ways Remaining as objective and open as possible, especially in the initial stages of the process Loving and honoring the collaborative process of editing a film  Why “less is more” sometimes How finding balance and simplicity lends to a more powerful film Helping the director make the best possible version of their intention Memorable Quotes “Editing has always been about experimenting and trying to see if there’s new ways to do certain things and to treat material in different ways.” [5:12] “On a first pass you never ever touch anything from the script.” [15:15] “There are so many things that are possible with so little material.” [18:14] “We have a tendency in editing especially, to make things complicated.” [35:17] “The film is not my baby. I’m helping someone and I always see it like that.” [41:43] Resources: Aqua Music Video: https://www.youtube.com/watch?v=WQPS5J9_GNw Walter Murch https://nofilmschool.com/podcast-legendary-walter-murch-editing Alison O’Daniel and the Tuba Thieves https://nofilmschool.com/the-tuba-thieves 2023 Sundance Post Round Table https://nofilmschool.com/editors-and-post-sound-have-crush-each-others-work Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

In today’s episode, we discuss whether or not editors should be allowed to digitally manipulate performances. Also, we talk about the changes RED is making and what cameras they will no longer offer.  In this episode, we talk about… Milkshake ducking and why we are afraid of it Protecting the performance element of an actor’s work What editors need to consider before making artificial changes to an actor’s performance A recent announcement from RED that has left many camera owners disappointed Our experiences shooting on RED cameras How to approach working with non-actors Memorable Quotes “The thing that AI is very good at doing is changing a facial expression.” [7:04] “We’re living in this world of contrived filters and I don’t want us to move too much further into that….we need to protect the humanity.” [9:15] “We’re watching civilizational standards shift.” [10:35] Mentioned RED Camera Announcement  Keanu Reeves Warns Us About the Dangers of AI Editing Actors ET Audition Tape Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hours before their Sundance premieres, we spoke with the writing fellows of Women Write Now, Hartbeat’s annual comedic screenwriting fellowship for Black women in partnership with the Sundance Institute. In addition to having the three writing fellows on, we were also joined by Hartbeat’s Head of Film, Candice Wilson-Cherry, who takes us through how the program is designed to directly address the lack of BIPOC women in leadership positions like showrunners and in writers' rooms. We also were joined by Hey Boo director Logan Browning who you might know from The Perfection and Dear White People. And in addition to diving into the art of comedy, we also dig into the art of directing for comedy. All of these shorts are directed by actors — the other two being Tika Sumpter and Nicole Byer. In this episode, we discuss… How the Women Write Now program is filling a void in the writing space  Their process for finding writiers and directors for the program The development process of each of the shorts  Fitting the script into only 10 pages Having to adjust things for the budgets Finding mentors who would guide fellows in nurturing yet realistic ways Doing table reads versus chemistry reads Letting go of control by trusting actors Hitting deadlines so you don’t hold up production Memorable Quotes “It’s really important that all of our films, tv shows, and formats are all reflective of the world.” [3:28] “That was really nice, sort of discovering a different layer and different element to the story.” [9:56] “They have helped me walk into a door that was closed.” [14:03] “Make sure your actors get to be free and play.” [22:28] “Write, write, write. You only become good, by just doing it.” [34:32] “If you feel like you are a writer to your core, don’t be afraid to say it and don’t be afraid to tell people.” [41:03] Mentioned: https://womenwritenow.com/ The Real Hartbeat on Instagram Candice Wilson Cherry (Producer of the films) Logan Browning (Hey Boo director) Danielle Solomon (Hey Boo writer) Mayanna Berrin (Power Dynamics writer) Kiana Butler (Night Off writer) Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Continuing our Sundance coverage in episode 608 of the No Film School podcast, we sat down with editors and sound teams from films premiering at the festival. In addition to unpacking post production — the final and critical phase of filmmaking — we uncovered possibly the biggest work crushes in the film industry. In this conversation, you’ll hear from:  Emmy-winning editor, Taylor Mason - Editor for the psychological horror film Birth/Rebirth which premiered in the Midnight section on say one of Sundance. Mason’s previous work includes the Netflix mini-series Dahmer – Monster: The Jeffrey Dahmer Story, and Pose, as well as the variety show A Black Lady Sketch Show, for which Taylor and her team of editors became the first all-Black team to win a Primetime Emmy Award for Outstanding Picture Editing. Jon Philpot - Editor for the mockumentary film Theater Camp. Jon previously worked on beloved comedy series like Hacks, Search Party, Broad City, and Awkwafina is Nora From Queens, and At Home With Amy Sedaris.  Mike James Gallagher and Anthony Vanchure - Part of the sound team on Onyx the Fortuitous and the Talisman, the pair also recently worked on the biopic Weird: The Al Yankovic Story, as well as Selena Gomez: My Mind & Me and their collaboration on the documentary Lucy and Desi earned the pair an Emmy nomination. In this episode, we discuss… Breaking story as an editor The emotions of door sounds Temp sound and editors hoping to impress the sound designers and vice-versa Figuring out the most interesting way to keep people engaged The great thing about low budget projects  Balancing the tone of a more dramatic story with moments of levity The great combination of laughter and fear How sound design can affect people psychologically  Why it's so fun for editors and sound designers to collaborate Memorable Quotes “Is this a scene? Is this supposed to be entertaining? What does this have to do with anything?” [16:14] “I wanna do a great job. I wanna do that on every project I work on. You don’t just want to half ass it.” [21:38] “The idea of mixing comedy and horror together is phenomenal.” [31:00] “I love working with editors that take sound seriously.” [41:35] Mentioned: Taylor Mason Instagram Jon Philpot Instagram Mike James Gallagher Instagram, website and sound design deconstructions Anthony Vanchure Instagram Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode, we talk about considering the advice of others, while still being the architect of your own destiny. Also, we chat about maintaining healthy relationships with collaborators and the importance of clear communication. In this episode, we talk about… Our experiences with agencies and the important lessons we learned Discussing the myths of management Trusting your instincts and following your “why” Why you need reps that truly believe in you and what you are doing Not working with the same people on all your projects Breaking out of the box people put you in  Avoiding relationship rifts and how to handle it when it happens Memorable Quotes “People in that business burn out fast. They burn bright and they burn fast and they burn bridges.” [7:28] “You gotta do some internal housekeeping and soul searching.” [9:30] “You are there to evaluate them as much as they are there to evaluate you.” [15:22] “When we present ourselves with too many cerebral options, we get lost.” [24:37] Mentioned: Start With Why Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today’s guest is director, Jason Woliner. Jason is the director of Borat 2, Nathan For You, and the latest rule breaking show, Paul T. Goldman. We chat about pushing forward on your ideas, even when receiving constant rejection.  In this episode, we talk about… How comedy has evolved to include real people in real life situations People thinking Paul’s story is completely fake and that he is just an actor Allowing Paul to make decisions and follow his lead Finally selling the show after getting over a hundred rejections The role timing plays in getting projects made Marveling at the decisions Paul’s mind made in writing the script  Memorable Quotes “I feel like there’s been this shift where real life is just crazier and funnier than anything that is just purely written.” [3:28] “The richness of life is so much weirder, funnier, more interesting than most written content.” [4:31] “Yes, it’s unpolished and it sounds different, but it’s a real person expressing their version of their life.” [15:34] “Most of my career has been spent trying and failing to get things made.” [23:22] Mentioned: Paul T. Goldman Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

In today’s episode, we host a roundtable discussion with cinematographers of four different Sundance films. We chat about problem solving on set, collaborating with directors, creative lighting solutions, protecting your energy for the stories you love, and finding the silver lining in the less than ideal projects.  In this episode, we talk about… Four different Sundance films and what they are about How these DP’s booked their jobs Using a single camera versus two cameras Implementing unique lighting techniques  Having longer takes with minimal camera movement  Working as a gaffer versus working as a DP Finding the community you love and holding onto it Recognizing the opportunity cost when you take a film just to shoot something  Memorable Quotes “I feel like I have a connection to all these films because I’ve lived in New York, I have multigenerational family drama, I didn’t join a satanic cult, but I did go to theater camp.” [3:37] “An intense amount of prep and being as prepared as possible with a detailed shot list, floor plans and photo boards.” [24:23] “There is so much value in working on sets in other roles.” [43:13] “You kill yourself for a movie and you don’t want to kill yourself for a bad one.” [46:08] Mentioned: Nate Hurtsellers - Theater Camp Nate Hurtsellers Instagram Dan Adlerstein - Onyx the Fortuitous and the Talisman of Souls Dan Adlerstein Instagram Scott Miller - A Little Prayer Scott Miller Instagram Zach Kuperstein - Power Signal Zach Kuperstein Instagram Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

On today’s episode, No Film School founder Ryan Koo, writer Alyssa Miller, and podcast co-host GG Hawkins discuss their favorite aspects of Sundance 2023. They discuss the most impactful films they watched, the nature of networking at the festival, and the exciting film acquisitions that occurred.  In this episode, we talk about… Sundance films that we loved Mutual exhaustion and excitement everyone experienced at Sundance Understanding the currency of human emotion How, without Sundance, it would be difficult for certain films to be made Why you don't need a full scale production to make a brilliant film Having to navigate relationships in the industry with a guard up  The value in making connections in such a concentrated amount of time Multiple $20 million acquisitions for independent filmmakers Memorable Quotes “Diversity in emotion. The entirety of the human experience is found in this slate.” [1:32] “The currency of human emotion…will probably be one of the hardest things for A.I. to define.” [10:20] “Wow! Movies are so alive and well. Independent film is so alive and well.” [29:21] “You really bond when you’re freezing.” [30:26] “You are your own business as a filmmaker, and you have to be making these connections.” [37:50] Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Recently we were honored to interview the director of Sundance film, The Tuba Thieves, Alison O’Daniel. She shares what it was like to create a film that focused primarily on sound oversight. The Tuba Thieves not only challenges the rules of filmmaking, but it revolutionizes the way we do captioning. Full transcript available here. In this episode, we talk about: A film 11 years in the making. Slow burn by design…  The future of captioning and O'Daniel's How to Caption resource Breaking the rules of filmmaking Finding the champions of your project—both with labs and grants, and without ‘em Patient, piecemeal filmmaking No Film School's coverage of Sundance 2023 is brought to you by Adobe. Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

No Film School writers, Alyssa Miller, GG Hawkins, and Ryan Koo discuss the opening weekend of the 2023 Sundance Film Festival in Park City, Utah. We share why it has been so great to be back at Sundance in person. Also, we speak to a Powderkeg development executive about the future of indie films. In this episode, we talk about… The difficulty in choosing what to go to due to all the options Approaching your Sundance experience as if you are a character in a script Sharing our various objectives and goals for the festival Theories on the budget cuts Sundance has made The lack of distribution of the films at the festival Appreciating the happy energy of filmmakers at Sundance Powderkeg’s purpose for going to the festival How important it is to build relationships in this industry Staying true to your voice by not chasing mandates We also discuss the following Sundance films: Birth/rebirth In My Mother’s Skin Cassandro Claudio’s Song Chanshi Fantastic Machine Magazine Dreams Memorable Quotes “It’s so hard to watch a movie in the middle of your work day and feel like you’re actually at a festival.” [0:50] “Part of the filmmaker experience at Sundance is knowing where you sit in the pecking order.” [4:30] “Even if you have a film in the festival, it doesn’t mean you’re getting into the party.” [8:07] “The reality of Sundance is ditch or be ditched. And it’s gonna happen to you and you just have to accept it and go with the flow.” [8:19] “Be honest, be authentic and put yourself out there.” [35:05] Mentioned Adobe Alyssa Miller GG Hawkins Ryan Koo Powderkeg Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

In today’s episode, we offer our suggestions for how to have a successful Sundance experience. Also, we chat about having our film gear robbed from our cars, and we share our thoughts on a recent lawsuit against A.I. In this episode, we talk about… How people, who live in the same city, will make plans to hang out at a film festival in a different state Why you need to volunteer or attend Sundance regularly  Getting over your ego and letting people think something was their idea How to avoid buying stolen gear Why we are worried about a particular A.I. lawsuit Figuring out how to wield the A.I. sword in the future Memorable Quotes “You start getting stuff into Sundance, five years after you go regularly.” [9:51] “You learn so much about whether or not you even have a chance.” [12:12] “My job is to make you think it’s your idea.” [27:07] “You’re a nerd. I can rent to you.” [36:56] “There’s so much happening underneath the surface that we don’t know about.” [45:53] Mentioned Artists Fight A.I in New Class Action Lawsuit Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today’s guest is Editor Lee Smith, editor of 'The Dark Knight', 'Dunkirk', '1917' and recently 'Empire of Light'. We chat with Lee and find out more about this invisible art. He also describes what it was like working on the recent film, Empire of Light, now in theaters. In this episode, we talk about… Comparing Empire of Light to other films he has done in the past The difficulty in choosing takes when working with great actors  Knowing how things will work in post production Solving rubik's cube situations in the edit Trusting your own instincts What Lee thinks is the secret sauce to a good film The defining film of his career Pacing and rhythm of a film Memorable Quotes “It’s the same kind of thing as cutting a bigger film, just in a shorter amount of time and with obviously less complexity in the visual world.” [4:50] “There’s a million things in editing that you can do to tweak anything.” [8:30] “I am a lover of most films. There are very few films I won’t watch.” [13:18] Mentioned Empire of Light is in theaters Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

In today’s episode, we discuss the importance and benefits of diversity in filmmaking. Also, we chat about the problems with how the industry handles VFX work, and we discuss a big dilemma Francis Ford Coppola is now facing. In this episode, we talk about… The Golden Globes problem with diversity Proactively diversifying our teams  The clique-like nature of filmmaking How the industry doesn’t want to acknowledge good VFX work Our theories about Francis Ford Coppola losing his entire crew Why you should never self finance a movie Memorable Quotes “More diverse teams yield better products,stories, and films.” [5:53] “Culture fit tends to become this blanket term of something that’s hard to overcome.” [8:35] “Making conscious effort to find new collaborators is an exciting thing that should be pursued” [10:45] “There’s a danger in brushing aside the labor that goes into it.” [21:27] Mentioned Golden Globe winners Is Francis Ford Coppola’s ‘Megalopolis’ in Trouble? Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

In the past thirteen years, No Film School has published thousands of free articles, videos, and podcasts (this is episode 600!). But to really impact filmmakers’ careers, we’ve always wanted to create in-depth online courses available to everyone around the world. After a decade, we’re finally doing it with How to Make Money as a Cinematographer. Editor-in-chief George Edelman is joined by NFS Founder Ryan Koo and director/DP Charles Haine to talk about why we created our very first in-depth online course. In this episode, we talk about… Developing a course for the past 1.5 years Our exclusive worldwide survey of cinematographer day rates Tools and tips that will help you save money and increase your revenue Putting the “school” in No Film School The reason there are so many cinematographers in the NFS community  How to buy and profit off your gear (hint: don't use a credit card!) Mentioned How To Make Money As A Cinematographer (launch week pricing available now for 40% off) The First Feature - The making of AMATEUR with writer-director Ryan Koo Learn more about your ad choices. Visit podcastchoices.com/adchoices

For most of the history of the entertainment industry, there has been a large disconnect between what audiences want to see and what the large studios create. In this episode, we find out how one company is changing that by re-shaping the industry in a meaningful way. In this episode, we talk about… Legion M - The world's first fan-owned entertainment company Why Paul Scanlan and Jeff Annison started Legion M Being grateful for the community that has taken a chance on this experiment Breaking the big wall between those who make the content and those who watch the content The many diverse ways investors are directly involved in the company  Getting emotional ROI from being involved in the company  Sharing advance screening of film with their elite scouts  The low cost to invest with Legion M Memorable Quotes “We’re uniting entertainment fans from all around the world, to co-own our own entertainment company. Think of it as a production company on it’s way to being a studio.” [2:34] “We are the ones who fuel the entire business. We buy the tickets. We pay the subscriptions. We choose what to watch.” [3:03] “I am not exactly an insider in Hollywood. I like to maintain an outsider’s perspective.” [6:12] “You don't make great art by committee.” [13:47] “Imagine having a company with a built-in audience that is not confined to an existing franchise.” [29:09] Mentioned Legion M Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

On our final episode of 2022, we are honored to speak to innovative cinematographer, Darius Khondji. Darius is known for his work on films such as Se7en and Amour. Today he shares what inspires him, and he also explains what it was like working on the film, Bardo: False Chronicle of a Handful of Truths. Bardo is now available on Netflix. In this episode, we talk about… Why he first fell in love with large format Loving the idea of the actor being very big on screen Deciding on what camera and lenses to use for the film  The strong connection he had with the director and the lead Being influenced by other films or works of art What seduced him the most about the story from the beginning Deciding to work on a film based on who the director is The type of genre he would love to work on Memorable Quotes “I love large format…I love working in large format. I love the actors being larger than life.” [4:42 “I love the way the camera tells the story. The presence of the characters and the presence of the landscape of this camera.” [8:43] “You have to be very careful with inspiration. Inspiration is just a fragrance.” [14:23] Mentioned Bardo: False Chronicle of a Handful of Truths Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hearing stories from very experienced filmmakers is helpful, but we may miss out on relevant lessons that can only be gained from those just breaking into the industry. Today’s guest is Anne Sophie Bine, a young filmmaker who is getting attention for the first time, for her recent short.  In this episode, we talk about… Being interested in stories and the visual arts since childhood Developing a close working relationship with production designer, Rick Heinrichs Feeling like you are creating things into a vacuum Why Anne attended film school, even though she was always against it The process of creating and funding her short film, Dog Lover Not getting distracted by networking and socializing Remaining open and not expecting anything in return Memorable Quotes “I kinda realized all of those things came together in film…It’s a place where it is not a disadvantage to be a jack of all trades.” [4:08] “It was necessary to have a visual imagination, a sense of story, a way with words, an understanding of performance, and an ear for music.” [4:22] “As exciting and big as those jobs were, they were in a way, taking me away from directing.” [11:34] “There’s definitely a momentum that builds there and it makes me feel like I can do it again” [20:25] “It’s kind of like dating…if you’re viewing it too much based on the end goal and objective, I think things can backfire.” [24:25] “Funding things sucks. Raising money is terrible.” [27:04] Mentioned Dog Lover Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today’s episode is our “End of the Year, Holiday Podcast.” We discuss an interesting, new method of marketing movies. Also, we chat about the first official protest against A.I. Finally, we explain the best way to promote your indie film at a festival. In this episode, we talk about… Entering the theater with low expectations but then being blown away Our thoughts on the film, Avatar: The Way of Water Going bonkers for behind the scenes content How A.I. has already directed a movie Why ArtStation’s protest on A.I. is important Feeling worried about the future of careers in the film industry How you should go about promoting your indie film   Memorable Quotes “It’s about the filmmaking now. The filmmaking is being advertised.” [5:14] “There’s nothing better than coming out of the theater with that adrenaline rush, with a group of people.” [23:41] “Don’t bring a baby. Don’t bring a burrito.” [27:19] “I’m 43. This is legit the first time I’m like ‘Oh fuck, this is like 80s Scifi.’” [40:49] “We’re on the downslope of the roller coaster at this point.” [42:55] “This is a mimicry of what’s happening in the country, on a wider scale.” [58:25] Mentioned Avatar: The Way of Water ChatGPT  AI MOVIE TWITTER THREAD Defector article ArtStation Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today we speak to Matthew Gentile and Matt Allen about the process of filming and editing the film, American Murderer. Matthew met Matt in film school, and invited him to collaborate on his first feature film. American Murderer is now available on Amazon Prime. In this episode, we talk about… How screenwriting and directing are different Matthew’s experience in film school Realizing he wanted to write his own screenplay Becoming obsessed with the story of the main character The things that keep you going when making your first film  Filming during the heart of the pandemic The danger in trying to stick so closely to your storyboard  Realizing you have so many elements to work with as a director Memorable Quotes “I couldn’t really find my way towards the right first feature vehicle.” [3:13] “I think it comes down to what story you want to tell first and then you figure out how to do it.” [7:34] “Before I wanted to be a filmmaker, I wanted to be a fed.” [10:31] “I started writing the script and as I wrote it, I realized, ‘this has to be the first feature.’” [12:12] “I write the first draft of the script. I think it’s amazing. I learn very quickly, it’s not.” [13:56] “That faith you have to have when you’re making your first movie, that this is going to happen.” [21:09] Mentioned American Murderer Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

In today’s episode, we discuss whether or not we care about the intent of the creator when we evaluate a film. Also, we chat about the importance of receiving advice, and we discuss why we are annoyed by streaming platforms. In this episode, we talk about… Getting in your own way as a filmmaker when trying to get the audience to change their minds about a subject How the original intent of a project can change over time Why the narrative needs to be ‘character first’ not ‘message first’ Responding to Todd Field’s remark that “advice is cheap” Why even small pieces of advice can affect your whole career Giving specific advice versus giving broad advice Why the constant changes of streaming platforms are annoying for consumers Missing the special features that came with physical movies Memorable Quotes “I’d rather somebody not intend a single thing and just be like, ‘Hey I made Speed. It doesn’t mean shit.’” [4:06] “The best movies, the best shows, the best anything, leave you talking about it or thinking about it days later.” [6:19] “Every good movie or every good tv show is about something. And it might not come to a final conclusion about that thing, but it’s about things that are bigger than just the story and that’s what makes it so rewarding.” [11:34] “I think the best creatives are able to be like ‘fuck that noise, im making a good story.’” [14:50] “When you love something, you start to see patterns that maybe aren’t there.” [15:03] “It’s gotta be earned. If you’re gonna make them change, you gotta earn it.” [22:07] “The A.I. can’t attack our Blu-rays” [48:33] Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

It is great when you have the opportunity to interpret a film for yourself and decide what it means for you. Filmmaker Todd Field offers this opportunity in the film, Tár. The film takes us through an epic character study that mirrors the way we humans experience the world. Tár is in theaters and available on streaming platforms. In this episode, we talk about… Todd’s inspiration to write and direct the film Putting the character in a position of great power  How the character lives in a way that is contrary to the advice she gives others Letting the movie and music speak for itself The intent in writing the character as a real human being The very simple rules for this film What the editing and testing process was like Why Todd believes it is healthy to have differing opinions The pleasure of being the originator of the story  Memorable Quotes “My writing life has been, for the most part, in adapting material.” [2:29] “Human beings…sometimes they operate with their better angels and sometimes they’re monsters.” [12:35] “This film is about this character. It’s about having an opportunity to meet this character in different facets of their life during this period of time. A public one, a sort of professional one, and a private one.” [16:32] “The secret dream of many filmmakers is you never have to go through production. You would just go straight to the edit.” [20:03] “That’s why we make films. We want the greatest possible engagement.” [24:07] “I think being a filmmaker now is probably the most exciting thing you can possibly do.” [27:16] Mentioned in the episode: Tár Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

In today’s episode, we discuss the 2022 Sight and Sound list of the best movies. Also, we chat about why cinema is not the all-healing tool of the universe, and we discuss the things that freak us out about A.I. technology. In this episode, we talk about… Our responses to the outrage of other filmmakers  Not caring what others think about your taste in movies Three films that promote the healing power of cinema: Empire of Light, Babylon, and The Fabelman’s Written content produced by A.I. and the misinformation that comes with it Why we need to stop lowering the bar intellectually Developing that human touch that A.I. cannot grasp Memorable Quotes  “We’re in a bubble. We’re all in bubbles.” [11:15] “We love it. We already love it. You need to do more than just tell us that it’s lovable. You need to do a little more.” [32:50] “If you aren’t watching what's happening, it’s happening so fast. We’re coming close to judgment day.” [38:16] “There’s a reason why the money people are salivating over it. There’s a very good reason why.” [51:26] “It’s a big leap forward into anti-intellectualism. It’s taking the human beauty out of what we consume and giving us this big giant hive mind.” [52:30] Mentioned in the episode: New York Times, History of Sight and Sound Did “Woke Culture” Sabotage This Best Movies Ever Poll? Empire of Light Babylon The Fabelman’s Run Pee App You Will Be Impacted by A.I. Writing…Here is How  Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today’s guest is cinematographer Ben Davis, who has worked on films like Doctor Strange, Cry Macho, and Guardians of the Galaxy. Ben shares what his process was like as the DP of the film, The Banshees of Inisherin, which is currently in theaters.  In this episode, we talk about… Comparing the flexibility of a small film versus a larger film Being open to change even with a structured plan in place Capturing the idea of loneliness and isolation with cinematography Why Ben doesn’t work against the light source How they got the digital format to look like film  Choosing the color palette with director, Martin McDonagh What is was like working with Clint Eastwood in the film, Cry Macho A powerful lesson about ego Memorable Quotes “The ambition on this film was to keep it small…so that we had some sort of flexibility and we could maneuver.” [3:49] “You’re always open to change. Because that’s the delight of filmmaking, what you chance upon.” [4:40] “The great thing about this film…everyone was making the same movie and everyone was on board with it.” [6:17] “I’m never going to do it as beautifully as nature can give you.” [16:50] Mentioned in the episode: The Banshees of Inisherin  Cry Macho Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

