The No Film School Podcast https://nofilmschool.com en All rights reserved A podcast about how to build a career in filmmaking. No Film School shares the latest opportunities and trends for anyone working in film and TV. We break news on cameras, lighting, and apps. We interview leaders in screenwriting, directing, cinematography, editing, and producing. And we answer your questions! We are dedicated to sharing knowledge with filmmakers around the globe, “no film school” required. https://megaphone.imgix.net/podcasts/23a71a46-e30f-11ea-8874-fb2d8e9e3c2d/image/da284d42ebc349838edf6ca05ec0a415.jpg?ixlib=rails-4.3.1&max-w=3000&max-h=3000&fit=crop&auto=format,compress The No Film School Podcast https://nofilmschool.com episodic A podcast about how to build a career in filmmaking No Film School A podcast about how to build a career in filmmaking. No Film School shares the latest opportunities and trends for anyone working in film and TV. We break news on cameras, lighting, and apps. We interview leaders in screenwriting, directing, cinematography, editing, and producing. And we answer your questions! We are dedicated to sharing knowledge with filmmakers around the globe, “no film school” required. A podcast about how to build a career in filmmaking. No Film School shares the latest opportunities and trends for anyone working in film and TV. We break news on cameras, lighting, and apps. We interview leaders in screenwriting, directing, cinematography, editing, and producing. And we answer your questions! We are dedicated to sharing knowledge with filmmakers around the globe, “no film school” required.

]]> No Film School podcast@nofilmschool.com Shooting in Real Time with “The Pitt” DP Johanna Coelho In this episode of the No Film School Podcast, GG Hawkins speaks with cinematographer Johanna Coelho about building the immersive visual language behind The Pitt. Coelho breaks down how she approached the show’s real-time structure, 360-degree hospital set, handheld camera movement, lens choices, and complex multi-camera choreography to create an ER that feels immediate, intimate, and emotionally raw. She also reflects on her path from France to Los Angeles, becoming one of the youngest DPs to shoot network television, and the collaborative mindset required to lead ambitious productions without losing sight of story or performance. In this episode, No Film School's GG Hawkins and guest Johanna Coelho discuss... How Johanna Coelho got started in cinematography and built her career from France to Los Angeles What it means to shoot The Pitt in real time across a single ER shift How handheld filmmaking, long takes, and transition-based blocking shape the show’s immersive style Why Coelho chose the Alexa Mini LF, prime lenses, and a zoom setup to maintain intimacy and flexibility How the team lit a 360-degree hospital set with white walls while protecting skin tones and realism The collaboration between cinematography, production design, lighting, grip, and actors to execute complex choreography How season two pushed the show’s visual perspective and emotional immersion even further The difference between handheld, Steadicam, and Zero-G rigs when designing movement for a scene How Coelho thinks about burnout, leadership, and keeping a calm set during high-pressure television production Why trusting your eye and communicating your vision are essential for emerging cinematographers Memorable Quotes: “I don't have to make a choice. I can just live all of it behind the lens.” “We have to give that same feeling visually for the audience.” “Our master shot is not a wide shot where you see everything.” “Trust yourself. Don't let everyone tell you what to do.” Guests: Johanna Coelho Resources: Johanna Coelho's website Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 23 Apr 2026 15:00:00 -0000 full No Film School In this episode of the No Film School Podcast, GG Hawkins speaks with cinematographer Johanna Coelho about building the immersive visual language behind The Pitt. Coelho breaks down how she approached the show’s real-time structure, 360-degree hospital set, handheld camera movement, lens choices, and complex multi-camera choreography to create an ER that feels immediate, intimate, and emotionally raw. She also reflects on her path from France to Los Angeles, becoming one of the youngest DPs to shoot network television, and the collaborative mindset required to lead ambitious productions without losing sight of story or performance. In this episode, No Film School's GG Hawkins and guest Johanna Coelho discuss... How Johanna Coelho got started in cinematography and built her career from France to Los Angeles What it means to shoot The Pitt in real time across a single ER shift How handheld filmmaking, long takes, and transition-based blocking shape the show’s immersive style Why Coelho chose the Alexa Mini LF, prime lenses, and a zoom setup to maintain intimacy and flexibility How the team lit a 360-degree hospital set with white walls while protecting skin tones and realism The collaboration between cinematography, production design, lighting, grip, and actors to execute complex choreography How season two pushed the show’s visual perspective and emotional immersion even further The difference between handheld, Steadicam, and Zero-G rigs when designing movement for a scene How Coelho thinks about burnout, leadership, and keeping a calm set during high-pressure television production Why trusting your eye and communicating your vision are essential for emerging cinematographers Memorable Quotes: “I don't have to make a choice. I can just live all of it behind the lens.” “We have to give that same feeling visually for the audience.” “Our master shot is not a wide shot where you see everything.” “Trust yourself. Don't let everyone tell you what to do.” Guests: Johanna Coelho Resources: Johanna Coelho's website Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of the No Film School Podcast, GG Hawkins speaks with cinematographer Johanna Coelho about building the immersive visual language behind The Pitt. Coelho breaks down how she approached the show’s real-time structure, 360-degree hospital set, handheld camera movement, lens choices, and complex multi-camera choreography to create an ER that feels immediate, intimate, and emotionally raw. She also reflects on her path from France to Los Angeles, becoming one of the youngest DPs to shoot network television, and the collaborative mindset required to lead ambitious productions without losing sight of story or performance.

In this episode, No Film School's GG Hawkins and guest Johanna Coelho discuss...

  • How Johanna Coelho got started in cinematography and built her career from France to Los Angeles

  • What it means to shoot The Pitt in real time across a single ER shift

  • How handheld filmmaking, long takes, and transition-based blocking shape the show’s immersive style

  • Why Coelho chose the Alexa Mini LF, prime lenses, and a zoom setup to maintain intimacy and flexibility

  • How the team lit a 360-degree hospital set with white walls while protecting skin tones and realism

  • The collaboration between cinematography, production design, lighting, grip, and actors to execute complex choreography

  • How season two pushed the show’s visual perspective and emotional immersion even further

  • The difference between handheld, Steadicam, and Zero-G rigs when designing movement for a scene

  • How Coelho thinks about burnout, leadership, and keeping a calm set during high-pressure television production

  • Why trusting your eye and communicating your vision are essential for emerging cinematographers

Memorable Quotes:

  • “I don't have to make a choice. I can just live all of it behind the lens.”

  • “We have to give that same feeling visually for the audience.”

  • “Our master shot is not a wide shot where you see everything.”

  • “Trust yourself. Don't let everyone tell you what to do.”

Guests:

Resources:

Find No Film School everywhere:

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

]]> 2691 A Path to Profitability in an Industry Built on Fear? GG Hawkins speaks with Kino co-founders Brit MacRae and Daril Fannin about the broken handoff between post-production and release, and how insecure screeners, fragmented feedback workflows, and fear-based distribution norms undermine independent film. They break down Kino’s evolution from an interactive streaming idea into a secure post-to-delivery platform, explain how they built a film fund around de-risked sub-$2 million features, and use Undertone as a case study for aligning budgets, creative ambition, and profitability. In this episode, No Film School's GG Hawkins and guests Brit MacRae and Daril Fannin discuss... Why the current post-production and release pipeline is still built around insecure links, scattered notes, and outdated habits How piracy, leaks, and weak screener security can hurt filmmakers, investors, and distribution momentum The original idea behind Kino and how it pivoted from interactive streaming to a B2B platform for secure screeners, dailies, cuts, approvals, focus groups, and final delivery Why discoverability is one of the biggest problems in independent film, and why indie projects are competing with TikTok and other forms of passive entertainment How fear-based thinking shapes decisions around marketing, exposure, festivals, and distribution What “LVOD” means to Kino and how the company tried to create a window that adds marketing value without cannibalizing TVOD Why MacRae and Fannin believe filmmakers need to think like business builders, not just artists, when raising money How Kino structured its film fund around contained, creatively aligned stories with budgets under $2 million and meaningful de-risking through incentives and exchange rates Why Undertone made sense as a fund project: one location, a contained story, and a production model that matched the script’s scale How equity participation and aligned incentives can help cast, crew, and investors move in the same direction Why iteration, early feedback, and collaborative review should play a larger role in filmmaking, much like they do in tech and animation What kinds of projects Kino is pursuing next, including a Band of Brothers documentary and more genre-focused features Memorable Quotes: “Something’s not working and we’re going to dig into it.” “Fear makes you stupid.” “Coming to the table with great art is table stakes.” “It’s not about the project, it’s about the people you’re surrounding yourself with.” Guests: Brit MacRae Daril Fannin Resources: Kino Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 17 Apr 2026 15:38:00 -0000 full No Film School GG Hawkins speaks with Kino co-founders Brit MacRae and Daril Fannin about the broken handoff between post-production and release, and how insecure screeners, fragmented feedback workflows, and fear-based distribution norms undermine independent film. They break down Kino’s evolution from an interactive streaming idea into a secure post-to-delivery platform, explain how they built a film fund around de-risked sub-$2 million features, and use Undertone as a case study for aligning budgets, creative ambition, and profitability. In this episode, No Film School's GG Hawkins and guests Brit MacRae and Daril Fannin discuss... Why the current post-production and release pipeline is still built around insecure links, scattered notes, and outdated habits How piracy, leaks, and weak screener security can hurt filmmakers, investors, and distribution momentum The original idea behind Kino and how it pivoted from interactive streaming to a B2B platform for secure screeners, dailies, cuts, approvals, focus groups, and final delivery Why discoverability is one of the biggest problems in independent film, and why indie projects are competing with TikTok and other forms of passive entertainment How fear-based thinking shapes decisions around marketing, exposure, festivals, and distribution What “LVOD” means to Kino and how the company tried to create a window that adds marketing value without cannibalizing TVOD Why MacRae and Fannin believe filmmakers need to think like business builders, not just artists, when raising money How Kino structured its film fund around contained, creatively aligned stories with budgets under $2 million and meaningful de-risking through incentives and exchange rates Why Undertone made sense as a fund project: one location, a contained story, and a production model that matched the script’s scale How equity participation and aligned incentives can help cast, crew, and investors move in the same direction Why iteration, early feedback, and collaborative review should play a larger role in filmmaking, much like they do in tech and animation What kinds of projects Kino is pursuing next, including a Band of Brothers documentary and more genre-focused features Memorable Quotes: “Something’s not working and we’re going to dig into it.” “Fear makes you stupid.” “Coming to the table with great art is table stakes.” “It’s not about the project, it’s about the people you’re surrounding yourself with.” Guests: Brit MacRae Daril Fannin Resources: Kino Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices GG Hawkins speaks with Kino co-founders Brit MacRae and Daril Fannin about the broken handoff between post-production and release, and how insecure screeners, fragmented feedback workflows, and fear-based distribution norms undermine independent film. They break down Kino’s evolution from an interactive streaming idea into a secure post-to-delivery platform, explain how they built a film fund around de-risked sub-$2 million features, and use Undertone as a case study for aligning budgets, creative ambition, and profitability.

In this episode, No Film School's GG Hawkins and guests Brit MacRae and Daril Fannin discuss...

  • Why the current post-production and release pipeline is still built around insecure links, scattered notes, and outdated habits

  • How piracy, leaks, and weak screener security can hurt filmmakers, investors, and distribution momentum

  • The original idea behind Kino and how it pivoted from interactive streaming to a B2B platform for secure screeners, dailies, cuts, approvals, focus groups, and final delivery

  • Why discoverability is one of the biggest problems in independent film, and why indie projects are competing with TikTok and other forms of passive entertainment

  • How fear-based thinking shapes decisions around marketing, exposure, festivals, and distribution

  • What “LVOD” means to Kino and how the company tried to create a window that adds marketing value without cannibalizing TVOD

  • Why MacRae and Fannin believe filmmakers need to think like business builders, not just artists, when raising money

  • How Kino structured its film fund around contained, creatively aligned stories with budgets under $2 million and meaningful de-risking through incentives and exchange rates

  • Why Undertone made sense as a fund project: one location, a contained story, and a production model that matched the script’s scale

  • How equity participation and aligned incentives can help cast, crew, and investors move in the same direction

  • Why iteration, early feedback, and collaborative review should play a larger role in filmmaking, much like they do in tech and animation

  • What kinds of projects Kino is pursuing next, including a Band of Brothers documentary and more genre-focused features

Memorable Quotes:

  • “Something’s not working and we’re going to dig into it.”

  • “Fear makes you stupid.”

  • “Coming to the table with great art is table stakes.”

  • “It’s not about the project, it’s about the people you’re surrounding yourself with.”

Guests:

Resources:

Find No Film School everywhere:


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

]]> 4207 Reimagining Post: AI-Powered Rough Cuts Editing Overnight (Partner Episode) In this sponsored episode, GG Hawkins speaks with Eddie AI co-founder and CEO Shamir Allibhai about Eddie AI’s latest release, Eddie v3, which launched on April 14, 2026 ahead of NAB Show 2026. Their conversation explores the new Night Shift workflow, designed to process footage overnight by sorting interviews from B-roll, syncing multicam interviews, logging media, and building a rough cut ready for Adobe Premiere Pro, DaVinci Resolve, or Final Cut Pro by morning. They also discuss Eddie’s expanding role as an AI assistant editor for professional workflows, including docu-style rough cuts with B-roll placement, and the broader questions filmmakers face around creative control, sustainability, curiosity, and the future of storytelling in an AI-assisted post-production landscape. In this episode, No Film School's GG Hawkins and guest Shamir Allibhai discuss... Eddie AI’s new Night Shift feature and how it aims to build a structured rough cut overnight Why the company positions Eddie AI as an assistant editor rather than a replacement for Premiere, Resolve, or Final Cut Pro How AI can help with multicam syncing, A-roll and B-roll organization, logging, and assembly edits The difference between AI tools that generate synthetic media and tools built to work from a filmmaker’s real footage Why editing still depends on human taste, timing, emotional judgment, and story instinct How AI tools may help filmmakers handle paid client work more efficiently while protecting time for passion projects The tension between fear and curiosity as filmmakers adapt to new technology How creative professionals can think about money, sustainability, and long-term career support without sidelining the art Why Allibhai sees storytelling as a fundamentally human act, even in a future shaped by AI What filmmakers should watch for around security, ownership, and platform terms when using AI tools Memorable Quotes: “We’re not trying to be another timeline editor, like Premiere, Resolve, FCP.” “When we think about it from the consumer’s perspective, they just care about great stories.” “This is the root of a lot of the fear because we have struggled so hard just to be able to be here.” “In 10,000 years, we will still be sitting around a campfire or somewhere and telling each other stories.” Guests: Shamir Allibhai Resources: The AI Doc Breakdown: Filmmaking in the Age of Uncertainty How to Scale Video Editing With an AI Storytelling Partner Eddie AI The Eddie AI team will be demoing Eddie v3 at NAB 2026 Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 14 Apr 2026 15:00:00 -0000 full No Film School In this sponsored episode, GG Hawkins speaks with Eddie AI co-founder and CEO Shamir Allibhai about Eddie AI’s latest release, Eddie v3, which launched on April 14, 2026 ahead of NAB Show 2026. Their conversation explores the new Night Shift workflow, designed to process footage overnight by sorting interviews from B-roll, syncing multicam interviews, logging media, and building a rough cut ready for Adobe Premiere Pro, DaVinci Resolve, or Final Cut Pro by morning. They also discuss Eddie’s expanding role as an AI assistant editor for professional workflows, including docu-style rough cuts with B-roll placement, and the broader questions filmmakers face around creative control, sustainability, curiosity, and the future of storytelling in an AI-assisted post-production landscape. In this episode, No Film School's GG Hawkins and guest Shamir Allibhai discuss... Eddie AI’s new Night Shift feature and how it aims to build a structured rough cut overnight Why the company positions Eddie AI as an assistant editor rather than a replacement for Premiere, Resolve, or Final Cut Pro How AI can help with multicam syncing, A-roll and B-roll organization, logging, and assembly edits The difference between AI tools that generate synthetic media and tools built to work from a filmmaker’s real footage Why editing still depends on human taste, timing, emotional judgment, and story instinct How AI tools may help filmmakers handle paid client work more efficiently while protecting time for passion projects The tension between fear and curiosity as filmmakers adapt to new technology How creative professionals can think about money, sustainability, and long-term career support without sidelining the art Why Allibhai sees storytelling as a fundamentally human act, even in a future shaped by AI What filmmakers should watch for around security, ownership, and platform terms when using AI tools Memorable Quotes: “We’re not trying to be another timeline editor, like Premiere, Resolve, FCP.” “When we think about it from the consumer’s perspective, they just care about great stories.” “This is the root of a lot of the fear because we have struggled so hard just to be able to be here.” “In 10,000 years, we will still be sitting around a campfire or somewhere and telling each other stories.” Guests: Shamir Allibhai Resources: The AI Doc Breakdown: Filmmaking in the Age of Uncertainty How to Scale Video Editing With an AI Storytelling Partner Eddie AI The Eddie AI team will be demoing Eddie v3 at NAB 2026 Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this sponsored episode, GG Hawkins speaks with Eddie AI co-founder and CEO Shamir Allibhai about Eddie AI’s latest release, Eddie v3, which launched on April 14, 2026 ahead of NAB Show 2026. Their conversation explores the new Night Shift workflow, designed to process footage overnight by sorting interviews from B-roll, syncing multicam interviews, logging media, and building a rough cut ready for Adobe Premiere Pro, DaVinci Resolve, or Final Cut Pro by morning. They also discuss Eddie’s expanding role as an AI assistant editor for professional workflows, including docu-style rough cuts with B-roll placement, and the broader questions filmmakers face around creative control, sustainability, curiosity, and the future of storytelling in an AI-assisted post-production landscape.

In this episode, No Film School's GG Hawkins and guest Shamir Allibhai discuss...

  • Eddie AI’s new Night Shift feature and how it aims to build a structured rough cut overnight

  • Why the company positions Eddie AI as an assistant editor rather than a replacement for Premiere, Resolve, or Final Cut Pro

  • How AI can help with multicam syncing, A-roll and B-roll organization, logging, and assembly edits

  • The difference between AI tools that generate synthetic media and tools built to work from a filmmaker’s real footage

  • Why editing still depends on human taste, timing, emotional judgment, and story instinct

  • How AI tools may help filmmakers handle paid client work more efficiently while protecting time for passion projects

  • The tension between fear and curiosity as filmmakers adapt to new technology

  • How creative professionals can think about money, sustainability, and long-term career support without sidelining the art

  • Why Allibhai sees storytelling as a fundamentally human act, even in a future shaped by AI

  • What filmmakers should watch for around security, ownership, and platform terms when using AI tools

Memorable Quotes:

  • “We’re not trying to be another timeline editor, like Premiere, Resolve, FCP.”

  • “When we think about it from the consumer’s perspective, they just care about great stories.”

  • “This is the root of a lot of the fear because we have struggled so hard just to be able to be here.”

  • “In 10,000 years, we will still be sitting around a campfire or somewhere and telling each other stories.”

Guests:

Resources:

Find No Film School everywhere:

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

]]> 2384 From Evil Dead Rise to The Mummy: Lee Cronin on Evolving Horror Writer-director Lee Cronin joins No Film School to discuss how he approached reimagining The Mummy through the lens of family trauma, mystery, and body horror. In conversation with GG Hawkins, Cronin breaks down the emotional architecture behind effective horror, the challenge of staging fear in broad daylight, and the way Irish storytelling, personal experience, and practical effects continue to shape his work. He also reflects on building a long-term creative partnership, collaborating with horror powerhouses like Jason Blum and James Wan, and the discipline required to keep refining a film all the way through the edit. In this episode, No Film School's GG Hawkins and guest Lee Cronin discuss... How Cronin infused The Mummy with mystery, family drama, and horror Why broad daylight can make horror feel even more unsettling The emotional groundwork required to make gore and shock land with audiences How themes from The Hole in the Ground evolved into The Mummy Why character is always the engine of fear in Cronin’s films How Cronin thinks about the “contract” he makes with audiences from the earliest story stage The practical and creative lessons he learned from years of making corporate videos and commercials What it was like collaborating with Jack Reynor, Jason Blum, and James Wan How shooting in Ireland and Spain helped shape the scale and texture of the film Advice for emerging filmmakers on collaborators, restraint, and cutting what does not work Memorable Quotes: “Writing is not hard at all. Knowing what to write is incredibly difficult.” “Nothing is more exciting to me than watching something I’ve created with an audience and hearing them vocalize, scream, drop the popcorn, whatever it might be.” “If something doesn’t work, don’t leave it there.” “Never be afraid.” Guests: Lee Cronin Resources: Lee Cronin’s The Mummy on IMDb Vote for No Film School’s Webby-nominated explainer video Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Sat, 11 Apr 2026 12:48:00 -0000 full No Film School Writer-director Lee Cronin joins No Film School to discuss how he approached reimagining The Mummy through the lens of family trauma, mystery, and body horror. In conversation with GG Hawkins, Cronin breaks down the emotional architecture behind effective horror, the challenge of staging fear in broad daylight, and the way Irish storytelling, personal experience, and practical effects continue to shape his work. He also reflects on building a long-term creative partnership, collaborating with horror powerhouses like Jason Blum and James Wan, and the discipline required to keep refining a film all the way through the edit. In this episode, No Film School's GG Hawkins and guest Lee Cronin discuss... How Cronin infused The Mummy with mystery, family drama, and horror Why broad daylight can make horror feel even more unsettling The emotional groundwork required to make gore and shock land with audiences How themes from The Hole in the Ground evolved into The Mummy Why character is always the engine of fear in Cronin’s films How Cronin thinks about the “contract” he makes with audiences from the earliest story stage The practical and creative lessons he learned from years of making corporate videos and commercials What it was like collaborating with Jack Reynor, Jason Blum, and James Wan How shooting in Ireland and Spain helped shape the scale and texture of the film Advice for emerging filmmakers on collaborators, restraint, and cutting what does not work Memorable Quotes: “Writing is not hard at all. Knowing what to write is incredibly difficult.” “Nothing is more exciting to me than watching something I’ve created with an audience and hearing them vocalize, scream, drop the popcorn, whatever it might be.” “If something doesn’t work, don’t leave it there.” “Never be afraid.” Guests: Lee Cronin Resources: Lee Cronin’s The Mummy on IMDb Vote for No Film School’s Webby-nominated explainer video Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Writer-director Lee Cronin joins No Film School to discuss how he approached reimagining The Mummy through the lens of family trauma, mystery, and body horror. In conversation with GG Hawkins, Cronin breaks down the emotional architecture behind effective horror, the challenge of staging fear in broad daylight, and the way Irish storytelling, personal experience, and practical effects continue to shape his work. He also reflects on building a long-term creative partnership, collaborating with horror powerhouses like Jason Blum and James Wan, and the discipline required to keep refining a film all the way through the edit.

In this episode, No Film School's GG Hawkins and guest Lee Cronin discuss...

  • How Cronin infused The Mummy with mystery, family drama, and horror

  • Why broad daylight can make horror feel even more unsettling

  • The emotional groundwork required to make gore and shock land with audiences

  • How themes from The Hole in the Ground evolved into The Mummy

  • Why character is always the engine of fear in Cronin’s films

  • How Cronin thinks about the “contract” he makes with audiences from the earliest story stage

  • The practical and creative lessons he learned from years of making corporate videos and commercials

  • What it was like collaborating with Jack Reynor, Jason Blum, and James Wan

  • How shooting in Ireland and Spain helped shape the scale and texture of the film

  • Advice for emerging filmmakers on collaborators, restraint, and cutting what does not work

Memorable Quotes:

  • “Writing is not hard at all. Knowing what to write is incredibly difficult.”

  • “Nothing is more exciting to me than watching something I’ve created with an audience and hearing them vocalize, scream, drop the popcorn, whatever it might be.”

  • “If something doesn’t work, don’t leave it there.”

  • “Never be afraid.”

Guests:

Resources:

Find No Film School everywhere:

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

]]> 3141 How to Edit for a Screen Life Film: Insights from the Team Behind Mercy GG Hawkins speaks with editors Lam T. Nguyen and Austin Keeling about building the visual language of Mercy, a hybrid screen life thriller directed by Timur Bekmambetov. They break down how editorial shaped not just pacing and performance, but also the film’s digital camera moves, interface design, screen choreography, and collaboration with VFX. The conversation also expands into how texting, phones, and screen-based storytelling can work in contemporary filmmaking, and why the core principles of editing still matter even inside a highly technical workflow. In this episode, No Film School's GG Hawkins and guests discuss... How Lam T. Nguyen and Austin Keeling first came together on Mercy What defines the film’s hybrid “screen life” visual language How the team used early previs to explore a more immersive 3D screen experience Why the Apple Vision Pro became an early point of reference for the film’s digital courtroom design How editorial functioned as editing, design, animation, and virtual cinematography all at once The Premiere Pro workflow they used to manage complex multi-layered timelines Why the team kept the process technically simple with adjustment layers, transform effects, and blur How they decided where the audience should look when multiple story elements were happening at once What the handoff to VFX looked like and why the editorial version had to be nearly final Their thoughts on how texting and phones can be made cinematic in modern films How Mercy balanced futuristic technology with interfaces that still feel recognizable to audiences Why collaboration, adaptability, and saying yes to unexpected opportunities helped shape their careers Memorable Quotes: “We had four weeks to build the previs and all they wanted was in traditional screen life formats.” “The best way to do is simplify it, right?” “The fundamentals still apply as an editor for this film.” “It’s all just using the tools that are available and kind of like using them to your advantage.” Guests: Lam T. Nguyen Austin Keeling Resources: Vote for No Film School’s Webby-nominated explainer video Tickets: Beacon Film Society screening — May 7, New York Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 09 Apr 2026 15:00:00 -0000 full No Film School GG Hawkins speaks with editors Lam T. Nguyen and Austin Keeling about building the visual language of Mercy, a hybrid screen life thriller directed by Timur Bekmambetov. They break down how editorial shaped not just pacing and performance, but also the film’s digital camera moves, interface design, screen choreography, and collaboration with VFX. The conversation also expands into how texting, phones, and screen-based storytelling can work in contemporary filmmaking, and why the core principles of editing still matter even inside a highly technical workflow. In this episode, No Film School's GG Hawkins and guests discuss... How Lam T. Nguyen and Austin Keeling first came together on Mercy What defines the film’s hybrid “screen life” visual language How the team used early previs to explore a more immersive 3D screen experience Why the Apple Vision Pro became an early point of reference for the film’s digital courtroom design How editorial functioned as editing, design, animation, and virtual cinematography all at once The Premiere Pro workflow they used to manage complex multi-layered timelines Why the team kept the process technically simple with adjustment layers, transform effects, and blur How they decided where the audience should look when multiple story elements were happening at once What the handoff to VFX looked like and why the editorial version had to be nearly final Their thoughts on how texting and phones can be made cinematic in modern films How Mercy balanced futuristic technology with interfaces that still feel recognizable to audiences Why collaboration, adaptability, and saying yes to unexpected opportunities helped shape their careers Memorable Quotes: “We had four weeks to build the previs and all they wanted was in traditional screen life formats.” “The best way to do is simplify it, right?” “The fundamentals still apply as an editor for this film.” “It’s all just using the tools that are available and kind of like using them to your advantage.” Guests: Lam T. Nguyen Austin Keeling Resources: Vote for No Film School’s Webby-nominated explainer video Tickets: Beacon Film Society screening — May 7, New York Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices GG Hawkins speaks with editors Lam T. Nguyen and Austin Keeling about building the visual language of Mercy, a hybrid screen life thriller directed by Timur Bekmambetov. They break down how editorial shaped not just pacing and performance, but also the film’s digital camera moves, interface design, screen choreography, and collaboration with VFX. The conversation also expands into how texting, phones, and screen-based storytelling can work in contemporary filmmaking, and why the core principles of editing still matter even inside a highly technical workflow.

In this episode, No Film School's GG Hawkins and guests discuss...

  • How Lam T. Nguyen and Austin Keeling first came together on Mercy

  • What defines the film’s hybrid “screen life” visual language

  • How the team used early previs to explore a more immersive 3D screen experience

  • Why the Apple Vision Pro became an early point of reference for the film’s digital courtroom design

  • How editorial functioned as editing, design, animation, and virtual cinematography all at once

  • The Premiere Pro workflow they used to manage complex multi-layered timelines

  • Why the team kept the process technically simple with adjustment layers, transform effects, and blur

  • How they decided where the audience should look when multiple story elements were happening at once

  • What the handoff to VFX looked like and why the editorial version had to be nearly final

  • Their thoughts on how texting and phones can be made cinematic in modern films

  • How Mercy balanced futuristic technology with interfaces that still feel recognizable to audiences

  • Why collaboration, adaptability, and saying yes to unexpected opportunities helped shape their careers

Memorable Quotes:

  • “We had four weeks to build the previs and all they wanted was in traditional screen life formats.”

  • “The best way to do is simplify it, right?”

  • “The fundamentals still apply as an editor for this film.”

  • “It’s all just using the tools that are available and kind of like using them to your advantage.”

Guests:

Resources:

Find No Film School everywhere:

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

]]> 2258 How a $30K Animated Indie Scored a Theatrical Run — Then Landed on HBO In this episode, GG Hawkins speaks with animator and director Julian Glander about making his microbudget animated feature Boys Go to Jupiter for just $30,000, premiering it at Tribeca, building momentum through a 50-festival run, and eventually landing theatrical distribution and a streaming home on HBO Max. Glander breaks down the realities of producing an animated feature outside the studio system, from teaching himself new tools in Blender to embracing the scrappy story behind the film, negotiating festival fees, navigating distribution conversations, and figuring out what comes next after a breakout first feature. In this episode, No Film School's GG Hawkins and guest Julian Glander discuss... How Glander and producer Payson made Boys Go to Jupiter with a tiny team and a $30,000 budget Why Blender and open-source communities made an indie animated feature possible What surprised Glander most about audience reactions to the film’s scrappy origins The reality check of premiering at Tribeca without an instant splashy acquisition How a long festival run helped the film build momentum and recoup its budget through screening fees and prizes Why showing up in person for festival screenings and Q&As can make a lasting impact How Cartuna helped shape the film’s theatrical rollout The role of PR, timing, and critical response in helping the film break out theatrically What it means to let go of control during distribution while still protecting the work How Glander is thinking about a second feature and resisting the pressure of “heat” Memorable Quotes: “You really do have to be delusional and not know what’s going to happen.” “I was embarrassed by how scrappy it was but it turned out to be like the thing that brings people in and the thing that makes them love it.” “If you don’t ask for it, you don’t get it.” “Most things are Googleable.” Guests: Julian Glander on IMDb Julian Glander on Instagram Resources: Boys Go to Jupiter on IMDb I Really Love My Husband Screening and QA Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 03 Apr 2026 20:16:00 -0000 full No Film School In this episode, GG Hawkins speaks with animator and director Julian Glander about making his microbudget animated feature Boys Go to Jupiter for just $30,000, premiering it at Tribeca, building momentum through a 50-festival run, and eventually landing theatrical distribution and a streaming home on HBO Max. Glander breaks down the realities of producing an animated feature outside the studio system, from teaching himself new tools in Blender to embracing the scrappy story behind the film, negotiating festival fees, navigating distribution conversations, and figuring out what comes next after a breakout first feature. In this episode, No Film School's GG Hawkins and guest Julian Glander discuss... How Glander and producer Payson made Boys Go to Jupiter with a tiny team and a $30,000 budget Why Blender and open-source communities made an indie animated feature possible What surprised Glander most about audience reactions to the film’s scrappy origins The reality check of premiering at Tribeca without an instant splashy acquisition How a long festival run helped the film build momentum and recoup its budget through screening fees and prizes Why showing up in person for festival screenings and Q&As can make a lasting impact How Cartuna helped shape the film’s theatrical rollout The role of PR, timing, and critical response in helping the film break out theatrically What it means to let go of control during distribution while still protecting the work How Glander is thinking about a second feature and resisting the pressure of “heat” Memorable Quotes: “You really do have to be delusional and not know what’s going to happen.” “I was embarrassed by how scrappy it was but it turned out to be like the thing that brings people in and the thing that makes them love it.” “If you don’t ask for it, you don’t get it.” “Most things are Googleable.” Guests: Julian Glander on IMDb Julian Glander on Instagram Resources: Boys Go to Jupiter on IMDb I Really Love My Husband Screening and QA Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, GG Hawkins speaks with animator and director Julian Glander about making his microbudget animated feature Boys Go to Jupiter for just $30,000, premiering it at Tribeca, building momentum through a 50-festival run, and eventually landing theatrical distribution and a streaming home on HBO Max. Glander breaks down the realities of producing an animated feature outside the studio system, from teaching himself new tools in Blender to embracing the scrappy story behind the film, negotiating festival fees, navigating distribution conversations, and figuring out what comes next after a breakout first feature.

In this episode, No Film School's GG Hawkins and guest Julian Glander discuss...

  • How Glander and producer Payson made Boys Go to Jupiter with a tiny team and a $30,000 budget

  • Why Blender and open-source communities made an indie animated feature possible

  • What surprised Glander most about audience reactions to the film’s scrappy origins

  • The reality check of premiering at Tribeca without an instant splashy acquisition

  • How a long festival run helped the film build momentum and recoup its budget through screening fees and prizes

  • Why showing up in person for festival screenings and Q&As can make a lasting impact

  • How Cartuna helped shape the film’s theatrical rollout

  • The role of PR, timing, and critical response in helping the film break out theatrically

  • What it means to let go of control during distribution while still protecting the work

  • How Glander is thinking about a second feature and resisting the pressure of “heat”

Memorable Quotes:

  • “You really do have to be delusional and not know what’s going to happen.”

  • “I was embarrassed by how scrappy it was but it turned out to be like the thing that brings people in and the thing that makes them love it.”

  • “If you don’t ask for it, you don’t get it.”

  • “Most things are Googleable.”

Guests:

Resources:

Find No Film School everywhere:

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

]]> 3942 The AI Doc Breakdown — Filmmaking in the Age of Uncertainty In this episode, No Film School host GG Hawkins speaks with director Charlie Tyrell and editors Davis Coombe and Daysha Broadway about The AI Doc: Or How I Became an Apocaloptimist. The conversation explores how the team shaped an essay-driven documentary around AI, parenting, authorship, and uncertainty, while also breaking down the collaborative editorial process, the ethics of making a film in real time about a rapidly changing subject, and the analog craft choices that gave the project its tactile visual identity. In this episode, No Film School's GG Hawkins and guests discuss... How The AI Doc: Or How I Became an Apocaloptimist uses a filmmaker’s journey into impending parenthood as a narrative device for exploring AI anxiety and optimism Why the team chose an essay-documentary structure while still grounding the film in Daniel Roher’s on-camera perspective The challenges of shaping a documentary whose subject kept changing during production as AI news evolved in real time How Charlie Tyrell, Davis Coombe, and Daysha Broadway each found their way into filmmaking and documentary storytelling The creative and ethical complications of having a co-director also function as a subject within the film How the filmmakers balanced accessibility, complexity, and emotional honesty while making a movie about a massive technological shift The editorial collaboration behind the film, including remote workflows, shared creative decision-making, and leaving ego at the door Why the team intentionally avoided using AI in the film’s creative workflow How Premiere Pro Productions, transcription tools, Blender, After Effects, Dragonframe, stop-motion builds, and practical effects supported the film’s handmade aesthetic Where the guests currently land on the spectrum between AI optimism and AI anxiety as working filmmakers and editors Why the guests believe the biggest question is not just what AI can do, but how people choose to use it Memorable Quotes: “It actively wrestles with it in real time, both thematically and in the way that it was made.” “Everyone kind of just left their ego at the door and showed up to do the work.” “Filmmaking only brings suffering.” “I don't feel like AI is the big bad. To me, the people are the big bad.” Guests: Charlie Tyrell Davis Coombe Daysha Broadway Resources: The AI Doc: Or How I Became an Apocaloptimist Synopsis: From the Academy Award-winning filmmakers behind Everything Everywhere All at Once and Navalny, a father-to-be tries to figure out what is happening with all this AI insanity. The AI Doc: Or How I Became an Apocaloptimist is a hand-made, eye-opening documentary about the most powerful technology humanity has ever created and what’s at stake if we get it wrong. For resources and ways to join the apocaloptimist community, visit theaidocgetinvolved.com Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 27 Mar 2026 15:00:00 -0000 full No Film School In this episode, No Film School host GG Hawkins speaks with director Charlie Tyrell and editors Davis Coombe and Daysha Broadway about The AI Doc: Or How I Became an Apocaloptimist. The conversation explores how the team shaped an essay-driven documentary around AI, parenting, authorship, and uncertainty, while also breaking down the collaborative editorial process, the ethics of making a film in real time about a rapidly changing subject, and the analog craft choices that gave the project its tactile visual identity. In this episode, No Film School's GG Hawkins and guests discuss... How The AI Doc: Or How I Became an Apocaloptimist uses a filmmaker’s journey into impending parenthood as a narrative device for exploring AI anxiety and optimism Why the team chose an essay-documentary structure while still grounding the film in Daniel Roher’s on-camera perspective The challenges of shaping a documentary whose subject kept changing during production as AI news evolved in real time How Charlie Tyrell, Davis Coombe, and Daysha Broadway each found their way into filmmaking and documentary storytelling The creative and ethical complications of having a co-director also function as a subject within the film How the filmmakers balanced accessibility, complexity, and emotional honesty while making a movie about a massive technological shift The editorial collaboration behind the film, including remote workflows, shared creative decision-making, and leaving ego at the door Why the team intentionally avoided using AI in the film’s creative workflow How Premiere Pro Productions, transcription tools, Blender, After Effects, Dragonframe, stop-motion builds, and practical effects supported the film’s handmade aesthetic Where the guests currently land on the spectrum between AI optimism and AI anxiety as working filmmakers and editors Why the guests believe the biggest question is not just what AI can do, but how people choose to use it Memorable Quotes: “It actively wrestles with it in real time, both thematically and in the way that it was made.” “Everyone kind of just left their ego at the door and showed up to do the work.” “Filmmaking only brings suffering.” “I don't feel like AI is the big bad. To me, the people are the big bad.” Guests: Charlie Tyrell Davis Coombe Daysha Broadway Resources: The AI Doc: Or How I Became an Apocaloptimist Synopsis: From the Academy Award-winning filmmakers behind Everything Everywhere All at Once and Navalny, a father-to-be tries to figure out what is happening with all this AI insanity. The AI Doc: Or How I Became an Apocaloptimist is a hand-made, eye-opening documentary about the most powerful technology humanity has ever created and what’s at stake if we get it wrong. For resources and ways to join the apocaloptimist community, visit theaidocgetinvolved.com Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, No Film School host GG Hawkins speaks with director Charlie Tyrell and editors Davis Coombe and Daysha Broadway about The AI Doc: Or How I Became an Apocaloptimist. The conversation explores how the team shaped an essay-driven documentary around AI, parenting, authorship, and uncertainty, while also breaking down the collaborative editorial process, the ethics of making a film in real time about a rapidly changing subject, and the analog craft choices that gave the project its tactile visual identity.

In this episode, No Film School's GG Hawkins and guests discuss...

  • How The AI Doc: Or How I Became an Apocaloptimist uses a filmmaker’s journey into impending parenthood as a narrative device for exploring AI anxiety and optimism

  • Why the team chose an essay-documentary structure while still grounding the film in Daniel Roher’s on-camera perspective

  • The challenges of shaping a documentary whose subject kept changing during production as AI news evolved in real time

  • How Charlie Tyrell, Davis Coombe, and Daysha Broadway each found their way into filmmaking and documentary storytelling

  • The creative and ethical complications of having a co-director also function as a subject within the film

  • How the filmmakers balanced accessibility, complexity, and emotional honesty while making a movie about a massive technological shift

  • The editorial collaboration behind the film, including remote workflows, shared creative decision-making, and leaving ego at the door

  • Why the team intentionally avoided using AI in the film’s creative workflow

  • How Premiere Pro Productions, transcription tools, Blender, After Effects, Dragonframe, stop-motion builds, and practical effects supported the film’s handmade aesthetic

  • Where the guests currently land on the spectrum between AI optimism and AI anxiety as working filmmakers and editors

  • Why the guests believe the biggest question is not just what AI can do, but how people choose to use it

Memorable Quotes:

  • “It actively wrestles with it in real time, both thematically and in the way that it was made.”

  • “Everyone kind of just left their ego at the door and showed up to do the work.”

  • “Filmmaking only brings suffering.”

  • “I don't feel like AI is the big bad. To me, the people are the big bad.”

Guests:

Resources:

  • The AI Doc: Or How I Became an Apocaloptimist

  • Synopsis: From the Academy Award-winning filmmakers behind Everything Everywhere All at Once and Navalny, a father-to-be tries to figure out what is happening with all this AI insanity. The AI Doc: Or How I Became an Apocaloptimist is a hand-made, eye-opening documentary about the most powerful technology humanity has ever created and what’s at stake if we get it wrong.

  • For resources and ways to join the apocaloptimist community, visit theaidocgetinvolved.com

Find No Film School everywhere:

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

]]> 3655 Pete Ohs' 2026 Distribution Experiment #1: 'OBEX' GG Hawkins speaks with filmmaker Pete Ohs for the first installment in a quarterly 2026 series tracking how he releases four films over the course of the year. Using OBEX as the case study, Ohs breaks down the film’s microbudget production, Sundance 2025 premiere, U.S. acquisition by Oscilloscope, and the realities of theatrical rollout for independent films. Their conversation explores how booking works, what filmmaker participation in Q&As can actually do for a release, and where creative energy, audience-building, and sustainability meet during distribution. In this episode, No Film School's GG Hawkins and guest Pete Ohs discuss... How OBEX was made with Albert Birney in and around his Baltimore home Why the film’s Sundance 2025 premiere led to a U.S. deal with Oscilloscope What sales agents, distributors, and theater bookers each do in an indie release Why January became the strategic release window for OBEX How theatrical runs expand based on performance, per-screen averages, and momentum Which Q&A appearances felt worthwhile in New York, San Francisco, Los Angeles, and Baltimore What the marketing campaign looked like, including social assets created with Continue Agency How Ohs thinks about audience response, Letterboxd reviews, and the digital release Why preserving energy during release may matter as much as inventing new promotional ideas What Ohs is testing next as Erupcja begins its release Memorable Quotes: “The walk from here to the bathroom is also recovering time.” “They said he couldn't do period pieces on a budget.” “I just love that it's proof that somebody watched it.” “There are limits to the time and the energy, and that you can have all these ideas, but they're just ideas until you kind of do them.” Guests: Pete Ohs Resources: Pete Ohs’ quarterly 2026 distribution experiment series Previous Pete Ohs interviews on No Film School Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 26 Mar 2026 15:00:00 -0000 full No Film School GG Hawkins speaks with filmmaker Pete Ohs for the first installment in a quarterly 2026 series tracking how he releases four films over the course of the year. Using OBEX as the case study, Ohs breaks down the film’s microbudget production, Sundance 2025 premiere, U.S. acquisition by Oscilloscope, and the realities of theatrical rollout for independent films. Their conversation explores how booking works, what filmmaker participation in Q&As can actually do for a release, and where creative energy, audience-building, and sustainability meet during distribution. In this episode, No Film School's GG Hawkins and guest Pete Ohs discuss... How OBEX was made with Albert Birney in and around his Baltimore home Why the film’s Sundance 2025 premiere led to a U.S. deal with Oscilloscope What sales agents, distributors, and theater bookers each do in an indie release Why January became the strategic release window for OBEX How theatrical runs expand based on performance, per-screen averages, and momentum Which Q&A appearances felt worthwhile in New York, San Francisco, Los Angeles, and Baltimore What the marketing campaign looked like, including social assets created with Continue Agency How Ohs thinks about audience response, Letterboxd reviews, and the digital release Why preserving energy during release may matter as much as inventing new promotional ideas What Ohs is testing next as Erupcja begins its release Memorable Quotes: “The walk from here to the bathroom is also recovering time.” “They said he couldn't do period pieces on a budget.” “I just love that it's proof that somebody watched it.” “There are limits to the time and the energy, and that you can have all these ideas, but they're just ideas until you kind of do them.” Guests: Pete Ohs Resources: Pete Ohs’ quarterly 2026 distribution experiment series Previous Pete Ohs interviews on No Film School Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices GG Hawkins speaks with filmmaker Pete Ohs for the first installment in a quarterly 2026 series tracking how he releases four films over the course of the year. Using OBEX as the case study, Ohs breaks down the film’s microbudget production, Sundance 2025 premiere, U.S. acquisition by Oscilloscope, and the realities of theatrical rollout for independent films. Their conversation explores how booking works, what filmmaker participation in Q&As can actually do for a release, and where creative energy, audience-building, and sustainability meet during distribution.

In this episode, No Film School's GG Hawkins and guest Pete Ohs discuss...

  • How OBEX was made with Albert Birney in and around his Baltimore home

  • Why the film’s Sundance 2025 premiere led to a U.S. deal with Oscilloscope

  • What sales agents, distributors, and theater bookers each do in an indie release

  • Why January became the strategic release window for OBEX

  • How theatrical runs expand based on performance, per-screen averages, and momentum

  • Which Q&A appearances felt worthwhile in New York, San Francisco, Los Angeles, and Baltimore

  • What the marketing campaign looked like, including social assets created with Continue Agency

  • How Ohs thinks about audience response, Letterboxd reviews, and the digital release

  • Why preserving energy during release may matter as much as inventing new promotional ideas

  • What Ohs is testing next as Erupcja begins its release

Memorable Quotes:

  • “The walk from here to the bathroom is also recovering time.”

  • “They said he couldn't do period pieces on a budget.”

  • “I just love that it's proof that somebody watched it.”

  • “There are limits to the time and the energy, and that you can have all these ideas, but they're just ideas until you kind of do them.”

Guests:

Resources:

Find No Film School everywhere:

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

]]> 2081 SXSW 2026 Was Where Film and AI Met as Frenemies Ryan Koo and Jourdan Aldredge report from Austin during the 2026 SXSW Film & TV Festival, reflecting on how the event felt different after the convention center overhaul and how the festival’s film and tech worlds collided more directly than ever. They discuss the growing tension between filmmakers and artificial intelligence, the value of human intuition in directing and storytelling, standout panels and screenings, and what Ryan learned while serving on the narrative shorts jury. The episode also highlights how SXSW continues to champion bold filmmaking, practical craft insights, and the importance of in-person creative community at a moment when AI is reshaping the industry. In this episode, No Film School's Ryan Koo and Jourdan Aldredge discuss... How SXSW 2026 felt different on the ground after the festival’s reorganization across downtown Austin Why AI became one of the defining themes of this year’s SXSW conversations, panels, and screenings Ryan’s takeaway from Steven Spielberg’s SXSW appearance and his emphasis on intuition in filmmaking The documentary The AI Doc and how it framed AI through both filmmaking and fears about the future The tension between slick AI-generated imagery and the value of human-made, lived-in artistic choices Ryan’s experience serving as a narrative shorts juror and what he learned from watching all 19 shorts in competition Why short films need to stand on their own instead of only functioning as proof-of-concept features How filmmakers today are reaching an incredibly high level of craft across directing, cinematography, and performance The narrative shorts that stood out to Ryan, including Supper and Souvenir, which won the jury honors Jourdan’s spotlight on Mantis Stream (Like and Subscribe) and why inventive midnight filmmaking still feels vital Boots Riley’s I Love Boosters as a bold opening-night film and a perfect example of SXSW’s creative identity What they learned from SXSW panels on documentary storytelling, virtual production, immersive audio, and emerging filmmaking tools Why film festivals and in-person artistic gatherings feel even more essential in an increasingly virtual world Memorable Quotes: “The human hand of it is the point of art.” “I’d as soon eat nails, then use AI in my films.” “Go to festivals, make friends, make art, mess up.” Resources: No Film School SXSW coverage Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 19 Mar 2026 02:00:00 -0000 full No Film School Ryan Koo and Jourdan Aldredge report from Austin during the 2026 SXSW Film & TV Festival, reflecting on how the event felt different after the convention center overhaul and how the festival’s film and tech worlds collided more directly than ever. They discuss the growing tension between filmmakers and artificial intelligence, the value of human intuition in directing and storytelling, standout panels and screenings, and what Ryan learned while serving on the narrative shorts jury. The episode also highlights how SXSW continues to champion bold filmmaking, practical craft insights, and the importance of in-person creative community at a moment when AI is reshaping the industry. In this episode, No Film School's Ryan Koo and Jourdan Aldredge discuss... How SXSW 2026 felt different on the ground after the festival’s reorganization across downtown Austin Why AI became one of the defining themes of this year’s SXSW conversations, panels, and screenings Ryan’s takeaway from Steven Spielberg’s SXSW appearance and his emphasis on intuition in filmmaking The documentary The AI Doc and how it framed AI through both filmmaking and fears about the future The tension between slick AI-generated imagery and the value of human-made, lived-in artistic choices Ryan’s experience serving as a narrative shorts juror and what he learned from watching all 19 shorts in competition Why short films need to stand on their own instead of only functioning as proof-of-concept features How filmmakers today are reaching an incredibly high level of craft across directing, cinematography, and performance The narrative shorts that stood out to Ryan, including Supper and Souvenir, which won the jury honors Jourdan’s spotlight on Mantis Stream (Like and Subscribe) and why inventive midnight filmmaking still feels vital Boots Riley’s I Love Boosters as a bold opening-night film and a perfect example of SXSW’s creative identity What they learned from SXSW panels on documentary storytelling, virtual production, immersive audio, and emerging filmmaking tools Why film festivals and in-person artistic gatherings feel even more essential in an increasingly virtual world Memorable Quotes: “The human hand of it is the point of art.” “I’d as soon eat nails, then use AI in my films.” “Go to festivals, make friends, make art, mess up.” Resources: No Film School SXSW coverage Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Ryan Koo and Jourdan Aldredge report from Austin during the 2026 SXSW Film & TV Festival, reflecting on how the event felt different after the convention center overhaul and how the festival’s film and tech worlds collided more directly than ever. They discuss the growing tension between filmmakers and artificial intelligence, the value of human intuition in directing and storytelling, standout panels and screenings, and what Ryan learned while serving on the narrative shorts jury. The episode also highlights how SXSW continues to champion bold filmmaking, practical craft insights, and the importance of in-person creative community at a moment when AI is reshaping the industry.

In this episode, No Film School's Ryan Koo and Jourdan Aldredge discuss...

  • How SXSW 2026 felt different on the ground after the festival’s reorganization across downtown Austin

  • Why AI became one of the defining themes of this year’s SXSW conversations, panels, and screenings

  • Ryan’s takeaway from Steven Spielberg’s SXSW appearance and his emphasis on intuition in filmmaking

  • The documentary The AI Doc and how it framed AI through both filmmaking and fears about the future

  • The tension between slick AI-generated imagery and the value of human-made, lived-in artistic choices

  • Ryan’s experience serving as a narrative shorts juror and what he learned from watching all 19 shorts in competition

  • Why short films need to stand on their own instead of only functioning as proof-of-concept features

  • How filmmakers today are reaching an incredibly high level of craft across directing, cinematography, and performance

  • The narrative shorts that stood out to Ryan, including Supper and Souvenir, which won the jury honors

  • Jourdan’s spotlight on Mantis Stream (Like and Subscribe) and why inventive midnight filmmaking still feels vital

  • Boots Riley’s I Love Boosters as a bold opening-night film and a perfect example of SXSW’s creative identity

  • What they learned from SXSW panels on documentary storytelling, virtual production, immersive audio, and emerging filmmaking tools

  • Why film festivals and in-person artistic gatherings feel even more essential in an increasingly virtual world

Memorable Quotes:

  • “The human hand of it is the point of art.”

  • “I’d as soon eat nails, then use AI in my films.”

  • “Go to festivals, make friends, make art, mess up.”

Resources:

Find No Film School everywhere:

📩 Send us an email with questions or feedback: podcast@nofilmschool.com

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

]]> 3389 The Horror in What You Don’t See—How Sound and Rhythm Build Suspense in 'Undertone' In this episode, No Film School host GG Hawkins speaks with editor Sonny Atkins about shaping fear through sound, rhythm, and restraint in the horror feature Undertone. Atkins breaks down how the film’s audio-first concept influenced everything from the script to the cut, why long pauses and musical timing can heighten dread, and how a deeply personal story about grief and caregiving evolved through the editorial process. He also shares practical insights into working scrappy on a low-budget feature, using Premiere Pro’s Productions workflow, speech-to-text, temp sound design, and test screenings to refine both story and suspense. In this episode, No Film School's GG Hawkins and guest Sonny Atkins discuss... How Undertone began as an audio-driven concept and why that immediately stood out in the script Why sound design became central to the edit, not just an atmospheric layer The challenge of building horror around what the audience hears instead of what they see How Ian Tuason’s personal experience with caregiving and grief shaped the emotional core of the film Discovering story solutions in post, including the addition of a saved voicemail from the protagonist’s mother Creating distinct sonic and visual worlds between the downstairs living space and the mother’s upstairs room What it took to make a low-budget Canadian horror feature feel polished and cinematic Why Atkins cut his first assembly extremely short, then built the film back up from its essential skeleton How rhythm, blank space, and even drum rudiments became part of the team’s language for suspense Using Premiere Pro’s Productions workflow to keep a feature edit organized and responsive How speech-to-text helped manage ADR, offscreen dialogue, and hundreds of audio files Why editors should mock up sound ideas early for test screenings instead of waiting for the final sound team How Frame.io helped organize notes with timecode-based feedback Why humor can be an important release valve inside horror Career advice on longevity, mentorship, process, and closing the gap between taste and ability Memorable Quotes: “Because in this film, sound isn't just part of the atmosphere, it's the engine of the story.” “A lot of it's about rhythm and where to leave blank space, and that kind of stuff.” “The people who make it in this business are the people who don't quit. It's a longevity game.” “If your focus is really just not about making the work really good and working a lot, you can sort of inoculate yourself against having your heart broken over and over again.” Guests: Sonny Atkins (IMDb) Resources: Undertone on IMDb The Gap by Ira Glass Taylor Mason on editing Him for No Film School Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Sat, 14 Mar 2026 01:21:00 -0000 full No Film School In this episode, No Film School host GG Hawkins speaks with editor Sonny Atkins about shaping fear through sound, rhythm, and restraint in the horror feature Undertone. Atkins breaks down how the film’s audio-first concept influenced everything from the script to the cut, why long pauses and musical timing can heighten dread, and how a deeply personal story about grief and caregiving evolved through the editorial process. He also shares practical insights into working scrappy on a low-budget feature, using Premiere Pro’s Productions workflow, speech-to-text, temp sound design, and test screenings to refine both story and suspense. In this episode, No Film School's GG Hawkins and guest Sonny Atkins discuss... How Undertone began as an audio-driven concept and why that immediately stood out in the script Why sound design became central to the edit, not just an atmospheric layer The challenge of building horror around what the audience hears instead of what they see How Ian Tuason’s personal experience with caregiving and grief shaped the emotional core of the film Discovering story solutions in post, including the addition of a saved voicemail from the protagonist’s mother Creating distinct sonic and visual worlds between the downstairs living space and the mother’s upstairs room What it took to make a low-budget Canadian horror feature feel polished and cinematic Why Atkins cut his first assembly extremely short, then built the film back up from its essential skeleton How rhythm, blank space, and even drum rudiments became part of the team’s language for suspense Using Premiere Pro’s Productions workflow to keep a feature edit organized and responsive How speech-to-text helped manage ADR, offscreen dialogue, and hundreds of audio files Why editors should mock up sound ideas early for test screenings instead of waiting for the final sound team How Frame.io helped organize notes with timecode-based feedback Why humor can be an important release valve inside horror Career advice on longevity, mentorship, process, and closing the gap between taste and ability Memorable Quotes: “Because in this film, sound isn't just part of the atmosphere, it's the engine of the story.” “A lot of it's about rhythm and where to leave blank space, and that kind of stuff.” “The people who make it in this business are the people who don't quit. It's a longevity game.” “If your focus is really just not about making the work really good and working a lot, you can sort of inoculate yourself against having your heart broken over and over again.” Guests: Sonny Atkins (IMDb) Resources: Undertone on IMDb The Gap by Ira Glass Taylor Mason on editing Him for No Film School Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, No Film School host GG Hawkins speaks with editor Sonny Atkins about shaping fear through sound, rhythm, and restraint in the horror feature Undertone. Atkins breaks down how the film’s audio-first concept influenced everything from the script to the cut, why long pauses and musical timing can heighten dread, and how a deeply personal story about grief and caregiving evolved through the editorial process. He also shares practical insights into working scrappy on a low-budget feature, using Premiere Pro’s Productions workflow, speech-to-text, temp sound design, and test screenings to refine both story and suspense.

In this episode, No Film School's GG Hawkins and guest Sonny Atkins discuss...

  • How Undertone began as an audio-driven concept and why that immediately stood out in the script

  • Why sound design became central to the edit, not just an atmospheric layer

  • The challenge of building horror around what the audience hears instead of what they see

  • How Ian Tuason’s personal experience with caregiving and grief shaped the emotional core of the film

  • Discovering story solutions in post, including the addition of a saved voicemail from the protagonist’s mother

  • Creating distinct sonic and visual worlds between the downstairs living space and the mother’s upstairs room

  • What it took to make a low-budget Canadian horror feature feel polished and cinematic

  • Why Atkins cut his first assembly extremely short, then built the film back up from its essential skeleton

  • How rhythm, blank space, and even drum rudiments became part of the team’s language for suspense

  • Using Premiere Pro’s Productions workflow to keep a feature edit organized and responsive

  • How speech-to-text helped manage ADR, offscreen dialogue, and hundreds of audio files

  • Why editors should mock up sound ideas early for test screenings instead of waiting for the final sound team

  • How Frame.io helped organize notes with timecode-based feedback

  • Why humor can be an important release valve inside horror

  • Career advice on longevity, mentorship, process, and closing the gap between taste and ability

Memorable Quotes:

  • “Because in this film, sound isn't just part of the atmosphere, it's the engine of the story.”

  • “A lot of it's about rhythm and where to leave blank space, and that kind of stuff.”

  • “The people who make it in this business are the people who don't quit. It's a longevity game.”

  • “If your focus is really just not about making the work really good and working a lot, you can sort of inoculate yourself against having your heart broken over and over again.”

Guests:

Resources:

Find No Film School everywhere:

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

]]> 2367 Director Amy Wang Reveals the Job That Keeps Filmmakers Working After Film School Writer-director Amy Wang joins the No Film School podcast to discuss her debut feature, Slanted, and the long road from film school to theatrical release. In conversation with GG Hawkins, Wang reflects on leaving Australia for AFI, building a creative community in Los Angeles, learning to write as a practical path to survival in the industry, and what happened after Slanted premiered at SXSW 2025, won the Grand Jury Prize, and eventually landed distribution ahead of its 2026 theatrical release. In this episode, No Film School's GG Hawkins and guest Amy Wang discuss... How Fight Club inspired Wang to pursue filmmaking as a teenager in Sydney Why she left Australia for AFI and what it was like arriving in Los Angeles as an international student The real value of film school, especially for community-building and dedicated creative time Why learning to write became the key to sustaining a filmmaking career after graduation How a Black List script helped open doors in Hollywood The emotional and personal origins of Slanted Why body horror and comedy became the right form for exploring race, identity, and belonging How Slanted went from a logline to a financed feature What production and post looked like on a tight timeline before SXSW What it felt like to premiere at SXSW, hear audience reactions, and unexpectedly win the Grand Jury Prize The reality of selling an indie film in today’s market, even after major festival recognition What Wang learned from working with Bleecker Street on the theatrical release Details about her next feature, Crescendo, set in the world of competitive piano Memorable Quotes: “If you don't come from money, if you don't have a famous uncle and you don't want to work at Starbucks for the next three to four years after you graduate, you need to learn how to write.” (12:48) “You can't let the highs be too high and you can't let the lows be too low.” (16:31) “It doesn't matter what I do, it doesn't matter who I am, how I speak, my personality is like, what my thoughts or how intelligent I am, people will always see my face first.” (19:08) “As long as you keep going, as long as you keep learning and changing and growing, I think you don't need to be the best throughout your life to be able to have a career in this industry.” (40:56) Guests: Amy Wang Resources: Slanted official film page Applying for Your O-1 Visa to Work in Film and TV Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 12 Mar 2026 21:00:00 -0000 full No Film School Writer-director Amy Wang joins the No Film School podcast to discuss her debut feature, Slanted, and the long road from film school to theatrical release. In conversation with GG Hawkins, Wang reflects on leaving Australia for AFI, building a creative community in Los Angeles, learning to write as a practical path to survival in the industry, and what happened after Slanted premiered at SXSW 2025, won the Grand Jury Prize, and eventually landed distribution ahead of its 2026 theatrical release. In this episode, No Film School's GG Hawkins and guest Amy Wang discuss... How Fight Club inspired Wang to pursue filmmaking as a teenager in Sydney Why she left Australia for AFI and what it was like arriving in Los Angeles as an international student The real value of film school, especially for community-building and dedicated creative time Why learning to write became the key to sustaining a filmmaking career after graduation How a Black List script helped open doors in Hollywood The emotional and personal origins of Slanted Why body horror and comedy became the right form for exploring race, identity, and belonging How Slanted went from a logline to a financed feature What production and post looked like on a tight timeline before SXSW What it felt like to premiere at SXSW, hear audience reactions, and unexpectedly win the Grand Jury Prize The reality of selling an indie film in today’s market, even after major festival recognition What Wang learned from working with Bleecker Street on the theatrical release Details about her next feature, Crescendo, set in the world of competitive piano Memorable Quotes: “If you don't come from money, if you don't have a famous uncle and you don't want to work at Starbucks for the next three to four years after you graduate, you need to learn how to write.” (12:48) “You can't let the highs be too high and you can't let the lows be too low.” (16:31) “It doesn't matter what I do, it doesn't matter who I am, how I speak, my personality is like, what my thoughts or how intelligent I am, people will always see my face first.” (19:08) “As long as you keep going, as long as you keep learning and changing and growing, I think you don't need to be the best throughout your life to be able to have a career in this industry.” (40:56) Guests: Amy Wang Resources: Slanted official film page Applying for Your O-1 Visa to Work in Film and TV Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Writer-director Amy Wang joins the No Film School podcast to discuss her debut feature, Slanted, and the long road from film school to theatrical release. In conversation with GG Hawkins, Wang reflects on leaving Australia for AFI, building a creative community in Los Angeles, learning to write as a practical path to survival in the industry, and what happened after Slanted premiered at SXSW 2025, won the Grand Jury Prize, and eventually landed distribution ahead of its 2026 theatrical release.