EP590 No Film School: NEW AI Tech That Blows Our Minds and How to Use Improv on Set In today’s episode, we share our theories behind the low Thanksgiving box office numbers, our successful and unsuccessful experiences with improv, and we discuss an incredible new form of AI tech that’s got us scratching our heads in awe. In this episode, we talk about… Comparing Thanksgiving box office numbers  The big gray area of marketing Our past experiences with improv How improv is a tricky skill set but still possible to achieve Failing a ton - It makes you better and stronger Why NeRF technology will change the world of VFX The amazing uses of NeRF technology Memorable Quotes “There’s still something that happens when we watch it all finished. We don’t take into account part of the reason there are flaws.” [3:57] “I feel like something weird is going on with film marketing…on top of all the box office stuff.” [15:58] “Money is spent in such crazy, foolish ways that it’s just mind boggling.” [20:42] “Understanding the principles of ‘yes and’ will make you a better collaborator and creator, than anything else.” [25:34] Mentioned in the episode: NeRF technology Luma AI Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Are you the type of person that gets walked on or are you the bossy one, doing the walking? In this episode we discuss checking one’s ego, changes in studio executives, and the things we are grateful for, this Thanksgiving week.  In this episode, we talk about… Disney bringing back a past CEO The art of managing talent relationships Thinking about things from the perspective of the studio Enjoying arguments with other filmmakers The recent collaboration between Tony Kushner and Steven Spielberg Productive disagreements and admitting when you are wrong How Charles and Todd were impersonated by criminals Memorable Quotes “You don’t go back to the old CEO. You just don’t.” [8:12] “The entertainment industry remains a relationship business.” [13:11] “Batman can be any guy and it can be any director.” [20:44] “It just looked like the general crap-fest we’ve been treated to.” [29:20] “I think the ego check gets easier, the bigger the rest of your life is.” [55:13] Mentioned in the episode: Tony Kushner Podcast Episode Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

There are those who write films and those who direct films. Today’s guest, Dean Craig was responsible for both roles in the recent film, The Estate. Craig, also known for writing Death at a Funeral, explains his process for both writing and directing. In this episode, we talk about… HBO denying his original script How having an appealing actor is a big piece of the puzzle Finding joy in the creative writing process Going back to first principles when facing obstacles Working on Death at a Funeral with director Frank Oz Being drawn to the challenges of being a director Appreciating the collaborative art of filmmaking Being a filter as well as the decision maker Memorable Quotes “Trying to create an eclectic range of eccentric characters and then bring them together and see what happens” [8:56] “I remember being four days in and thinking ‘This is not a job for one person.’” [15:59] “I really feel like the script is there and it’s there for everybody else to bring their expertise, talent, and brilliance to it.” [19:20] Mentioned in the episode: The Estate  Death at a Funeral Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

If you have a short film that you want to get out to the world, you need to consider Shortverse. This platform offers filmmaker specific features that you won’t find anywhere else. In this episode, we speak to Andrew Allen and Jason Sondhi, founders of this incredible platform for emerging filmmakers. In this episode, we talk about… Supporting short films for over 15 years with Short of the Week The reason they created Shortverse Facilitating relationships between creators and industry professionals Numerous features such as: search filters, review system, and more. Interesting trends in the short film market The number one thing the industry is looking for in films Memorable Quotes “We’ve always thought of short film as this really powerful experimental media where filmmakers can really find their voice.” [4:44] “Imagine a platform that was built for emerging filmmakers to get their work out there, to connect with people.” [14:07] Reach for the thing that is fresh, that is new, that is risky and great. Rather than trying to cover your basis by creating something that is good and broadly accomplished.” [47:56] Mentioned in the episode: Short of the Week Shortverse Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Two of the biggest names in the industry, Tony Kushner and Steven Spielberg, collaborate on a film about Spielberg’s early life. Tony shares what it has been like to work with Spielberg over the years. The film, "The Fabelmans" is in limited release Nov 11 and everywhere Nov 23. In this episode, we talk about… Being fascinated by Steven Spielberg’s life story How filmmaking helped to protect Spielberg as a youth by giving him control Working together on films such as Munich and West Side Story Battling one another during filmmaking Recognizing when he can’t convince Spielberg and trusting his judgment Keeping everyone focused on the outcome A particular scene of The Fabelman’s - Spielberg’s genius idea Memorable Quotes “Because I think that’s the extraordinary thing about art, both for audiences and for artists. It’s a dream. But it has real life meaning and sometimes real life consequences.” [3:55] “There’s a flash of insight that he has and it feels somewhat, kinda superhuman to me.” [5:50] “Filming things is like a second nature to him…I think he makes things difficult for himself, to keep himself excited.” [9:55] "Steven is very open to the experiences of other human beings.” [11:39] Mentioned in the episode: The Fabelman’s Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Writing screenplays in our present time is challenging for a variety of reasons. There is more competition, lack of mentors, and less avid readers out there. In this episode, we cover what you should do as a screenplay writer when facing these challenges. In this episode, we talk about… Websites for screenwriting advice - The Black List and Wordplayer The cardinal sin of sending an unsolicited screenplay Making an effort to be better, more avid readers Advocating for your own material and overcoming the network effects  Why you need to be a person that people like The many reasons to love Fuji Film  Choosing a camera based on workflow integration and body ergonomics Switching from Twitter to Mastodon Memorable Quotes “If the screenplay is good enough, lock it in a drawer, and someone will come find it.” [2:09] “With every script, you have to decide…am I passionately trying to get this made? Or is this a spec to take me somewhere else?” [7:55] “With clarity of goal and purpose, steps after, start to become clearer.” [11:17] “Get in the arena and make the connections.” [24:23] Mentioned in the episode: The Black List Wordplayer Fujifilm X-T5 Mastodon Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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  Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 James Gunn - CEO of DC Studios Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Will AI Make Movies Without Us Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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! Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Box Lens for Filmmakers Fuji X-H2s shoots files to the Cloud New iPad Pro  Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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: Lyle Lyle Crocodile is in theaters Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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: Hanks announced the release of his upcoming novel Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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: Jean-Luc Godard Contempt Alphaville Weekend Masculin Feminin 2 or 3 Things I Know About Her Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]!  Visit https://nordvpn.com/nofilmschool Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Visit https://nordvpn.com/nofilmschool Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Atlas Mercury 1.5X Anamorphic Lenses Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Visit https://nordvpn.com/nofilmschool Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Vist https://nordvpn.com/nofilmschool Learn more about your ad choices. Visit podcastchoices.com/adchoices

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  Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Vist https://nordvpn.com/nofilmschool Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Theodore Roosevelt's "The Man in the Arena" Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Vist https://nordvpn.com/nofilmschool Learn more about your ad choices. Visit podcastchoices.com/adchoices

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  Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Vist https://nordvpn.com/nofilmschool Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Vist https://nordvpn.com/nofilmschool Learn more about your ad choices. Visit podcastchoices.com/adchoices

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:  Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Sign up for NordVPN here: https://nordvpn.com/nofilmschool Learn more about your ad choices. Visit podcastchoices.com/adchoices

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:  https://nofilmschool.com/hollywood-income-gap-for-poor-or-middle-class-people Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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/warner-bros-cancelled-supehero-movies https://nofilmschool.com/what-exactly-going-warner-bros-discovery Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

“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:  https://nofilmschool.com/nope-movie-explained Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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:  Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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/ Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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  Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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/   Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool    Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool    Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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  Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool    Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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  Links to Resources:  Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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     Links to Resources:  Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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:  https://www.latimes.com/opinion/story/2022-05-30/top-gun-maverick-memorial-day-tom-cruise-pentagon-propaganda Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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/ Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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     Links to Resources:  Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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       Links to Resources:  Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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   Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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/ Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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  Links to Resources:  https://www.nofilmschool.com/money-survey Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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.  Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Visionary Director Robert Eggers joins us to talk about inspiration, struggles, humility, and confidence on set. Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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.  Follow all our NAB 2022 coverage here, and experience it along with us directly from the convention floor! Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Turner Classic Movies host Eddie Muller talks about the impact of studying classic films at the TCM Film Festival. Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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  Links to Resources:  https://www.nofilmschool.com/money-survey Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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/ https://www.nofilmschool.com/money-survey Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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:  https://www.nofilmschool.com/money-survey Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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/  https://www.nofilmschool.com/money-survey Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool    Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Links to Resources:  https://www.nofilmschool.com/money-survey Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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  Links to Resources:  https://www.nofilmschool.com/money-survey Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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     Links to Resources:  https://www.nofilmschool.com/money-survey Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 https://www.nofilmschool.com/money-survey Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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            Links to Resources:  https://www.nofilmschool.com/money-survey Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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  Links to Resources:  https://www.nofilmschool.com/money-survey Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

'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   Links to Resources:  https://www.nofilmschool.com/money-survey Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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    Links to Resources:  https://www.nofilmschool.com/money-survey Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 https://www.nofilmschool.com/money-survey Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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?     Links to Resources:  https://www.nofilmschool.com/money-survey Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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    Links to Resources:  https://www.nofilmschool.com/money-survey Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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  Links to Resources:  https://www.nofilmschool.com/money-survey Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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  Links to Resources:  https://www.nofilmschool.com/money-survey Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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  Links to Resources:  https://nofilmschool.com/how-much-should-you-charge-video-work-take-survey-and-lets-find-out https://www.nofilmschool.com/money-survey Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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   Links to Resources:  https://nofilmschool.com/how-much-should-you-charge-video-work-take-survey-and-lets-find-out https://www.nofilmschool.com/money-survey Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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   Links to Resources:  https://www.nofilmschool.com/money-survey Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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     Links to Resources:  https://www.nofilmschool.com/money-survey Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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  Links to Resources:  https://nofilmschool.com/joss-whedon-story https://www.nofilmschool.com/money-survey Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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/money-survey https://nofilmschool.com/guide-tv-directing-success Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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   Links to Resources:  Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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  Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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://www.focusfeatures.com/wolf/watch/ https://nofilmschool.com/best-coming-of-age-movies Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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:  https://nofilmschool.com/antihero-definition-examples Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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:  https://nofilmschool.com/nightmare-alley-meaning Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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:  https://nofilmschool.com/nightmare-alley-meaning Find No Film School everywhere: On the Web https://nofilmschool.com/  Facebook  https://www.facebook.com/nofilmschool  Twitter  https://twitter.com/nofilmschool  YouTube  https://www.youtube.com/user/nofilmschool  Instagram https://www.instagram.com/nofilmschool   Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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: Please like us on Facebook: https://www.facebook.com/nofilmschool Follow us on Twitter: https://twitter.com/nofilmschool Subscribe to our YouTube channel: https://www.youtube.com/user/nofilmschool  Check us out on Instagram: https://www.instagram.com/nofilmschool Ask us questions at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Please like us on Facebook: https://www.facebook.com/nofilmschool Follow us on Twitter: https://twitter.com/nofilmschool Subscribe to our YouTube channel: https://www.youtube.com/user/nofilmschool  Check us out on Instagram: https://www.instagram.com/nofilmschool Ask us questions at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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: Please like us on Facebook: https://www.facebook.com/nofilmschool Follow us on Twitter: https://twitter.com/nofilmschool Subscribe to our YouTube channel: https://www.youtube.com/user/nofilmschool  Check us out on Instagram: https://www.instagram.com/nofilmschool Ask us questions at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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: Please like us on Facebook: https://www.facebook.com/nofilmschool Follow us on Twitter: https://twitter.com/nofilmschool Subscribe to our YouTube channel: https://www.youtube.com/user/nofilmschool  Check us out on Instagram: https://www.instagram.com/nofilmschool Ask us questions at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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  Links to Resources: Please like us on Facebook: https://www.facebook.com/nofilmschool Follow us on Twitter: https://twitter.com/nofilmschool Subscribe to our YouTube channel: https://www.youtube.com/user/nofilmschool  Check us out on Instagram: https://www.instagram.com/nofilmschool   Ask us questions at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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/ Please like us on Facebook: https://www.facebook.com/nofilmschool Follow us on Twitter: https://twitter.com/nofilmschool Subscribe to our YouTube channel: https://www.youtube.com/user/nofilmschool  Check us out on Instagram: https://www.instagram.com/nofilmschool Ask us questions at [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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  Links to Resources: Please like us on Facebook: https://www.facebook.com/nofilmschool Follow us on Twitter: https://twitter.com/nofilmschool Subscribe to our YouTube channel: https://www.youtube.com/user/nofilmschool  Check us out on Instagram: https://www.instagram.com/nofilmschool Ask us questions at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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  Links to Resources: Please like us on Facebook: https://www.facebook.com/nofilmschool Follow us on Twitter: https://twitter.com/nofilmschool Subscribe to our YouTube channel: https://www.youtube.com/user/nofilmschool  Check us out on Instagram: https://www.instagram.com/nofilmschool Ask us questions at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Links to Resources: Please like us on Facebook: https://www.facebook.com/nofilmschool Follow us on Twitter: https://twitter.com/nofilmschool Subscribe to our YouTube channel: https://www.youtube.com/user/nofilmschool  Check us out on Instagram: https://www.instagram.com/nofilmschool Ask us questions at [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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/  Please like us on Facebook at https://www.facebook.com/nofilmschool  Follow us on Twitter at https://twitter.com/nofilmschool Subscribe to our Youtube Channel at https://www.youtube.com/user/nofilmschool  Check us out on Instagram at https://www.instagram.com/nofilmschool/  Ask us questions at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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  Please like us on Facebook at https://www.facebook.com/nofilmschool  Follow us on Twitter at https://twitter.com/nofilmschool Subscribe to our Youtube Channel at https://www.youtube.com/user/nofilmschool  Check us out on Instagram at https://www.instagram.com/nofilmschool/  Ask us questions at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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  Please like us on Facebook at https://www.facebook.com/nofilmschool  Follow us on Twitter at https://twitter.com/nofilmschool Subscribe to our Youtube Channel at https://www.youtube.com/user/nofilmschool  Check us out on Instagram at https://www.instagram.com/nofilmschool/  Ask us questions at [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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: https://nofilmschool.com/zimmer-dune-score https://nofilmschool.com/dune-scene-breakdown https://nofilmschool.com/dune-box-office  Please like us on Facebook at https://www.facebook.com/nofilmschool  Follow us on Twitter at https://twitter.com/nofilmschool Subscribe to our Youtube Channel at https://www.youtube.com/user/nofilmschool  Check us out on Instagram at https://www.instagram.com/nofilmschool/  Ask us questions at [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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/  Please like us on Facebook at https://www.facebook.com/nofilmschool  Follow us on Twitter at https://twitter.com/nofilmschool Subscribe to our Youtube Channel at https://www.youtube.com/user/nofilmschool  Check us out on Instagram at https://www.instagram.com/nofilmschool/  Ask us questions at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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/  Please like us on Facebook at https://www.facebook.com/nofilmschool  Follow us on Twitter at https://twitter.com/nofilmschool Subscribe to our Youtube Channel at https://www.youtube.com/user/nofilmschool  Check us out on Instagram at https://www.instagram.com/nofilmschool/  Ask us questions at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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: Please like us on Facebook at https://www.facebook.com/nofilmschool  Follow us on Twitter at https://twitter.com/nofilmschool Subscribe to our Youtube Channel at https://www.youtube.com/user/nofilmschool  Check us out on Instagram at https://www.instagram.com/nofilmschool/  Ask us questions at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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/  Please like us on Facebook at https://www.facebook.com/nofilmschool  Follow us on Twitter at https://twitter.com/nofilmschool Subscribe to our Youtube Channel at https://www.youtube.com/user/nofilmschool  Check us out on Instagram at https://www.instagram.com/nofilmschool/  Ask us questions at [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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  Please like us on Facebook at https://www.facebook.com/nofilmschool  Follow us on Twitter at https://twitter.com/nofilmschool Subscribe to our Youtube Channel at https://www.youtube.com/user/nofilmschool  Check us out on Instagram at https://www.instagram.com/nofilmschool/  Ask us questions at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 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 [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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  Please like us on Facebook at https://www.facebook.com/nofilmschool  Follow us on Twitter at https://twitter.com/nofilmschool Subscribe to our Youtube Channel at https://www.youtube.com/user/nofilmschool  Check us out on Instagram at https://www.instagram.com/nofilmschool/  Ask us questions at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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: Please like us on Facebook at https://www.facebook.com/nofilmschool  Follow us on Twitter at https://twitter.com/nofilmschool Subscribe to our Youtube Channel at https://www.youtube.com/user/nofilmschool  Check us out on Instagram at https://www.instagram.com/nofilmschool/  Ask us questions at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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/  Please like us on Facebook at https://www.facebook.com/nofilmschool  Follow us on Twitter at https://twitter.com/nofilmschool Subscribe to our Youtube Channel at https://www.youtube.com/user/nofilmschool  Check us out on Instagram at https://www.instagram.com/nofilmschool/  Ask us questions at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 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 [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 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 [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 Please like us on Facebook at https://www.facebook.com/nofilmschool  Follow us on Twitter at https://twitter.com/nofilmschool Subscribe to our Youtube Channel at https://www.youtube.com/user/nofilmschool  Check us out on Instagram at https://www.instagram.com/nofilmschool/  Ask us questions at [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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/  Please like us on Facebook at https://www.facebook.com/nofilmschool  Follow us on Twitter at https://twitter.com/nofilmschool Subscribe to our Youtube Channel at https://www.youtube.com/user/nofilmschool  Check us out on Instagram at https://www.instagram.com/nofilmschool/  Ask us questions at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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: Please like us on Facebook at https://www.facebook.com/nofilmschool  Follow us on Twitter at https://twitter.com/nofilmschool Subscribe to our Youtube Channel at https://www.youtube.com/user/nofilmschool  Check us out on Instagram at https://www.instagram.com/nofilmschool/  Ask us questions at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 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 [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 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 [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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  Please like us on Facebook at https://www.facebook.com/nofilmschool  Follow us on Twitter at https://twitter.com/nofilmschool Subscribe to our Youtube Channel at https://www.youtube.com/user/nofilmschool  Check us out on Instagram at https://www.instagram.com/nofilmschool/  Ask us questions at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 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 [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 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 [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Cinematographer Andrew Droz Palermo takes us through his collaboration with David Lowery on 'The Green Knight’ in today’s interview. In this episode, we talk about... Palermo’s previous work as both a director and director of production. How ‘The Green Knight’ came to be - it’s been a long process! Some of the really cool production elements in the movie and the equipment used to capture them. The rich soundscape for ‘The Green Knight’ and the process for creating it. Inspirations for the lighting used in the film. How the team created the story from myths and legends, and why they made the choices they did. Links to Resources: Learn all about The Green Knight and what it means in our in-depth mega-post: https://nofilmschool.com/Sir-gawain-the-green-knight-explained The Green Knight - https://www.imdb.com/title/tt9243804/  Please like us on Facebook at https://www.facebook.com/nofilmschool  Follow us on Twitter at https://twitter.com/nofilmschool Subscribe to our Youtube Channel at https://www.youtube.com/user/nofilmschool  Check us out on Instagram at https://www.instagram.com/nofilmschool/  Ask us questions at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Make sure you listen to the whole episode for a new segment that we’re debuting at the end. In this episode, we talk about... How toxic fandom has become incredibly common on the internet. Director Alan Taylor losing the will to direct due to the toxic fandom he has to deal with. Why it's good that more big name people call out online harassment and cyber-bullying. The ways that what people say online can be taken very personally and affect creators’ mental health. How Quentin Tarantino is still carrying anger towards his mother about a comment she made early in his career. Whether or not Tarantino’s viral comments should be surprising. The role of cults of personality in the film industry. Advances in 3D modeling, including phone apps you can use to scan 3D objects using LiDAR sensors. Introducing a new segment designed just for the gig economy - Good Deal, Bad Deal. Ideas for how to make a bad deal better (it’s not what you think) and examples of times you might want to take a bad deal. Links to Resources: Check out: https://www.saluteyourshortsfest.com/ https://www.amazon.com/Salty-Pirate/dp/B08B8Z96JQ  Please like us on Facebook at https://www.facebook.com/nofilmschool  Follow us on Twitter at https://twitter.com/nofilmschool Subscribe to our Youtube Channel at https://www.youtube.com/user/nofilmschool  Check us out on Instagram at https://www.instagram.com/nofilmschool/  Ask us questions or submit to Good Deal, Bad Deal at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Two of the film industry’s most prolific producers - John Davis and John Fox of Disney's Jungle Cruise - are giving us behind the scenes info and stories on many of the huge blockbusters they’ve been a part of. In this episode, we talk about... How these producers who work on movies with huge budgets and top stars still have to pitch their films and go through the same process as other filmmakers. How the two of them decided to become producers and what their early inspirations were. Each of their earliest jobs in the industry and how they worked their way up. Fun stories about filming Predator. How Jungle Cruise came about, got pitched, and got a team together. The ways that even for big name producers like Davis and Fox, the process of pitching to a studio is still competitive and difficult. Why you should see limitations as opportunities. Thoughts about how to respond to and learn from test audiences. Links to Resources: Jungle Cruise - https://www.imdb.com/title/tt0870154/  Please like us on Facebook at https://www.facebook.com/nofilmschool  Follow us on Twitter at https://twitter.com/nofilmschool Subscribe to our Youtube Channel at https://www.youtube.com/user/nofilmschool  Check us out on Instagram at https://www.instagram.com/nofilmschool/  Ask us questions at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today’s episode covers a range of film current event topics and some important food for thought for your film career. In this episode, we talk about... James Gunn’s use of a hot take about his new The Suicide Squad as a marketing tactic and (differing) opinions about whether or not it was ok to do. General thoughts about filmmakers criticizing each other over social media. Varying opinions about the new The Suicide Squad. The update to the 2019 MacbookPros that Apple just announced and tips on how to finance a Macbook if you’re buying it for school or work. How to handle vendors that don’t deliver what you need. The importance of learning which tool to use for which job as a filmmaker. Knowing when to be willing to pay more for gear, and the risks you take when you buy something cheap. How to best handle rejection, which you will face quite a bit as a filmmaker. Why what you do with criticism can define you and your career. When rejection can actually be a gift. The sometimes fine line between responding to rejection with polite tenacity versus plain rudeness. Links to Resources: The Suicide Squad (2021) - https://www.imdb.com/title/tt6334354/  https://www.amazon.com/Salty-Pirate/dp/B08B8Z96JQ  Please like us on Facebook at https://www.facebook.com/nofilmschool  Follow us on Twitter at https://twitter.com/nofilmschool Subscribe to our Youtube Channel at https://www.youtube.com/user/nofilmschool  Check us out on Instagram at https://www.instagram.com/nofilmschool/  Ask us questions at [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

The DP of In the Heights, Alice Brooks, is chatting today about all the things that make this new movie musical so special. In this episode, we talk about... How Alice got the job on In the Heights and her longtime love for musicals. How Alice prepared and gathered inspiration or In the Heights, having not seen it on stage. Some of the amazing filming locations throughout Washington Heights that were used for the film. Cinematography decisions that were made and types of equipment that were used for filming. How the creators approached capturing a place and a culture that were not their own. Some of Alice’s favorite movies and how they’ve inspired her. Links to Resources: In the Heights - https://tv.apple.com/us/movie/in-the-heights/umc.cmc.1zme0ypyl9tz3qggwwi3e5aoi?action=play  Please like us on Facebook at https://www.facebook.com/nofilmschool  Follow us on Twitter at https://twitter.com/nofilmschool Subscribe to our Youtube Channel at https://www.youtube.com/user/nofilmschool  Check us out on Instagram at https://www.instagram.com/nofilmschool/  Ask us questions at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