In this episode, No Film School's GG Hawkins and guest Amy Wang discuss...

  • How Fight Club inspired Wang to pursue filmmaking as a teenager in Sydney

  • Why she left Australia for AFI and what it was like arriving in Los Angeles as an international student

  • The real value of film school, especially for community-building and dedicated creative time

  • Why learning to write became the key to sustaining a filmmaking career after graduation

  • How a Black List script helped open doors in Hollywood

  • The emotional and personal origins of Slanted

  • Why body horror and comedy became the right form for exploring race, identity, and belonging

  • How Slanted went from a logline to a financed feature

  • What production and post looked like on a tight timeline before SXSW

  • What it felt like to premiere at SXSW, hear audience reactions, and unexpectedly win the Grand Jury Prize

  • The reality of selling an indie film in today’s market, even after major festival recognition

  • What Wang learned from working with Bleecker Street on the theatrical release

  • Details about her next feature, Crescendo, set in the world of competitive piano

Memorable Quotes:

  • “If you don't come from money, if you don't have a famous uncle and you don't want to work at Starbucks for the next three to four years after you graduate, you need to learn how to write.” (12:48)

  • “You can't let the highs be too high and you can't let the lows be too low.” (16:31)

  • “It doesn't matter what I do, it doesn't matter who I am, how I speak, my personality is like, what my thoughts or how intelligent I am, people will always see my face first.” (19:08)

  • “As long as you keep going, as long as you keep learning and changing and growing, I think you don't need to be the best throughout your life to be able to have a career in this industry.” (40:56)

Guests:

Resources:

Find No Film School everywhere:

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

]]> 2745 The Best Distillation of Filmmaking: An A24 Edit Case Study In this episode, GG Hawkins speaks with editor Harrison Atkins about shaping A24’s How to Make a Killing with director John Patton Ford. Atkins breaks down his path into editing, his holistic “total filmmaker” approach to storytelling, and the editorial challenges of balancing dark comedy, violence, voiceover, and audience empathy around a morally compromised protagonist. The conversation also explores the realities of studio post-production, from long edit timelines and test screenings to cutting in Adobe Premiere’s Productions workflow while collaborating with a London-based post team more accustomed to Avid. In this episode, No Film School's GG Hawkins and guest Harrison Atkins discuss... How Harrison Atkins found his way into editing through directing and making his own films Why he thinks of editing as a holistic, dramaturgical part of filmmaking rather than a purely technical role Reuniting with director John Patton Ford after Emily the Criminal What drew him to the multi-tonal mix of crime, satire, dark comedy, and violence in How to Make a Killing How voiceover created both opportunity and endless editorial possibilities in the cut The difference between an indie sprint like Emily the Criminal and the extended timeline of a studio feature How test screenings and audience response helped refine comedy, pacing, and emotional momentum Why the first reel was crucial to getting audiences aligned with a charismatic but morally gray lead The editorial challenge of shaping an underdog around Glenn Powell’s natural confidence and charm How Premiere’s Productions workflow supported a collaborative feature edit with multiple people working simultaneously What it was like cutting the film in London with assistant editors adapting from an Avid-heavy post environment How temporary VFX comps in After Effects and Photoshop helped solve story and joke-building problems inside the edit Harrison’s philosophy of leadership, collaboration, intuition, and staying present as both an editor and director His advice to emerging filmmakers: fail boldly, work small if necessary, and keep making things instead of waiting for permission Memorable Quotes: “I never really considered myself an editor. I still kind of weirdly don't.” (01:19) “The calendar is really a myth.” (06:59) “The difference between a joke that lands and one that doesn't is often microscopic.” (13:30) “Perfection is the enemy of good.” (33:50) Guests: Harrison Atkins Resources: How to Make a Killing Emily the Criminal Total Filmmaker by Jerry Lewis Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 06 Mar 2026 19:47:00 -0000 full No Film School In this episode, GG Hawkins speaks with editor Harrison Atkins about shaping A24’s How to Make a Killing with director John Patton Ford. Atkins breaks down his path into editing, his holistic “total filmmaker” approach to storytelling, and the editorial challenges of balancing dark comedy, violence, voiceover, and audience empathy around a morally compromised protagonist. The conversation also explores the realities of studio post-production, from long edit timelines and test screenings to cutting in Adobe Premiere’s Productions workflow while collaborating with a London-based post team more accustomed to Avid. In this episode, No Film School's GG Hawkins and guest Harrison Atkins discuss... How Harrison Atkins found his way into editing through directing and making his own films Why he thinks of editing as a holistic, dramaturgical part of filmmaking rather than a purely technical role Reuniting with director John Patton Ford after Emily the Criminal What drew him to the multi-tonal mix of crime, satire, dark comedy, and violence in How to Make a Killing How voiceover created both opportunity and endless editorial possibilities in the cut The difference between an indie sprint like Emily the Criminal and the extended timeline of a studio feature How test screenings and audience response helped refine comedy, pacing, and emotional momentum Why the first reel was crucial to getting audiences aligned with a charismatic but morally gray lead The editorial challenge of shaping an underdog around Glenn Powell’s natural confidence and charm How Premiere’s Productions workflow supported a collaborative feature edit with multiple people working simultaneously What it was like cutting the film in London with assistant editors adapting from an Avid-heavy post environment How temporary VFX comps in After Effects and Photoshop helped solve story and joke-building problems inside the edit Harrison’s philosophy of leadership, collaboration, intuition, and staying present as both an editor and director His advice to emerging filmmakers: fail boldly, work small if necessary, and keep making things instead of waiting for permission Memorable Quotes: “I never really considered myself an editor. I still kind of weirdly don't.” (01:19) “The calendar is really a myth.” (06:59) “The difference between a joke that lands and one that doesn't is often microscopic.” (13:30) “Perfection is the enemy of good.” (33:50) Guests: Harrison Atkins Resources: How to Make a Killing Emily the Criminal Total Filmmaker by Jerry Lewis Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, GG Hawkins speaks with editor Harrison Atkins about shaping A24’s How to Make a Killing with director John Patton Ford. Atkins breaks down his path into editing, his holistic “total filmmaker” approach to storytelling, and the editorial challenges of balancing dark comedy, violence, voiceover, and audience empathy around a morally compromised protagonist. The conversation also explores the realities of studio post-production, from long edit timelines and test screenings to cutting in Adobe Premiere’s Productions workflow while collaborating with a London-based post team more accustomed to Avid.

In this episode, No Film School's GG Hawkins and guest Harrison Atkins discuss...

  • How Harrison Atkins found his way into editing through directing and making his own films

  • Why he thinks of editing as a holistic, dramaturgical part of filmmaking rather than a purely technical role

  • Reuniting with director John Patton Ford after Emily the Criminal

  • What drew him to the multi-tonal mix of crime, satire, dark comedy, and violence in How to Make a Killing

  • How voiceover created both opportunity and endless editorial possibilities in the cut

  • The difference between an indie sprint like Emily the Criminal and the extended timeline of a studio feature

  • How test screenings and audience response helped refine comedy, pacing, and emotional momentum

  • Why the first reel was crucial to getting audiences aligned with a charismatic but morally gray lead

  • The editorial challenge of shaping an underdog around Glenn Powell’s natural confidence and charm

  • How Premiere’s Productions workflow supported a collaborative feature edit with multiple people working simultaneously

  • What it was like cutting the film in London with assistant editors adapting from an Avid-heavy post environment

  • How temporary VFX comps in After Effects and Photoshop helped solve story and joke-building problems inside the edit

  • Harrison’s philosophy of leadership, collaboration, intuition, and staying present as both an editor and director

  • His advice to emerging filmmakers: fail boldly, work small if necessary, and keep making things instead of waiting for permission

Memorable Quotes:

  • “I never really considered myself an editor. I still kind of weirdly don't.” (01:19)

  • “The calendar is really a myth.” (06:59)

  • “The difference between a joke that lands and one that doesn't is often microscopic.” (13:30)

  • “Perfection is the enemy of good.” (33:50)

Guests:

Resources:

Find No Film School everywhere:

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

]]> 2290 What These DPs Used Instead of Stills to Land Their Sundance Films Recorded live at the 2026 Sundance Film Festival in Park City, this annual Director of Photography Roundtable features No Film School’s GG Hawkins in conversation with cinematographers Lidia Nikonova, Sam Levy, and Maria Herrera. The group discusses their unconventional paths into cinematography—from orchestras and photojournalism to weddings and radio DJing—how they landed their Sundance projects, and why connection, rhythm, and trust matter more than flashy lookbooks. They also break down the tools they used to communicate vision, navigate long dialogue scenes, and adapt to technical and emotional challenges on set. In this episode, No Film School's GG Hawkins and guests discuss… Shooting at the 2026 Sundance Film Festival and hosting at the BraveMaker house Maria Herrera’s transition from music to cinematography and operating handheld for emotionally intense performances Sam Levy’s mentorship under Harris Savides and how that shaped his approach to narrative filmmaking Lidia Nikonova’s journey from photojournalism and the Canon EOS 5D Mark II to AFI and shooting narrative features How each DP landed their Sundance projects through relationships, cold emails, and creative chemistry When to bring visual references to a director meeting—and when to just listen Using tools like Figma to build collaborative lookbooks and visual worlds Why dialogue rhythm and musicality influence cinematography choices Shooting on 35mm with an Arricam ST versus digital on the ARRI Alexa 35 Working with vintage Super Baltar lenses (famously used on The Godfather) for a modern crime thriller Referencing L'Argent by Robert Bresson for insert shots and cinematic economy How to approach 10+ page dialogue scenes without losing visual intention The value of shooting weddings and low-budget projects to build craft and confidence Advice for emerging cinematographers: show up early, trust your vision, and get your reps in Memorable Quotes: “This child will never play a musical instrument ever in her life.” “If you have good dialogues, it's like, okay, here's something.” “Just connect with her.” “Show up at least one hour early… and do not use your phone on set.” Guests: Lidia Nikonova Sam Levy Maria Herrera Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 26 Feb 2026 16:00:00 -0000 full No Film School Recorded live at the 2026 Sundance Film Festival in Park City, this annual Director of Photography Roundtable features No Film School’s GG Hawkins in conversation with cinematographers Lidia Nikonova, Sam Levy, and Maria Herrera. The group discusses their unconventional paths into cinematography—from orchestras and photojournalism to weddings and radio DJing—how they landed their Sundance projects, and why connection, rhythm, and trust matter more than flashy lookbooks. They also break down the tools they used to communicate vision, navigate long dialogue scenes, and adapt to technical and emotional challenges on set. In this episode, No Film School's GG Hawkins and guests discuss… Shooting at the 2026 Sundance Film Festival and hosting at the BraveMaker house Maria Herrera’s transition from music to cinematography and operating handheld for emotionally intense performances Sam Levy’s mentorship under Harris Savides and how that shaped his approach to narrative filmmaking Lidia Nikonova’s journey from photojournalism and the Canon EOS 5D Mark II to AFI and shooting narrative features How each DP landed their Sundance projects through relationships, cold emails, and creative chemistry When to bring visual references to a director meeting—and when to just listen Using tools like Figma to build collaborative lookbooks and visual worlds Why dialogue rhythm and musicality influence cinematography choices Shooting on 35mm with an Arricam ST versus digital on the ARRI Alexa 35 Working with vintage Super Baltar lenses (famously used on The Godfather) for a modern crime thriller Referencing L'Argent by Robert Bresson for insert shots and cinematic economy How to approach 10+ page dialogue scenes without losing visual intention The value of shooting weddings and low-budget projects to build craft and confidence Advice for emerging cinematographers: show up early, trust your vision, and get your reps in Memorable Quotes: “This child will never play a musical instrument ever in her life.” “If you have good dialogues, it's like, okay, here's something.” “Just connect with her.” “Show up at least one hour early… and do not use your phone on set.” Guests: Lidia Nikonova Sam Levy Maria Herrera Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Recorded live at the 2026 Sundance Film Festival in Park City, this annual Director of Photography Roundtable features No Film School’s GG Hawkins in conversation with cinematographers Lidia Nikonova, Sam Levy, and Maria Herrera. The group discusses their unconventional paths into cinematography—from orchestras and photojournalism to weddings and radio DJing—how they landed their Sundance projects, and why connection, rhythm, and trust matter more than flashy lookbooks. They also break down the tools they used to communicate vision, navigate long dialogue scenes, and adapt to technical and emotional challenges on set.

In this episode, No Film School's GG Hawkins and guests discuss…

  • Shooting at the 2026 Sundance Film Festival and hosting at the BraveMaker house

  • Maria Herrera’s transition from music to cinematography and operating handheld for emotionally intense performances

  • Sam Levy’s mentorship under Harris Savides and how that shaped his approach to narrative filmmaking

  • Lidia Nikonova’s journey from photojournalism and the Canon EOS 5D Mark II to AFI and shooting narrative features

  • How each DP landed their Sundance projects through relationships, cold emails, and creative chemistry

  • When to bring visual references to a director meeting—and when to just listen

  • Using tools like Figma to build collaborative lookbooks and visual worlds

  • Why dialogue rhythm and musicality influence cinematography choices

  • Shooting on 35mm with an Arricam ST versus digital on the ARRI Alexa 35

  • Working with vintage Super Baltar lenses (famously used on The Godfather) for a modern crime thriller

  • Referencing L'Argent by Robert Bresson for insert shots and cinematic economy

  • How to approach 10+ page dialogue scenes without losing visual intention

  • The value of shooting weddings and low-budget projects to build craft and confidence

  • Advice for emerging cinematographers: show up early, trust your vision, and get your reps in



Memorable Quotes:

  • “This child will never play a musical instrument ever in her life.”

  • “If you have good dialogues, it's like, okay, here's something.”

  • “Just connect with her.”

  • “Show up at least one hour early… and do not use your phone on set.”

Guests:

Find No Film School everywhere:

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

]]> 3439 ‘Send Help’ Producer Zainab Azizi’s Studio Filmmaking Playbook Producer Zainab Azizi joins GG Hawkins to break down her journey from agency mailroom to President of Raimi Productions and producing studio features like Send Help. Azizi shares how she develops original ideas, packages talent, protects projects through shifting studio mandates, and leads with a collaborative producing style. She also discusses mentoring female producers, balancing creative and financial realities in modern filmmaking, and why theatrical success for original films still matters. In this episode, No Film School's GG Hawkins and guest Zainab Azizi discuss... How Send Help evolved from a logline in 2019 to a theatrical release Moving the project from Columbia Pictures to 20th and navigating studio mandate shifts Why Sam Raimi was essential to directing the film—and how storyboards helped secure studio confidence Packaging as a producer: attaching directors and actors through agency relationships Casting Rachel McAdams and Dylan O’Brien and building chemistry into the film’s core dynamic The tension between “social media value” and creative talent in casting decisions What Azizi learned in the WME mailroom and how agencies really function behind the scenes Different types of producers (creative, line, financing, studio producers) and protecting the “PGA” credit Her collaborative leadership style and the “three solutions for every problem” rule Mentorship, promoting female producers, and fostering more women-led sets Why theatrical releases for original films still matter in 2026 Developing a Seshu Hayakawa biopic and why his story feels urgent today The importance of sacrifice, networking, and embracing rejection early in your career Memorable Quotes: “My job is to find three solutions for every problem.” “Rejection is just redirection. We celebrate rejections.” “If it scares you, it means you’re headed the right direction.” “You have to put yourself out there.” Guests: Zainab Azizi – President of Raimi Productions and producer of Send Help Resources: LaBelle Foundation (for adopting Cactus the foster puppy) Producers Guild of America (PGA) Producers United Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 20 Feb 2026 21:29:00 -0000 full No Film School Producer Zainab Azizi joins GG Hawkins to break down her journey from agency mailroom to President of Raimi Productions and producing studio features like Send Help. Azizi shares how she develops original ideas, packages talent, protects projects through shifting studio mandates, and leads with a collaborative producing style. She also discusses mentoring female producers, balancing creative and financial realities in modern filmmaking, and why theatrical success for original films still matters. In this episode, No Film School's GG Hawkins and guest Zainab Azizi discuss... How Send Help evolved from a logline in 2019 to a theatrical release Moving the project from Columbia Pictures to 20th and navigating studio mandate shifts Why Sam Raimi was essential to directing the film—and how storyboards helped secure studio confidence Packaging as a producer: attaching directors and actors through agency relationships Casting Rachel McAdams and Dylan O’Brien and building chemistry into the film’s core dynamic The tension between “social media value” and creative talent in casting decisions What Azizi learned in the WME mailroom and how agencies really function behind the scenes Different types of producers (creative, line, financing, studio producers) and protecting the “PGA” credit Her collaborative leadership style and the “three solutions for every problem” rule Mentorship, promoting female producers, and fostering more women-led sets Why theatrical releases for original films still matter in 2026 Developing a Seshu Hayakawa biopic and why his story feels urgent today The importance of sacrifice, networking, and embracing rejection early in your career Memorable Quotes: “My job is to find three solutions for every problem.” “Rejection is just redirection. We celebrate rejections.” “If it scares you, it means you’re headed the right direction.” “You have to put yourself out there.” Guests: Zainab Azizi – President of Raimi Productions and producer of Send Help Resources: LaBelle Foundation (for adopting Cactus the foster puppy) Producers Guild of America (PGA) Producers United Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Producer Zainab Azizi joins GG Hawkins to break down her journey from agency mailroom to President of Raimi Productions and producing studio features like Send Help. Azizi shares how she develops original ideas, packages talent, protects projects through shifting studio mandates, and leads with a collaborative producing style. She also discusses mentoring female producers, balancing creative and financial realities in modern filmmaking, and why theatrical success for original films still matters.

In this episode, No Film School's GG Hawkins and guest Zainab Azizi discuss...

  • How Send Help evolved from a logline in 2019 to a theatrical release

  • Moving the project from Columbia Pictures to 20th and navigating studio mandate shifts

  • Why Sam Raimi was essential to directing the film—and how storyboards helped secure studio confidence

  • Packaging as a producer: attaching directors and actors through agency relationships

  • Casting Rachel McAdams and Dylan O’Brien and building chemistry into the film’s core dynamic

  • The tension between “social media value” and creative talent in casting decisions

  • What Azizi learned in the WME mailroom and how agencies really function behind the scenes

  • Different types of producers (creative, line, financing, studio producers) and protecting the “PGA” credit

  • Her collaborative leadership style and the “three solutions for every problem” rule

  • Mentorship, promoting female producers, and fostering more women-led sets

  • Why theatrical releases for original films still matter in 2026

  • Developing a Seshu Hayakawa biopic and why his story feels urgent today

  • The importance of sacrifice, networking, and embracing rejection early in your career

Memorable Quotes:

  • “My job is to find three solutions for every problem.”

  • “Rejection is just redirection. We celebrate rejections.”

  • “If it scares you, it means you’re headed the right direction.”

  • “You have to put yourself out there.”

Guests:

  • Zainab Azizi – President of Raimi Productions and producer of Send Help

Resources:

  • LaBelle Foundation (for adopting Cactus the foster puppy)

  • Producers Guild of America (PGA)

  • Producers United

Find No Film School everywhere:

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

]]> 2431 The Quiet Throughline in This Year’s Sundance Shorts Recorded live from the Sundance Film Festival, GG Hawkins hosts a roundtable conversation with four short film directors premiering work at the festival: Kelly McCormack (How Brief), Anna Baumgarten (Balloon Animals), Ana Alpízar (Norheimsund), and Anooya Swamy (Pankaja). The filmmakers discuss the origins of their films, navigating production across Cuba, India, Canada, and the U.S., working within (and outside of) film school structures, and the deeply personal themes of grief, mother-daughter relationships, disappearance, and survival that unexpectedly connect their work. In this episode, No Film School’s GG Hawkins and guests discuss… Shooting narrative shorts on location in Havana, Bangalore, Vancouver, and Los Angeles Returning to Cuba to film Norheimsund after seeking asylum in the United States How Pankaja draws from growing up in the slums of Bangalore and confronting personal memory Making a $6,500 microbudget short inside a real grocery store overnight Building a short film over eight years and resisting the “proof of concept” mindset Working within NYU’s film school structure versus creating outside institutional systems Casting mother-daughter dynamics rooted in real-life relationships Designing color theory, texture, cement, and dirt as emotional language Shooting inside real police stations and navigating bureaucracy while telling stories about it Grief as a “big soup of emotions” and balancing melancholy with comedy Collaborating with ride-or-die creative partners Advice for emerging filmmakers about not compromising and trusting instinct Memorable Quotes: “Dreaming doesn’t cost a thing.” “Choosing oblivion.” “We often live really simple lives in complicated worlds.” “You are allowed not to compromise.” Guests: Kelly McCormack – Director, How Brief Anna Baumgarten – Writer/Director, Balloon Animals Ana Alpízar – Director, Norheimsund Anooya Swamy – Writer/Director, Pankaja Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 19 Feb 2026 16:00:00 -0000 full No Film School Recorded live from the Sundance Film Festival, GG Hawkins hosts a roundtable conversation with four short film directors premiering work at the festival: Kelly McCormack (How Brief), Anna Baumgarten (Balloon Animals), Ana Alpízar (Norheimsund), and Anooya Swamy (Pankaja). The filmmakers discuss the origins of their films, navigating production across Cuba, India, Canada, and the U.S., working within (and outside of) film school structures, and the deeply personal themes of grief, mother-daughter relationships, disappearance, and survival that unexpectedly connect their work. In this episode, No Film School’s GG Hawkins and guests discuss… Shooting narrative shorts on location in Havana, Bangalore, Vancouver, and Los Angeles Returning to Cuba to film Norheimsund after seeking asylum in the United States How Pankaja draws from growing up in the slums of Bangalore and confronting personal memory Making a $6,500 microbudget short inside a real grocery store overnight Building a short film over eight years and resisting the “proof of concept” mindset Working within NYU’s film school structure versus creating outside institutional systems Casting mother-daughter dynamics rooted in real-life relationships Designing color theory, texture, cement, and dirt as emotional language Shooting inside real police stations and navigating bureaucracy while telling stories about it Grief as a “big soup of emotions” and balancing melancholy with comedy Collaborating with ride-or-die creative partners Advice for emerging filmmakers about not compromising and trusting instinct Memorable Quotes: “Dreaming doesn’t cost a thing.” “Choosing oblivion.” “We often live really simple lives in complicated worlds.” “You are allowed not to compromise.” Guests: Kelly McCormack – Director, How Brief Anna Baumgarten – Writer/Director, Balloon Animals Ana Alpízar – Director, Norheimsund Anooya Swamy – Writer/Director, Pankaja Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Recorded live from the Sundance Film Festival, GG Hawkins hosts a roundtable conversation with four short film directors premiering work at the festival: Kelly McCormack (How Brief), Anna Baumgarten (Balloon Animals), Ana Alpízar (Norheimsund), and Anooya Swamy (Pankaja). The filmmakers discuss the origins of their films, navigating production across Cuba, India, Canada, and the U.S., working within (and outside of) film school structures, and the deeply personal themes of grief, mother-daughter relationships, disappearance, and survival that unexpectedly connect their work.

In this episode, No Film School’s GG Hawkins and guests discuss…

  • Shooting narrative shorts on location in Havana, Bangalore, Vancouver, and Los Angeles

  • Returning to Cuba to film Norheimsund after seeking asylum in the United States

  • How Pankaja draws from growing up in the slums of Bangalore and confronting personal memory

  • Making a $6,500 microbudget short inside a real grocery store overnight

  • Building a short film over eight years and resisting the “proof of concept” mindset

  • Working within NYU’s film school structure versus creating outside institutional systems

  • Casting mother-daughter dynamics rooted in real-life relationships

  • Designing color theory, texture, cement, and dirt as emotional language

  • Shooting inside real police stations and navigating bureaucracy while telling stories about it

  • Grief as a “big soup of emotions” and balancing melancholy with comedy

  • Collaborating with ride-or-die creative partners

  • Advice for emerging filmmakers about not compromising and trusting instinct

Memorable Quotes:

  • “Dreaming doesn’t cost a thing.”

  • “Choosing oblivion.”

  • “We often live really simple lives in complicated worlds.”

  • “You are allowed not to compromise.”

Guests:

Find No Film School everywhere:

Instagram: No Film School on Instagram📩 Send us an email with questions or feedback: podcast@nofilmschool.com

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

]]> 3521 How to Write Romance Scripts That Sell: Insider Tips from The Love List In this episode, GG Hawkins speaks with Madison Jones and Lindsay Grossman, co-founders of The Love List, along with filmmaker Shelby Blake Bartelstein, about what makes a romance script stand out in today’s marketplace. They discuss the origins of The Love List, the evolving appetite for romance across film and television, how to craft undeniable chemistry on the page, and why specificity, vulnerability, and the grand gesture are essential tools for writers hoping to sell in the genre. In this episode, No Film School's GG Hawkins and guests discuss... The “meet cute” origin story behind The Love List and how a shared love of YA romance sparked a professional movement How The Love List curates the best unproduced romance pilots and screenplays each year Why romance remains commercially viable—and why the industry is rediscovering its power The importance of writing what you love instead of chasing market trends How to balance high-concept hooks with emotional authenticity Crafting chemistry on the page through small, specific moments Why vulnerability is the core engine of all great storytelling The art of the grand gesture in romantic storytelling Why television romance (including slow burns and enemies-to-lovers arcs) can be just as powerful as film How executives identify “soul” in a script—and why that’s what ultimately sells Memorable Quotes: “Write what you want to watch. To me, that is the most crucial piece of advice.” “What part of you is this healing?” “You can tell when there’s not a soul in it.” “It’s not about knowing whether or not they’re going to end up together. It’s about how they get there.” Guests: Madison Jones Lindsay Grossman Shelby Blake Bartelstein Resources: Deadline - The 2026 Love List The Love List on Instagram - @TheLoveList26 “Change the Prophecy” Short Film Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 13 Feb 2026 16:00:00 -0000 full No Film School In this episode, GG Hawkins speaks with Madison Jones and Lindsay Grossman, co-founders of The Love List, along with filmmaker Shelby Blake Bartelstein, about what makes a romance script stand out in today’s marketplace. They discuss the origins of The Love List, the evolving appetite for romance across film and television, how to craft undeniable chemistry on the page, and why specificity, vulnerability, and the grand gesture are essential tools for writers hoping to sell in the genre. In this episode, No Film School's GG Hawkins and guests discuss... The “meet cute” origin story behind The Love List and how a shared love of YA romance sparked a professional movement How The Love List curates the best unproduced romance pilots and screenplays each year Why romance remains commercially viable—and why the industry is rediscovering its power The importance of writing what you love instead of chasing market trends How to balance high-concept hooks with emotional authenticity Crafting chemistry on the page through small, specific moments Why vulnerability is the core engine of all great storytelling The art of the grand gesture in romantic storytelling Why television romance (including slow burns and enemies-to-lovers arcs) can be just as powerful as film How executives identify “soul” in a script—and why that’s what ultimately sells Memorable Quotes: “Write what you want to watch. To me, that is the most crucial piece of advice.” “What part of you is this healing?” “You can tell when there’s not a soul in it.” “It’s not about knowing whether or not they’re going to end up together. It’s about how they get there.” Guests: Madison Jones Lindsay Grossman Shelby Blake Bartelstein Resources: Deadline - The 2026 Love List The Love List on Instagram - @TheLoveList26 “Change the Prophecy” Short Film Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, GG Hawkins speaks with Madison Jones and Lindsay Grossman, co-founders of The Love List, along with filmmaker Shelby Blake Bartelstein, about what makes a romance script stand out in today’s marketplace. They discuss the origins of The Love List, the evolving appetite for romance across film and television, how to craft undeniable chemistry on the page, and why specificity, vulnerability, and the grand gesture are essential tools for writers hoping to sell in the genre.

In this episode, No Film School's GG Hawkins and guests discuss...

  • The “meet cute” origin story behind The Love List and how a shared love of YA romance sparked a professional movement

  • How The Love List curates the best unproduced romance pilots and screenplays each year

  • Why romance remains commercially viable—and why the industry is rediscovering its power

  • The importance of writing what you love instead of chasing market trends

  • How to balance high-concept hooks with emotional authenticity

  • Crafting chemistry on the page through small, specific moments

  • Why vulnerability is the core engine of all great storytelling

  • The art of the grand gesture in romantic storytelling

  • Why television romance (including slow burns and enemies-to-lovers arcs) can be just as powerful as film

  • How executives identify “soul” in a script—and why that’s what ultimately sells

Memorable Quotes:

  • “Write what you want to watch. To me, that is the most crucial piece of advice.”

  • “What part of you is this healing?”

  • “You can tell when there’s not a soul in it.”

  • “It’s not about knowing whether or not they’re going to end up together. It’s about how they get there.”

Guests:

Resources:

Find No Film School everywhere:

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

]]> 3018 The Indie Exhibition Problem (And the People Fixing It) Recorded live at Sundance, this episode features a wide-ranging roundtable on the current state of independent film exhibition. Host GG Hawkins speaks with festival programmers, exhibitors, and platform founders about what’s broken in the exhibition ecosystem, what’s actually working better than people realize, and how community-driven models—from art houses to new distribution tools—are reshaping how films are discovered, shown, and sustained beyond the festival circuit. In this episode, No Film School's GG Hawkins and guests discuss… Why art house cinemas and film festivals remain vital community hubs The realities of audience-building beyond “market festivals” and multiplexes How filmmakers can rethink distribution, touring, and self-exhibition New tools and platforms helping filmmakers navigate submissions and discovery The rise of alternative distribution models, including physical media reimagined Why shorts, community producers, and collaboration matter more than ever How filmmakers and exhibitors can work together more effectively What a sustainable film community could look like in 2026 Memorable Quotes: “Art house cinemas and independent exhibitors and film festivals are thriving because they build community.” “Making movies is like having a baby… then you’ve got to raise it.” “There is such an opportunity on both sides for filmmakers and exhibitors to learn how to work together.” “Independent film is rooted in community and curation.” Guests: Ash Cook – Programmer, Sundance Film Festival; Festival Director, San Francisco Jewish Film Festival; Founder & CEO, Video.Storage Tony Gapastone – Founder & Executive Director, Bravemaker Lela Meadow-Conner – Interim Executive Director, Art House Convergence; Co-founder, The Popcorn List Tyler Knohl – Co-founder, Hiike; Assistant Director, Boston Sci-Fi Film Festival Brynne Norquist – Co-founder & CEO, Hiike Aidan Dick – COO, Video.Storage; Programmer, Frameline Film Festival Resources: Bravemaker – https://bravemaker.org Art House Convergence – https://arthouseconvergence.org The Popcorn List – https://thepopcornlist.com Hiike – https://hiike.com/ Video.Storage – https://www.videostoreage.com Frameline Film Festival – https://www.frameline.org Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 06 Feb 2026 16:00:00 -0000 full No Film School Recorded live at Sundance, this episode features a wide-ranging roundtable on the current state of independent film exhibition. Host GG Hawkins speaks with festival programmers, exhibitors, and platform founders about what’s broken in the exhibition ecosystem, what’s actually working better than people realize, and how community-driven models—from art houses to new distribution tools—are reshaping how films are discovered, shown, and sustained beyond the festival circuit. In this episode, No Film School's GG Hawkins and guests discuss… Why art house cinemas and film festivals remain vital community hubs The realities of audience-building beyond “market festivals” and multiplexes How filmmakers can rethink distribution, touring, and self-exhibition New tools and platforms helping filmmakers navigate submissions and discovery The rise of alternative distribution models, including physical media reimagined Why shorts, community producers, and collaboration matter more than ever How filmmakers and exhibitors can work together more effectively What a sustainable film community could look like in 2026 Memorable Quotes: “Art house cinemas and independent exhibitors and film festivals are thriving because they build community.” “Making movies is like having a baby… then you’ve got to raise it.” “There is such an opportunity on both sides for filmmakers and exhibitors to learn how to work together.” “Independent film is rooted in community and curation.” Guests: Ash Cook – Programmer, Sundance Film Festival; Festival Director, San Francisco Jewish Film Festival; Founder & CEO, Video.Storage Tony Gapastone – Founder & Executive Director, Bravemaker Lela Meadow-Conner – Interim Executive Director, Art House Convergence; Co-founder, The Popcorn List Tyler Knohl – Co-founder, Hiike; Assistant Director, Boston Sci-Fi Film Festival Brynne Norquist – Co-founder & CEO, Hiike Aidan Dick – COO, Video.Storage; Programmer, Frameline Film Festival Resources: Bravemaker – https://bravemaker.org Art House Convergence – https://arthouseconvergence.org The Popcorn List – https://thepopcornlist.com Hiike – https://hiike.com/ Video.Storage – https://www.videostoreage.com Frameline Film Festival – https://www.frameline.org Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Recorded live at Sundance, this episode features a wide-ranging roundtable on the current state of independent film exhibition. Host GG Hawkins speaks with festival programmers, exhibitors, and platform founders about what’s broken in the exhibition ecosystem, what’s actually working better than people realize, and how community-driven models—from art houses to new distribution tools—are reshaping how films are discovered, shown, and sustained beyond the festival circuit.

In this episode, No Film School's GG Hawkins and guests discuss…

  • Why art house cinemas and film festivals remain vital community hubs

  • The realities of audience-building beyond “market festivals” and multiplexes

  • How filmmakers can rethink distribution, touring, and self-exhibition

  • New tools and platforms helping filmmakers navigate submissions and discovery

  • The rise of alternative distribution models, including physical media reimagined

  • Why shorts, community producers, and collaboration matter more than ever

  • How filmmakers and exhibitors can work together more effectively

  • What a sustainable film community could look like in 2026

Memorable Quotes:

  • “Art house cinemas and independent exhibitors and film festivals are thriving because they build community.”

  • “Making movies is like having a baby… then you’ve got to raise it.”

  • “There is such an opportunity on both sides for filmmakers and exhibitors to learn how to work together.”

  • “Independent film is rooted in community and curation.”

Guests:

  • Ash Cook – Programmer, Sundance Film Festival; Festival Director, San Francisco Jewish Film Festival; Founder & CEO, Video.Storage

  • Tony Gapastone – Founder & Executive Director, Bravemaker

  • Lela Meadow-Conner – Interim Executive Director, Art House Convergence; Co-founder, The Popcorn List

  • Tyler Knohl – Co-founder, Hiike; Assistant Director, Boston Sci-Fi Film Festival

  • Brynne Norquist – Co-founder & CEO, Hiike

  • Aidan Dick – COO, Video.Storage; Programmer, Frameline Film Festival

Resources:

Find No Film School everywhere:

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

]]> 3052 How to Get Into — or at Least Go to — SXSW In this episode, we dive into the logistics, strategy, and evolving experience of getting into and attending SXSW. GG Hawkins is joined by No Film School Founder Ryan Koo and a panel of SXSW insiders: Claudette Godfrey, Peter Hall, and Francis Román, who share their personal journeys into programming and illuminate the processes behind one of the most significant festivals in the world. Whether you’re hoping to submit, attend, or just understand the inner workings, this conversation offers clarity on what to expect from the 2026 edition and beyond. In this episode, No Film School's GG Hawkins, Ryan Koo, and guests discuss... The different paths each SXSW programmer took to join the festival team Why SXSW values first-time filmmakers and how they approach the programming process Practical ways to attend SXSW (volunteering, student discounts, single tickets) Major changes to SXSW 2026, including venue shifts, badge updates, and a new festival layout How to best prepare your submission, including rough cut etiquette and the importance of strong film stills Common myths about festival programming—debunked Why meaningful networking and personal connection at SXSW can shape careers What types of films SXSW is most excited about—and what they’re seeing too much of Memorable Quotes: "If a film can make you laugh in your home alone at 2 a.m. and you've worked a 20-hour day, then it's hilarious." "If you're submitting unfinished, you should have a title card at the very beginning that says exactly where you're at." "We're looking for that director's vision, the fingerprint on it." "You should come to South By, and if you can’t, go to whatever local film festival is going on in your area." Guests: Claudette Godfrey Peter Hall Francis Román Resources: SXSW Volunteer Info Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 05 Feb 2026 16:00:00 -0000 full No Film School In this episode, we dive into the logistics, strategy, and evolving experience of getting into and attending SXSW. GG Hawkins is joined by No Film School Founder Ryan Koo and a panel of SXSW insiders: Claudette Godfrey, Peter Hall, and Francis Román, who share their personal journeys into programming and illuminate the processes behind one of the most significant festivals in the world. Whether you’re hoping to submit, attend, or just understand the inner workings, this conversation offers clarity on what to expect from the 2026 edition and beyond. In this episode, No Film School's GG Hawkins, Ryan Koo, and guests discuss... The different paths each SXSW programmer took to join the festival team Why SXSW values first-time filmmakers and how they approach the programming process Practical ways to attend SXSW (volunteering, student discounts, single tickets) Major changes to SXSW 2026, including venue shifts, badge updates, and a new festival layout How to best prepare your submission, including rough cut etiquette and the importance of strong film stills Common myths about festival programming—debunked Why meaningful networking and personal connection at SXSW can shape careers What types of films SXSW is most excited about—and what they’re seeing too much of Memorable Quotes: "If a film can make you laugh in your home alone at 2 a.m. and you've worked a 20-hour day, then it's hilarious." "If you're submitting unfinished, you should have a title card at the very beginning that says exactly where you're at." "We're looking for that director's vision, the fingerprint on it." "You should come to South By, and if you can’t, go to whatever local film festival is going on in your area." Guests: Claudette Godfrey Peter Hall Francis Román Resources: SXSW Volunteer Info Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, we dive into the logistics, strategy, and evolving experience of getting into and attending SXSW. GG Hawkins is joined by No Film School Founder Ryan Koo and a panel of SXSW insiders: Claudette Godfrey, Peter Hall, and Francis Román, who share their personal journeys into programming and illuminate the processes behind one of the most significant festivals in the world. Whether you’re hoping to submit, attend, or just understand the inner workings, this conversation offers clarity on what to expect from the 2026 edition and beyond.

In this episode, No Film School's GG Hawkins, Ryan Koo, and guests discuss...

  • The different paths each SXSW programmer took to join the festival team

  • Why SXSW values first-time filmmakers and how they approach the programming process

  • Practical ways to attend SXSW (volunteering, student discounts, single tickets)

  • Major changes to SXSW 2026, including venue shifts, badge updates, and a new festival layout

  • How to best prepare your submission, including rough cut etiquette and the importance of strong film stills

  • Common myths about festival programming—debunked

  • Why meaningful networking and personal connection at SXSW can shape careers

  • What types of films SXSW is most excited about—and what they’re seeing too much of

Memorable Quotes:

  • "If a film can make you laugh in your home alone at 2 a.m. and you've worked a 20-hour day, then it's hilarious."

  • "If you're submitting unfinished, you should have a title card at the very beginning that says exactly where you're at."

  • "We're looking for that director's vision, the fingerprint on it."

  • "You should come to South By, and if you can’t, go to whatever local film festival is going on in your area."

Guests:

Resources:

Find No Film School everywhere:

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

]]> 4926 How to Self-Produce an Indie TV Pilot in Your Hometown… and Premiere at Sundance In this episode recorded live at the Sundance Film Festival, No Film School founder Ryan Koo sits down with Julien and Justen Turner—real-life brothers and co-creators of FreeLance, an indie TV pilot that debuted in the festival’s Episodic Pilot Showcase. The Turner Brothers walk through their journey of building a creative career outside of New York or LA, self-funding their show in Columbus, Ohio, and pulling off a high-production-value pilot in just four days. They talk about their process, influences, and how their authentic, relatable characters came to life through personal experience and community-driven production. In this episode, No Film School’s Ryan Koo and guests discuss… The origin of the episodic pilot category at Sundance and its importance for indie creators How the Turner Brothers’ musical upbringing led to an early love of filmmaking Their decision to self-fund FreeLance instead of attending Sundance in 2023 Turning real-life freelance filmmaking experiences (like wedding videography chaos) into episodic comedy Casting comedians, athletes, and non-actors from social media and commercial work Building a 150-page show bible and planning a multi-season vision The four-day shoot that captured 41 minutes of content, including an improvised scene in a thrifted basement How making content in Ohio allowed the show to break traditional industry molds Advice for filmmakers: choose a date, build your team, and just shoot The surreal moment of getting the Sundance acceptance call (via their mom!) Memorable Quotes: “We kind of realized that the only people we were waiting on was ourselves.” “The more specific we were, the more universal it was.” “We shot a 41-minute pilot in four days.” “This is getting done, and it’s going to be done like this.” Guests: Julien Turner Justen Turner Resources: Dreadhead Films on Instagram dreadheadfilms.com Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Sat, 31 Jan 2026 05:25:00 -0000 full No Film School In this episode recorded live at the Sundance Film Festival, No Film School founder Ryan Koo sits down with Julien and Justen Turner—real-life brothers and co-creators of FreeLance, an indie TV pilot that debuted in the festival’s Episodic Pilot Showcase. The Turner Brothers walk through their journey of building a creative career outside of New York or LA, self-funding their show in Columbus, Ohio, and pulling off a high-production-value pilot in just four days. They talk about their process, influences, and how their authentic, relatable characters came to life through personal experience and community-driven production. In this episode, No Film School’s Ryan Koo and guests discuss… The origin of the episodic pilot category at Sundance and its importance for indie creators How the Turner Brothers’ musical upbringing led to an early love of filmmaking Their decision to self-fund FreeLance instead of attending Sundance in 2023 Turning real-life freelance filmmaking experiences (like wedding videography chaos) into episodic comedy Casting comedians, athletes, and non-actors from social media and commercial work Building a 150-page show bible and planning a multi-season vision The four-day shoot that captured 41 minutes of content, including an improvised scene in a thrifted basement How making content in Ohio allowed the show to break traditional industry molds Advice for filmmakers: choose a date, build your team, and just shoot The surreal moment of getting the Sundance acceptance call (via their mom!) Memorable Quotes: “We kind of realized that the only people we were waiting on was ourselves.” “The more specific we were, the more universal it was.” “We shot a 41-minute pilot in four days.” “This is getting done, and it’s going to be done like this.” Guests: Julien Turner Justen Turner Resources: Dreadhead Films on Instagram dreadheadfilms.com Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode recorded live at the Sundance Film Festival, No Film School founder Ryan Koo sits down with Julien and Justen Turner—real-life brothers and co-creators of FreeLance, an indie TV pilot that debuted in the festival’s Episodic Pilot Showcase. The Turner Brothers walk through their journey of building a creative career outside of New York or LA, self-funding their show in Columbus, Ohio, and pulling off a high-production-value pilot in just four days. They talk about their process, influences, and how their authentic, relatable characters came to life through personal experience and community-driven production.

In this episode, No Film School’s Ryan Koo and guests discuss…

  • The origin of the episodic pilot category at Sundance and its importance for indie creators

  • How the Turner Brothers’ musical upbringing led to an early love of filmmaking

  • Their decision to self-fund FreeLance instead of attending Sundance in 2023

  • Turning real-life freelance filmmaking experiences (like wedding videography chaos) into episodic comedy

  • Casting comedians, athletes, and non-actors from social media and commercial work

  • Building a 150-page show bible and planning a multi-season vision

  • The four-day shoot that captured 41 minutes of content, including an improvised scene in a thrifted basement

  • How making content in Ohio allowed the show to break traditional industry molds

  • Advice for filmmakers: choose a date, build your team, and just shoot

  • The surreal moment of getting the Sundance acceptance call (via their mom!)

Memorable Quotes:

  • “We kind of realized that the only people we were waiting on was ourselves.”

  • “The more specific we were, the more universal it was.”

  • “We shot a 41-minute pilot in four days.”

  • “This is getting done, and it’s going to be done like this.”

Guests:

Resources:

Find No Film School everywhere:

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

]]> 3792 How to Find Collaborators at Film Festivals, from Sundance '26 This episode of the No Film School Podcast is recorded live from the final Sundance Film Festival in Park City, 2026. GG Hawkins and Ryan Koo are joined by No Film School writer Jo Light and special guest Teddy Kim to share insights and lessons from Sundance. Together, they reflect on what it takes to find true creative collaborators at festivals, how the indie landscape continues to shift, and why human connection still matters more than ever in a rapidly changing industry. The episode includes a game of "Red Flag, Green Flag" and wraps with an interview between Ryan Koo and writer-director Stephanie Ahn, whose feature Bedford Park won the U.S. Dramatic Special Jury Award for Debut Feature at Sundance 2026. In this episode you'll hear... How to make the most of Sundance even if you're not actively pitching a project Why networking at film festivals is more about vibe than résumé The evolving role of indie production companies balancing studio and independent films Which films are getting buzz at Sundance 2026 and what the acquisition market looks like How filmmakers are using episodic pilots and private screenings to get attention The pros and cons of “networking dinners” and late-night parties like Tao A playful, practical game of "Red Flag, Green Flag" to decode festival behavior GG’s and Jo’s favorite short and episodic pilots—and what makes them feel fresh A deep-dive interview with Bedford Park director Stephanie Ahn about perseverance, editing your own movie, and telling emotionally resonant stories Memorable Quotes: “In filmmaking, they often say you better give 10 years of your life… I exceeded that, and Stephanie exceeded that.” “You have to be very clear about what your intentions are and what the story is going to be. If you maintain an integrity with that, people come.” “It’s not a matter of whether there is a big headline acquisition… but can a bunch of other movies get acquired for $3 million and have a healthy minimum guarantee?” “I wanted to make a film that hopefully an audience would actually feel something—genuinely feel something.” Resources: Sundance 2026 Award Winners Guests: Jo Light Teddy Kim Stephanie Ahn Resources Mentioned: Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 30 Jan 2026 01:52:00 -0000 full No Film School This episode of the No Film School Podcast is recorded live from the final Sundance Film Festival in Park City, 2026. GG Hawkins and Ryan Koo are joined by No Film School writer Jo Light and special guest Teddy Kim to share insights and lessons from Sundance. Together, they reflect on what it takes to find true creative collaborators at festivals, how the indie landscape continues to shift, and why human connection still matters more than ever in a rapidly changing industry. The episode includes a game of "Red Flag, Green Flag" and wraps with an interview between Ryan Koo and writer-director Stephanie Ahn, whose feature Bedford Park won the U.S. Dramatic Special Jury Award for Debut Feature at Sundance 2026. In this episode you'll hear... How to make the most of Sundance even if you're not actively pitching a project Why networking at film festivals is more about vibe than résumé The evolving role of indie production companies balancing studio and independent films Which films are getting buzz at Sundance 2026 and what the acquisition market looks like How filmmakers are using episodic pilots and private screenings to get attention The pros and cons of “networking dinners” and late-night parties like Tao A playful, practical game of "Red Flag, Green Flag" to decode festival behavior GG’s and Jo’s favorite short and episodic pilots—and what makes them feel fresh A deep-dive interview with Bedford Park director Stephanie Ahn about perseverance, editing your own movie, and telling emotionally resonant stories Memorable Quotes: “In filmmaking, they often say you better give 10 years of your life… I exceeded that, and Stephanie exceeded that.” “You have to be very clear about what your intentions are and what the story is going to be. If you maintain an integrity with that, people come.” “It’s not a matter of whether there is a big headline acquisition… but can a bunch of other movies get acquired for $3 million and have a healthy minimum guarantee?” “I wanted to make a film that hopefully an audience would actually feel something—genuinely feel something.” Resources: Sundance 2026 Award Winners Guests: Jo Light Teddy Kim Stephanie Ahn Resources Mentioned: Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices This episode of the No Film School Podcast is recorded live from the final Sundance Film Festival in Park City, 2026. GG Hawkins and Ryan Koo are joined by No Film School writer Jo Light and special guest Teddy Kim to share insights and lessons from Sundance. Together, they reflect on what it takes to find true creative collaborators at festivals, how the indie landscape continues to shift, and why human connection still matters more than ever in a rapidly changing industry. The episode includes a game of "Red Flag, Green Flag" and wraps with an interview between Ryan Koo and writer-director Stephanie Ahn, whose feature Bedford Park won the U.S. Dramatic Special Jury Award for Debut Feature at Sundance 2026.

In this episode you'll hear...

  • How to make the most of Sundance even if you're not actively pitching a project

  • Why networking at film festivals is more about vibe than résumé

  • The evolving role of indie production companies balancing studio and independent films

  • Which films are getting buzz at Sundance 2026 and what the acquisition market looks like

  • How filmmakers are using episodic pilots and private screenings to get attention

  • The pros and cons of “networking dinners” and late-night parties like Tao

  • A playful, practical game of "Red Flag, Green Flag" to decode festival behavior

  • GG’s and Jo’s favorite short and episodic pilots—and what makes them feel fresh

  • A deep-dive interview with Bedford Park director Stephanie Ahn about perseverance, editing your own movie, and telling emotionally resonant stories

Memorable Quotes:

  • “In filmmaking, they often say you better give 10 years of your life… I exceeded that, and Stephanie exceeded that.”

  • “You have to be very clear about what your intentions are and what the story is going to be. If you maintain an integrity with that, people come.”

  • “It’s not a matter of whether there is a big headline acquisition… but can a bunch of other movies get acquired for $3 million and have a healthy minimum guarantee?”

  • “I wanted to make a film that hopefully an audience would actually feel something—genuinely feel something.”

Resources:

Guests:

Resources Mentioned:

Find No Film School everywhere:


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

]]> 5289 One Last Run in Park City: How to Ski the Treacherous Slopes of Independent Film at Sundance ‘26 In this episode recorded live from the final Sundance Film Festival in Park City, Utah, GG Hawkins is joined by No Film School’s Ryan Koo and Jo Light to commemorate the end of an era. The trio dives into personal memories, the legacy of Robert Redford, and what the future may hold for the festival as it prepares to relocate to Boulder, Colorado. They reflect on how Sundance has supported filmmakers through its labs, how festival culture shapes careers, and the emotional highs and lows of navigating the indie film landscape. GG also shares behind-the-scenes insights from her recent event at Sundance focused on women in the business of film, while offering a candid look at what it really takes to get a film into a top-tier festival. In this episode, No Film School's GG Hawkins, Ryan Koo, and Jo Light discuss... What makes Sundance in Park City so special—and why it's bittersweet to say goodbye The importance of Sundance's labs and the legacy of Robert Redford The emotional impact of community and connection during film festivals GG’s first Sundance as a filmmaker with a feature and her reflections on that journey Advice for filmmakers on submission strategy and post-production polish What types of films stand out at Sundance today: high-concept, star-driven, or uniquely personal Highlights from GG’s industry dinner focused on women in the business of film Thoughts and hopes for the new Sundance location in Boulder, Colorado Memorable Quotes: “The old rules don’t apply and the new rules haven’t been written.” “If it’s not ready, don’t submit yet. Unless Willem Dafoe is in your movie.” “You’re already 99.9% past the obstacles just by making a movie.” “Robert Redford used his power to help others.” Guests: Ryan Koo Jo Light Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 26 Jan 2026 21:36:00 -0000 full No Film School In this episode recorded live from the final Sundance Film Festival in Park City, Utah, GG Hawkins is joined by No Film School’s Ryan Koo and Jo Light to commemorate the end of an era. The trio dives into personal memories, the legacy of Robert Redford, and what the future may hold for the festival as it prepares to relocate to Boulder, Colorado. They reflect on how Sundance has supported filmmakers through its labs, how festival culture shapes careers, and the emotional highs and lows of navigating the indie film landscape. GG also shares behind-the-scenes insights from her recent event at Sundance focused on women in the business of film, while offering a candid look at what it really takes to get a film into a top-tier festival. In this episode, No Film School's GG Hawkins, Ryan Koo, and Jo Light discuss... What makes Sundance in Park City so special—and why it's bittersweet to say goodbye The importance of Sundance's labs and the legacy of Robert Redford The emotional impact of community and connection during film festivals GG’s first Sundance as a filmmaker with a feature and her reflections on that journey Advice for filmmakers on submission strategy and post-production polish What types of films stand out at Sundance today: high-concept, star-driven, or uniquely personal Highlights from GG’s industry dinner focused on women in the business of film Thoughts and hopes for the new Sundance location in Boulder, Colorado Memorable Quotes: “The old rules don’t apply and the new rules haven’t been written.” “If it’s not ready, don’t submit yet. Unless Willem Dafoe is in your movie.” “You’re already 99.9% past the obstacles just by making a movie.” “Robert Redford used his power to help others.” Guests: Ryan Koo Jo Light Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode recorded live from the final Sundance Film Festival in Park City, Utah, GG Hawkins is joined by No Film School’s Ryan Koo and Jo Light to commemorate the end of an era. The trio dives into personal memories, the legacy of Robert Redford, and what the future may hold for the festival as it prepares to relocate to Boulder, Colorado. They reflect on how Sundance has supported filmmakers through its labs, how festival culture shapes careers, and the emotional highs and lows of navigating the indie film landscape. GG also shares behind-the-scenes insights from her recent event at Sundance focused on women in the business of film, while offering a candid look at what it really takes to get a film into a top-tier festival.

In this episode, No Film School's GG Hawkins, Ryan Koo, and Jo Light discuss...

  • What makes Sundance in Park City so special—and why it's bittersweet to say goodbye

  • The importance of Sundance's labs and the legacy of Robert Redford

  • The emotional impact of community and connection during film festivals

  • GG’s first Sundance as a filmmaker with a feature and her reflections on that journey

  • Advice for filmmakers on submission strategy and post-production polish

  • What types of films stand out at Sundance today: high-concept, star-driven, or uniquely personal

  • Highlights from GG’s industry dinner focused on women in the business of film

  • Thoughts and hopes for the new Sundance location in Boulder, Colorado

Memorable Quotes:

  • “The old rules don’t apply and the new rules haven’t been written.”

  • “If it’s not ready, don’t submit yet. Unless Willem Dafoe is in your movie.”

  • “You’re already 99.9% past the obstacles just by making a movie.”

  • “Robert Redford used his power to help others.”

Guests:

Find No Film School everywhere:

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

]]> 2726 The Industry Awakens: What It Means for Your Short‑ And Long‑Term Career January is often perceived as a slow month in Hollywood, but in reality it’s one of the most strategic windows of the year for filmmakers. On this episode, GG Hawkins and guests Ana Liza Muravina and John Lamm unpack how the industry “wakes up” in early 2026, what that means for creative careers, and how artists can structure their time, their projects, and their expectations to thrive amid shifting economic and ecosystem forces. From understanding industry seasonality, permission structures, and macro trends in distribution to practical strategies for developing and releasing work, this conversation offers both mindset shifts and concrete guidance for filmmakers navigating careers in the current landscape. In this episode, No Film School’s GG Hawkins and guests Ana Liza Muravina and John Lamm discuss: Breaking down the idea of a “Hollywood shutdown” and why January becomes a key moment of restart, planning, and opportunity. How to contextually plan your writing year and align creative output with industry cycles (inspired by ideas from Final Draft’s annual planning guide). Why building structure as an independent artist (even without external deadlines) empowers your career and creative focus. “Permission structures” in the industry — what they are, how they shape opportunity, and how filmmakers can navigate or build them. The importance of community, cohorts, and trusted feedback systems for career sustainability and perspective. How macroeconomic forces, consolidation in the streaming market, and attention economy shifts are reshaping how films get financed, distributed, and found. Practical project strategies — from refining scripts based on audience/readers to building a tailored outreach atlas for producers and executives. The value of aligning ambition with realistic pathways — creating work you can make now while aiming for larger goals down the line. Inspiring perspectives on why now may be an era of opportunity for scrappy independent filmmaking. Memorable Quotes: “Most filmmakers think January is slow, but quietly it’s one of the most strategic months of the year.” “It’s one of those weird things … every now and then when I zoom like 10,000 feet back … it’s not necessarily indictment on your art.” “You see it … LA is the concentration of us. It’s artists who are so good at what they do just waiting for someone to give them permission to do what they do well… And the answer generally is unless you decide to stride and do it yourself, no one gives you permission.” “Don’t get too bogged down in the how, the strategy … let’s make movies, y’all. Let’s just do it.” Guests: Ana Liza Muravina John Lamm Resources Mentioned: The Current: Less Chaos, More Momentum (On the Circuit) How to Plan Your Entire Screenwriting Year: A Month-by-Month Guide (Final Draft) Video: Preparing for the Creator Economy Apocalypse (with Chris Gethard) Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 22 Jan 2026 16:00:00 -0000 full No Film School January is often perceived as a slow month in Hollywood, but in reality it’s one of the most strategic windows of the year for filmmakers. On this episode, GG Hawkins and guests Ana Liza Muravina and John Lamm unpack how the industry “wakes up” in early 2026, what that means for creative careers, and how artists can structure their time, their projects, and their expectations to thrive amid shifting economic and ecosystem forces. From understanding industry seasonality, permission structures, and macro trends in distribution to practical strategies for developing and releasing work, this conversation offers both mindset shifts and concrete guidance for filmmakers navigating careers in the current landscape. In this episode, No Film School’s GG Hawkins and guests Ana Liza Muravina and John Lamm discuss: Breaking down the idea of a “Hollywood shutdown” and why January becomes a key moment of restart, planning, and opportunity. How to contextually plan your writing year and align creative output with industry cycles (inspired by ideas from Final Draft’s annual planning guide). Why building structure as an independent artist (even without external deadlines) empowers your career and creative focus. “Permission structures” in the industry — what they are, how they shape opportunity, and how filmmakers can navigate or build them. The importance of community, cohorts, and trusted feedback systems for career sustainability and perspective. How macroeconomic forces, consolidation in the streaming market, and attention economy shifts are reshaping how films get financed, distributed, and found. Practical project strategies — from refining scripts based on audience/readers to building a tailored outreach atlas for producers and executives. The value of aligning ambition with realistic pathways — creating work you can make now while aiming for larger goals down the line. Inspiring perspectives on why now may be an era of opportunity for scrappy independent filmmaking. Memorable Quotes: “Most filmmakers think January is slow, but quietly it’s one of the most strategic months of the year.” “It’s one of those weird things … every now and then when I zoom like 10,000 feet back … it’s not necessarily indictment on your art.” “You see it … LA is the concentration of us. It’s artists who are so good at what they do just waiting for someone to give them permission to do what they do well… And the answer generally is unless you decide to stride and do it yourself, no one gives you permission.” “Don’t get too bogged down in the how, the strategy … let’s make movies, y’all. Let’s just do it.” Guests: Ana Liza Muravina John Lamm Resources Mentioned: The Current: Less Chaos, More Momentum (On the Circuit) How to Plan Your Entire Screenwriting Year: A Month-by-Month Guide (Final Draft) Video: Preparing for the Creator Economy Apocalypse (with Chris Gethard) Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Learn more about your ad choices. Visit megaphone.fm/adchoices January is often perceived as a slow month in Hollywood, but in reality it’s one of the most strategic windows of the year for filmmakers. On this episode, GG Hawkins and guests Ana Liza Muravina and John Lamm unpack how the industry “wakes up” in early 2026, what that means for creative careers, and how artists can structure their time, their projects, and their expectations to thrive amid shifting economic and ecosystem forces. From understanding industry seasonality, permission structures, and macro trends in distribution to practical strategies for developing and releasing work, this conversation offers both mindset shifts and concrete guidance for filmmakers navigating careers in the current landscape.

In this episode, No Film School’s GG Hawkins and guests Ana Liza Muravina and John Lamm discuss:

  • Breaking down the idea of a “Hollywood shutdown” and why January becomes a key moment of restart, planning, and opportunity.