George, Todd, Kath and Charles discuss the drama surrounding Scarlett Johansson’s lawsuit against Disney, Amanda Knox and the burden filmmakers have for research and talking to sources, how deep fakes have led to legit jobs and some exciting tech news! In this episode, we talk about… Details about Scarlett Johansson’s contract for Black Widow and why she’s suing Disney  Impact of changes to film releases: theatrical vs. streaming  Disparities in pay within the film industry  Ongoing issues with nonpayments and residual pay and why litigation is often necessary  Choosing to side with the stars vs. the studios  Why we should fight against wage theft at every level  Brief recap of the Amanda Knox story and how it relates to Tom McCarthy’s Stillwater film  What obligation filmmakers have regarding research and how real events inspire fiction  How marketing sometimes becomes a stumbling block for films    What deepfakes are and how they’re getting people jobs  Deepfaking skills and different examples of deepfakes  Exciting Adobe and Blackmagic releases    Links to Resources: Subscribe to our newsletter for news, contests, deals, and a FREE ebook at https://nofilmschool.com/screenwritingbook.  Please like us on Facebook, follow us on Twitter, and check us out on Instagram! Ask us questions at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Many Americans grew up with the idea that there is a set career ladder that they can climb if they work hard enough - but unfortunately, it doesn’t quite work this way in the film industry. In this episode, we talk about... Whether or not Hollywood has a career ladder, whether the way the system currently works makes it impossible to move up in the industry, and who is trying to change the system. How frustrating it is that when you want to make a slight career change, it’s hard to make lateral transitions without starting at the very bottom. How opportunities in the industry are still limited to mostly serve people of a certain class, a certain race, and a certain gender. The fact that there is an expectation for people to spend their twenties working overtime at the poverty level just to move up in their career. Why there should be more mentorship opportunities in the film industry. Blender, a free tool for model-building from Adobe! Whether or not to form an LLC. Links to Resources: Blender Listen to recent episodes for great interviews with M. Night Shyamalan and Tom McCarthy (Stillwater). Please like us on Facebook, follow us on Twitter, subscribe to our Youtube, and check us out on Instagram! Ask us questions at [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

The new movie 'Stillwater' is a tour-de-force and we are joined by writer/director Tom McCarthy as well as his co-writers. Later on, we also talk to the writer/director of 'Let Us In', Craig Moss. In this episode, we talk about... How the team for Stillwater decided which elements of the plot to reveal to the audience and when to create an aura of mystery and sustain interest. The profound and timely themes that Stillwater’s plot explores, and whether the themes or the plot came first when developing the script. How the team developed characters for the script, and how those conversations informed casting. How Craig Moss found a bit of a loophole in intellectual property when he created Let Us In by tapping into urban legends. Moss’s early influences and how he got started in film. What it was like for Moss to make the jump from producing his own short films to directing a feature. Moss’s experience creating various parody films. How Moss and his partner developed Let Us In from the legend of the black-eyed children and other influences for the film, like The Goonies, ET, and Stranger Things. What it was like for Moss to work with his daughter as the lead actor on the film. Links to Resources: Stillwater Official Trailer Stillwater Official Website More about Let Us In Please like us on Facebook, follow us on Twitter, subscribe to our Youtube, and check us out on Instagram! Ask us questions at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Writer/director Edson Oda's first feature NINE DAYS premiered at Sundance 2020, where it won the Screenwriting Award and was acquired by Sony Pictures Classics. A dream come true for a first-time filmmaker, right? The film, which is about social isolation and deep reflection on the meaning of life, was all set to debut theatrically later that year… until COVID-19 had other plans. And socially isolated all of us, and made all of us reflect on the meaning of life. This week it finally hits theaters (NY and LA on July 30, everywhere else in the US on August 6), and if you like ambitious films that ask existential questions, NINE DAYS will have been worth the wait. NFS Founder Ryan Koo talked with Oda and producer Jason Michael Berman (who also produced Koo's own first feature, AMATEUR) about the Herculean task of getting a first feature made — especially one as ambitious as NINE DAYS. In this episode, we talk about… Director Edson Oda’s background and early career, including screenwriting. How film-writing contests can be useful for the purposes of getting a deadline and some external pressure, and less for the results. The process of going through the Sundance Writers’ Lab, and actually getting a film made out of it. How the casting process for NINE DAYS went, especially given that the film was unfinanced at the time. How the team eventually got financing for their movie and the hurdles they faced. Oda’s preparation process for filming his first feature film and why prep is one of the most important parts of the process. Why Oda didn’t do a ton of rewriting during filming. What surprised Oda the most about the experience filming NINE DAYS. Why you really need to believe in yourself, be resourceful, and not give up when you’re trying to get a feature film made. Fun stories from the (often stressful) filmmaking process. Links to Resources: The trailer for Nine Days Nine Days on IMDB Check out this short film: A Sensorial Ride on Vimeo - Edson Oda  Please like us on Facebook, follow us on Twitter, subscribe to our Youtube, and check us out on Instagram! Ask us questions at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

There are multiple filmmakers on the podcast today who have lots of mic drop moments about these two new releases In this episode, we talk about… How M. Night Shyamalan’s movie Old is one of those rare films that can completely change your perspective on life and make you appreciate every moment. How Shyamalan worked with his cast to hone in on what was a difficult piece to capture for actors. How Shyamalan decides what information to give the audience (and when) for his thrillers. The ways humans have a dysfunctional relationship with time, how the movie plays with it, and how the timing with the pandemic made the movie’s message even more powerful. Why Shyamalan always wants to shoot 35, the challenges it presents, and why he insisted on it for Old. The career journey for PIG’s filmmakers, who are making their feature film debut! Nicholas Cage, how he ended up on the project, and what he was like to work with on set. The importance of tenacity for new filmmakers trying to get a film produced - sometimes you have to force it through. More advice for new filmmakers from this team fresh off their first feature! How they chose their gear for filming PIG. Links to Resources: Old by M. Night Shyamalan PIG starring Nicholas Cage Please like us on Facebook, follow us on Twitter, subscribe to our Youtube, and check us out on Instagram! Ask us questions at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode, we talk about… How Chris Nolan and Zack Snyder have a heart-warming tradition of watching each other’s movies before release and not giving each other any notes. The difference between notes from people who just feel like they have to say something versus getting tactful and well-thought out notes at the right time in the process. How to give useful notes to a filmmaker. The power of writers’ groups, even for writers who are already successful. Portrayals of sex in film and who gets to tell which stories. An ode to Richard Donner, who recently passed away. Celluloid film and how it still has a place for making movies today. Why the digital revolution is great, but digital vs. film doesn’t have to be a one-or-the-other argument. An Ask No Film School about working with clients and balancing their desires with what’s possible. How to handle struggles and miscommunications with your clients. Links to Resources: Please like us on Facebook, follow us on Twitter, and check us out on Instagram! Ask us questions at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

New film Gunpowder Milkshake is a love letter to violence on screen, and the film’s director is here today to chat about the making of the movie! In this episode, we talk about… How Papushado got started and the combination of bravery and stupidity (his own words) that helped him get his first movie. Papushado’s influences and how they drive him creatively. Instances throughout film history where humor and action/violence go hand-in-hand, from Looney Tunes to Tarantino. Various factors that set Gunpowder Milkshake apart, including that it has a female-led cast! Papushado’s process for planning out fight sequences. Some of the gear that Papushado used to create Gunpowder Milkshake. How Papushado tries to watch a movie per day and write as much as he can to keep his skills sharp. Links to Resources: Gunpowder Milkshake’s trailer Watch Gunpowder Milkshake on Netflix Please like us on Facebook, follow us on Twitter, and check us out on Instagram! Ask us questions at [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Host George Edelman welcomes Ed Solomon to share how lessons from both success and failure—along with one wild night at an Alaskan Strip Club—have had a hand in shaping the writer he is today.   In this episode, we talk about… How Ed’s high school experience inspired him to be a writer and why he tells himself he’s an imposter daily How shifting from big budget films to smaller specs expanded Ed’s creative path How a trip to an Alaskan strip club led Ed to write the play “Strip Club” and how it got him hired for Laverne & Shirley  The fallacy about gateways that lead to your career—you make your own path Why Ed considers Men in Black as a series of failures that culminated in success  Developing a skill set to learn how to write while you write and learning from every script   How Ed approaches storytelling:  Remember you’re always dealing with point of view even if you don’t realize it Know what it means to have a healthy relationship with the audience and always keep in mind what they know Examples of objective vs. subjective points of view  Consider your audience as a friendly ally  Advice for new writers:  Get other people to say your words out loud and listen to it Take your words and mount it, direct it, film it, edit it  Take acting, editing, and cinematography classes  Watch your very favorite movies and transcribe them—internalize what those writers did What you can learn from transcribing films:  How little dialogue you actually need How little stage direction you need  How short scenes are and how they do not have a beginning, middle and end but just a middle (usually) The importance of sequences and how things are a juxtaposition of little pieces to form a sequence  You really only learn about writing screenplays by writing a bunch of screenplays  Why Ed is choosing to keep a beginner’s mind until the end  Links to Resources: No Sudden Move on HBO max 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 [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

George chats with Ben Mankiewicz and Julie Salamon about their podcast The Plot Thickens, Julie’s book The Devil’s Candy is the best book on movie making.... ever?     In this episode, we talk about… Details about the Plot Thickens Why they chose The Devil’s Candy for the podcast What everyone thought was going to happen during filming Bonfire of the Vanities vs. what actually happened Why The Devil’s Candy is the definitive adaptation of Bonfire and why it puts a stamp on Tom Wolf’s novel Defining what’s good and bad and why it’s unrealistic and boring to label films this way What makes the podcast the same but different from The Devil’s Candy Addressing how actors feel about their portrayal in The Devil’s Candy Encouraging people to allow more gray into their lives Reframing failure and why doing difficult things is worth it  Links to Resources: The Plot Thickens Podcast The Devil’s Candy 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 [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Charles, George, Jo, and Kath break down all things Blackmagic such as using the 6K Pro for a night walk and talk, clarifying misinformation about 12K, and also whether you should bother learning Fusion and Fairlight.    In this episode, we talk about… Night walk and talks and why they’re more complicated than you think.    Why shooting raw is important when different color temperatures exist Production budgets and when it makes the most sense to shoot raw. Different cameras that can and can’t shoot raw.   The pros and cons of Instagram casting.  Resolutions and what everyone should understand about 12K and delivery formats and capture formats. How filming has changed since the introduction of digital images. Why 4K might be the last broadcast delivery format.    Fusion and Fairlight and what tools freelancers should know.  Links to Resources: Blackmagic Week - learn more here! Please like us on Facebook, follow us on Twitter, and check us out on Instagram! Ask us questions at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Guest David Stump has worked on some of the biggest visual effects movies as well as being at the forefront of the shift to the digital medium, helping to develop the tech being used by filmmakers today. In this episode, we talk about… How David Stump got his career started, what made him want to get into visual effects, and how he made his break into that arena. What the world of visual effects was like in Stump’s earlier career, which was completely different than how it’s done today. Examples of the completely analog methods of creating visual effects before CGI. How visual effects changed when digital imaging technology came onto the scene, when Stump first started working with them, and how Stump began incorporating the new technology. Why David first started using Blackmagic and what tools he likes to use now. What David sees as the next visual effects technological needs that he’d like to see on the market soon. Links to Resources: Blackmagic Week - learn more here! 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 [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

DP John Brawley drops wisdom from years in the trenches, plus insights into the development of Blackmagic Design. In this episode, we talk about… John Brawley’s career journey and how he was able to keep moving forward toward his goal of being a cinematographer, even while going through rough patches. The various jobs Brawley did in the film industry in his early days and how they served as a sort of film school for him. How film work is a lifestyle and often doesn’t leave much time for a personal life. Why having to edit your own shots is vital to becoming a good cinematographer. The formal education programs Brawley went through. Brawley’s experience with Blackmagic cameras and how he’s known the founder for a long time. What went into Blackmagic cameras’ designs. The factors that come into play for Brawley when choosing a camera for a shoot and other decisions a cinematographer must make that may be even more important than camera type. Unique challenges that come up when working on a TV series. Links to Resources: Blackmagic Week - learn more here! 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 [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode, we talk about… How the British government has begun demanding data from streaming services about how many people are watching their shows. How the movie industry’s data - like box office numbers - has always been public, but streaming services have been very secretive about their data. How Netflix wants control over which of their numbers come out and when. How Youtube has very public data which has resulted in lawsuits when the metrics changed. How this data could be used to help artists and creators - but also how data isn’t always useful, especially if not interpreted with sophistication. Whether actors should be allowed to lie about their height. How this all stemmed from a tweet about male actors exaggerating their heights, which caused some controversy on Twitter. When height can matter and when it shouldn’t. Tech news this week is pretty quiet - but tune back next week for a deep dive into Black Magic! A follow-up question from when Charles recently mentioned his job reading scripts, and specific reasons he found certain scripts subpar. How many times, the script reader won’t read the entire script, but rather some of the beginning and some of the end. Why you really need to write about what interests you. Links to Resources: 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! Learn more about your ad choices. Visit podcastchoices.com/adchoices

While many topics seem off-limits for jokes these days, there is always value to poking fun at all the awful sides of human nature. Guest on the show John Lee created 'Wonder Showzen' to push boundaries and make people uncomfortable in an intelligent and meaningful way. He believes being political is a necessary part of being a creator.  In this episode, we talk about… John’s background and how he got into film as a career. John’s early career in New York City and what the industry was like at that time. How John and his creative partner Vernon got interested in topics like racism and misogyny and the importance of talking about those truths. As well as how kids understand injustice and don’t need things sugarcoated for them. Why all work should be political in some way. John’s new movie 'False Positive' and his inspirations for it - including a discussion of Peter Pan. Issues in our society with our health system, lack of support systems for people going through difficult times, and how it’s taboo to talk about health issues like miscarriages. The importance of approaching any new job or partnership by making sure you’ll see eye-to-eye and get along with who you are working for. That’s what the interview process is for! Why you should have a good understanding of other sides of film production, like sound and lighting. How collaboration is essential in any artistry and the surprising skills you need to be a good director. Why you need to know who you are as a creator and who your work is for, so you’re not wasting your time trying to sell your work to places that will never buy it. The art of pitching, which ideally should be short and mysterious enough to engage the producers and get them to ask you questions. How John pitches, which includes creative little hooks that make the producers want to call him up to find out more. Making the pitch process into an absurd art project keeps the spirit lighthearted. Links to Resources: Check out our Gear Guides John Lee Projects: False Positive (2021) Wonder Showzen  Learn more about your ad choices. Visit podcastchoices.com/adchoices

One of the most dynamic filmmakers working in the industry, Edgar Wright, is making a documentary about the band Sparks. All three are joining today to discuss this film, The Sparks Brothers! In this episode, we talk about… How Edgar Wright and Ron and Russell Mael (of Sparks) met over Twitter and ultimately decided to make a documentary about the band. How the group approached making the documentary so that it would have Wright’s stamp on it, rather than being dry like many other documentaries. How Wright thought about using a Sparks song in Hot Fuzz, but didn’t because their songs demand so much attention. How Wright’s and Sparks’ artistic sensibilities align. How music operates as a part of Wright’s process. Artistic influences for Sparks on their music and creative process. Influences on Wright both for general filmmaking and on his approach in creating a music documentary. Links to Resources: Go see The Sparks Bros film in a theater near you, releasing this week on June 18th! 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! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Renny Harlin is one of the great action film directors who has had a huge influence on the genre and continues to have a lot of love and passion for his craft. He’s bringing that enthusiasm and lots of helpful insights to the conversation today.  In this episode, we talk about… What made Renny Harlin decide he wanted to be a film director and his early influences growing up in Finland, which has a very small movie industry. How much Harlin loves what he does and how grateful he is to do what he does. Harlin’s early days making commercials and then getting noticed and transitioning to TV, and finally to feature films. How Harlin survived and stayed motivated when he first moved to the US and was living in complete poverty, trying to break into the industry. Making the jump from living paycheck to paycheck to being on the cusp of the action movie genre (with films like Die Hard 2) to being able to turn down work. Why you need to keep luck happen by working hard and being persistent. Lessons Harlin learned the hard way throughout his career. Why he’s walked away from certain opportunities that have come his way. How technology has changed throughout Harlin’s career and how that impacts his approach. The importance of ground rules and maintaining trust with the audience, no matter how much technology and CGI is available. How he learns to get better on set and how he has learned from audiences with test screenings. Links to Resources: Go see Harlin’s new film The Misfits (2021) in theaters now! 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! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Tune in for some of the most exciting drone news in a while, plus discussions about a recent article exposing MoviePass and deep cuts by black filmmakers to honor Juneteenth. In this episode, we talk about… How MoviePass, for a while, was an amazing deal where you could see unlimited movies for one monthly fee. Venture Capital and how it factored into Movie Pass’s business model. What made Movie Pass a scam and how it fell apart. The drone market for the film industry as it currently stands. Sony getting into the drone game with their new Airpeak S1, how great it is for mirrorless cameras, and how amazing the autofocus is. Deep Cuts: discussions about underappreciated works by black filmmakers including De Rees’s Pariah, Channing Godfrey Peoples’ Miss Juneteenth, and Charles Burnett’s The Glass Shield. Links to Resources: Turns out MoviePass was even shadier than we thought  Sony's Drone Was Built for Your Mirrorless Camera  Pariah (2011) (which is on Netflix) Miss Juneteenth (2020)  The Glass Shield (1994)  Killer of Sheep (1978) Charles Haine: http://www.charleshaine.com/  Kath Tolentino: https://www.borderwoman.pictures/  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! Learn more about your ad choices. Visit podcastchoices.com/adchoices

The group is chatting about hot topics in the industry (and world), like safety and consent for sex scenes. In this episode, we talk about… How Nathalie Emmanuel from Game of Thrones recently stated that just because she was nude in the show doesn’t mean she would do it for other shows, and how this is opening up conversations about nudity in film. Why nudity should always be a fresh negotiation for each new contract. The interesting fact that our culture allows more violence than nudity to appear in mainstream films. The double standard of male nudity versus female nudity on tv. When nudity and violence are necessary for a film and when they are excessive. How Intimacy Coordinators can keep workplaces that deal with sex scenes safe for actors. How Adobe Creative Cloud is quite expensive - but arguably priced right for business. How Resolve by Black Magic is a free, alternative option for editing that works well. Pixelmater Pro, which is fairly cheap and an awesome alternative to Photoshop for light edits. Tricks for working in white spaces which can be very tricky to light. The importance of lighting control - to shape where the light is going - when you must shoot against white walls. Links to Resources: Movies & TV HBO's Intimacy Coordinator Reveals Her 'Sex' Kit For Movies and TV  More about BlackMagic’s DaVinci Resolve More about Pixelmater 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! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Is AMC taking over other chains good? Bad? And what does it mean for filmmakers and film lovers? In this episode, we talk about… AMC Entertainment recently sold $230 million in stock in order to go on a buying spree. How the stock market encourages huge corporations and doesn’t support smaller businesses, like independent movie theaters. Whether or not movie theaters are a dying model and why tech companies might not be willing to buy them. Best practices for maintaining a client base - including finding new clients. The art of sending cold emails and when to send them. How to use social media to keep in touch with contacts. Tips for asking for a raise and why it can feel very personal and emotional. Why sometimes, there just isn’t money in a budget for a raise. How, unfortunately, some entry-level jobs don’t and won’t pay a living wage. Why you need to be willing and able to walk away if you want to “win” the negotiating process. Knowing the value of your skills and remembering that companies make money off of you. The frustration of jobs that don’t post salary in the job listing. Deity has just launched the BP-TRX, which is both a transmitter and a receiver, with built-in local recording a time code, which allows you to do more with fewer devices. How Kyno isn’t dead! Links to Resources: Get the 5 Day Deal! It’s running June 3rd - June 8th on our website, our newsletter, and on our social media (linked below)! You don’t want to miss out. No Film School Social Media: Facebook | Twitter | Instagram Kyno For more about BP-TRX Charles Haine: Twitter | Instagram Learn more about your ad choices. Visit podcastchoices.com/adchoices

There are countless books, guides, and templates on writing screenplays - but how important are they? In this episode, we talk about… Guest Robert McKee, his background in both theatre and novels, and the role his books have played in the world of screenwriting. What makes writing exciting. Whether or not there are “rules” to good screenwriting. The principles and forms of writing. The influence of Aristotle on writing today. What truly is a scene, an act, a movement, a season, etc. Discussions of good character development and important principles for the relationship between character and story. The difference between revelation and change, and how the audience’s perception of a character changes as a storyline goes on, rather than the character themselves changing. McKee’s new book that will be coming out soon about the art of writing Action. Why needing advice on a good starting point when building characterization is, frankly, amateur. Links to Resources: Robert McKee Character: The Art of Role and Cast Design for Page, Stage, and Screen  For a free Ebook on How to Write a Screenplay, sign up for our mailing list 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! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Charles and Kath are back to chat about big news in mergers and acquisitions, HD in television, and their thoughts on the smartest first film industry job you could take. In this episode, we talk about… HBO Max is getting merged with Discovery - which is exciting for filmmakers because whatever name it ends up with, it will have a much bigger documentary platform. The nature of mergers and acquisitions and how some film studios and platforms “marry” and “divorce” partners quite frequently. Lessons for filmmakers in the story of how the HBO Max merger happened and why friendships are complicated in this industry. How Amazon is in talks to buy MGM. The lessons filmmakers can take about their relationships to intellectual property from Amazon potentially buying MGM. No one starts out in their dream job, but you can be strategic about your early career jobs.  Both Kath and Charles’s early-career jobs and how they got where they are today, plus things they wish they had done differently in retrospect. How networking has evolved from the days when Charles cold-faxed hundreds of companies to today, where social media lets you gently remind people that you exist. Pros and cons of being a script reader as an early career job. Resources for finding jobs so you know where to apply. How broadcast television moves much slower than other technologies, because moving to film in HD is a huge infrastructural change. Why TV companies have little incentive to make that big of an investment unless there's a huge push from consumers. Various factors that can affect the appearance of resolution of 4k and 8k streaming. Links to Resources: Women of Color Unite  Production Weekly Charles Haine: http://www.charleshaine.com/  Charles’ Webseries: Salty Pirate Kath Tolentino: https://katherinetolentino.com/  Kath’s production company: https://www.borderwoman.pictures/  You can find everything we spoke about today and more here: https://nofilmschool.com/. Please like us on Facebook, follow us on Twitter, and check us out on Instagram! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Charles and George are joined by filmmaker and writer Kath Tolentino today to chat about lots of topics like AAPI movies, seeking representation, and tech news. Today’s big topic is one that’s sure to benefit filmmakers starting out: budgeting for independent features. Give this episode a listen for guidance on your next Indie film’s budget! In this episode, we talk about… How many streaming services are currently offering carousels of films that supposedly celebrate AAPI Heritage Month (Asian American & Pacific Islander), but the nature of the content they’ve chosen has been disappointing to say the least. Questions about how they chose the content - should the films be about AAPI issues or have a prominent AAPI actor or director?  How the carousels of AAPI content could have been expanded if more Indie and short films were included. How to know when to hunt for agents or managers once you’ve created a great short film. Why shorts can generate interest from representation but have a lower ceiling for next steps - representation will always want to immediately know what you can do that will make them money. The roles of agents vs managers, how they differ, and what they do for you. How people perceive that this industry will make them a ton of money, but it’s hard to make a lot of income, especially with the amount of money agents and managers take as their cut. Atlas Orion Anamorphic lenses which are great for widescreen and a specific quality.  Atlas’s new Limited run of Silver Edition lenses which will allow the flare to match the color of the light. These are super niche lenses and they're going to make 100 sets. What to look for in buying your first set of lenses if you feel overwhelmed by all the review blogs and videos out there. Why creating a budget where you pay people at proper industry scale can be difficult to determine. What ends up happening with most Indie films is that the budget is created backwards from what producers feel like they can realistically raise for the movie. How the schedule is closely intertwined with the budget - the number of days you shoot will alter the costs drastically. Why if you’re hiring a line producer, you want to find someone who is used to working on films with a similar schedule to yours. How usually you will have a few factors locked in and will build the rest of the budget around that. Why you need to always build a contingency into your budget and allow more for cast than you think. Using Kickstarter and WeFunder and why there’s something to be said for finding a way to make your movie within the confines of a smaller budget. Links to Resources: Atlas anamorphic lenses For more information about lenses, check out our Gear Guides. Our last episode with Kath where she chatted about her indie feature: I'm Producing a Feature...What First Steps Do I Take? Charles Haine: http://www.charleshaine.com/  Kath Tolentino: https://www.borderwoman.pictures/  You can find everything we spoke about today and more here: https://nofilmschool.com/. Please like us on Facebook, follow us on Twitter, and check us out on Instagram! Learn more about your ad choices. Visit podcastchoices.com/adchoices

In 2021, it can be hard to figure out new ways to innovate on film, since it often feels like “it’s all been done before”. But today, we’re chatting with director Timur Bekmambetov, who found a new way to tell stories and is now deep in “screen life”, a new way of filmmaking that’s a great way to connect with younger audiences and push the boundaries of the medium. In this episode, we talk about… Timur’s early career and how he got into filmmaking in Russia, which included doing just about every job except acting! What happened when Timur first started getting into more artsy, avant garde movies, and his realization that the only way to tell stories is to be real about fears, dreams, and other vulnerable emotions. How screen life can work with every genre, and examples of types of films Timur has shot in that format. The nuts and bolts of creating screen life films, from how acting is very different (it’s about the movement of the cursor or what is typed rather than facial expressions), to how it’s filmed, to how it’s edited in post. Timur’s advice for young filmmakers who want to get involved in this new type of film making. Links to Resources: Director: Timur Bekmambetov Timur Bekmambetov’s screen life film, Profile (2018)   For more information about the medium, visit www.Screenlifer.com   Wondering what gear to buy or rent for your next project? Check out our Gear Guides! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Charles Haine, a writer at No Film School, is joined by Editor-in-Chief George Edelman to chat about a fun assortment of topics like the Pacino-ing phenomenon, new products by tech company Atamos, and what’s going on with IMDB ratings! If you have concerns about how the dreaded algorithm is affecting your career, you’ll definitely want to check out this episode. In this episode, we talk about… Steven Follow’s email list which has really fun and useful data dives. “Pacino-ing” - Al Pacino likes the challenge of being in bad movies to try to improve them and for this reason his career has seemed to follow a downward trajectory. How some actors like Pacino and DeNiro started really strong, and have now been in worse and worse movies. But other actors, like Chris Pine and Chris Evans have had the reverse Pacino effect.  Looking at where data for good movies vs bad movies comes from, who is making the ratings (critics vs audience), and what that means - especially in the context of modern day vs the 70s. Atamos, the Australian tech company which has some amazing products. Atamos just announced the new release of a Ninja Stream, which has some interesting features, especially for social-distancing on set. IMDB and internet rating systems - including a case study where weighted users can bring down a review average with just a few low ratings. How much of the internet is driven by algorithms, which are very imperfect. Different theories about how ratings and algorithms might work. Links to Resources: Stephen Follows’ article about "Pacino-ing"  Subscribe to Steven Follows’ email list for weekly data dives! For more about the Atomos Ninja Stream  Fake ratings and reviews on IMDb  Help us algorithm it up by rating: Amigo Undead (2015)  Salty Pirate (TV Movie 2020)  Let us know your theories about what is going on with IMDB ratings over on Twitter! Ask us a question about the weirdest thing you can find on IMDB at [email protected] and we’ll eventually talk about it on the show! Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on the No Film School Podcast, after mourning the loss of the Arclight and Pacific Theaters, we now speculate on hopes for its survival. Also, we offer the secrets of keeping a franchise fresh and exciting after many sequels or reboots. In Tech News: FilmConvert releases new software to get your iPhone to match the look of high-end cinema cameras. And for Ask No Film School, we discuss scholarships for (...yes) film school. Please email us any questions at [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Channing Godfrey Peoples and Neil Creque Williams put everything on the line for a personal story, and it worked.  How do you make the degree of difficulty even higher for a feature film debut? Channing and Neil found a way, but the commitment they had to the material, their faith in one another as sounding boards and creative visionaries helped them pull off something that you should definitely not try at home. But to hear it from them is best, so what are you waiting for?  Miss Juneteenth is available to stream on amazon prime as well as other services. Be sure to check it out and let us know what you think of the film and Channing and Neil's story.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on the No Film School Podcast, we the low ratings of the Oscars -- and why it ain't just because of COVID. Also: Apple gets a class-action lawsuit filed against them for the misleading use of the word "BUY." For Ask No Film School, Katherine asks what the first steps should take are for producing an indie feature -- and some very useful tips are dropped. And for this week's Deep Cuts: movies that made us leave the theater stunned. Please email us any questions at [email protected]! *Editorial note: Burning was released in 2018, the year prior to Parasite.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Borat Subsequent Moviefilm took over the culture for a minute or two back in the fall of 2020, not just because Sasha Baron-Cohen as a knack for this with his comedic stylings, but because timing is... everything. In the heat of an election cycle, Borat went for the jugular and put American culture on its heels once again. Hear how the editors saw it and pieced it together.  All three of these guys have had amazing careers both with Cohen and on their own. They haven't just been cutting Cohen's work, but much of the BEST comedy to come from the last decade-plus. They talk about working with Cohen, working with comedic genius of all variety, and finding the keys to keeping a story that shifts between scripted and non working in all the most important ways.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on the No Film School Podcast: can an AI do a decent job writing additional scenes for Lady Bird? In our final segment, the creators of the new app Dynascore join us to explain how AI can help create music that fits your video. Also: some hot takes on why adding product placement to classic films may not be the craziest or worst idea ever. Please email us any questions at [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Concrete Cowboy is a true story, a labor of love, and a star-studded debut. Writer/Director Ricky Staub cared about this story enough to invest a lot of time in bringing it to life. That care paid off when he got the chance to have his feature film debut with Concrete Cowboy for Netflix, starring Idris Elba and Caleb McLaughlin. I spoke to Ricky about the unique process of getting this story to the screen, and how he crafted the look with DP Minka Farthing-Kohl and veteran DI Mike Sowa. Learn more about your ad choices. Visit podcastchoices.com/adchoices

On this week's episode of the No Film School Podcast, we tackle the prickly subject of the upcoming Will Smith project 'Emancipation' choosing not to shoot in Georgia because of its recent election law. Also, Bong Joon-Ho offers some wisdom at a Chapman University Forum about how to deal with current events in movies. In Tech News: DJI drops a *ridiculous* new drone. And for Ask No Film School, we address the urgent question of how to break in at the entry level (which is harder than you might think) with some actionable advice. Please email us any questions at [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Darius Wolski has a resume as eye-popping as many of the tentpole movies he's lensed. He's been a longtime collaborator of Ridley Scott's as well as Paul Greengrass, demonstrating that Wolski can get an amazing job done in a wide-ranging variety of styles.  He breaks down shooting Hanks starrer News of the World, how he and Tim Burton survived experimental phases of shooting in 3D, how he works with one legendary director after another, and makes sure he helps them achieve their varied visions. Note: please excuse the audio on this episode - which had to be recorded entirely over Zoom. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Joined once again by Katherine Tolentino, this week on the No Film School Podcast: Ryan Coogler reveals an admirable distaste for the Oscars and Netflix gives an astonishingly phat new paycheck to Rian Johnson for two 'Knives Out' sequels. In Tech Talk, Charles explains exactly how autofocus works. For Ask No Film School, a question about the default shutter speed on your camera. Please email us any questions at [email protected]! *Note: this podcast was recorded remotely, please forgive the minor background noise in some of the audio. Learn more about your ad choices. Visit podcastchoices.com/adchoices

What does it mean to never have a plan B? For veteran award winning DP Nancy Schreiber it meant continuing the grind, but also adjusting to the opportunities and realities she was presented with. How can you do the same? When getting DP jobs was less likely because of her gender, she took more gaffing jobs. When she got the chance to shoot video (VHS or otherwise) she grabbed it, and she wrote her own playbook on how to make it look good. She expanded on that as the video medium expanded. Continuing to shoot on her beloved celluloid, but also winning AWARDS for shooting on... wait for it... MiniDV.  Nancy is a true veteran of the industry, one of the first few female members of the ASC, and a trailblazer to this day. Best of all she's humble, positive, and excited about all the new projects on her slate of all variety. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Justice League, Zack Snyder, and Joss Whedon continue to hit headlines as we ask if Ray Fisher’s recent demands for the Justice League investigations should be released. We also talk about personality types of directors; debunking the myth that all directors should be extroverts. But what even IS an extrovert? In Tech News, Charles marvels at the advancements of the Sigma fp L. We also talk about what to do when you don't have wifi on set!  Please email us any questions at [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

It's no surprise that David Fincher's Mank was nominated for the Best Production Design. Production designer Donald Graham Burt is a veteran Fincher collaborator and he has a perfectionist streak equal to the director. Along with set decorator Jan Pascale, Burt tells us how he helped craft a period-specific look for the celebrated film. From the daunting task of recreating Hearst Castle interiors to the iPhone filter they used to audition every possible prop; you'll get a sense of designing the look of a film on this scale, as well as applicable tips to any production at any size. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on the No Film School Podcast, we are joined by Michelle DeLateur to pick apart Zack Snyder's new 'Justice League' cut on HBOMax and discuss the current culture of emerging voices directing franchise films. Also, we celebrate the diversity of the 2021 Oscar nominees! In Tech News, Charles plugs an amazing new audio plug-in by Accusonus. For Ask No Film School: the do's and don'ts of experimenting with your Steadicam. Enjoy! Please email us any questions at [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Mark Toia has been a commercial director based in Australia for decades and he's finally breaking out with his first feature. Wearing many hats as director-producer-cinematographer (and even the on-set VFX supervisor), he's able to bring his expertise to a passion project and make a film the way he wants to. Charles Haine sits down with Mark to speak about everything from competing for commercial gigs with Tarsem Singh to navigating the world of distribution. We hope you enjoy! Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on the No Film School Podcast, we take a deep dive on deep fakes in light of some impressive Tom Cruise impersonations on TikTok. We also discuss how WandaVision's DP pulled off a crazy array of looks from different eras with a single sensor. Wow. In Tech News, Nikon releases its first full-frame mirrorless camera. For Ask No Film School, we give some essential advice on the pros and cons of self-funding your debut feature. Please email us any questions at [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

It's rare to be cast as the lead of a feature film when you're eleven years old. What's even more rare is to be cast in one of the most notorious and celebrated bad movies ever made. Michael Stephenson's foray into the film industry was his starring role in Troll 2. This may have destroyed his career, or his life, but Michael's strange career path and his love for underdog filmmaking stories got him on a track of directing documentary and narrative films. His films include Best Worst Movie, Girlfriend's Day and his most recent project Attack of the Murder Hornets (now available on Discovery+). Listen for an inspiring and unique story about someone truly making the best out of the hand they were dealt. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on the No Film School Podcast, TCM resists cancel culture and instead encourages discussion of problematic classic movies. As theaters begin to open up around the US, IMAX announces hopeful predictions for a blockbuster Summer 2021. Jean-Luc Godard, at age 90, announces retirement after two more films. Pretty ambitious, no? In Tech News, a remote workflow solution from Arriflex and what happens when the Mavo 8k stops supporting internal ProRes RAW? Please email us any questions at [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Mark Ruffalo served as the Executive Producer on this film which charts the battle to defend nature's rights. It's a novel concept that has major legal implications, not to mention factors heavily into our own survival. What does it mean? How does it manifest? How did co-directors Josh Pribanic and Melissa Troutman film it? How the hell did they get Mark Ruffalo involved? All that and more in the interview. You can check out The Invisible Hand here, read about the film, the fight, and watch it! Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week we take a deep dive into the man, the myth, and the undeniable influence of George Lucas who may be returning to the Star Wars universe to draft a couple of episodes of Andor. In Tech News, DJI unveils an astonishing first-person drone. And for Ask No Film School, we tackle the issue of soundproofing your own house to be a better shooting location. Please email us any questions at [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

The many answers are the keys to the content kingdom. Producer Shivani Rawat has racked up some great credits in a very short period of time. She tells us how she did that, what she's looking for in scripts, and how she gets stuff made.  Check out our interview with Writer/Director of Wander Darkly Tara Miele, which Shivani produced, and our talk with DP Phedon Papamichael who shot another film Shivani exec. produced, Trial of the Chicago 7.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on the No Film School Podcast: a recent report reveals that the HPFA has zero black members. Meanwhile, Amazon announces they are no longer accepting short films or documentaries for their Prime Video Direct service. We discuss! In Tech News, two new cinema cameras compete with each other: the Blackmagic Pocket 6k and the Sony FX3. And for Ask No Film School, we tackle the complexities of place a where it's very, very risky to voice your opinions: Hollywood. Please email us any questions at [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

We don't get to see or talk about features shot on good old 35mm as much as we'd like to so this was a treat. Andrew Dunn expands on why film was the only medium choice for awards contender The United States vs. Billie Holiday, he reveals what he learned working with legend Robert Altman. He also divulges a lesser-known story about shooting the unforgettable Whitney Houston performance for The Bodyguard.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Joined this week on the No Film School Podcast by Katherine Tolentino and Michelle DeLateur: Gina Carano finds herself out of a very high-profile job after sharing some controversial views on social media. We take a look at the Oscar shortlists and attempt to answer the age-old question: does winning an Oscar for Best Live Action Short Film actually affect your career? In Tech News, we marvel at Frame.io's C2C, an upcoming feature for viewing dailies. And for Deep Cuts, our very favorite movies about falling in love. Oh, and here's the Match.com ad that Michelle is obsessed with. Enjoy! Please email us any questions at [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Schliessler has lensed many major blockbusters, collaborating with directors Peter Berg, Bill Condon, and Ava Duvernay on a variety of scales and genres. What's the throughline? An ability to take it slow, develop his abilities, and constantly learn from his collaborators. But for all the fun details you have to hear it from him. Want to watch the amazing scene Schliessler discussed shooting in detail? You can stream Ma Rainey's Black Bottom now on Netflix. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on the No Film School Podcast with guest-co-host Katherine Tolentino, we discuss Sweden's Göteborg Film Festival which has some delightfully unconventional ways of doing a COVID-era festival. In Tech News: Nanlite takes its cues from internet complains and delivers with their new bi-color LED light, the Forza 300B. And last but not least, we chat with Matt Ritter, a Black List screenwriter who came very, very close to obtaining a life rights option with the founder of the now-infamous Wall Street Bets subreddit. Enjoy! Please email us any questions at [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Kevin Macdonald started out in the Documentary world and reached dizzying heights (quite literally) with his Oscar-winning film 'Touching the Void'. When the chance came to try narrative on 'The Last King of Scotland' he proved he had all kinds of chops. Now he's back with 'The Marautinian' based on a harrowing true story. He tells us how his love of studying film helped him build his voice and continues to inform his approach Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on The No Film School Podcast, we are joined by Oakley Anderson-Moore who gives us the lowdown on Sundance 2021 and its virtual experience, as well as her favorite films of the fest -- and of course the record-breaking sale of 'CODA'. We discuss how PA-level crew members are now COVID compliance officers, giving this important task to folks who are unfortunately at the bottom of the film set's food chain. In Tech News, Charles discovers a file copying app called Levee which at only $4.99 is a must-have. And for Ask No Film School, we tackle the issue of plagiarism in regards to a recent short film based on an online comic. Enjoy! Please email us any questions at [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Nestled among Jonathan Furmanksi's advice is another particularly useful tidbit; be someone people want to work with again.  Seems obvious, right? At the same time, it's often overlooked or sidestepped in the name of so many other priorities.  But it's actually the reason you'll get hired and keep earning a living. Jonathan expands upon this and other ideas in our interview with him. Search Party season 4 is streaming on HBO MAX.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on The No Film School Podcast, we are joined by Jo Light and Katherine Tolentino to discuss what the post-pandemic Sundance is looking like and why it may be an improvement on the old model. (By the way, Boots Riley has some great advice on how to get the most out of Sundance 2021.) Also, the CEO of AMC takes a major risk on the future of theatrical, which leads us to a vital question: why do theaters not show episodic content? In Tech News: the Sony Alpha 1 makes a big splash in the cinema camera market. For this week’s Ask No Film School... is it okay to embellish your resume to get a job? Please email us any questions at [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Directing Derek DelGaudio's In & Of Itself brought Oz back to his creative anarchist roots. It's hard to put Frank Oz and Derek Delgaudio's In & Of Itself into words. That's how they wanted it. It's something that must be seen to be... not believed? We keep the interview spoiler-free, diving into what inspired this anarchy, what moved Oz and DelGaudio to build something new, and break things in the process. After I switched off my recorder and took in all Oz and DelGaudio shared, I walked into the other room to find my children watching... "The Muppets" (which Oz helped create and found). It served as a reminder that Frank Oz's drive to create things with a purpose and risk failure by being different, results in a legacy and an impact that echoes for generations. We are motivated to create things for a variety of reasons. Frank Oz and Derek DelGaudio were motivated by some of the best reasons. Oz said working with DelGaudio reminded him of the early early days with Jim Henson when they were just trying things. Breaking things. Discovering things.  More than success, the highlight is always concocting something new. There is no guarantee that you can find the type of success Oz and DelGaudio have. But there is a guarantee that you can find the same joy if you pursue things the way they did. Let their anarchy guide us all to taking chances, evading definitions, and breaking molds. In & Of Itself is NOW streaming on HULU.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on The No Film School Podcast: Twitter gets testy about Master and Commander: The Far Side of the World... but Russell Crowe fights back. The Amazon series The Boys takes on the superhero genre (successfully) and we discuss how trying your hand at the genre is may not be the worst idea. Also: did Chinese producers rip off IP with the recent The Fault In Our Stars knockoff that conquered the 2020 box office. In Tech News: can you make an artificial sun for a thousand bucks? And does it look any good? YouTuber DIY Perks has an answer. Additionally in Tech News: the new, upgraded WiFi 6. *Note: Please excuse any minor issues in our audio.* Please email us any questions at [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Howard Barish formed the production company Kandoo Films in 1992 and he gave Ava DuVernay her start, executive producing her first narrative features. He then went on to produce the acclaimed documentary 13th with her as well. This process inspired Barish's right hand man, Michael Nell to write a feature called Blindfire. Nell's script tackles the murky intersection of race and police with the story of a hostage situation gone wrong. Barish liked the script so much, he couldn't say no. Nell and Barish join us to talk about their controversial new film and how they both navigated Hollywood to get to where they are. Blindfire is out now on VOD. *Note: we apologize for any imperfections in our audio. This podcast was recorded remotely.* Please email us any questions at [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on the No Film School Podcast: HBO Max's strange new way of handling residuals, Tarantino's rallying cry to screenwriters to stop worrying about getting staffed on TV shows and write more specs, and the NFL's new adoption of "indie" camera setups. In Tech News, we discuss Sony's innovative entrée into the drone market.  For Ask No Film School, what advice do we have on crowdfunding? (Plenty.) Enjoy! *Note: Please excuse the issues in our audio, it sounds bad at the very beginning but goes away shortly thereafter.* Please email us any questions at [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Kirsten Johnson is a filmmaker who is pushing the limits of the form. Her latest feature, Dick Johnson Is Dead, is a documentary/experimental film about her father's struggle with dementia and his imminent demise. Our talk with Kirsten is wide-ranging and she is quick to turn the tables on the interview and talk about George. But we promise you this is no self-indulgent therapy session, it's a thorough examination of why we tell stories and how we grieve those closest to us. We also discuss the necessity of "humanizing" the crew members on a set and how whatever camera you shoot on is a beautiful and historic artifact. Make sure you're sitting down for this one -- it gets real. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on the No Film School Podcast, we talk about Patty Jenkin's comments on the first Wonder Woman film, and we have thoughts about it. Joined this week by Katherine Tolentino, we also discuss the Golden Globes' regulations that are preventing Minari from getting the recognition and press it deserves. Plus, a few Tech News bits and we talk about a new film showcase of Bay Area filmmakers co-founded by Katherine! Hope you enjoy. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Meet Julie Christeas and Jonny Blitstein, leaders of the independent film studio Tandem Pictures whose most recent success story is the genre-bending Black Bear, starring Aubrey Plaza and Christopher Abbot. The film premiered at Sundance Film Festival 2020 and it is out now on streaming platforms everywhere. We talk about their "Sundance or bust" strategy and why it's important to not only have a plan B, but plans "A through J." Also, how to brave the mind-boggling puzzles of day-to-day line producing, and how it feels to have CAA embrace your film in its finished form. Enjoy this deep dive into the process of producing unique and impactful movies! *Note: we apologize for the issues in some of the audio of the episode; it was recorded remotely.* Learn more about your ad choices. Visit podcastchoices.com/adchoices

Tara Miele had a student film project premiere at Slamdance twenty years ago... and she's had a long and fascinating road to get to Sundance in 2020 with her feature Wander Darkly, starring Sienna Miller and Diego Luna. We talk about how Time's Up and Me Too saved her life, allowing her to be accepted in the industry as a professional filmmaker. She's juggled her family life with her career and made great sacrifices in order to carve out time to write her films. After doing micro-budget films and directing for television, she managed to bring this very personal and inspiring story to life. Enjoy! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Have you ever thought 'Gee, I have this great script but it's impossible to get agents, managers and producers to read the damn thing'? Well, so have the brains behind the new online service ScriptHop. On this podcast episode, we welcome Script Hop co-founders Brian Austin and Scott Foster as well as casting director Jory Weitz who serves as Director of Industry Relations. The team details their innovative 'packet' which presents your story and script to the reader in an engaging, interactive way. It allows your work to stand out; tailored to people like agents and assistants who simply don't have time to read your script front to back. Don't dismiss this valuable tool that could get your screenplay actually read by someone that could get the movie made -- and believe us, that is one of the hardest things to accomplish in this industry. Enjoy! Learn more about your ad choices. Visit podcastchoices.com/adchoices