  • How to contextually plan your writing year and align creative output with industry cycles (inspired by ideas from Final Draft’s annual planning guide).

  • Why building structure as an independent artist (even without external deadlines) empowers your career and creative focus.

  • “Permission structures” in the industry — what they are, how they shape opportunity, and how filmmakers can navigate or build them.

  • The importance of community, cohorts, and trusted feedback systems for career sustainability and perspective.

  • How macroeconomic forces, consolidation in the streaming market, and attention economy shifts are reshaping how films get financed, distributed, and found.

  • Practical project strategies — from refining scripts based on audience/readers to building a tailored outreach atlas for producers and executives.

  • The value of aligning ambition with realistic pathways — creating work you can make now while aiming for larger goals down the line.

  • Inspiring perspectives on why now may be an era of opportunity for scrappy independent filmmaking.

Memorable Quotes:

  • “Most filmmakers think January is slow, but quietly it’s one of the most strategic months of the year.”

  • “It’s one of those weird things … every now and then when I zoom like 10,000 feet back … it’s not necessarily indictment on your art.”

  • “You see it … LA is the concentration of us. It’s artists who are so good at what they do just waiting for someone to give them permission to do what they do well… And the answer generally is unless you decide to stride and do it yourself, no one gives you permission.”

  • “Don’t get too bogged down in the how, the strategy … let’s make movies, y’all. Let’s just do it.”

Guests:

Resources Mentioned:

Find No Film School everywhere:


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

]]> 3160 Breaking Down a Doc Fest Run: Process, People, and Payoff In this episode, Charles Haine sits down with documentary co-directors Geneva Peschka and Anna Andersen to discuss their latest project The Solace of Sisterhood, which recently premiered at Tribeca. The conversation dives deep into the ethics of documentary filmmaking, how they found and built trust with their subjects—the Caramel Curves, a New Orleans-based all-female motorcycle club—and how they navigated a successful festival run. From storytelling intention to set culture, the team shares their collaborative journey in bringing vulnerability, softness, and strength to the screen. In this episode, No Film School's Charles Haine and guests discuss... How Geneva and Anna met and began their creative partnership Their journey developing The Solace of Sisterhood and pitching it to Fujifilm Building trust and a safe space for documentary subjects How bringing in co-founder True’s daughter, Skye, as a camera operator deepened the film The evolving importance of ethical statements in festival submissions Shifting set culture to prioritize respect, connection, and vulnerability Working with the Fujifilm GFX100 and achieving a cinematic, soft visual tone The emotional highs and logistical challenges of their festival journey, including premiering at Tribeca Memorable Quotes: "It starts for us on set—how people come together and how we approach one another and hold space for each other." "Documentary inherently asks so much out of our participants... it’s a job you have to do with integrity and with ethics." "You’re changing who’s telling the story... you’re letting them know they are a part of their narrative, as they should be." "Filmmaking can be very lonely... but we are each other's strengths." Guests: Geneva Peschka Anna Andersen Resources: The Solace of Sisterhood – Tribeca 2024 Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 15 Jan 2026 16:00:00 -0000 full No Film School In this episode, Charles Haine sits down with documentary co-directors Geneva Peschka and Anna Andersen to discuss their latest project The Solace of Sisterhood, which recently premiered at Tribeca. The conversation dives deep into the ethics of documentary filmmaking, how they found and built trust with their subjects—the Caramel Curves, a New Orleans-based all-female motorcycle club—and how they navigated a successful festival run. From storytelling intention to set culture, the team shares their collaborative journey in bringing vulnerability, softness, and strength to the screen. In this episode, No Film School's Charles Haine and guests discuss... How Geneva and Anna met and began their creative partnership Their journey developing The Solace of Sisterhood and pitching it to Fujifilm Building trust and a safe space for documentary subjects How bringing in co-founder True’s daughter, Skye, as a camera operator deepened the film The evolving importance of ethical statements in festival submissions Shifting set culture to prioritize respect, connection, and vulnerability Working with the Fujifilm GFX100 and achieving a cinematic, soft visual tone The emotional highs and logistical challenges of their festival journey, including premiering at Tribeca Memorable Quotes: "It starts for us on set—how people come together and how we approach one another and hold space for each other." "Documentary inherently asks so much out of our participants... it’s a job you have to do with integrity and with ethics." "You’re changing who’s telling the story... you’re letting them know they are a part of their narrative, as they should be." "Filmmaking can be very lonely... but we are each other's strengths." Guests: Geneva Peschka Anna Andersen Resources: The Solace of Sisterhood – Tribeca 2024 Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, Charles Haine sits down with documentary co-directors Geneva Peschka and Anna Andersen to discuss their latest project The Solace of Sisterhood, which recently premiered at Tribeca. The conversation dives deep into the ethics of documentary filmmaking, how they found and built trust with their subjects—the Caramel Curves, a New Orleans-based all-female motorcycle club—and how they navigated a successful festival run. From storytelling intention to set culture, the team shares their collaborative journey in bringing vulnerability, softness, and strength to the screen.

In this episode, No Film School's Charles Haine and guests discuss...

  • How Geneva and Anna met and began their creative partnership

  • Their journey developing The Solace of Sisterhood and pitching it to Fujifilm

  • Building trust and a safe space for documentary subjects

  • How bringing in co-founder True’s daughter, Skye, as a camera operator deepened the film

  • The evolving importance of ethical statements in festival submissions

  • Shifting set culture to prioritize respect, connection, and vulnerability

  • Working with the Fujifilm GFX100 and achieving a cinematic, soft visual tone

  • The emotional highs and logistical challenges of their festival journey, including premiering at Tribeca

Memorable Quotes:

  • "It starts for us on set—how people come together and how we approach one another and hold space for each other."

  • "Documentary inherently asks so much out of our participants... it’s a job you have to do with integrity and with ethics."

  • "You’re changing who’s telling the story... you’re letting them know they are a part of their narrative, as they should be."

  • "Filmmaking can be very lonely... but we are each other's strengths."

Guests:

Resources:

Find No Film School everywhere:

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

]]> 2223 Why Film Culture Still Needs Physical Spaces: A Case Study of Vidiots This episode of the No Film School Podcast dives deep into the power and necessity of physical spaces in modern film culture. Host GG Hawkins sits down with Maggie Mackay, Executive Director and board member of Vidiots—a beloved LA video store-turned-nonprofit cultural institution. They explore the origins and revival of Vidiots, what it takes to build a sustainable, audience-centered film space in a digital world, and why community, curation, and accessibility matter more than ever. It’s a moving, behind-the-scenes look at how passion, resilience, and radical thinking can reshape the future of cinema spaces. In this episode, No Film School's GG Hawkins and guest Maggie Mackay discuss... The emotional and communal value of physical film spaces How Maggie revived Vidiots through radical reimagining and persistence The challenges of creating a nonprofit, sustainable film hub Why the video store experience is still relevant to new generations How partnerships and collaboration helped save and relaunch Vidiots Building an audience-first, equitable business model Creating spaces where younger and older generations can discover film together Memorable Quotes: "Holy shit, what are we letting disappear on us?" "You can deep dive in ways in a video store that you can't in any other way." "Seeing kids grow up in the video store… it's the highlight of my career." "Think about doing the risky, crazy thing… and call us if you want to figure out how to make it happen." Guests: Maggie Mackay (IMDb) Resources: Indie Empire Use code GG25 for 25% off the Micro Budget Mindset course with GG Hawkins Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 09 Jan 2026 16:00:00 -0000 full No Film School This episode of the No Film School Podcast dives deep into the power and necessity of physical spaces in modern film culture. Host GG Hawkins sits down with Maggie Mackay, Executive Director and board member of Vidiots—a beloved LA video store-turned-nonprofit cultural institution. They explore the origins and revival of Vidiots, what it takes to build a sustainable, audience-centered film space in a digital world, and why community, curation, and accessibility matter more than ever. It’s a moving, behind-the-scenes look at how passion, resilience, and radical thinking can reshape the future of cinema spaces. In this episode, No Film School's GG Hawkins and guest Maggie Mackay discuss... The emotional and communal value of physical film spaces How Maggie revived Vidiots through radical reimagining and persistence The challenges of creating a nonprofit, sustainable film hub Why the video store experience is still relevant to new generations How partnerships and collaboration helped save and relaunch Vidiots Building an audience-first, equitable business model Creating spaces where younger and older generations can discover film together Memorable Quotes: "Holy shit, what are we letting disappear on us?" "You can deep dive in ways in a video store that you can't in any other way." "Seeing kids grow up in the video store… it's the highlight of my career." "Think about doing the risky, crazy thing… and call us if you want to figure out how to make it happen." Guests: Maggie Mackay (IMDb) Resources: Indie Empire Use code GG25 for 25% off the Micro Budget Mindset course with GG Hawkins Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices This episode of the No Film School Podcast dives deep into the power and necessity of physical spaces in modern film culture. Host GG Hawkins sits down with Maggie Mackay, Executive Director and board member of Vidiots—a beloved LA video store-turned-nonprofit cultural institution. They explore the origins and revival of Vidiots, what it takes to build a sustainable, audience-centered film space in a digital world, and why community, curation, and accessibility matter more than ever. It’s a moving, behind-the-scenes look at how passion, resilience, and radical thinking can reshape the future of cinema spaces.

In this episode, No Film School's GG Hawkins and guest Maggie Mackay discuss...

  • The emotional and communal value of physical film spaces

  • How Maggie revived Vidiots through radical reimagining and persistence

  • The challenges of creating a nonprofit, sustainable film hub

  • Why the video store experience is still relevant to new generations

  • How partnerships and collaboration helped save and relaunch Vidiots

  • Building an audience-first, equitable business model

  • Creating spaces where younger and older generations can discover film together

Memorable Quotes:

  • "Holy shit, what are we letting disappear on us?"

  • "You can deep dive in ways in a video store that you can't in any other way."

  • "Seeing kids grow up in the video store… it's the highlight of my career."

  • "Think about doing the risky, crazy thing… and call us if you want to figure out how to make it happen."

Guests:

Resources:

Find No Film School everywhere:

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

]]> 2785 How a Film Score Actually Gets Made (Step by Step) & Pete Ohs’ Distribution Experiment of 2026 This episode of the No Film School Podcast features two conversations. First, host GG Hawkins reunites with filmmaker Pete Ohs, who returns to share the unique distribution experiment he’s launching with four films releasing throughout 2026. He reflects on his “table of bubbles” filmmaking philosophy and his desire to find joy instead of stress in the release process. Later, GG is joined by composer Hollie Buhagiar, whose original score for GG’s debut feature I Really Love My Husband is now out. They break down their collaborative process in detail, from early cue drafts to the film’s final emotional moments, revealing how bird calls, pitch-shifted vocals, and “surf rock” found their way into the film’s DNA. In this episode, No Film School's GG Hawkins and guests discuss... Pete Ohs’ philosophy of “table of bubbles” and how it’s guiding his 2026 film distribution approach Why Pete is using a different distribution strategy for each of his four new films What feels broken about indie film distribution today — and how to approach it differently Hollie Buhagiar’s journey into composing and her intuitive, emotion-driven scoring method The evolution of the score for I Really Love My Husband, including early drafts and final cues How creative freedom, happy accidents, and imperfect instruments brought the film to life The importance of developing a shared language between director and composer Memorable Quotes: "The films are a table made of bubbles. They cannot support anything." "The biggest result is just — is this fun?" "What's a convincing note?” "With great power comes great responsibility — even for the piano." Guests: Pete Ohs Hollie Buhagiar Resources: Pete's original pod interview Score for I Really Love My Husband on Spotify Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 01 Jan 2026 16:00:00 -0000 full No Film School This episode of the No Film School Podcast features two conversations. First, host GG Hawkins reunites with filmmaker Pete Ohs, who returns to share the unique distribution experiment he’s launching with four films releasing throughout 2026. He reflects on his “table of bubbles” filmmaking philosophy and his desire to find joy instead of stress in the release process. Later, GG is joined by composer Hollie Buhagiar, whose original score for GG’s debut feature I Really Love My Husband is now out. They break down their collaborative process in detail, from early cue drafts to the film’s final emotional moments, revealing how bird calls, pitch-shifted vocals, and “surf rock” found their way into the film’s DNA. In this episode, No Film School's GG Hawkins and guests discuss... Pete Ohs’ philosophy of “table of bubbles” and how it’s guiding his 2026 film distribution approach Why Pete is using a different distribution strategy for each of his four new films What feels broken about indie film distribution today — and how to approach it differently Hollie Buhagiar’s journey into composing and her intuitive, emotion-driven scoring method The evolution of the score for I Really Love My Husband, including early drafts and final cues How creative freedom, happy accidents, and imperfect instruments brought the film to life The importance of developing a shared language between director and composer Memorable Quotes: "The films are a table made of bubbles. They cannot support anything." "The biggest result is just — is this fun?" "What's a convincing note?” "With great power comes great responsibility — even for the piano." Guests: Pete Ohs Hollie Buhagiar Resources: Pete's original pod interview Score for I Really Love My Husband on Spotify Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices This episode of the No Film School Podcast features two conversations. First, host GG Hawkins reunites with filmmaker Pete Ohs, who returns to share the unique distribution experiment he’s launching with four films releasing throughout 2026. He reflects on his “table of bubbles” filmmaking philosophy and his desire to find joy instead of stress in the release process. Later, GG is joined by composer Hollie Buhagiar, whose original score for GG’s debut feature I Really Love My Husband is now out. They break down their collaborative process in detail, from early cue drafts to the film’s final emotional moments, revealing how bird calls, pitch-shifted vocals, and “surf rock” found their way into the film’s DNA.

In this episode, No Film School's GG Hawkins and guests discuss...

  • Pete Ohs’ philosophy of “table of bubbles” and how it’s guiding his 2026 film distribution approach

  • Why Pete is using a different distribution strategy for each of his four new films

  • What feels broken about indie film distribution today — and how to approach it differently

  • Hollie Buhagiar’s journey into composing and her intuitive, emotion-driven scoring method

  • The evolution of the score for I Really Love My Husband, including early drafts and final cues

  • How creative freedom, happy accidents, and imperfect instruments brought the film to life

  • The importance of developing a shared language between director and composer

Memorable Quotes:

  • "The films are a table made of bubbles. They cannot support anything."

  • "The biggest result is just — is this fun?"

  • "What's a convincing note?”

  • "With great power comes great responsibility — even for the piano."

Guests:

Resources:

Find No Film School everywhere:

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

]]> 4526 Your Movie Is Out In The World. Now What? In this episode, the tables are turned as No Film School host GG Hawkins becomes the interviewee, speaking with No Film School founder Ryan Koo about the journey of releasing her micro-budget feature I Really Love My Husband. The episode dives into the emotional, logistical, and marketing challenges of putting an independent film into the world after festival premieres and securing distribution. GG shares the lessons she’s learned, the unexpected hurdles she’s faced, and the importance of personal PR, audience-building, and staying true to your creative voice—especially when your movie doesn’t follow traditional paths or genres. In this episode, No Film School’s Ryan Koo and GG Hawkins discuss... The overwhelming and technical process of delivering a film to distributors and platforms How to strategically approach festival and release PR, including budgeting and outreach The importance of having a “community producer” to build your audience from day one Lessons learned from critical feedback, press rejections, and audience reactions How to navigate marketing when your film doesn’t fit neatly into genre boxes The value of making work that represents your voice—even if it’s not a commercial hit What filmmakers should always be working on while waiting for the "yes" from the industry Memorable Quotes: "I would rather make something that makes people feel things one way or the other versus sort of like a lukewarm back." "The only way to know how to make a movie is to make a movie... and then make another." "Greenlight yourself. That is the most important thing any of us can be doing." "It is not the time to pinch pennies... this is the time to spend it.” Resources: How to Write a Movie that Shoots in Three Months You’re Picture Locked. Now What? (Plus Dir. Ruben Fleischer!) Filmmaker’s Guide to SXSW: Tips, Takeaways, Tough Lessons Watch I Really Love My Husband: Apple Amazon Google Play and more Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Sat, 27 Dec 2025 19:38:00 -0000 full No Film School In this episode, the tables are turned as No Film School host GG Hawkins becomes the interviewee, speaking with No Film School founder Ryan Koo about the journey of releasing her micro-budget feature I Really Love My Husband. The episode dives into the emotional, logistical, and marketing challenges of putting an independent film into the world after festival premieres and securing distribution. GG shares the lessons she’s learned, the unexpected hurdles she’s faced, and the importance of personal PR, audience-building, and staying true to your creative voice—especially when your movie doesn’t follow traditional paths or genres. In this episode, No Film School’s Ryan Koo and GG Hawkins discuss... The overwhelming and technical process of delivering a film to distributors and platforms How to strategically approach festival and release PR, including budgeting and outreach The importance of having a “community producer” to build your audience from day one Lessons learned from critical feedback, press rejections, and audience reactions How to navigate marketing when your film doesn’t fit neatly into genre boxes The value of making work that represents your voice—even if it’s not a commercial hit What filmmakers should always be working on while waiting for the "yes" from the industry Memorable Quotes: "I would rather make something that makes people feel things one way or the other versus sort of like a lukewarm back." "The only way to know how to make a movie is to make a movie... and then make another." "Greenlight yourself. That is the most important thing any of us can be doing." "It is not the time to pinch pennies... this is the time to spend it.” Resources: How to Write a Movie that Shoots in Three Months You’re Picture Locked. Now What? (Plus Dir. Ruben Fleischer!) Filmmaker’s Guide to SXSW: Tips, Takeaways, Tough Lessons Watch I Really Love My Husband: Apple Amazon Google Play and more Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, the tables are turned as No Film School host GG Hawkins becomes the interviewee, speaking with No Film School founder Ryan Koo about the journey of releasing her micro-budget feature I Really Love My Husband. The episode dives into the emotional, logistical, and marketing challenges of putting an independent film into the world after festival premieres and securing distribution. GG shares the lessons she’s learned, the unexpected hurdles she’s faced, and the importance of personal PR, audience-building, and staying true to your creative voice—especially when your movie doesn’t follow traditional paths or genres.

In this episode, No Film School’s Ryan Koo and GG Hawkins discuss...

  • The overwhelming and technical process of delivering a film to distributors and platforms

  • How to strategically approach festival and release PR, including budgeting and outreach

  • The importance of having a “community producer” to build your audience from day one

  • Lessons learned from critical feedback, press rejections, and audience reactions

  • How to navigate marketing when your film doesn’t fit neatly into genre boxes

  • The value of making work that represents your voice—even if it’s not a commercial hit

  • What filmmakers should always be working on while waiting for the "yes" from the industry

Memorable Quotes:

  • "I would rather make something that makes people feel things one way or the other versus sort of like a lukewarm back."

  • "The only way to know how to make a movie is to make a movie... and then make another."

  • "Greenlight yourself. That is the most important thing any of us can be doing."

  • "It is not the time to pinch pennies... this is the time to spend it.”

Resources:

Find No Film School everywhere:

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

]]> 3929 How 'The Plague' Perfected the Horror of Growing Up Host GG Hawkins sits down with filmmaker Charlie Polinger to unpack the making of his debut feature, The Plague. Polinger discusses his transition from theater to film, the personal childhood memories that shaped the story, and how embracing chaos—rather than controlling it—became central to his directing process. From casting an electrifying ensemble of young actors to shaping dread through sound design and editing, the conversation explores how specificity, vulnerability, and trust can turn a coming-of-age story into psychological horror. In this episode, No Film School's GG Hawkins and guest discuss… Transitioning from theater directing to feature filmmaking Drawing from childhood memory to create visceral, psychological horror Why a boys’ water polo camp became the perfect contained setting Casting and directing a large ensemble of young actors Letting location do the storytelling heavy lifting Embracing chaos on set instead of fighting it Building anxiety through sound design and post-production rhythm Hands-on collaboration in the edit and score development Advice for emerging filmmakers on making work consistently Memorable Quotes: “I just wanted to create a really kind of visceral, subjective, psychological experience of being a 12-year-old boy.” “There’s strategy built into the cruelty and the violence and getting away with it—and that felt really ripe cinematically. “The space is sort of like a character in this film.” “The more I put out into the world, the more that the world gave back.” Guest: Charlie Polinger Resources: The Plague EP by Lexi Tannenholtz on Cannes first-timers: A First-Timer’s Guide to the Cannes Film Festival Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 24 Dec 2025 16:23:00 -0000 full No Film School Host GG Hawkins sits down with filmmaker Charlie Polinger to unpack the making of his debut feature, The Plague. Polinger discusses his transition from theater to film, the personal childhood memories that shaped the story, and how embracing chaos—rather than controlling it—became central to his directing process. From casting an electrifying ensemble of young actors to shaping dread through sound design and editing, the conversation explores how specificity, vulnerability, and trust can turn a coming-of-age story into psychological horror. In this episode, No Film School's GG Hawkins and guest discuss… Transitioning from theater directing to feature filmmaking Drawing from childhood memory to create visceral, psychological horror Why a boys’ water polo camp became the perfect contained setting Casting and directing a large ensemble of young actors Letting location do the storytelling heavy lifting Embracing chaos on set instead of fighting it Building anxiety through sound design and post-production rhythm Hands-on collaboration in the edit and score development Advice for emerging filmmakers on making work consistently Memorable Quotes: “I just wanted to create a really kind of visceral, subjective, psychological experience of being a 12-year-old boy.” “There’s strategy built into the cruelty and the violence and getting away with it—and that felt really ripe cinematically. “The space is sort of like a character in this film.” “The more I put out into the world, the more that the world gave back.” Guest: Charlie Polinger Resources: The Plague EP by Lexi Tannenholtz on Cannes first-timers: A First-Timer’s Guide to the Cannes Film Festival Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Host GG Hawkins sits down with filmmaker Charlie Polinger to unpack the making of his debut feature, The Plague. Polinger discusses his transition from theater to film, the personal childhood memories that shaped the story, and how embracing chaos—rather than controlling it—became central to his directing process. From casting an electrifying ensemble of young actors to shaping dread through sound design and editing, the conversation explores how specificity, vulnerability, and trust can turn a coming-of-age story into psychological horror.

In this episode, No Film School's GG Hawkins and guest discuss…

  • Transitioning from theater directing to feature filmmaking

  • Drawing from childhood memory to create visceral, psychological horror

  • Why a boys’ water polo camp became the perfect contained setting

  • Casting and directing a large ensemble of young actors

  • Letting location do the storytelling heavy lifting

  • Embracing chaos on set instead of fighting it

  • Building anxiety through sound design and post-production rhythm

  • Hands-on collaboration in the edit and score development

  • Advice for emerging filmmakers on making work consistently

Memorable Quotes:

  • “I just wanted to create a really kind of visceral, subjective, psychological experience of being a 12-year-old boy.”

  • “There’s strategy built into the cruelty and the violence and getting away with it—and that felt really ripe cinematically.

  • “The space is sort of like a character in this film.”

  • “The more I put out into the world, the more that the world gave back.”

Guest:

Resources:

Find No Film School everywhere:

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

]]> 2613 One Lens, One Vision: The Cinematography of 'The Creator' In this episode, host Charles Haine sits down with cinematographer Oren Soffer to dive deep into the groundbreaking and much-discussed visual style of The Creator. As the co-DP alongside Greig Fraser, Soffer shares how they achieved the film’s unique aesthetic using a prosumer Sony FX3 camera, a single vintage lens, and a minimalist, indie-inspired production model. This discussion covers everything from lighting choices and VFX collaboration to gear workflows and lens testing, offering an in-depth look at how one of the year's most visually striking sci-fi films was crafted. In this episode, No Film School's Charles Haine and guest Oren Soffer discuss... How Oren Soffer became co-DP on The Creator alongside Greig Fraser The decision to shoot 95% of the film on one vintage 75mm Kowa anamorphic lens Using the Sony FX3 with an Atomos Ninja for ProRes RAW capture The benefits of designing visual effects around photography rather than the reverse Lighting choices inspired by naturalism and a small-footprint, indie ethos The influence of films like Baraka and Rogue One on the visual approach Operating with a nimble crew and custom-built gimbal rigs Remote collaboration between Soffer, Fraser, and director Gareth Edwards The impact of location shooting across Southeast Asia Memorable Quotes: "We shot 95 percent of the movie on a single focal length, which is the Kowa Cine Prominar... you're baking the look into the image." "The way to make visual effects feel more real is to let the photography lead." "We wanted to shoot this big movie as if it’s this tiny road movie." "It was an indie film with a 90-day shoot schedule and a full stunt team... but the filmmaking process itself felt really scrappy in the best way possible." Guest: Oren Soffer Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Sun, 21 Dec 2025 16:00:00 -0000 full No Film School In this episode, host Charles Haine sits down with cinematographer Oren Soffer to dive deep into the groundbreaking and much-discussed visual style of The Creator. As the co-DP alongside Greig Fraser, Soffer shares how they achieved the film’s unique aesthetic using a prosumer Sony FX3 camera, a single vintage lens, and a minimalist, indie-inspired production model. This discussion covers everything from lighting choices and VFX collaboration to gear workflows and lens testing, offering an in-depth look at how one of the year's most visually striking sci-fi films was crafted. In this episode, No Film School's Charles Haine and guest Oren Soffer discuss... How Oren Soffer became co-DP on The Creator alongside Greig Fraser The decision to shoot 95% of the film on one vintage 75mm Kowa anamorphic lens Using the Sony FX3 with an Atomos Ninja for ProRes RAW capture The benefits of designing visual effects around photography rather than the reverse Lighting choices inspired by naturalism and a small-footprint, indie ethos The influence of films like Baraka and Rogue One on the visual approach Operating with a nimble crew and custom-built gimbal rigs Remote collaboration between Soffer, Fraser, and director Gareth Edwards The impact of location shooting across Southeast Asia Memorable Quotes: "We shot 95 percent of the movie on a single focal length, which is the Kowa Cine Prominar... you're baking the look into the image." "The way to make visual effects feel more real is to let the photography lead." "We wanted to shoot this big movie as if it’s this tiny road movie." "It was an indie film with a 90-day shoot schedule and a full stunt team... but the filmmaking process itself felt really scrappy in the best way possible." Guest: Oren Soffer Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, host Charles Haine sits down with cinematographer Oren Soffer to dive deep into the groundbreaking and much-discussed visual style of The Creator. As the co-DP alongside Greig Fraser, Soffer shares how they achieved the film’s unique aesthetic using a prosumer Sony FX3 camera, a single vintage lens, and a minimalist, indie-inspired production model. This discussion covers everything from lighting choices and VFX collaboration to gear workflows and lens testing, offering an in-depth look at how one of the year's most visually striking sci-fi films was crafted.

In this episode, No Film School's Charles Haine and guest Oren Soffer discuss...

  • How Oren Soffer became co-DP on The Creator alongside Greig Fraser

  • The decision to shoot 95% of the film on one vintage 75mm Kowa anamorphic lens

  • Using the Sony FX3 with an Atomos Ninja for ProRes RAW capture

  • The benefits of designing visual effects around photography rather than the reverse

  • Lighting choices inspired by naturalism and a small-footprint, indie ethos

  • The influence of films like Baraka and Rogue One on the visual approach

  • Operating with a nimble crew and custom-built gimbal rigs

  • Remote collaboration between Soffer, Fraser, and director Gareth Edwards

  • The impact of location shooting across Southeast Asia

Memorable Quotes:

  • "We shot 95 percent of the movie on a single focal length, which is the Kowa Cine Prominar... you're baking the look into the image."

  • "The way to make visual effects feel more real is to let the photography lead."

  • "We wanted to shoot this big movie as if it’s this tiny road movie."

  • "It was an indie film with a 90-day shoot schedule and a full stunt team... but the filmmaking process itself felt really scrappy in the best way possible."

Guest:

Find No Film School everywhere:

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

]]> 3497 How Earning an Actor’s Trust as a Director Can Drive Your Career Allan Ungar started directing features at just 23 and has since evolved into a filmmaker known for his action-comedy chops and ability to elicit career-best performances from his actors. In this episode, he sits down with No Film School host, GG Hawkins, to discuss how his approach has matured from rigid control to meaningful collaboration, why psychological insight is essential for directors, and how to create an environment where actors can thrive. From early experiments with camcorders to directing viral hits and the critically acclaimed Bandit and London Calling, Ungar shares a masterclass in the art and strategy of long-term career building in film. In this episode, No Film School's GG Hawkins and guest Allan Ungar discuss... Why understanding actor psychology is key to strong performances How Ungar transitioned from controlling sets to creating collaborative environments Techniques to push actors without breaking trust The evolution of Ungar’s directing style across films like Bandit and London Calling Building a career in chapters and managing “hurry up and wait” downtime Why creating your own opportunities is essential in today’s film landscape The importance of casting actors who can improvise and bring ideas How to know when a joke or moment fits the tone of a scene Advice for emerging filmmakers navigating their first projects Memorable Quotes: "Directing is more than just a creative outlet. You have to be good with people." "To be a filmmaker that's in control, you have to let go of control." "I leave no stone unturned. If I don't feel like I have it, I will push until we have it." "You have to figure out how to greenlight yourself." Guest: Allan Ungar Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 18 Dec 2025 16:00:00 -0000 full No Film School Allan Ungar started directing features at just 23 and has since evolved into a filmmaker known for his action-comedy chops and ability to elicit career-best performances from his actors. In this episode, he sits down with No Film School host, GG Hawkins, to discuss how his approach has matured from rigid control to meaningful collaboration, why psychological insight is essential for directors, and how to create an environment where actors can thrive. From early experiments with camcorders to directing viral hits and the critically acclaimed Bandit and London Calling, Ungar shares a masterclass in the art and strategy of long-term career building in film. In this episode, No Film School's GG Hawkins and guest Allan Ungar discuss... Why understanding actor psychology is key to strong performances How Ungar transitioned from controlling sets to creating collaborative environments Techniques to push actors without breaking trust The evolution of Ungar’s directing style across films like Bandit and London Calling Building a career in chapters and managing “hurry up and wait” downtime Why creating your own opportunities is essential in today’s film landscape The importance of casting actors who can improvise and bring ideas How to know when a joke or moment fits the tone of a scene Advice for emerging filmmakers navigating their first projects Memorable Quotes: "Directing is more than just a creative outlet. You have to be good with people." "To be a filmmaker that's in control, you have to let go of control." "I leave no stone unturned. If I don't feel like I have it, I will push until we have it." "You have to figure out how to greenlight yourself." Guest: Allan Ungar Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Allan Ungar started directing features at just 23 and has since evolved into a filmmaker known for his action-comedy chops and ability to elicit career-best performances from his actors. In this episode, he sits down with No Film School host, GG Hawkins, to discuss how his approach has matured from rigid control to meaningful collaboration, why psychological insight is essential for directors, and how to create an environment where actors can thrive. From early experiments with camcorders to directing viral hits and the critically acclaimed Bandit and London Calling, Ungar shares a masterclass in the art and strategy of long-term career building in film.

In this episode, No Film School's GG Hawkins and guest Allan Ungar discuss...

  • Why understanding actor psychology is key to strong performances

  • How Ungar transitioned from controlling sets to creating collaborative environments

  • Techniques to push actors without breaking trust

  • The evolution of Ungar’s directing style across films like Bandit and London Calling

  • Building a career in chapters and managing “hurry up and wait” downtime

  • Why creating your own opportunities is essential in today’s film landscape

  • The importance of casting actors who can improvise and bring ideas

  • How to know when a joke or moment fits the tone of a scene

  • Advice for emerging filmmakers navigating their first projects

Memorable Quotes:

  • "Directing is more than just a creative outlet. You have to be good with people."

  • "To be a filmmaker that's in control, you have to let go of control."

  • "I leave no stone unturned. If I don't feel like I have it, I will push until we have it."

  • "You have to figure out how to greenlight yourself."

Guest:

Find No Film School everywhere:

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

]]> 3205 From Book to Big Screen: Rebecca Sonnenshine’s Adaptation Playbook (The Housemaid, The Boys) Screenwriter and showrunner Rebecca Sonnenshine joins the No Film School Podcast to unpack her career and creative process behind hit adaptations including The Boys and The Housemaid. She shares how she got her start, how she discovered her voice in genre, and the intense pitch process behind landing The Housemaid. Rebecca also offers practical advice for writing contained stories, building a compelling script from source material, and creating work that audiences actually want to watch. She shares how she got her start, how she discovered her voice in genre, and the intense pitch process behind landing The Housemaid. Rebecca also offers practical advice for writing contained stories, building a compelling script from source material, and creating work that audiences actually want to watch. In this episode, No Film School's GG Hawkins and guest Rebecca Sonnenshine discuss... How Rebecca’s early jobs and script coverage experience helped her become a screenwriter Why she embraced genre writing and how her perspective as a woman informs her work The pitch process for adapting The Housemaid, and how she knew it was the right fit How she avoids voiceover and instead finds cinematic ways to externalize internal character thoughts The importance of blocking and movement when writing contained, single-location stories Her writing habits: page goals, scene sketching, talking out dialogue, and more What filmmakers can learn from writing bottle episodes or adapting material Why thinking about your audience is key to writing something people actually want to watch Memorable Quotes: "I read something and it either clicks or it doesn’t." "Pitching… takes a long time. You need all the twists and turns… but not more than 28 minutes." "I don’t love voiceover. So I had to find a device in which we could get some of their thoughts out." "Blocking is everything. If you’re not thinking about blocking while you’re writing, then you’re doing your project a disservice." Guests: Rebecca Sonnenshine Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 12 Dec 2025 16:00:00 -0000 full No Film School Screenwriter and showrunner Rebecca Sonnenshine joins the No Film School Podcast to unpack her career and creative process behind hit adaptations including The Boys and The Housemaid. She shares how she got her start, how she discovered her voice in genre, and the intense pitch process behind landing The Housemaid. Rebecca also offers practical advice for writing contained stories, building a compelling script from source material, and creating work that audiences actually want to watch. She shares how she got her start, how she discovered her voice in genre, and the intense pitch process behind landing The Housemaid. Rebecca also offers practical advice for writing contained stories, building a compelling script from source material, and creating work that audiences actually want to watch. In this episode, No Film School's GG Hawkins and guest Rebecca Sonnenshine discuss... How Rebecca’s early jobs and script coverage experience helped her become a screenwriter Why she embraced genre writing and how her perspective as a woman informs her work The pitch process for adapting The Housemaid, and how she knew it was the right fit How she avoids voiceover and instead finds cinematic ways to externalize internal character thoughts The importance of blocking and movement when writing contained, single-location stories Her writing habits: page goals, scene sketching, talking out dialogue, and more What filmmakers can learn from writing bottle episodes or adapting material Why thinking about your audience is key to writing something people actually want to watch Memorable Quotes: "I read something and it either clicks or it doesn’t." "Pitching… takes a long time. You need all the twists and turns… but not more than 28 minutes." "I don’t love voiceover. So I had to find a device in which we could get some of their thoughts out." "Blocking is everything. If you’re not thinking about blocking while you’re writing, then you’re doing your project a disservice." Guests: Rebecca Sonnenshine Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Screenwriter and showrunner Rebecca Sonnenshine joins the No Film School Podcast to unpack her career and creative process behind hit adaptations including The Boys and The Housemaid. She shares how she got her start, how she discovered her voice in genre, and the intense pitch process behind landing The Housemaid. Rebecca also offers practical advice for writing contained stories, building a compelling script from source material, and creating work that audiences actually want to watch. She shares how she got her start, how she discovered her voice in genre, and the intense pitch process behind landing The Housemaid. Rebecca also offers practical advice for writing contained stories, building a compelling script from source material, and creating work that audiences actually want to watch.

In this episode, No Film School's GG Hawkins and guest Rebecca Sonnenshine discuss...

  • How Rebecca’s early jobs and script coverage experience helped her become a screenwriter

  • Why she embraced genre writing and how her perspective as a woman informs her work

  • The pitch process for adapting The Housemaid, and how she knew it was the right fit

  • How she avoids voiceover and instead finds cinematic ways to externalize internal character thoughts

  • The importance of blocking and movement when writing contained, single-location stories

  • Her writing habits: page goals, scene sketching, talking out dialogue, and more

  • What filmmakers can learn from writing bottle episodes or adapting material

  • Why thinking about your audience is key to writing something people actually want to watch

Memorable Quotes:

  • "I read something and it either clicks or it doesn’t."

  • "Pitching… takes a long time. You need all the twists and turns… but not more than 28 minutes."

  • "I don’t love voiceover. So I had to find a device in which we could get some of their thoughts out."

  • "Blocking is everything. If you’re not thinking about blocking while you’re writing, then you’re doing your project a disservice."

Guests:

Find No Film School everywhere:

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

]]> 2538 David Zaslav Will Make Nearly $1 Billion From Selling Warner Bros. to Netflix (or Paramount). How Much Will Filmmakers Make? In this episode, No Film School founder Ryan Koo and host GG Hawkins, along with producer and guest Ana Liza Muravina, dig into the ramifications of the news that Netflix is bidding (or may be outbid by Paramount) to acquire Warner Brothers — and what this massive consolidation could mean for the future of theatrical film, streaming, and the livelihoods of filmmakers. In this episode, No Film School's Ryan Koo, GG Hawkins, and guest Ana Liza Muravina discuss... How theatrical attendance has been in decline for decades, long before COVID — from the post–World War II boom through the arrival of television, home video, and streaming. Why the recent surge in acquisitions and mergers (from Comcast/Universal, Disney/Fox, Amazon/MGM, to the potential Netflix–Warner deal) spells trouble for market competition in both production and distribution. What consolidation means for filmmakers trying to get projects financed and sold — fewer buyers, fewer distribution windows, and diminished bidding wars that once supported indie and mid‑budget films. The potential financial upside for studios and executives (like David Zaslav), contrasted with the limited upside — or none — for writers, directors, actors, and other creative laborers. The possible benefits of global streaming platforms: ability to reach worldwide audiences, support for diverse or niche stories (e.g., a basketball movie about a young Black player), and access for filmmakers outside traditional Hollywood systems. How now more than ever filmmakers might need to pivot: embrace scrappy, independent means of production/distribution, build creative communities, and consider alternate funding — rather than relying on traditional studio financing and residual structures. That this may be a painful but necessary transition: the collapse of one ecosystem could open space for a new kind of filmmaking — more distinct voices, counterculture, experimentation, and potentially a new model for how films get made and distributed. Memorable Quotes: “I pitched my Netflix movie 80 times — I got 79 no’s and I got one yes.” “In a world where all the ways in which my piece of content can be exploited … are concentrated, it forces you to think about what are the other sources.” “You hit pause, you hibernate for a minute … and you don’t feel like that’s the end of the freaking world.” “This is the math all of us are doing all the time … If you follow one person benefiting to the tune of a billion dollars … from the sale of a company … it tells you exactly why so many people had to leave L.A…” Guests: Ana Liza Muravina Resources: Ana Liza's Previous No Film School Appearance 'Prince of Broadway' Director Sean Baker on No-Budget Filmmaking, Improvisation, and Long Release Cycles Find No Film School everywhere: On the Web: No Film School (https://nofilmschool.com/) Facebook: No Film School on Facebook (https://www.facebook.com/nofilmschool) Twitter: No Film School on Twitter (https://twitter.com/nofilmschool) YouTube: No Film School on YouTube (https://www.youtube.com/user/nofilmschool) Instagram: No Film School on Instagram (https://www.instagram.com/nofilmschool)  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 10 Dec 2025 16:00:00 -0000 full No Film School In this episode, No Film School founder Ryan Koo and host GG Hawkins, along with producer and guest Ana Liza Muravina, dig into the ramifications of the news that Netflix is bidding (or may be outbid by Paramount) to acquire Warner Brothers — and what this massive consolidation could mean for the future of theatrical film, streaming, and the livelihoods of filmmakers. In this episode, No Film School's Ryan Koo, GG Hawkins, and guest Ana Liza Muravina discuss... How theatrical attendance has been in decline for decades, long before COVID — from the post–World War II boom through the arrival of television, home video, and streaming. Why the recent surge in acquisitions and mergers (from Comcast/Universal, Disney/Fox, Amazon/MGM, to the potential Netflix–Warner deal) spells trouble for market competition in both production and distribution. What consolidation means for filmmakers trying to get projects financed and sold — fewer buyers, fewer distribution windows, and diminished bidding wars that once supported indie and mid‑budget films. The potential financial upside for studios and executives (like David Zaslav), contrasted with the limited upside — or none — for writers, directors, actors, and other creative laborers. The possible benefits of global streaming platforms: ability to reach worldwide audiences, support for diverse or niche stories (e.g., a basketball movie about a young Black player), and access for filmmakers outside traditional Hollywood systems. How now more than ever filmmakers might need to pivot: embrace scrappy, independent means of production/distribution, build creative communities, and consider alternate funding — rather than relying on traditional studio financing and residual structures. That this may be a painful but necessary transition: the collapse of one ecosystem could open space for a new kind of filmmaking — more distinct voices, counterculture, experimentation, and potentially a new model for how films get made and distributed. Memorable Quotes: “I pitched my Netflix movie 80 times — I got 79 no’s and I got one yes.” “In a world where all the ways in which my piece of content can be exploited … are concentrated, it forces you to think about what are the other sources.” “You hit pause, you hibernate for a minute … and you don’t feel like that’s the end of the freaking world.” “This is the math all of us are doing all the time … If you follow one person benefiting to the tune of a billion dollars … from the sale of a company … it tells you exactly why so many people had to leave L.A…” Guests: Ana Liza Muravina Resources: Ana Liza's Previous No Film School Appearance 'Prince of Broadway' Director Sean Baker on No-Budget Filmmaking, Improvisation, and Long Release Cycles Find No Film School everywhere: On the Web: No Film School (https://nofilmschool.com/) Facebook: No Film School on Facebook (https://www.facebook.com/nofilmschool) Twitter: No Film School on Twitter (https://twitter.com/nofilmschool) YouTube: No Film School on YouTube (https://www.youtube.com/user/nofilmschool) Instagram: No Film School on Instagram (https://www.instagram.com/nofilmschool)  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, No Film School founder Ryan Koo and host GG Hawkins, along with producer and guest Ana Liza Muravina, dig into the ramifications of the news that Netflix is bidding (or may be outbid by Paramount) to acquire Warner Brothers — and what this massive consolidation could mean for the future of theatrical film, streaming, and the livelihoods of filmmakers.

In this episode, No Film School's Ryan Koo, GG Hawkins, and guest Ana Liza Muravina discuss...

  • How theatrical attendance has been in decline for decades, long before COVID — from the post–World War II boom through the arrival of television, home video, and streaming.

  • Why the recent surge in acquisitions and mergers (from Comcast/Universal, Disney/Fox, Amazon/MGM, to the potential Netflix–Warner deal) spells trouble for market competition in both production and distribution.

  • What consolidation means for filmmakers trying to get projects financed and sold — fewer buyers, fewer distribution windows, and diminished bidding wars that once supported indie and mid‑budget films.

  • The potential financial upside for studios and executives (like David Zaslav), contrasted with the limited upside — or none — for writers, directors, actors, and other creative laborers.

  • The possible benefits of global streaming platforms: ability to reach worldwide audiences, support for diverse or niche stories (e.g., a basketball movie about a young Black player), and access for filmmakers outside traditional Hollywood systems.

  • How now more than ever filmmakers might need to pivot: embrace scrappy, independent means of production/distribution, build creative communities, and consider alternate funding — rather than relying on traditional studio financing and residual structures.

  • That this may be a painful but necessary transition: the collapse of one ecosystem could open space for a new kind of filmmaking — more distinct voices, counterculture, experimentation, and potentially a new model for how films get made and distributed.

Memorable Quotes:

  • “I pitched my Netflix movie 80 times — I got 79 no’s and I got one yes.”

  • “In a world where all the ways in which my piece of content can be exploited … are concentrated, it forces you to think about what are the other sources.”

  • “You hit pause, you hibernate for a minute … and you don’t feel like that’s the end of the freaking world.”

  • “This is the math all of us are doing all the time … If you follow one person benefiting to the tune of a billion dollars … from the sale of a company … it tells you exactly why so many people had to leave L.A…”

Guests:

Resources:

Find No Film School everywhere:

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

]]> 4048 How Queer, Gender-Fluid DP Gayle Ye Is Transforming Set Culture From Within In this episode, cinematographer Gayle Ye joins host GG Hawkins for an intimate and wide-ranging conversation about artistry, identity, and what it means to lead with authenticity as a DP. Gayle, who recently won a Canadian Screen Award for Paying For It and Late Bloomer, breaks down their creative process, from building visual language to managing crew dynamics. As the youngest and first queer, gender-fluid person of color to win a Daytime Emmy for lighting design, Gayle shares how they use their voice and position to advocate for meaningful change in the industry—on set and beyond. In this episode, No Film School's GG Hawkins and guest Gayle Ye discuss... Gayle's path from shooting webcam videos in high school to winning a Daytime Emmy How their background in editing informs their cinematography Visual strategies and “cinematography pillars” used in Paying For It Shooting intimacy scenes with care and collaboration Why being a “Dream Manager” is a key part of being a DP The role of mentorship, advocacy, and representation in Gayle’s career Building visual tone in dramedy series Late Bloomer Advice for underrepresented filmmakers breaking into the industry Memorable Quotes: “I preferred to be on set for 14 hours than in a dark room for eight.” “I'm not here to just show up and throw all my cool shot ideas. I really need to immerse myself in the story.” “If I made it, then it’s an Asian and queer film. It doesn’t matter what the content is.” “A DP is also a Dream Manager—negotiating between vision and budget.” Guests: Gayle Ye Resources: BIPOC TV & Film Canadian Film Centre Scriptation GoodNotes Artemis Pro Sunseeker App Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 05 Dec 2025 16:00:00 -0000 full No Film School In this episode, cinematographer Gayle Ye joins host GG Hawkins for an intimate and wide-ranging conversation about artistry, identity, and what it means to lead with authenticity as a DP. Gayle, who recently won a Canadian Screen Award for Paying For It and Late Bloomer, breaks down their creative process, from building visual language to managing crew dynamics. As the youngest and first queer, gender-fluid person of color to win a Daytime Emmy for lighting design, Gayle shares how they use their voice and position to advocate for meaningful change in the industry—on set and beyond. In this episode, No Film School's GG Hawkins and guest Gayle Ye discuss... Gayle's path from shooting webcam videos in high school to winning a Daytime Emmy How their background in editing informs their cinematography Visual strategies and “cinematography pillars” used in Paying For It Shooting intimacy scenes with care and collaboration Why being a “Dream Manager” is a key part of being a DP The role of mentorship, advocacy, and representation in Gayle’s career Building visual tone in dramedy series Late Bloomer Advice for underrepresented filmmakers breaking into the industry Memorable Quotes: “I preferred to be on set for 14 hours than in a dark room for eight.” “I'm not here to just show up and throw all my cool shot ideas. I really need to immerse myself in the story.” “If I made it, then it’s an Asian and queer film. It doesn’t matter what the content is.” “A DP is also a Dream Manager—negotiating between vision and budget.” Guests: Gayle Ye Resources: BIPOC TV & Film Canadian Film Centre Scriptation GoodNotes Artemis Pro Sunseeker App Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, cinematographer Gayle Ye joins host GG Hawkins for an intimate and wide-ranging conversation about artistry, identity, and what it means to lead with authenticity as a DP. Gayle, who recently won a Canadian Screen Award for Paying For It and Late Bloomer, breaks down their creative process, from building visual language to managing crew dynamics. As the youngest and first queer, gender-fluid person of color to win a Daytime Emmy for lighting design, Gayle shares how they use their voice and position to advocate for meaningful change in the industry—on set and beyond.

In this episode, No Film School's GG Hawkins and guest Gayle Ye discuss...

  • Gayle's path from shooting webcam videos in high school to winning a Daytime Emmy

  • How their background in editing informs their cinematography

  • Visual strategies and “cinematography pillars” used in Paying For It

  • Shooting intimacy scenes with care and collaboration

  • Why being a “Dream Manager” is a key part of being a DP

  • The role of mentorship, advocacy, and representation in Gayle’s career

  • Building visual tone in dramedy series Late Bloomer

  • Advice for underrepresented filmmakers breaking into the industry

Memorable Quotes:

  • “I preferred to be on set for 14 hours than in a dark room for eight.”

  • “I'm not here to just show up and throw all my cool shot ideas. I really need to immerse myself in the story.”

  • “If I made it, then it’s an Asian and queer film. It doesn’t matter what the content is.”

  • “A DP is also a Dream Manager—negotiating between vision and budget.”

Guests:

Resources:

Find No Film School everywhere:

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

]]> 3054 Documenting the Business of Fear: Inside HBO’s 'Thoughts & Prayers' GG Hawkins speaks with directors Jessica Dimmock and Zackary Canepari about their haunting and thought-provoking HBO documentary Thoughts & Prayers. The film offers a chillingly observational look at the normalization of school shootings in America—not by focusing on the tragedies themselves, but by examining the surreal, billion-dollar industry of “school safety” that's risen in their aftermath. Through restrained cinematography and a surprisingly dark sense of humor, Dimmock and Canepari capture how everyday life continues against the backdrop of unimaginable trauma, and how children are often more articulate than adults about the realities they face. In this episode, No Film School's GG Hawkins and guests discuss... How the project evolved from a photo series to a full-length documentary The cultural and industrial normalization of school shootings in America Why the film avoids graphic depictions of violence and instead focuses on the systems around it The use of stillness, humor, and wide shots as storytelling tools Casting nontraditional “characters” in a documentary format The emotional challenges of working with children on such a sensitive topic Co-directing as creative collaborators and partners The gear and post-production tools that made the film possible Why the title Thoughts & Prayers was chosen and how satire plays into it Memorable Quotes: "In the middle of learning your ABCs, you pause to practice for mass death, and then you go back to learning... that's the chilling part." "Cut this more like a scene in a Christopher Guest film than in an important documentary.” "None of the adults ever say anything about guns... it's always the kids." "We're not going to practice our way out of this." Guests: Jessica Dimmock Zackary Canepari Resources: Thoughts & Prayers on HBO Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 21 Nov 2025 16:00:00 -0000 full No Film School GG Hawkins speaks with directors Jessica Dimmock and Zackary Canepari about their haunting and thought-provoking HBO documentary Thoughts & Prayers. The film offers a chillingly observational look at the normalization of school shootings in America—not by focusing on the tragedies themselves, but by examining the surreal, billion-dollar industry of “school safety” that's risen in their aftermath. Through restrained cinematography and a surprisingly dark sense of humor, Dimmock and Canepari capture how everyday life continues against the backdrop of unimaginable trauma, and how children are often more articulate than adults about the realities they face. In this episode, No Film School's GG Hawkins and guests discuss... How the project evolved from a photo series to a full-length documentary The cultural and industrial normalization of school shootings in America Why the film avoids graphic depictions of violence and instead focuses on the systems around it The use of stillness, humor, and wide shots as storytelling tools Casting nontraditional “characters” in a documentary format The emotional challenges of working with children on such a sensitive topic Co-directing as creative collaborators and partners The gear and post-production tools that made the film possible Why the title Thoughts & Prayers was chosen and how satire plays into it Memorable Quotes: "In the middle of learning your ABCs, you pause to practice for mass death, and then you go back to learning... that's the chilling part." "Cut this more like a scene in a Christopher Guest film than in an important documentary.” "None of the adults ever say anything about guns... it's always the kids." "We're not going to practice our way out of this." Guests: Jessica Dimmock Zackary Canepari Resources: Thoughts & Prayers on HBO Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices GG Hawkins speaks with directors Jessica Dimmock and Zackary Canepari about their haunting and thought-provoking HBO documentary Thoughts & Prayers. The film offers a chillingly observational look at the normalization of school shootings in America—not by focusing on the tragedies themselves, but by examining the surreal, billion-dollar industry of “school safety” that's risen in their aftermath. Through restrained cinematography and a surprisingly dark sense of humor, Dimmock and Canepari capture how everyday life continues against the backdrop of unimaginable trauma, and how children are often more articulate than adults about the realities they face.

In this episode, No Film School's GG Hawkins and guests discuss...

  • How the project evolved from a photo series to a full-length documentary

  • The cultural and industrial normalization of school shootings in America

  • Why the film avoids graphic depictions of violence and instead focuses on the systems around it

  • The use of stillness, humor, and wide shots as storytelling tools

  • Casting nontraditional “characters” in a documentary format

  • The emotional challenges of working with children on such a sensitive topic

  • Co-directing as creative collaborators and partners

  • The gear and post-production tools that made the film possible

  • Why the title Thoughts & Prayers was chosen and how satire plays into it

Memorable Quotes:

  • "In the middle of learning your ABCs, you pause to practice for mass death, and then you go back to learning... that's the chilling part."

  • "Cut this more like a scene in a Christopher Guest film than in an important documentary.”

  • "None of the adults ever say anything about guns... it's always the kids."

  • "We're not going to practice our way out of this."

Guests:

Resources:

Find No Film School everywhere:

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

]]> 2528 You’re Picture Locked. Now What? (Plus Dir. Ruben Fleischer!) In this episode of the No Film School podcast, GG Hawkins and Ryan Koo dig into the often‑murky world of film release strategy and distribution from multiple angles—and then sit down with acclaimed filmmaker Ruben Fleischer to trace his path from indie start to big‑budget studio productions. In this episode, No Film School’s GG Hawkins, Ryan Koo, and guest Ruben Fleischer discuss… GG’s journey with her micro‑budget feature I Really Love My Husband: festival strategy, light theatrical run, and streaming rollout The importance of marketing and audience‑building even for indie films (“the extra 50% of effort after picture‑lock”) Festival submission strategy: premium “buyer’s festivals” vs regional festivals, world‑premiere constraints, and timing decisions Tools and tactics: creating trailer/sizzle assets, leveraging sales & festival reps, doing the reference‑check on distributors Real‑world rejection: extracting learning from “pass” notes and small deals, how to choose between flashy name vs partner who will work for you The one‑to‑one interview with Ruben Fleischer: his early career, moving from shorts/commmercials to features, how he handles large‑scale shoots, visualising scenes, leading big crews, and navigating reshoots Ruben’s key pieces of advice for emerging filmmakers: making things now, learning by doing, honing your craft by continuing to create A bonus deep‑dive into how even locked‑picture films still require a lot of narrative strategy, deliverables, and business savvy in order to land distribution Memorable Quotes: “If you are going to bend over backwards, invest all this time, energy, and effort into making a film, but you’re not going to do the same for getting the word out there … you are setting yourself up for failure.” “Submitting to a film festival is like getting down on one knee and asking someone to marry you, but then you have to wait months for the response.” “I always go in with an intention of how I would imagine blocking the scene… but I’m also very flexible in working with actors.” “The only real way to direct stuff is to go out and do it.” Guests: Ruben Fleischer Resources: Shoot in Three Months – No Film School Filmmaker’s Guide to SXSW – No Film School A First‑Timer’s Guide to the Cannes Film Festival – No Film School Microbudget Filmmaker Podcast – No Film School Why Indie Film Distribution Is About to Go Punk Rock – No Film School Where to watch I Really Love My Husband: Apple TV: I Really Love My Husband Amazon: I Really Love My Husband Google Play: I Really Love My Husband Where to watch Amateur (Ryan’s first feature): Netflix Ryan’s podcast series First Feature – a case study about the making of Amateur: SoundCloud – No Film School Find No Film School everywhere: On the Web: No Film School (https://nofilmschool.com/) Facebook: No Film School on Facebook (https://www.facebook.com/nofilmschool) Twitter: No Film School on Twitter (https://twitter.com/nofilmschool) YouTube: No Film School on YouTube (https://www.youtube.com/user/nofilmschool) Instagram: No Film School on Instagram (https://www.instagram.com/nofilmschool)  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 14 Nov 2025 18:11:00 -0000 full No Film School In this episode of the No Film School podcast, GG Hawkins and Ryan Koo dig into the often‑murky world of film release strategy and distribution from multiple angles—and then sit down with acclaimed filmmaker Ruben Fleischer to trace his path from indie start to big‑budget studio productions. In this episode, No Film School’s GG Hawkins, Ryan Koo, and guest Ruben Fleischer discuss… GG’s journey with her micro‑budget feature I Really Love My Husband: festival strategy, light theatrical run, and streaming rollout The importance of marketing and audience‑building even for indie films (“the extra 50% of effort after picture‑lock”) Festival submission strategy: premium “buyer’s festivals” vs regional festivals, world‑premiere constraints, and timing decisions Tools and tactics: creating trailer/sizzle assets, leveraging sales & festival reps, doing the reference‑check on distributors Real‑world rejection: extracting learning from “pass” notes and small deals, how to choose between flashy name vs partner who will work for you The one‑to‑one interview with Ruben Fleischer: his early career, moving from shorts/commmercials to features, how he handles large‑scale shoots, visualising scenes, leading big crews, and navigating reshoots Ruben’s key pieces of advice for emerging filmmakers: making things now, learning by doing, honing your craft by continuing to create A bonus deep‑dive into how even locked‑picture films still require a lot of narrative strategy, deliverables, and business savvy in order to land distribution Memorable Quotes: “If you are going to bend over backwards, invest all this time, energy, and effort into making a film, but you’re not going to do the same for getting the word out there … you are setting yourself up for failure.” “Submitting to a film festival is like getting down on one knee and asking someone to marry you, but then you have to wait months for the response.” “I always go in with an intention of how I would imagine blocking the scene… but I’m also very flexible in working with actors.” “The only real way to direct stuff is to go out and do it.” Guests: Ruben Fleischer Resources: Shoot in Three Months – No Film School Filmmaker’s Guide to SXSW – No Film School A First‑Timer’s Guide to the Cannes Film Festival – No Film School Microbudget Filmmaker Podcast – No Film School Why Indie Film Distribution Is About to Go Punk Rock – No Film School Where to watch I Really Love My Husband: Apple TV: I Really Love My Husband Amazon: I Really Love My Husband Google Play: I Really Love My Husband Where to watch Amateur (Ryan’s first feature): Netflix Ryan’s podcast series First Feature – a case study about the making of Amateur: SoundCloud – No Film School Find No Film School everywhere: On the Web: No Film School (https://nofilmschool.com/) Facebook: No Film School on Facebook (https://www.facebook.com/nofilmschool) Twitter: No Film School on Twitter (https://twitter.com/nofilmschool) YouTube: No Film School on YouTube (https://www.youtube.com/user/nofilmschool) Instagram: No Film School on Instagram (https://www.instagram.com/nofilmschool)  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of the No Film School podcast, GG Hawkins and Ryan Koo dig into the often‑murky world of film release strategy and distribution from multiple angles—and then sit down with acclaimed filmmaker Ruben Fleischer to trace his path from indie start to big‑budget studio productions.

In this episode, No Film School’s GG Hawkins, Ryan Koo, and guest Ruben Fleischer discuss…

  • GG’s journey with her micro‑budget feature I Really Love My Husband: festival strategy, light theatrical run, and streaming rollout

  • The importance of marketing and audience‑building even for indie films (“the extra 50% of effort after picture‑lock”)

  • Festival submission strategy: premium “buyer’s festivals” vs regional festivals, world‑premiere constraints, and timing decisions

  • Tools and tactics: creating trailer/sizzle assets, leveraging sales & festival reps, doing the reference‑check on distributors

  • Real‑world rejection: extracting learning from “pass” notes and small deals, how to choose between flashy name vs partner who will work for you

  • The one‑to‑one interview with Ruben Fleischer: his early career, moving from shorts/commmercials to features, how he handles large‑scale shoots, visualising scenes, leading big crews, and navigating reshoots

  • Ruben’s key pieces of advice for emerging filmmakers: making things now, learning by doing, honing your craft by continuing to create

  • A bonus deep‑dive into how even locked‑picture films still require a lot of narrative strategy, deliverables, and business savvy in order to land distribution

Memorable Quotes:

  • “If you are going to bend over backwards, invest all this time, energy, and effort into making a film, but you’re not going to do the same for getting the word out there … you are setting yourself up for failure.”

  • “Submitting to a film festival is like getting down on one knee and asking someone to marry you, but then you have to wait months for the response.”

  • “I always go in with an intention of how I would imagine blocking the scene… but I’m also very flexible in working with actors.”

  • “The only real way to direct stuff is to go out and do it.”