For this week on the No Film School Podcast: the uncanny, performative nature of Tom Cruise as evidenced by his controversial on-set rant about breaking COVID regulations. Also, how the acclaimed second season finale of 'The Mandalorian' circumvented the perils of fan service. In Tech News, RED offers new firmware that enables autofocus for the Komodo. And for Ask No Film School, how to light dark spaces well and understand the concept of “contrast” writ large. Enjoy and happy holidays! Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on the No Film School Podcast: Disney unveils its new slate of upcoming shows and we discuss the importance of sound in honor of Sound Week here at NoFilmSchool.com. In Tech News, Xelmus announces new, notably eye-catching anamorphic primes. And for Ask No Film School, we answer a question about when and when not to curb your ambitious screenplay idea for consideration of production. Enjoy! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Have you ever wondered what a supervising sound editor is? What their job is and how they pull it off? Let one of the masters of the profession explain. Mark Mangini is the maestro behind films like Mad Max: Fury Road, Blade Runner 2049, Aladdin, Gremlins, several Star Trek films and many, many others. He's a veteran in the field, starting with cartoons and working his way to winning an Oscar, and beyond. Mangini goes in depth on his craft and his experience, with great insights to share, such George Miller’s pyramid of importance for each given shot and moment. When discussing Blade Runner 2049, Mangini describes his and Denis Villeneuve’s strategy of melding the sound design and the music until they are indistinguishable from one another. If you want to take your knowledge of filmmaking to the next level, you will want to be familiar with the concepts discussed here. Don't miss out. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Have you ever played a video game or watched a movie and wondered where did all these sounds come from? Well, it's not all sound libraries and foley stages. Sometimes, projects will hire a person whose sole responsibility is to go out into the world and get fresh sounds. Gunshots, cannons, engines, you name it, their job is to go out and find it and bring it back to be mixed in. Watson Wu is one of those guys, and he has hunted down sounds for Call of Duty: Modern Warfare, Assassin's Creed and films like Baby Driver. He tells us stories from the front lines, like gathering firearm effects from antique weapon collectors in Florida. We also discuss Watson's role in creating Rode’s new ambisonic sound library. We talk about the insane challenges of obtaining roller coaster sounds and how the job of being a sound recordist, oddly enough, comes down to networking. Enjoy! Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week: Christopher Nolan and Steven Soderbergh both weigh in on Warner Bros’ decision to send their entire slate to HBO Max, while Mank harkens back to the yesteryear of studio filmmaking. In Tech News, Apple offers expensive monitors and stands; Charles offers his opinions. And for Ask No Film School we tackle a simple question that is never easy to answer: how does a screenwriter get an agent? Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on the No Film School Podcast: a COVID testing site gets shut down to make way for a Hollywood film shoot, while The Crown takes liberties fictionalizing historical events and the public must be warned accordingly. We also discuss why the New York Times’ “Greatest Actors of the 21st Century" list is somewhat problematic by nature... and let’s be honest, a bit too early to call? In Tech News: the awesome benefits of the iPhone software Filmic Pro and its new updates. For Ask No Film School: how do you convert the frame rate of your footage? Enjoy--and as always, thank you for listening! Please email us any questions at [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

If anyone on this planet is a natural born cinematographer, it might just be Chris Menges. His earthiness and pragmatism combined with his uncanny, innate sensibility for the moving image are what makes his films special: Kes, The Killing Fields and The Mission, to name just a few. If you haven’t seen them, then trust us that they are among the most beautiful movies ever made. Chris Menges has seen a lot of adventure; he's been all over the world, and he has stories. In this wide-ranging discussion we talk about the photographer Henri Cartier-Bresson's influence on Menges' work and the importance of "walking the streets." From his early days in documentary to his later work with directors like Neil Jordan, Stephen Frears, Stephen Daldry and Sean Penn, Menges is a true master of observation... and he's picked up a couple Oscars along the way. Pay your respects and listen to the man speak! For another conversation with a great DP, check out our recent chat with Phedon Papamichael. Please email us any questions at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Luke Greenfield was a young boy with big dreams who wanted to make movies just like his hero Steven Spielberg. His concerned mother writes an impassioned letter to the big man himself, and Mr. Spielberg responded with an encouraging letter. Two decades later, Greenfield grows up to direct The Girl Next Door and guess who's a major fan? Greenfield's story is a heartwarming one, but it's not without its tragedy and realism. He goes in depth on his grueling experience (sort of) directing The Animal with Rob Schneider and his struggles to be taken seriously in the industry as a young voice. Greenfield's goal as a filmmaker is to make you not only laugh hysterically, but to feel. His latest achievement, Half Brothers, hits theaters this Friday, December 4th. Don't miss this lively and honest conversation! If you want to hear more success stories about makers of unconventional comedy movies, check out our interview with the creators of Palm Springs. Please email us any questions at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Climb is one of the biggest indie breakouts of 2020. The debut feature from filmmaking-and-acting duo Michael Angelo Covino and Kyle Marvin played every major film festival you can think of before finally hitting theaters this holiday season. Michael and Kyle sit down with NFS founder Ryan Koo to talk about how they pulled off a buddy comedy made up entirely of long oners; the underutilized power of sound editing; and of course, the benefits of having a death metal ballerino as your dolly grip. They also go in depth on a very, very ballsy stunt done by Kyle, and the thrill of not only taking the film to Cannes, but winning a Jury Prize. The Climb is out now in theaters. Enjoy! Please email us any questions at [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

What does the new deal struck between Cinemark and Universal mean for the industry? How can movie-goers support theaters while they are closed?Also, this just in: Quentin Tarantino writes books (including a novelization of Once Upon A Time in Hollywood)?? In Tech News, we share our hands-on experience with the new Apple Silicon. For Ask No Film School: what is the best entry-level cinema camera to invest in for music videos and corporate work? And lastly, our theme for Deep Cuts is thanksgiving and gratitude. We hope you enjoy... and Happy Thanksgiving! Please email us any questions at [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Phedon Papamichael's career as a cinematographer goes back to the 80's, but he's still a go-to DP for the best filmmakers in the business. You might call him an “actor’s cinematographer” or a stylistic chameleon. Phedon talks about his approach to the craft: rather than trying to put his visual stamp on a movie, his goal is to serve the story and overall vision. He compares his experiences working with Alexander Payne, George Clooney, Aaron Sorkin and James Mangold -- and what it was like juggling the massive personalities on the set of Sorkin's The Trial of the Chicago 7. Phedon and recalls his early days shooting stripper-centered B-movies under Roger Corman’s tutelage — with Wally Pfister and Janusz Kaminski as his camera crew. This is a masterclass in what it means to be an A-list cinematographer. Don't miss this one: Phedon is the man. Please email us any questions or comments at [email protected]!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Though her most recent triumph is the highly-praised Netflix miniseries The Queen's Gambit, Michelle Tesoro has built a career working with A-list showrunners and directors, within both film and television. From mastering the art of the dialog scene with the HBO series In Treatment, to her collaborations with luminaries like Michael Mann, David Fincher, Ava DuVernay, Mimi Leder and David Milch, she has plenty of stories to tell. Tesero managed to navigate the exact career she wanted and has plenty of wisdom to impart, like why sometimes saying no to projects is even more important than saying yes. We hope you enjoy! More post-production and Queen’s Gambit related goodies here: Cinematic Legend Walter Murch on Editing and Sound Design Here’s What’s New in DaVinci Resolve 17 How Does ‘The Queen’s Gambit’ Create Conflict Without Words? Please email us any questions or comments at [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Eric Roth spent much of this year doing significant rewrites to the script of the upcoming Martin Scorsese film, Killers of the Flower Moon. The biggest notes came from co-star Leonardo DiCaprio. On this week's NoFilmSchool, we talk about why the actor chose to play a different role in the movie and is taking the story in a slightly different direction. For Tech News, we give you the lowdown on a new, exciting 4k camera: the Sony FX6. For Ask No Film School, we talk about the do's and don'ts of "greeking." And in honor's of Scorsese's recent birthday: our favorite of the director's movies for this week's Deep Cuts! More about the Sony FX6 here: Sony's FX6 is a 4K Shooter's Wet Dream Early Sony FX6 Reviews Are In--Watch 'Em Now How Does the New Sony FX6 Stack Up Against the Popular FX9? Please email us any questions or comments at [email protected]! *Editorial note: 'Up in the Air' does not star Denzel Washington. Charles meant 'Flight'. Learn more about your ad choices. Visit podcastchoices.com/adchoices

After serving as a second unit director of photography on movies like The Matrix Trilogy and Dark City, Ross Emery was tapped to be one of the key cinematographers on the new series Raised By Wolves, where he got to work with one of his all-time film heroes: Ridley Scott. In fact, it was Scott's 1982 classic Blade Runner that made Emery fall in love with movies as visual art. Emery regales us with stories that you don't want to miss, everything from working with the Wachowskis and the incredible team they assembled, to the madness of The Island of Dr. Moreau. (Yes, he was on that set, too.) Emery's style and approach are distinct and he's been around the block, so pull up a chair and listen. Check out more interviews with great DP's: David Fincher's Longtime DP Jeff Cronenweth Has Advice, Insight, and Stories 'Lovecraft Country' DP Michael Watson On Shooting During COVID-19 Darren Aronofsky's Rockstar DP Matthew Libatique Talks Career and 'Requiem For a Dream' Anniversary Please email us any questions or comments at [email protected]! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Producer/star Malin Akerman has had a wide-ranging career, having worked with everyone from the Farrelly Brothers to Zack Snyder on the largest scale projects as well as smaller indies. Recently she made the leap into producing her own films. Malin talks about what she looks for in a screenplay, and how finding that “third door” helps you break into the industry. She also explains the trials, challenges, and survival mode of making in Hollywood. Her new Chick Fight is out now. Check out more podcast interviews with filmmakers here: You Need to Know the Miracle of 'The Peanut Butter Falcon' No One Gives a Sh*t About Max Barbakow and Andy Siara, Creators of 'Palm Springs' 'Over The Moon' Director Glen Keane Uncovers The Secret Sauce of Story Please email us any questions or comments at [email protected]! *Editorial note: we apologize for occasional background noise in Malin's audio. Learn more about your ad choices. Visit podcastchoices.com/adchoices

On this week's No Film School Podcast, Charles Haine and George Edelman gaze into their crystal ball once again and speculate how the new wave of coronavirus might affect set life. We also offer a trifecta of Tech News updates: a Sony drone, Teradek's autofocus system for cinema lenses and DaVinci Resolve 17's many perks and innovations. In honor of Veteran’s Day, we give you our favorite Deep Cuts about war veterans. Read more here: Jason Blum Says COVID-19 Has Changed Making Movies Forever Speed Up Your Edit with the New DaVinci Resolve Speed Editor Blackmagic's New Fairlight Desktop Console Makes Mixing Sound Easier *Editorial note: The Best Years of Our Lives is not 3.5 hours, it is under three hours! Let nothing stop you from watching this masterpiece. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Kami Asgar and Jessica Parks are post-production heavyweights who work with major studios, namely Sony. As a sound designer (Asgar) and as a post executive (Parks), their collective resume touches on everything from Apocalypto to Grandma's Boy to Venom. Parks has recently shifted her focus from supervisor to hands-on sound design, and we talk about how it’s never too late to pivot on your career path and find thing you love doing wherever you are in life. We also talk about the new revolutionary technology that will democratize the ability to mix sound on a professional level... and why the literal size of your ear matters. If you're in the mood for more sound talk, learn from the master: our exclusive interview with Walter Murch. Learn more about your ad choices. Visit podcastchoices.com/adchoices

It’s the 20th anniversary of Requiem for a Dream and Matthew Libatique is here to tell us the whole story. Starting in early days at AFI doing student projects with Darren Aronofsky, on to the $30,000 "stunt" known as Pi, this great DP/director collaboration was born. Libatique talks at length about the impact of music and music videos on his filmmaking approach, influencing key creative choices in Requiem. We discuss how he has managed to stay cool and relevant for over 20 years and how this journey is a constant struggle to find new techniques that match the substance of each story. Also pretty fun: Libatique managed to sneak a peek at Roger Deakins’ LUT. More on Aronofsky, Libatique and great cinematographers: This Is What a Shot List for a Darren Aronofsky Film Would Look Like What's It Like Being Darren Aronofsky's DP? Matthew Libatique Tells You Darren Aronofsky Delivers His Ten Commandments of Indie Filmmaking 8 Signature Trademarks of Darren Aronofsky's Work 'Lovecraft Country' DP Michael Watson On Shooting During COVID-19 [Podcast] David Fincher's Longtime DP Jeff Cronenweth Has Advice, Insight, and Stories [Podcast] How Darren Aronofsky Takes Us Down His Rabbit Hole (NFSW) *Editorial note: we apologize for occasional background noise in Matthew's audio. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week, joined once again by Oakley Anderson-Moore, we unpack the powerful, complicated legacy of the late Sean Connery. We also pick apart America’s political landscape in light of the obscure, inconsequential election taking place. We discuss what responsibilities we have as content creators who shape the national conversation. In Tech News, a deep dive into Blackmagic and their newly-released URSA Mini Pro 12K camera! Read more here: Here's How to Set Up a 12K Workflow for Independent Projects in Post How 'Residue' Filmmakers Greenlit Themselves (and Then Ava DuVernay and Netflix Followed) Is There A Way to Make a Film About Politics Without a Political Point of View? 'JFK': How Oliver Stone and Robert Richardson Shot the Scariest Political Movie Ever Learn more about your ad choices. Visit podcastchoices.com/adchoices

Glen Keane animated lead characters in Beauty and the Beast, The Little Mermaid, Pocahontas and many other classic Disney characters as he became a master of his craft. With his signature enthusiasm and optimism, Keane tells us the story of how this background led him to eventually directing his first feature film for Netflix: the heartwarming Over the Moon. Of course Keane had already become a director in his own right, winning an Oscar in 2018 for his short Dear Basketball, a collaboration with the late, great legend Kobe Bryant. Keane discusses his unique, inspired collaboration with Bryant in the intimate setting of his home animation studio. Don't miss this rare chance to hear insights from one of the masters of the craft. Also, Over The Moon is currently streaming on Netflix, go check it out. More about animation below! How Disney's Iconic Multiplane Camera Changed Animation How 'The Land Before Time' Made It Okay for Kids to Cry Again Watch: Preview the 10 Enchanting Animations Shortlisted for the 2018 Oscars How to Shoot Stop Motion at Home 'Spider-Verse' Director Reveals How You Can Survive Studio Politics Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week we take a very, very biased look at Shushgate perpetrator Jeffrey Katzenberg's fallen streaming platform Quibi and why this failure was perhaps an inevitability. Also, as the new Borat Subsequent Moviefilm is released, we examine how much our culture has changed since the first Borat and Netflix drops streaming and viewership data. For Tech News, Hollyland unveils its new wireless video transmission system, the Mars 400 Pro. And for Ask No Film School, Charles helps you navigate the terrifyingly vast landscape of lights when it's time to go bigger and brighter. Enjoy! *Editorial note: We apologize for the uneven sound quality on Charles' mic. Additionally, on several instances, the hosts accidentally say “David Geffen” when they mean "Jeffrey Katzenberg." Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this informative, fascinating episode, we sit down with cinematographer Michael Watson to discuss his work on HBO’s genre-bending horror series Lovecraft Country. Watson details his process: finding the tone of a show that is both pulpy and thematically driven and getting on the same page with the entire HBO team. We also get into the nitty-gritty of on-set challenges as a television DP during COVID-19. Don't miss the one! And so long as you're soaking up wisdom of great DP's, you might as well check out our exclusive interview with David Fincher's legendary lensman Jeff Cronenweth. More on Lovecraft Country: How Genre-Bending Reveals the True Monsters of 'Lovecraft Country' *Editorial note: in the podcast, there are some audio interruptions that occurred which we could not remove from the mix. We apologize for the distraction. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Facing failure isn't scary. In fact, it might be exactly what you need. The ever-inspiring Jim Cummings joins us once again to discuss his new horror/comedy The Wolf of Snow Hollow, just in time for Halloween. As with his (proper) debut feature Thunder Road, Cummings writes, directs and stars. He tells us about the beauty of having a democratized film set, even on a production as large as Snow Hollow and why filmmakers should think of themselves as competition to the industry, rather than “subordinates.” Also, why the most important thing to learn about directing is how to set up a C-stand. The Wolf of Snow Hollow is out on iTunes today. Enjoy! Also check out: How to Make the Jump From Short to Feature with Award-Winning Director Jim Cummings FREE: Jim Cummings's 'Short to Feature' Lab Curriculum Is This the Future of Indie Film Finance? Don't Wait for Somebody to Make Your Move, Do it Yourself: The Award-Winning Mantra Behind 'Thunder Road' Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on the No Film School Podcast, AMC follows Alamo Drafthouse's lead, letting consumers rent out their theaters for a low price -- and why this may be a sign of what the post-pandemic world will look like. For Tech News, a double whammy: Apple releases it's innovative, filmmaker-friendly iPhone 12 and DJI steps up it's gimbal game. And for this week's Ask No Film School, we discuss how a great character arc can sometimes be found in a not-so-great movie... Enjoy! DJI's RS 2 and RSC 2 Gimbals Have Arrived... and They're Awesome Here's What the iPhone 12 Means for Creators You Can Now Rent an Entire AMC Theater for Only $99 Learn more about your ad choices. Visit podcastchoices.com/adchoices

Here to celebrate the 35th Anniversary 4K Blu-Ray release of the beloved Back to the Future trilogy is its writer and producer Bob Gale. He gives us his own origin story including his years of collaborating with Robert Zemeckis which led up to their big hit. He highlights the integrity of executive producer Steven Spielberg, who made Back to the Future the first Amblin production. Bob Gale has been a protective gatekeeper of the franchise and he explains why. Make sure to stay until the end because he drops some of the purest and most valuable storytelling wisdom you're likely to find anywhere. Learn more about Back to the Future here! No, Back to the Future Doesn't Have a Giant Plot Hole John Mulaney Analyzes Back to the Future...and it Gets Weird Great Scott! Learn How to Re-Create the Back to the Future Time Slice Using Practical FX Watch: In Honor of Back to the Future Day, Here's an Awesome Hoverboard VFX Tutorial Watch: What Are the Greatest Movie Gadgets of All Time? Learn more about your ad choices. Visit podcastchoices.com/adchoices

On this week's podcast, joined once again by Oakley Anderson-Moore, we discuss how the rise of streaming not only impacts how films are distributed, but how they're made as well. We also take on the egregious pay disparity between men and women in the industry, including the example of the writers for the Crazy Rich Asians sequel. For Tech News, Charles praises the innovative new Sachtler Activ tripod. And finally for Deep Cuts, we reminisce on our favorite theatrical experiences. Enjoy! The Beginning of the End? Disney Shifts Focus to Streaming Content How Much Progress Has Hollywood Made in Pay Equity So Far? *Editorial note: contrary to what was said in the podcast, Adele Lim and Pete Chiarelli are not writing partners. They are both credited writers on Crazy Rich Asians who worked separately. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Director Max Barbakow and writer Andy Siara tell us how their therapeutic writing process and friendship made Palm Springs what it is, and was ultimately the most rewarding part of the process. And why the fact that no one gave a sh*t about them was, in a way, their greatest strength. In case you've been living in a time-loop cave, Palm Springs, starring Andy Samberg and Cristin Milioti, came out earlier this year after netting the biggest sale in Sundance history with a Hulu + Neon deal for $17,500,000.69 to acquire the film. The movie was released during the pandemic in July, which was a blessing in disguise: breaking out with a record-setting opening weekend on Hulu. Learn more about Palm Springs here:  How Editing Made ‘Palm Springs’ the Most Popular Movie on Hulu The Creators of the Record-Breaking 'Palm Springs' Dissect Their Process 7 Editors Take Us Behind the Curtain on Cutting a Sundance Feature Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week Oakley Anderson-Moore joins the podcast as we discuss who edited that strange video from Walter Reed and why they don't know how to use a morph cut. Since it's election season, we also cover a "get out the vote" contest from M Night Shayamalan. We also dive into a certain tactic used in development to take advantage of screenwriters. Plus the closing of UK's Cineworld theaters, the miraculous Hocus Pocus re-release that's competing with brand new releases, and for this week’s Tech News, we talk about a new kind of pipe... for film production. Find out more: Did the White House Use Morph Cut to Alter Videos of the President? Want to Hang Out with M. Night Shyamalan? Enter the Future Filmmakers Challenge A Release of 'Hocus Pocus' Has Almost Out-Earned 'Tenet' This Weekend Cineworld to Close 543 Regal Theaters in U.S. 'Until Further Notice' Something Smells Funky! Why Bake-Offs May Not Be Great for Screenwriters Learn more about your ad choices. Visit podcastchoices.com/adchoices

Dawn Porter made the transition from a successful lawyer to a successful documentary filmmaker. But there were no guarantees. She took a big risk but she took it for very specific reasons, in a way that eventually led her to more success. Her new film The Way I See It, chronicles the story of Pete D’Souza, the official White House photographer for Ronald Reagan and Barrack Obama. Earlier this year, another Dawn Porter documentary, John Lewis: Good Trouble was released on Hulu. Her insights into the process are invaluable. The Way I See It is currently out in limited release and will be broadcast on MSNBC on October 9th, 2020. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week, Alamo Drafthouse allows folks the opportunity to rent out screens for a low, low price and the Avatar franchise gets put under scrutiny (by us). We are joined by our very own Oakley Anderson-Moore, who gives us the lowdown on the grants and contests of Fall 2020 that you need to be aware of. In Tech News, Charles Haine discusses the competing lens mounts favored by different brands. For this week’s 'Deep Cuts', we talk about our favorite political films in light of the upcoming election. Stories covered: A Massive List of Fall 2020 Grants All Filmmakers Should Know About 'Avatar 2' Has Finished Filming, Rejoice! Alamo Drafthouse Lets You Rent an Entire Theater for $150 Learn more about your ad choices. Visit podcastchoices.com/adchoices

Richard Jenkins was nominated for an Oscar in The Shape of Water. He's acted in a hundred movies (literally). How did writer-director Andrew Cohn get an experienced actor like Jenkins in his first narrative feature? How did the first-time director approach working with Jenkins? And how the heck did he go from making docs with his friends (and putting them on credit cards) to Sony Pictures releasing his first feature, The Last Shift, in theaters nationwide? Our podcast has all of these answers and more. Cohn discusses how he made the transition from documentary to narrative, being mentored by executive producer Alexander Payne (Election, Sideways), and what it means to “shoot for the edit.” The film hit theaters September 25th. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week: unions and studios come together on a new COVID-19 production agreement, Hulu tries their hand at deep fakes (with rather successful results), and Canon announces the ultimate small cinema camera (Charles Haine is beside himself). Also, in light of RBG's supreme court seat vacancy... we get political. Read more: Canon's C70 is a Fresh Take on a 4K Cinema Camera Unions and Studios Reach Safety Deal, Production Starts Soon Let's Compare the Canon C70 to the Competition This is Why Canon's C70 is Heading in the Right Direction Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on the No Film School Podcast, Creative Artists Agency tries to dupe the WGA by signing a made-up contract, Netflix passes on movie theater-buying, Disney+ demands major coin from its subscribers for Mulan, and the new diversity rules for the Best Picture Oscar are unveiled. Also, Sony drops its new extra-small, full-frame camera, the a7C. Topics covered: CAA (Sort Of) Signing of the WGA Code of Conduct All a Ploy The Early Numbers Show 'Mulan' Streaming Success Might Change Hollywood These Are the New Parameters For Best Picture α7C Compact full-frame camera | ILCE-7C / ILCE-7CL | Sony US Learn more about your ad choices. Visit podcastchoices.com/adchoices

From his early days at USC making a little student film called THX 1138, to winning his third Oscar for The English Patient, Walter Murch has innovated the fields of sound design and film editing becoming one of the most respected and knowledgable figures in his profession. Murch details to us how he first got interested in filmmaking and discusses projects like The Godfather, The Conversation, American Graffiti and Apocalypse Now. He gets into the specific techniques and approaches he pioneered along the way, up to his more recent ventures in documentary. We are so lucky he gave us an hour of his time -- absorb all you can from this master! Read more: Editor Walter Murch Pieces Together a Key Moment in History Not Sure of Where to Cut? Editor Walter Murch Says the Answer May Be in the Eyes Intriguing Editing Tips from Oscar-Winning Editor Walter Murch 6 'Rules' for Good Cutting According to Oscar-Winning Editor Walter Murch Walter Murch & Jon Favreau Discuss the Science Behind the Way We Perceive Movies As always please like, subscribe, and leave a comment. Thanks for listening! Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week we discuss a new entertainment industry jobs report on Planet Money, how Sony and Canon are competing with parallel release dates for upcoming products, and an AI software called Colourlab which will revolutionize post-production workflows. Check out Charles Haine's article about Colourlab here. To wrap it up, we cover some of our favorite 'deep cut' movies about filmmaking itself. Links: AI Finally Comes to Grading With Colourlab New Canon EOS Cinema Camera to be Announced This Month Sony to Unveil 'A New Concept' for Alpha Mirrorless Cameras Email us with any questions at [email protected] Learn more about your ad choices. Visit podcastchoices.com/adchoices