Guests:

Resources:

Find No Film School everywhere:

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

]]> 5682 How We Are Reclaiming Development The current state of Hollywood script development is chaotic, to say the least—but what if there were a way to reclaim it for writers? In this episode, guest host Charles Haine returns to No Film School to speak with Brian Austin and Scott Foster, the creators behind ScriptHop and the newly launched The Gauntlet. They dive into how the traditional process of script discovery has broken down and explore how the Gauntlet offers a transformative path forward—one that empowers writers with meaningful feedback, professional endorsements, and real chances at industry attention. In this episode, No Film School's Charles Haine and guests discuss... The breakdown of traditional story departments at major agencies and studios How ScriptHop began as a library tool and evolved into a platform empowering writers The creation of “The Packet” to help writers better market their scripts Why Script Gauntlet isn’t just another screenwriting contest How the Gauntlet provides detailed, collaborative feedback from active industry professionals Why professional endorsements through the Gauntlet could change the script discovery game Their strategy for launching scripts through curated industry slates Memorable Quotes: "Hollywood is kind of a pro-spaceship town." "It is so crazy to me that the first guard of feedback is... so untested." "This is the best reader dollars I've ever spent." "We're going to be a more important aggregator of analysis than say Rotten Tomatoes." Guests: Brian Austin Scott Foster Resources: ScriptHop The Gauntlet Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 13 Nov 2025 18:54:00 -0000 full No Film School The current state of Hollywood script development is chaotic, to say the least—but what if there were a way to reclaim it for writers? In this episode, guest host Charles Haine returns to No Film School to speak with Brian Austin and Scott Foster, the creators behind ScriptHop and the newly launched The Gauntlet. They dive into how the traditional process of script discovery has broken down and explore how the Gauntlet offers a transformative path forward—one that empowers writers with meaningful feedback, professional endorsements, and real chances at industry attention. In this episode, No Film School's Charles Haine and guests discuss... The breakdown of traditional story departments at major agencies and studios How ScriptHop began as a library tool and evolved into a platform empowering writers The creation of “The Packet” to help writers better market their scripts Why Script Gauntlet isn’t just another screenwriting contest How the Gauntlet provides detailed, collaborative feedback from active industry professionals Why professional endorsements through the Gauntlet could change the script discovery game Their strategy for launching scripts through curated industry slates Memorable Quotes: "Hollywood is kind of a pro-spaceship town." "It is so crazy to me that the first guard of feedback is... so untested." "This is the best reader dollars I've ever spent." "We're going to be a more important aggregator of analysis than say Rotten Tomatoes." Guests: Brian Austin Scott Foster Resources: ScriptHop The Gauntlet Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices The current state of Hollywood script development is chaotic, to say the least—but what if there were a way to reclaim it for writers? In this episode, guest host Charles Haine returns to No Film School to speak with Brian Austin and Scott Foster, the creators behind ScriptHop and the newly launched The Gauntlet. They dive into how the traditional process of script discovery has broken down and explore how the Gauntlet offers a transformative path forward—one that empowers writers with meaningful feedback, professional endorsements, and real chances at industry attention.

In this episode, No Film School's Charles Haine and guests discuss...

  • The breakdown of traditional story departments at major agencies and studios

  • How ScriptHop began as a library tool and evolved into a platform empowering writers

  • The creation of “The Packet” to help writers better market their scripts

  • Why Script Gauntlet isn’t just another screenwriting contest

  • How the Gauntlet provides detailed, collaborative feedback from active industry professionals

  • Why professional endorsements through the Gauntlet could change the script discovery game

  • Their strategy for launching scripts through curated industry slates

Memorable Quotes:

  • "Hollywood is kind of a pro-spaceship town."

  • "It is so crazy to me that the first guard of feedback is... so untested."

  • "This is the best reader dollars I've ever spent."

  • "We're going to be a more important aggregator of analysis than say Rotten Tomatoes."

Guests:

Resources:

Find No Film School everywhere:

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

]]> 3069 Editing an American Epic: Inside 'Train Dreams' with Dir Clint Bentley & Editor Parker Laramie In this episode of the No Film School Podcast, GG Hawkins dives into the sweeping process behind Train Dreams, a period drama adapted from the Dennis Johnson novella. GG is joined by director Clint Bentley and editor Parker Laramie, who discuss the challenges and joys of crafting a film that spans decades while staying intimate and emotionally resonant. The episode also opens with a candid conversation with filmmaker Boris Rodriguez about community and collaboration in independent filmmaking, leading up to the release of GG’s own directorial debut I Really Love My Husband. In this episode, No Film School's GG Hawkins and guests discuss... The emotional and technical journey of adapting Train Dreams from a novella into a feature film How Clint and Parker’s creative partnership evolved from Jockey to this ambitious period piece The process of editing a film that spans decades without losing narrative momentum How Parker’s background in documentary shaped his approach to editing fiction The value of grabbing unplanned shots on set and how they can end up saving key scenes The philosophical and technical challenges of handling notes from producers and stakeholders The role of music and rhythm in both writing and editing the film Clint’s directorial flexibility and willingness to discover the movie during post Parker’s favorite hotkey and the logistics of editing across Premiere and Avid Reflections on releasing the film and the audience’s evolving interpretation of its themes Memorable Quotes: “You have to listen to the film. The way the film speaks to you is through other people and other people giving you notes.” “Just try the fucking note.” “We had no slates on Jockey… and we tried to do that again.” “You don’t always have a good understanding of how something’s going.” Guests: Clint Bentley Parker Laramie Boris Rodriguez Resources: GG's Directorial feature debut, I Really Love My Husband, is now available to stream on Apple TV, Amazon Prime Video, and Google Play. Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 07 Nov 2025 16:00:00 -0000 full No Film School In this episode of the No Film School Podcast, GG Hawkins dives into the sweeping process behind Train Dreams, a period drama adapted from the Dennis Johnson novella. GG is joined by director Clint Bentley and editor Parker Laramie, who discuss the challenges and joys of crafting a film that spans decades while staying intimate and emotionally resonant. The episode also opens with a candid conversation with filmmaker Boris Rodriguez about community and collaboration in independent filmmaking, leading up to the release of GG’s own directorial debut I Really Love My Husband. In this episode, No Film School's GG Hawkins and guests discuss... The emotional and technical journey of adapting Train Dreams from a novella into a feature film How Clint and Parker’s creative partnership evolved from Jockey to this ambitious period piece The process of editing a film that spans decades without losing narrative momentum How Parker’s background in documentary shaped his approach to editing fiction The value of grabbing unplanned shots on set and how they can end up saving key scenes The philosophical and technical challenges of handling notes from producers and stakeholders The role of music and rhythm in both writing and editing the film Clint’s directorial flexibility and willingness to discover the movie during post Parker’s favorite hotkey and the logistics of editing across Premiere and Avid Reflections on releasing the film and the audience’s evolving interpretation of its themes Memorable Quotes: “You have to listen to the film. The way the film speaks to you is through other people and other people giving you notes.” “Just try the fucking note.” “We had no slates on Jockey… and we tried to do that again.” “You don’t always have a good understanding of how something’s going.” Guests: Clint Bentley Parker Laramie Boris Rodriguez Resources: GG's Directorial feature debut, I Really Love My Husband, is now available to stream on Apple TV, Amazon Prime Video, and Google Play. Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of the No Film School Podcast, GG Hawkins dives into the sweeping process behind Train Dreams, a period drama adapted from the Dennis Johnson novella. GG is joined by director Clint Bentley and editor Parker Laramie, who discuss the challenges and joys of crafting a film that spans decades while staying intimate and emotionally resonant. The episode also opens with a candid conversation with filmmaker Boris Rodriguez about community and collaboration in independent filmmaking, leading up to the release of GG’s own directorial debut I Really Love My Husband.

In this episode, No Film School's GG Hawkins and guests discuss...

  • The emotional and technical journey of adapting Train Dreams from a novella into a feature film

  • How Clint and Parker’s creative partnership evolved from Jockey to this ambitious period piece

  • The process of editing a film that spans decades without losing narrative momentum

  • How Parker’s background in documentary shaped his approach to editing fiction

  • The value of grabbing unplanned shots on set and how they can end up saving key scenes

  • The philosophical and technical challenges of handling notes from producers and stakeholders

  • The role of music and rhythm in both writing and editing the film

  • Clint’s directorial flexibility and willingness to discover the movie during post

  • Parker’s favorite hotkey and the logistics of editing across Premiere and Avid

  • Reflections on releasing the film and the audience’s evolving interpretation of its themes

Memorable Quotes:

  • “You have to listen to the film. The way the film speaks to you is through other people and other people giving you notes.”

  • “Just try the fucking note.”

  • “We had no slates on Jockey… and we tried to do that again.”

  • “You don’t always have a good understanding of how something’s going.”

Guests:

Resources:

Find No Film School everywhere:

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

]]> 3573 State of the Industry & the Art of Programming with Nicolas Curcio and Imani Davis In this episode of the No Film School Podcast, host GG Hawkins connects with two key voices in the film-industry ecosystem. First, she chats with screenwriter and filmmaker Nicolas Curcio to take the pulse of the movie business at the close of 2025—what’s changed, what’s hopeful, and what still needs to shift. Then, GG talks with programmer and curator Imani Davis of the American Cinematheque to explore the art and mechanics of programming—from year-round curatorial work to the annual Proof Film Festival, which helps shorts leap into features. In this episode, No Film School’s GG Hawkins and guests discuss… The emotional and career‑landscape “temperature check” for creators post‑strikes and entering 2026 The role of social media, creator‑voice, and audience‑building in today’s writer/director paths Why embracing a “patchwork” of gigs (writing, podcasts, video content) may be more realistic than the old one‑track screenwriter dream Why clean spec scripts are “back” and what that signals for writers getting in the door What a film programmer actually does—how someone like Imani rates submissions, builds curatorial strategies, leverages relationships The difference between ongoing programming (year‑round screenings at an institution) vs. annual festival programming (with a fixed offer to submit, schedule, panels) Inside the Proof Film Festival: what makes a short film “feature‑expandable,” and what kind of statement or vision catches the eye of programmers & studios How programmers balance gut feelings, industry data/timeliness, and filmmaker readiness when selecting films The specific flaws and tired tropes they’re seeing in short films right now (yes: the “influencer vlogs” and basic “AI cautionary tales”) How to start in programming: from basement screenings and volunteer festival committees to full‑time curatorial work The importance of mentorship, networking, and building community around film culture Lastly: quick advice to emerging creators — find a way to stand out, build your voice, and force people to pay attention Memorable Quotes: “The studios … they are incredibly self‑aware about the moment that the industry is in … but they’re also like incredibly open to trying new things, giving young filmmakers a chance.” “I used to think … in six months from now, if I don’t have my next studio job, I’m a failure or my career is over. And that has been something I’ve accepted: there are successful screenwriters who don’t just do this.” “At the Proof Film Festival … after each short we show a 90‑second statement of intent video from the filmmaker saying: ‘Here’s my plan for the next phase of this project.’” “What I’m looking for in a short: niche world, unique character, something I haven’t seen that way — like niche sports film about a fencer in a character‑driven way.” Guests: Nicolas Curcio Imani Davis Resources: Nicolas Curcio on Instagram: @nicolascurcio Proof Film Festival: Proof of Concept Film Festival – American Cinematheque GG’s directorial debut feature, I Really Love My Husband, now streaming on Apple TV, Amazon Prime Video, and Google Play. Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 06 Nov 2025 16:00:00 -0000 full No Film School In this episode of the No Film School Podcast, host GG Hawkins connects with two key voices in the film-industry ecosystem. First, she chats with screenwriter and filmmaker Nicolas Curcio to take the pulse of the movie business at the close of 2025—what’s changed, what’s hopeful, and what still needs to shift. Then, GG talks with programmer and curator Imani Davis of the American Cinematheque to explore the art and mechanics of programming—from year-round curatorial work to the annual Proof Film Festival, which helps shorts leap into features. In this episode, No Film School’s GG Hawkins and guests discuss… The emotional and career‑landscape “temperature check” for creators post‑strikes and entering 2026 The role of social media, creator‑voice, and audience‑building in today’s writer/director paths Why embracing a “patchwork” of gigs (writing, podcasts, video content) may be more realistic than the old one‑track screenwriter dream Why clean spec scripts are “back” and what that signals for writers getting in the door What a film programmer actually does—how someone like Imani rates submissions, builds curatorial strategies, leverages relationships The difference between ongoing programming (year‑round screenings at an institution) vs. annual festival programming (with a fixed offer to submit, schedule, panels) Inside the Proof Film Festival: what makes a short film “feature‑expandable,” and what kind of statement or vision catches the eye of programmers & studios How programmers balance gut feelings, industry data/timeliness, and filmmaker readiness when selecting films The specific flaws and tired tropes they’re seeing in short films right now (yes: the “influencer vlogs” and basic “AI cautionary tales”) How to start in programming: from basement screenings and volunteer festival committees to full‑time curatorial work The importance of mentorship, networking, and building community around film culture Lastly: quick advice to emerging creators — find a way to stand out, build your voice, and force people to pay attention Memorable Quotes: “The studios … they are incredibly self‑aware about the moment that the industry is in … but they’re also like incredibly open to trying new things, giving young filmmakers a chance.” “I used to think … in six months from now, if I don’t have my next studio job, I’m a failure or my career is over. And that has been something I’ve accepted: there are successful screenwriters who don’t just do this.” “At the Proof Film Festival … after each short we show a 90‑second statement of intent video from the filmmaker saying: ‘Here’s my plan for the next phase of this project.’” “What I’m looking for in a short: niche world, unique character, something I haven’t seen that way — like niche sports film about a fencer in a character‑driven way.” Guests: Nicolas Curcio Imani Davis Resources: Nicolas Curcio on Instagram: @nicolascurcio Proof Film Festival: Proof of Concept Film Festival – American Cinematheque GG’s directorial debut feature, I Really Love My Husband, now streaming on Apple TV, Amazon Prime Video, and Google Play. Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of the No Film School Podcast, host GG Hawkins connects with two key voices in the film-industry ecosystem. First, she chats with screenwriter and filmmaker Nicolas Curcio to take the pulse of the movie business at the close of 2025—what’s changed, what’s hopeful, and what still needs to shift. Then, GG talks with programmer and curator Imani Davis of the American Cinematheque to explore the art and mechanics of programming—from year-round curatorial work to the annual Proof Film Festival, which helps shorts leap into features.

In this episode, No Film School’s GG Hawkins and guests discuss…

  • The emotional and career‑landscape “temperature check” for creators post‑strikes and entering 2026

  • The role of social media, creator‑voice, and audience‑building in today’s writer/director paths

  • Why embracing a “patchwork” of gigs (writing, podcasts, video content) may be more realistic than the old one‑track screenwriter dream

  • Why clean spec scripts are “back” and what that signals for writers getting in the door

  • What a film programmer actually does—how someone like Imani rates submissions, builds curatorial strategies, leverages relationships

  • The difference between ongoing programming (year‑round screenings at an institution) vs. annual festival programming (with a fixed offer to submit, schedule, panels)

  • Inside the Proof Film Festival: what makes a short film “feature‑expandable,” and what kind of statement or vision catches the eye of programmers & studios

  • How programmers balance gut feelings, industry data/timeliness, and filmmaker readiness when selecting films

  • The specific flaws and tired tropes they’re seeing in short films right now (yes: the “influencer vlogs” and basic “AI cautionary tales”)

  • How to start in programming: from basement screenings and volunteer festival committees to full‑time curatorial work

  • The importance of mentorship, networking, and building community around film culture

  • Lastly: quick advice to emerging creators — find a way to stand out, build your voice, and force people to pay attention

Memorable Quotes:

  • “The studios … they are incredibly self‑aware about the moment that the industry is in … but they’re also like incredibly open to trying new things, giving young filmmakers a chance.”

  • “I used to think … in six months from now, if I don’t have my next studio job, I’m a failure or my career is over. And that has been something I’ve accepted: there are successful screenwriters who don’t just do this.”

  • “At the Proof Film Festival … after each short we show a 90‑second statement of intent video from the filmmaker saying: ‘Here’s my plan for the next phase of this project.’”

  • “What I’m looking for in a short: niche world, unique character, something I haven’t seen that way — like niche sports film about a fencer in a character‑driven way.”

Guests:

Resources:

Find No Film School everywhere:

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

]]> 4151 Do We Even Need Reps? How 'Violent Ends' Director John-Michael Powell Made His Theatrical Feature Without Them Director John-Michael Powell joins No Film School to talk about his gritty Southern crime thriller Violent Ends, which hits theaters October 31. Powell shares the winding journey that led to the film’s production—from being dropped from a college art program, to cutting indie films that made it to festivals like Sundance and SXSW, to editing the Emmy-winning Netflix series American Manhunt. Remarkably, he crafted a feature starring Billy Magnussen and Alexandra Shipp—without agents, managers, or festival support. This episode offers a raw, inspiring, and tactical look at building a career from the ground up, how to forge meaningful creative collaborations, and why the cavalry might never come. In this episode, No Film School’s GG Hawkins and guest John-Michael Powell discuss… How Powell transitioned from music and graphic design to filmmaking Why getting cut from a college program helped shape his resilience The long road from writing Violent Ends in 2013 to securing funding a decade later The strategy behind securing name actors without traditional representation How he used relationships and resourcefulness to get a bidding war What filmmakers should know about real-money offers and escrow Why adaptability and microbudget thinking still matters—on any scale How not having representation can actually work in your favor Building a production company (Midnight Road) and what’s coming next Memorable Quotes: "I got cut. I got the axe." "The most powerful tool you have as a filmmaker is your feet." "I took out 'editor' and put in just 'director and writer.'" "Violent Ends did not get accepted to any festivals… and we sold it to IFC." Guests: John-Michael Powell Resources: Watch the Violent Ends Trailer Violent Ends in Theaters via Fandango Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 31 Oct 2025 15:00:00 -0000 full No Film School Director John-Michael Powell joins No Film School to talk about his gritty Southern crime thriller Violent Ends, which hits theaters October 31. Powell shares the winding journey that led to the film’s production—from being dropped from a college art program, to cutting indie films that made it to festivals like Sundance and SXSW, to editing the Emmy-winning Netflix series American Manhunt. Remarkably, he crafted a feature starring Billy Magnussen and Alexandra Shipp—without agents, managers, or festival support. This episode offers a raw, inspiring, and tactical look at building a career from the ground up, how to forge meaningful creative collaborations, and why the cavalry might never come. In this episode, No Film School’s GG Hawkins and guest John-Michael Powell discuss… How Powell transitioned from music and graphic design to filmmaking Why getting cut from a college program helped shape his resilience The long road from writing Violent Ends in 2013 to securing funding a decade later The strategy behind securing name actors without traditional representation How he used relationships and resourcefulness to get a bidding war What filmmakers should know about real-money offers and escrow Why adaptability and microbudget thinking still matters—on any scale How not having representation can actually work in your favor Building a production company (Midnight Road) and what’s coming next Memorable Quotes: "I got cut. I got the axe." "The most powerful tool you have as a filmmaker is your feet." "I took out 'editor' and put in just 'director and writer.'" "Violent Ends did not get accepted to any festivals… and we sold it to IFC." Guests: John-Michael Powell Resources: Watch the Violent Ends Trailer Violent Ends in Theaters via Fandango Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Director John-Michael Powell joins No Film School to talk about his gritty Southern crime thriller Violent Ends, which hits theaters October 31. Powell shares the winding journey that led to the film’s production—from being dropped from a college art program, to cutting indie films that made it to festivals like Sundance and SXSW, to editing the Emmy-winning Netflix series American Manhunt. Remarkably, he crafted a feature starring Billy Magnussen and Alexandra Shipp—without agents, managers, or festival support. This episode offers a raw, inspiring, and tactical look at building a career from the ground up, how to forge meaningful creative collaborations, and why the cavalry might never come.

In this episode, No Film School’s GG Hawkins and guest John-Michael Powell discuss…

  • How Powell transitioned from music and graphic design to filmmaking

  • Why getting cut from a college program helped shape his resilience

  • The long road from writing Violent Ends in 2013 to securing funding a decade later

  • The strategy behind securing name actors without traditional representation

  • How he used relationships and resourcefulness to get a bidding war

  • What filmmakers should know about real-money offers and escrow

  • Why adaptability and microbudget thinking still matters—on any scale

  • How not having representation can actually work in your favor

  • Building a production company (Midnight Road) and what’s coming next

Memorable Quotes:

  • "I got cut. I got the axe."

  • "The most powerful tool you have as a filmmaker is your feet."

  • "I took out 'editor' and put in just 'director and writer.'"

  • "Violent Ends did not get accepted to any festivals… and we sold it to IFC."

Guests:

Resources:

Find No Film School everywhere:

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

]]> 4645 Why the Austin Film Festival Is #1 for Screenwriters (and Could Texas Be #1 for Film Production?) In this episode, No Film School founder Ryan Koo sits down with contributor and fellow Austinite Jourdan Aldredge to recap the highlights and insights from the 32nd annual Austin Film Festival. Known as "The Writers Festival," AFF has emerged as a critical space for screenwriters, writer-directors, and filmmakers to connect, learn, and showcase their work. Ryan and Jourdan discuss how the festival nurtures emerging talent, supports the craft of screenwriting, and uniquely prioritizes writers. They also dig into the implications of Texas's new film incentive, SB 22, and what it means for the future of production in the Lone Star State. In this episode, No Film School’s Ryan Koo and Jourdan Aldredge discuss... Why the Austin Film Festival is considered the top screenwriting festival The unique setup of AFF with its focus on panels and Q&As over red carpets Highlights from panels with Michael Arndt, Celine Song, Christine Vachon, and Rian Johnson Screenwriter Andrew Kevin Walker's brutally honest take on breaking in The inspiring breakout story of writer Austin Kolodny and Dead Man’s Wire The economics of the film industry and why 90–97% of films don’t make money True stories as a strong route into the industry for aspiring screenwriters Texas's new $1.5 billion film incentive and how it could change U.S. production hubs Concerns about creative censorship tied to discretionary state grants The continued power of writing on spec, especially in genre like horror and action Memorable Quotes: "The artist is not the beggar for the producer's attention.” "I'm willing to bet the next two years of my life that that's a great ending." "There are a lot of us knocking at the door... We may do it for free for years." "You could get a coursework over a weekend at the Austin Film Festival." Resources: Michael Arndt's Video Lectures Previous AFF Roundtable Episode (with GG Hawkins) Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 30 Oct 2025 15:00:00 -0000 full No Film School In this episode, No Film School founder Ryan Koo sits down with contributor and fellow Austinite Jourdan Aldredge to recap the highlights and insights from the 32nd annual Austin Film Festival. Known as "The Writers Festival," AFF has emerged as a critical space for screenwriters, writer-directors, and filmmakers to connect, learn, and showcase their work. Ryan and Jourdan discuss how the festival nurtures emerging talent, supports the craft of screenwriting, and uniquely prioritizes writers. They also dig into the implications of Texas's new film incentive, SB 22, and what it means for the future of production in the Lone Star State. In this episode, No Film School’s Ryan Koo and Jourdan Aldredge discuss... Why the Austin Film Festival is considered the top screenwriting festival The unique setup of AFF with its focus on panels and Q&As over red carpets Highlights from panels with Michael Arndt, Celine Song, Christine Vachon, and Rian Johnson Screenwriter Andrew Kevin Walker's brutally honest take on breaking in The inspiring breakout story of writer Austin Kolodny and Dead Man’s Wire The economics of the film industry and why 90–97% of films don’t make money True stories as a strong route into the industry for aspiring screenwriters Texas's new $1.5 billion film incentive and how it could change U.S. production hubs Concerns about creative censorship tied to discretionary state grants The continued power of writing on spec, especially in genre like horror and action Memorable Quotes: "The artist is not the beggar for the producer's attention.” "I'm willing to bet the next two years of my life that that's a great ending." "There are a lot of us knocking at the door... We may do it for free for years." "You could get a coursework over a weekend at the Austin Film Festival." Resources: Michael Arndt's Video Lectures Previous AFF Roundtable Episode (with GG Hawkins) Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, No Film School founder Ryan Koo sits down with contributor and fellow Austinite Jourdan Aldredge to recap the highlights and insights from the 32nd annual Austin Film Festival. Known as "The Writers Festival," AFF has emerged as a critical space for screenwriters, writer-directors, and filmmakers to connect, learn, and showcase their work. Ryan and Jourdan discuss how the festival nurtures emerging talent, supports the craft of screenwriting, and uniquely prioritizes writers. They also dig into the implications of Texas's new film incentive, SB 22, and what it means for the future of production in the Lone Star State.

In this episode, No Film School’s Ryan Koo and Jourdan Aldredge discuss...

  • Why the Austin Film Festival is considered the top screenwriting festival

  • The unique setup of AFF with its focus on panels and Q&As over red carpets

  • Highlights from panels with Michael Arndt, Celine Song, Christine Vachon, and Rian Johnson

  • Screenwriter Andrew Kevin Walker's brutally honest take on breaking in

  • The inspiring breakout story of writer Austin Kolodny and Dead Man’s Wire

  • The economics of the film industry and why 90–97% of films don’t make money

  • True stories as a strong route into the industry for aspiring screenwriters

  • Texas's new $1.5 billion film incentive and how it could change U.S. production hubs

  • Concerns about creative censorship tied to discretionary state grants

  • The continued power of writing on spec, especially in genre like horror and action

Memorable Quotes:

  • "The artist is not the beggar for the producer's attention.”

  • "I'm willing to bet the next two years of my life that that's a great ending."

  • "There are a lot of us knocking at the door... We may do it for free for years."

  • "You could get a coursework over a weekend at the Austin Film Festival."

Resources:

Find No Film School everywhere:

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

]]> 3145 Why Netflix’s #1 Film 'The Perfect Neighbor' Is the Edit Everyone’s Talking About In this episode, No Film School’s GG Hawkins and guests Geeta Gandbhir and Viridiana Lieberman dive into the making of the breakout documentary The Perfect Neighbor, which uses police body‑cam, Ring‑cam and dash‑cam footage to tell a harrowing story of a neighborhood dispute and a fatal shooting in Florida under the “stand your ground” law. The conversation focuses on how editor Lieberman navigated massive technical and emotional challenges, how director Gandbhir shaped the vision and collaboration, and what it takes to make nonfiction storytelling that feels fresh, urgent and cinematic. In this episode, No Film School’s GG Hawkins and guests Viridiana Lieberman and Geeta Gandbhir discuss: How Viridiana  Lieberman approached editing “The Perfect Neighbor”, choosing what to show when and from which vantage to preserve both clarity and emotional resonance. The origin of the project: how Geeta Gandbhir came to this story, the community she wanted to honor, and why she opted to build the film almost entirely out of institutional footage rather than recourse to expert interviews or narration. The technical and ethical challenges of juggling footage from very different sources (body cam, dash cam, Ring camera, 911 calls) in the edit room — and how Viridiana organised the workflow. The importance of tone, pacing and audience trust in documentary editing: trusting the audience, staying rooted with community, giving them room to observe rather than prescribing meaning. Collaboration between director and editor: the shorthand Lieberman and Gandbhir had built, the trust that was required, and how they shaped the structure together. Self‑care and emotional resilience when working on stories that deal with trauma, racial violence, and community grief — how Viridiana and the team held space for the neighborhood and for themselves. Advice for aspiring editors and filmmakers: start making stuff, vocalise what you want, collaborate with people you trust, don’t wait for permission. Memorable Quotes: “I said, wow, the film created that space.” “There’s moments of incredible insight and joy of this community … I always say surprising that people … do feel all of that.” “What I love is that Gita can direct me like I’m an actor … what are we trying to say here?” “The hardest part of this edit was more creative and technical because all of the … footage … is what it is.” Guests: Geeta Gandbhir Viridiana Lieberman Resources: Watch The  Perfect Neighbor on Netflix Find No Film School everywhere: On the Web: No Film School (https://nofilmschool.com/) Facebook: No Film School on Facebook (https://www.facebook.com/nofilmschool) Twitter: No Film School on Twitter (https://twitter.com/nofilmschool) YouTube: No Film School on YouTube (https://www.youtube.com/user/nofilmschool) Instagram: No Film School on Instagram (https://www.instagram.com/nofilmschool)  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 24 Oct 2025 15:00:00 -0000 full No Film School In this episode, No Film School’s GG Hawkins and guests Geeta Gandbhir and Viridiana Lieberman dive into the making of the breakout documentary The Perfect Neighbor, which uses police body‑cam, Ring‑cam and dash‑cam footage to tell a harrowing story of a neighborhood dispute and a fatal shooting in Florida under the “stand your ground” law. The conversation focuses on how editor Lieberman navigated massive technical and emotional challenges, how director Gandbhir shaped the vision and collaboration, and what it takes to make nonfiction storytelling that feels fresh, urgent and cinematic. In this episode, No Film School’s GG Hawkins and guests Viridiana Lieberman and Geeta Gandbhir discuss: How Viridiana  Lieberman approached editing “The Perfect Neighbor”, choosing what to show when and from which vantage to preserve both clarity and emotional resonance. The origin of the project: how Geeta Gandbhir came to this story, the community she wanted to honor, and why she opted to build the film almost entirely out of institutional footage rather than recourse to expert interviews or narration. The technical and ethical challenges of juggling footage from very different sources (body cam, dash cam, Ring camera, 911 calls) in the edit room — and how Viridiana organised the workflow. The importance of tone, pacing and audience trust in documentary editing: trusting the audience, staying rooted with community, giving them room to observe rather than prescribing meaning. Collaboration between director and editor: the shorthand Lieberman and Gandbhir had built, the trust that was required, and how they shaped the structure together. Self‑care and emotional resilience when working on stories that deal with trauma, racial violence, and community grief — how Viridiana and the team held space for the neighborhood and for themselves. Advice for aspiring editors and filmmakers: start making stuff, vocalise what you want, collaborate with people you trust, don’t wait for permission. Memorable Quotes: “I said, wow, the film created that space.” “There’s moments of incredible insight and joy of this community … I always say surprising that people … do feel all of that.” “What I love is that Gita can direct me like I’m an actor … what are we trying to say here?” “The hardest part of this edit was more creative and technical because all of the … footage … is what it is.” Guests: Geeta Gandbhir Viridiana Lieberman Resources: Watch The  Perfect Neighbor on Netflix Find No Film School everywhere: On the Web: No Film School (https://nofilmschool.com/) Facebook: No Film School on Facebook (https://www.facebook.com/nofilmschool) Twitter: No Film School on Twitter (https://twitter.com/nofilmschool) YouTube: No Film School on YouTube (https://www.youtube.com/user/nofilmschool) Instagram: No Film School on Instagram (https://www.instagram.com/nofilmschool)  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, No Film School’s GG Hawkins and guests Geeta Gandbhir and Viridiana Lieberman dive into the making of the breakout documentary The Perfect Neighbor, which uses police body‑cam, Ring‑cam and dash‑cam footage to tell a harrowing story of a neighborhood dispute and a fatal shooting in Florida under the “stand your ground” law. The conversation focuses on how editor Lieberman navigated massive technical and emotional challenges, how director Gandbhir shaped the vision and collaboration, and what it takes to make nonfiction storytelling that feels fresh, urgent and cinematic.

In this episode, No Film School’s GG Hawkins and guests Viridiana Lieberman and Geeta Gandbhir discuss:

  • How Viridiana  Lieberman approached editing “The Perfect Neighbor”, choosing what to show when and from which vantage to preserve both clarity and emotional resonance.

  • The origin of the project: how Geeta Gandbhir came to this story, the community she wanted to honor, and why she opted to build the film almost entirely out of institutional footage rather than recourse to expert interviews or narration.

  • The technical and ethical challenges of juggling footage from very different sources (body cam, dash cam, Ring camera, 911 calls) in the edit room — and how Viridiana organised the workflow.

  • The importance of tone, pacing and audience trust in documentary editing: trusting the audience, staying rooted with community, giving them room to observe rather than prescribing meaning.

  • Collaboration between director and editor: the shorthand Lieberman and Gandbhir had built, the trust that was required, and how they shaped the structure together.

  • Self‑care and emotional resilience when working on stories that deal with trauma, racial violence, and community grief — how Viridiana and the team held space for the neighborhood and for themselves.

  • Advice for aspiring editors and filmmakers: start making stuff, vocalise what you want, collaborate with people you trust, don’t wait for permission.

Memorable Quotes:

  • “I said, wow, the film created that space.”

  • “There’s moments of incredible insight and joy of this community … I always say surprising that people … do feel all of that.”

  • “What I love is that Gita can direct me like I’m an actor … what are we trying to say here?”

  • “The hardest part of this edit was more creative and technical because all of the … footage … is what it is.”

Guests:

Resources:

Find No Film School everywhere:

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

]]> 3244 The Art of Coming Undone: Mary Bronstein on ‘If I Had Legs I’d Kick You’ In this episode of the No Film School Podcast, GG Hawkins speaks with writer-director Mary Bronstein about her searing psychological comedy-drama If I Had Legs, I'd Kick You. The film, starring Rose Byrne, Conan O'Brien, Christian Slater, and A$AP Rocky, explores the emotional breakdown of a woman navigating a mysterious illness in her child, an absentee husband, and a dangerously dependent relationship with her therapist. Premiering at Sundance and earning Rose Byrne a Silver Bear at Berlinale, the film has received critical acclaim for its raw emotional honesty and darkly comedic tone. Mary shares her deeply collaborative process with actors—particularly Byrne—and how performance, not just plot or technique, is the true core of her work. In this episode, No Film School's GG Hawkins and guest Mary Bronstein discuss... Mary’s non-traditional journey into directing via acting and method training Why understanding acting is essential for directors The intense six-week collaborative prep process Mary and Rose Byrne underwent to develop the character of Linda How Mary tailors her directing style to unlock emotionally raw, performance-driven cinema The importance of maintaining artistic integrity over commercial conformity Why most screenwriting classes and formatting “rules” are, in Mary’s words, “bullshit” The difference between directing for performance versus directing for aesthetics Mary’s perspective on the resurgence of a new indie golden age Memorable Quotes: "If your performances are shit, your movie is shit to me." (12:49) "By the time we get to set, there is nothing you could do that would be wrong." (30:34) "My struggle is a creative one, not a commercial one." (42:08) "You don’t wait for permission." (46:18) Guests: Mary Bronstein Resources: If I Had Legs, I'd Kick You is now in theaters via A24 Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Sat, 18 Oct 2025 21:37:00 -0000 full No Film School In this episode of the No Film School Podcast, GG Hawkins speaks with writer-director Mary Bronstein about her searing psychological comedy-drama If I Had Legs, I'd Kick You. The film, starring Rose Byrne, Conan O'Brien, Christian Slater, and A$AP Rocky, explores the emotional breakdown of a woman navigating a mysterious illness in her child, an absentee husband, and a dangerously dependent relationship with her therapist. Premiering at Sundance and earning Rose Byrne a Silver Bear at Berlinale, the film has received critical acclaim for its raw emotional honesty and darkly comedic tone. Mary shares her deeply collaborative process with actors—particularly Byrne—and how performance, not just plot or technique, is the true core of her work. In this episode, No Film School's GG Hawkins and guest Mary Bronstein discuss... Mary’s non-traditional journey into directing via acting and method training Why understanding acting is essential for directors The intense six-week collaborative prep process Mary and Rose Byrne underwent to develop the character of Linda How Mary tailors her directing style to unlock emotionally raw, performance-driven cinema The importance of maintaining artistic integrity over commercial conformity Why most screenwriting classes and formatting “rules” are, in Mary’s words, “bullshit” The difference between directing for performance versus directing for aesthetics Mary’s perspective on the resurgence of a new indie golden age Memorable Quotes: "If your performances are shit, your movie is shit to me." (12:49) "By the time we get to set, there is nothing you could do that would be wrong." (30:34) "My struggle is a creative one, not a commercial one." (42:08) "You don’t wait for permission." (46:18) Guests: Mary Bronstein Resources: If I Had Legs, I'd Kick You is now in theaters via A24 Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of the No Film School Podcast, GG Hawkins speaks with writer-director Mary Bronstein about her searing psychological comedy-drama If I Had Legs, I'd Kick You. The film, starring Rose Byrne, Conan O'Brien, Christian Slater, and A$AP Rocky, explores the emotional breakdown of a woman navigating a mysterious illness in her child, an absentee husband, and a dangerously dependent relationship with her therapist. Premiering at Sundance and earning Rose Byrne a Silver Bear at Berlinale, the film has received critical acclaim for its raw emotional honesty and darkly comedic tone. Mary shares her deeply collaborative process with actors—particularly Byrne—and how performance, not just plot or technique, is the true core of her work.

In this episode, No Film School's GG Hawkins and guest Mary Bronstein discuss...

  • Mary’s non-traditional journey into directing via acting and method training

  • Why understanding acting is essential for directors

  • The intense six-week collaborative prep process Mary and Rose Byrne underwent to develop the character of Linda

  • How Mary tailors her directing style to unlock emotionally raw, performance-driven cinema

  • The importance of maintaining artistic integrity over commercial conformity

  • Why most screenwriting classes and formatting “rules” are, in Mary’s words, “bullshit”

  • The difference between directing for performance versus directing for aesthetics

  • Mary’s perspective on the resurgence of a new indie golden age

Memorable Quotes:

  • "If your performances are shit, your movie is shit to me." (12:49)

  • "By the time we get to set, there is nothing you could do that would be wrong." (30:34)

  • "My struggle is a creative one, not a commercial one." (42:08)

  • "You don’t wait for permission." (46:18)

Guests:

Resources:

Find No Film School everywhere:

 📩 Send us an email with questions or feedback: podcast@nofilmschool.com

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

]]> 3279 Are You Up to the ‘Task’ of Directing Great TV? Jeremiah Zagar on How to Helm an HBO Hit No Film School founder, Ryan Koo, sits down with acclaimed director Jeremiah Zagar to explore his journey from Sundance Labs and indie documentaries to directing high-stakes prestige television. Zagar, best known for We the Animals and Hustle, shares an in-depth look at his process directing HBO’s Task—an emotionally rich, verité-style crime drama from showrunner Brad Ingelsby, starring Mark Ruffalo and Tom Pelphrey. The conversation dives deep into how Zagar’s collaborative ethos and commitment to joy and safety on set shapes his work, and how building a long-standing creative family has been key to his success. In this episode, No Film School’s Ryan Koo and guest Jeremiah Zagar discuss... How Jeremiah transitioned from making a personal documentary to directing HBO Sunday night TV The evolution of his production company Public Record and his partnership with longtime collaborator Jeremy Yaches Why he treats every project as a holistic collaboration, bringing in his trusted team across all productions The importance of storyboarding, mood boarding, and detailed prep to allow for freedom on set Behind-the-scenes stories from directing pivotal scenes in Task, including a climactic car scene with Ruffalo and Pelphrey The philosophy of “best idea wins” and how showrunner Brad Ingelsby fostered deep creative collaboration How emotional truth and safety for actors are prioritized on Zagar’s sets The unusual ways his acting coach (or “wizard”) helps foster intimacy and authenticity among cast members Why joy, kindness, and team spirit are central to Zagar’s directing ethos Memorable Quotes: "The process has to be better than the product." "I never expected to make any money. So it had to be a fulfilling artistic journey." "If you're working with NBA-caliber people, all you have to do is make sure LeBron James wins the game." "We said, we're going to run this set with kindness. And we did." Guests: Jeremiah Zagar – Director of Task, We the Animals, and Hustle Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 17 Oct 2025 01:40:00 -0000 full No Film School No Film School founder, Ryan Koo, sits down with acclaimed director Jeremiah Zagar to explore his journey from Sundance Labs and indie documentaries to directing high-stakes prestige television. Zagar, best known for We the Animals and Hustle, shares an in-depth look at his process directing HBO’s Task—an emotionally rich, verité-style crime drama from showrunner Brad Ingelsby, starring Mark Ruffalo and Tom Pelphrey. The conversation dives deep into how Zagar’s collaborative ethos and commitment to joy and safety on set shapes his work, and how building a long-standing creative family has been key to his success. In this episode, No Film School’s Ryan Koo and guest Jeremiah Zagar discuss... How Jeremiah transitioned from making a personal documentary to directing HBO Sunday night TV The evolution of his production company Public Record and his partnership with longtime collaborator Jeremy Yaches Why he treats every project as a holistic collaboration, bringing in his trusted team across all productions The importance of storyboarding, mood boarding, and detailed prep to allow for freedom on set Behind-the-scenes stories from directing pivotal scenes in Task, including a climactic car scene with Ruffalo and Pelphrey The philosophy of “best idea wins” and how showrunner Brad Ingelsby fostered deep creative collaboration How emotional truth and safety for actors are prioritized on Zagar’s sets The unusual ways his acting coach (or “wizard”) helps foster intimacy and authenticity among cast members Why joy, kindness, and team spirit are central to Zagar’s directing ethos Memorable Quotes: "The process has to be better than the product." "I never expected to make any money. So it had to be a fulfilling artistic journey." "If you're working with NBA-caliber people, all you have to do is make sure LeBron James wins the game." "We said, we're going to run this set with kindness. And we did." Guests: Jeremiah Zagar – Director of Task, We the Animals, and Hustle Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices No Film School founder, Ryan Koo, sits down with acclaimed director Jeremiah Zagar to explore his journey from Sundance Labs and indie documentaries to directing high-stakes prestige television. Zagar, best known for We the Animals and Hustle, shares an in-depth look at his process directing HBO’s Task—an emotionally rich, verité-style crime drama from showrunner Brad Ingelsby, starring Mark Ruffalo and Tom Pelphrey. The conversation dives deep into how Zagar’s collaborative ethos and commitment to joy and safety on set shapes his work, and how building a long-standing creative family has been key to his success.

In this episode, No Film School’s Ryan Koo and guest Jeremiah Zagar discuss...

  • How Jeremiah transitioned from making a personal documentary to directing HBO Sunday night TV

  • The evolution of his production company Public Record and his partnership with longtime collaborator Jeremy Yaches

  • Why he treats every project as a holistic collaboration, bringing in his trusted team across all productions

  • The importance of storyboarding, mood boarding, and detailed prep to allow for freedom on set

  • Behind-the-scenes stories from directing pivotal scenes in Task, including a climactic car scene with Ruffalo and Pelphrey

  • The philosophy of “best idea wins” and how showrunner Brad Ingelsby fostered deep creative collaboration

  • How emotional truth and safety for actors are prioritized on Zagar’s sets

  • The unusual ways his acting coach (or “wizard”) helps foster intimacy and authenticity among cast members

  • Why joy, kindness, and team spirit are central to Zagar’s directing ethos

Memorable Quotes:

  • "The process has to be better than the product."

  • "I never expected to make any money. So it had to be a fulfilling artistic journey."

  • "If you're working with NBA-caliber people, all you have to do is make sure LeBron James wins the game."

  • "We said, we're going to run this set with kindness. And we did."

Guests:

Find No Film School everywhere:

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

]]> 2973 Can Filmmakers Make Money by Adding a ‘Tip Jar’ to the Credits? ‘Dolly’ Filmmakers Find Out How do you make enough money to support yourself as an independent filmmaker? It's nearly impossible. So these scrappy filmmakers tried something new. Moviegoers at this year's edition of Fantastic Fest were in for a surprise when the credits of the horror world premiere Dolly rolled: several QR codes lingered on screen. If you liked the movie, you could tip the filmmakers directly, through Venmo, Cash App, Zelle, and PayPal (those links are live in case you support the idea): In addition to the tip jar, they also put themselves in the movie so they could also find a revenue stream as actors, and they've since added to their website a high-priced opportunity to be in the sequel to Dolly as one of the victims. On this episode of the No Film School Podcast, NFS Founder Ryan Koo discusses these innovations with writer-director Rod Blackhurst, producer Noah Lang, and producer Ross O'Connor. In this episode… Why the Dolly team added a “tip jar” at the end of their movie using QR codes How creating additional revenue streams as actors and content creators might be a new model for indie filmmakers The story behind casting wrestler Max the Impaler as Dolly Using 16mm film to enhance the grindhouse horror tone and the challenges of daily shipping undeveloped reels The VFX, SFX, and editing craft that made the gore and kills land effectively The DIY spirit that fueled every part of this low-budget horror’s production Putting themselves in the film for potential SAG residuals Plans to build Dolly into a franchise and the playful spirit they bring to that The lesson that proper channels aren’t always the best path—sometimes you just DM a star and see what happens Memorable Quotes: “Putting a tip jar in the credits—if not us, then who? If not now, then when?” (42:20) “We couldn’t afford to license music, so we made our own band.” (42:30) “It’s both the most pathetic thing ever and the greatest idea of all time.” (43:50) “We will be in every Dolly. That is 100% the plan.” (50:12) Guests: Rod Blackhurst Noah Lang Ross O'Connor Resources: Why The 'Blood for Dust' Filmmakers Don't Wait for Permission ⁠'Here Alone': Post-Apocalyptic DIY Flick Wins Audience Award at Tribeca ⁠7 Directing Tips From A First-Time Feature Director ⁠Why a Proof of Concept Short is Always Worth Making Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 10 Oct 2025 15:00:00 -0000 full No Film School How do you make enough money to support yourself as an independent filmmaker? It's nearly impossible. So these scrappy filmmakers tried something new. Moviegoers at this year's edition of Fantastic Fest were in for a surprise when the credits of the horror world premiere Dolly rolled: several QR codes lingered on screen. If you liked the movie, you could tip the filmmakers directly, through Venmo, Cash App, Zelle, and PayPal (those links are live in case you support the idea): In addition to the tip jar, they also put themselves in the movie so they could also find a revenue stream as actors, and they've since added to their website a high-priced opportunity to be in the sequel to Dolly as one of the victims. On this episode of the No Film School Podcast, NFS Founder Ryan Koo discusses these innovations with writer-director Rod Blackhurst, producer Noah Lang, and producer Ross O'Connor. In this episode… Why the Dolly team added a “tip jar” at the end of their movie using QR codes How creating additional revenue streams as actors and content creators might be a new model for indie filmmakers The story behind casting wrestler Max the Impaler as Dolly Using 16mm film to enhance the grindhouse horror tone and the challenges of daily shipping undeveloped reels The VFX, SFX, and editing craft that made the gore and kills land effectively The DIY spirit that fueled every part of this low-budget horror’s production Putting themselves in the film for potential SAG residuals Plans to build Dolly into a franchise and the playful spirit they bring to that The lesson that proper channels aren’t always the best path—sometimes you just DM a star and see what happens Memorable Quotes: “Putting a tip jar in the credits—if not us, then who? If not now, then when?” (42:20) “We couldn’t afford to license music, so we made our own band.” (42:30) “It’s both the most pathetic thing ever and the greatest idea of all time.” (43:50) “We will be in every Dolly. That is 100% the plan.” (50:12) Guests: Rod Blackhurst Noah Lang Ross O'Connor Resources: Why The 'Blood for Dust' Filmmakers Don't Wait for Permission ⁠'Here Alone': Post-Apocalyptic DIY Flick Wins Audience Award at Tribeca ⁠7 Directing Tips From A First-Time Feature Director ⁠Why a Proof of Concept Short is Always Worth Making Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices How do you make enough money to support yourself as an independent filmmaker? It's nearly impossible. So these scrappy filmmakers tried something new.

Moviegoers at this year's edition of Fantastic Fest were in for a surprise when the credits of the horror world premiere Dolly rolled: several QR codes lingered on screen. If you liked the movie, you could tip the filmmakers directly, through Venmo, Cash App, Zelle, and PayPal (those links are live in case you support the idea):

In addition to the tip jar, they also put themselves in the movie so they could also find a revenue stream as actors, and they've since added to their website a high-priced opportunity to be in the sequel to Dolly as one of the victims.

On this episode of the No Film School Podcast, NFS Founder Ryan Koo discusses these innovations with writer-director Rod Blackhurst, producer Noah Lang, and producer Ross O'Connor.

In this episode…

  • Why the Dolly team added a “tip jar” at the end of their movie using QR codes

  • How creating additional revenue streams as actors and content creators might be a new model for indie filmmakers

  • The story behind casting wrestler Max the Impaler as Dolly

  • Using 16mm film to enhance the grindhouse horror tone and the challenges of daily shipping undeveloped reels

  • The VFX, SFX, and editing craft that made the gore and kills land effectively

  • The DIY spirit that fueled every part of this low-budget horror’s production

  • Putting themselves in the film for potential SAG residuals

  • Plans to build Dolly into a franchise and the playful spirit they bring to that

  • The lesson that proper channels aren’t always the best path—sometimes you just DM a star and see what happens

Memorable Quotes:

  • “Putting a tip jar in the credits—if not us, then who? If not now, then when?” (42:20)

  • “We couldn’t afford to license music, so we made our own band.” (42:30)

  • “It’s both the most pathetic thing ever and the greatest idea of all time.” (43:50)

  • “We will be in every Dolly. That is 100% the plan.” (50:12)

Guests:

Resources:

Find No Film School everywhere:

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

]]> 3967 Breaking Taboos with Slamdance-Winning 'Chaperone' Director In this episode of the No Film School Podcast, host GG Hawkins sits down with writer-director Zoe Eisenberg to discuss her provocative and powerful debut feature Chaperone, which won the Grand Jury Prize for Best Breakout Feature at Slamdance. Set in Hawaii, the film explores a taboo relationship between a woman and a teenage boy and dives deep into themes of loneliness, desire, and moral ambiguity. GG and Zoe unpack the journey from novelist to filmmaker, the unique challenges of indie production on a remote island, and how a community-driven approach made the film possible. Plus, GG shares her own experiences pitching at the Gotham Project Market, with special guest and No Film School founder Ryan Koo reflecting on his own path from Gotham to Netflix. In this episode, No Film School's GG Hawkins, Jason Hellerman, and guests discuss... The inspiration behind Chaperone and what made the film's provocative premise resonate How Zoe transitioned from novelist to filmmaker without formal film school training The role of the Hawaii film community in supporting ultra-low-budget indie filmmaking Casting the leads, chemistry reads, and how Zoe found her actors on Instagram GG’s experience at the Gotham Project Market and Ryan Koo’s career post-Gotham Why AFM can be both a useful tool and a tough experience for emerging filmmakers Navigating rejection, finding investors locally, and the importance of perseverance How Chaperone finally found distribution and is preparing for a VOD release Memorable Quotes: "I laughed a lot, but then I became very fixated… what kind of woman would have said yes to that?" "Everyone wants to get in on a train that’s already moving." "I'm not that special. If I want to watch or read it, then other women like myself will as well." "Protect the movie and protect the actors you believe in." Guests: Zoe Eisenberg Ryan Koo Resources: Chaperone on Letterboxd Zoe Eisenberg’s novel Significant Others The Gotham Project Market Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 09 Oct 2025 15:00:00 -0000 full No Film School In this episode of the No Film School Podcast, host GG Hawkins sits down with writer-director Zoe Eisenberg to discuss her provocative and powerful debut feature Chaperone, which won the Grand Jury Prize for Best Breakout Feature at Slamdance. Set in Hawaii, the film explores a taboo relationship between a woman and a teenage boy and dives deep into themes of loneliness, desire, and moral ambiguity. GG and Zoe unpack the journey from novelist to filmmaker, the unique challenges of indie production on a remote island, and how a community-driven approach made the film possible. Plus, GG shares her own experiences pitching at the Gotham Project Market, with special guest and No Film School founder Ryan Koo reflecting on his own path from Gotham to Netflix. In this episode, No Film School's GG Hawkins, Jason Hellerman, and guests discuss... The inspiration behind Chaperone and what made the film's provocative premise resonate How Zoe transitioned from novelist to filmmaker without formal film school training The role of the Hawaii film community in supporting ultra-low-budget indie filmmaking Casting the leads, chemistry reads, and how Zoe found her actors on Instagram GG’s experience at the Gotham Project Market and Ryan Koo’s career post-Gotham Why AFM can be both a useful tool and a tough experience for emerging filmmakers Navigating rejection, finding investors locally, and the importance of perseverance How Chaperone finally found distribution and is preparing for a VOD release Memorable Quotes: "I laughed a lot, but then I became very fixated… what kind of woman would have said yes to that?" "Everyone wants to get in on a train that’s already moving." "I'm not that special. If I want to watch or read it, then other women like myself will as well." "Protect the movie and protect the actors you believe in." Guests: Zoe Eisenberg Ryan Koo Resources: Chaperone on Letterboxd Zoe Eisenberg’s novel Significant Others The Gotham Project Market Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of the No Film School Podcast, host GG Hawkins sits down with writer-director Zoe Eisenberg to discuss her provocative and powerful debut feature Chaperone, which won the Grand Jury Prize for Best Breakout Feature at Slamdance. Set in Hawaii, the film explores a taboo relationship between a woman and a teenage boy and dives deep into themes of loneliness, desire, and moral ambiguity. GG and Zoe unpack the journey from novelist to filmmaker, the unique challenges of indie production on a remote island, and how a community-driven approach made the film possible. Plus, GG shares her own experiences pitching at the Gotham Project Market, with special guest and No Film School founder Ryan Koo reflecting on his own path from Gotham to Netflix.

In this episode, No Film School's GG Hawkins, Jason Hellerman, and guests discuss...

  • The inspiration behind Chaperone and what made the film's provocative premise resonate

  • How Zoe transitioned from novelist to filmmaker without formal film school training

  • The role of the Hawaii film community in supporting ultra-low-budget indie filmmaking

  • Casting the leads, chemistry reads, and how Zoe found her actors on Instagram

  • GG’s experience at the Gotham Project Market and Ryan Koo’s career post-Gotham

  • Why AFM can be both a useful tool and a tough experience for emerging filmmakers

  • Navigating rejection, finding investors locally, and the importance of perseverance

  • How Chaperone finally found distribution and is preparing for a VOD release

Memorable Quotes:

  • "I laughed a lot, but then I became very fixated… what kind of woman would have said yes to that?"

  • "Everyone wants to get in on a train that’s already moving."

  • "I'm not that special. If I want to watch or read it, then other women like myself will as well."

  • "Protect the movie and protect the actors you believe in."

Guests:

Resources:

Find No Film School everywhere:

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

]]> 3365 AI as a Tool, Not a Shortcut: Inside the Chroma Awards This episode of the No Film School Podcast takes a deep dive into the intersection of AI and creativity in filmmaking. Host GG Hawkins speaks with Matty Shimura from ElevenLabs about the upcoming Chroma Awards—an international competition that aims to spotlight ethical, intentional, and innovative uses of AI in film, music videos, and games. The conversation explores how AI is being used as a tool rather than a shortcut, the ethical complexities of its application in creative work, and how filmmakers can adapt and thrive using these new technologies. This is a sponsored podcast in partnership with ElevenLabs and the Chroma Awards. In this episode, No Film School's GG Hawkins and guest Matty Shimura discuss... The mission behind the Chroma Awards and what makes it unique in the AI creative space Why AI is not the death of creativity, but a tool for expanding it The distinction between “AI natives” and traditional filmmakers How the competition promotes transparency and ethical storytelling Ways AI can democratize filmmaking for underrepresented voices Real-world examples of powerful AI-driven projects like Electric Pink The rigorous and human-driven process behind making an AI film The fears surrounding job replacement and how to respond with curiosity and skill-building Opportunities for collaboration and community within the AI creative movement Memorable Quotes: “AI can never create taste or choice or voice. But it is a tool for honing your voice.” “Just because you can technically do anything, that doesn’t mean you should.” “The people who are going to be best at using these tools are those ones who have had these decades of experience.” “I think directing is reacting.” Guests: Matty Shimura – ElevenLabs and Chroma Awards Resources: Chroma Awards ElevenLabs Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or fe\edback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 03 Oct 2025 23:00:00 -0000 full No Film School This episode of the No Film School Podcast takes a deep dive into the intersection of AI and creativity in filmmaking. Host GG Hawkins speaks with Matty Shimura from ElevenLabs about the upcoming Chroma Awards—an international competition that aims to spotlight ethical, intentional, and innovative uses of AI in film, music videos, and games. The conversation explores how AI is being used as a tool rather than a shortcut, the ethical complexities of its application in creative work, and how filmmakers can adapt and thrive using these new technologies. This is a sponsored podcast in partnership with ElevenLabs and the Chroma Awards. In this episode, No Film School's GG Hawkins and guest Matty Shimura discuss... The mission behind the Chroma Awards and what makes it unique in the AI creative space Why AI is not the death of creativity, but a tool for expanding it The distinction between “AI natives” and traditional filmmakers How the competition promotes transparency and ethical storytelling Ways AI can democratize filmmaking for underrepresented voices Real-world examples of powerful AI-driven projects like Electric Pink The rigorous and human-driven process behind making an AI film The fears surrounding job replacement and how to respond with curiosity and skill-building Opportunities for collaboration and community within the AI creative movement Memorable Quotes: “AI can never create taste or choice or voice. But it is a tool for honing your voice.” “Just because you can technically do anything, that doesn’t mean you should.” “The people who are going to be best at using these tools are those ones who have had these decades of experience.” “I think directing is reacting.” Guests: Matty Shimura – ElevenLabs and Chroma Awards Resources: Chroma Awards ElevenLabs Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or fe\edback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices This episode of the No Film School Podcast takes a deep dive into the intersection of AI and creativity in filmmaking. Host GG Hawkins speaks with Matty Shimura from ElevenLabs about the upcoming Chroma Awards—an international competition that aims to spotlight ethical, intentional, and innovative uses of AI in film, music videos, and games. The conversation explores how AI is being used as a tool rather than a shortcut, the ethical complexities of its application in creative work, and how filmmakers can adapt and thrive using these new technologies. This is a sponsored podcast in partnership with ElevenLabs and the Chroma Awards.

In this episode, No Film School's GG Hawkins and guest Matty Shimura discuss...

  • The mission behind the Chroma Awards and what makes it unique in the AI creative space

  • Why AI is not the death of creativity, but a tool for expanding it

  • The distinction between “AI natives” and traditional filmmakers

  • How the competition promotes transparency and ethical storytelling

  • Ways AI can democratize filmmaking for underrepresented voices

  • Real-world examples of powerful AI-driven projects like Electric Pink

  • The rigorous and human-driven process behind making an AI film

  • The fears surrounding job replacement and how to respond with curiosity and skill-building

  • Opportunities for collaboration and community within the AI creative movement

Memorable Quotes:

  • “AI can never create taste or choice or voice. But it is a tool for honing your voice.”

  • “Just because you can technically do anything, that doesn’t mean you should.”

  • “The people who are going to be best at using these tools are those ones who have had these decades of experience.”

  • “I think directing is reacting.”

Guests:

Resources:

Find No Film School everywhere:

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

]]> 1805 Shane Black’s Filmmaking Philosophy In this episode of the No Film School Podcast, host GG Hawkins sits down with legendary screenwriter and director Shane Black, known for iconic films like Lethal Weapon, The Last Boy Scout, The Nice Guys, and Kiss Kiss Bang Bang. The two dive deep into Black’s creative process, his latest project Play Dirty (an adaptation of Donald Westlake's Parker novels), and how his filmmaking journey and sobriety have shaped his vision. From staying true to source material while adding his unique voice, to building character-driven action scenes and navigating Hollywood with integrity and purpose, Shane shares invaluable insights for filmmakers at every stage. In this episode, No Film School's GG Hawkins and guest Shane Black discuss... What drew Shane to the Parker novels and how he approached adapting them The balance between honoring Westlake’s tone and injecting Shane’s signature wit How to structure complex stories while preserving ambiguity and character depth Creating blue-collar, competent anti-heroes as a more grounded alternative to spy thrillers The role of pre-visualization, animatics, and spontaneity on set How Shane leads a creative and collaborative environment with his cast and crew The power of post-production and the art of shaping the final story in the edit Building creative stamina and the importance of structure in a writer’s day Advice for filmmakers entering a fear-based industry with confidence and authenticity The impact of sobriety and self-awareness on creativity and leadership Memorable Quotes: "Parker is a lot of things. Sentimental is not one of them." "You're comparing your insides with their outside. So they look great... So are they." "You don’t die from a feeling.” "Be so good they can't ignore you." Guests: Shane Black Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 03 Oct 2025 15:00:00 -0000 full No Film School In this episode of the No Film School Podcast, host GG Hawkins sits down with legendary screenwriter and director Shane Black, known for iconic films like Lethal Weapon, The Last Boy Scout, The Nice Guys, and Kiss Kiss Bang Bang. The two dive deep into Black’s creative process, his latest project Play Dirty (an adaptation of Donald Westlake's Parker novels), and how his filmmaking journey and sobriety have shaped his vision. From staying true to source material while adding his unique voice, to building character-driven action scenes and navigating Hollywood with integrity and purpose, Shane shares invaluable insights for filmmakers at every stage. In this episode, No Film School's GG Hawkins and guest Shane Black discuss... What drew Shane to the Parker novels and how he approached adapting them The balance between honoring Westlake’s tone and injecting Shane’s signature wit How to structure complex stories while preserving ambiguity and character depth Creating blue-collar, competent anti-heroes as a more grounded alternative to spy thrillers The role of pre-visualization, animatics, and spontaneity on set How Shane leads a creative and collaborative environment with his cast and crew The power of post-production and the art of shaping the final story in the edit Building creative stamina and the importance of structure in a writer’s day Advice for filmmakers entering a fear-based industry with confidence and authenticity The impact of sobriety and self-awareness on creativity and leadership Memorable Quotes: "Parker is a lot of things. Sentimental is not one of them." "You're comparing your insides with their outside. So they look great... So are they." "You don’t die from a feeling.” "Be so good they can't ignore you." Guests: Shane Black Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of the No Film School Podcast, host GG Hawkins sits down with legendary screenwriter and director Shane Black, known for iconic films like Lethal Weapon, The Last Boy Scout, The Nice Guys, and Kiss Kiss Bang Bang. The two dive deep into Black’s creative process, his latest project Play Dirty (an adaptation of Donald Westlake's Parker novels), and how his filmmaking journey and sobriety have shaped his vision. From staying true to source material while adding his unique voice, to building character-driven action scenes and navigating Hollywood with integrity and purpose, Shane shares invaluable insights for filmmakers at every stage.

In this episode, No Film School's GG Hawkins and guest Shane Black discuss...

  • What drew Shane to the Parker novels and how he approached adapting them

  • The balance between honoring Westlake’s tone and injecting Shane’s signature wit

  • How to structure complex stories while preserving ambiguity and character depth

  • Creating blue-collar, competent anti-heroes as a more grounded alternative to spy thrillers

  • The role of pre-visualization, animatics, and spontaneity on set

  • How Shane leads a creative and collaborative environment with his cast and crew

  • The power of post-production and the art of shaping the final story in the edit

  • Building creative stamina and the importance of structure in a writer’s day

  • Advice for filmmakers entering a fear-based industry with confidence and authenticity

  • The impact of sobriety and self-awareness on creativity and leadership

Memorable Quotes:

  • "Parker is a lot of things. Sentimental is not one of them."

  • "You're comparing your insides with their outside. So they look great... So are they."

  • "You don’t die from a feeling.”

  • "Be so good they can't ignore you."

Guests:

Find No Film School everywhere:

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

]]> 3966 Benny Safdie on Blurring Reality and Fiction in 'The Smashing Machine' In this episode, GG Hawkins sits down with filmmaker and actor Benny Safdie to dig into his solo directorial feature The Smashing Machine — a biopic‑adjacent portrait of UFC legend Mark Kerr starring Dwayne Johnson and Emily Blunt. The conversation ranges from genesis stories and casting experiments to the heavy emotional labor behind staging domestic fights, and how Benny’s dual identity as actor-director shapes his approach to truth in film. In this episode, No Film School’s GG Hawkins and guest Benny Safdie discuss… How the film began as a handwritten letter and a vintage sweater, and the surprising miscommunication that delayed the project Benny’s desire to make emotional scenes feel like “virtual reality,” pushing the boundary between fiction and lived experience His method of breaking big scenes (fights, domestic conflict) into overlapping sections for pacing, focus, and emotional veracity Working with first-time actors and real athletes: adapting dialogue, rehearsal during casting, and honoring spontaneity The role of the score (with Nala Sinefroo) as an “actor” in the film, and how Benny collaborates with musicians Editing while shooting, watching dailies, and carrying the film in his mind from set to cut Struggles in balancing creative work with personal life, and how photography serves as a solitary creative practice Advice for emerging directors: start with something you intimately understand before trying to overreach Memorable Quotes: “What you write is meaningless if it doesn't sound good coming out of the person's mouth.” “I want it to feel like you were really there… the sound has to be 360.” “You have to love what’s there. You have to fall in love with it.” “I call it liposuction for the end — shrink wrapping the film.” Guests: Benny Safdie Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 02 Oct 2025 15:00:00 -0000 full No Film School In this episode, GG Hawkins sits down with filmmaker and actor Benny Safdie to dig into his solo directorial feature The Smashing Machine — a biopic‑adjacent portrait of UFC legend Mark Kerr starring Dwayne Johnson and Emily Blunt. The conversation ranges from genesis stories and casting experiments to the heavy emotional labor behind staging domestic fights, and how Benny’s dual identity as actor-director shapes his approach to truth in film. In this episode, No Film School’s GG Hawkins and guest Benny Safdie discuss… How the film began as a handwritten letter and a vintage sweater, and the surprising miscommunication that delayed the project Benny’s desire to make emotional scenes feel like “virtual reality,” pushing the boundary between fiction and lived experience His method of breaking big scenes (fights, domestic conflict) into overlapping sections for pacing, focus, and emotional veracity Working with first-time actors and real athletes: adapting dialogue, rehearsal during casting, and honoring spontaneity The role of the score (with Nala Sinefroo) as an “actor” in the film, and how Benny collaborates with musicians Editing while shooting, watching dailies, and carrying the film in his mind from set to cut Struggles in balancing creative work with personal life, and how photography serves as a solitary creative practice Advice for emerging directors: start with something you intimately understand before trying to overreach Memorable Quotes: “What you write is meaningless if it doesn't sound good coming out of the person's mouth.” “I want it to feel like you were really there… the sound has to be 360.” “You have to love what’s there. You have to fall in love with it.” “I call it liposuction for the end — shrink wrapping the film.” Guests: Benny Safdie Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, GG Hawkins sits down with filmmaker and actor Benny Safdie to dig into his solo directorial feature The Smashing Machine — a biopic‑adjacent portrait of UFC legend Mark Kerr starring Dwayne Johnson and Emily Blunt. The conversation ranges from genesis stories and casting experiments to the heavy emotional labor behind staging domestic fights, and how Benny’s dual identity as actor-director shapes his approach to truth in film.

In this episode, No Film School’s GG Hawkins and guest Benny Safdie discuss…

  • How the film began as a handwritten letter and a vintage sweater, and the surprising miscommunication that delayed the project

  • Benny’s desire to make emotional scenes feel like “virtual reality,” pushing the boundary between fiction and lived experience

  • His method of breaking big scenes (fights, domestic conflict) into overlapping sections for pacing, focus, and emotional veracity

  • Working with first-time actors and real athletes: adapting dialogue, rehearsal during casting, and honoring spontaneity

  • The role of the score (with Nala Sinefroo) as an “actor” in the film, and how Benny collaborates with musicians

  • Editing while shooting, watching dailies, and carrying the film in his mind from set to cut

  • Struggles in balancing creative work with personal life, and how photography serves as a solitary creative practice

  • Advice for emerging directors: start with something you intimately understand before trying to overreach

Memorable Quotes:

  • “What you write is meaningless if it doesn't sound good coming out of the person's mouth.”

  • “I want it to feel like you were really there… the sound has to be 360.”

  • “You have to love what’s there. You have to fall in love with it.”

  • “I call it liposuction for the end — shrink wrapping the film.”

Guests:

Find No Film School everywhere:

 📩 Send us an email with questions or feedback: podcast@nofilmschool.com


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

]]> 3513 Accountability, Networking, and Creative Grind with Just Shoot It In this episode of the No Film School Podcast, host GG Hawkins sits down with Matt Enlow and Oren Kaplan, the prolific directing duo and co-hosts of the long-running Just Shoot It podcast. With nearly 500 episodes under their belt, Matt and Oren dive deep into the realities of sustaining creative careers, the value of community, and how accountability and consistency have fueled their podcast and filmmaking journeys. They share behind-the-scenes stories, including how they met, what keeps them motivated, and how they've adapted to the evolving industry landscape. Whether you're a working filmmaker or just starting out, this episode is packed with wisdom, humor, and hard truths. In this episode, No Film School's GG Hawkins and guests discuss... How Matt and Oren first met and launched Just Shoot It Why having a podcast creates built-in accountability and industry access The highs and lows of directing careers—and why consistency matters more than perfection Why they think proximity, community, and cross-pollination matter more than ever How becoming a parent helped them find focus and efficiency in their careers Social skills, small talk, and how to navigate networking as a filmmaker Why it's time to embrace multi-hyphenate creative lives—and stop waiting for the cavalry Memorable Quotes: “If you're not getting work, just make your own stuff... but the important part is you have to share it.” “We are not going back to the boom times. The cavalry isn't coming... and that's okay.” “You're taking people into your career—whether they know it or not.” “We're playing pro ball. This isn't the same sort of game our parents played.” Guests: Matt Enlow Oren Kaplan Resources: Just Shoot It Podcast I Really Love My Husband Tickets Scriptnotes Podcast Lessons from the Screenplay Every Frame a Painting Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Sat, 27 Sep 2025 15:00:00 -0000 full No Film School In this episode of the No Film School Podcast, host GG Hawkins sits down with Matt Enlow and Oren Kaplan, the prolific directing duo and co-hosts of the long-running Just Shoot It podcast. With nearly 500 episodes under their belt, Matt and Oren dive deep into the realities of sustaining creative careers, the value of community, and how accountability and consistency have fueled their podcast and filmmaking journeys. They share behind-the-scenes stories, including how they met, what keeps them motivated, and how they've adapted to the evolving industry landscape. Whether you're a working filmmaker or just starting out, this episode is packed with wisdom, humor, and hard truths. In this episode, No Film School's GG Hawkins and guests discuss... How Matt and Oren first met and launched Just Shoot It Why having a podcast creates built-in accountability and industry access The highs and lows of directing careers—and why consistency matters more than perfection Why they think proximity, community, and cross-pollination matter more than ever How becoming a parent helped them find focus and efficiency in their careers Social skills, small talk, and how to navigate networking as a filmmaker Why it's time to embrace multi-hyphenate creative lives—and stop waiting for the cavalry Memorable Quotes: “If you're not getting work, just make your own stuff... but the important part is you have to share it.” “We are not going back to the boom times. The cavalry isn't coming... and that's okay.” “You're taking people into your career—whether they know it or not.” “We're playing pro ball. This isn't the same sort of game our parents played.” Guests: Matt Enlow Oren Kaplan Resources: Just Shoot It Podcast I Really Love My Husband Tickets Scriptnotes Podcast Lessons from the Screenplay Every Frame a Painting Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of the No Film School Podcast, host GG Hawkins sits down with Matt Enlow and Oren Kaplan, the prolific directing duo and co-hosts of the long-running Just Shoot It podcast. With nearly 500 episodes under their belt, Matt and Oren dive deep into the realities of sustaining creative careers, the value of community, and how accountability and consistency have fueled their podcast and filmmaking journeys. They share behind-the-scenes stories, including how they met, what keeps them motivated, and how they've adapted to the evolving industry landscape. Whether you're a working filmmaker or just starting out, this episode is packed with wisdom, humor, and hard truths.

In this episode, No Film School's GG Hawkins and guests discuss...

  • How Matt and Oren first met and launched Just Shoot It

  • Why having a podcast creates built-in accountability and industry access

  • The highs and lows of directing careers—and why consistency matters more than perfection

  • Why they think proximity, community, and cross-pollination matter more than ever

  • How becoming a parent helped them find focus and efficiency in their careers

  • Social skills, small talk, and how to navigate networking as a filmmaker

  • Why it's time to embrace multi-hyphenate creative lives—and stop waiting for the cavalry

Memorable Quotes:

  • “If you're not getting work, just make your own stuff... but the important part is you have to share it.”

  • “We are not going back to the boom times. The cavalry isn't coming... and that's okay.”

  • “You're taking people into your career—whether they know it or not.”

  • “We're playing pro ball. This isn't the same sort of game our parents played.”

Guests:

Resources:

Find No Film School everywhere:

 📩 Send us an email with questions or feedback: podcast@nofilmschool.com


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

]]> 3876 Inside Adult Animation: Creating Netflix’s 'Haunted Hotel' No Film School's GG Hawkins checks into Netflix’s brand new animated comedy, Haunted Hotel, and gets a behind-the-scenes look at what it takes to create an adult animation from the ground up. She’s joined by series creator and showrunner Matt Roller (Rick and Morty), art director Robbie Erwin, and writer Avital Ash for a roundtable conversation that spans the show’s long development journey, the complexities of world-building in animation, and the creative collaboration required to bring this spooky-yet-heartfelt family comedy to life. From storytelling tone to visual language and production logistics, this episode is a crash course in what makes adult animation work—and how this team made sure Haunted Hotel stood out in a crowded field. In this episode, No Film School's GG Hawkins and guests discuss... How Haunted Hotel evolved from a pitch to a Netflix series Why Matt Roller leaned into horror instead of sci-fi—and what makes horror more emotionally resonant How Robbie Erwin’s theme park design background helped shape the show’s tactile visual world The writer’s room philosophy that prioritized kindness, creativity, and unique perspectives Why visual design and writing had to be deeply integrated for successful world-building How the team balanced comedy, horror, and emotional depth across the season The decision to make the show TV-14 instead of TV-MA—and how that opened it up to more viewers The team’s favorite ghost characters Memorable Quotes: “I think in this type of TV show, you set out to build a world where you could tell 100 stories.” “The comedy pilot part is the baseline… then it’s the other stuff.” “I think the thing I’m proudest about is that I got to work on it—it’s one of the most proud I’ve been of all the work I’ve done.” “With horror, everything matters… and I think that’s how family works too.” Guests: Matt Roller Robbie Erwin Avital Ash Resources: Haunted Hotel is now streaming on Netflix I Really Love My Husband Tickets: https://linktr.ee/ireallylovemyhusband Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 26 Sep 2025 15:00:00 -0000 full No Film School No Film School's GG Hawkins checks into Netflix’s brand new animated comedy, Haunted Hotel, and gets a behind-the-scenes look at what it takes to create an adult animation from the ground up. She’s joined by series creator and showrunner Matt Roller (Rick and Morty), art director Robbie Erwin, and writer Avital Ash for a roundtable conversation that spans the show’s long development journey, the complexities of world-building in animation, and the creative collaboration required to bring this spooky-yet-heartfelt family comedy to life. From storytelling tone to visual language and production logistics, this episode is a crash course in what makes adult animation work—and how this team made sure Haunted Hotel stood out in a crowded field. In this episode, No Film School's GG Hawkins and guests discuss... How Haunted Hotel evolved from a pitch to a Netflix series Why Matt Roller leaned into horror instead of sci-fi—and what makes horror more emotionally resonant How Robbie Erwin’s theme park design background helped shape the show’s tactile visual world The writer’s room philosophy that prioritized kindness, creativity, and unique perspectives Why visual design and writing had to be deeply integrated for successful world-building How the team balanced comedy, horror, and emotional depth across the season The decision to make the show TV-14 instead of TV-MA—and how that opened it up to more viewers The team’s favorite ghost characters Memorable Quotes: “I think in this type of TV show, you set out to build a world where you could tell 100 stories.” “The comedy pilot part is the baseline… then it’s the other stuff.” “I think the thing I’m proudest about is that I got to work on it—it’s one of the most proud I’ve been of all the work I’ve done.” “With horror, everything matters… and I think that’s how family works too.” Guests: Matt Roller Robbie Erwin Avital Ash Resources: Haunted Hotel is now streaming on Netflix I Really Love My Husband Tickets: https://linktr.ee/ireallylovemyhusband Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices No Film School's GG Hawkins checks into Netflix’s brand new animated comedy, Haunted Hotel, and gets a behind-the-scenes look at what it takes to create an adult animation from the ground up. She’s joined by series creator and showrunner Matt Roller (Rick and Morty), art director Robbie Erwin, and writer Avital Ash for a roundtable conversation that spans the show’s long development journey, the complexities of world-building in animation, and the creative collaboration required to bring this spooky-yet-heartfelt family comedy to life. From storytelling tone to visual language and production logistics, this episode is a crash course in what makes adult animation work—and how this team made sure Haunted Hotel stood out in a crowded field.

In this episode, No Film School's GG Hawkins and guests discuss...

  • How Haunted Hotel evolved from a pitch to a Netflix series

  • Why Matt Roller leaned into horror instead of sci-fi—and what makes horror more emotionally resonant

  • How Robbie Erwin’s theme park design background helped shape the show’s tactile visual world

  • The writer’s room philosophy that prioritized kindness, creativity, and unique perspectives

  • Why visual design and writing had to be deeply integrated for successful world-building

  • How the team balanced comedy, horror, and emotional depth across the season

  • The decision to make the show TV-14 instead of TV-MA—and how that opened it up to more viewers

  • The team’s favorite ghost characters

Memorable Quotes:

  • “I think in this type of TV show, you set out to build a world where you could tell 100 stories.”

  • “The comedy pilot part is the baseline… then it’s the other stuff.”

  • “I think the thing I’m proudest about is that I got to work on it—it’s one of the most proud I’ve been of all the work I’ve done.”

  • “With horror, everything matters… and I think that’s how family works too.”

Guests:

Resources:

Find No Film School everywhere:

 📩 Send us an email with questions or feedback: podcast@nofilmschool.com

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

]]> 2896 The Poetry of VFX: Building Gotham with Emmy-Winning Team of 'The Penguin' In this episode, No Film School’s GG Hawkins, and guests Erin Sullivan and Johnny Han take listeners behind the curtain of The Penguin, exploring how a VFX team builds a gritty, immersive Gotham — from early concept to final composite. The conversation covers creative philosophy, technical workflow, tool choices, collaboration across departments, and the emotional stakes of creating visuals that feel both bold and invisible. In this episode, No Film School's GG Hawkins and guests Erin Sullivan and Johnny Han discuss… What their roles were on The Penguin, how they broke into VFX, and how their backgrounds shaped their approach The bridge role of a visual effects editor, and how VFX editors work with directors, editors, and artists How they developed the visual “language” of Gotham: referencing The Batman, leaning into New York elements, and creating a distinct but consistent style Their Adobe‑based workflow: using Premiere Pro, After Effects, Dynamic Link, project collection, mockups, and how small elements evolved into full assets On‑set and script‑stage involvement: how they break down scenes with all departments (stunts, production design, camera) Maintaining creative vitality: absorbing inspiration, staying curious, and making small work even when not on paid projects Practical advice for aspiring VFX practitioners: making work regularly, being patient with timelines, embracing iteration Memorable Quotes: “I was the visual effects editor on the Penguin. … The visual effects editor is the link between editorial and VFX.” “We would amass this huge library of just New York stuff … trash in a sidewalk, a mailbox, a bus stop … weird.” “There’s only one rule in photography to take good pictures … you might … get one good picture. So what do you do? You just shoot lots of rolls of pictures, right?” Guests: Erin Sullivan Johnny Han Find No Film School everywhere: On the Web: No Film School (https://nofilmschool.com/) Facebook: No Film School on Facebook (https://www.facebook.com/nofilmschool) Twitter: No Film School on Twitter (https://twitter.com/nofilmschool) YouTube: No Film School on YouTube (https://www.youtube.com/user/nofilmschool) Instagram: No Film School on Instagram (https://www.instagram.com/nofilmschool) 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 25 Sep 2025 01:47:00 -0000 full No Film School In this episode, No Film School’s GG Hawkins, and guests Erin Sullivan and Johnny Han take listeners behind the curtain of The Penguin, exploring how a VFX team builds a gritty, immersive Gotham — from early concept to final composite. The conversation covers creative philosophy, technical workflow, tool choices, collaboration across departments, and the emotional stakes of creating visuals that feel both bold and invisible. In this episode, No Film School's GG Hawkins and guests Erin Sullivan and Johnny Han discuss… What their roles were on The Penguin, how they broke into VFX, and how their backgrounds shaped their approach The bridge role of a visual effects editor, and how VFX editors work with directors, editors, and artists How they developed the visual “language” of Gotham: referencing The Batman, leaning into New York elements, and creating a distinct but consistent style Their Adobe‑based workflow: using Premiere Pro, After Effects, Dynamic Link, project collection, mockups, and how small elements evolved into full assets On‑set and script‑stage involvement: how they break down scenes with all departments (stunts, production design, camera) Maintaining creative vitality: absorbing inspiration, staying curious, and making small work even when not on paid projects Practical advice for aspiring VFX practitioners: making work regularly, being patient with timelines, embracing iteration Memorable Quotes: “I was the visual effects editor on the Penguin. … The visual effects editor is the link between editorial and VFX.” “We would amass this huge library of just New York stuff … trash in a sidewalk, a mailbox, a bus stop … weird.” “There’s only one rule in photography to take good pictures … you might … get one good picture. So what do you do? You just shoot lots of rolls of pictures, right?” Guests: Erin Sullivan Johnny Han Find No Film School everywhere: On the Web: No Film School (https://nofilmschool.com/) Facebook: No Film School on Facebook (https://www.facebook.com/nofilmschool) Twitter: No Film School on Twitter (https://twitter.com/nofilmschool) YouTube: No Film School on YouTube (https://www.youtube.com/user/nofilmschool) Instagram: No Film School on Instagram (https://www.instagram.com/nofilmschool) 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, No Film School’s GG Hawkins, and guests Erin Sullivan and Johnny Han take listeners behind the curtain of The Penguin, exploring how a VFX team builds a gritty, immersive Gotham — from early concept to final composite. The conversation covers creative philosophy, technical workflow, tool choices, collaboration across departments, and the emotional stakes of creating visuals that feel both bold and invisible.

In this episode, No Film School's GG Hawkins and guests Erin Sullivan and Johnny Han discuss…

  • What their roles were on The Penguin, how they broke into VFX, and how their backgrounds shaped their approach

  • The bridge role of a visual effects editor, and how VFX editors work with directors, editors, and artists

  • How they developed the visual “language” of Gotham: referencing The Batman, leaning into New York elements, and creating a distinct but consistent style

  • Their Adobe‑based workflow: using Premiere Pro, After Effects, Dynamic Link, project collection, mockups, and how small elements evolved into full assets

  • On‑set and script‑stage involvement: how they break down scenes with all departments (stunts, production design, camera)

  • Maintaining creative vitality: absorbing inspiration, staying curious, and making small work even when not on paid projects

  • Practical advice for aspiring VFX practitioners: making work regularly, being patient with timelines, embracing iteration

Memorable Quotes:

  • “I was the visual effects editor on the Penguin. … The visual effects editor is the link between editorial and VFX.”

  • “We would amass this huge library of just New York stuff … trash in a sidewalk, a mailbox, a bus stop … weird.”

  • “There’s only one rule in photography to take good pictures … you might … get one good picture. So what do you do? You just shoot lots of rolls of pictures, right?”

Guests:

Find No Film School everywhere:

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

]]> 2507 Why the 20th Edition of Fantastic Fest is the Most Important One for Filmmakers In this episode, Ryan Koo and Jourdan Aldredge explore what makes the 20th edition of Fantastic Fest so crucial for genre and indie filmmakers. They discuss the festival’s unique energy, audience connection, and events, spotlight standout films like Shelby Oaks, Sisu: Road to Revenge, Black Phone 2, Luger, Vicious, Primate, Whistle, Coyotes, and others. The conversation culminates in a new initiative—Fantastic Pitches—marking a shift in the fest’s ecosystem from exhibiting work to helping get new projects made. In this episode, No Film School’s Ryan Koo and Jordan Aldridge discuss: How Fantastic Fest blends genre film exhibition with audience experience, making film festivals more fun, accessible, and communal. The importance of seeing what genre filmmakers are doing with limited resources—especially horror, fantasy, action—and how those constraints often spawn creative solutions. Highlights of films at Fantastic Fest 2025: Shelby Oaks (Chris Stuckmann’s debut), Sisu: Road to Revenge, Black Phone 2, Vicious, Primate, Whistle, Coyotes, The Piano Accident, and Luger among others, with a look at what makes them stand out visually, tonally, and in terms of audience response. The exciting new Fantastic Pitches competition: structure, reward (including a $100,000 funding prize, guaranteed premiere, distribution, post‑production support), what it means for early‑stage projects, and how such programs shift festivals from merely showing films toward incubating them. Practical advice for filmmakers: how to attend Fantastic Fest (buy early, badge types, use online ticket systems), pro tips for navigating ticket demand, the importance of authenticity in genre work, and why festivals like Fantastic that lean into live audience momentum are more important now than ever. Memorable Quotes: “It is the 20th year of the Fantastic Fest … Fantastic Fest equals FunTastic Fest.” “If you come from an authentic place of loving horror movies … I think the audience will always connect with it.” “It’s really a vital experience now more than ever, especially for genre films, which play so well theatrically.” “Fantastic Pitches was fantastic. The pitches really were fantastic … for the first time when this event happened for the first time.” Resources: Fantastic Fest 2025 — Full Film Guide & Lineup Sisu: Road to Revenge Black Phone 2 Vicious Coyotes The Piano Accident Luger Shelby Oaks Primate Whistle Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 23 Sep 2025 17:19:00 -0000 full No Film School In this episode, Ryan Koo and Jourdan Aldredge explore what makes the 20th edition of Fantastic Fest so crucial for genre and indie filmmakers. They discuss the festival’s unique energy, audience connection, and events, spotlight standout films like Shelby Oaks, Sisu: Road to Revenge, Black Phone 2, Luger, Vicious, Primate, Whistle, Coyotes, and others. The conversation culminates in a new initiative—Fantastic Pitches—marking a shift in the fest’s ecosystem from exhibiting work to helping get new projects made. In this episode, No Film School’s Ryan Koo and Jordan Aldridge discuss: How Fantastic Fest blends genre film exhibition with audience experience, making film festivals more fun, accessible, and communal. The importance of seeing what genre filmmakers are doing with limited resources—especially horror, fantasy, action—and how those constraints often spawn creative solutions. Highlights of films at Fantastic Fest 2025: Shelby Oaks (Chris Stuckmann’s debut), Sisu: Road to Revenge, Black Phone 2, Vicious, Primate, Whistle, Coyotes, The Piano Accident, and Luger among others, with a look at what makes them stand out visually, tonally, and in terms of audience response. The exciting new Fantastic Pitches competition: structure, reward (including a $100,000 funding prize, guaranteed premiere, distribution, post‑production support), what it means for early‑stage projects, and how such programs shift festivals from merely showing films toward incubating them. Practical advice for filmmakers: how to attend Fantastic Fest (buy early, badge types, use online ticket systems), pro tips for navigating ticket demand, the importance of authenticity in genre work, and why festivals like Fantastic that lean into live audience momentum are more important now than ever. Memorable Quotes: “It is the 20th year of the Fantastic Fest … Fantastic Fest equals FunTastic Fest.” “If you come from an authentic place of loving horror movies … I think the audience will always connect with it.” “It’s really a vital experience now more than ever, especially for genre films, which play so well theatrically.” “Fantastic Pitches was fantastic. The pitches really were fantastic … for the first time when this event happened for the first time.” Resources: Fantastic Fest 2025 — Full Film Guide & Lineup Sisu: Road to Revenge Black Phone 2 Vicious Coyotes The Piano Accident Luger Shelby Oaks Primate Whistle Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, Ryan Koo and Jourdan Aldredge explore what makes the 20th edition of Fantastic Fest so crucial for genre and indie filmmakers. They discuss the festival’s unique energy, audience connection, and events, spotlight standout films like Shelby Oaks, Sisu: Road to Revenge, Black Phone 2, Luger, Vicious, Primate, Whistle, Coyotes, and others. The conversation culminates in a new initiative—Fantastic Pitches—marking a shift in the fest’s ecosystem from exhibiting work to helping get new projects made.

In this episode, No Film School’s Ryan Koo and Jordan Aldridge discuss:

  • How Fantastic Fest blends genre film exhibition with audience experience, making film festivals more fun, accessible, and communal.

  • The importance of seeing what genre filmmakers are doing with limited resources—especially horror, fantasy, action—and how those constraints often spawn creative solutions.

  • Highlights of films at Fantastic Fest 2025: Shelby Oaks (Chris Stuckmann’s debut), Sisu: Road to Revenge, Black Phone 2, Vicious, Primate, Whistle, Coyotes, The Piano Accident, and Luger among others, with a look at what makes them stand out visually, tonally, and in terms of audience response.

  • The exciting new Fantastic Pitches competition: structure, reward (including a $100,000 funding prize, guaranteed premiere, distribution, post‑production support), what it means for early‑stage projects, and how such programs shift festivals from merely showing films toward incubating them.

  • Practical advice for filmmakers: how to attend Fantastic Fest (buy early, badge types, use online ticket systems), pro tips for navigating ticket demand, the importance of authenticity in genre work, and why festivals like Fantastic that lean into live audience momentum are more important now than ever.

Memorable Quotes:

  • “It is the 20th year of the Fantastic Fest … Fantastic Fest equals FunTastic Fest.”

  • “If you come from an authentic place of loving horror movies … I think the audience will always connect with it.”

  • “It’s really a vital experience now more than ever, especially for genre films, which play so well theatrically.”

  • “Fantastic Pitches was fantastic. The pitches really were fantastic … for the first time when this event happened for the first time.”

Resources:

Find No Film School everywhere:

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

]]> 2850 First Love, Queer Cinema, and the Art of Collaboration GG Hawkins sits down with Carmen Emmi (director, writer) and Erik Vogt-Nilsen (editor) of Plainclothes, a striking debut feature that blends the aching vulnerability of first love with the sharp tension of queer identity under surveillance. Set in 1997 and laced with nostalgic Hi8 footage, the film isn’t just a period piece — it’s a raw, intimate time capsule of self-discovery, repression, and resilience. This episode dives deep into the emotional and creative process behind the film, from Sundance dreams to strawberry farm editing sessions and how true collaboration can unlock something extraordinary. In this episode, No Film School’s GG Hawkins and guests discuss… The genesis and central themes of Plainclothes, including first love/obsession, policing emotions, identity, nostalgia, and honesty in queer storytelling Why the 1990s setting — especially 1997 — was chosen, both for personal reasons and as a tool for emotional resonance How Carmen and Erik came together creatively, even though Erik joined after principal photography, and how they structured their collaboration (the “Editing Intentions” document, visits, tone setting, etc.) The editorial process: charting out passes, refining scenes, balancing structure vs. emotional truth, and maintaining rawness from the editor’s cut through to the final version Test screenings: what kinds of feedback matter, figuring out clarity vs. ambiguity in the narrative, audience confusion around timelines, and how those screenings shaped the final cut On‑set dynamics: director’s approaches, setting tone (no yelling unless dire), using music on set, capturing wordless moments, incubating trust and structure among cast and crew Filmmaking tools & creative choices: use of Hi8 footage to express internal states like anxiety; letting instinct and experimentation guide sequences; integrating personal memory and sensory detail into the cinematic style Advice for emerging filmmakers: avoid perfectionism, work with collaborators or friends you trust, give ideas a chance in editing, accept that not everything needs to be precious, learn from every project Memorable Quotes: “It was really, every creative decision I made was like, it was all stemmed from like, what does it feel like to police your feelings?” “One rule. And that was no yelling on set unless like someone’s life was in danger…” “We had a lot of love for the story … there was so much levity and play in the edit room … even though we were dealing with very serious kind of themes…” “Give every idea a try … you don’t have to spend too much time on it, if it’s not working. But … that yes and‑kind of mentality … unlocks stuff you would never think of.” Guests: Carmen Emmi Erik Vogt-Nilsen Resources: Plainclothes Official Trailer I Really Love My Husband Screenings Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 19 Sep 2025 15:00:00 -0000 full No Film School GG Hawkins sits down with Carmen Emmi (director, writer) and Erik Vogt-Nilsen (editor) of Plainclothes, a striking debut feature that blends the aching vulnerability of first love with the sharp tension of queer identity under surveillance. Set in 1997 and laced with nostalgic Hi8 footage, the film isn’t just a period piece — it’s a raw, intimate time capsule of self-discovery, repression, and resilience. This episode dives deep into the emotional and creative process behind the film, from Sundance dreams to strawberry farm editing sessions and how true collaboration can unlock something extraordinary. In this episode, No Film School’s GG Hawkins and guests discuss… The genesis and central themes of Plainclothes, including first love/obsession, policing emotions, identity, nostalgia, and honesty in queer storytelling Why the 1990s setting — especially 1997 — was chosen, both for personal reasons and as a tool for emotional resonance How Carmen and Erik came together creatively, even though Erik joined after principal photography, and how they structured their collaboration (the “Editing Intentions” document, visits, tone setting, etc.) The editorial process: charting out passes, refining scenes, balancing structure vs. emotional truth, and maintaining rawness from the editor’s cut through to the final version Test screenings: what kinds of feedback matter, figuring out clarity vs. ambiguity in the narrative, audience confusion around timelines, and how those screenings shaped the final cut On‑set dynamics: director’s approaches, setting tone (no yelling unless dire), using music on set, capturing wordless moments, incubating trust and structure among cast and crew Filmmaking tools & creative choices: use of Hi8 footage to express internal states like anxiety; letting instinct and experimentation guide sequences; integrating personal memory and sensory detail into the cinematic style Advice for emerging filmmakers: avoid perfectionism, work with collaborators or friends you trust, give ideas a chance in editing, accept that not everything needs to be precious, learn from every project Memorable Quotes: “It was really, every creative decision I made was like, it was all stemmed from like, what does it feel like to police your feelings?” “One rule. And that was no yelling on set unless like someone’s life was in danger…” “We had a lot of love for the story … there was so much levity and play in the edit room … even though we were dealing with very serious kind of themes…” “Give every idea a try … you don’t have to spend too much time on it, if it’s not working. But … that yes and‑kind of mentality … unlocks stuff you would never think of.” Guests: Carmen Emmi Erik Vogt-Nilsen Resources: Plainclothes Official Trailer I Really Love My Husband Screenings Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices GG Hawkins sits down with Carmen Emmi (director, writer) and Erik Vogt-Nilsen (editor) of Plainclothes, a striking debut feature that blends the aching vulnerability of first love with the sharp tension of queer identity under surveillance. Set in 1997 and laced with nostalgic Hi8 footage, the film isn’t just a period piece — it’s a raw, intimate time capsule of self-discovery, repression, and resilience. This episode dives deep into the emotional and creative process behind the film, from Sundance dreams to strawberry farm editing sessions and how true collaboration can unlock something extraordinary.

In this episode, No Film School’s GG Hawkins and guests discuss…

  • The genesis and central themes of Plainclothes, including first love/obsession, policing emotions, identity, nostalgia, and honesty in queer storytelling

  • Why the 1990s setting — especially 1997 — was chosen, both for personal reasons and as a tool for emotional resonance

  • How Carmen and Erik came together creatively, even though Erik joined after principal photography, and how they structured their collaboration (the “Editing Intentions” document, visits, tone setting, etc.)

  • The editorial process: charting out passes, refining scenes, balancing structure vs. emotional truth, and maintaining rawness from the editor’s cut through to the final version

  • Test screenings: what kinds of feedback matter, figuring out clarity vs. ambiguity in the narrative, audience confusion around timelines, and how those screenings shaped the final cut

  • On‑set dynamics: director’s approaches, setting tone (no yelling unless dire), using music on set, capturing wordless moments, incubating trust and structure among cast and crew

  • Filmmaking tools & creative choices: use of Hi8 footage to express internal states like anxiety; letting instinct and experimentation guide sequences; integrating personal memory and sensory detail into the cinematic style

  • Advice for emerging filmmakers: avoid perfectionism, work with collaborators or friends you trust, give ideas a chance in editing, accept that not everything needs to be precious, learn from every project

Memorable Quotes:

  • “It was really, every creative decision I made was like, it was all stemmed from like, what does it feel like to police your feelings?”

  • “One rule. And that was no yelling on set unless like someone’s life was in danger…”

  • “We had a lot of love for the story … there was so much levity and play in the edit room … even though we were dealing with very serious kind of themes…”

  • “Give every idea a try … you don’t have to spend too much time on it, if it’s not working. But … that yes and‑kind of mentality … unlocks stuff you would never think of.”

Guests:

Resources:

Find No Film School everywhere:

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

]]> 2748 What You Don’t See in 'HIM': Taylor Mason on the Edit That Shapes It Editor Taylor Mason returns to the No Film School Podcast to discuss her leap from indie features to her first studio film, HIM, directed by Justin Tipping. Host GG Hawkins explores how Mason's editing shaped the emotional tone, visual storytelling, and layered character dynamics of the surreal football drama. They also dive into how working on larger-scale projects differs from the indie scene, the importance of creative collaboration, and how editing can profoundly impact narrative clarity and emotional resonance. In this episode, No Film School’s GG Hawkins and guest Taylor Mason discuss... The transition from indie films like Birth/Rebirth to her first studio feature Building a post-production team and navigating leadership as a young editor How editing techniques, like temp comps and montage, shaped HIM's unique tone Balancing bombastic visuals with nuanced performances and story arcs Using audience feedback and experimentation to refine the final cut Maintaining perspective and boundaries during a 10-month post-production cycle The surrealism and political commentary in HIM, with references like Holy Mountain and Enter the Void Advice for aspiring editors on building careers with intentional collaboration Memorable Quotes: "We tried to insert these flash frames... quick cuts of this melted skeleton... to help track where he is emotionally, physically." "This film required me to be bigger and much louder and much more visible... and be like loud and proud and bombastic." "My whole career has kind of been built and sculpted along with people that I first learned the craft with." "It's hard for me to do my best on something that doesn't excite me... I feel like I'm doing that film a disservice if I take it." Guests: Taylor Mason on IMDb Resources: Our last pod with Taylor I Really Love My Husband Screenings Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 18 Sep 2025 15:00:00 -0000 full No Film School Editor Taylor Mason returns to the No Film School Podcast to discuss her leap from indie features to her first studio film, HIM, directed by Justin Tipping. Host GG Hawkins explores how Mason's editing shaped the emotional tone, visual storytelling, and layered character dynamics of the surreal football drama. They also dive into how working on larger-scale projects differs from the indie scene, the importance of creative collaboration, and how editing can profoundly impact narrative clarity and emotional resonance. In this episode, No Film School’s GG Hawkins and guest Taylor Mason discuss... The transition from indie films like Birth/Rebirth to her first studio feature Building a post-production team and navigating leadership as a young editor How editing techniques, like temp comps and montage, shaped HIM's unique tone Balancing bombastic visuals with nuanced performances and story arcs Using audience feedback and experimentation to refine the final cut Maintaining perspective and boundaries during a 10-month post-production cycle The surrealism and political commentary in HIM, with references like Holy Mountain and Enter the Void Advice for aspiring editors on building careers with intentional collaboration Memorable Quotes: "We tried to insert these flash frames... quick cuts of this melted skeleton... to help track where he is emotionally, physically." "This film required me to be bigger and much louder and much more visible... and be like loud and proud and bombastic." "My whole career has kind of been built and sculpted along with people that I first learned the craft with." "It's hard for me to do my best on something that doesn't excite me... I feel like I'm doing that film a disservice if I take it." Guests: Taylor Mason on IMDb Resources: Our last pod with Taylor I Really Love My Husband Screenings Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Editor Taylor Mason returns to the No Film School Podcast to discuss her leap from indie features to her first studio film, HIM, directed by Justin Tipping. Host GG Hawkins explores how Mason's editing shaped the emotional tone, visual storytelling, and layered character dynamics of the surreal football drama. They also dive into how working on larger-scale projects differs from the indie scene, the importance of creative collaboration, and how editing can profoundly impact narrative clarity and emotional resonance.

In this episode, No Film School’s GG Hawkins and guest Taylor Mason discuss...

  • The transition from indie films like Birth/Rebirth to her first studio feature

  • Building a post-production team and navigating leadership as a young editor

  • How editing techniques, like temp comps and montage, shaped HIM's unique tone

  • Balancing bombastic visuals with nuanced performances and story arcs

  • Using audience feedback and experimentation to refine the final cut

  • Maintaining perspective and boundaries during a 10-month post-production cycle

  • The surrealism and political commentary in HIM, with references like Holy Mountain and Enter the Void

  • Advice for aspiring editors on building careers with intentional collaboration

Memorable Quotes:

  • "We tried to insert these flash frames... quick cuts of this melted skeleton... to help track where he is emotionally, physically."

  • "This film required me to be bigger and much louder and much more visible... and be like loud and proud and bombastic."

  • "My whole career has kind of been built and sculpted along with people that I first learned the craft with."

  • "It's hard for me to do my best on something that doesn't excite me... I feel like I'm doing that film a disservice if I take it."

Guests:

Resources:

Find No Film School everywhere:

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

]]> 2577 How Theaters Choose What to Show: Inside Programming In this episode, GG Hawkins is joined by Shelby Schultz, Director of Programming at LOOK Cinemas. Shelby shares her insights into the complex and often misunderstood world of theatrical exhibition, from how she discovers films to what drives the decision-making process behind booking movies in theaters. Drawing from her extensive background in distribution, financing, and development, Shelby explains how indie filmmakers can better position their projects for theatrical success, the importance of knowing your audience, and the evolving role of movie theaters in the digital age. In this episode, No Film School's GG Hawkins and guest Shelby Schultz discuss... How Shelby’s background in film led her to become a theater programmer The process LOOK Cinemas uses to discover and book films Why strong marketing and audience engagement matter more than ever for indie films The importance of trailer placement and timing when planning a theatrical run The metrics used to evaluate a film’s success in theaters How filmmakers can effectively pitch their projects to theater chains Seasonal trends in theatrical programming and when indie films have the best shot How audience behavior has shifted post-COVID and why theaters are still thriving The critical role local support plays in theatrical success Memorable Quotes: "Quality doesn’t always get people to the theater... so we have to find ways to work together with our filmmaker partners." "I don’t necessarily need comps. I just want to know that you know who your audience is and how to reach them." "Success can just look like having one sold out show in your hometown." "Don’t be afraid to reach out to your local theater. We want to represent you." Resources: LOOK Cinemas Film Independent Spirit Awards Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 11 Sep 2025 15:00:00 -0000 full No Film School In this episode, GG Hawkins is joined by Shelby Schultz, Director of Programming at LOOK Cinemas. Shelby shares her insights into the complex and often misunderstood world of theatrical exhibition, from how she discovers films to what drives the decision-making process behind booking movies in theaters. Drawing from her extensive background in distribution, financing, and development, Shelby explains how indie filmmakers can better position their projects for theatrical success, the importance of knowing your audience, and the evolving role of movie theaters in the digital age. In this episode, No Film School's GG Hawkins and guest Shelby Schultz discuss... How Shelby’s background in film led her to become a theater programmer The process LOOK Cinemas uses to discover and book films Why strong marketing and audience engagement matter more than ever for indie films The importance of trailer placement and timing when planning a theatrical run The metrics used to evaluate a film’s success in theaters How filmmakers can effectively pitch their projects to theater chains Seasonal trends in theatrical programming and when indie films have the best shot How audience behavior has shifted post-COVID and why theaters are still thriving The critical role local support plays in theatrical success Memorable Quotes: "Quality doesn’t always get people to the theater... so we have to find ways to work together with our filmmaker partners." "I don’t necessarily need comps. I just want to know that you know who your audience is and how to reach them." "Success can just look like having one sold out show in your hometown." "Don’t be afraid to reach out to your local theater. We want to represent you." Resources: LOOK Cinemas Film Independent Spirit Awards Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, GG Hawkins is joined by Shelby Schultz, Director of Programming at LOOK Cinemas. Shelby shares her insights into the complex and often misunderstood world of theatrical exhibition, from how she discovers films to what drives the decision-making process behind booking movies in theaters. Drawing from her extensive background in distribution, financing, and development, Shelby explains how indie filmmakers can better position their projects for theatrical success, the importance of knowing your audience, and the evolving role of movie theaters in the digital age.

In this episode, No Film School's GG Hawkins and guest Shelby Schultz discuss...

  • How Shelby’s background in film led her to become a theater programmer

  • The process LOOK Cinemas uses to discover and book films

  • Why strong marketing and audience engagement matter more than ever for indie films

  • The importance of trailer placement and timing when planning a theatrical run

  • The metrics used to evaluate a film’s success in theaters

  • How filmmakers can effectively pitch their projects to theater chains

  • Seasonal trends in theatrical programming and when indie films have the best shot

  • How audience behavior has shifted post-COVID and why theaters are still thriving

  • The critical role local support plays in theatrical success

Memorable Quotes:

  • "Quality doesn’t always get people to the theater... so we have to find ways to work together with our filmmaker partners."

  • "I don’t necessarily need comps. I just want to know that you know who your audience is and how to reach them."

  • "Success can just look like having one sold out show in your hometown."

  • "Don’t be afraid to reach out to your local theater. We want to represent you."

Resources:

Find No Film School everywhere:

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

]]> 2879 How to Make an Indie Film with 8‑Hour Days and On‑Set Childcare In this episode, GG Hawkins speaks with writer-director-producer Nora Fiffer about her debut feature Another Happy Day, and how she achieved a rare feat in indie filmmaking: shooting on strict eight‑hour days while providing on‑set childcare. The two explore how this family-friendly approach—driven by Fiffer's own journey into motherhood—shaped every stage of production, from scheduling and budgeting to set morale and creative decision-making. In this episode, No Film School’s GG Hawkins, and guest Nora Fiffer discuss… The personal impetus behind Another Happy Day—how motherhood inspired the story and production values Creating a collaborative, theater-informed mindset that fueled preparation and efficiency Concrete strategies for implementing eight‑hour shooting days and on‑set childcare as non-negotiables in budget and schedule How fewer setups, lean shot lists, and actor preparation maximized time and morale Using fixed creative constraints as generative tools—not limitations Securing talent like Lauren Lapkus, Carrie Coon, and Marilyn Dodds Frank through personalized writing and deep connections Pitching the film to investors with equity and inclusion baked into its DNA (childcare prominently featured, even in opening credits) The importance of making such practices visible to normalize them across the industry Lessons learned in post-production—how the same efficiency and clarity from production didn’t automatically carry over How Fiffer plans to carry this ethos forward in future projects Memorable Quotes “What the priority was emerging to shoot eight‑hour days, in addition to providing childcare, this now impacted how we were going to shoot it even before we got to production.” “By prioritizing childcare and the eight‑hour days in the budget… that was untouched.” “Everyone came with fresh ideas.” “I planned every moment, every beat… I knew the script, the story, the characters and the edit in my head so well.” Guests: Nora Fiffer — Writer, director, producer, actor of Another Happy Day Resources: Nora Fiffer, Another Happy Day I Really Love My Husband Instagram Find No Film School everywhere: On the Web: No Film School (https://nofilmschool.com/) Facebook: No Film School on Facebook (https://www.facebook.com/nofilmschool) Twitter: No Film School on Twitter (https://twitter.com/nofilmschool) YouTube: No Film School on YouTube (https://www.youtube.com/user/nofilmschool) Instagram: No Film School on Instagram (https://www.instagram.com/nofilmschool) 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 05 Sep 2025 15:00:00 -0000 full No Film School In this episode, GG Hawkins speaks with writer-director-producer Nora Fiffer about her debut feature Another Happy Day, and how she achieved a rare feat in indie filmmaking: shooting on strict eight‑hour days while providing on‑set childcare. The two explore how this family-friendly approach—driven by Fiffer's own journey into motherhood—shaped every stage of production, from scheduling and budgeting to set morale and creative decision-making. In this episode, No Film School’s GG Hawkins, and guest Nora Fiffer discuss… The personal impetus behind Another Happy Day—how motherhood inspired the story and production values Creating a collaborative, theater-informed mindset that fueled preparation and efficiency Concrete strategies for implementing eight‑hour shooting days and on‑set childcare as non-negotiables in budget and schedule How fewer setups, lean shot lists, and actor preparation maximized time and morale Using fixed creative constraints as generative tools—not limitations Securing talent like Lauren Lapkus, Carrie Coon, and Marilyn Dodds Frank through personalized writing and deep connections Pitching the film to investors with equity and inclusion baked into its DNA (childcare prominently featured, even in opening credits) The importance of making such practices visible to normalize them across the industry Lessons learned in post-production—how the same efficiency and clarity from production didn’t automatically carry over How Fiffer plans to carry this ethos forward in future projects Memorable Quotes “What the priority was emerging to shoot eight‑hour days, in addition to providing childcare, this now impacted how we were going to shoot it even before we got to production.” “By prioritizing childcare and the eight‑hour days in the budget… that was untouched.” “Everyone came with fresh ideas.” “I planned every moment, every beat… I knew the script, the story, the characters and the edit in my head so well.” Guests: Nora Fiffer — Writer, director, producer, actor of Another Happy Day Resources: Nora Fiffer, Another Happy Day I Really Love My Husband Instagram Find No Film School everywhere: On the Web: No Film School (https://nofilmschool.com/) Facebook: No Film School on Facebook (https://www.facebook.com/nofilmschool) Twitter: No Film School on Twitter (https://twitter.com/nofilmschool) YouTube: No Film School on YouTube (https://www.youtube.com/user/nofilmschool) Instagram: No Film School on Instagram (https://www.instagram.com/nofilmschool) 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, GG Hawkins speaks with writer-director-producer Nora Fiffer about her debut feature Another Happy Day, and how she achieved a rare feat in indie filmmaking: shooting on strict eight‑hour days while providing on‑set childcare. The two explore how this family-friendly approach—driven by Fiffer's own journey into motherhood—shaped every stage of production, from scheduling and budgeting to set morale and creative decision-making.

In this episode, No Film School’s GG Hawkins, and guest Nora Fiffer discuss…

  • The personal impetus behind Another Happy Day—how motherhood inspired the story and production values

  • Creating a collaborative, theater-informed mindset that fueled preparation and efficiency

  • Concrete strategies for implementing eight‑hour shooting days and on‑set childcare as non-negotiables in budget and schedule

  • How fewer setups, lean shot lists, and actor preparation maximized time and morale

  • Using fixed creative constraints as generative tools—not limitations

  • Securing talent like Lauren Lapkus, Carrie Coon, and Marilyn Dodds Frank through personalized writing and deep connections

  • Pitching the film to investors with equity and inclusion baked into its DNA (childcare prominently featured, even in opening credits)

  • The importance of making such practices visible to normalize them across the industry

  • Lessons learned in post-production—how the same efficiency and clarity from production didn’t automatically carry over

  • How Fiffer plans to carry this ethos forward in future projects

Memorable Quotes

  • “What the priority was emerging to shoot eight‑hour days, in addition to providing childcare, this now impacted how we were going to shoot it even before we got to production.”

  • “By prioritizing childcare and the eight‑hour days in the budget… that was untouched.”

  • “Everyone came with fresh ideas.”

  • “I planned every moment, every beat… I knew the script, the story, the characters and the edit in my head so well.”

Guests:

  • Nora Fiffer — Writer, director, producer, actor of Another Happy Day

Resources:

Find No Film School everywhere:

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

]]> 2742 How Macon Blair Reinvented the Cult Classic The Toxic Avenger In this episode of the No Film School Podcast, GG Hawkins sits down with filmmaker Macon Blair to discuss his journey from scrappy DIY filmmaking in Virginia to directing the 2025 reimagining of the cult classic The Toxic Avenger. The film hits theaters today, and Blair shares how he balanced homage and originality, kept the humor grounded in absurdity, and tackled the long production process. He also reflects on his start in the industry, the value of creative community, and what it really means to stick it out in an unpredictable industry. In this episode, No Film School's GG Hawkins and guest Macon Blair discuss... Macon's early days making VHS films with friends and how that creative community shaped his career The years-long journey from writing spec scripts to directing Sundance winner I Don’t Feel at Home in This World Anymore How Macon was approached to write The Toxic Avenger and how it evolved into his directorial role Reimagining a cult classic while staying true to its outrageous tone and aesthetic How comedy and absurdity play into horror and action, and the challenge of balancing tone The production process in Bulgaria and collaborating with an international crew Designing the film’s gritty, stylized world—from production design to costumes and camera movement Lessons from the editing room and how to let audience feedback shape the final cut Macon’s advice for emerging filmmakers about perseverance, collaboration, and flexibility Memorable Quotes: “I just wanted to do something with movies... if it's writing, great. If it's acting, great. If it's driving a truck, great.” “We would just pitch things back and forth, and if a line or a reaction would get a laugh from enough people, then it would be like, alright, put it in the movie.” “You have to be flexible enough or open enough to kind of be like, oh, I didn’t construct things the correct way. And I kind of owe it to you for you to not be confused.” “Preparation versus flexibility—having everything prepared to the nth degree, and being prepared to totally drop it if you need to.” Guests: Macon Blair Resources: Macon Blair on I Don’t Feel at Home in This World Anymore (No Film School interview) Get tickets to The Toxic Avenger (Look Cinemas) Follow GG Hawkins’s feature I Really Love My Husband on Instagram Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 29 Aug 2025 15:00:00 -0000 full No Film School In this episode of the No Film School Podcast, GG Hawkins sits down with filmmaker Macon Blair to discuss his journey from scrappy DIY filmmaking in Virginia to directing the 2025 reimagining of the cult classic The Toxic Avenger. The film hits theaters today, and Blair shares how he balanced homage and originality, kept the humor grounded in absurdity, and tackled the long production process. He also reflects on his start in the industry, the value of creative community, and what it really means to stick it out in an unpredictable industry. In this episode, No Film School's GG Hawkins and guest Macon Blair discuss... Macon's early days making VHS films with friends and how that creative community shaped his career The years-long journey from writing spec scripts to directing Sundance winner I Don’t Feel at Home in This World Anymore How Macon was approached to write The Toxic Avenger and how it evolved into his directorial role Reimagining a cult classic while staying true to its outrageous tone and aesthetic How comedy and absurdity play into horror and action, and the challenge of balancing tone The production process in Bulgaria and collaborating with an international crew Designing the film’s gritty, stylized world—from production design to costumes and camera movement Lessons from the editing room and how to let audience feedback shape the final cut Macon’s advice for emerging filmmakers about perseverance, collaboration, and flexibility Memorable Quotes: “I just wanted to do something with movies... if it's writing, great. If it's acting, great. If it's driving a truck, great.” “We would just pitch things back and forth, and if a line or a reaction would get a laugh from enough people, then it would be like, alright, put it in the movie.” “You have to be flexible enough or open enough to kind of be like, oh, I didn’t construct things the correct way. And I kind of owe it to you for you to not be confused.” “Preparation versus flexibility—having everything prepared to the nth degree, and being prepared to totally drop it if you need to.” Guests: Macon Blair Resources: Macon Blair on I Don’t Feel at Home in This World Anymore (No Film School interview) Get tickets to The Toxic Avenger (Look Cinemas) Follow GG Hawkins’s feature I Really Love My Husband on Instagram Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of the No Film School Podcast, GG Hawkins sits down with filmmaker Macon Blair to discuss his journey from scrappy DIY filmmaking in Virginia to directing the 2025 reimagining of the cult classic The Toxic Avenger. The film hits theaters today, and Blair shares how he balanced homage and originality, kept the humor grounded in absurdity, and tackled the long production process. He also reflects on his start in the industry, the value of creative community, and what it really means to stick it out in an unpredictable industry.

In this episode, No Film School's GG Hawkins and guest Macon Blair discuss...

  • Macon's early days making VHS films with friends and how that creative community shaped his career

  • The years-long journey from writing spec scripts to directing Sundance winner I Don’t Feel at Home in This World Anymore

  • How Macon was approached to write The Toxic Avenger and how it evolved into his directorial role

  • Reimagining a cult classic while staying true to its outrageous tone and aesthetic

  • How comedy and absurdity play into horror and action, and the challenge of balancing tone

  • The production process in Bulgaria and collaborating with an international crew

  • Designing the film’s gritty, stylized world—from production design to costumes and camera movement

  • Lessons from the editing room and how to let audience feedback shape the final cut

  • Macon’s advice for emerging filmmakers about perseverance, collaboration, and flexibility

Memorable Quotes:

  • “I just wanted to do something with movies... if it's writing, great. If it's acting, great. If it's driving a truck, great.”

  • “We would just pitch things back and forth, and if a line or a reaction would get a laugh from enough people, then it would be like, alright, put it in the movie.”

  • “You have to be flexible enough or open enough to kind of be like, oh, I didn’t construct things the correct way. And I kind of owe it to you for you to not be confused.”

  • “Preparation versus flexibility—having everything prepared to the nth degree, and being prepared to totally drop it if you need to.”

Guests:

Resources:

Find No Film School everywhere:

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

]]> 3095 Cutting Comedy: Inside the Edit of Saturday Night Live’s 50th Anniversary No Film School delves into the high-pressure, fast-paced world of sketch comedy editing on Saturday Night Live's historic 50th Anniversary special. The episode features returning guest Ryan Spears—four-time Emmy nominee and Film Unit editor at SNL—joined by longtime collaborators Daniel Garcia and Paul Del Gesso. Together, they share insider stories on crafting memorable montages, rediscovering archival gems, navigating the evolution from analog to digital workflows, and ultimately earning their first-ever team nomination for the anniversary special. In this episode, No Film School's GG Hawkins, and guests discuss… How the SNL editorial team collaborated on the 50th Anniversary special, blending archival material and creative reels into a unified piece. The rediscovery of forgotten gems—like Tom Hanks’s softball clip—and deciding what made the final cut. Technical and generational shifts in editing: from film and DIY workflows to 4K raw editing, searchable transcripts, advanced VFX, and speedy turnaround. Adapting to new creative tools, such as APM’s sound‑alike search and 3D animation techniques like the Cheeto character. Balancing fast cuts with breathing room—tailoring pacing to fit the tone, whether it’s surreal whimsy or a more paced parody like White Lotus. Managing chaos: keeping cool under pressure during live edits, system failures, and last-minute creative changes. Advice for aspiring SNL editors: start as assistant editors, build a strong reel (even outside comedy), check your ego at the door, and learn the collaborative workflow. Memorable Quotes “It really was just this kind of like hot, like this sort of like melting pot of ideas…” “Tom Hanks is playing softball with these kids… he’s playing the real version of Tom Hanks… super competitive.” “We’ve jumped to 4K and we’re editing raw… now you’re transcribing your sequences too… What a game changer.” “Every joke to the frame pretty much.” “It’s a learned craft… some people could do it and some people can.” Guests Ryan Spears is a Film Unit editor at SNL and four time Emmy nominee for work including “I’m Just Pete”, “Mario Kart”, and “Murder Show”. He’s also cut for the shows “The Amber Ruffin Show”, “Teenage Euthanasia”, the film “Citizen Weiner” and the Hulu standup “Matteo Lane: The Al Dente Special”. He’s currently a commercial editor based in New York at The Den Editorial. Daniel Garcia – Daniel Garcia has been a video editor at SNL for 10 years.  His work on the show includes editing weekly promos, pretapes such as PDD’s “Hard Seltzer”, and the Emmy winning digital series Creating SNL. Paul Del Gesso is a Film Unit Editor at SNL, where he was previously Emmy nominated for "Bowen's Straight." Additionally, Paul is a writer and producer, and is Head of Production at Warrior Queen Inc. Resources I Really Love My Husband on Instagram: @iReallyLovemyhusbandmovie Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 26 Aug 2025 02:07:00 -0000 full No Film School No Film School delves into the high-pressure, fast-paced world of sketch comedy editing on Saturday Night Live's historic 50th Anniversary special. The episode features returning guest Ryan Spears—four-time Emmy nominee and Film Unit editor at SNL—joined by longtime collaborators Daniel Garcia and Paul Del Gesso. Together, they share insider stories on crafting memorable montages, rediscovering archival gems, navigating the evolution from analog to digital workflows, and ultimately earning their first-ever team nomination for the anniversary special. In this episode, No Film School's GG Hawkins, and guests discuss… How the SNL editorial team collaborated on the 50th Anniversary special, blending archival material and creative reels into a unified piece. The rediscovery of forgotten gems—like Tom Hanks’s softball clip—and deciding what made the final cut. Technical and generational shifts in editing: from film and DIY workflows to 4K raw editing, searchable transcripts, advanced VFX, and speedy turnaround. Adapting to new creative tools, such as APM’s sound‑alike search and 3D animation techniques like the Cheeto character. Balancing fast cuts with breathing room—tailoring pacing to fit the tone, whether it’s surreal whimsy or a more paced parody like White Lotus. Managing chaos: keeping cool under pressure during live edits, system failures, and last-minute creative changes. Advice for aspiring SNL editors: start as assistant editors, build a strong reel (even outside comedy), check your ego at the door, and learn the collaborative workflow. Memorable Quotes “It really was just this kind of like hot, like this sort of like melting pot of ideas…” “Tom Hanks is playing softball with these kids… he’s playing the real version of Tom Hanks… super competitive.” “We’ve jumped to 4K and we’re editing raw… now you’re transcribing your sequences too… What a game changer.” “Every joke to the frame pretty much.” “It’s a learned craft… some people could do it and some people can.” Guests Ryan Spears is a Film Unit editor at SNL and four time Emmy nominee for work including “I’m Just Pete”, “Mario Kart”, and “Murder Show”. He’s also cut for the shows “The Amber Ruffin Show”, “Teenage Euthanasia”, the film “Citizen Weiner” and the Hulu standup “Matteo Lane: The Al Dente Special”. He’s currently a commercial editor based in New York at The Den Editorial. Daniel Garcia – Daniel Garcia has been a video editor at SNL for 10 years.  His work on the show includes editing weekly promos, pretapes such as PDD’s “Hard Seltzer”, and the Emmy winning digital series Creating SNL. Paul Del Gesso is a Film Unit Editor at SNL, where he was previously Emmy nominated for "Bowen's Straight." Additionally, Paul is a writer and producer, and is Head of Production at Warrior Queen Inc. Resources I Really Love My Husband on Instagram: @iReallyLovemyhusbandmovie Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices No Film School delves into the high-pressure, fast-paced world of sketch comedy editing on Saturday Night Live's historic 50th Anniversary special. The episode features returning guest Ryan Spears—four-time Emmy nominee and Film Unit editor at SNL—joined by longtime collaborators Daniel Garcia and Paul Del Gesso. Together, they share insider stories on crafting memorable montages, rediscovering archival gems, navigating the evolution from analog to digital workflows, and ultimately earning their first-ever team nomination for the anniversary special.

In this episode, No Film School's GG Hawkins, and guests discuss…

  • How the SNL editorial team collaborated on the 50th Anniversary special, blending archival material and creative reels into a unified piece.