The making of the film is an amazing journey and a must-listen. Writer/director team Michael Schwartz and Tyler Nilson have an unbelievable story to tell: the arduous and joyful seven-year journey to make The Peanut Butter Falcon a reality. From the humblest of beginnings to creating a legitimate sleeper hit, these gentlemen lived out of cars and tents, gamed the vast network of industry emails and Twitter accounts, and executed an insane live-promotion strategy once the movie was finally released in theaters last year. These guys are No Film School readers JUST LIKE YOU who just decided to work really, really hard and not quit. Michael and Tyler embody the NoFilmSchool ethic and we are honored that they gave us their epic story first. This is a must-listen. Check out our other coverage of the film: 'Peanut Butter Falcon' DP Explains Why a 2-Camera Setup Is Your Best Friend What Can 'The Peanut Butter Falcon' Script Teach You About Storytelling? Learn more about your ad choices. Visit podcastchoices.com/adchoices

Is this new media collaboration tool ideal for making your remote work interactive? This week, we remember the great Chadwick Boseman and the impact of his work. We also discuss how to manage desperation as an emerging filmmaker. Writer Jason Hellerman joins us to continue to weigh the value of the new screenwriting app ScriptHop. Plus we answer a great question from the No Film School community regarding festival screening fees and if the fest you’re waiting to hear back from could be taking advantage of you.  Wakanda forever! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Oscar-nominated camera wizard Jeff Cronenweth sat down with us to talk about his origins in the film industry. As a young man, Cronenweth spent time on the set of Blade Runner as his father, Jordan Cronenweth shot it. He walks us through the next chapter of his career, starting out as an AC for legendary DP Sven Nykvist and how his long term working relationship with David Fincher began when shooting pickups for a Madonna music video. We discuss his experiences crafting the look of Fight Club, The Social Network and Gone Girl, among other great films. Now in 2020, he is up for an Emmy for his work on the Amazon series “Tales From The Loop.” Learn more about your ad choices. Visit podcastchoices.com/adchoices

Filmmakers are gearing up for submissions to festivals, including Sundance so we go over release and festival application strategy. We also discuss the pros and cons of the upcoming platform ScriptHop. For tech news, we cover the new Final Cut Pro. And finally, we tackle the million-dollar question: “Why are you the best person to tell this story?” Learn more about your ad choices. Visit podcastchoices.com/adchoices

Logan Schneider walks us through his cinematography career, from starting out in the camera department, to shooting scrappy music videos, until bringing a film-caliber prowess to "Drunk History." We also talk about personal growth and maturity as an overlooked aspect of professional growth. *Edit*: Despite what we say in the intro, Schneider has not been nominated for an Emmy personally, but "Drunk History" is currently up for Production Design and Outstanding Variety Sketch Series. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In an informative new episode featuring guest Katherine Tolentino, we tackle the history of foreign influence in Hollywood, pay equality across departments, working overly long days, and what might be the birth of a new filmmaking manifesto á la Dogme 95. Plus, a new augmented reality software from FXhome and the pros and cons of crowdfunding. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Back to the future...of Vertical Integration. The Paramount Decrees are officially over...so what does that mean for filmmakers? Plus, a Deakins inspired chat about focus groups and decisions, we also talk about the new Sigma lens. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Unlike Hamilton, Mulan will hit Disney+ VOD... at a cost. Plus, 12-bit raw is coming for the a7S III through Atomos and we answer a question about master fees and a YouTube clip. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Two years ago, Matt Enlow and Oren Kaplan started the Just Shoot It Podcast with a key question: What does a director do? Now, we come to them with our own key question in mind: What does a director do...during a pandemic? Listen in as we learn more about how to use this time creatively, how to shoot in the time of COVID, and other secrets of the trade. Learn more about your ad choices. Visit podcastchoices.com/adchoices

7.31.20: Did Filmmakers Finally Get What They Wanted? by No Film School Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week, Charles, George, and Michelle reflect on a recent conversation around terminology. Plus, Blackmagic's big news, a case for theaters to look like the Star Wars' Galactic Senate, and we have Tenet's new release date... kind of. Learn more about your ad choices. Visit podcastchoices.com/adchoices

We're feeling hot, hot, hot as Canon cameras heat up and Palm Springs is a hit from the desert. Plus, we dive into a new app with a confusing name and the newest codec on the block. Learn more about your ad choices. Visit podcastchoices.com/adchoices

We’re not throwing away our shot to talk about Hamilton. Disney+ and Hamilton change the game and the conversations around streaming platforms, Broadway musicals, and awards. Plus, this week, AMC heads to church (murch?), Zoom brings out an "Octo" monster, and...will filmmakers be "satisfied" with a recent camera announcement? Learn more about your ad choices. Visit podcastchoices.com/adchoices

It seems improbable or impossible to the more seasoned (or jaded) among us. A man, outside of the system and outside of the major cities like New York and LA, built a thriving indie production company with a full growing slate of movies and content... but that's not even the crazy part. The crazy part is that the stories he's telling reflect his worldview, and a specific vision for humanity and the future. It sounds as bold as it sounds unlikely. Yet it is a reality. BK's story is not just one of perseverance and making your own success, but it's a story of the type of self-education we love at No Film School. It all sounds great... but how come it actually works? Listen to BK tell you in his own words. Learn more about your ad choices. Visit podcastchoices.com/adchoices

A Christopher Nolan rumor makes us consider on-set rules and philosophies and Fuji's new update makes us ponder how this will change upcoming cameras. Plus we time travel (not through a Nolan film) to see if we can answer a No Film School question that dates back more than 100 years ago. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Apple changes everything (again) and forces a decision for every filmmaker...and, no, it's not whether to use the handwashing feature in the watchOS. Plus, we pay tribute to legendary (and dividing) filmmaker Joel Schumacher and we answer an Ask No Film School question that pits an episodic approach vs. tackling an indie feature. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week's theme is how Dinosaurs will adjust to the new world. It's woven into a few of our topics. In addition to talking about Chris Pratt and his open invitation to discuss pizza with us on the podcast, we cover updates from Mac, Adobe's maybe intentional leak of Canon specs, and of course the news that writers are being mistreated by Hollywood. But is that really news? Learn more about your ad choices. Visit podcastchoices.com/adchoices

Chris McKenna tells us about his day job writing for Marvel, while his friend and longtime collaborator Bob Byington talks about carving his career through indie film. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today is Friday, June 12th, which is the date given by Governor Gavin Newsom for film and television productions to (possibly) restart in the state of California. But with potential spikes and the need to implement safe sets, what else needs to be in place in order to safely jump back into work? Plus, we share our recommended viewing from our re-posted list of 30+ Films You Need to Watch About Race in America, chat about new offerings from Z Cam and GNARBOX, and share how the treatment of broccoli relates to filmmaking. Head on in to get your greens! Learn more about your ad choices. Visit podcastchoices.com/adchoices

We are living in interesting times, to say the least. Prior generations have fought similar battles and faced similar challenges. Ashamedly, they faced this very battle time and again. But there is something very different about this time right now and it relates to you. You, the filmmaker. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week brings a lot of questions. Will Christopher Nolan’s 'Tenet' be movie theater's savior? Will we adopt 8K into our workflows? How does Red Komodo’s PDAF change the game? And, what can we learn from the extremely talented team that wrote 'The Sopranos'? Learn more about your ad choices. Visit podcastchoices.com/adchoices

Former NBA owner Donald Sterling made a series of racist comments; this is how the men who worked for him responded. Documentary subjects are rarely as camera savvy as these ones. The moment Blackballed covers unfolded on camera in the media. In order to get closer to the actual experience, emotions, honesty, and authenticity experienced by the men who lived this, filmmaker Michael Jacobs employed a unique tool. He takes us through the challenges of telling this important story, the team he had around him in doing so, and the technology that made it possible. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week, we reminisce and share more about the impact, influence, and legacy of filmmaker Lynn Shelton. We also dive into the world of possibilities created by the Unreal Engine 5 and the new support of Apple ProRes in Adobe Premiere. Plus, a Deep Cuts Speed Round featuring TV Pilots. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In a world full of real artists, why not create a virtual one? We chat about CAA’s newest signing, the digital Lil Miquela, whether folks are saying Qui-bye to Quibi, and Aputure’s new 600d along with a new round of Deep Cuts. A heads up as you dive into this week's conversation: we've been adjusting some of our sound settings and piloting our podcasting software. Our voices may sound a little different but we swear we're still entertaining to listen to. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Our guest this week is the unique and legendary Jonathan Frakes. He was a lead on 'Star Trek: The Next Generation' before he transitioned to the directing chair. To get his shot at directing he had to learn a ton from the craftspeople around him. But he also applied his history as an actor to his process, resulting in an ability to be an extremely economical actor's director. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week, we “Follow The Cheese” towards Netflix’s new on-set rules in the times of Covid-19, dig into Ken Burn’s burns of the Michael Jordan documentary "The Last Dance," share Frame.io’s new features, and we wonder: did Apple finally make a 13-inch laptop for filmmakers? Plus, deep cuts! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Justin Roiland is best known as the co-creator and lead vocal talent behind the immensely popular show 'Rick and Morty'. Mike McMahan went from a 'Rick and Morty' writer's assistant to a showrunner along with Roiland. Now they've got a new show 'Solar Opposites' (May 8 on Hulu). We won't sugar coat it... this interview gets strange. But you should expect no less from these guys. After warming up a bit, we get into the conceit and intent behind 'Solar Opposites', what properties they'd both love to reboot or work with, how they got started creating things, how to keep humor fresh and edgy in an era with so many topics off-limits, and more. Learn more about your ad choices. Visit podcastchoices.com/adchoices

We discuss two new cameras hitting the market. Jason Hellerman tells us about the new FREE eBook 'How to Write a Screenplay (During Quarantine)' taking us through the specific tools he's used writing numerous scripts (including some that were produced), and how he finishes them. We also talk a little bit about what to write (and what NOT to write). Also: updates on coming changes to The Academy Awards, as well as our weekly streaming segment: 'deep cuts'. Learn more about your ad choices. Visit podcastchoices.com/adchoices

We talk to Rachel Lee Goldenberg(director) and Amy Talkington (writer)about their unique take on 'Valley Girl', how they won the jobs, and how the movie's release was impacted by COVID-19. Learn more about your ad choices. Visit podcastchoices.com/adchoices

There may not be NAB in Vegas this week, but that didn't stop Canon from releasing several new products! We take a look at the new cameras from Canon, chat about what film sets and filmmaking may look like when we return to work, breakdown the new update from Blackmagic, and tackle an age-old question through an Ask No Film School: What do I do after I finish my script? Learn more about your ad choices. Visit podcastchoices.com/adchoices

While week 5 of COVID shutdown has us forgetting what day it is, Adobe has been busy with a new workflow tool: Productions. This week, we discuss the new Adobe product as well as the interesting features of the upcoming RED Komodo camera, our viewing suggestions, and all things exposure for an Ask No Film School question. Let’s go! Learn more about your ad choices. Visit podcastchoices.com/adchoices

A common mistake among indie filmmakers is not properly deploying the skill set and time of a colorist. In this podcast three professional colorists all with multiple films at Sundance 2020 shed light that clears up the common misunderstandings of color and finishing. Whether you are going to take on this process yourself or work effectively with the pros who do it so well, this is a must-listen. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Filmmaker Zack Arnold has done the research so you don't have to. He joins us to discuss how filmmakers and freelancers can use the CARES act to claim government assistance that is (maybe) just there for the taking. We also talk streaming deep-cuts, a service with a not-so-exciting launch, and about how Tiltaing has impacted the BMPCC4K. Also, here is the link to the application discussed in the episode: https://covid19relief.sba.gov/#/ Learn more about your ad choices. Visit podcastchoices.com/adchoices

What makes something a 'midnight' film anyway? Is there a relationship between pushing boundaries in subject matter and innovation in visual style? Also, how do you set a room on fire, light for the most awkward romance ever, and get permission from the Trinity Broadcasting Network to use their audio recordings of Hell? These are a few of the great questions that are answered in this highly entertaining conversation with six filmmakers whose short films played in the Midnight program at the 2020 Sundance Film Festival. Listen to this roundtable conversation to learn about the 'making-of' these incredibly different and delightful midnight movies, and get encouragement on taking your own filmmaking risks. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Matrix 4 shut down, how the team set to work on it in Germany was impacted by COVID-19 is an interesting case study. This week we also talk about how Apple wants to play nice with Windows, what 'deep cut' movies we recommend you watch while stuck at home, and we tackle an interesting question from the community. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Charles Haine sits down with Sundance DPs to picks their brains. The conversation ranges on topics from how they got on the projects that ended up at Sundance, to what other career aspirations they have. Their projects range from short to feature, from doc to narrative. It's a wide range of skills and experience represented all opening up about how they do their jobs. Learn more about your ad choices. Visit podcastchoices.com/adchoices

COVID-19 has hit the world, and industry, hard. This week we talk about who the Netflix funds might apply to, who else might do something similar, what other tech companies are up to that can help during this time, plus a great question from the community and of course... NFS60! Learn more about your ad choices. Visit podcastchoices.com/adchoices

The world, and our industry, has changed dramatically in a very short period of time. We talk through what filmmakers can do with this time, how to weather this storm, and what other major events we've witnessed the industry survive. We want to hear from all of you. In the comments, in our inboxes. On our social media pages. We're in this together. Let us know how you're approaching this time. And stay healthy. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Things are going to get complicated as the virus spreads. We discuss the cancellation of SXSW, how this will impact workflows, and what filmmakers can do when working from home. We also cover tech news and a question from the community. Read more: Learn more about your ad choices. Visit podcastchoices.com/adchoices

Doc to narrative. Actor to director. Short to feature. There are many reasons to make a short, and five Sundance filmmakers tell us how to do it right. Read more about this podcast, it's guests and their films here: https://nofilmschool.com/2020/03/why-making-short-career-game-changer Learn more about your ad choices. Visit podcastchoices.com/adchoices

COVID-19 continues to impact the world and we catch you up on all the ways this has begun seeping into the filmmaking industry. We also chat about getting agents and managers as a writer and/or director, plus a rundown of some grants and contests open for submissions currently, and tech news regarding Sigma and the Sigma fp. Also, Charles Haine pitches us on Law and Order: Hot Dog. Learn more about your ad choices. Visit podcastchoices.com/adchoices

We've answered the question, "what does a producer do?" What happens when we ask some producers? What's invaluable about this round table discussion is that we get a variety of answers from a group of producers that cover the entire spectrum of experience, budget, role, and expertise. This podcast will help you find the types of producers you need, identify what your project needs to attract them, and give you an edge when it comes to mounting a project in the first place. We were lucky enough to gather this group of expert producers in Park City during Sundance 2020, and we're thrilled to bring all their combined knowledge to you now. Learn more about your ad choices. Visit podcastchoices.com/adchoices

We are still drooling over the possibilities when it comes to the new kind of storytelling options StageCraft creates. Also, have you used Patreon? We're super curious how Patreon can help filmmakers, so we dive into the service and break down what it does and how it works. Speaking of which... yet another crowdfunding theatrical platform is dead. Get all the details for these stories, plus tech and more. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on the No Film School Podcast we talk about a few big stories in tech, but also answer a question from the NFS community about working with actors that brings up some great stories, learning experiences, and a variety of approaches to directing. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Our editor's roundtable covers many important topics... Like what to do during renders. During Sundance 2020 we gathered a group of editors to discuss a variety of topics. Among them were how they got started, details on their editing setups, plus advice for future editors. They also discussed how the idea of a film evolves and how a story comes together in a cut, explaining their role in the process alongside their directors. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Did these two manufacturers do a swap with their upcoming releases? In addition to the double dose on tech, we're talking about the what/where/why/who and how of a very strange kind of industry cyberbullying situation. How careful do you have to be about what you put on the web if you're an aspiring creative? There are a lot of questions to discuss. There is also the excitement over the currently open for submissions Sundance Ignite Program. Why should you be interested in this and does it apply to you? Plus Charles helps out a reader with a unique Final Cut Pro 7 problem. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This year's festival hit us right in the feels. There are a few reasons why. Some external, and others in the films we saw. We gained a lot of insight into what was working at the festival this year, why things were selected, and what tools filmmakers are using these days to change things up and put audiences in experiences they've never had before. Founder Ryan Koo joins EIC George Edelman, as well as writers Emily Buder and Oakley Anderson-Moore for this wrap up from Park City. Learn more about your ad choices. Visit podcastchoices.com/adchoices

How do you go from making movies with your local high school friends, to playing festivals 400 times — including Sundance 17 different times? The Miami-based filmmaking collective Borscht Corp did just that. We dive into how on this episode of the No Film School podcast, which centers on Borscht's first feature-length film OMNIBOAT: A Fast Boat Fantasia. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Plus we debrief on an emotionally devastating interaction with a major entertainment power player, aka 'The Shushening'. Our NFS team has been at Sundance for a few days, and we've all had time to learn a little bit more about filmmaking and the festival itself. We talk about our favorite lessons including how and why Sundance mixes the mainstream with the innovative. Also, we're all getting tired and this podcast has the jokes to prove it. Subscribe to the podcast for tons of other roundtables with filmmakers of all varieties on the ground with us at Park City! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Last year in Park City, we had the opportunity to talk to Dan Mirvish, a co-founder of the Slamdance Film Festival and accomplished filmmaker in his own right. We dive deep into the story of how Slamdance was born and how its reputation has blossomed and aided in Sundance’s credibility over the years. We touch on the byzantine confusion of downtown Park City, the myriad filmmakers committed to Slamdance (including Steven Soderbergh’s unique relationship to the festival. Learn more about your ad choices. Visit podcastchoices.com/adchoices

The New Frontier program is taking us new places, and talking to us about how. Virtual and Augmented realities are here, they are becoming more powerful every day and the possibilities seem endless. The creators behind the most innovative uses of the tech sat down with us and discussed the future of the tech, the endless possibilities, the opportunities to get in now on the ground floor, and what it's like the be in the nascent wild-west stage of a new art form. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Sundance 2020 first impressions from the NFS team on the ground at Park City. Founder Ryan Koo joins George Edelman, Charles Haine, and Oakley Anderson-Moore to discuss their first impressions on the ground at Sundance. From New Frontiers Program to opening night films, to parties... we cover it all. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Sundance's Indie Episodic Program presents filmmakers and creators with a new platform that reflects the exciting content we're seeing today. Sundance Programmer Charlie Sextro breaks down all things Indie Episodic for us. He offers insights into its creation, the selection process, and the purpose behind it. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Should you attend Sundance even if you don't have a film there? YES! We tell you why, how, and provide some tips about doing so. We also talk about an interesting new lens, an 8K Drone, and... Grownups 3. And sure, we talk a little bit about that big industry award show whose nominations just came out. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week Michelle Delateur joins Charles Haine and George Edelman to discuss the genius behind '1917', what Chris Terrio meant when he insulted ILM, and the latest from Insta 360. This episode is brought to you by edelkrone. Reinventing filmmaking solutions for filmmakers. Learn more at http://edel.kr/nfs Learn more about your ad choices. Visit podcastchoices.com/adchoices

There are few people who know the ever-shifting landscape of indie film as well as Michelle Satter. In fact, there may be no other people. Michelle helped found the Sundance Institute's feature film program alongside Robert Redford in 1981. All they've done since then is help build the very identity of indie film, developing and bringing audiences some of the most important voices in cinema. From Tarantino to PTA, Michelle has witnessed it all. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week we couldn't ignore contextualizing the latest version of Alan Moore's graphic novel. We also cover news from Nikon, a VFX studio that shut down, plus a question from the community on how to work within fair use laws on YouTube. Learn more about your ad choices. Visit podcastchoices.com/adchoices

There is talk that Disney's The Mandalorian is not truly HDR, which we're not even sure should matter, but we get into that and all things baby Yoda anyway. If you've made a short film, and many of us have, you may have some questions or even answers about what it's future could be in terms of platforms. We talk about how that market has evolved, where it may be headed, and about Frame IO's new iPad app. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week we are joined by Filmmaker Katherine Tolentino as we discuss the benefits and challenges of creating a proof of concept or sizzle reel. We also talk about Rian Johnson's Knives Out, and Charles updates us on the iPhone 11 Pro after some time using one. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Martin Scorsese's mob epic has come to Netflix. This week Charles Haine and George Edelman invite filmmaker Charlene Wang to help break down every aspect of the movie from the 9 cameras used to the groundbreaking de-aging effects. We also talk about Netflix purchasing a New York movie theater and some tech news regarding Frame IO. Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Department of Justice is working to rescind the Paramount consent decrees, we break down what those are and how it could impact film and the entertainment industry at large. Charles also gives us further insights into the new MacBook Pro, what he loved about it and what he'll have to learn to live without. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week we discuss the sudden arrival of multiple new major streaming platforms, and what's going on with the marketplace as a result. Guest Oakley Andeson-Moore shares her journey delivering a documentary to TV, and we talk about how and why Apple and RED have ended their patent battle. This week's episode is brought to you by PolarPro. Challenging the boundaries set by traditional camera gear, PolarPro is a team of designers who are trailblazing creative freedom for storytellers everywhere. Check out the Basecamp system now. Learn more about your ad choices. Visit podcastchoices.com/adchoices

At Sundance 2019 George Edelman spoke with actor/writer/director/comedian Andre Hyland about how he built his career from DIY roots to starring in A24's 'The Death of Dick Long' and writing/directing his own short 'Old Haunt', an official Sundance selection and Vimeo Staff Pick. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week, we talk the biggest stories out of Adobe MAX, specifically what auto-reframe means, plus Martin Scorsese's op-ed, Olivia Wilde taking on censorship, and in a really fun "ask no film school" we try to figure out which great HBO series are the most under-watched. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Director of Photography Lawrence Sher takes us through his career from the early days (he calls his first day "the worst first day in the history of first days") to how he lensed the most successful R-rated movie of all time, offering insights as well as practical tools. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week we discuss Alexander Payne's new movie being canceled the DAY before production started, Davinci Resolve's new huge update, and an amazing book about the Making of 'Moon'. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week we also discuss the Sigma fp, Deakins using all ARRI on '1917', and writing lessons from Phoebe Waller-Bridge. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week we sort through the various debates in the community, get into macOS update Catalina and how it could affect you, then finally break down the film festival submission process. Learn more about your ad choices. Visit podcastchoices.com/adchoices

We put the de-aging process under the microscope, catch everyone up on the demise of Distribber, discuss the latest from GoPro, and talk about our favorite non-No Film School educational resources. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week we discuss what we know about the Distribber situation, how 'Ad Astra' pulled off that moon chase, and what you can do with a great idea if you want to get it on TV. Learn more about your ad choices. Visit podcastchoices.com/adchoices

We talk with director Michael Engler about his career directing theater, television, and how he took 'Downton Abbey' to the big screen without missing a beat. Learn more about your ad choices. Visit podcastchoices.com/adchoices

How we went from Cesar Romero to Joaquin Phoenix, where we stand with all things raw, and does Charles live in a 1970s New York movie? Listen to find out! Editors note: George's children and dog were not cooperating with him this week. If you hear the crying of young children and animals we apologize. Learn more about your ad choices. Visit podcastchoices.com/adchoices

There are so many cameras to talk about we needed more people to talk about them. One person for each lens on the iPhone Pro. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week NFS Founder and CEO Ryan Koo stops by to discuss his time using the BMPCC6K, plus more news from Charles and George. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode of the No Film School Podcast, we sit down with writer-director-actor Justin Chon, whose latest film Ms. Purple hits theaters this week. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week Charles and George discuss the big news from KitSplit and Sharegrid, the Panasonic S1H, if we'll finally REALLY be able to see movies the way Nolan intended, plus tech news, and an "Ask No Film School." Learn more about your ad choices. Visit podcastchoices.com/adchoices

Titans clash on the pod this week as George and Charles discuss Spider-Man's corporate fate, why Apple and Red are fighting, and some major changes that fixed some of everyone's favorite TV shows. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week The No Film School Podcast covers the BMPCC 6K, plus a look back at Michael Mann's Collateral, why Olivia Wilde's deal is as exciting as it is important, and some more tech news. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Tarantino's 'Boogie Nights' complaint gets dissected by George and Charles, who also dig deep on film stock and early landmarks in filmmaking technology. From the silent era to porn in the 70's we touch on the whole lot this week. Learn more about your ad choices. Visit podcastchoices.com/adchoices