  • The rediscovery of forgotten gems—like Tom Hanks’s softball clip—and deciding what made the final cut.

  • Technical and generational shifts in editing: from film and DIY workflows to 4K raw editing, searchable transcripts, advanced VFX, and speedy turnaround.

  • Adapting to new creative tools, such as APM’s sound‑alike search and 3D animation techniques like the Cheeto character.

  • Balancing fast cuts with breathing room—tailoring pacing to fit the tone, whether it’s surreal whimsy or a more paced parody like White Lotus.

  • Managing chaos: keeping cool under pressure during live edits, system failures, and last-minute creative changes.

  • Advice for aspiring SNL editors: start as assistant editors, build a strong reel (even outside comedy), check your ego at the door, and learn the collaborative workflow.

Memorable Quotes

  • “It really was just this kind of like hot, like this sort of like melting pot of ideas…”

  • “Tom Hanks is playing softball with these kids… he’s playing the real version of Tom Hanks… super competitive.”

  • “We’ve jumped to 4K and we’re editing raw… now you’re transcribing your sequences too… What a game changer.”

  • “Every joke to the frame pretty much.”

  • “It’s a learned craft… some people could do it and some people can.”

Guests

  • Ryan Spears is a Film Unit editor at SNL and four time Emmy nominee for work including “I’m Just Pete”, “Mario Kart”, and “Murder Show”. He’s also cut for the shows “The Amber Ruffin Show”, “Teenage Euthanasia”, the film “Citizen Weiner” and the Hulu standup “Matteo Lane: The Al Dente Special”. He’s currently a commercial editor based in New York at The Den Editorial.

  • Daniel Garcia – Daniel Garcia has been a video editor at SNL for 10 years.  His work on the show includes editing weekly promos, pretapes such as PDD’s “Hard Seltzer”, and the Emmy winning digital series Creating SNL.

  • Paul Del Gesso is a Film Unit Editor at SNL, where he was previously Emmy nominated for "Bowen's Straight." Additionally, Paul is a writer and producer, and is Head of Production at Warrior Queen Inc.

Resources

Find No Film School everywhere:

Send us an email with questions or feedback: podcast@nofilmschool.com

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

]]> 3124 Unlearning Grind Culture With Oscar-Winning Editor Paul Rogers In this episode of the No Film School Podcast, GG Hawkins sits down with Oscar-winning editor Paul Rogers, best known for his work on Everything Everywhere All at Once. Paul opens up about his journey from Alabama to Hollywood, founding the post-production company Parallax, and how personal experiences—like fatherhood and burnout—reshaped his approach to creativity and work. The conversation dives deep into balancing artistic passion with sustainable working habits, challenging the toxic grind culture in filmmaking, and embracing a more holistic view of success in the industry. In this episode, No Film School's GG Hawkins, Jason Hellerman, and guest Paul Rogers discuss... The origins of Paul's career and his path to editing How Parallax was founded and its evolving mission The “one for me, one for them” model—redefining it for sustainability How COVID redefined Paul’s understanding of work-life balance Setting boundaries in the film industry and learning to say no The creative benefits of rest and “collecting experiences” How fame after winning an Oscar impacted his workflow Memorable Quotes: "Surviving wasn't thriving... and I really wanted to thrive." "You can get to flow state through burnout, or through joy. Joy is just harder." "You're going to start regurgitating the same ideas creatively over and over again." "Have life outside of filmmaking… be collectors, not recyclers.” Guests: Paul Rogers Resources: Parallax Everything Everywhere All at Once BLKNWS: Terms and Conditions (upcoming) Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 21 Aug 2025 15:00:00 -0000 full No Film School In this episode of the No Film School Podcast, GG Hawkins sits down with Oscar-winning editor Paul Rogers, best known for his work on Everything Everywhere All at Once. Paul opens up about his journey from Alabama to Hollywood, founding the post-production company Parallax, and how personal experiences—like fatherhood and burnout—reshaped his approach to creativity and work. The conversation dives deep into balancing artistic passion with sustainable working habits, challenging the toxic grind culture in filmmaking, and embracing a more holistic view of success in the industry. In this episode, No Film School's GG Hawkins, Jason Hellerman, and guest Paul Rogers discuss... The origins of Paul's career and his path to editing How Parallax was founded and its evolving mission The “one for me, one for them” model—redefining it for sustainability How COVID redefined Paul’s understanding of work-life balance Setting boundaries in the film industry and learning to say no The creative benefits of rest and “collecting experiences” How fame after winning an Oscar impacted his workflow Memorable Quotes: "Surviving wasn't thriving... and I really wanted to thrive." "You can get to flow state through burnout, or through joy. Joy is just harder." "You're going to start regurgitating the same ideas creatively over and over again." "Have life outside of filmmaking… be collectors, not recyclers.” Guests: Paul Rogers Resources: Parallax Everything Everywhere All at Once BLKNWS: Terms and Conditions (upcoming) Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of the No Film School Podcast, GG Hawkins sits down with Oscar-winning editor Paul Rogers, best known for his work on Everything Everywhere All at Once. Paul opens up about his journey from Alabama to Hollywood, founding the post-production company Parallax, and how personal experiences—like fatherhood and burnout—reshaped his approach to creativity and work. The conversation dives deep into balancing artistic passion with sustainable working habits, challenging the toxic grind culture in filmmaking, and embracing a more holistic view of success in the industry.

In this episode, No Film School's GG Hawkins, Jason Hellerman, and guest Paul Rogers discuss...

  • The origins of Paul's career and his path to editing

  • How Parallax was founded and its evolving mission

  • The “one for me, one for them” model—redefining it for sustainability

  • How COVID redefined Paul’s understanding of work-life balance

  • Setting boundaries in the film industry and learning to say no

  • The creative benefits of rest and “collecting experiences”

  • How fame after winning an Oscar impacted his workflow

Memorable Quotes:

  • "Surviving wasn't thriving... and I really wanted to thrive."

  • "You can get to flow state through burnout, or through joy. Joy is just harder."

  • "You're going to start regurgitating the same ideas creatively over and over again."

  • "Have life outside of filmmaking… be collectors, not recyclers.”

Guests:

Resources:

Find No Film School everywhere:

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

]]> 2532 Shooting Live Between Mumbai and Frankfurt with a Global Superstar This episode of the No Film School Podcast welcomes back Charles Haine, who hosts a compelling conversation with filmmaker Aditya Kripalani and lead actors Nawazuddin Siddiqui and Chitrangada Satarupa. The group discusses their latest film I'm Not an Actor, a cross-continental drama that was shot simultaneously in Mumbai and Frankfurt, using FaceTime as a primary storytelling and production tool. The film follows a virtual connection between a struggling actor and a melancholic retired banker, played by two of India's most compelling talents. They unpack the technological challenges, emotional resonance, and deeply collaborative process behind the movie, from remote acting and directing to editing via FaceTime itself. In this episode, No Film School's Charles Haine and guests discuss... The challenges of filming across two continents using FaceTime How real-life technological constraints enhanced the storytelling Rewriting and reshooting the ending based on audience feedback Using location to reflect character psychology The importance of creating seamless digital intimacy on screen How Apple products unintentionally became integral to the production Remote post-production workflows and their growing normalcy The influence of Richard Linklater and conversational cinema Memorable Quotes: "Technology disappeared. That was the best thing." "I thought, okay, this is my life. This is how you connect. This is the world actually, where I have to survive." "I edited this film on FaceTime... the post-production also happened remotely, just like the film." "It had to feel like a vlog... that's how we were very specific. It has to look like someone's doing a vlog." Guests: Aditya Kripalani Nawazuddin Siddiqui Chitrangada Satarupa Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 14 Aug 2025 15:00:00 -0000 full No Film School This episode of the No Film School Podcast welcomes back Charles Haine, who hosts a compelling conversation with filmmaker Aditya Kripalani and lead actors Nawazuddin Siddiqui and Chitrangada Satarupa. The group discusses their latest film I'm Not an Actor, a cross-continental drama that was shot simultaneously in Mumbai and Frankfurt, using FaceTime as a primary storytelling and production tool. The film follows a virtual connection between a struggling actor and a melancholic retired banker, played by two of India's most compelling talents. They unpack the technological challenges, emotional resonance, and deeply collaborative process behind the movie, from remote acting and directing to editing via FaceTime itself. In this episode, No Film School's Charles Haine and guests discuss... The challenges of filming across two continents using FaceTime How real-life technological constraints enhanced the storytelling Rewriting and reshooting the ending based on audience feedback Using location to reflect character psychology The importance of creating seamless digital intimacy on screen How Apple products unintentionally became integral to the production Remote post-production workflows and their growing normalcy The influence of Richard Linklater and conversational cinema Memorable Quotes: "Technology disappeared. That was the best thing." "I thought, okay, this is my life. This is how you connect. This is the world actually, where I have to survive." "I edited this film on FaceTime... the post-production also happened remotely, just like the film." "It had to feel like a vlog... that's how we were very specific. It has to look like someone's doing a vlog." Guests: Aditya Kripalani Nawazuddin Siddiqui Chitrangada Satarupa Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices This episode of the No Film School Podcast welcomes back Charles Haine, who hosts a compelling conversation with filmmaker Aditya Kripalani and lead actors Nawazuddin Siddiqui and Chitrangada Satarupa. The group discusses their latest film I'm Not an Actor, a cross-continental drama that was shot simultaneously in Mumbai and Frankfurt, using FaceTime as a primary storytelling and production tool. The film follows a virtual connection between a struggling actor and a melancholic retired banker, played by two of India's most compelling talents. They unpack the technological challenges, emotional resonance, and deeply collaborative process behind the movie, from remote acting and directing to editing via FaceTime itself.

In this episode, No Film School's Charles Haine and guests discuss...

  • The challenges of filming across two continents using FaceTime

  • How real-life technological constraints enhanced the storytelling

  • Rewriting and reshooting the ending based on audience feedback

  • Using location to reflect character psychology

  • The importance of creating seamless digital intimacy on screen

  • How Apple products unintentionally became integral to the production

  • Remote post-production workflows and their growing normalcy

  • The influence of Richard Linklater and conversational cinema

Memorable Quotes:

  • "Technology disappeared. That was the best thing."

  • "I thought, okay, this is my life. This is how you connect. This is the world actually, where I have to survive."

  • "I edited this film on FaceTime... the post-production also happened remotely, just like the film."

  • "It had to feel like a vlog... that's how we were very specific. It has to look like someone's doing a vlog."

Guests:

Find No Film School everywhere:

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

]]> 2362 Showrunners Nick Stoller & Francesca Delbanco on Sharing Everything In this episode of the No Film School Podcast, GG Hawkins sits down with powerhouse writing and showrunning duo Nick Stoller and Francesca Delbanco. The married couple behind hit shows like Friends from College and Platonic discuss the nuances of building a creative career, collaborating with your spouse, and navigating the demands of leading a TV series. They reflect on how their individual writing journeys led them to a shared path, how they approach leadership and tone in a writer's room, and what makes Platonic so personal and relatable. Plus, GG and Jason dive into practical festival PR tips and how to plan for distribution after your film is finished. In this episode, No Film School's GG Hawkins and guests Nick Stoller & Francesca Delbanco discuss... How Nick and Francesca transitioned from individual careers to a collaborative creative partnership The inspiration and evolution behind Platonic, now in its second season on Apple TV+ Balancing marriage, parenthood, and co-showrunning duties What makes a second season creatively different—and sometimes harder—than a first The dynamics of a writer’s room and the importance of hiring the right voices How to sustain a long-term creative career by following your passions Tactical PR strategies for filmmakers hitting the festival circuit Budgeting for buyer vs. non-buyer film festivals and why it matters Memorable Quotes: "I always say TV and movies are hard to make. There's no reason that you shouldn't try to make it fun." "We both worry about 100 percent of the process together at all times." "Your voice is really all you have as a writer. So make it as specific to you as you possibly can." "When you run out of ideas, that's when the best ideas come.” Guests: Nicholas Stoller Francesca Delbanco Resources: I Really Love My Husband – Instagram I Really Love My Husband Screening w/ In-Person Q&A Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 07 Aug 2025 15:00:00 -0000 full No Film School In this episode of the No Film School Podcast, GG Hawkins sits down with powerhouse writing and showrunning duo Nick Stoller and Francesca Delbanco. The married couple behind hit shows like Friends from College and Platonic discuss the nuances of building a creative career, collaborating with your spouse, and navigating the demands of leading a TV series. They reflect on how their individual writing journeys led them to a shared path, how they approach leadership and tone in a writer's room, and what makes Platonic so personal and relatable. Plus, GG and Jason dive into practical festival PR tips and how to plan for distribution after your film is finished. In this episode, No Film School's GG Hawkins and guests Nick Stoller & Francesca Delbanco discuss... How Nick and Francesca transitioned from individual careers to a collaborative creative partnership The inspiration and evolution behind Platonic, now in its second season on Apple TV+ Balancing marriage, parenthood, and co-showrunning duties What makes a second season creatively different—and sometimes harder—than a first The dynamics of a writer’s room and the importance of hiring the right voices How to sustain a long-term creative career by following your passions Tactical PR strategies for filmmakers hitting the festival circuit Budgeting for buyer vs. non-buyer film festivals and why it matters Memorable Quotes: "I always say TV and movies are hard to make. There's no reason that you shouldn't try to make it fun." "We both worry about 100 percent of the process together at all times." "Your voice is really all you have as a writer. So make it as specific to you as you possibly can." "When you run out of ideas, that's when the best ideas come.” Guests: Nicholas Stoller Francesca Delbanco Resources: I Really Love My Husband – Instagram I Really Love My Husband Screening w/ In-Person Q&A Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of the No Film School Podcast, GG Hawkins sits down with powerhouse writing and showrunning duo Nick Stoller and Francesca Delbanco. The married couple behind hit shows like Friends from College and Platonic discuss the nuances of building a creative career, collaborating with your spouse, and navigating the demands of leading a TV series. They reflect on how their individual writing journeys led them to a shared path, how they approach leadership and tone in a writer's room, and what makes Platonic so personal and relatable. Plus, GG and Jason dive into practical festival PR tips and how to plan for distribution after your film is finished.

In this episode, No Film School's GG Hawkins and guests Nick Stoller & Francesca Delbanco discuss...

  • How Nick and Francesca transitioned from individual careers to a collaborative creative partnership

  • The inspiration and evolution behind Platonic, now in its second season on Apple TV+

  • Balancing marriage, parenthood, and co-showrunning duties

  • What makes a second season creatively different—and sometimes harder—than a first

  • The dynamics of a writer’s room and the importance of hiring the right voices

  • How to sustain a long-term creative career by following your passions

  • Tactical PR strategies for filmmakers hitting the festival circuit

  • Budgeting for buyer vs. non-buyer film festivals and why it matters

Memorable Quotes:

  • "I always say TV and movies are hard to make. There's no reason that you shouldn't try to make it fun."

  • "We both worry about 100 percent of the process together at all times."

  • "Your voice is really all you have as a writer. So make it as specific to you as you possibly can."

  • "When you run out of ideas, that's when the best ideas come.”

Guests:

Resources:

Find No Film School everywhere:

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

]]> 3496 How a Smutty Pizza Pitch Won the Frontières 'Short to Feature' Comp In this special episode of the No Film School Podcast, GG Hawkins sits down with filmmaker duo Talia Shea Levin and Kara Grace Miller to discuss the journey behind their short film Make Me a Pizza—a provocative, hilarious, and genre-blurring short that’s become a viral sensation. Fresh off a big win at the Fantasia Festival’s Frontières 'Short to Feature' competition, Levin and Miller open up about their pitch experience, the creation of their film, the strategic path to building an audience, and what it really takes to turn a short into a feature in today’s film industry. In this episode, No Film School's GG Hawkins and guests discuss... How Make Me a Pizza evolved from a bit into a film that resonated with audiences and trolls alike The strategy behind their pitch at Fantasia’s Frontières market—and how they clinched the win How building a dedicated fanbase (even with age restrictions on YouTube) became key to their success The value of showing up in person to festivals and pitching events Why going viral with a controversial short can be a career launchpad, not a setback Using limitations (like budget and film stock) as creative tools The importance of community over water bottle tours and industry gatekeeping What’s next after winning the pitch competition—and how they’re navigating the post-Festival whirlwind Memorable Quotes: “We have gotten so much love from the weirdos and the perverts, who we are lucky to call our fans.” “We are starting a cult, and we might get to make a feature film.” “If you got the Uber money, spend the Uber money.” “I didn’t dream of posting on Instagram... but you have to get your art to its audience.” Guests: Talia Shea Levin Kara Grace Miller Resources: Make Me a Pizza Instagram: @ThePizzaMovie Talia's Instagram: @taliashea23 Kara's Instagram: @karagmiller Frontières Market: https://frontieresmarket.com/ Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 04 Aug 2025 15:00:00 -0000 full No Film School In this special episode of the No Film School Podcast, GG Hawkins sits down with filmmaker duo Talia Shea Levin and Kara Grace Miller to discuss the journey behind their short film Make Me a Pizza—a provocative, hilarious, and genre-blurring short that’s become a viral sensation. Fresh off a big win at the Fantasia Festival’s Frontières 'Short to Feature' competition, Levin and Miller open up about their pitch experience, the creation of their film, the strategic path to building an audience, and what it really takes to turn a short into a feature in today’s film industry. In this episode, No Film School's GG Hawkins and guests discuss... How Make Me a Pizza evolved from a bit into a film that resonated with audiences and trolls alike The strategy behind their pitch at Fantasia’s Frontières market—and how they clinched the win How building a dedicated fanbase (even with age restrictions on YouTube) became key to their success The value of showing up in person to festivals and pitching events Why going viral with a controversial short can be a career launchpad, not a setback Using limitations (like budget and film stock) as creative tools The importance of community over water bottle tours and industry gatekeeping What’s next after winning the pitch competition—and how they’re navigating the post-Festival whirlwind Memorable Quotes: “We have gotten so much love from the weirdos and the perverts, who we are lucky to call our fans.” “We are starting a cult, and we might get to make a feature film.” “If you got the Uber money, spend the Uber money.” “I didn’t dream of posting on Instagram... but you have to get your art to its audience.” Guests: Talia Shea Levin Kara Grace Miller Resources: Make Me a Pizza Instagram: @ThePizzaMovie Talia's Instagram: @taliashea23 Kara's Instagram: @karagmiller Frontières Market: https://frontieresmarket.com/ Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this special episode of the No Film School Podcast, GG Hawkins sits down with filmmaker duo Talia Shea Levin and Kara Grace Miller to discuss the journey behind their short film Make Me a Pizza—a provocative, hilarious, and genre-blurring short that’s become a viral sensation. Fresh off a big win at the Fantasia Festival’s Frontières 'Short to Feature' competition, Levin and Miller open up about their pitch experience, the creation of their film, the strategic path to building an audience, and what it really takes to turn a short into a feature in today’s film industry.

In this episode, No Film School's GG Hawkins and guests discuss...

  • How Make Me a Pizza evolved from a bit into a film that resonated with audiences and trolls alike

  • The strategy behind their pitch at Fantasia’s Frontières market—and how they clinched the win

  • How building a dedicated fanbase (even with age restrictions on YouTube) became key to their success

  • The value of showing up in person to festivals and pitching events

  • Why going viral with a controversial short can be a career launchpad, not a setback

  • Using limitations (like budget and film stock) as creative tools

  • The importance of community over water bottle tours and industry gatekeeping

  • What’s next after winning the pitch competition—and how they’re navigating the post-Festival whirlwind

Memorable Quotes:

  • “We have gotten so much love from the weirdos and the perverts, who we are lucky to call our fans.”

  • “We are starting a cult, and we might get to make a feature film.”

  • “If you got the Uber money, spend the Uber money.”

  • “I didn’t dream of posting on Instagram... but you have to get your art to its audience.”

Guests:

Resources:

Find No Film School everywhere:

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

]]> 2794 Field Producing on Last Week Tonight & Tackling Vimeo’s EU/UK Problem In this episode, GG Hawkins and Jason Hellerman sit down with filmmaker and producer Matthew Scheffler, whose unique path through the industry includes five seasons field producing for Last Week Tonight with John Oliver and producing shows like Random Acts of Flyness and Black Twitter: A People's History. Matthew shares his journey from faking his way into the industry to directing his own Victorian horror short The Traveler, while raising three kids and navigating the shifting landscape of indie filmmaking. The episode also revisits the growing frustration Vimeo users in the UK and EU face due to regulatory changes, sparking a larger conversation on platform responsibility and the future of video hosting for filmmakers. In this episode, No Film School's GG Hawkins, Jason Hellerman, and guest Matthew Scheffler discuss... How Matthew went from commercials in Boston to producing Emmy-winning segments for Last Week Tonight The real challenges of transitioning from production roles into directing How working in production sharpened his creative instincts The long road to making The Traveler, a Victorian horror short shot on Staten Island Why Vimeo has become inaccessible in the UK/EU and what it means for indie filmmakers A listener’s UK-based perspective on the loss of Staff Picks and public search Vimeo’s official response to the criticism and the broader implications of global tech regulation Memorable Quotes: "You kind of lie within the parameters...lying about a location where you live. I agree with you—chances are if I had said I was moving, they would have just given it to my friend who already lives there." "I've never been on a production where the budget matched the creative. Ever." "You just have to decide what you need to cut out—because when you have kids especially, you can't really cut them out." "Filmmakers built Vimeo. They shouldn't forget that." Guests: Matthew Scheffler Resources: The Traveler Instagram: @thetraveler_film Matthew’s Instagram: @ironschef2021 Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 31 Jul 2025 15:00:00 -0000 full No Film School In this episode, GG Hawkins and Jason Hellerman sit down with filmmaker and producer Matthew Scheffler, whose unique path through the industry includes five seasons field producing for Last Week Tonight with John Oliver and producing shows like Random Acts of Flyness and Black Twitter: A People's History. Matthew shares his journey from faking his way into the industry to directing his own Victorian horror short The Traveler, while raising three kids and navigating the shifting landscape of indie filmmaking. The episode also revisits the growing frustration Vimeo users in the UK and EU face due to regulatory changes, sparking a larger conversation on platform responsibility and the future of video hosting for filmmakers. In this episode, No Film School's GG Hawkins, Jason Hellerman, and guest Matthew Scheffler discuss... How Matthew went from commercials in Boston to producing Emmy-winning segments for Last Week Tonight The real challenges of transitioning from production roles into directing How working in production sharpened his creative instincts The long road to making The Traveler, a Victorian horror short shot on Staten Island Why Vimeo has become inaccessible in the UK/EU and what it means for indie filmmakers A listener’s UK-based perspective on the loss of Staff Picks and public search Vimeo’s official response to the criticism and the broader implications of global tech regulation Memorable Quotes: "You kind of lie within the parameters...lying about a location where you live. I agree with you—chances are if I had said I was moving, they would have just given it to my friend who already lives there." "I've never been on a production where the budget matched the creative. Ever." "You just have to decide what you need to cut out—because when you have kids especially, you can't really cut them out." "Filmmakers built Vimeo. They shouldn't forget that." Guests: Matthew Scheffler Resources: The Traveler Instagram: @thetraveler_film Matthew’s Instagram: @ironschef2021 Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, GG Hawkins and Jason Hellerman sit down with filmmaker and producer Matthew Scheffler, whose unique path through the industry includes five seasons field producing for Last Week Tonight with John Oliver and producing shows like Random Acts of Flyness and Black Twitter: A People's History. Matthew shares his journey from faking his way into the industry to directing his own Victorian horror short The Traveler, while raising three kids and navigating the shifting landscape of indie filmmaking. The episode also revisits the growing frustration Vimeo users in the UK and EU face due to regulatory changes, sparking a larger conversation on platform responsibility and the future of video hosting for filmmakers.

In this episode, No Film School's GG Hawkins, Jason Hellerman, and guest Matthew Scheffler discuss...

  • How Matthew went from commercials in Boston to producing Emmy-winning segments for Last Week Tonight

  • The real challenges of transitioning from production roles into directing

  • How working in production sharpened his creative instincts

  • The long road to making The Traveler, a Victorian horror short shot on Staten Island

  • Why Vimeo has become inaccessible in the UK/EU and what it means for indie filmmakers

  • A listener’s UK-based perspective on the loss of Staff Picks and public search

  • Vimeo’s official response to the criticism and the broader implications of global tech regulation

Memorable Quotes:

  • "You kind of lie within the parameters...lying about a location where you live. I agree with you—chances are if I had said I was moving, they would have just given it to my friend who already lives there."

  • "I've never been on a production where the budget matched the creative. Ever."

  • "You just have to decide what you need to cut out—because when you have kids especially, you can't really cut them out."

  • "Filmmakers built Vimeo. They shouldn't forget that."

Guests:

Resources:

Find No Film School everywhere:

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

]]> 4513 Why Dating—and Making a Second Feature—Drives Us a Little Crazy This episode of the No Film School Podcast features GG Hawkins in conversation with writer-director Sophie Brooks, whose new film Oh, Hi! hits theaters nationwide on July 25, 2025. The film, starring Molly Gordon and Logan Lerman, explores the chaotic, vulnerable, and often hilariously painful world of romantic relationships. Sophie shares her journey of getting from her debut feature The Boy Downstairs to Oh, Hi!, a second feature that took nearly a decade to realize. They discuss the struggles of indie filmmaking, casting chemistry, writing complex characters, and what it truly means to create art that reflects personal truths. In this episode, No Film School's GG Hawkins and guest Sophie Brooks discuss... Why it took nine years to make a second feature How writing with an actor in mind (Molly Gordon) shaped the character of Iris The challenges and unexpected benefits of filming during/post-COVID How Sophie and her DP crafted a romantic, evolving visual style Writing unlikable yet deeply relatable characters Securing financing when nothing seems to go right The mental toll and unexpected joys of the post-production process Memorable Quotes: "I try really hard as a filmmaker. I try really hard with my friends...but I just want something. Is that so bad?" "You can feel so confident...but it's scary when you haven't done a part of the job in a long time." "There's a big difference between compromising and settling." "I didn’t believe the movie was happening until I was on set." Guest: Sophie Brooks Resources: Sophie Brooks on her first film ‘I Really Love My Husband’ Previews and Director Q&As ‘I Really Love My Husband’ Screenings Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 24 Jul 2025 15:00:00 -0000 full No Film School This episode of the No Film School Podcast features GG Hawkins in conversation with writer-director Sophie Brooks, whose new film Oh, Hi! hits theaters nationwide on July 25, 2025. The film, starring Molly Gordon and Logan Lerman, explores the chaotic, vulnerable, and often hilariously painful world of romantic relationships. Sophie shares her journey of getting from her debut feature The Boy Downstairs to Oh, Hi!, a second feature that took nearly a decade to realize. They discuss the struggles of indie filmmaking, casting chemistry, writing complex characters, and what it truly means to create art that reflects personal truths. In this episode, No Film School's GG Hawkins and guest Sophie Brooks discuss... Why it took nine years to make a second feature How writing with an actor in mind (Molly Gordon) shaped the character of Iris The challenges and unexpected benefits of filming during/post-COVID How Sophie and her DP crafted a romantic, evolving visual style Writing unlikable yet deeply relatable characters Securing financing when nothing seems to go right The mental toll and unexpected joys of the post-production process Memorable Quotes: "I try really hard as a filmmaker. I try really hard with my friends...but I just want something. Is that so bad?" "You can feel so confident...but it's scary when you haven't done a part of the job in a long time." "There's a big difference between compromising and settling." "I didn’t believe the movie was happening until I was on set." Guest: Sophie Brooks Resources: Sophie Brooks on her first film ‘I Really Love My Husband’ Previews and Director Q&As ‘I Really Love My Husband’ Screenings Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices This episode of the No Film School Podcast features GG Hawkins in conversation with writer-director Sophie Brooks, whose new film Oh, Hi! hits theaters nationwide on July 25, 2025. The film, starring Molly Gordon and Logan Lerman, explores the chaotic, vulnerable, and often hilariously painful world of romantic relationships. Sophie shares her journey of getting from her debut feature The Boy Downstairs to Oh, Hi!, a second feature that took nearly a decade to realize. They discuss the struggles of indie filmmaking, casting chemistry, writing complex characters, and what it truly means to create art that reflects personal truths.

In this episode, No Film School's GG Hawkins and guest Sophie Brooks discuss...

  • Why it took nine years to make a second feature

  • How writing with an actor in mind (Molly Gordon) shaped the character of Iris

  • The challenges and unexpected benefits of filming during/post-COVID

  • How Sophie and her DP crafted a romantic, evolving visual style

  • Writing unlikable yet deeply relatable characters

  • Securing financing when nothing seems to go right

  • The mental toll and unexpected joys of the post-production process

Memorable Quotes:

  • "I try really hard as a filmmaker. I try really hard with my friends...but I just want something. Is that so bad?"

  • "You can feel so confident...but it's scary when you haven't done a part of the job in a long time."

  • "There's a big difference between compromising and settling."

  • "I didn’t believe the movie was happening until I was on set."

Guest:

Resources:

Find No Film School everywhere:

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

]]> 2934 Run-and-Gun Risks and When Jim Cummings Becomes Your EP In this episode, GG Hawkins and Jason Hellerman dig into the behind-the-scenes business of micro-budget filmmaking. They tackle a fan-submitted Ask No Film School question about run-and-gun filmmaking risks, E&O insurance, and securing distribution when shooting without proper permits. Then, GG interviews writer/director Anna Baumgarten and producer Danny Mooney, the creative duo behind the indie feature Disfluency, a powerful micro-budget drama executive produced by Jim Cummings. The episode offers a treasure trove of insights into how to bring a short film to life as a feature, fundraise strategically, and navigate distribution on your own terms. In this episode, No Film School's GG Hawkins, Jason Hellerman, and guests discuss... The real risks of guerrilla filmmaking and when E&O insurance matters How micro-budget filmmakers should approach risk management and legal protections Why shooting permits—even if they're free—can save you massive headaches later How Anna and Danny turned the short Disfluency into a feature with no initial investors Why having a “moving train” production plan helps raise money faster The importance of audience-building and crowdfunding in early development How Jim Cummings and the Short to Feature Lab helped launch Disfluency Navigating distribution and negotiating for your film's future Memorable Quotes: "You need to kind of think about: How much did your movie cost? What kind of lawsuits can come in? Does it work for you?" – 08:09 "Motivation does not create action. Action creates motivation." – 41:44 "You have to be building the plane and flying it at the same time." – 46:50 "Make something you love, because you're going to be working on this all the way through the end." – 01:01:03 Guests: Anna Baumgarten Danny Mooney Resources: More Jim Cummings on No Film School Showtimes For I Really Love My Husband w/ In-Person Q&A ‘I Really Love My Husband’ on Instagram Where to Watch Disfluency Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Sun, 20 Jul 2025 15:00:00 -0000 full No Film School In this episode, GG Hawkins and Jason Hellerman dig into the behind-the-scenes business of micro-budget filmmaking. They tackle a fan-submitted Ask No Film School question about run-and-gun filmmaking risks, E&O insurance, and securing distribution when shooting without proper permits. Then, GG interviews writer/director Anna Baumgarten and producer Danny Mooney, the creative duo behind the indie feature Disfluency, a powerful micro-budget drama executive produced by Jim Cummings. The episode offers a treasure trove of insights into how to bring a short film to life as a feature, fundraise strategically, and navigate distribution on your own terms. In this episode, No Film School's GG Hawkins, Jason Hellerman, and guests discuss... The real risks of guerrilla filmmaking and when E&O insurance matters How micro-budget filmmakers should approach risk management and legal protections Why shooting permits—even if they're free—can save you massive headaches later How Anna and Danny turned the short Disfluency into a feature with no initial investors Why having a “moving train” production plan helps raise money faster The importance of audience-building and crowdfunding in early development How Jim Cummings and the Short to Feature Lab helped launch Disfluency Navigating distribution and negotiating for your film's future Memorable Quotes: "You need to kind of think about: How much did your movie cost? What kind of lawsuits can come in? Does it work for you?" – 08:09 "Motivation does not create action. Action creates motivation." – 41:44 "You have to be building the plane and flying it at the same time." – 46:50 "Make something you love, because you're going to be working on this all the way through the end." – 01:01:03 Guests: Anna Baumgarten Danny Mooney Resources: More Jim Cummings on No Film School Showtimes For I Really Love My Husband w/ In-Person Q&A ‘I Really Love My Husband’ on Instagram Where to Watch Disfluency Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, GG Hawkins and Jason Hellerman dig into the behind-the-scenes business of micro-budget filmmaking. They tackle a fan-submitted Ask No Film School question about run-and-gun filmmaking risks, E&O insurance, and securing distribution when shooting without proper permits. Then, GG interviews writer/director Anna Baumgarten and producer Danny Mooney, the creative duo behind the indie feature Disfluency, a powerful micro-budget drama executive produced by Jim Cummings. The episode offers a treasure trove of insights into how to bring a short film to life as a feature, fundraise strategically, and navigate distribution on your own terms.

In this episode, No Film School's GG Hawkins, Jason Hellerman, and guests discuss...

  • The real risks of guerrilla filmmaking and when E&O insurance matters

  • How micro-budget filmmakers should approach risk management and legal protections

  • Why shooting permits—even if they're free—can save you massive headaches later

  • How Anna and Danny turned the short Disfluency into a feature with no initial investors

  • Why having a “moving train” production plan helps raise money faster

  • The importance of audience-building and crowdfunding in early development

  • How Jim Cummings and the Short to Feature Lab helped launch Disfluency

  • Navigating distribution and negotiating for your film's future

Memorable Quotes:

  • "You need to kind of think about: How much did your movie cost? What kind of lawsuits can come in? Does it work for you?" – 08:09

  • "Motivation does not create action. Action creates motivation." – 41:44

  • "You have to be building the plane and flying it at the same time." – 46:50

  • "Make something you love, because you're going to be working on this all the way through the end." – 01:01:03

Guests:

Resources:

Find No Film School everywhere:

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

]]> 4284 John Hamburg on Writing the Most Quotable Movies of All Time John Hamburg joins GG Hawkins to discuss crafting iconic, rewatchable comedies—from cult hits like Safe Men to mainstream favorites such as Meet the Parents, Zoolander, I Love You, Man, and the upcoming new Meet the Parents installment. Hamburg shares his creative journey, balancing absurd premises with emotional truth, breaking into the industry, and directing the finale of Apple TV’s Stick. He also dives into working with comedic legends, developing enduring characters, and orchestrating large-scale scenes with precision and heart. In this episode, No Film School's GG Hawkins and guest John Hamburg discuss... How John’s breakthrough began with an NYU short at Sundance, leading to his first film Safe Men His process for deciding to leave NYU early and navigate a career in features vs. film school What drew him to direct the final episodes of Stick on Apple TV Plus and working with Owen Wilson The particular direction and strategy involved in managing huge crowds and authentic golf interactions on a TV-scale production The building blocks of quotable comedy: committing to emotionally real characters, clear scene goals, and grounded set pieces Collaborating with actors like Ben Stiller, Robert De Niro, Philip Seymour Hoffman, Paul Rudd, and Alec Baldwin—balancing scripted freshness and improvisation Behind‑the‑scenes look at tough moments like reworking the poker table speech in Along Came Polly Hamburg’s ringmaster philosophy: creating a safe, creative set for spontaneity while keeping an eye on structure and story Memorable Quotes: “I think if the characters are grounded in an emotional reality… that’s maybe what makes them stand the test of time.” (27:05) “Directing is such an incredible job, but it can be very lonely at times because you’re the only one that knows really.” (43:57) “Sometimes directing is also sort of like being okay with letting something formulate and happen on its own organically.” (44:42) Guests: John Hamburg (IMDb) Resources: Square Peg Social on FilmFreeway I Really Love My Husband w/ In-Person Q&A I Really Love My Husband on Instagram Find No Film School everywhere: On the Web: No Film School (https://nofilmschool.com/) Facebook: No Film School on Facebook (https://www.facebook.com/nofilmschool) Twitter: No Film School on Twitter (https://twitter.com/nofilmschool) YouTube: No Film School on YouTube (https://www.youtube.com/user/nofilmschool) Instagram: No Film School on Instagram (https://www.instagram.com/nofilmschool) 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Sat, 19 Jul 2025 15:00:00 -0000 full No Film School John Hamburg joins GG Hawkins to discuss crafting iconic, rewatchable comedies—from cult hits like Safe Men to mainstream favorites such as Meet the Parents, Zoolander, I Love You, Man, and the upcoming new Meet the Parents installment. Hamburg shares his creative journey, balancing absurd premises with emotional truth, breaking into the industry, and directing the finale of Apple TV’s Stick. He also dives into working with comedic legends, developing enduring characters, and orchestrating large-scale scenes with precision and heart. In this episode, No Film School's GG Hawkins and guest John Hamburg discuss... How John’s breakthrough began with an NYU short at Sundance, leading to his first film Safe Men His process for deciding to leave NYU early and navigate a career in features vs. film school What drew him to direct the final episodes of Stick on Apple TV Plus and working with Owen Wilson The particular direction and strategy involved in managing huge crowds and authentic golf interactions on a TV-scale production The building blocks of quotable comedy: committing to emotionally real characters, clear scene goals, and grounded set pieces Collaborating with actors like Ben Stiller, Robert De Niro, Philip Seymour Hoffman, Paul Rudd, and Alec Baldwin—balancing scripted freshness and improvisation Behind‑the‑scenes look at tough moments like reworking the poker table speech in Along Came Polly Hamburg’s ringmaster philosophy: creating a safe, creative set for spontaneity while keeping an eye on structure and story Memorable Quotes: “I think if the characters are grounded in an emotional reality… that’s maybe what makes them stand the test of time.” (27:05) “Directing is such an incredible job, but it can be very lonely at times because you’re the only one that knows really.” (43:57) “Sometimes directing is also sort of like being okay with letting something formulate and happen on its own organically.” (44:42) Guests: John Hamburg (IMDb) Resources: Square Peg Social on FilmFreeway I Really Love My Husband w/ In-Person Q&A I Really Love My Husband on Instagram Find No Film School everywhere: On the Web: No Film School (https://nofilmschool.com/) Facebook: No Film School on Facebook (https://www.facebook.com/nofilmschool) Twitter: No Film School on Twitter (https://twitter.com/nofilmschool) YouTube: No Film School on YouTube (https://www.youtube.com/user/nofilmschool) Instagram: No Film School on Instagram (https://www.instagram.com/nofilmschool) 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices John Hamburg joins GG Hawkins to discuss crafting iconic, rewatchable comedies—from cult hits like Safe Men to mainstream favorites such as Meet the Parents, Zoolander, I Love You, Man, and the upcoming new Meet the Parents installment. Hamburg shares his creative journey, balancing absurd premises with emotional truth, breaking into the industry, and directing the finale of Apple TV’s Stick. He also dives into working with comedic legends, developing enduring characters, and orchestrating large-scale scenes with precision and heart.

In this episode, No Film School's GG Hawkins and guest John Hamburg discuss...

  • How John’s breakthrough began with an NYU short at Sundance, leading to his first film Safe Men

  • His process for deciding to leave NYU early and navigate a career in features vs. film school

  • What drew him to direct the final episodes of Stick on Apple TV Plus and working with Owen Wilson

  • The particular direction and strategy involved in managing huge crowds and authentic golf interactions on a TV-scale production

  • The building blocks of quotable comedy: committing to emotionally real characters, clear scene goals, and grounded set pieces

  • Collaborating with actors like Ben Stiller, Robert De Niro, Philip Seymour Hoffman, Paul Rudd, and Alec Baldwin—balancing scripted freshness and improvisation

  • Behind‑the‑scenes look at tough moments like reworking the poker table speech in Along Came Polly

  • Hamburg’s ringmaster philosophy: creating a safe, creative set for spontaneity while keeping an eye on structure and story

Memorable Quotes:

  • “I think if the characters are grounded in an emotional reality… that’s maybe what makes them stand the test of time.” (27:05)

  • “Directing is such an incredible job, but it can be very lonely at times because you’re the only one that knows really.” (43:57)

  • “Sometimes directing is also sort of like being okay with letting something formulate and happen on its own organically.” (44:42)

Guests:

  • John Hamburg (IMDb)

Resources:

Find No Film School everywhere:

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

]]> 3712 Finding the Story in Marc Maron’s Grief and Comedy In this episode, GG Hawkins sits down with director Steven Feinartz and editor Derek Boonstra, two members of the team behind 'Are We Good?', an intimate documentary following comedian Marc Maron as he navigates grief, healing, and finding humor in the darkest moments. Together, they share how the project came to life, how they came together, the challenges of balancing comedy and vulnerability, and the ethical and emotional complexities of telling someone else’s deeply personal story. The conversation explores the collaborative dynamic between director and editor, unexpected discoveries in the cutting room, and the powerful reactions the film has sparked in audiences. It’s an honest, behind-the-scenes look at crafting a documentary that’s as funny as it is profound. In this episode, No Film School’s GG Hawkins and guests Steven and Derek discuss… The inspiration and origin of Are We Good? Navigating the balance between humor and grief How editorial choices shaped the emotional arc of the film Their creative collaboration and building trust in the edit room Ethical considerations when working with such personal material Surprising audience reactions and what they’ve learned from them Advice for filmmakers on telling vulnerable, authentic stories Guests: Steven Feinartz Derek Boonstra Resources: Are We Good? on IMDb Details on 'I Really Love My Husband' showtimes & tickets: https://www.instagram.com/ireallylovemyhusbandmovie/ Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 15 Jul 2025 15:00:00 -0000 full No Film School In this episode, GG Hawkins sits down with director Steven Feinartz and editor Derek Boonstra, two members of the team behind 'Are We Good?', an intimate documentary following comedian Marc Maron as he navigates grief, healing, and finding humor in the darkest moments. Together, they share how the project came to life, how they came together, the challenges of balancing comedy and vulnerability, and the ethical and emotional complexities of telling someone else’s deeply personal story. The conversation explores the collaborative dynamic between director and editor, unexpected discoveries in the cutting room, and the powerful reactions the film has sparked in audiences. It’s an honest, behind-the-scenes look at crafting a documentary that’s as funny as it is profound. In this episode, No Film School’s GG Hawkins and guests Steven and Derek discuss… The inspiration and origin of Are We Good? Navigating the balance between humor and grief How editorial choices shaped the emotional arc of the film Their creative collaboration and building trust in the edit room Ethical considerations when working with such personal material Surprising audience reactions and what they’ve learned from them Advice for filmmakers on telling vulnerable, authentic stories Guests: Steven Feinartz Derek Boonstra Resources: Are We Good? on IMDb Details on 'I Really Love My Husband' showtimes & tickets: https://www.instagram.com/ireallylovemyhusbandmovie/ Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, GG Hawkins sits down with director Steven Feinartz and editor Derek Boonstra, two members of the team behind 'Are We Good?', an intimate documentary following comedian Marc Maron as he navigates grief, healing, and finding humor in the darkest moments. Together, they share how the project came to life, how they came together, the challenges of balancing comedy and vulnerability, and the ethical and emotional complexities of telling someone else’s deeply personal story.

The conversation explores the collaborative dynamic between director and editor, unexpected discoveries in the cutting room, and the powerful reactions the film has sparked in audiences. It’s an honest, behind-the-scenes look at crafting a documentary that’s as funny as it is profound.

In this episode, No Film School’s GG Hawkins and guests Steven and Derek discuss…

  • The inspiration and origin of Are We Good?

  • Navigating the balance between humor and grief

  • How editorial choices shaped the emotional arc of the film

  • Their creative collaboration and building trust in the edit room

  • Ethical considerations when working with such personal material

  • Surprising audience reactions and what they’ve learned from them

  • Advice for filmmakers on telling vulnerable, authentic stories

Guests:

Resources:


Find No Film School everywhere:

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

]]> 2628 Lights, Camera, Disruption: Breaking Taboos By Challenging Status Quo In this episode of the No Film School Podcast, GG Hawkins presents two riveting conversations that push boundaries and challenge cultural taboos. First, she interviews Michael Taylor Jackson, writer, director, and star of the radically inventive film Orange Underground (Bajo Naranja), a satirical, punk-infused narrative born out of the Argentine quarantine. Then, she speaks with Kate Downey, creator and host of the podcast CRAMPED, which explores the hidden pain and social invisibility surrounding menstruation. Together, these conversations highlight how bold, personal storytelling can become an act of protest and empowerment. In this episode, No Film School's GG Hawkins and guests discuss... How Orange Underground merges satire, street art, and protest cinema to confront U.S. neocolonialism The creative process of blending real-life social media storytelling with scripted filmmaking How Argentina's unique film funding system and underground economy supported an international indie film Kate Downey’s journey from theater to podcasting, and how CRAMPED sheds light on the mystery of period pain Why menstruation remains a cultural and cinematic taboo, and how media can normalize it through better representation The power of representation in shaping societal understanding of women's health and lived experiences Memorable Quotes: “We were able to develop a virtual community because we couldn’t obviously live together.” “When half the population experiences something regularly, shouldn’t they be reflected honestly in our storytelling?” “There is no word other than an ignorant word to describe ourselves.” “Is there any more common experience that has not been hit to death, right?” Guests: Michael Taylor Jackson Kate Downey Resources: Bajo Naranja on Instagram CRAMPED: Why Doesn't Media Talk About Period Pain? Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 04 Jul 2025 15:00:00 -0000 full No Film School In this episode of the No Film School Podcast, GG Hawkins presents two riveting conversations that push boundaries and challenge cultural taboos. First, she interviews Michael Taylor Jackson, writer, director, and star of the radically inventive film Orange Underground (Bajo Naranja), a satirical, punk-infused narrative born out of the Argentine quarantine. Then, she speaks with Kate Downey, creator and host of the podcast CRAMPED, which explores the hidden pain and social invisibility surrounding menstruation. Together, these conversations highlight how bold, personal storytelling can become an act of protest and empowerment. In this episode, No Film School's GG Hawkins and guests discuss... How Orange Underground merges satire, street art, and protest cinema to confront U.S. neocolonialism The creative process of blending real-life social media storytelling with scripted filmmaking How Argentina's unique film funding system and underground economy supported an international indie film Kate Downey’s journey from theater to podcasting, and how CRAMPED sheds light on the mystery of period pain Why menstruation remains a cultural and cinematic taboo, and how media can normalize it through better representation The power of representation in shaping societal understanding of women's health and lived experiences Memorable Quotes: “We were able to develop a virtual community because we couldn’t obviously live together.” “When half the population experiences something regularly, shouldn’t they be reflected honestly in our storytelling?” “There is no word other than an ignorant word to describe ourselves.” “Is there any more common experience that has not been hit to death, right?” Guests: Michael Taylor Jackson Kate Downey Resources: Bajo Naranja on Instagram CRAMPED: Why Doesn't Media Talk About Period Pain? Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of the No Film School Podcast, GG Hawkins presents two riveting conversations that push boundaries and challenge cultural taboos. First, she interviews Michael Taylor Jackson, writer, director, and star of the radically inventive film Orange Underground (Bajo Naranja), a satirical, punk-infused narrative born out of the Argentine quarantine. Then, she speaks with Kate Downey, creator and host of the podcast CRAMPED, which explores the hidden pain and social invisibility surrounding menstruation. Together, these conversations highlight how bold, personal storytelling can become an act of protest and empowerment.

In this episode, No Film School's GG Hawkins and guests discuss...

  • How Orange Underground merges satire, street art, and protest cinema to confront U.S. neocolonialism
  • The creative process of blending real-life social media storytelling with scripted filmmaking
  • How Argentina's unique film funding system and underground economy supported an international indie film
  • Kate Downey’s journey from theater to podcasting, and how CRAMPED sheds light on the mystery of period pain
  • Why menstruation remains a cultural and cinematic taboo, and how media can normalize it through better representation
  • The power of representation in shaping societal understanding of women's health and lived experiences

Memorable Quotes:

  • “We were able to develop a virtual community because we couldn’t obviously live together.”
  • “When half the population experiences something regularly, shouldn’t they be reflected honestly in our storytelling?”
  • “There is no word other than an ignorant word to describe ourselves.”
  • “Is there any more common experience that has not been hit to death, right?”

Guests:

Resources:

Find No Film School everywhere:

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

]]> 4988 Why 'Atlanta' Works: Emmy-Nominated Editor Isaac Hagy on Crafting Great Story In this episode, GG Hawkins sits down with Emmy and ACE Eddie-nominated editor Isaac Hagy, whose emotionally charged and visually inventive work includes Waves, Atlanta, Mr. and Mrs. Smith, and The Friend. Known for his moody and immersive editing style, Hagy shares how he found his voice as an editor, the unconventional path that led him to Atlanta, and the creative and technical strategies that shape his work. He also dives into his Adobe Premiere workflow, the importance of collaboration, and how intuition—and his pit bull Blue—help fuel his storytelling. In this episode, No Film School's GG Hawkins and guest Isaac Hagy discuss... How Hagy’s religious upbringing led to his first foray into filmmaking The unorthodox path from critical studies major to documentary editor Jumping from music videos to the groundbreaking series Atlanta Why Hagy chooses Premiere Pro and how he builds intuitive workflows Collaborating remotely and the magic of edit dogs like Blue The creative process behind The Friend and working with indie auteurs The importance of collaboration, mentorship, and finding your crew Memorable Quotes: "My dog carries so much emotional baggage. Yeah, he's an essential part of the editing room." "I try to think like... what is the conventional way of cutting this? And then maybe what is an interesting outside-the-box way of cutting it?" "You're not going to come crashing through the back door by doing something very conventional." "Premiere works the way my brain works... I don't think about editing when I'm editing in Premiere." Guest: Isaac Hagy Resources: The Friend (2024) Montana Story (2021) Clapping for the Wrong Reasons Sirens on Netflix Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 03 Jul 2025 15:00:00 -0000 full No Film School In this episode, GG Hawkins sits down with Emmy and ACE Eddie-nominated editor Isaac Hagy, whose emotionally charged and visually inventive work includes Waves, Atlanta, Mr. and Mrs. Smith, and The Friend. Known for his moody and immersive editing style, Hagy shares how he found his voice as an editor, the unconventional path that led him to Atlanta, and the creative and technical strategies that shape his work. He also dives into his Adobe Premiere workflow, the importance of collaboration, and how intuition—and his pit bull Blue—help fuel his storytelling. In this episode, No Film School's GG Hawkins and guest Isaac Hagy discuss... How Hagy’s religious upbringing led to his first foray into filmmaking The unorthodox path from critical studies major to documentary editor Jumping from music videos to the groundbreaking series Atlanta Why Hagy chooses Premiere Pro and how he builds intuitive workflows Collaborating remotely and the magic of edit dogs like Blue The creative process behind The Friend and working with indie auteurs The importance of collaboration, mentorship, and finding your crew Memorable Quotes: "My dog carries so much emotional baggage. Yeah, he's an essential part of the editing room." "I try to think like... what is the conventional way of cutting this? And then maybe what is an interesting outside-the-box way of cutting it?" "You're not going to come crashing through the back door by doing something very conventional." "Premiere works the way my brain works... I don't think about editing when I'm editing in Premiere." Guest: Isaac Hagy Resources: The Friend (2024) Montana Story (2021) Clapping for the Wrong Reasons Sirens on Netflix Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, GG Hawkins sits down with Emmy and ACE Eddie-nominated editor Isaac Hagy, whose emotionally charged and visually inventive work includes Waves, Atlanta, Mr. and Mrs. Smith, and The Friend. Known for his moody and immersive editing style, Hagy shares how he found his voice as an editor, the unconventional path that led him to Atlanta, and the creative and technical strategies that shape his work. He also dives into his Adobe Premiere workflow, the importance of collaboration, and how intuition—and his pit bull Blue—help fuel his storytelling.

In this episode, No Film School's GG Hawkins and guest Isaac Hagy discuss...

  • How Hagy’s religious upbringing led to his first foray into filmmaking
  • The unorthodox path from critical studies major to documentary editor
  • Jumping from music videos to the groundbreaking series Atlanta
  • Why Hagy chooses Premiere Pro and how he builds intuitive workflows
  • Collaborating remotely and the magic of edit dogs like Blue
  • The creative process behind The Friend and working with indie auteurs
  • The importance of collaboration, mentorship, and finding your crew

Memorable Quotes:

  • "My dog carries so much emotional baggage. Yeah, he's an essential part of the editing room."
  • "I try to think like... what is the conventional way of cutting this? And then maybe what is an interesting outside-the-box way of cutting it?"
  • "You're not going to come crashing through the back door by doing something very conventional."
  • "Premiere works the way my brain works... I don't think about editing when I'm editing in Premiere."

Guest:

Resources:

Find No Film School everywhere:

  • 📩 Send us an email with questions or feedback: podcast@nofilmschool.com

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

]]> 2747 How Vimeo Staff Picks Actually Work In this episode, GG Hawkins sits down with Derick Rhodes, VP of Community at Vimeo, to dive into how Vimeo continues to be a crucial hub for independent filmmakers. Derick reveals the behind-the-scenes process of how Vimeo Staff Picks are curated, the platform’s renewed focus on supporting creators, and the company’s evolving role in global film culture. From new streaming options to global partnerships and grassroots community support, this conversation paints a comprehensive picture of where Vimeo is heading and why it remains vital for indie creatives. In this episode, No Film School's GG Hawkins and guest Derick Rhodes discuss... The origin story of Derick’s involvement with Vimeo and his background in indie filmmaking How Vimeo balances creator tools with community-building and high-level business solutions The human-led process behind Staff Picks and how to get noticed Vimeo’s new global partnerships and outreach efforts in places like Brazil and Japan The newly launched streaming and monetization tools for filmmakers A candid look at Derick’s own micro-budget filmmaking journey Advice on how to get involved with the Vimeo creator community and maximize the platform Memorable Quotes: “We don’t staff pick using algorithms… it’s all a team of people at the company that are obsessed with short films.” “Making shorts is taking yourself to film school, especially when you're doing it in a low-stakes way.” “Nobody is coming to pick you out of the crowd and take you to the path of like, you're going to be a film director now.” “We want to be an open playground and have people do work that's just playful and inspiring and try weird stuff.” Guests: Derick Rhodes - VP of Community, Vimeo Resources: Vimeo Staff Picks Moomin by Zach Dorn Yes, Daddy Podcast episode: Why Indie Film Distribution Is About To Go Punk Rock Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 27 Jun 2025 15:00:00 -0000 full No Film School In this episode, GG Hawkins sits down with Derick Rhodes, VP of Community at Vimeo, to dive into how Vimeo continues to be a crucial hub for independent filmmakers. Derick reveals the behind-the-scenes process of how Vimeo Staff Picks are curated, the platform’s renewed focus on supporting creators, and the company’s evolving role in global film culture. From new streaming options to global partnerships and grassroots community support, this conversation paints a comprehensive picture of where Vimeo is heading and why it remains vital for indie creatives. In this episode, No Film School's GG Hawkins and guest Derick Rhodes discuss... The origin story of Derick’s involvement with Vimeo and his background in indie filmmaking How Vimeo balances creator tools with community-building and high-level business solutions The human-led process behind Staff Picks and how to get noticed Vimeo’s new global partnerships and outreach efforts in places like Brazil and Japan The newly launched streaming and monetization tools for filmmakers A candid look at Derick’s own micro-budget filmmaking journey Advice on how to get involved with the Vimeo creator community and maximize the platform Memorable Quotes: “We don’t staff pick using algorithms… it’s all a team of people at the company that are obsessed with short films.” “Making shorts is taking yourself to film school, especially when you're doing it in a low-stakes way.” “Nobody is coming to pick you out of the crowd and take you to the path of like, you're going to be a film director now.” “We want to be an open playground and have people do work that's just playful and inspiring and try weird stuff.” Guests: Derick Rhodes - VP of Community, Vimeo Resources: Vimeo Staff Picks Moomin by Zach Dorn Yes, Daddy Podcast episode: Why Indie Film Distribution Is About To Go Punk Rock Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, GG Hawkins sits down with Derick Rhodes, VP of Community at Vimeo, to dive into how Vimeo continues to be a crucial hub for independent filmmakers. Derick reveals the behind-the-scenes process of how Vimeo Staff Picks are curated, the platform’s renewed focus on supporting creators, and the company’s evolving role in global film culture. From new streaming options to global partnerships and grassroots community support, this conversation paints a comprehensive picture of where Vimeo is heading and why it remains vital for indie creatives.

In this episode, No Film School's GG Hawkins and guest Derick Rhodes discuss...

  • The origin story of Derick’s involvement with Vimeo and his background in indie filmmaking
  • How Vimeo balances creator tools with community-building and high-level business solutions
  • The human-led process behind Staff Picks and how to get noticed
  • Vimeo’s new global partnerships and outreach efforts in places like Brazil and Japan
  • The newly launched streaming and monetization tools for filmmakers
  • A candid look at Derick’s own micro-budget filmmaking journey
  • Advice on how to get involved with the Vimeo creator community and maximize the platform

Memorable Quotes:

  • “We don’t staff pick using algorithms… it’s all a team of people at the company that are obsessed with short films.”
  • “Making shorts is taking yourself to film school, especially when you're doing it in a low-stakes way.”
  • “Nobody is coming to pick you out of the crowd and take you to the path of like, you're going to be a film director now.”
  • “We want to be an open playground and have people do work that's just playful and inspiring and try weird stuff.”

Guests:

Resources:

Find No Film School everywhere:

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

]]> 2791 When a Film Nearly Falls Apart, Then Wins Sundance: Alessandra Lacorazza on 'In the Summers' In this episode, GG Hawkins speaks with writer-director Alessandra Lacorazza about her award-winning film In the Summers, which took home both the U.S. Grand Jury Prize and Best Director at the 2024 Sundance Film Festival. Lacorazza shares the deeply personal roots of the film, the tumultuous road to production, and the pressures of staying true to a creative vision in the face of industry challenges. The conversation dives into casting across timelines, editorial discovery, and the intense final days before Sundance. It's an intimate and inspiring look at how a deeply personal, quietly powerful film almost didn't get made—and why it ultimately resonated so profoundly. In this episode, No Film School's GG Hawkins and guest Alessandra Lacorazza discuss... The semi-autobiographical inspiration behind In the Summers Creating emotionally complex characters and tender portrayals of masculinity Casting multiple actors for the same role across time The chaotic production process and financial uncertainty before filming How Alessandra balanced creative integrity with commercial pressures Editing discoveries, including changing the film’s ending after test screenings What it was like to win at Sundance—while sick and alone The unexpected emotional reach of the film across different demographics Advice for emerging filmmakers on trusting collaborators and staying clear on your vision Memorable Quotes: “I just knew I couldn’t make this film with that suggestion... I’d rather not make it because it won’t be good.” “Making the film was harder than having a baby.” “There’s no real villain, and you just leave the audience to make up their own mind.” “If you don’t [know your story], you’re going to get lost in the maze, and then your editing process is going to be a lot more complicated.” Guest: Alessandra Lacorazza Resources: In the Summers is now available to stream on Hulu. Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 20 Jun 2025 15:00:00 -0000 full No Film School In this episode, GG Hawkins speaks with writer-director Alessandra Lacorazza about her award-winning film In the Summers, which took home both the U.S. Grand Jury Prize and Best Director at the 2024 Sundance Film Festival. Lacorazza shares the deeply personal roots of the film, the tumultuous road to production, and the pressures of staying true to a creative vision in the face of industry challenges. The conversation dives into casting across timelines, editorial discovery, and the intense final days before Sundance. It's an intimate and inspiring look at how a deeply personal, quietly powerful film almost didn't get made—and why it ultimately resonated so profoundly. In this episode, No Film School's GG Hawkins and guest Alessandra Lacorazza discuss... The semi-autobiographical inspiration behind In the Summers Creating emotionally complex characters and tender portrayals of masculinity Casting multiple actors for the same role across time The chaotic production process and financial uncertainty before filming How Alessandra balanced creative integrity with commercial pressures Editing discoveries, including changing the film’s ending after test screenings What it was like to win at Sundance—while sick and alone The unexpected emotional reach of the film across different demographics Advice for emerging filmmakers on trusting collaborators and staying clear on your vision Memorable Quotes: “I just knew I couldn’t make this film with that suggestion... I’d rather not make it because it won’t be good.” “Making the film was harder than having a baby.” “There’s no real villain, and you just leave the audience to make up their own mind.” “If you don’t [know your story], you’re going to get lost in the maze, and then your editing process is going to be a lot more complicated.” Guest: Alessandra Lacorazza Resources: In the Summers is now available to stream on Hulu. Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, GG Hawkins speaks with writer-director Alessandra Lacorazza about her award-winning film In the Summers, which took home both the U.S. Grand Jury Prize and Best Director at the 2024 Sundance Film Festival. Lacorazza shares the deeply personal roots of the film, the tumultuous road to production, and the pressures of staying true to a creative vision in the face of industry challenges. The conversation dives into casting across timelines, editorial discovery, and the intense final days before Sundance. It's an intimate and inspiring look at how a deeply personal, quietly powerful film almost didn't get made—and why it ultimately resonated so profoundly.

In this episode, No Film School's GG Hawkins and guest Alessandra Lacorazza discuss...

  • The semi-autobiographical inspiration behind In the Summers
  • Creating emotionally complex characters and tender portrayals of masculinity
  • Casting multiple actors for the same role across time
  • The chaotic production process and financial uncertainty before filming
  • How Alessandra balanced creative integrity with commercial pressures
  • Editing discoveries, including changing the film’s ending after test screenings
  • What it was like to win at Sundance—while sick and alone
  • The unexpected emotional reach of the film across different demographics
  • Advice for emerging filmmakers on trusting collaborators and staying clear on your vision

Memorable Quotes:

  • “I just knew I couldn’t make this film with that suggestion... I’d rather not make it because it won’t be good.”

  • “Making the film was harder than having a baby.”

  • “There’s no real villain, and you just leave the audience to make up their own mind.”

  • “If you don’t [know your story], you’re going to get lost in the maze, and then your editing process is going to be a lot more complicated.”

Guest:

Resources:

Find No Film School everywhere:

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

]]> 2393 The Art of Iteration with Pixar’s Pete Docter This week on the No Film School Podcast, GG Hawkins sits down with Pete Docter, Chief Creative Officer at Pixar Animation Studios and the visionary behind films like Monsters, Inc., Up, Inside Out, and Soul. The conversation dives deep into the creative process behind Pixar’s latest original feature Elio, and how Pixar’s iterative storytelling model has evolved over the years. Pete shares actionable insights on how filmmakers—whether working at a major studio or independently—can embrace change, vulnerability, and creative discovery to build resonant stories. In this episode, No Film School's GG Hawkins and guest Pete Docter discuss... How Pete Docter chose Pixar over Disney and The Simpsons early in his career The iterative story process at Pixar and how it has shaped Elio The importance of balancing imaginative worlds with relatable emotional storytelling How Pixar greenlights projects by betting on people rather than ideas The evolving leadership strategies that support creativity and collaboration Why vulnerability is key to character empathy and story resonance How emerging filmmakers can use these Pixar principles in their own work Memorable Quotes: "Go to a small place where one person has a huge effect." "Every idea is good until you have to tell it to somebody else." "At some point, it is more about tenacity than talent." "Don't try to make and analyze at the same time." Guests: Pete Docter Resources: Pixar’s Elio Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 12 Jun 2025 15:00:00 -0000 full No Film School This week on the No Film School Podcast, GG Hawkins sits down with Pete Docter, Chief Creative Officer at Pixar Animation Studios and the visionary behind films like Monsters, Inc., Up, Inside Out, and Soul. The conversation dives deep into the creative process behind Pixar’s latest original feature Elio, and how Pixar’s iterative storytelling model has evolved over the years. Pete shares actionable insights on how filmmakers—whether working at a major studio or independently—can embrace change, vulnerability, and creative discovery to build resonant stories. In this episode, No Film School's GG Hawkins and guest Pete Docter discuss... How Pete Docter chose Pixar over Disney and The Simpsons early in his career The iterative story process at Pixar and how it has shaped Elio The importance of balancing imaginative worlds with relatable emotional storytelling How Pixar greenlights projects by betting on people rather than ideas The evolving leadership strategies that support creativity and collaboration Why vulnerability is key to character empathy and story resonance How emerging filmmakers can use these Pixar principles in their own work Memorable Quotes: "Go to a small place where one person has a huge effect." "Every idea is good until you have to tell it to somebody else." "At some point, it is more about tenacity than talent." "Don't try to make and analyze at the same time." Guests: Pete Docter Resources: Pixar’s Elio Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices This week on the No Film School Podcast, GG Hawkins sits down with Pete Docter, Chief Creative Officer at Pixar Animation Studios and the visionary behind films like Monsters, Inc., Up, Inside Out, and Soul. The conversation dives deep into the creative process behind Pixar’s latest original feature Elio, and how Pixar’s iterative storytelling model has evolved over the years. Pete shares actionable insights on how filmmakers—whether working at a major studio or independently—can embrace change, vulnerability, and creative discovery to build resonant stories.

In this episode, No Film School's GG Hawkins and guest Pete Docter discuss...

  • How Pete Docter chose Pixar over Disney and The Simpsons early in his career
  • The iterative story process at Pixar and how it has shaped Elio
  • The importance of balancing imaginative worlds with relatable emotional storytelling
  • How Pixar greenlights projects by betting on people rather than ideas
  • The evolving leadership strategies that support creativity and collaboration
  • Why vulnerability is key to character empathy and story resonance
  • How emerging filmmakers can use these Pixar principles in their own work

Memorable Quotes:

  • "Go to a small place where one person has a huge effect."
  • "Every idea is good until you have to tell it to somebody else."
  • "At some point, it is more about tenacity than talent."
  • "Don't try to make and analyze at the same time."

Guests:

Resources:

Find No Film School everywhere:

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

]]> 2544 Found Footage with Bite: Tribeca-Premiering ‘Man Finds Tape’ Filmmakers Peter Hall and Paul Gandersman join No Film School's GG Hawkins to discuss their chilling feature debut Man Finds Tape, premiering in the “Escape from Tribeca” section at the 2025 Tribeca Festival. The Texas-based writer-director duo explores their found-footage horror hybrid, rooted in documentary realism and intimate character drama. They dive deep into the film’s decade-long evolution, DIY production tactics, narrative experimentation, and the collaborative scrappiness that made their micro-budget creature feature resonate on a grand scale. In this episode, No Film School's GG Hawkins and guests discuss: How a shelved podcast idea evolved into a Tribeca-premiering feature film Using documentary experience to inform a found-footage horror aesthetic Why keeping a tight creative circle allowed for fast, agile production decisions Shooting scenes with GoPros and iPhones for final edits—and why it works Casting actors willing to dive into a highly iterative, experimental process Crafting practical and VFX-driven creature moments that elevate low-budget horror Editing techniques that treat the narrative as a real documentary-in-progress How found footage can stay emotionally grounded and narratively justified Memorable Quotes: "There cannot be a point at which the audience says, why are they still filming?" "We were willing to let it sound like shit in parts, and it ended up not having to." "We threw out a lot of the lavs and just used on-camera MiniDV audio. It felt 10 times more real." "What we make is not Peter’s voice or my voice—it’s a third voice." Guests: Peter S. Hall Paul Gandersman Resources: Man Finds Tape at Tribeca XYZ Films Boards Tribeca Horror Feature Man Finds Tape Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 06 Jun 2025 15:00:00 -0000 full No Film School Filmmakers Peter Hall and Paul Gandersman join No Film School's GG Hawkins to discuss their chilling feature debut Man Finds Tape, premiering in the “Escape from Tribeca” section at the 2025 Tribeca Festival. The Texas-based writer-director duo explores their found-footage horror hybrid, rooted in documentary realism and intimate character drama. They dive deep into the film’s decade-long evolution, DIY production tactics, narrative experimentation, and the collaborative scrappiness that made their micro-budget creature feature resonate on a grand scale. In this episode, No Film School's GG Hawkins and guests discuss: How a shelved podcast idea evolved into a Tribeca-premiering feature film Using documentary experience to inform a found-footage horror aesthetic Why keeping a tight creative circle allowed for fast, agile production decisions Shooting scenes with GoPros and iPhones for final edits—and why it works Casting actors willing to dive into a highly iterative, experimental process Crafting practical and VFX-driven creature moments that elevate low-budget horror Editing techniques that treat the narrative as a real documentary-in-progress How found footage can stay emotionally grounded and narratively justified Memorable Quotes: "There cannot be a point at which the audience says, why are they still filming?" "We were willing to let it sound like shit in parts, and it ended up not having to." "We threw out a lot of the lavs and just used on-camera MiniDV audio. It felt 10 times more real." "What we make is not Peter’s voice or my voice—it’s a third voice." Guests: Peter S. Hall Paul Gandersman Resources: Man Finds Tape at Tribeca XYZ Films Boards Tribeca Horror Feature Man Finds Tape Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Filmmakers Peter Hall and Paul Gandersman join No Film School's GG Hawkins to discuss their chilling feature debut Man Finds Tape, premiering in the “Escape from Tribeca” section at the 2025 Tribeca Festival. The Texas-based writer-director duo explores their found-footage horror hybrid, rooted in documentary realism and intimate character drama. They dive deep into the film’s decade-long evolution, DIY production tactics, narrative experimentation, and the collaborative scrappiness that made their micro-budget creature feature resonate on a grand scale.

In this episode, No Film School's GG Hawkins and guests discuss:

  • How a shelved podcast idea evolved into a Tribeca-premiering feature film
  • Using documentary experience to inform a found-footage horror aesthetic
  • Why keeping a tight creative circle allowed for fast, agile production decisions
  • Shooting scenes with GoPros and iPhones for final edits—and why it works
  • Casting actors willing to dive into a highly iterative, experimental process
  • Crafting practical and VFX-driven creature moments that elevate low-budget horror
  • Editing techniques that treat the narrative as a real documentary-in-progress
  • How found footage can stay emotionally grounded and narratively justified

Memorable Quotes:

  • "There cannot be a point at which the audience says, why are they still filming?"
  • "We were willing to let it sound like shit in parts, and it ended up not having to."
  • "We threw out a lot of the lavs and just used on-camera MiniDV audio. It felt 10 times more real."
  • "What we make is not Peter’s voice or my voice—it’s a third voice."

Guests:

Resources:

Find No Film School everywhere:

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

]]> 3261 Filmmaking Lessons from a Married Directing Team In this episode, GG Hawkins is joined by writer-director duo (and real-life couple) David Joseph Craig and Brian Crano to discuss their new film I Don’t Understand You, a genre-bending dark comedy starring Nick Kroll and Andrew Rannells. The film follows a couple on a babymoon in Italy that spirals into chaos and violence. Craig and Crano share their process of fictionalizing their own adoption journey, balancing collaboration as married filmmakers, and navigating international co-productions. They also dive into the mechanics of shooting stunts, working with passionate collaborators, and sustaining a creative life while parenting. In this episode, No Film School's GG Hawkins and guests David Joseph Craig and Brian Crano discuss... How personal experiences shaped the emotionally charged and comedic tone of I Don’t Understand You Transitioning from individual careers in acting and theater to collaborative filmmaking Tips for making international co-productions smoother, especially in Italy The logistics and artistry of filming stunts that are both shocking and funny Balancing parenting and directing, and how being a parent reshapes storytelling instincts Hiring passionate collaborators to elevate areas where you may feel less confident Why directors should consider editing or DP paths for a more sustainable career Memorable Quotes: "My films are like my ex-wives — I'm glad they exist and I never want to see them again." "We just decided early that on set, we would shoot everything and figure it out after." "Directing is like being eaten by crows — no one wants all of you, but everyone wants three bites." "Hire the people who are most passionate about the job you're most insecure about." Guests: David Joseph Craig on IMDb David’s Instagram Brian Crano on IMDb Brian’s Instagram Resources: I Don’t Understand You — In theaters June 6 - Get Ticket Now I Don’t Understand You Trailer I Don’t Understand You on Instagram Articles on stunts and filmmaking at No Film School Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 05 Jun 2025 15:00:00 -0000 full No Film School In this episode, GG Hawkins is joined by writer-director duo (and real-life couple) David Joseph Craig and Brian Crano to discuss their new film I Don’t Understand You, a genre-bending dark comedy starring Nick Kroll and Andrew Rannells. The film follows a couple on a babymoon in Italy that spirals into chaos and violence. Craig and Crano share their process of fictionalizing their own adoption journey, balancing collaboration as married filmmakers, and navigating international co-productions. They also dive into the mechanics of shooting stunts, working with passionate collaborators, and sustaining a creative life while parenting. In this episode, No Film School's GG Hawkins and guests David Joseph Craig and Brian Crano discuss... How personal experiences shaped the emotionally charged and comedic tone of I Don’t Understand You Transitioning from individual careers in acting and theater to collaborative filmmaking Tips for making international co-productions smoother, especially in Italy The logistics and artistry of filming stunts that are both shocking and funny Balancing parenting and directing, and how being a parent reshapes storytelling instincts Hiring passionate collaborators to elevate areas where you may feel less confident Why directors should consider editing or DP paths for a more sustainable career Memorable Quotes: "My films are like my ex-wives — I'm glad they exist and I never want to see them again." "We just decided early that on set, we would shoot everything and figure it out after." "Directing is like being eaten by crows — no one wants all of you, but everyone wants three bites." "Hire the people who are most passionate about the job you're most insecure about." Guests: David Joseph Craig on IMDb David’s Instagram Brian Crano on IMDb Brian’s Instagram Resources: I Don’t Understand You — In theaters June 6 - Get Ticket Now I Don’t Understand You Trailer I Don’t Understand You on Instagram Articles on stunts and filmmaking at No Film School Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, GG Hawkins is joined by writer-director duo (and real-life couple) David Joseph Craig and Brian Crano to discuss their new film I Don’t Understand You, a genre-bending dark comedy starring Nick Kroll and Andrew Rannells. The film follows a couple on a babymoon in Italy that spirals into chaos and violence. Craig and Crano share their process of fictionalizing their own adoption journey, balancing collaboration as married filmmakers, and navigating international co-productions. They also dive into the mechanics of shooting stunts, working with passionate collaborators, and sustaining a creative life while parenting.


In this episode, No Film School's GG Hawkins and guests David Joseph Craig and Brian Crano discuss...

  • How personal experiences shaped the emotionally charged and comedic tone of I Don’t Understand You
  • Transitioning from individual careers in acting and theater to collaborative filmmaking
  • Tips for making international co-productions smoother, especially in Italy
  • The logistics and artistry of filming stunts that are both shocking and funny
  • Balancing parenting and directing, and how being a parent reshapes storytelling instincts
  • Hiring passionate collaborators to elevate areas where you may feel less confident
  • Why directors should consider editing or DP paths for a more sustainable career

Memorable Quotes:

  • "My films are like my ex-wives — I'm glad they exist and I never want to see them again."
  • "We just decided early that on set, we would shoot everything and figure it out after."
  • "Directing is like being eaten by crows — no one wants all of you, but everyone wants three bites."
  • "Hire the people who are most passionate about the job you're most insecure about."

Guests:

Resources:

Find No Film School everywhere:

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

]]> 3213 Coppola Told Me: Shoot It on Your Phone In this episode of the No Film School Podcast, GG Hawkins welcomes back filmmaker Janek Ambros to dive deep into the wild origin and evolution of his second feature film, Mondo Hollywoodland. The conversation spans everything from a life-changing phone call with Francis Ford Coppola to the chaotic, experimental production process of an iPhone-shot psychedelic satire. Ambros shares how a rogue spirit, a skeleton crew, and the mantra "just make something" powered his creative journey. He also discusses the challenges of distribution, finding a cult audience, and why the edit room is his happy place. In this episode, No Film School's GG Hawkins and guest Janek Ambros discuss... How Francis Ford Coppola inspired the DIY ethos behind Mondo Hollywoodland Why the film is more of a spiritual successor than a direct sequel to the 1967 cult doc Mondo Hollywood The experimental, no-crew production process using an iPhone and real locations Casting friends and local oddballs to match the film’s bizarre, countercultural tone How the film’s editing and narrator shape its chaotic narrative Navigating COVID-era distribution and marketing challenges Ambros’s dual approach to career-building: make art, but also think commercially Why learning to produce is essential for emerging filmmakers Memorable Quotes: "You should just make a movie with your iPhone with your friends if you don’t have money." "We didn’t have a cinematographer. We have a camera op. That’s really it." "It was just totally the freest form of filmmaking." "Editing is definitely my favorite part of filmmaking. Everything else is a necessary evil just to edit." Guests: Janek Ambros Resources: More from NFS x Janek Screening Tickets – June 8, 6 p.m. at Lumineer Music Hall, Beverly Hills Mondo Hollywoodland on Letterboxd Assembly Line Entertainment on Instagram: @assemblylineent,  Mondo Hollywoodland on Instagram: @mondohollywoodland Janek on Twitter: @janekambros88 Assembly Line Entertainment on Twitter: @assemblylineent Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 30 May 2025 15:00:00 -0000 full No Film School In this episode of the No Film School Podcast, GG Hawkins welcomes back filmmaker Janek Ambros to dive deep into the wild origin and evolution of his second feature film, Mondo Hollywoodland. The conversation spans everything from a life-changing phone call with Francis Ford Coppola to the chaotic, experimental production process of an iPhone-shot psychedelic satire. Ambros shares how a rogue spirit, a skeleton crew, and the mantra "just make something" powered his creative journey. He also discusses the challenges of distribution, finding a cult audience, and why the edit room is his happy place. In this episode, No Film School's GG Hawkins and guest Janek Ambros discuss... How Francis Ford Coppola inspired the DIY ethos behind Mondo Hollywoodland Why the film is more of a spiritual successor than a direct sequel to the 1967 cult doc Mondo Hollywood The experimental, no-crew production process using an iPhone and real locations Casting friends and local oddballs to match the film’s bizarre, countercultural tone How the film’s editing and narrator shape its chaotic narrative Navigating COVID-era distribution and marketing challenges Ambros’s dual approach to career-building: make art, but also think commercially Why learning to produce is essential for emerging filmmakers Memorable Quotes: "You should just make a movie with your iPhone with your friends if you don’t have money." "We didn’t have a cinematographer. We have a camera op. That’s really it." "It was just totally the freest form of filmmaking." "Editing is definitely my favorite part of filmmaking. Everything else is a necessary evil just to edit." Guests: Janek Ambros Resources: More from NFS x Janek Screening Tickets – June 8, 6 p.m. at Lumineer Music Hall, Beverly Hills Mondo Hollywoodland on Letterboxd Assembly Line Entertainment on Instagram: @assemblylineent,  Mondo Hollywoodland on Instagram: @mondohollywoodland Janek on Twitter: @janekambros88 Assembly Line Entertainment on Twitter: @assemblylineent Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of the No Film School Podcast, GG Hawkins welcomes back filmmaker Janek Ambros to dive deep into the wild origin and evolution of his second feature film, Mondo Hollywoodland. The conversation spans everything from a life-changing phone call with Francis Ford Coppola to the chaotic, experimental production process of an iPhone-shot psychedelic satire. Ambros shares how a rogue spirit, a skeleton crew, and the mantra "just make something" powered his creative journey. He also discusses the challenges of distribution, finding a cult audience, and why the edit room is his happy place.

In this episode, No Film School's GG Hawkins and guest Janek Ambros discuss...

  • How Francis Ford Coppola inspired the DIY ethos behind Mondo Hollywoodland

  • Why the film is more of a spiritual successor than a direct sequel to the 1967 cult doc Mondo Hollywood

  • The experimental, no-crew production process using an iPhone and real locations

  • Casting friends and local oddballs to match the film’s bizarre, countercultural tone

  • How the film’s editing and narrator shape its chaotic narrative

  • Navigating COVID-era distribution and marketing challenges

  • Ambros’s dual approach to career-building: make art, but also think commercially

  • Why learning to produce is essential for emerging filmmakers

Memorable Quotes:

  • "You should just make a movie with your iPhone with your friends if you don’t have money."

  • "We didn’t have a cinematographer. We have a camera op. That’s really it."

  • "It was just totally the freest form of filmmaking."

  • "Editing is definitely my favorite part of filmmaking. Everything else is a necessary evil just to edit."

Guests:

Resources:

Find No Film School everywhere:

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

]]> 2783 Real Talk on Film Finance, Distribution, and Pre-Sales This episode of the No Film School Podcast is a deep dive into the often opaque world of film finance, distribution, and foreign pre-sales. GG Hawkins hosts the episode and is joined by filmmakers Stephen Cedars and Benji Kleiman, as well as special guest Mike Chapman from Bluefinch Films. Together, they explore what it takes to get a film made and sold in today’s unpredictable global market. From debunking myths about foreign pre-sales to discussing how to attract investors and get your film noticed at festivals, this is an essential listen for indie filmmakers navigating the post-production and sales process. In this episode, No Film School's GG Hawkins and guests discuss... The harsh realities of the current acquisitions and distribution market Why understanding distribution from the beginning helps you fund your movie The value (and limitations) of foreign pre-sales and cast attachments What sales agents look for in a pitch, and how to present a compelling deck Why comps in pitch decks can be misleading or counterproductive Navigating film festivals and markets like Cannes, Berlin, and Toronto effectively Practical tips for raising money without burning out or making costly mistakes Memorable Quotes: “Nobody knows anything in the film industry.” “Every birth is a miracle. Editors are midwives. We could really keep this metaphor going.” “You’ve got to be bold. If it just feels like a lower-budget version of something the studio’s making, they’ll just watch the studio version.” “If it is a good film, it will find a way to cut through.” Guests: Mike Chapman (Bluefinch Films) Stephen Cedars Benji Kleiman Resources: Blue Finch Film Releasing The Wolfpack Deadstream Hundreds of Beavers Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 29 May 2025 15:00:00 -0000 full No Film School This episode of the No Film School Podcast is a deep dive into the often opaque world of film finance, distribution, and foreign pre-sales. GG Hawkins hosts the episode and is joined by filmmakers Stephen Cedars and Benji Kleiman, as well as special guest Mike Chapman from Bluefinch Films. Together, they explore what it takes to get a film made and sold in today’s unpredictable global market. From debunking myths about foreign pre-sales to discussing how to attract investors and get your film noticed at festivals, this is an essential listen for indie filmmakers navigating the post-production and sales process. In this episode, No Film School's GG Hawkins and guests discuss... The harsh realities of the current acquisitions and distribution market Why understanding distribution from the beginning helps you fund your movie The value (and limitations) of foreign pre-sales and cast attachments What sales agents look for in a pitch, and how to present a compelling deck Why comps in pitch decks can be misleading or counterproductive Navigating film festivals and markets like Cannes, Berlin, and Toronto effectively Practical tips for raising money without burning out or making costly mistakes Memorable Quotes: “Nobody knows anything in the film industry.” “Every birth is a miracle. Editors are midwives. We could really keep this metaphor going.” “You’ve got to be bold. If it just feels like a lower-budget version of something the studio’s making, they’ll just watch the studio version.” “If it is a good film, it will find a way to cut through.” Guests: Mike Chapman (Bluefinch Films) Stephen Cedars Benji Kleiman Resources: Blue Finch Film Releasing The Wolfpack Deadstream Hundreds of Beavers Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices This episode of the No Film School Podcast is a deep dive into the often opaque world of film finance, distribution, and foreign pre-sales. GG Hawkins hosts the episode and is joined by filmmakers Stephen Cedars and Benji Kleiman, as well as special guest Mike Chapman from Bluefinch Films. Together, they explore what it takes to get a film made and sold in today’s unpredictable global market. From debunking myths about foreign pre-sales to discussing how to attract investors and get your film noticed at festivals, this is an essential listen for indie filmmakers navigating the post-production and sales process.

In this episode, No Film School's GG Hawkins and guests discuss...

  • The harsh realities of the current acquisitions and distribution market

  • Why understanding distribution from the beginning helps you fund your movie

  • The value (and limitations) of foreign pre-sales and cast attachments

  • What sales agents look for in a pitch, and how to present a compelling deck

  • Why comps in pitch decks can be misleading or counterproductive

  • Navigating film festivals and markets like Cannes, Berlin, and Toronto effectively

  • Practical tips for raising money without burning out or making costly mistakes

Memorable Quotes:

  • “Nobody knows anything in the film industry.”

  • “Every birth is a miracle. Editors are midwives. We could really keep this metaphor going.”

  • “You’ve got to be bold. If it just feels like a lower-budget version of something the studio’s making, they’ll just watch the studio version.”

  • “If it is a good film, it will find a way to cut through.”

Guests:

Resources:

Find No Film School everywhere:

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

]]> 3846 A First-Timer’s Guide to the Cannes Film Festival On this episode of the No Film School Podcast, GG Hawkins is reporting live from the 2025 Cannes Film Festival alongside a vibrant panel of first-time attendees. Filmmakers Stephen Cedars and Benji Kleiman, and producer Lexi Tannenholtz reflect on the chaos, surprises, and serendipity of navigating Cannes for the first time. From deciphering the market to running into unexpected industry contacts, they explore the overwhelming yet exhilarating world of one of the most prestigious film festivals in the world. This episode is packed with practical advice for emerging filmmakers hoping to make the most of a trip to Cannes. In this episode, No Film School's GG Hawkins and guests discuss... What it means to “have a movie” at Cannes and the nuances between screening, sales, and market presence How the Cannes Film Festival is actually multiple events in one—red carpets, markets, pavilions, and more The unique experience of The Marché du Film and what it teaches about global film distribution Serendipitous encounters and the power of just showing up prepared and open to connection The social dynamics of the festival and why dressing the part can be as important as showing up Tips for navigating Cannes for first-timers—from parties to planning to staying present The balance between networking and being respectful in professional interactions Memorable Quotes: "I feel like I've learned more in the last six days than I have in the last six years." "Prepare yourself for good luck.” "Don’t try to get an apple tree on day one of planting the seed." "The festival is a celebration of art, but the market is all business." Guests: Stephen Cedars Benji Kleiman Lexi Tannenholtz Resources: Goodside: Affordable housing for filmmakers at major festivals Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Sat, 24 May 2025 17:05:00 -0000 full No Film School On this episode of the No Film School Podcast, GG Hawkins is reporting live from the 2025 Cannes Film Festival alongside a vibrant panel of first-time attendees. Filmmakers Stephen Cedars and Benji Kleiman, and producer Lexi Tannenholtz reflect on the chaos, surprises, and serendipity of navigating Cannes for the first time. From deciphering the market to running into unexpected industry contacts, they explore the overwhelming yet exhilarating world of one of the most prestigious film festivals in the world. This episode is packed with practical advice for emerging filmmakers hoping to make the most of a trip to Cannes. In this episode, No Film School's GG Hawkins and guests discuss... What it means to “have a movie” at Cannes and the nuances between screening, sales, and market presence How the Cannes Film Festival is actually multiple events in one—red carpets, markets, pavilions, and more The unique experience of The Marché du Film and what it teaches about global film distribution Serendipitous encounters and the power of just showing up prepared and open to connection The social dynamics of the festival and why dressing the part can be as important as showing up Tips for navigating Cannes for first-timers—from parties to planning to staying present The balance between networking and being respectful in professional interactions Memorable Quotes: "I feel like I've learned more in the last six days than I have in the last six years." "Prepare yourself for good luck.” "Don’t try to get an apple tree on day one of planting the seed." "The festival is a celebration of art, but the market is all business." Guests: Stephen Cedars Benji Kleiman Lexi Tannenholtz Resources: Goodside: Affordable housing for filmmakers at major festivals Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices On this episode of the No Film School Podcast, GG Hawkins is reporting live from the 2025 Cannes Film Festival alongside a vibrant panel of first-time attendees. Filmmakers Stephen Cedars and Benji Kleiman, and producer Lexi Tannenholtz reflect on the chaos, surprises, and serendipity of navigating Cannes for the first time. From deciphering the market to running into unexpected industry contacts, they explore the overwhelming yet exhilarating world of one of the most prestigious film festivals in the world. This episode is packed with practical advice for emerging filmmakers hoping to make the most of a trip to Cannes.

In this episode, No Film School's GG Hawkins and guests discuss...

  • What it means to “have a movie” at Cannes and the nuances between screening, sales, and market presence
  • How the Cannes Film Festival is actually multiple events in one—red carpets, markets, pavilions, and more
  • The unique experience of The Marché du Film and what it teaches about global film distribution
  • Serendipitous encounters and the power of just showing up prepared and open to connection
  • The social dynamics of the festival and why dressing the part can be as important as showing up
  • Tips for navigating Cannes for first-timers—from parties to planning to staying present
  • The balance between networking and being respectful in professional interactions

Memorable Quotes:

  • "I feel like I've learned more in the last six days than I have in the last six years."
  • "Prepare yourself for good luck.”
  • "Don’t try to get an apple tree on day one of planting the seed."
  • "The festival is a celebration of art, but the market is all business."

Guests:

Resources:

  • Goodside: Affordable housing for filmmakers at major festivals

Find No Film School everywhere:

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

]]> 3244 From Marcel to Stitch: Dean Fleischer Camp on Protecting Your Character’s Soul Dean Fleischer Camp, the Oscar-nominated filmmaker behind Marcel the Shell with Shoes On, joins GG Hawkins on this episode of the No Film School Podcast to discuss his journey from indie auteur to directing Disney's live-action Lilo & Stitch. Camp delves into the emotional and technical challenges of maintaining character integrity, scaling up production, and bringing heart and authenticity to a beloved IP. From personal anecdotes about his early filmmaking days to deep dives into character animation and working with child actors, this episode is a must-listen for aspiring filmmakers and animation fans alike. In this episode, No Film School's GG Hawkins and guest Dean Fleischer Camp discuss... How Dean’s background in editing and indie filmmaking shaped his directorial approach The creative transition from Marcel the Shell to Lilo & Stitch Capturing the emotional depth and soul of Stitch in a live-action format The importance of involving original creators in adaptations Directing child actors and creating real interactions with animated characters The casting and character development of Nani, Lilo's sister Practical advice for emerging filmmakers navigating their first projects Memorable Quotes: “Even the most exacting director... gets like 30% of what they set out to get exactly in their mind’s eye.” “You can feed the animated Stitch through the live-action machine... but if you don’t put any care into it, it actually has the opposite effect.” “Don’t wait for permission to make something... That’s an order.” Guest: Dean Fleischer Camp Mentioned in this episode: Experience Camps Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 23 May 2025 02:14:00 -0000 full No Film School Dean Fleischer Camp, the Oscar-nominated filmmaker behind Marcel the Shell with Shoes On, joins GG Hawkins on this episode of the No Film School Podcast to discuss his journey from indie auteur to directing Disney's live-action Lilo & Stitch. Camp delves into the emotional and technical challenges of maintaining character integrity, scaling up production, and bringing heart and authenticity to a beloved IP. From personal anecdotes about his early filmmaking days to deep dives into character animation and working with child actors, this episode is a must-listen for aspiring filmmakers and animation fans alike. In this episode, No Film School's GG Hawkins and guest Dean Fleischer Camp discuss... How Dean’s background in editing and indie filmmaking shaped his directorial approach The creative transition from Marcel the Shell to Lilo & Stitch Capturing the emotional depth and soul of Stitch in a live-action format The importance of involving original creators in adaptations Directing child actors and creating real interactions with animated characters The casting and character development of Nani, Lilo's sister Practical advice for emerging filmmakers navigating their first projects Memorable Quotes: “Even the most exacting director... gets like 30% of what they set out to get exactly in their mind’s eye.” “You can feed the animated Stitch through the live-action machine... but if you don’t put any care into it, it actually has the opposite effect.” “Don’t wait for permission to make something... That’s an order.” Guest: Dean Fleischer Camp Mentioned in this episode: Experience Camps Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Dean Fleischer Camp, the Oscar-nominated filmmaker behind Marcel the Shell with Shoes On, joins GG Hawkins on this episode of the No Film School Podcast to discuss his journey from indie auteur to directing Disney's live-action Lilo & Stitch. Camp delves into the emotional and technical challenges of maintaining character integrity, scaling up production, and bringing heart and authenticity to a beloved IP. From personal anecdotes about his early filmmaking days to deep dives into character animation and working with child actors, this episode is a must-listen for aspiring filmmakers and animation fans alike.

In this episode, No Film School's GG Hawkins and guest Dean Fleischer Camp discuss...

  • How Dean’s background in editing and indie filmmaking shaped his directorial approach

  • The creative transition from Marcel the Shell to Lilo & Stitch

  • Capturing the emotional depth and soul of Stitch in a live-action format

  • The importance of involving original creators in adaptations

  • Directing child actors and creating real interactions with animated characters

  • The casting and character development of Nani, Lilo's sister

  • Practical advice for emerging filmmakers navigating their first projects

Memorable Quotes:

  • “Even the most exacting director... gets like 30% of what they set out to get exactly in their mind’s eye.”

  • “You can feed the animated Stitch through the live-action machine... but if you don’t put any care into it, it actually has the opposite effect.”

  • “Don’t wait for permission to make something... That’s an order.”

Guest:

Mentioned in this episode:

Find No Film School everywhere:

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

]]> 2817 Why Regional Films and Fests are Essential In this episode of the No Film School Podcast, GG Hawkins and Jason Hellerman tackle breaking news, unpacking President Trump’s proposed 100% tariff on foreign-made films and what it could mean for the future of Hollywood. Then, GG takes us to the heart of indie filmmaking with a vibrant live conversation from Cinema Columbus, where filmmakers Michael Polk, Sam Dunning, and Kelsey Lea Jones share war stories, festival lessons, and the power of regional cinema in a shifting industry. In this episode, No Film School's GG Hawkins, Jason Hellerman, and guests discuss... The implications of Trump’s proposed 100% tariff on foreign film and TV productions How international tax incentives affect where Hollywood makes movies The economic and cultural risks of isolating American film audiences The live indie filmmaking experience from Cinema Columbus The production and festival journeys of “Canoe Dig It” and “Say As I Say” Creative strategies for self-distribution and building regional audiences How unexpected moments during indie shoots add authenticity and charm Memorable Quotes: "You don't need to jail artists to silence them. You just make their work impossible to afford." "Let’s solve this problem with a real solution and not just with bluster." "If you can't give indie filmmakers money, the most valuable other thing you can do is to rate and review our movies." "We just don't want it to disappear… even if we don't make a dime." Guests: Michael Polk Sam Dunning Kelsey Lea Jones Resources: Canoe Dig it? Say As I Say No Film School: What Do Studio Heads Have to Say About The Hollywood Tariffs? Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 08 May 2025 20:02:00 -0000 full No Film School In this episode of the No Film School Podcast, GG Hawkins and Jason Hellerman tackle breaking news, unpacking President Trump’s proposed 100% tariff on foreign-made films and what it could mean for the future of Hollywood. Then, GG takes us to the heart of indie filmmaking with a vibrant live conversation from Cinema Columbus, where filmmakers Michael Polk, Sam Dunning, and Kelsey Lea Jones share war stories, festival lessons, and the power of regional cinema in a shifting industry. In this episode, No Film School's GG Hawkins, Jason Hellerman, and guests discuss... The implications of Trump’s proposed 100% tariff on foreign film and TV productions How international tax incentives affect where Hollywood makes movies The economic and cultural risks of isolating American film audiences The live indie filmmaking experience from Cinema Columbus The production and festival journeys of “Canoe Dig It” and “Say As I Say” Creative strategies for self-distribution and building regional audiences How unexpected moments during indie shoots add authenticity and charm Memorable Quotes: "You don't need to jail artists to silence them. You just make their work impossible to afford." "Let’s solve this problem with a real solution and not just with bluster." "If you can't give indie filmmakers money, the most valuable other thing you can do is to rate and review our movies." "We just don't want it to disappear… even if we don't make a dime." Guests: Michael Polk Sam Dunning Kelsey Lea Jones Resources: Canoe Dig it? Say As I Say No Film School: What Do Studio Heads Have to Say About The Hollywood Tariffs? Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of the No Film School Podcast, GG Hawkins and Jason Hellerman tackle breaking news, unpacking President Trump’s proposed 100% tariff on foreign-made films and what it could mean for the future of Hollywood. Then, GG takes us to the heart of indie filmmaking with a vibrant live conversation from Cinema Columbus, where filmmakers Michael Polk, Sam Dunning, and Kelsey Lea Jones share war stories, festival lessons, and the power of regional cinema in a shifting industry.

In this episode, No Film School's GG Hawkins, Jason Hellerman, and guests discuss...

  • The implications of Trump’s proposed 100% tariff on foreign film and TV productions

  • How international tax incentives affect where Hollywood makes movies

  • The economic and cultural risks of isolating American film audiences

  • The live indie filmmaking experience from Cinema Columbus

  • The production and festival journeys of “Canoe Dig It” and “Say As I Say”

  • Creative strategies for self-distribution and building regional audiences

  • How unexpected moments during indie shoots add authenticity and charm

Memorable Quotes:

  • "You don't need to jail artists to silence them. You just make their work impossible to afford."

  • "Let’s solve this problem with a real solution and not just with bluster."

  • "If you can't give indie filmmakers money, the most valuable other thing you can do is to rate and review our movies."

  • "We just don't want it to disappear… even if we don't make a dime."

Guests:

Resources:

Find No Film School everywhere:

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

]]> 3873 What We Lose If We Don’t Preserve Film In this episode, GG Hawkins of No Film School sits down with Ben Roberts, Chief Executive of the British Film Institute (BFI), for a powerful conversation on the cultural and creative necessity of film preservation. As the BFI celebrates the 90th anniversary of its National Archive and launches its new BFI America initiative, Roberts shares deep insights into the archival process, global collaboration, and the evolving role of film as both art and artifact. From rediscovering rare prints to the vital importance of archiving even digital work, this episode offers an inspiring call to action for filmmakers and cinephiles alike. In this episode, No Film School's GG Hawkins and guest Ben Roberts discuss... Why film preservation matters more than ever in the digital age The significance of BFI’s National Archive turning 90 Rare film prints like Jaws and Mildred Pierce hidden in BFI’s vaults How the BFI selects films for restoration and the stories behind those choices The launch of BFI America and its goals for international collaboration Practical advice for emerging filmmakers attending international markets like Cannes or Berlin Why preserving your own creative process is as important as the work itself Memorable Quotes: "The archive is full of treasures." "Just make stuff, practice, practice, practice, without feeling like this is going to be your big break." "Keep everything. Keep your emails, keep notes... One day when you're the greatest filmmaker on the planet, we will want it all." "You’ve got to think about the global industry and the global culture, because to get stuff made, there are so many ways to collaborate internationally." Resources: BFI Player Classics BFI.org.uk Sight & Sound Magazine Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 01 May 2025 15:00:00 -0000 full No Film School In this episode, GG Hawkins of No Film School sits down with Ben Roberts, Chief Executive of the British Film Institute (BFI), for a powerful conversation on the cultural and creative necessity of film preservation. As the BFI celebrates the 90th anniversary of its National Archive and launches its new BFI America initiative, Roberts shares deep insights into the archival process, global collaboration, and the evolving role of film as both art and artifact. From rediscovering rare prints to the vital importance of archiving even digital work, this episode offers an inspiring call to action for filmmakers and cinephiles alike. In this episode, No Film School's GG Hawkins and guest Ben Roberts discuss... Why film preservation matters more than ever in the digital age The significance of BFI’s National Archive turning 90 Rare film prints like Jaws and Mildred Pierce hidden in BFI’s vaults How the BFI selects films for restoration and the stories behind those choices The launch of BFI America and its goals for international collaboration Practical advice for emerging filmmakers attending international markets like Cannes or Berlin Why preserving your own creative process is as important as the work itself Memorable Quotes: "The archive is full of treasures." "Just make stuff, practice, practice, practice, without feeling like this is going to be your big break." "Keep everything. Keep your emails, keep notes... One day when you're the greatest filmmaker on the planet, we will want it all." "You’ve got to think about the global industry and the global culture, because to get stuff made, there are so many ways to collaborate internationally." Resources: BFI Player Classics BFI.org.uk Sight & Sound Magazine Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, GG Hawkins of No Film School sits down with Ben Roberts, Chief Executive of the British Film Institute (BFI), for a powerful conversation on the cultural and creative necessity of film preservation. As the BFI celebrates the 90th anniversary of its National Archive and launches its new BFI America initiative, Roberts shares deep insights into the archival process, global collaboration, and the evolving role of film as both art and artifact. From rediscovering rare prints to the vital importance of archiving even digital work, this episode offers an inspiring call to action for filmmakers and cinephiles alike.

In this episode, No Film School's GG Hawkins and guest Ben Roberts discuss...

  • Why film preservation matters more than ever in the digital age

  • The significance of BFI’s National Archive turning 90

  • Rare film prints like Jaws and Mildred Pierce hidden in BFI’s vaults

  • How the BFI selects films for restoration and the stories behind those choices

  • The launch of BFI America and its goals for international collaboration

  • Practical advice for emerging filmmakers attending international markets like Cannes or Berlin

  • Why preserving your own creative process is as important as the work itself

Memorable Quotes:

  • "The archive is full of treasures."

  • "Just make stuff, practice, practice, practice, without feeling like this is going to be your big break."

  • "Keep everything. Keep your emails, keep notes... One day when you're the greatest filmmaker on the planet, we will want it all."

  • "You’ve got to think about the global industry and the global culture, because to get stuff made, there are so many ways to collaborate internationally."

Resources:

Find No Film School everywhere:

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

]]> 2097 What It Takes to Make a First Feature In this episode of the No Film School Podcast, GG Hawkins hosts a conversation with filmmakers Annapurna Sriram ("Fucktoys") and Alex Burunova ("Satisfaction"). Fresh from their South by Southwest premieres, they open up about the challenges and triumphs of making their first feature films independently. From the loneliness of directing to finding creative collaborators, the trio shares the real, raw experience of being “in the thick of it” during production and beyond. In this episode, No Film School's GG Hawkins and guests discuss... Why making a first feature feels like living on an island — literally and metaphorically The emotional rollercoaster of independent filmmaking and the power of perseverance The origins of "Fucktoys" and "Satisfaction," and how personal experiences inspired the films Casting without “named talent” and the importance of authentic performances How microbudget hacks, from thrift store shopping to strategic returns, kept productions alive The importance of finding your “spiritual warriors” (aka collaborators who get it) How to carry the lessons of your first feature into your next project Memorable Quotes: “If you can see all the heartbreak ahead, I don't know that anybody would climb the mountain.” “You’re not the first person to deal with a catastrophe — every person deals with it.” “Be a scout. Be a badass. Discover undiscovered talent.” “The gap in the teeth leads to the heart. It’s all a map.” Guests: Annapurna Sriram (Director, Writer, Lead Actor of Fucktoys) Alex Burunova (Director, Writer of Satisfaction) Resources: Fucktoys on Instagram: @fucktoysthemovie Satisfaction on Instagram: @satisfactionfilm I Really Love My Husband on Instagram: @ireallylovemyhusbandmovie Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 28 Apr 2025 15:00:00 -0000 full No Film School In this episode of the No Film School Podcast, GG Hawkins hosts a conversation with filmmakers Annapurna Sriram ("Fucktoys") and Alex Burunova ("Satisfaction"). Fresh from their South by Southwest premieres, they open up about the challenges and triumphs of making their first feature films independently. From the loneliness of directing to finding creative collaborators, the trio shares the real, raw experience of being “in the thick of it” during production and beyond. In this episode, No Film School's GG Hawkins and guests discuss... Why making a first feature feels like living on an island — literally and metaphorically The emotional rollercoaster of independent filmmaking and the power of perseverance The origins of "Fucktoys" and "Satisfaction," and how personal experiences inspired the films Casting without “named talent” and the importance of authentic performances How microbudget hacks, from thrift store shopping to strategic returns, kept productions alive The importance of finding your “spiritual warriors” (aka collaborators who get it) How to carry the lessons of your first feature into your next project Memorable Quotes: “If you can see all the heartbreak ahead, I don't know that anybody would climb the mountain.” “You’re not the first person to deal with a catastrophe — every person deals with it.” “Be a scout. Be a badass. Discover undiscovered talent.” “The gap in the teeth leads to the heart. It’s all a map.” Guests: Annapurna Sriram (Director, Writer, Lead Actor of Fucktoys) Alex Burunova (Director, Writer of Satisfaction) Resources: Fucktoys on Instagram: @fucktoysthemovie Satisfaction on Instagram: @satisfactionfilm I Really Love My Husband on Instagram: @ireallylovemyhusbandmovie Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of the No Film School Podcast, GG Hawkins hosts a conversation with filmmakers Annapurna Sriram ("Fucktoys") and Alex Burunova ("Satisfaction"). Fresh from their South by Southwest premieres, they open up about the challenges and triumphs of making their first feature films independently. From the loneliness of directing to finding creative collaborators, the trio shares the real, raw experience of being “in the thick of it” during production and beyond.

In this episode, No Film School's GG Hawkins and guests discuss...

  • Why making a first feature feels like living on an island — literally and metaphorically

  • The emotional rollercoaster of independent filmmaking and the power of perseverance

  • The origins of "Fucktoys" and "Satisfaction," and how personal experiences inspired the films

  • Casting without “named talent” and the importance of authentic performances

  • How microbudget hacks, from thrift store shopping to strategic returns, kept productions alive

  • The importance of finding your “spiritual warriors” (aka collaborators who get it)

  • How to carry the lessons of your first feature into your next project

Memorable Quotes:

  • “If you can see all the heartbreak ahead, I don't know that anybody would climb the mountain.”

  • “You’re not the first person to deal with a catastrophe — every person deals with it.”

  • “Be a scout. Be a badass. Discover undiscovered talent.”

  • “The gap in the teeth leads to the heart. It’s all a map.”

Guests:

Resources:

Find No Film School everywhere:

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

]]> 4643 Studio Strategy & Indie Grit in the Wake of ‘Sinners’ In this two-part episode of the No Film School Podcast, hosts GG Hawkins and Jason Hellerman dive into the success of Ryan Coogler’s new original film Sinners, a box office hit that marks a significant moment for original storytelling in Hollywood. They explore Coogler’s strategic career trajectory from shorts to studio features, examining what emerging filmmakers can learn from his path. Later in the episode, GG takes us back to the 2022 Sundance Film Festival with an interview featuring director Sing J. Lee. They discuss his debut feature, The Accidental Getaway Driver, and the deeply personal journey behind its creation, from a 10-year music video career to a rapid eight-week co-writing process, and the film’s intimate portrayal of cultural duality and human connection. In this episode we discuss... The box office and cultural impact of Ryan Coogler’s Sinners Coogler’s path from indie shorts to studio blockbusters The importance of building a team and sustaining collaborations Crafting and maintaining a personal voice within the studio system GG’s interview with director Sing J. Lee about his feature debut The intersection of personal history and narrative storytelling in The Accidental Getaway Driver Sing’s transition from music videos to feature filmmaking Writing and directing with emotional and cultural authenticity Memorable Quotes: "It’s been a long time since something original entered the cultural lexicon." "Artists should work on something that not only matters to them but that the world needs to hear about." "We’re looking for the vessel for where our voice might be best suited." "You’ve already done so much work, whether you know it or not." Guest: Sing J. Lee – IMDb Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 24 Apr 2025 15:00:00 -0000 full No Film School In this two-part episode of the No Film School Podcast, hosts GG Hawkins and Jason Hellerman dive into the success of Ryan Coogler’s new original film Sinners, a box office hit that marks a significant moment for original storytelling in Hollywood. They explore Coogler’s strategic career trajectory from shorts to studio features, examining what emerging filmmakers can learn from his path. Later in the episode, GG takes us back to the 2022 Sundance Film Festival with an interview featuring director Sing J. Lee. They discuss his debut feature, The Accidental Getaway Driver, and the deeply personal journey behind its creation, from a 10-year music video career to a rapid eight-week co-writing process, and the film’s intimate portrayal of cultural duality and human connection. In this episode we discuss... The box office and cultural impact of Ryan Coogler’s Sinners Coogler’s path from indie shorts to studio blockbusters The importance of building a team and sustaining collaborations Crafting and maintaining a personal voice within the studio system GG’s interview with director Sing J. Lee about his feature debut The intersection of personal history and narrative storytelling in The Accidental Getaway Driver Sing’s transition from music videos to feature filmmaking Writing and directing with emotional and cultural authenticity Memorable Quotes: "It’s been a long time since something original entered the cultural lexicon." "Artists should work on something that not only matters to them but that the world needs to hear about." "We’re looking for the vessel for where our voice might be best suited." "You’ve already done so much work, whether you know it or not." Guest: Sing J. Lee – IMDb Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this two-part episode of the No Film School Podcast, hosts GG Hawkins and Jason Hellerman dive into the success of Ryan Coogler’s new original film Sinners, a box office hit that marks a significant moment for original storytelling in Hollywood. They explore Coogler’s strategic career trajectory from shorts to studio features, examining what emerging filmmakers can learn from his path. Later in the episode, GG takes us back to the 2022 Sundance Film Festival with an interview featuring director Sing J. Lee. They discuss his debut feature, The Accidental Getaway Driver, and the deeply personal journey behind its creation, from a 10-year music video career to a rapid eight-week co-writing process, and the film’s intimate portrayal of cultural duality and human connection.


In this episode we discuss...

  • The box office and cultural impact of Ryan Coogler’s Sinners
  • Coogler’s path from indie shorts to studio blockbusters
  • The importance of building a team and sustaining collaborations
  • Crafting and maintaining a personal voice within the studio system
  • GG’s interview with director Sing J. Lee about his feature debut
  • The intersection of personal history and narrative storytelling in The Accidental Getaway Driver
  • Sing’s transition from music videos to feature filmmaking
  • Writing and directing with emotional and cultural authenticity


Memorable Quotes:

  • "It’s been a long time since something original entered the cultural lexicon."
  • "Artists should work on something that not only matters to them but that the world needs to hear about."
  • "We’re looking for the vessel for where our voice might be best suited."
  • "You’ve already done so much work, whether you know it or not."


Guest:

  • Sing J. Lee – IMDb


Find No Film School everywhere:

Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com

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

]]> 3424 The Secret to a Calm Film Set with Director Mimi Cave Director Mimi Cave joins No Film School’s GG Hawkins and guest co-host Madison Lanesey for a candid conversation about her path from dance to directing, maintaining artistic vision in the studio system, and fostering a grounded and collaborative atmosphere on set. Mimi opens up about the emotional rollercoaster of filmmaking, the practical steps she takes to craft immersive visual tones, and how she cultivates trust with her actors and crew. The episode offers a rare glimpse into the behind-the-scenes processes of her features Fresh and Holland, along with valuable insights for emerging filmmakers. In this episode, No Film School's GG Hawkins, guest co-host Madison Lanesey, and guest Mimi Cave discuss... Mimi’s creative origins in dance and how it led her into filmmaking The challenges and strategies of transitioning from indie to studio features Post-feature emotional “off-boarding” and how to manage the crash Establishing a calm and collaborative environment on set How she works with actors and tailors her directing approach to each personality Maintaining creative control within the studio system The importance of curiosity, asking questions, and embracing not knowing Building strong collaborative relationships with DPs, editors, and producers Memorable Quotes: "You get addicted to that... being needed all day is really amazing." "Take everything two days at a time... Anything after that's going to change anyways." "I walked into the set and I was like, you could hear a pin drop... it was so peaceful." "Some of the best filmmakers ever are some of the most unique, nerdy, freaky, out there people." Guest: Mimi Cave Resources: Fresh – Available on Hulu Holland – Available on Amazon Prime Video Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 18 Apr 2025 03:53:00 -0000 full No Film School Director Mimi Cave joins No Film School’s GG Hawkins and guest co-host Madison Lanesey for a candid conversation about her path from dance to directing, maintaining artistic vision in the studio system, and fostering a grounded and collaborative atmosphere on set. Mimi opens up about the emotional rollercoaster of filmmaking, the practical steps she takes to craft immersive visual tones, and how she cultivates trust with her actors and crew. The episode offers a rare glimpse into the behind-the-scenes processes of her features Fresh and Holland, along with valuable insights for emerging filmmakers. In this episode, No Film School's GG Hawkins, guest co-host Madison Lanesey, and guest Mimi Cave discuss... Mimi’s creative origins in dance and how it led her into filmmaking The challenges and strategies of transitioning from indie to studio features Post-feature emotional “off-boarding” and how to manage the crash Establishing a calm and collaborative environment on set How she works with actors and tailors her directing approach to each personality Maintaining creative control within the studio system The importance of curiosity, asking questions, and embracing not knowing Building strong collaborative relationships with DPs, editors, and producers Memorable Quotes: "You get addicted to that... being needed all day is really amazing." "Take everything two days at a time... Anything after that's going to change anyways." "I walked into the set and I was like, you could hear a pin drop... it was so peaceful." "Some of the best filmmakers ever are some of the most unique, nerdy, freaky, out there people." Guest: Mimi Cave Resources: Fresh – Available on Hulu Holland – Available on Amazon Prime Video Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Director Mimi Cave joins No Film School’s GG Hawkins and guest co-host Madison Lanesey for a candid conversation about her path from dance to directing, maintaining artistic vision in the studio system, and fostering a grounded and collaborative atmosphere on set. Mimi opens up about the emotional rollercoaster of filmmaking, the practical steps she takes to craft immersive visual tones, and how she cultivates trust with her actors and crew. The episode offers a rare glimpse into the behind-the-scenes processes of her features Fresh and Holland, along with valuable insights for emerging filmmakers.


In this episode, No Film School's GG Hawkins, guest co-host Madison Lanesey, and guest Mimi Cave discuss...

  • Mimi’s creative origins in dance and how it led her into filmmaking
  • The challenges and strategies of transitioning from indie to studio features
  • Post-feature emotional “off-boarding” and how to manage the crash
  • Establishing a calm and collaborative environment on set
  • How she works with actors and tailors her directing approach to each personality
  • Maintaining creative control within the studio system
  • The importance of curiosity, asking questions, and embracing not knowing
  • Building strong collaborative relationships with DPs, editors, and producers


Memorable Quotes:

  • "You get addicted to that... being needed all day is really amazing."
  • "Take everything two days at a time... Anything after that's going to change anyways."
  • "I walked into the set and I was like, you could hear a pin drop... it was so peaceful."
  • "Some of the best filmmakers ever are some of the most unique, nerdy, freaky, out there people."


Guest:


Resources:


Find No Film School everywhere:

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

]]> 3572 Why Playing It Safe Will Ruin Your Movie — Blumhouse Hit Director Christopher Landon on Drop Writer-director Christopher Landon joins No Film School’s GG Hawkins to discuss his newest film Drop, a sharp, suspenseful thriller starring Meghann Fahy. Known for genre-bending films like Happy Death Day, Freaky, and We Have a Ghost, Landon dives deep into his evolution as a filmmaker, how he overcame early failures, the importance of authenticity in storytelling, and the meticulous craft behind building tension. Landon also opens up about creating a supportive environment on set, casting with intuition, and how trusting his gut has shaped his career. In this episode, No Film School’s GG Hawkins and guest Christopher Landon discuss: How Christopher Landon’s love of horror movies began as a kid Early career failures and how they became pivotal learning moments Writing and selling Disturbia and joining the Paranormal Activity franchise The "feel-good horror" tone he discovered with Happy Death Day How Drop evolved from script to final film Shooting in sequence to elevate performances The importance of a supportive, no-asshole policy set How trusting his gut guides casting, shooting, and script decisions Advice for emerging filmmakers working within the studio system Memorable Quotes: "Failure is the greatest teacher." "If it ain’t on the page, it ain’t on the stage." "Casting is the one thing where I tune everybody out. I have to know it in my marrow." "Hollywood is seductive — don't chase the shiny things." Guest: Christopher Landon Resources: The 7 Best Plot Twists of All Time Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 11 Apr 2025 15:00:00 -0000 full No Film School Writer-director Christopher Landon joins No Film School’s GG Hawkins to discuss his newest film Drop, a sharp, suspenseful thriller starring Meghann Fahy. Known for genre-bending films like Happy Death Day, Freaky, and We Have a Ghost, Landon dives deep into his evolution as a filmmaker, how he overcame early failures, the importance of authenticity in storytelling, and the meticulous craft behind building tension. Landon also opens up about creating a supportive environment on set, casting with intuition, and how trusting his gut has shaped his career. In this episode, No Film School’s GG Hawkins and guest Christopher Landon discuss: How Christopher Landon’s love of horror movies began as a kid Early career failures and how they became pivotal learning moments Writing and selling Disturbia and joining the Paranormal Activity franchise The "feel-good horror" tone he discovered with Happy Death Day How Drop evolved from script to final film Shooting in sequence to elevate performances The importance of a supportive, no-asshole policy set How trusting his gut guides casting, shooting, and script decisions Advice for emerging filmmakers working within the studio system Memorable Quotes: "Failure is the greatest teacher." "If it ain’t on the page, it ain’t on the stage." "Casting is the one thing where I tune everybody out. I have to know it in my marrow." "Hollywood is seductive — don't chase the shiny things." Guest: Christopher Landon Resources: The 7 Best Plot Twists of All Time Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Writer-director Christopher Landon joins No Film School’s GG Hawkins to discuss his newest film Drop, a sharp, suspenseful thriller starring Meghann Fahy. Known for genre-bending films like Happy Death Day, Freaky, and We Have a Ghost, Landon dives deep into his evolution as a filmmaker, how he overcame early failures, the importance of authenticity in storytelling, and the meticulous craft behind building tension. Landon also opens up about creating a supportive environment on set, casting with intuition, and how trusting his gut has shaped his career.


In this episode, No Film School’s GG Hawkins and guest Christopher Landon discuss:

  • How Christopher Landon’s love of horror movies began as a kid
  • Early career failures and how they became pivotal learning moments
  • Writing and selling Disturbia and joining the Paranormal Activity franchise
  • The "feel-good horror" tone he discovered with Happy Death Day
  • How Drop evolved from script to final film
  • Shooting in sequence to elevate performances
  • The importance of a supportive, no-asshole policy set
  • How trusting his gut guides casting, shooting, and script decisions
  • Advice for emerging filmmakers working within the studio system


Memorable Quotes:

  • "Failure is the greatest teacher."
  • "If it ain’t on the page, it ain’t on the stage."
  • "Casting is the one thing where I tune everybody out. I have to know it in my marrow."
  • "Hollywood is seductive — don't chase the shiny things."


Guest:


Resources:


Find No Film School everywhere:

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

]]> 3344 What They Don’t Tell You About Editing a Feature with 'Sacramento' Editor What don't they tell you? They you gotta take a break! In this episode, No Film School's GG Hawkins and Jason Hellerman sit down with editor Max Goldblatt, who cut the heartfelt and hilarious indie road trip film Sacramento. Directed by Michael Angarano and starring Michael Cera, Kristen Stewart, and Maya Erskine, the film made waves at Tribeca and has since garnered a devoted following. Max shares how he got into editing, his long-time collaboration with Angarano, and offers invaluable insight into the nuanced craft of post-production—especially on a tight budget and timeline. In this episode, No Film School's GG Hawkins and guest Max Goldblatt discuss... How Max and director Michael Angarano formed their creative bond through music The challenges and victories of licensing a Rolling Stones song for an indie film Editorial techniques like split compositions and how they elevate performance Why taking breaks during the edit can lead to better storytelling Max’s unconventional path into editing and the moment he almost walked away from filmmaking The balance between instinct and structure when cutting complex character scenes Memorable Quotes: “Michael kind of broke the cardinal rule of putting a song in the script.” “Sometimes there's just this alchemy when you choose something maybe almost at random.” “I was about to quit trying to pursue film period before I was connected with Mike Angarano.” “Sometimes it takes feedback or questions that people have about characters, and you realize that the answer was there all along.” Guests: Max Goldblatt Resources: Sacramento on IMDb Michael Angarano’s first film, Avenues Robert Schwartzman's film The Argument Jason Hellerman's article on "Man on a Mission" stories Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 03 Apr 2025 15:00:00 -0000 full No Film School What don't they tell you? They you gotta take a break! In this episode, No Film School's GG Hawkins and Jason Hellerman sit down with editor Max Goldblatt, who cut the heartfelt and hilarious indie road trip film Sacramento. Directed by Michael Angarano and starring Michael Cera, Kristen Stewart, and Maya Erskine, the film made waves at Tribeca and has since garnered a devoted following. Max shares how he got into editing, his long-time collaboration with Angarano, and offers invaluable insight into the nuanced craft of post-production—especially on a tight budget and timeline. In this episode, No Film School's GG Hawkins and guest Max Goldblatt discuss... How Max and director Michael Angarano formed their creative bond through music The challenges and victories of licensing a Rolling Stones song for an indie film Editorial techniques like split compositions and how they elevate performance Why taking breaks during the edit can lead to better storytelling Max’s unconventional path into editing and the moment he almost walked away from filmmaking The balance between instinct and structure when cutting complex character scenes Memorable Quotes: “Michael kind of broke the cardinal rule of putting a song in the script.” “Sometimes there's just this alchemy when you choose something maybe almost at random.” “I was about to quit trying to pursue film period before I was connected with Mike Angarano.” “Sometimes it takes feedback or questions that people have about characters, and you realize that the answer was there all along.” Guests: Max Goldblatt Resources: Sacramento on IMDb Michael Angarano’s first film, Avenues Robert Schwartzman's film The Argument Jason Hellerman's article on "Man on a Mission" stories Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices What don't they tell you? They you gotta take a break! In this episode, No Film School's GG Hawkins and Jason Hellerman sit down with editor Max Goldblatt, who cut the heartfelt and hilarious indie road trip film Sacramento. Directed by Michael Angarano and starring Michael Cera, Kristen Stewart, and Maya Erskine, the film made waves at Tribeca and has since garnered a devoted following. Max shares how he got into editing, his long-time collaboration with Angarano, and offers invaluable insight into the nuanced craft of post-production—especially on a tight budget and timeline.


In this episode, No Film School's GG Hawkins and guest Max Goldblatt discuss...