8.1.9: Once Upon A Time in (No) Film School by No Film School Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on The No Film School Podcast, Editor-in-Chief George Edelman and Charles Haine try to work through their nightmares over the Cats trailer, talk about Quentin Tarantino's Once Upon a Time in Hollywood and how Roman Polanksi feels about it (and if we should care), plus how we should feel about what Sony and Aputure are up to. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Joel Potrykus, DP Adam J. Minnick, and actors Joshua Burge and Andre Hyland sit down with us to explain how they became collaborators, how they made Relaxer, and why making films for yourself is the only way to go. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on The No Film School Podcast, Editor-in-Chief George Edelman joins host Charles Haine talk about news from Apple about their laptops, a Panasonic firmware update, editing John Wick 3, plus tech news and "ask No Film School" Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on The No Film School Podcast, Editor-in-Chief George Edelman joins host Charles Haine talk about tech news, a feel-good distribution story for an indie filmmaker, reimbursements on set, and most importantly, Superman's facial hair. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Shane Hurlbut and our host Charles Haine talk about the Hurlbut Academy, how Shane got started, and what he's been busy with lately. Learn more about your ad choices. Visit podcastchoices.com/adchoices

It's safe to say that legendary auteur Jim Jarmusch has a talented roster of actors at his disposal. Bill Murray, Adam Driver, and Tilda Swinton are just a few of the names that would rush to the director's beck and call if summoned. But this fact is not solely due to the director's uniquely wry vision and radiant cool, it's because Jarmusch has never taken the actor for granted. The relationship between the actor and the director is a collaboration as important, if not more important, than any other on set and some director's seem to forget just how hard the actor's job is. Not Jarmusch. He takes the time to sit down with the actor, recognize their needs, and identify how he can best serve them to get the type of performance they both crave.  It's true that over time he's built a shorthand with the actors he's worked with through multiple films (to the point he's even written dialogue with them specifically in mind) but at its root, the basis of their relationship remains the same. Respect. Respect seems to be the through line in our conversation today. Jim's latest film "The Dead Don't Die", is yes a zombie movie, but also a plea for humanity to begin respecting one another and the earth on which they call home. In it, the peaceful town of Centerville finds itself battling a zombie horde as the dead start rising from their graves: a result of reckless fracking which has thrown the planet off its axis. Even more so, it's evident how much Jarmusch, a true cinematic chameleon in his own right, respects the medium of film and would like emerging filmmakers to do the same. We talk the director's earliest influences, how music and sound effect every aspect of his production and how keeping empathy and an open mind are the two most important qualities a director can possess. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on The No Film School Podcast, our resident tech-expert Charles Haine and Editor-in-Chief George Edelman chat about a new HBO show everyone loves and what makes it such a must-watch, a teenager who won Tribeca with a movie he shot in three weeks, that Apple monitor that is driving people a little nuts, plus Charles' unique way of using his computer. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on the No Film School Podcast, Host Charles Haine and NFS Editor-in-Chief George Edelman talk tech. They discuss Apple's new Mac Pro, unveiled on Monday, which features a completely overhauled design, a massive 32-inch Retina 6K display, and internal specs that will certainly pique the interest of pros. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today is a very special episode of The No Film School Podcast and perhaps a momentous occasion in the history of the universe itself. The very balance of the cosmos hangs at a thread as Academy Award Nominated screenwriter John Fusco and former No Film School Producer Jon Fusco finally meet to discuss their craft. John Fusco is, of course, the legendary screenwriter who dropped out of high school at age 16 to travel the south as a blues musician before returning to the Northeast and attending Tisch School of the Arts at New York University. He later went on to write such hit films as Young Guns, Hidalgo, and most recently Netflilx's The Highway Men, which made its debut at 2019's edition of the SXSW film festival. The man has been writing films for over thirty years and has a wealth of knowledge to share with us all including practices on how to become disciplined (and stay that way), getting yourself into the screenwriting zone, and ways to retain control of your script once it hits the production stage. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Adam Egypt Mortimer's latest feature, like many others currently on the festival circuit, is the result of an enormous amount of careful planning and obsessing over details. About thirty-two pages or so's worth to be precise. In pre-production for Daniel Isn't Real Mortimer created what he calls a "style guide", which is essentially a heavily detailed look book that breaks down every single aspect of production for the key members of his crew. This includes not only notes on how the film should look aesthetically, but also the reasoning behind the choice of gear for each shot and how each scene relates thematically to the broader arc of the story. The guide played an essential role in both keeping the crew on the same page and allowing key production members to keep Mortimer on track if they saw him straying from the mission. The mission, in this case, was to convey the harrowing story of a troubled college freshman named Luke who, after undergoing a violent family trauma, resurrects his childhood imaginary friend Daniel to help him cope. The film features a few young members of Hollywood royalty in it's cast with both Patrick Schwarzenneger and Miles Robbins playing the schizophrenic duo. NFS sat down with Mortimer for a case study of sorts back at SXSW. We discuss the process and components involved in creating the perfect look book, using his own work as a guide. Learn more about your ad choices. Visit podcastchoices.com/adchoices

The No Film School Podcast is a weekly show devoted to catching you up on all the notable things you may have missed while you were making films. Host Charles Haine and NFS Editor-in-Chief George Edelman discuss the myriad flaws and wonders of the ‘Game of Thrones’ finale (is Drogon smarter than we think?) and how Verve made a crucial move in the WGA vs. ATA battle. They also go over some exciting gear news: the MicroFogger blasting onto the scene, DJI taking on GoPro, and why normal-speed scenes in ‘Avengers: Endgame’ might be shot at 48 fps. Learn more about your ad choices. Visit podcastchoices.com/adchoices

If there's one universal truth about filmmaking, it's that it's hard as hell to get your picture made. So if you're going to go through all the trouble of making a movie, you better damn well make sure you're not scared to tell the story that you want to tell. Luckily, there's no better time to do this than at the very beginning. Rick Alverson is one of the most daring filmmakers on the planet. His latest film, The Mountain, is a surreal odyssey concerning the very heart of creativity itself: the mind. Or rather the antiquated science behind destroying it. In the film, Tye Sheridan plays a young man who after losing his mother, goes to work with a doctor, portrayed by the unhumanly charismatic Jeff Goldblum, who specializes in lobotomies. The timing of this film's release is no coincidence. While there may not be a literal blade held to our skull, every day we are subject to creative suppression from an overabundance of media, screens and pop culture. And while mainline cinema may do its best to further this narrative, Alverson argues that it's our duty as independent filmmakers to buck the trend and create art that leads to critical thinking. It's a truth that he learned some time along the middle of his career, that filmmaking should be about having a conversation with the medium and not a promotional exercise. Filmmakers should meditate on how they can contribute to the art form itself and not look for personal advancement. There is no better time to start this practice, than at the very beginning. NFS sat down with Alverson and Sheridan to discuss how filmmakers can look to achieve this very notion at SXSW. Learn more about your ad choices. Visit podcastchoices.com/adchoices

The No Film School Podcast is a weekly show devoted to catching you up on all the notable things you may have missed while you were making films. Host Charles Haine and NFS Editor George Edelman dive into the latest Game of Thrones controversy (this week style and content are at war), Roger Deakins’ old-school, single-LUT methods and why ARRI is invading Charleston, North Carolina. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Big Time Adolescence is a feature close to director Jason Orley's heart, and why shouldn't it be? In addition to making its world premiere at Sundance back in January, the film has the unique distinction of being the first screenplay he ever wrote. It's not often that the first thing you write ends up being your first feature. But the fact that this is Orley's first feature is not from lack of trying. In the process of achieving this seemingly unachievable feat, Orley penned multiple scripts with the goal of "proving he could write." A few of them, including Big Time Adolescence ended up on The Black List. And if you don't know what The Black List is, it's time to get familiar, because it's an accolade that could end up changing your screenwriting career forever. That's what ended up happening for Orley in any case. Adolescence tells the story suburban teenager comes of age under the destructive guidance of his best friend, an aimless college dropout. That dropout is played by none other than Saturday Night Live standout Pete Davidson, who in addition to joining the film as an executive producer, turns in a star-confirming performance. NFS sat down with Orley at Sundance to discuss the basics of writing to prove you can write, what The Black List can do for your career, using the star of your film as your greatest collaborator and more. Learn more about your ad choices. Visit podcastchoices.com/adchoices

For his new film Olympic Dreams, filmmaker Jeremy Teicher was granted unprecedented access to one of the most exclusive residences in the world. This is a location so rare that it's only available once every four years. A place where pheromones course through the veins of some of the most beautiful and physically talented people alive: The Olympic Village. Teicher and his partner Alexi Pappas were provided a grant and, perhaps equally valuable, permission to shoot anywhere they wished at 2018's Winter Olympics in Seoul, South Korea. Pappas, an Olympic track star in her own right, stars in the film with the always hilarious Nick Kroll. The two are the only actual actors in the film, playing a young cross-country skier and a volunteer doctor that fall in love over the course of the winter games. Everyone else who appears in the film is either a competing Olympian or unknowing passerby. For this reason, it was crucial the production had the smallest footprint it could possibly get away with. The opportunity wouldn't be without its challenges, however. Namely, Teicher would be shooting an entire narrative film in a chaotic foreign location, entirely by himself. NFS sat down with Teicher and Pappas to discuss the most important parts of one man crewing, what gear to bring along, how to make things easier for yourself in pre-production and, at the end of the day, why it may be a better idea to bring at least one other person along to help. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Introducing the No Film School Podcast a weekly show devoted to catching you up on all the notable things you may have missed while you were making films. Host Charles Haine dives into the current state of the WGA - ATA conflict, discusses the perceived darkness of the most recent episode of Game of Thrones, and gives us some insight into a new LED cube light. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Mariam Webster defines "democratization" as to make (something) available to all people: to make it possible for all people to understand (something). So when we talk the democratization of filmmaking, in a way we're talking about the evolution of filmmaking itself.  Over the past decade or so we have seen some radical changes in both the type of video content that is being created and the industry at large. Not only are filmmaking tools growing more sophisticated, they are becoming cheaper to access as well.  What's more, the language of film itself has seemingly been instilled in the minds of new generations of creators who have grown up with the social media platforms like Instagram, Vine and TikTok. These creators are learning to edit and tell stories, whether that's their intention or not. At SXSW, NFS led a panel featuring Instagram Co-Founder Mike Krieger, KitSplit Co-Founder Lisbeth Kaufman, and Frame.io Founder Emery Wells. We discussed how each of their platforms has contributed to the democratization of filmmaking, what the revolution means to them and how emerging filmmakers should be taking advantage. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Barry Jenkins once said, "Art is inherently political. Even trying to make a film that has nothing to do with politics is, in and of itself, a political act." Unfortunately for filmmakers, not everyone these days will jump at the chance to see a movie that advertises its own inherently political nature. So how do you subvert an audience's expectations with a film like The Wall of Mexico? The title itself implies one of the most controversial issues facing the United States of America today. Directors Zachary Cotler and Magdalena Zyzak would say that the first step lies in staying ahead of the audience. How do you stay ahead of an audience expecting a social issues movie? Don't write a movie explicitly about social issues. That's exactly what the directing partners did with their SXSW standout. The film is heavy on magical realism and doesn't beat the audience over the head with any one single message. As Colter and Zyzak put it, ambiguity is a part of their artistic creed. And it's one that benefits the social issues genre greatly. In what is a subversive plot in and of itself, The Wall of Mexico tells the story of a wealthy Mexican family who decides to build a wall around their ranch to stop American townspeople from stealing their well water. I sat down with the cast and directors to discuss the art and importance of subtlety and messing with audience expectations. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Will Forte never met Mike Ahern or Enda Loughman before jumping on board the pair of Irish director's debut feature. He didn't need to. The script for Extra Ordinary was just that good. All he needed to know was that they'd be directing. Why? Because according to Forte, in comedy, writing and directing go hand in hand. In that respect, writing and acting may go hand in hand as well. While Forte and scene partner Claudia O'Doherty may bring some star power to the project, it's the relatively unknown comedian Maeve Higgins who truly carries the brunt of the project on her shoulders. And as we learned in this interview, she had a hand in writing the film as well. Higgins plays Rose, a sweet, lonely driving instructor in rural Ireland, who is gifted with supernatural abilities. Rose has a love/hate relationship with her 'talents' & tries to ignore the constant spirit requests from locals - to exorcize possessed rubbish bins or haunted gravel. Forte plays a washed-up pop star/satanist in his usual outlandish manner, O'Doherty his indifferent wife. Also joining us on the show is actor Barry Ward, Roses' love interest in the film. We sat down after the film's premiere at SXSW to discuss trusting actors to write, the advantages of comedy jamming with directors and "funnying" your way out of any problematic situations. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Making a coming of age film can be a tricky thing. There's a delicate line between teenagers keepin' it real and overly nostalgic reminiscing. Even though it's his first feature, it's clear that Ninian Doff will never have a problem toeing that line and is truly a master of keepin' it real. SXSW Midnight standout Boyz in the Wood follows a group of kids as they set off deep in the Scottish Highlands, as part of a camping program for troubled youth. As they push through the wilderness they encounter everything from rap-loving farmers to hallucinogenic rabbit shits. What really sets the film apart from the traditional coming of age story, however, is its strong influence from hip hop culture. This might be obvious from a film whose title so closely resembles John Singleton's 1991 classic, but Ninian Doff's film is about as contemporary in tone as you can possibly get. While it's his debut film, the director made a name for himself in his music video collaborations with acts like Run the Jewels, and his past work is clearly seen in the frenetic graphics, a pulsating soundtrack and blitzkrieg action that pervade through the feature. We sat down with Doff and his cast of boyz soon after their opening night premiere at SXSW to talk about shooting a film that's 95 percent exteriors, building trust with young actors and how to make a coming of age film that doesn't suck. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on the No Film School Podcast, we’re going to talk about one of the most largely undiscussed nuances of filmmaking: the portrayal of masturbation on film. Specifically, of the female kind. 'Yes, God, Yes' is a film unlike any you’ve seen before. In it, a Catholic teenager in the early aughts discovers masturbating and struggles to suppress her new urges on a religious retreat. But this ain’t no American Pie satire. Writer/Director Karen Maine (who you may know as half of the writing team from 2014’s indie hit 'Obvious Child') truly brings us inside the mind of female adolescence. Much of this ability is due to the fact that she lived through this experience as a teen herself. As I learned when I sat down with Maine and her cast at SXSW earlier this month, however, it was the director’s openness to collaborate with her talented young leads that truly sealed the deal. The cast is led by a standout performance from Natalia Dyer, who shows she clearly deserves more complex roles than the likes of 'Stranger Things'’ archetypal Nancy Wheeler provides her. Dyer joins us on the show today, along with Timothy Simons (perhaps best known for his role as Jonah Ryan from 'Veep'), and talented new comers Francesca Reale, Alisha Boe and Wolfgang Novogratz. We talk about building an atmosphere on set comfortable enough to to avoid the pitfalls of the typical coming of age story and masturbation, lots of masturbation. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Greener Grass is a project that has been on a whirlwind path to success since the very beginning. Directors Jocelyn DeBoer and Dawn Luebbe's first iteration of the surreal comedy turned heads as a short film back in 2016, when it won awards at major festivals like SXSW and the Clermont-Ferrand International Short Film Festival in France. Upon its release online, it also achieved viral status and earned distinctions from Short of the Week and Vimeo. It's rare that a short finds success like that both on the festival circuit and online, but hey, when you watch Greener Grass, it's easy to see why. Though they claim to have had no intention of doing so initially, the duo expanded the short into a feature film which hit Sundance in a big way back in January. The film's meticulously crafted aesthetic places it on a level somewhere between Adult Swim and David Lynch. With the aid of talented production designers, costume designers, and a brilliantly specific script, DeBoer and Luebbe's film brings us into a candy-coated utopia that we've never seen the likes of in film before. Of course, things descend into dystopia by the time the film's through. Suburban tensions reach their boiling point after one mom willingly gives up her daughter to a friend, who I might add later goes on to give birth to a bouncing baby soccer ball. Things get weird. But not odd enough to sway IFC Midnight from purchasing the film earlier this week, or SXSW programming it into their festival to be seen in Austin later this week. Jon Fusco sat down with the directors and producer Natalie Metzger at Sundance this year to talk about using characters to build a world, hiring geniuses as collaborators and more. Learn more about your ad choices. Visit podcastchoices.com/adchoices

For Lee Cronin, getting to the point where he could make his debut feature "The Hole in The Ground" was like climbing a greasy pole. For every step he took upwards it always seemed like he’d have to slip down a bit as well. His three horror shorts helped to boost his leverage, especially the 2014 award winner "Ghost Train", but none seemed to elevate him to a point where he could leave commercial work behind and commit to a career as a feature filmmaker. As the director so aptly puts it in our interview today, “there’s no business like slow business.” Something in the air has seemingly changed this year, however, as that process has transformed into something like a “slow rocket.” After years of struggling, The Hole in the Ground is set for a March 1st release, by none other than family horror distributor extraordinaire, A24. The film, which made its premiere at Sundance in January, follows a woman who moves to a new town with her young son in order to escape a life of domestic abuse, only to encounter an ominous sinkhole that appears to have supernatural powers which threaten the life of her child. We sat down in Park City to discuss how horror filmmakers can follow a similar path to success by staying steady on their own course without giving up. And perhaps more importantly, Cronin gives tips on how to stay positive during the grueling journey ahead. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Some filmmakers get their starts late, and some filmmakers get their starts early. Our guests on today’s roundtable fall under the latter. Since 2015, Sundance and Adobe have held the Sundance Ignite Fellowship a year long program for 18-to-25-year-old emerging filmmakers from around the world. Their fellowship kicks off with a free trip to the Sundance Film Festival, where they are paired with a Sundance mentor and attend special Sundance Ignite events that advance their films and careers. For the rest of the year, the fellows will work with their mentors, attend select Sundance Institute programs, enjoy eligibility for internships, and receive additional creative and professional development opportunities as they develop their craft. The fellows also receive a complimentary subscription to Adobe Creative Cloud,and lets not also forget that they have a pretty sweet shot at getting their films into Sundance at some point in their burgeoning careers. Joining us today are four short filmmakers who did just that: Matthew Puccini and Tyler Rabinowitz with Lavender; Crystal Kayiza with Edgecombe; and Vasilis Kekatos with The silence of dying fish. Together with mentor Lacey Schwartz we talk about the benefits of fellowships like the Ignite Program for young filmmakers and how you can be accepted to opportunities like this yourself. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Johannes Nyholm, director of Sundance standout Koko-Di Koko-Da takes the whole wearing many hats thing to a whole other dimension. If you're looking for a filmmaker who has complete command over his material, then look no further than this Swedish auteur. It would take too long to list all of his credits on this film, but how about Writer, Director, Producer, Editor, Colorist, VFX Artist, and Shadow Puppet Designer/Performer for a start? Nyholm is a great believer in the "Do It Yourself" ideology and through years of hard work, he has truly taught himself the tools necessary to put it into practice. What he may have an even better knack for, however, is when to step away and let his collaborators take the wheel. It's both of these abilities combined that have garnered him a successful career in the film industry. His latest film Koko-Di Koko-Da follows a couple that goes on a camping trip to find their way back to each other, only to be haunted by a sideshow artist and his shady entourage who emerge from the woods and terrorize them, luring them deeper into a maelstrom of psychological terror and humiliating slapstick. Nyholm joins us on The No Film School Podcast today to discuss why working with a smaller team can be smarter than working with a large one, growing your cinematic tool kit and more. Learn more about your ad choices. Visit podcastchoices.com/adchoices

“In the rugged wilderness of Appalachia, the members of an isolated community of Pentecostal snake handlers led by Pastor Lemuel risk their lives to attest themselves before God.” This is a much different type of log-line than the others entries you’d find scrolling down the list of Dramatic Competition entries in Sundance’s program. It is the plot of Them That Follow, the feature film debut for writer/directors Britt Poulton and Dan Madison Savage and boy, is it a doozy. Though they didn’t have any directing credits prior to the film’s premiere, the duo had more than enough experience between them to pull off the gripping narrative. Through years of working for other studios and other directors they found themselves with the opportunity to "get in the room.” What is the room? Well and not to use a cliche lightly here, but, “the answer may surprise you.” We also talk through writing a story about a secretive community with limited access, filling in the blanks with your own personal experiences and working with an incredible cast that included Olivia Coleman, Walton Goggins, Jim Gaffigan and more. Learn more about your ad choices. Visit podcastchoices.com/adchoices

The documentary cinematographer is a special kind of cinematographer. Whereas in narrative, the role is more defined, DP’s of the more truthful persuasion may find themselves piling on more hats than their fiction bound counterparts. Take it from David Paul Jacobson of Ask Dr. Ruth and Kristy Tully of Raise Hell: The Life & Times of Molly Ivins, two Sundance caliber cinematographers who join us on today’s show. Both of their projects revolve around strong women. Ask Dr. Ruth chronicles the incredible life of Dr. Ruth Wertheimer, a Holocaust survivor, former soldier, immigrant and two-time divorcee who became the world’s most influential sex therapist. Raise Hell: The Life & Times of Molly Ivins memorializes the former journalist who made a name for herself as rough talkin’ six foot Texan who was quick to expose corruption wherever she found it. Together in this roundtable we talk about how to grab the most effective b-roll, the perfect kits for the job, and not overstepping boundaries with directors and editors as you must also direct and edit yourself. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Emily Buder, Erik Luers, George Edelman, Ryan Koo and Jon Fusco are all together again in Park City to give you a rundown of everything that happened at the Sundance Film Festival in 2019. It's been a crazy week full of screenings, interviews, and generally just trying to stay alive, so you best believe they've got more than a few hot takes to throw your way. In addition to sharing their favorite films and what they're sad they missed, the team identifies a few trends that could end up re-shaping the future of the industry. This is Part 2 of No Film School's live audio coverage from Sundance 2019. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Taking its rightful place at the very beginning of the 2019 festival circuit, the Sundance Film Festival is often an unpredictable beast. But Jon Fusco, Erik Luers, and George Edelman are live from Park City, Utah to try and make some sense of it all for you. In this special episode of The No Film School Podcast, they take an early stab at predicting what features end up as festival favorites, run down some of their most anticipated films and share some insights on how to survive the 2-week orgy of independent film. Learn more about your ad choices. Visit podcastchoices.com/adchoices

It's not all about big names and big projects here on the No Film School Podcast. Some of our best conversations take place with artists who are just starting to find their way in the world. Really, all of should be able to relate to these guests on a deeper level since we hear problems that many of us are still struggling with as we make our own way through the industry. On today's, final installment of the best of the No Film School Podcast we'll take a look back at some of these conversations and trace through what it can cost to make a film. Whether it be a short or a feature, documentary or narrative, you're bound to walk away with some advice that will be of aid on your future projects. Learn more about your ad choices. Visit podcastchoices.com/adchoices

We had some of the biggest directors of the year on the show in 2018 and this batch of best ofs proves it. Yorogs Lanthimos, Debra Granik, Jeremy Saulnier, and the legendary Mike Leigh all make an appearance as does Denis Villeneuve and Steve McQueen's go-to-editor, Joe Walker. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Liz Nord, Erik Luers, Charles Haine and (kind of) Jon Fusco are all together for the last time on this special, final episode of our long-running independent film news series Indie Film Weekly. There are three years worth of huge industry and gear stories to remember, but on this show, we identify a few that stand out that will forever change the future of filmmaking. We look back at some of our favorite films and directors from the show's lifetime, as well as a few movies that we're most excited to see in 2019. Finally, we share the best advice we could possibly think of and try to finally answer that perennial question once and for all: is going to film school really worth it? Learn more about your ad choices. Visit podcastchoices.com/adchoices

Depending on what stage of your career you’re at, you can learn as much from someone who's gotten a couple shorts into some major festivals as you can from a director like Yorgos Lanthimos. It’s in this realization where The No Film School Podcast really shines. For that reason, we treat our guests with the same level of respect across all boards, no matter who they are or how prestigious their film may be. Let’s face it, we are all filmmakers who have made, or are trying to make movies under difficult circumstances. And one of the best ways to learn how to do that is by listening to the stories of those who have struggled through both success and failure. For a true artist both experiences hold immense value. Our countdown this year features just as many big names as it does incredible advice. Over the next three weeks, you’ll hear from the likes of Lanthimos, Jeremy Saulnier, Mike Leigh, Steve Yeun, Debra Granik and more. I’ll be leading you through some of our best clips of 2018, so if you haven’t heard all of our interview podcasts, these episodes will be a great overview of those pearls of advice that may end up helping you down the road. This week's features guests Claudette Godfrey (SXSW Programmer), Jim Cummings (Thunder Road), Kirsten Lepore (Hi Stranger), Daniel Kwan & Daniel Scheinert (DANIELS) and Sam Morill (Vimeo). Learn more about your ad choices. Visit podcastchoices.com/adchoices

It is with a heavy heart that today we are announcing that Indie Film Weekly will be entering an indefinite hiatus in 2019. We will have one final show airing Thursday, January 9th with the whole gang back together for the last time. There is a distinct possibility that the show will return in some form later on, but for now, it’s time to say goodbye. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jon Fusco, Erik Luers, and Liz Nord are back together for the final show of 2018. It was an amazing year for film, but a recent study found that there was one key ingredient for the biggest box office successes. And yes, that ingredient may surprise you. Plus how MoviePass may be making a come back and the Oscars are off to a horrible start. Charles Haine joins us for gear news where he breaks down what's been a busy month in codec. On Ask No Film School - how do you build your filmmaking network online? As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, industry wisdom, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Filmmaker Alyssa Bolsey didn’t discover until she was in film school herself that her great-grandfather had invented the iconic Bolex 16mm camera. She spent the next decade-plus researching her enigmatic ancestor and interviewing several influential filmmakers who used his cameras, including Barbara Hammer, Wim Wenders, and Jonas Mekas, for a film called BEYOND THE BOLEX. Bolsey and the film’s producer and DP, Camilo Lara Jr., join No Film School’s Liz Nord to discuss why the Bolex is such an enduring and beloved camera that is still used today. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Sundance's own Liz Nord joins the show to give Jon Fusco and Erik Luers the down and dirty on all Sundance's Feature and Shorts selections for 2019 and what they could mean for future filmmakers. Plus what Lars Von Trier has done to upset the entire MPAA. Charles Haine joins us for gear news, where he gives us his full thoughts on Blackmagic's new Pocket Cinema Camera 4K. In what was a busy week for cameras, he also previews a new RED camera that will be hitting rental houses and stores shortly. On Ask No Film School - do you really need a follow focus anymore? As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, industry wisdom, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit podcastchoices.com/adchoices

While Cristina Gallego was busy working as a producer on her partner Ciro Guerra's magnificent film "Embrace of the Serpent", she caught wind of a story from one of the many indigenous non-actors onset. That story was one that perhaps many of us have heard before, a Colombian man finds partners in America that he can sell drugs to, becomes fantastically wealthy and ends up abandoning his morals as a result. Except "Birds of Passage" is so much more. With Gallego and Guerra at the helm, we get a glimpse at a side of this much-glamorized Narcos-era that we've never seen before. The film presents the narrative from an indigenous Colombian perspective, full of magical realism steering from traditions that go back hundreds of years and is perhaps the most authentic story concerning its subject matter of all time. Think of it as a thrilling mixture of The Godfather and One Hundred Years of Solitude, where we watch the entire history of two families whose native ways are slowly brought to a halt as they engage in the burgeoning drug trafficking business. Eventually, it brings a war to control the business that ends up destroying both their lives and their culture. There is no other pair of directors in the world that could've told this story, and for her part, Gallego switched from a lifetime of producing to the role of co-director in order to more clearly communicate her vision. I sat down with her at TIFF to talk about what that transition was like, working with Ciro Guerra, and finding the stories that stem from your own history. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jon Fusco, Erik Luers, and Liz Nord are here to catch you up on all the stuff you missed while in a tryptophan coma last week. Believe it or not, awards season has officially begun and we have a full report on what could be the year's top contenders. Plus the perennial riddle of how to best shoot sex on film may be closer to being solved. Charles Haine joins us for gear news, where he discusses some rumors surrounding new cameras from Canon and Sony. On Ask No Film School - what program should you use for editing on an older computer? As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, industry wisdom, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit podcastchoices.com/adchoices

If you've seen any of Yorgos Lanthimos' films, then you know the Greek director isn't afraid to put anything on the screen. Like many famous surrealists, Lanthimos isn't interested in exploring stories where things go right, he wants his audience to see what's wrong in the world. To him, nothing is off limits and any dark side of the human psyche is worth exploring. In surrealist film, any image can be too much or too little. It's a delicate balance, but one that Lanthimos has truly mastered with his latest film The Favourite. A period piece set in early 18th century England, a frail Queen Anne Olivia Colman, occupies the throne and her close friend Lady Sarah (Rachel Weisz) governs the country in her stead. When a new servant Abigail (Emma Stone) arrives, however, her charm endears her to Sarah and a competition to be the queens favorite emerges. In this interview, Lanthimos is joined by screenwriter Tony McNamara to discuss how commercial work early in his career ended up steering him in the complete opposite direction, not conforming to filmic norms, and breaking every possible rule you can. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jon Fusco and Erik Luers are stranded together in Brooklyn for yet another turkey day, but a major announcement from The Criterion Collection has given them plenty to be thankful for. On the other side of the coin, we take a moment to remember one of the greatest American screenwriters of all time. Charles Haine joins us for gear news where big changes may soon be coming for Final Cut users and on Ask No Film School - how do you avoid casting shadows when setting up your lights? As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, industry wisdom, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit podcastchoices.com/adchoices

How we approach history and how we approach film are very similar. As László Nemes puts it, history doesn’t work the way we think it works, we think we know more about these events in our past, but there’s no way of ever knowing firsthand what the atmosphere at the time actually was. In much the same way, we can lean on popular conceptions of the way films should be made or we can question the existing language of cinema and follow our own inspiration. The truth is, you don’t have to start from ground zero. As a filmmaker, you are already taking in an enormous amount of influences, every single day. Cinema is about your adventure. It’s not about what someone tells you will work. Nemes has followed his own guiding light, despite going to film school, on every project he’s ever made. History is his muse, but his style comes from a curriculum which he’s curated himself. This is something you can do too. Nemes’ debut feature Son of Saul earned him an Academy Award, a BAFTA, several grand jury prizes at Cannes, and dozens more. His latest film, Sunset, features a stunning performance from Juli Jakab as a young milliner in Budapest before World War I, whose bent on finding out how her family lost control of their prized hat store. I sat down with both Names and Jakab at TIFF where we discussed making period films thrilling, ignoring your film school teachings and much more. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jon Fusco, Erik Luers, and Liz Nord are here to recap what was a truly insane week in the world, even in the film industry. They discuss an unexpected loss in the epicenter of cinema as fires continue to rage through Southern California and say goodbye to one of the world's greatest storytellers - Stan Lee. Charles Haine joins us for gear news, where he reveals a major acquisition from Teradek, new features from Nikon and why RED's much-hyped Hydrogen may end up a major disappointment. On Ask No Film School, we give recommendations on a few books to check out on cinematic technique. As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, industry wisdom, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Working with Mike Leigh is what you would call an actor’s dream true. Since his debut in 1972, the seventy-five-year-old legendary British director has made twenty films and consistently refined his craft to fit a process where the collaboration with actors is paramount. This is due in part to his own experiences at acting school in the 60’s, where he felt confined by rigid Shakespearian premeditation and hostile attitudes towards experimentation. Perhaps his only rule now is that he must discover what his film is through the making of it. This starts with the actors and in effect, it begins as early as the audition process. Here he negates modern methods, instead opting for one on one improvisations with those going out for the part. Later these improvisations will become the basis for building scenes throughout the production and as a result, they are stacked one upon the other to build a narrative. We sat down with Leigh at TIFF this year, where his latest film Peterloo made its North American premiere. We nail down his process with actors, from audition to production and confronting your own status quo by challenging yourself as a filmmaker with every new film make. The advice he gives is invaluable. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jon Fusco, Erik Luers, and Liz Nord are here this week to reveal a few of their favorites from what BBC has labeled their one hundred greatest foreign films of all time. Is your favorite on the list? Plus should "A Star is Born" really come with a trigger warning? Charles Haine joins us for gear news, where we talk Aputure's new venture into sound with Deity microphones and a new cage that actually may be worth checking out. On Ask No Film School - how much should you ask to be paid up front for a new gig? As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, industry wisdom, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit podcastchoices.com/adchoices

For co-directors Daniel Schmidt and Gabriel Abrantes, the making of Diamantino was just as, if not more complex, than the award-winning film's insane plot. It tells the story of Diamantino, the world's premier soccer star, who loses his special touch and ends his career in disgrace. Searching for a new purpose, the international icon sets on a delirious odyssey where he confronts neo-fascism, the refugee crisis, genetic modification, and the hunt for the source of genius. That's a whole lot of ground to cover within the confines of an hour and a half, and after seeing the first assembly of their cut, the duo was dismayed and ready to throw in the towel. Even during production, Schmidt felt as if they had bit off a little more than they could chew. Unhappy, they walked away from the project and decided to regroup at a later date. Ultimately, they came to realize that they still had a fair amount of interesting material they felt they could work with and that their failures could, through the magic of post-production, be turned into an avante-garde tour de force. Using stock imagery, frenetic archival footage and green screen wizardry they spliced together a cut worthy of Cannes, New York Film Festival, The Toronto International Film Festival and more. We sat down with Schmidt prior to Diamantino's screening at TIFF and talked about adapting to difficult circumstances, learning from mistakes, and never giving up hope on your vision. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jon Fusco, Erik Luers, and Liz Nord are back together again, this time to mourn the loss of yet another brilliant streaming service. But while our home options dwindle, box offices around the country continue to put up big numbers. So much so that Alamo Drafthouse has given its employees half a day off...for a much-needed reason. Charles Haine joins us for gear news fresh off Apple's big event in Brooklyn where they announced a new MacBook Air and more products designed with the intention of enticing filmmakers. Are they worth the plunge? In Ask No Film School - surefire methods to achieve hard and soft qualities of light. As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, industry wisdom, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit podcastchoices.com/adchoices

It's hard to coin Steven Yeun's year as "breakthrough" since the South Korean actor has been a figure in the public's eye since his first appearance as Glenn from AMC's The Walking Dead in 2010. But with starring roles in both Boots Riley's Sorry to Bother You and Chang Dong Lee's Burning in 2018, he has all but cemented himself as a leading man on the independent film scene. It's been a long road to get to this point. In the years between the role that made him famous and now, Yeun found himself on set feeling more like a placeholder than an actual human being. In the end, he found that growth stems from self-motivation. For him, this meant taking on meatier projects and ignoring those that were nothing more than a nice paycheck. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jon Fusco is back this week with Liz Nord to lead you through the fallout of Withoutabox's shut down and what it could mean for your project. Plus, in what was a busy week on the internet, they discuss new financial opportunities for educational YouTubers and the demise of one of our favorite video platforms. Charles Haine joins us for gear news, where he reveals his long-awaited opinion on the 2018 MacBook and if its an improved product for the aspiring filmmaker. On Ask No Film School - how do you calculate the amount of data storage you'll need for your film? As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, industry wisdom, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Irene Lusztig (‘Yours in Sisterhood’) and Dominic Gagnon (‘Going South’)—two filmmakers who edit their own films—join No Film School’s Liz Nord to make the case for editing your own work by sharing their processes and how they make the many decisions that go into an edit. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Erik Luers and Liz Nord are together again to discuss the state of the movie industry as we near the end of 2018 and how it could lead to a downward trend we'd all be happy to see take place. Plus there may be a new place on the map to move if you want to make movies, and it's not New York or LA. Charles Haine joins us for gear news and dishes on not one, not two, but twelve new lenses you may want to keep an eye on. In Ask No Film School - how the hell do you get a documentary funded anyway? As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, industry wisdom, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hayley Pappas (Head of RYOT Films), Caroline von Kuhn (Director of Artist Development at SFFILM), and Leah Giblin (Head of Grants at Cinereach) are responsible for getting millions of dollars to independent filmmakers each year through grants and financing. They join No Film School’s Liz Nord to discuss the many ways independent films are being funded today, and how you can access these various funding sources for your films. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Erik Luers, and Liz Nord get together this week to discuss two of their favorite things: movies and words. They also address some pretty spooky rumors that George Romero may soon be rising from the dead. Charles Haine joins them to discuss a new camera from his favorite camera company as well as new software from Mocha, Pomfort and Baselight that may end up greatly enhancing your workflow. And in Ask No Film School - what kind of background audio can you use in your short? As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, industry wisdom, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Not many people with an interest in film have the direction to start pursuing sound at an early point in their career. It seems, rather, that through working on various projects they come to realize how powerful a tool sound really is and fall head over heels in love. If it's early enough in their career, there's plenty of work to be found and no turning back. For Milly Iatrou Morgan and Ai-Ling Lee, this was certainly the case. All it took was a simple choice followed by years of dedication to find their way as two of the biggest sound designers in the industry today. Their latest collaboration is Damien Chazelle's 'First Man', one of the biggest movies of the year in both popularity and scale. The film, which tells the story of Neil Armstrong's ascent to the moon, is densely layered with filmic tricks that when combined together create a wholly immersive experience for the audience. And while much fuss has been made over the project's expansive visuals, it would truly be nothing without the genius sound work of these two individuals. No Film School's Jon Fusco sat down with the pair at TIFF to discuss how they first decided to enter the business, gathering libraries of sound over the years and their collaboration in post with director and composer on what will surely go down in history as one of cinema's greatest space stories. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jon Fusco and Erik Luers buckle down and get serious this week to discuss one of the single biggest hacking controversies of our generation and what it could mean for Marvel's box office returns. There will only be one group of people to blame if Venom flops this weekend, and it's Lady Gaga fans. Also in the news, do people who play video games for ten hours or more a week somehow end up having more disposable income? Charles Haine joins us for gear news, where he details RED's massive new monochrome sensor and a new monitor that'll have you drooling. In Ask No Film School, he ponders whether living life as a freelancer is absolutely essential for directors looking to breakthrough. As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, industry wisdom, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jeremy Saulnier has carved out his own little place in film history. His second feature film Blue Ruin was the first of its kind in many ways, an artful genre thriller that is a spectacle to behold and shot on a shoestring budget. His next film, Green Room, cemented his place as one of today's most talented thriller auteurs. And it all stems back from blowing shit up as an eight-year-old in his backyard. There wasn't really a time when Saulnier's life didn't revolve around the camera. From making zombie flicks as a teen to starting a film collective in high school to making his way up the film ladder as a cinematographer, his experiences have been a constant education on the ways of film. And while he swears his days as a DP were "more fun", his artful visual touch is still very much present as a director. The latest film on his resume, the Netflix produced Hold The Dark, is further evidence of his unique ability to tell suspenseful stories from behind the lens of a camera. In it, Jeffery Wright plays a writer named Russel Core who, after the deaths of three children suspected to be killed by wolves, is hired by the mother of a missing six-year-old boy to track down and locate their son in the Alaskan wilderness. I sat down with Saulnier to discuss getting your hands dirty on production, keeping that enthusiasm going, and not being afraid to ask for what your narrative demands. Learn more about your ad choices. Visit podcastchoices.com/adchoices

It seems like the Toronto International Film Festival just wrapped up but Jon Fusco, Erik Luers and Liz Nord are all back together this week to preview the Fall's next big one, The 56th Annual New York Film Festival. The team drops some clues on what to look out for in addition to highlighting their most anticipated films at the fest. Charles Haine joins us for gear news, where Panasonic shocked the camera world with yet another full-frame mirrorless camera that may end up competing with their very own GH5. And on Ask No Film School, the crucial matter of handling animals on film is addressed. As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, industry wisdom, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit podcastchoices.com/adchoices

When Fabrice Aragno went to film school, he was written off as a creator of meaningless images. What was the point of his thesis picture? Where was the emotion? These questions, however, didn't matter much to him, so he ignored them. What mattered was assembling work that he felt was sincere. In Aragno's opinion, cinema doesn't need an explanation. There is no objective. Don't explain it, just embrace it. Fortunately, that philosophy ended up aligning closely with another filmmaker some of you may have heard of - a man named Jean Luc Godard. Admittedly, Aragno wasn't terribly influenced by the French New Wave master's work. As a student, he was more interested in Felinni and others associated with Italian Neo-Realism. So when he got a phone call asking if he'd like to work with Godard on "Goodbye to Language", he was nervous to meet with the director who had a reputation of being obstinately difficult to work with. Yet when they met, he found the mythic figure to be just a man, a man who would soon become a collaborator. Their most recent film "The Image Book" picks up where "Goodbye to Language" left off. It is a collage of sound and picture that may be better described as a cinematic experience than a movie. NFS Producer Jon Fusco down with Aragno, who edited and shot the film (which conversely features mostly found footage) at the Toronto International Film festival. Listening to this interview is a bit like watching the film itself. Aragno weaves in and out of the French language, jumps around topics, and drops many obscure references as we talk about the genesis of their collaboration and gain fascinating insights into Jean Luc Godard's creative process. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode, Jon Fusco and Erik Luers talk TIFF takeaways, a successor to MoviePass that could actually work out and the Emmys' failures to get with the times. Charles Haine joins us for gear news, talking two of the biggest mirrorless cameras to come out this year and an exciting new pair of Cooke lenses. On Ask No Film School - some thoughts on how advertising could end up hurting your short film. As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, industry wisdom, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Steve McQueen has made some great movies. So has Denis Villeneuve. So what do Hunger, Sicario, Shame, Blade Runner 2049, 12 Years a Slave and Arrival have in common? They were all edited by Joe Walker. McQueen and Walker's latest collaboration, Widows, made its world premiere to a sold-out crowd at the Toronto International Film Festival last week. It's the Academy Award winner's most accessible feature, a blockbuster heist movie with a stellar cast including Viola Davis, Liam Neeson, Colin Farrell, Daniel Kaluya and Elizabeth Dobecki. It's almost a certainty that McQueen and Walker will have another hit on their hands upon the film's wide release this Fall. In an interview with No Film School Producer Jon Fusco, Joe Walker breaks down the keys to his successes, common mistakes he sees among young editors, and his workflow with two of the best directors in the industry. It's an especially useful conversation for those of you currently bogged down in the throes of post-production. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode, Erik Luers and Liz Nord reveal a couple of changes to awards season that everyone can agree on, Nicoloas Cage is in a really good movie, and the best new wireless kit to own. On Ask No Film School - a reminder to take it easy. As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, industry wisdom, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit podcastchoices.com/adchoices

It seems that many short films even after they wrap a successful shoot never end up seeing the light of day. And why is that? Because they dry up in the post-production process. Whether it's for lack of money, lack of inspiration, lack of enthusiasm, or just plain destitution at what your footage has revealed, the sad truth is that may directors decide to leave their precious projects on the cutting room floor. All their time and effort, wasted, for not. On the final episode of The First Short, No Film School Producer Jon Fusco is joined by his editor Tam Le to discuss their own trying experiences over nine-months of post-production in an attempt to make sure that this will never happen to you. They cover the ideal relationship between editor and director, why a director should attempt to edit their film, how to identify what needs to be cut, how to establish tone and pacing and more. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Festival season is upon us once more and with it, a whole new class of award contenders have suddenly made themselves known. In this episode, Jon Fusco, Erik Luers, and Liz Nord reveal the films their most excited about, as well as countless others you should keep an eye on as Fall begins to heat up. In gear news, we highlight a couple of new wide angle lenses that caught our eyes and on Ask No Film School we explain why it's never ok to use an artist's music without permission. As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, industry wisdom, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit podcastchoices.com/adchoices

A short film is a tricky thing, you don’t know how much time or money to invest in such a personal thing that nobody may even end up seeing, so a lot of people don’t even try. The point of this podcast is to get you to stop worrying and just try. In this episode, No Film School Producer Jon Fusco breaks down the keys to running a successful Kickstarter, how to allocate your micro-budget, and keeping cool on set in the inevitable moments of failure. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers discuss how Netflix is getting revenge on Cannes during this fall festival season, some big changes to the infamous film critics’ Tomatometer, and Disney finally announcing more solid details about its forthcoming streaming service. Charles Haine joins us for gear news, including two new, indie-friendly drones. Liz also shares the top five pieces of filmmaking advice she’s collected over hundreds of filmmaker interviews at NFS. As always, we also bring you the latest gear news, upcoming grant and festival deadlines, new indie film releases, weekly words of industry wisdom, and other notable things you might have missed while you were busy making films. You can see all the links from this show in this week’s podcast post at nofilmschool.com. Learn more about your ad choices. Visit podcastchoices.com/adchoices

A short film is a tricky thing, you don’t know how much time or money to invest in such a personal thing that nobody may even end up seeing, so a lot of people don’t even try. The point of this podcast is to get you to stop worrying and just try. In this episode, No Film School Producer Jon Fusco identifies the key crew you'll need to get started and how to them on your project, how to create a proper lookbook, what to plan for on a location scout, strategies in collaborating with your DP in pre-production and how to obtain the best gear for your project. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, Charles and Erik Luers discuss whether a new potential move by Amazon will change theatrical moviegoing as much as it changed shopping, a new Netflix feature that is sure to piss off some viewers, and a surprising turn in the #MeToo movement. In tech and gear news, a new upgrade to the ‘5D Mark II of 360 video’ means that immersive filmmaking might finally be hitting the masses. Liz and Charles also answer an Ask No Film School question about the viability of breaking into the film industry at any age. As always, we also bring you the latest gear news, upcoming grant and festival deadlines, new indie film releases, weekly words of industry wisdom, and other notable things you might have missed while you were busy making films. You can see all the links from this show in this week’s podcast post at nofilmschool.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

Oakley Anderson Moore sits down with co directors Morgan Capps and Jilann Spitzmiller to talk about making a documentary that captures the creative spirit of it’s subjects: “Meow Wolf: Origin Story.” With new found income at their disposal to hire more artists, the collective find themselves in a position to expand to more cities, and develop an entertainment wing that could be an amazing new opportunity for filmmakers. If you’re a filmmaker looking for a radical inclusive world to build, this could be a place you might fit right in. Learn more about your ad choices. Visit podcastchoices.com/adchoices

With Liz Nord absent and on the hunt for Alfonso Cuaron's famed VR piece in Mexico City, Jon Fusco and Erik Luers fill in to tell you about the scariest movie trailer ever made, Hulu's imminent disaster, and Disney's double standards. In gear news, Charles Haine is back to break down the brand spanking new, all in one suite that is Da Vinci Resolve and reveal a cool new lens. This week on Ask No Film School we give some tips on how to stay on track and motivated while working on a feature screenplay or a master's thesis. As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, industry wisdom, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit podcastchoices.com/adchoices

What is the least amount of money you think you could spend on the production of a short film from pre to post production and still get into a major festival? Well if you guessed four dollars and fifty cents, then you probably read the title of this podcast, because its a figure that’s almost unimaginable in today's crowded short landscape. Nevertheless, performance artist/writer/actor Tony Grayson did just that back in 2017. Armed simply with his friend's old digital camcorder, he set off for his dad’s research lab in Chicago to try and shoot something. What he ended up with was "foundfootagexx100n.s.1" and its ensuing acceptance to the SXSW Film Festival. No Film School Producer Jon Fusco sat down with Grayson and talked about how he pulled off the shoot for such a minuscule budget, the value of casting aside preciousness in your work, and how a SXSW premiere led him to his next project, Allen Anders Live at the Comedy Castle (Circa 1987). Learn more about your ad choices. Visit podcastchoices.com/adchoices