  • How Max and director Michael Angarano formed their creative bond through music
  • The challenges and victories of licensing a Rolling Stones song for an indie film
  • Editorial techniques like split compositions and how they elevate performance
  • Why taking breaks during the edit can lead to better storytelling
  • Max’s unconventional path into editing and the moment he almost walked away from filmmaking
  • The balance between instinct and structure when cutting complex character scenes


Memorable Quotes:

  • “Michael kind of broke the cardinal rule of putting a song in the script.”
  • “Sometimes there's just this alchemy when you choose something maybe almost at random.”
  • “I was about to quit trying to pursue film period before I was connected with Mike Angarano.”
  • “Sometimes it takes feedback or questions that people have about characters, and you realize that the answer was there all along.”


Guests:


Resources:


Find No Film School everywhere:


📩 Send us an email with questions or feedback: podcast@nofilmschool.com

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

]]> 3457 How Real Is STAY IN LA? Plus Sundance DPs on Landing Jobs & Getting Shots In this episode, GG Hawkins and Jason Hellerman tackle the timely question of whether production in Los Angeles is truly back, despite rising costs and the lure of tax incentives elsewhere. They also host a special Sundance DP Roundtable, featuring cinematographers from some of the festival's most talked-about films. These filmmakers share the stories of how they landed their gigs, the creative and technical choices behind their work, and how shooting on location posed unique challenges and opportunities. From the reality of Stay in LA initiatives to working with first-time directors and navigating quick turnarounds or even war-related production pivots, this episode is a deep dive into the craft and chaos of cinematography today. In this episode, No Film School's GG Hawkins, Jason Hellerman, and guests discuss... The current state of film production in Los Angeles and whether it’s really “back” Tax incentives drawing productions to places like Ireland, Canada, and Texas The emotional and practical toll of filming far from home Behind-the-scenes challenges of indie productions and festival films How DPs landed their Sundance jobs and their strategies for collaboration with directors Favorite gear, lenses, and technical decisions from Sundance cinematographers Working with non-actors, shooting in unpredictable locations, and reacting in real time Tools, workflows, and prep habits DPs rely on when heading into production Guests: Adolpho Veloso – DP of Train Dreams Mia Cioffi Henry – DP of Sorry, Baby Ethan Palmer – DP of Plainclothes Christopher Aoun – DP of All That's Left of You Memorable Quotes: "I always say prepping like that is like studying for an exam, and then it’s like not an open book test.” "You either are not going to sleep because you're working long hours, or because you're anxious because you're not working." "Some of the best stuff that's come my way has been very low budget." Resources: California’s “Stay in LA” push for local production The new hubs becoming “Hollywood” around the world Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 27 Mar 2025 15:00:00 -0000 full No Film School In this episode, GG Hawkins and Jason Hellerman tackle the timely question of whether production in Los Angeles is truly back, despite rising costs and the lure of tax incentives elsewhere. They also host a special Sundance DP Roundtable, featuring cinematographers from some of the festival's most talked-about films. These filmmakers share the stories of how they landed their gigs, the creative and technical choices behind their work, and how shooting on location posed unique challenges and opportunities. From the reality of Stay in LA initiatives to working with first-time directors and navigating quick turnarounds or even war-related production pivots, this episode is a deep dive into the craft and chaos of cinematography today. In this episode, No Film School's GG Hawkins, Jason Hellerman, and guests discuss... The current state of film production in Los Angeles and whether it’s really “back” Tax incentives drawing productions to places like Ireland, Canada, and Texas The emotional and practical toll of filming far from home Behind-the-scenes challenges of indie productions and festival films How DPs landed their Sundance jobs and their strategies for collaboration with directors Favorite gear, lenses, and technical decisions from Sundance cinematographers Working with non-actors, shooting in unpredictable locations, and reacting in real time Tools, workflows, and prep habits DPs rely on when heading into production Guests: Adolpho Veloso – DP of Train Dreams Mia Cioffi Henry – DP of Sorry, Baby Ethan Palmer – DP of Plainclothes Christopher Aoun – DP of All That's Left of You Memorable Quotes: "I always say prepping like that is like studying for an exam, and then it’s like not an open book test.” "You either are not going to sleep because you're working long hours, or because you're anxious because you're not working." "Some of the best stuff that's come my way has been very low budget." Resources: California’s “Stay in LA” push for local production The new hubs becoming “Hollywood” around the world Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, GG Hawkins and Jason Hellerman tackle the timely question of whether production in Los Angeles is truly back, despite rising costs and the lure of tax incentives elsewhere. They also host a special Sundance DP Roundtable, featuring cinematographers from some of the festival's most talked-about films. These filmmakers share the stories of how they landed their gigs, the creative and technical choices behind their work, and how shooting on location posed unique challenges and opportunities. From the reality of Stay in LA initiatives to working with first-time directors and navigating quick turnarounds or even war-related production pivots, this episode is a deep dive into the craft and chaos of cinematography today.


In this episode, No Film School's GG Hawkins, Jason Hellerman, and guests discuss...

  • The current state of film production in Los Angeles and whether it’s really “back”
  • Tax incentives drawing productions to places like Ireland, Canada, and Texas
  • The emotional and practical toll of filming far from home
  • Behind-the-scenes challenges of indie productions and festival films
  • How DPs landed their Sundance jobs and their strategies for collaboration with directors
  • Favorite gear, lenses, and technical decisions from Sundance cinematographers
  • Working with non-actors, shooting in unpredictable locations, and reacting in real time
  • Tools, workflows, and prep habits DPs rely on when heading into production


Guests:


Memorable Quotes:

  • "I always say prepping like that is like studying for an exam, and then it’s like not an open book test.”
  • "You either are not going to sleep because you're working long hours, or because you're anxious because you're not working."
  • "Some of the best stuff that's come my way has been very low budget."


Resources:


Find No Film School everywhere:


📩 Send us an email with questions or feedback: podcast@nofilmschool.com


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

]]> 3952 Filmmaker’s Guide to SXSW: Tips, Takeaways & Tough Lessons No Film School founder and director Ryan Koo flips the script in this special episode, interviewing regular podcast host GG Hawkins about the world premiere of her feature film I Really Love My Husband at the 2025 SXSW Film Festival. GG shares her whirlwind experience of showcasing her first feature, from managing the chaos of festival logistics and marketing, to the overwhelming response from audiences and peers alike. This episode offers a candid, behind-the-scenes look at what it’s really like to premiere at a major festival, how to prepare, and what filmmakers can learn to maximize their presence. In this episode, No Film School's Ryan Koo and GG Hawkins discuss... GG’s emotional and logistical journey leading up to the world premiere of her film How SXSW’s ticketing and badge system works—and how to prep for packed screenings Tips for marketing your film and working with PR ahead of a major festival The importance of pacing, wardrobe strategy, and managing energy during festival week Lessons learned from networking, screenings, and audience feedback A broader look at SXSW as a convergence of film, tech, and immersive media, including the Apple Vision Pro Memorable Quotes: "One of the best things you can do for yourself is have your family come to the second and third screening." (05:49) "If you make a movie and nobody sees it, what’s the point?" (08:32) "Don’t get a perm before your premiere." (17:01) "I didn't know I would be in sort of like a therapy support situation, which is awesome that the movie resonated with folks that way." (24:00) "This is the truest form for what it'll be in the long game—people who don't know me are going to sit back and watch and not know what's going to happen." (28:45) Resources: The Cameras Behind the Films of SXSW 2025 How to Shoot Your Feature in Three Months or Less Everything You Need to Know About Editing and Post-Production Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 21 Mar 2025 15:00:00 -0000 full No Film School No Film School founder and director Ryan Koo flips the script in this special episode, interviewing regular podcast host GG Hawkins about the world premiere of her feature film I Really Love My Husband at the 2025 SXSW Film Festival. GG shares her whirlwind experience of showcasing her first feature, from managing the chaos of festival logistics and marketing, to the overwhelming response from audiences and peers alike. This episode offers a candid, behind-the-scenes look at what it’s really like to premiere at a major festival, how to prepare, and what filmmakers can learn to maximize their presence. In this episode, No Film School's Ryan Koo and GG Hawkins discuss... GG’s emotional and logistical journey leading up to the world premiere of her film How SXSW’s ticketing and badge system works—and how to prep for packed screenings Tips for marketing your film and working with PR ahead of a major festival The importance of pacing, wardrobe strategy, and managing energy during festival week Lessons learned from networking, screenings, and audience feedback A broader look at SXSW as a convergence of film, tech, and immersive media, including the Apple Vision Pro Memorable Quotes: "One of the best things you can do for yourself is have your family come to the second and third screening." (05:49) "If you make a movie and nobody sees it, what’s the point?" (08:32) "Don’t get a perm before your premiere." (17:01) "I didn't know I would be in sort of like a therapy support situation, which is awesome that the movie resonated with folks that way." (24:00) "This is the truest form for what it'll be in the long game—people who don't know me are going to sit back and watch and not know what's going to happen." (28:45) Resources: The Cameras Behind the Films of SXSW 2025 How to Shoot Your Feature in Three Months or Less Everything You Need to Know About Editing and Post-Production Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices No Film School founder and director Ryan Koo flips the script in this special episode, interviewing regular podcast host GG Hawkins about the world premiere of her feature film I Really Love My Husband at the 2025 SXSW Film Festival. GG shares her whirlwind experience of showcasing her first feature, from managing the chaos of festival logistics and marketing, to the overwhelming response from audiences and peers alike. This episode offers a candid, behind-the-scenes look at what it’s really like to premiere at a major festival, how to prepare, and what filmmakers can learn to maximize their presence.


In this episode, No Film School's Ryan Koo and GG Hawkins discuss...

  • GG’s emotional and logistical journey leading up to the world premiere of her film
  • How SXSW’s ticketing and badge system works—and how to prep for packed screenings
  • Tips for marketing your film and working with PR ahead of a major festival
  • The importance of pacing, wardrobe strategy, and managing energy during festival week
  • Lessons learned from networking, screenings, and audience feedback
  • A broader look at SXSW as a convergence of film, tech, and immersive media, including the Apple Vision Pro


Memorable Quotes:

  • "One of the best things you can do for yourself is have your family come to the second and third screening." (05:49)
  • "If you make a movie and nobody sees it, what’s the point?" (08:32)
  • "Don’t get a perm before your premiere." (17:01)
  • "I didn't know I would be in sort of like a therapy support situation, which is awesome that the movie resonated with folks that way." (24:00)
  • "This is the truest form for what it'll be in the long game—people who don't know me are going to sit back and watch and not know what's going to happen." (28:45)


Resources:


Find No Film School everywhere:

📩 Send us an email with questions or feedback: podcast@nofilmschool.com


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

]]> 4160 Blueprints for Making Films Outside of the System In this episode, GG Hawkins and Jason Hellerman present a roundtable discussion with independent filmmakers Daniel Talbott, Sav Rodgers, and Mikko Mäkelä. These three creatives share their unique journeys in the film industry, highlighting the importance of queer cinema, mentorship, and community. They discuss the challenges of gatekeeping, the power of DIY filmmaking, and the need for filmmakers to take control of their own greenlighting process. From premiering at Sundance and Tribeca to navigating the ever-changing landscape of independent film distribution, this episode offers a deep dive into the resilience and creativity required to make films outside the traditional Hollywood system. In this episode, No Film School’s GG Hawkins, Jason Hellerman, Daniel Talbott, Sav Rodgers, and Mikko Mäkelä discuss: [00:07] GG Hawkins and Jason Hellerman introduce the episode, recorded ahead of South by Southwest [00:41] Introducing the roundtable guests: Daniel Talbott, Sav Rodgers, and Mikko Mäkelä [01:06] The unique journeys of each filmmaker and their impact on queer cinema [01:30] Challenges in the independent film landscape, including gatekeeping and DIY filmmaking [02:24] The importance of self-greenlighting and not waiting for permission [03:12] Balancing artistic expression with the business side of filmmaking [10:44] The role of mentorship and community in helping emerging queer filmmakers [15:14] Strategies for inspiring industry gatekeepers to invest in queer stories [22:21] Navigating meetings with executives and dealing with industry fears [26:40] How the collapse of the streaming acquisition model affects independent filmmakers [28:17] The importance of finding ways to share resources and build a film community [31:42] Embracing both DIY filmmaking and larger-scale projects in tandem [33:13] How a filmmaker’s unique voice is their most valuable asset [34:11] Moments when the filmmakers had to greenlight themselves [41:57] The experience of sharing personal work with an audience [47:10] How independent queer films resonate with unexpected audiences [52:14] The power of queer filmmakers supporting one another [53:38] How audiences can better support independent queer cinema [56:02] What’s next for Daniel, Sav, and Mikko Memorable Quotes: "The ability to go out and shoot your own work is the way to prove that people are interested, to prove that things are important." "Don't ask for permission. Make it, go do it, find the audience, bring them in, prove everybody wrong." "We are as complicated and human as anyone else on this planet. Get to know our stories and be uncomfortable with it." "For queer cinema to stay authentic and radical, it will, by necessity, most often be made in a DIY spirit." Guests Daniel Talbott Sav Rodgers Mikko Mäkelä Find Out More: Watch Chasing, Chasing Amy by Sav Rodgers: Available on streaming platforms and through libraries on Kanopy Transgender Film Center Explore Mikko Mäkelä’s work: www.mikkomakayla.com Follow Daniel Talbott on Instagram: @DanielCameronTalbott More from No Film School: Visit NoFilmSchool.com for industry news, interviews, and filmmaking resources. Have a question or topic suggestion? Email us: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 13 Mar 2025 15:00:00 -0000 full No Film School In this episode, GG Hawkins and Jason Hellerman present a roundtable discussion with independent filmmakers Daniel Talbott, Sav Rodgers, and Mikko Mäkelä. These three creatives share their unique journeys in the film industry, highlighting the importance of queer cinema, mentorship, and community. They discuss the challenges of gatekeeping, the power of DIY filmmaking, and the need for filmmakers to take control of their own greenlighting process. From premiering at Sundance and Tribeca to navigating the ever-changing landscape of independent film distribution, this episode offers a deep dive into the resilience and creativity required to make films outside the traditional Hollywood system. In this episode, No Film School’s GG Hawkins, Jason Hellerman, Daniel Talbott, Sav Rodgers, and Mikko Mäkelä discuss: [00:07] GG Hawkins and Jason Hellerman introduce the episode, recorded ahead of South by Southwest [00:41] Introducing the roundtable guests: Daniel Talbott, Sav Rodgers, and Mikko Mäkelä [01:06] The unique journeys of each filmmaker and their impact on queer cinema [01:30] Challenges in the independent film landscape, including gatekeeping and DIY filmmaking [02:24] The importance of self-greenlighting and not waiting for permission [03:12] Balancing artistic expression with the business side of filmmaking [10:44] The role of mentorship and community in helping emerging queer filmmakers [15:14] Strategies for inspiring industry gatekeepers to invest in queer stories [22:21] Navigating meetings with executives and dealing with industry fears [26:40] How the collapse of the streaming acquisition model affects independent filmmakers [28:17] The importance of finding ways to share resources and build a film community [31:42] Embracing both DIY filmmaking and larger-scale projects in tandem [33:13] How a filmmaker’s unique voice is their most valuable asset [34:11] Moments when the filmmakers had to greenlight themselves [41:57] The experience of sharing personal work with an audience [47:10] How independent queer films resonate with unexpected audiences [52:14] The power of queer filmmakers supporting one another [53:38] How audiences can better support independent queer cinema [56:02] What’s next for Daniel, Sav, and Mikko Memorable Quotes: "The ability to go out and shoot your own work is the way to prove that people are interested, to prove that things are important." "Don't ask for permission. Make it, go do it, find the audience, bring them in, prove everybody wrong." "We are as complicated and human as anyone else on this planet. Get to know our stories and be uncomfortable with it." "For queer cinema to stay authentic and radical, it will, by necessity, most often be made in a DIY spirit." Guests Daniel Talbott Sav Rodgers Mikko Mäkelä Find Out More: Watch Chasing, Chasing Amy by Sav Rodgers: Available on streaming platforms and through libraries on Kanopy Transgender Film Center Explore Mikko Mäkelä’s work: www.mikkomakayla.com Follow Daniel Talbott on Instagram: @DanielCameronTalbott More from No Film School: Visit NoFilmSchool.com for industry news, interviews, and filmmaking resources. Have a question or topic suggestion? Email us: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, GG Hawkins and Jason Hellerman present a roundtable discussion with independent filmmakers Daniel Talbott, Sav Rodgers, and Mikko Mäkelä. These three creatives share their unique journeys in the film industry, highlighting the importance of queer cinema, mentorship, and community. They discuss the challenges of gatekeeping, the power of DIY filmmaking, and the need for filmmakers to take control of their own greenlighting process.

From premiering at Sundance and Tribeca to navigating the ever-changing landscape of independent film distribution, this episode offers a deep dive into the resilience and creativity required to make films outside the traditional Hollywood system.


In this episode, No Film School’s GG Hawkins, Jason Hellerman, Daniel Talbott, Sav Rodgers, and Mikko Mäkelä discuss:

  • [00:07] GG Hawkins and Jason Hellerman introduce the episode, recorded ahead of South by Southwest
  • [00:41] Introducing the roundtable guests: Daniel Talbott, Sav Rodgers, and Mikko Mäkelä
  • [01:06] The unique journeys of each filmmaker and their impact on queer cinema
  • [01:30] Challenges in the independent film landscape, including gatekeeping and DIY filmmaking
  • [02:24] The importance of self-greenlighting and not waiting for permission
  • [03:12] Balancing artistic expression with the business side of filmmaking
  • [10:44] The role of mentorship and community in helping emerging queer filmmakers
  • [15:14] Strategies for inspiring industry gatekeepers to invest in queer stories
  • [22:21] Navigating meetings with executives and dealing with industry fears
  • [26:40] How the collapse of the streaming acquisition model affects independent filmmakers
  • [28:17] The importance of finding ways to share resources and build a film community
  • [31:42] Embracing both DIY filmmaking and larger-scale projects in tandem
  • [33:13] How a filmmaker’s unique voice is their most valuable asset
  • [34:11] Moments when the filmmakers had to greenlight themselves
  • [41:57] The experience of sharing personal work with an audience
  • [47:10] How independent queer films resonate with unexpected audiences
  • [52:14] The power of queer filmmakers supporting one another
  • [53:38] How audiences can better support independent queer cinema
  • [56:02] What’s next for Daniel, Sav, and Mikko


Memorable Quotes:

  • "The ability to go out and shoot your own work is the way to prove that people are interested, to prove that things are important."
  • "Don't ask for permission. Make it, go do it, find the audience, bring them in, prove everybody wrong."
  • "We are as complicated and human as anyone else on this planet. Get to know our stories and be uncomfortable with it."
  • "For queer cinema to stay authentic and radical, it will, by necessity, most often be made in a DIY spirit."


Guests


Find Out More:


More from No Film School:

Visit NoFilmSchool.com for industry news, interviews, and filmmaking resources.

Have a question or topic suggestion? Email us: podcast@nofilmschool.com

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

]]> 4062 Crafting Connection: The Editors Behind 'Daughters' In this episode, we dive into the editing process behind Daughters, the heart-wrenching and beautifully crafted documentary that follows four young girls preparing for a father-daughter dance with their incarcerated fathers. Editors Troy Lewis and Adelina Bichis take us inside their process, from shaping the raw footage to balancing the film’s emotional weight and ensuring the story was told ethically and collaboratively. Daughters premiered at Sundance, is shortlisted for the Academy Awards, and is now streaming on Netflix. If you haven't seen it yet, this conversation will give you a whole new appreciation for the craftsmanship behind the film. In this episode, No Film Schools’s GG Hawkins, Troy Lewis, and Adelina Bichis discuss: [00:08] Listener emails about breaking into Hollywood and finding confidence as a filmmaker [01:59] Introduction to Daughters and its powerful impact [02:57] The unique editing process, with Troy shaping the early cuts and Adelina refining the final version [08:47] How they structured the massive amount of footage into a cohesive story [16:45] Using index cards, beat sheets, and writing techniques in documentary editing [19:02] The challenges of weaving together multiple character arcs [30:37] Ethics in documentary filmmaking and ensuring psychological safety for subjects [35:42] The portrayal of masculinity and fatherhood in Daughters [38:34] Editing tools and techniques that helped shape the final cut [50:17] Advice for aspiring editors and documentary filmmakers Memorable Quotes “The girls were so strong, everything was so moving… I thought, ‘This is a film I want to be part of.’” “We wanted to keep interviews to a minimum and really focus on verité scenes, almost as narrative film scenes.” “It was important for the film to view them as fathers first and foremost.” “We had to make sure that every part shown in the film had its place there, that it truly belonged.” Guests Troy Lewis Adelina Bichis Resources Watch the Daughters trailer Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 06 Mar 2025 16:00:00 -0000 full No Film School In this episode, we dive into the editing process behind Daughters, the heart-wrenching and beautifully crafted documentary that follows four young girls preparing for a father-daughter dance with their incarcerated fathers. Editors Troy Lewis and Adelina Bichis take us inside their process, from shaping the raw footage to balancing the film’s emotional weight and ensuring the story was told ethically and collaboratively. Daughters premiered at Sundance, is shortlisted for the Academy Awards, and is now streaming on Netflix. If you haven't seen it yet, this conversation will give you a whole new appreciation for the craftsmanship behind the film. In this episode, No Film Schools’s GG Hawkins, Troy Lewis, and Adelina Bichis discuss: [00:08] Listener emails about breaking into Hollywood and finding confidence as a filmmaker [01:59] Introduction to Daughters and its powerful impact [02:57] The unique editing process, with Troy shaping the early cuts and Adelina refining the final version [08:47] How they structured the massive amount of footage into a cohesive story [16:45] Using index cards, beat sheets, and writing techniques in documentary editing [19:02] The challenges of weaving together multiple character arcs [30:37] Ethics in documentary filmmaking and ensuring psychological safety for subjects [35:42] The portrayal of masculinity and fatherhood in Daughters [38:34] Editing tools and techniques that helped shape the final cut [50:17] Advice for aspiring editors and documentary filmmakers Memorable Quotes “The girls were so strong, everything was so moving… I thought, ‘This is a film I want to be part of.’” “We wanted to keep interviews to a minimum and really focus on verité scenes, almost as narrative film scenes.” “It was important for the film to view them as fathers first and foremost.” “We had to make sure that every part shown in the film had its place there, that it truly belonged.” Guests Troy Lewis Adelina Bichis Resources Watch the Daughters trailer Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, we dive into the editing process behind Daughters, the heart-wrenching and beautifully crafted documentary that follows four young girls preparing for a father-daughter dance with their incarcerated fathers. Editors Troy Lewis and Adelina Bichis take us inside their process, from shaping the raw footage to balancing the film’s emotional weight and ensuring the story was told ethically and collaboratively.

Daughters premiered at Sundance, is shortlisted for the Academy Awards, and is now streaming on Netflix. If you haven't seen it yet, this conversation will give you a whole new appreciation for the craftsmanship behind the film.


In this episode, No Film Schools’s GG Hawkins, Troy Lewis, and Adelina Bichis discuss:

  • [00:08] Listener emails about breaking into Hollywood and finding confidence as a filmmaker
  • [01:59] Introduction to Daughters and its powerful impact
  • [02:57] The unique editing process, with Troy shaping the early cuts and Adelina refining the final version
  • [08:47] How they structured the massive amount of footage into a cohesive story
  • [16:45] Using index cards, beat sheets, and writing techniques in documentary editing
  • [19:02] The challenges of weaving together multiple character arcs
  • [30:37] Ethics in documentary filmmaking and ensuring psychological safety for subjects
  • [35:42] The portrayal of masculinity and fatherhood in Daughters
  • [38:34] Editing tools and techniques that helped shape the final cut
  • [50:17] Advice for aspiring editors and documentary filmmakers


Memorable Quotes

  • “The girls were so strong, everything was so moving… I thought, ‘This is a film I want to be part of.’”
  • “We wanted to keep interviews to a minimum and really focus on verité scenes, almost as narrative film scenes.”
  • “It was important for the film to view them as fathers first and foremost.”
  • “We had to make sure that every part shown in the film had its place there, that it truly belonged.”


Guests


Resources


Find No Film School everywhere:


Send us an email with questions or feedback: podcast@nofilmschool.com

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

]]> 3484 Amazon Captures Bond and a Producer on Producing In this special episode of No Film School, GG Hawkins and Jason Hellerman dive into the Amazon acquisition of James Bond, what it means for the future of the franchise, and whether Bond spin-offs are inevitable. They also discuss IP fatigue and how streamers are expanding globally to combat it. Then, filmmaker Elle Roth-Brunet joins the show to talk about her unconventional journey into producing, demystifying indie film financing, and why tough conversations are essential in production. In this episode, No Film School’s GG Hawkins, Jason Hellerman, and Elle Roth-Brunet discuss: The history of James Bond’s ownership and what Amazon’s billion-dollar deal changes The risk of oversaturation—is Bond headed toward Marvel/Star Wars territory? The global market shift that keeps franchise fatigue at bay How Bond’s new freedom could lure filmmakers like Christopher Nolan Elle Roth-Brunet’s journey from marketing to film producing The reality of indie film financing—debt vs. equity vs. deficit financing The importance of clear producer roles in today’s industry Guests: Elle Roth-Brunet – Producer of I Really Love My Husband and indie film advocate. Memorable Quotes: “James Bond movies are always events. But if you keep pouring water into the gin bottle, at some point, it’s just water.” (04:51) “Filmmaking is 95% business and 5% creative. If you don’t understand the business, you’re not in control of your own movie.” (56:39) “The biggest lesson I learned? Hard conversations lead to breakthroughs. If you avoid them, you stall progress.” (22:45) “Boat Day was the most stressful day in theory—and then ended up being the easiest. The day we didn’t stress over? That was the hardest.” (26:33) Resources: Every James Bond Film, Ranked Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 03 Mar 2025 16:00:00 -0000 full No Film School In this special episode of No Film School, GG Hawkins and Jason Hellerman dive into the Amazon acquisition of James Bond, what it means for the future of the franchise, and whether Bond spin-offs are inevitable. They also discuss IP fatigue and how streamers are expanding globally to combat it. Then, filmmaker Elle Roth-Brunet joins the show to talk about her unconventional journey into producing, demystifying indie film financing, and why tough conversations are essential in production. In this episode, No Film School’s GG Hawkins, Jason Hellerman, and Elle Roth-Brunet discuss: The history of James Bond’s ownership and what Amazon’s billion-dollar deal changes The risk of oversaturation—is Bond headed toward Marvel/Star Wars territory? The global market shift that keeps franchise fatigue at bay How Bond’s new freedom could lure filmmakers like Christopher Nolan Elle Roth-Brunet’s journey from marketing to film producing The reality of indie film financing—debt vs. equity vs. deficit financing The importance of clear producer roles in today’s industry Guests: Elle Roth-Brunet – Producer of I Really Love My Husband and indie film advocate. Memorable Quotes: “James Bond movies are always events. But if you keep pouring water into the gin bottle, at some point, it’s just water.” (04:51) “Filmmaking is 95% business and 5% creative. If you don’t understand the business, you’re not in control of your own movie.” (56:39) “The biggest lesson I learned? Hard conversations lead to breakthroughs. If you avoid them, you stall progress.” (22:45) “Boat Day was the most stressful day in theory—and then ended up being the easiest. The day we didn’t stress over? That was the hardest.” (26:33) Resources: Every James Bond Film, Ranked Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this special episode of No Film School, GG Hawkins and Jason Hellerman dive into the Amazon acquisition of James Bond, what it means for the future of the franchise, and whether Bond spin-offs are inevitable. They also discuss IP fatigue and how streamers are expanding globally to combat it. Then, filmmaker Elle Roth-Brunet joins the show to talk about her unconventional journey into producing, demystifying indie film financing, and why tough conversations are essential in production.


In this episode, No Film School’s GG Hawkins, Jason Hellerman, and Elle Roth-Brunet discuss:

  • The history of James Bond’s ownership and what Amazon’s billion-dollar deal changes
  • The risk of oversaturation—is Bond headed toward Marvel/Star Wars territory?
  • The global market shift that keeps franchise fatigue at bay
  • How Bond’s new freedom could lure filmmakers like Christopher Nolan
  • Elle Roth-Brunet’s journey from marketing to film producing
  • The reality of indie film financing—debt vs. equity vs. deficit financing
  • The importance of clear producer roles in today’s industry


Guests:

  • Elle Roth-Brunet – Producer of I Really Love My Husband and indie film advocate.


Memorable Quotes:

  • “James Bond movies are always events. But if you keep pouring water into the gin bottle, at some point, it’s just water.” (04:51)
  • “Filmmaking is 95% business and 5% creative. If you don’t understand the business, you’re not in control of your own movie.” (56:39)
  • “The biggest lesson I learned? Hard conversations lead to breakthroughs. If you avoid them, you stall progress.” (22:45)
  • “Boat Day was the most stressful day in theory—and then ended up being the easiest. The day we didn’t stress over? That was the hardest.” (26:33)


Resources:


Find No Film School everywhere:


📩 Send us an email with questions or feedback: podcast@nofilmschool.com

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

]]> 3770 How ‘The Substance’ Editor Trimmed the Fat of the Hit Body Horror Flick In this episode of No Film School, GG Hawkins sits down with Jérôme Eltabet, the editor of the Oscar-nominated body horror film The Substance. Jérôme shares his journey from assistant director to editor, detailing his work with director Coralie Fargeat to bring The Substance to life. He breaks down the editing challenges, the importance of sound design, and why cutting a horror film is all about creating an immersive experience. In this episode, No Film School’s GG Hawkins and Jérôme Eltabet discuss: How Jérôme transitioned from assistant director to editor What it was like editing 300+ hours of footage for The Substance How sound design and score shaped the film’s tension The massive changes from the first cut to the final version How the film’s themes influenced its pacing and cutting style The collaborative dynamic between Jérôme and director Coralie Fargeat Memorable Quotes: “I do remember I gave a call to Coralie to say, ‘Oh, this movie is going to be very long.’ And she told me, ‘Shh, don’t tell anyone! We’ll talk about this later in the edit room.’” (8:38) “We had maybe 150 different versions of some sequences because Coralie needs to have the kind of goosebumps to like it. It’s not something you can explain—she just has to feel it.” (10:29) “Coralie didn’t want any realistic sounds. Everything had to be slightly off. The world needed to feel unnatural, unsettling—like something was always wrong.” (13:14) “The first rough cut was three and a half hours. Coralie wanted a perfect edit, a perfect sound design, so we fought to get the movie as tight as possible without losing its impact.” (32:10) “As an editor, you are the first audience. You have to trust your instincts, because six months later, after watching the same footage over and over, you’ll start doubting yourself.” (37:47) Guest: Jérôme Eltabet – Editor of The Substance, known for his precise, immersive approach to editing horror and psychological thrillers. Resources: The Substance – Ending Explained The Substance – Lookbook Read & Download The Substance Screenplay Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 27 Feb 2025 16:00:00 -0000 full No Film School In this episode of No Film School, GG Hawkins sits down with Jérôme Eltabet, the editor of the Oscar-nominated body horror film The Substance. Jérôme shares his journey from assistant director to editor, detailing his work with director Coralie Fargeat to bring The Substance to life. He breaks down the editing challenges, the importance of sound design, and why cutting a horror film is all about creating an immersive experience. In this episode, No Film School’s GG Hawkins and Jérôme Eltabet discuss: How Jérôme transitioned from assistant director to editor What it was like editing 300+ hours of footage for The Substance How sound design and score shaped the film’s tension The massive changes from the first cut to the final version How the film’s themes influenced its pacing and cutting style The collaborative dynamic between Jérôme and director Coralie Fargeat Memorable Quotes: “I do remember I gave a call to Coralie to say, ‘Oh, this movie is going to be very long.’ And she told me, ‘Shh, don’t tell anyone! We’ll talk about this later in the edit room.’” (8:38) “We had maybe 150 different versions of some sequences because Coralie needs to have the kind of goosebumps to like it. It’s not something you can explain—she just has to feel it.” (10:29) “Coralie didn’t want any realistic sounds. Everything had to be slightly off. The world needed to feel unnatural, unsettling—like something was always wrong.” (13:14) “The first rough cut was three and a half hours. Coralie wanted a perfect edit, a perfect sound design, so we fought to get the movie as tight as possible without losing its impact.” (32:10) “As an editor, you are the first audience. You have to trust your instincts, because six months later, after watching the same footage over and over, you’ll start doubting yourself.” (37:47) Guest: Jérôme Eltabet – Editor of The Substance, known for his precise, immersive approach to editing horror and psychological thrillers. Resources: The Substance – Ending Explained The Substance – Lookbook Read & Download The Substance Screenplay Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of No Film School, GG Hawkins sits down with Jérôme Eltabet, the editor of the Oscar-nominated body horror film The Substance. Jérôme shares his journey from assistant director to editor, detailing his work with director Coralie Fargeat to bring The Substance to life. He breaks down the editing challenges, the importance of sound design, and why cutting a horror film is all about creating an immersive experience.

In this episode, No Film School’s GG Hawkins and Jérôme Eltabet discuss:

  • How Jérôme transitioned from assistant director to editor
  • What it was like editing 300+ hours of footage for The Substance
  • How sound design and score shaped the film’s tension
  • The massive changes from the first cut to the final version
  • How the film’s themes influenced its pacing and cutting style
  • The collaborative dynamic between Jérôme and director Coralie Fargeat

Memorable Quotes:

  • “I do remember I gave a call to Coralie to say, ‘Oh, this movie is going to be very long.’ And she told me, ‘Shh, don’t tell anyone! We’ll talk about this later in the edit room.’” (8:38)
  • “We had maybe 150 different versions of some sequences because Coralie needs to have the kind of goosebumps to like it. It’s not something you can explain—she just has to feel it.” (10:29)
  • “Coralie didn’t want any realistic sounds. Everything had to be slightly off. The world needed to feel unnatural, unsettling—like something was always wrong.” (13:14)
  • “The first rough cut was three and a half hours. Coralie wanted a perfect edit, a perfect sound design, so we fought to get the movie as tight as possible without losing its impact.” (32:10)
  • “As an editor, you are the first audience. You have to trust your instincts, because six months later, after watching the same footage over and over, you’ll start doubting yourself.” (37:47)

Guest:

  • Jérôme Eltabet – Editor of The Substance, known for his precise, immersive approach to editing horror and psychological thrillers.

Resources:

Find No Film School everywhere:

📩 Send us an email with questions or feedback: podcast@nofilmschool.com


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

]]> 2721 This 30 Min Oner Short Played Sundance & Slamdance In this episode of No Film School, GG Hawkins sits down with Erin Brown Thomas, the director of Chasers, a 30-minute single-take short that played both Sundance and Slamdance 2025. Erin shares how she navigated festival promotion, the complexities of grassroots outreach, and why personalized marketing is critical for indie filmmakers. She also dives into the deeper themes of Chasers, which explores red flags in dating and the hustle culture of the entertainment industry. In this episode, No Film School’s GG Hawkins and Erin Brown Thomas discuss: How Chasers came to life and why Erin chose the oner format Her experience at Sundance and prepping for Slamdance in Los Angeles Why festival outreach feels like producing another film How she balances multiple roles in the industry while keeping her projects moving The financial realities of indie filmmaking and how to fundraise creatively Why personalized outreach is critical for making industry connections Memorable Quotes: “I spent most of my time at Sundance doing grassroots promotion for Chasers, but certain opportunities were just also really, really fun. We did a lot of panels. The panels in particular were like my favorite thing. We did a flash mob on Main Street—that was so much fun.” (2:50) “You’re really looking at like a full-time job as if you're making a whole other movie when you have an opportunity to play on this larger scale.” (3:16) “Every email you write, you want it to be bespoke. You want it to be personal. Everything needs to be done with grace and intention, walking that fine balance of being really confident that you're in the right place but also being, you know, grateful.” (4:08) “It’s always so much easier to stand up for yourself when somebody else who loves you is in the room. And by putting a film like this out into the open, I’m having those discussions with people who care about me.” (21:16) Guest: Erin Brown Thomas – Director of Chasers, festival programmer, and multi-hyphenate filmmaker passionate about lifting up other creatives. Resources: Chasers Film – Official Linktree Extraction 2 Director Sam Hargrave on Oners, Stunts, and Filmmaking All No Film School Articles on Oners Erin Brown Thomas on IMDb Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 21 Feb 2025 18:54:00 -0000 full No Film School In this episode of No Film School, GG Hawkins sits down with Erin Brown Thomas, the director of Chasers, a 30-minute single-take short that played both Sundance and Slamdance 2025. Erin shares how she navigated festival promotion, the complexities of grassroots outreach, and why personalized marketing is critical for indie filmmakers. She also dives into the deeper themes of Chasers, which explores red flags in dating and the hustle culture of the entertainment industry. In this episode, No Film School’s GG Hawkins and Erin Brown Thomas discuss: How Chasers came to life and why Erin chose the oner format Her experience at Sundance and prepping for Slamdance in Los Angeles Why festival outreach feels like producing another film How she balances multiple roles in the industry while keeping her projects moving The financial realities of indie filmmaking and how to fundraise creatively Why personalized outreach is critical for making industry connections Memorable Quotes: “I spent most of my time at Sundance doing grassroots promotion for Chasers, but certain opportunities were just also really, really fun. We did a lot of panels. The panels in particular were like my favorite thing. We did a flash mob on Main Street—that was so much fun.” (2:50) “You’re really looking at like a full-time job as if you're making a whole other movie when you have an opportunity to play on this larger scale.” (3:16) “Every email you write, you want it to be bespoke. You want it to be personal. Everything needs to be done with grace and intention, walking that fine balance of being really confident that you're in the right place but also being, you know, grateful.” (4:08) “It’s always so much easier to stand up for yourself when somebody else who loves you is in the room. And by putting a film like this out into the open, I’m having those discussions with people who care about me.” (21:16) Guest: Erin Brown Thomas – Director of Chasers, festival programmer, and multi-hyphenate filmmaker passionate about lifting up other creatives. Resources: Chasers Film – Official Linktree Extraction 2 Director Sam Hargrave on Oners, Stunts, and Filmmaking All No Film School Articles on Oners Erin Brown Thomas on IMDb Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of No Film School, GG Hawkins sits down with Erin Brown Thomas, the director of Chasers, a 30-minute single-take short that played both Sundance and Slamdance 2025. Erin shares how she navigated festival promotion, the complexities of grassroots outreach, and why personalized marketing is critical for indie filmmakers. She also dives into the deeper themes of Chasers, which explores red flags in dating and the hustle culture of the entertainment industry.


In this episode, No Film School’s GG Hawkins and Erin Brown Thomas discuss:

  • How Chasers came to life and why Erin chose the oner format
  • Her experience at Sundance and prepping for Slamdance in Los Angeles
  • Why festival outreach feels like producing another film
  • How she balances multiple roles in the industry while keeping her projects moving
  • The financial realities of indie filmmaking and how to fundraise creatively
  • Why personalized outreach is critical for making industry connections


Memorable Quotes:

  • “I spent most of my time at Sundance doing grassroots promotion for Chasers, but certain opportunities were just also really, really fun. We did a lot of panels. The panels in particular were like my favorite thing. We did a flash mob on Main Street—that was so much fun.” (2:50)
  • “You’re really looking at like a full-time job as if you're making a whole other movie when you have an opportunity to play on this larger scale.” (3:16)
  • “Every email you write, you want it to be bespoke. You want it to be personal. Everything needs to be done with grace and intention, walking that fine balance of being really confident that you're in the right place but also being, you know, grateful.” (4:08)
  • “It’s always so much easier to stand up for yourself when somebody else who loves you is in the room. And by putting a film like this out into the open, I’m having those discussions with people who care about me.” (21:16)


Guest:

  • Erin Brown Thomas – Director of Chasers, festival programmer, and multi-hyphenate filmmaker passionate about lifting up other creatives.


Resources:


Find No Film School everywhere:


📩 Send us an email with questions or feedback: podcast@nofilmschool.com


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

]]> 2209 Why This ‘Last Showgirl’ Producer Thinks Indie Cinema Still Has Legs In this episode of No Film School, host GG Hawkins sits down with Robert Schwartzman, producer of The Last Showgirl and co-founder of Utopia, to discuss the evolving landscape of independent cinema. As a filmmaker, distributor, and problem solver, Robert shares insights on how indie filmmakers can take control of their distribution, why the industry is shifting toward self-releasing, and what’s next for Utopia. In this episode, No Film School’s Jason Hellerman and Robert Schwartzman discuss: The evolving landscape of indie film distribution and the role of technology in direct-to-audience releases How Utopia is working to eliminate middlemen and empower filmmakers The importance of theatrical releases for indie films, despite industry shifts The inspiration behind The Last Showgirl and why Las Vegas was the perfect setting How finding creative solutions—from locations to costumes—can elevate a low-budget film Why international filmmakers have a competitive edge in today’s market Memorable Quotes: “I think filmmakers need to also get hip to the idea of like, oh, there's all these places I can sell my film, but I still need to reach them. Like no one's gonna just give me an audience, I need to find them.” (18:35) “The playing field is so level right now, that's what's so exciting about it. Like it's anyone's game. People just have to be willing to play it.” (20:55) “There will come a time when a movie is self-released using these new technologies and it will be nominated for something significant… That’s when people are really going to come around to it.” (22:50) “You’re not going to get everything you want in filmmaking. The key is knowing what you absolutely need and what you can live without.” (51:07) “If you shoot a movie quickly, the opportunity cost for people goes down.” (55:01) Guest: Robert Schwartzman – Producer of The Last Showgirl, co-founder of Utopia, and filmmaker known for Dreamland and The Unicorn. Resources: The Last Showgirl Official Trailer Utopia Distribution AltaVod – Self-Distribute Your Film PowerFlix – Aggregation Services for Indie Filmmakers Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 13 Feb 2025 16:00:00 -0000 full No Film School In this episode of No Film School, host GG Hawkins sits down with Robert Schwartzman, producer of The Last Showgirl and co-founder of Utopia, to discuss the evolving landscape of independent cinema. As a filmmaker, distributor, and problem solver, Robert shares insights on how indie filmmakers can take control of their distribution, why the industry is shifting toward self-releasing, and what’s next for Utopia. In this episode of No Film School, host GG Hawkins sits down with Robert Schwartzman, producer of The Last Showgirl and co-founder of Utopia, to discuss the evolving landscape of independent cinema. As a filmmaker, distributor, and problem solver, Robert shares insights on how indie filmmakers can take control of their distribution, why the industry is shifting toward self-releasing, and what’s next for Utopia. In this episode, No Film School’s Jason Hellerman and Robert Schwartzman discuss: The evolving landscape of indie film distribution and the role of technology in direct-to-audience releases How Utopia is working to eliminate middlemen and empower filmmakers The importance of theatrical releases for indie films, despite industry shifts The inspiration behind The Last Showgirl and why Las Vegas was the perfect setting How finding creative solutions—from locations to costumes—can elevate a low-budget film Why international filmmakers have a competitive edge in today’s market Memorable Quotes: “I think filmmakers need to also get hip to the idea of like, oh, there's all these places I can sell my film, but I still need to reach them. Like no one's gonna just give me an audience, I need to find them.” (18:35) “The playing field is so level right now, that's what's so exciting about it. Like it's anyone's game. People just have to be willing to play it.” (20:55) “There will come a time when a movie is self-released using these new technologies and it will be nominated for something significant… That’s when people are really going to come around to it.” (22:50) “You’re not going to get everything you want in filmmaking. The key is knowing what you absolutely need and what you can live without.” (51:07) “If you shoot a movie quickly, the opportunity cost for people goes down.” (55:01) Guest: Robert Schwartzman – Producer of The Last Showgirl, co-founder of Utopia, and filmmaker known for Dreamland and The Unicorn. Resources: The Last Showgirl Official Trailer Utopia Distribution AltaVod – Self-Distribute Your Film PowerFlix – Aggregation Services for Indie Filmmakers Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of No Film School, host GG Hawkins sits down with Robert Schwartzman, producer of The Last Showgirl and co-founder of Utopia, to discuss the evolving landscape of independent cinema. As a filmmaker, distributor, and problem solver, Robert shares insights on how indie filmmakers can take control of their distribution, why the industry is shifting toward self-releasing, and what’s next for Utopia.

In this episode, No Film School’s Jason Hellerman and Robert Schwartzman discuss:

  • The evolving landscape of indie film distribution and the role of technology in direct-to-audience releases
  • How Utopia is working to eliminate middlemen and empower filmmakers
  • The importance of theatrical releases for indie films, despite industry shifts
  • The inspiration behind The Last Showgirl and why Las Vegas was the perfect setting
  • How finding creative solutions—from locations to costumes—can elevate a low-budget film
  • Why international filmmakers have a competitive edge in today’s market

Memorable Quotes:

  • “I think filmmakers need to also get hip to the idea of like, oh, there's all these places I can sell my film, but I still need to reach them. Like no one's gonna just give me an audience, I need to find them.” (18:35)
  • “The playing field is so level right now, that's what's so exciting about it. Like it's anyone's game. People just have to be willing to play it.” (20:55)
  • “There will come a time when a movie is self-released using these new technologies and it will be nominated for something significant… That’s when people are really going to come around to it.” (22:50)
  • “You’re not going to get everything you want in filmmaking. The key is knowing what you absolutely need and what you can live without.” (51:07)
  • “If you shoot a movie quickly, the opportunity cost for people goes down.” (55:01)

Guest:

  • Robert Schwartzman – Producer of The Last Showgirl, co-founder of Utopia, and filmmaker known for Dreamland and The Unicorn.

Resources:

Find No Film School everywhere:

📩 Send us an email with questions or feedback: podcast@nofilmschool.com

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

]]> 3694 How ‘Companion’ Director Drew Hancock Built His Career on Reps & Luck In this episode of No Film School, GG Hawkins sits down with writer-director Drew Hancock to discuss his journey to directing his feature debut, Companion. Drew shares how he built his career through persistence, taking creative risks, and, as he puts it, a fair amount of luck. He also reflects on finding success later in his career, how imposter syndrome nearly led him to quit, and the importance of self-awareness for filmmakers navigating the industry. In this episode, No Film School’s GG Hawkins and Drew Hancock discuss: The unconventional path Drew took from being a movie theater employee to a feature director Why Channel 101 played a pivotal role in his development as a filmmaker How Companion started as a writing sample and evolved into a feature film The role of luck and timing in getting a project greenlit in Hollywood Why filmmakers need to continuously create new work rather than banking on a single project Drew’s writing process and how working on multiple projects at once helps combat writers block The importance of self-awareness and confidence in overcoming career obstacles Memorable Quotes: “I mean, I’m an old man, so it’s a long, long, long journey that got me to this place right now. But the beginnings were just… I was a super fan of movies.” (2:32) “I wish I really, really wish that luck didn’t play such a huge part of making entertainment, but yeah, it has a lot to do with timing.” (22:53) “Every couple years, sit down and ask yourself: Are you where you want to be? If you’re not, what can you do to get there? Take stock. Measure the gap. And then do everything you can to close it.” (47:00) “Imposter syndrome is real. I almost gave up before Companion. I really almost did.” (46:02) “Make something. Don’t make it about a film festival or about getting recognition. Make it about something you care about deeply.” (38:51) Resources: Drew Hancock on IMDb Companion Official Trailer Channel 101 – The Filmmaking Community That Helped Shape Drew Hancock Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 06 Feb 2025 09:00:00 -0000 full No Film School In this episode of No Film School, GG Hawkins sits down with writer-director Drew Hancock to discuss his journey to directing his feature debut, Companion. Drew shares how he built his career through persistence, taking creative risks, and, as he puts it, a fair amount of luck. He also reflects on finding success later in his career, how imposter syndrome nearly led him to quit, and the importance of self-awareness for filmmakers navigating the industry. In this episode, No Film School’s GG Hawkins and Drew Hancock discuss: The unconventional path Drew took from being a movie theater employee to a feature director Why Channel 101 played a pivotal role in his development as a filmmaker How Companion started as a writing sample and evolved into a feature film The role of luck and timing in getting a project greenlit in Hollywood Why filmmakers need to continuously create new work rather than banking on a single project Drew’s writing process and how working on multiple projects at once helps combat writers block The importance of self-awareness and confidence in overcoming career obstacles Memorable Quotes: “I mean, I’m an old man, so it’s a long, long, long journey that got me to this place right now. But the beginnings were just… I was a super fan of movies.” (2:32) “I wish I really, really wish that luck didn’t play such a huge part of making entertainment, but yeah, it has a lot to do with timing.” (22:53) “Every couple years, sit down and ask yourself: Are you where you want to be? If you’re not, what can you do to get there? Take stock. Measure the gap. And then do everything you can to close it.” (47:00) “Imposter syndrome is real. I almost gave up before Companion. I really almost did.” (46:02) “Make something. Don’t make it about a film festival or about getting recognition. Make it about something you care about deeply.” (38:51) Resources: Drew Hancock on IMDb Companion Official Trailer Channel 101 – The Filmmaking Community That Helped Shape Drew Hancock Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of No Film School, GG Hawkins sits down with writer-director Drew Hancock to discuss his journey to directing his feature debut, Companion. Drew shares how he built his career through persistence, taking creative risks, and, as he puts it, a fair amount of luck. He also reflects on finding success later in his career, how imposter syndrome nearly led him to quit, and the importance of self-awareness for filmmakers navigating the industry.

In this episode, No Film School’s GG Hawkins and Drew Hancock discuss:

  • The unconventional path Drew took from being a movie theater employee to a feature director
  • Why Channel 101 played a pivotal role in his development as a filmmaker
  • How Companion started as a writing sample and evolved into a feature film
  • The role of luck and timing in getting a project greenlit in Hollywood
  • Why filmmakers need to continuously create new work rather than banking on a single project
  • Drew’s writing process and how working on multiple projects at once helps combat writers block
  • The importance of self-awareness and confidence in overcoming career obstacles

Memorable Quotes:

  • “I mean, I’m an old man, so it’s a long, long, long journey that got me to this place right now. But the beginnings were just… I was a super fan of movies.” (2:32)
  • “I wish I really, really wish that luck didn’t play such a huge part of making entertainment, but yeah, it has a lot to do with timing.” (22:53)
  • “Every couple years, sit down and ask yourself: Are you where you want to be? If you’re not, what can you do to get there? Take stock. Measure the gap. And then do everything you can to close it.” (47:00)
  • “Imposter syndrome is real. I almost gave up before Companion. I really almost did.” (46:02)
  • “Make something. Don’t make it about a film festival or about getting recognition. Make it about something you care about deeply.” (38:51)

Resources:

Find No Film School everywhere:

📩 Send us an email with questions or feedback: podcast@nofilmschool.com


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

]]> 3209 How Sundance Didn't Die In this episode of No Film School, GG Hawkins and Ryan Koo bring you a special live report from the 2025 Sundance Film Festival in Park City, Utah. They explore the energy of the festival, highlight standout films, and dive into the journey of filmmakers who have pushed through industry challenges to bring their visions to the screen. Joining the conversation are the creators behind Didn't Die, a unique take on the zombie apocalypse that blends horror, dark humor, and indie filmmaking ingenuity. In this episode, No Film School’s GG Hawkins, NFS Founder Ryan Koo, and guests discuss: The evolving landscape of independent cinema at Sundance and what trends are emerging in 2025 How Didn't Die offers a fresh, meta take on the zombie apocalypse through the lens of a struggling podcast host The challenges of making an indie film with a limited budget, including DIY visual effects and multi-hat roles Reflections on how filmmakers navigate festival submissions and distribution The broader state of the film industry and the importance of resilience as an independent filmmaker Memorable Quotes: “I mean, definitely story-wise, what inspired me about working on The Walking Dead was like, my episode had a couple of different storylines that I thought were really sweet… And I think this idea of like a zombie movie that was more about finding meaning through the devastation and darkness was compelling to me.” “It’s a zombie apocalypse, and our protagonist is still recording a podcast. It’s about holding onto what you love, even when the world is falling apart.” “You pull favors, you adapt, and you embrace the chaos. That’s how we made this movie happen.” Guests: Meera Menon – Co-writer and Director of Didn't Die Erica Fishman – Producer of Didn't Die Paul Gleason – Co-writer and Cinematographer of Didn't Die Resources: Sundance 2025 Film Festival Lineup No Film School’s Sundance 2025 Coverage Episode: Invisible Work of Producers Plus Sundance Slate 2025 Sundance 2025: Editor Benjamin Shearn On Using Premiere Pro and Frame.io to Bring 'By Design' to Life The VFX Secrets Behind Lush Sundance Short 'Em & Selma Go Griffin Hunting' Bringing Mexico’s Vibrant Culture to Life in Sundance Short Film 'Susana' Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 30 Jan 2025 15:42:00 -0000 full No Film School In this episode of No Film School, GG Hawkins and Ryan Koo bring you a special live report from the 2025 Sundance Film Festival in Park City, Utah. They explore the energy of the festival, highlight standout films, and dive into the journey of filmmakers who have pushed through industry challenges to bring their visions to the screen. Joining the conversation are the creators behind Didn't Die, a unique take on the zombie apocalypse that blends horror, dark humor, and indie filmmaking ingenuity. In this episode, No Film School’s GG Hawkins, NFS Founder Ryan Koo, and guests discuss: The evolving landscape of independent cinema at Sundance and what trends are emerging in 2025 How Didn't Die offers a fresh, meta take on the zombie apocalypse through the lens of a struggling podcast host The challenges of making an indie film with a limited budget, including DIY visual effects and multi-hat roles Reflections on how filmmakers navigate festival submissions and distribution The broader state of the film industry and the importance of resilience as an independent filmmaker Memorable Quotes: “I mean, definitely story-wise, what inspired me about working on The Walking Dead was like, my episode had a couple of different storylines that I thought were really sweet… And I think this idea of like a zombie movie that was more about finding meaning through the devastation and darkness was compelling to me.” “It’s a zombie apocalypse, and our protagonist is still recording a podcast. It’s about holding onto what you love, even when the world is falling apart.” “You pull favors, you adapt, and you embrace the chaos. That’s how we made this movie happen.” Guests: Meera Menon – Co-writer and Director of Didn't Die Erica Fishman – Producer of Didn't Die Paul Gleason – Co-writer and Cinematographer of Didn't Die Resources: Sundance 2025 Film Festival Lineup No Film School’s Sundance 2025 Coverage Episode: Invisible Work of Producers Plus Sundance Slate 2025 Sundance 2025: Editor Benjamin Shearn On Using Premiere Pro and Frame.io to Bring 'By Design' to Life The VFX Secrets Behind Lush Sundance Short 'Em & Selma Go Griffin Hunting' Bringing Mexico’s Vibrant Culture to Life in Sundance Short Film 'Susana' Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of No Film School, GG Hawkins and Ryan Koo bring you a special live report from the 2025 Sundance Film Festival in Park City, Utah. They explore the energy of the festival, highlight standout films, and dive into the journey of filmmakers who have pushed through industry challenges to bring their visions to the screen. Joining the conversation are the creators behind Didn't Die, a unique take on the zombie apocalypse that blends horror, dark humor, and indie filmmaking ingenuity.


In this episode, No Film School’s GG Hawkins, NFS Founder Ryan Koo, and guests discuss:

  • The evolving landscape of independent cinema at Sundance and what trends are emerging in 2025
  • How Didn't Die offers a fresh, meta take on the zombie apocalypse through the lens of a struggling podcast host
  • The challenges of making an indie film with a limited budget, including DIY visual effects and multi-hat roles
  • Reflections on how filmmakers navigate festival submissions and distribution
  • The broader state of the film industry and the importance of resilience as an independent filmmaker


Memorable Quotes:

  • “I mean, definitely story-wise, what inspired me about working on The Walking Dead was like, my episode had a couple of different storylines that I thought were really sweet… And I think this idea of like a zombie movie that was more about finding meaning through the devastation and darkness was compelling to me.”
  • “It’s a zombie apocalypse, and our protagonist is still recording a podcast. It’s about holding onto what you love, even when the world is falling apart.”
  • “You pull favors, you adapt, and you embrace the chaos. That’s how we made this movie happen.”


Guests:


Resources:


Find No Film School everywhere:


📩 Send us an email with questions or feedback: podcast@nofilmschool.com

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

]]> 4690 ‘Back in Action’ Director Seth Gordon: Get Lost in One Detail at a Time GG Hawkins and Jason Hellerman talk with Seth Gordon, the celebrated writer-director behind Back in Action, Horrible Bosses, and The King of Kong: A Fistful of Quarters. Seth shares the joys and challenges of creating large-scale films, balancing action and comedy, and his insights into leadership and creativity. This episode is packed with practical advice for emerging filmmakers and candid reflections on Seth’s career journey. In this episode, No Film School’s GG Hawkins, Jason Hellerman, and Seth Gordon discuss: How Seth approaches directing large-scale films while staying focused on the story’s essence Why removing distractions is key to immersing yourself in the creative process The importance of starting with the story and building everything else around it Balancing meticulous planning with room for spontaneity and collaboration on set Why aspiring filmmakers should focus on creating something deeply meaningful, rather than chasing external recognition Memorable Quotes: “My phone is always off. I don’t even answer the phone anymore... The interruptions throw me off... What works for me is to disappear into a tiny sort of working environment and then get lost in one detail at a time.” “Make something. Don’t make it about a film festival or about getting recognition. Make it about something you care about deeply.” “It didn't start with a crew of 300 and dealing with the Thames river and weather in England and whatever. It started with a piece of paper and excitement about a story.” Resources: Seth Gordon on IMDb Back in Action Trailer Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 30 Jan 2025 09:00:00 -0000 full No Film School GG Hawkins and Jason Hellerman talk with Seth Gordon, the celebrated writer-director behind Back in Action, Horrible Bosses, and The King of Kong: A Fistful of Quarters. Seth shares the joys and challenges of creating large-scale films, balancing action and comedy, and his insights into leadership and creativity. This episode is packed with practical advice for emerging filmmakers and candid reflections on Seth’s career journey. In this episode, No Film School’s GG Hawkins, Jason Hellerman, and Seth Gordon discuss: How Seth approaches directing large-scale films while staying focused on the story’s essence Why removing distractions is key to immersing yourself in the creative process The importance of starting with the story and building everything else around it Balancing meticulous planning with room for spontaneity and collaboration on set Why aspiring filmmakers should focus on creating something deeply meaningful, rather than chasing external recognition Memorable Quotes: “My phone is always off. I don’t even answer the phone anymore... The interruptions throw me off... What works for me is to disappear into a tiny sort of working environment and then get lost in one detail at a time.” “Make something. Don’t make it about a film festival or about getting recognition. Make it about something you care about deeply.” “It didn't start with a crew of 300 and dealing with the Thames river and weather in England and whatever. It started with a piece of paper and excitement about a story.” Resources: Seth Gordon on IMDb Back in Action Trailer Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices GG Hawkins and Jason Hellerman talk with Seth Gordon, the celebrated writer-director behind Back in Action, Horrible Bosses, and The King of Kong: A Fistful of Quarters. Seth shares the joys and challenges of creating large-scale films, balancing action and comedy, and his insights into leadership and creativity. This episode is packed with practical advice for emerging filmmakers and candid reflections on Seth’s career journey.


In this episode, No Film School’s GG Hawkins, Jason Hellerman, and Seth Gordon discuss:

  • How Seth approaches directing large-scale films while staying focused on the story’s essence
  • Why removing distractions is key to immersing yourself in the creative process
  • The importance of starting with the story and building everything else around it
  • Balancing meticulous planning with room for spontaneity and collaboration on set
  • Why aspiring filmmakers should focus on creating something deeply meaningful, rather than chasing external recognition


Memorable Quotes:

  • “My phone is always off. I don’t even answer the phone anymore... The interruptions throw me off... What works for me is to disappear into a tiny sort of working environment and then get lost in one detail at a time.”
  • “Make something. Don’t make it about a film festival or about getting recognition. Make it about something you care about deeply.”
  • “It didn't start with a crew of 300 and dealing with the Thames river and weather in England and whatever. It started with a piece of paper and excitement about a story.”


Resources:


Find No Film School everywhere:


Send us an email with questions or feedback: podcast@nofilmschool.com


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

]]> 3050 SXSW Vets Teach Rookies How to Fest In this episode of No Film School, GG Hawkins sits down with filmmakers Sarah Mokh, Stephen Cedars, Benji Kleiman, and Imran J. Khan to discuss navigating the South by Southwest (SXSW) Film Festival. With insights from seasoned festival veterans, this episode offers practical advice and candid reflections on how to make the most of a festival experience, whether you’re a first-timer or a returning filmmaker. In this episode, No Film School’s GG Hawkins and guests discuss: The importance of preparation before attending a festival and knowing how to pitch yourself and your project. How to pace yourself and avoid burnout over the course of a week-long festival. The value of publicists in boosting your film's visibility and managing PR. Stories and lessons from navigating previous festivals, including Sundance and SXSW. Audience engagement strategies to make your screenings successful. Memorable Quotes: Stephen Cedars: “South by Southwest is the most fun film festival in the entire world… It’s your first time, and it’ll be your only first time here.” (25:02) Imran J. Khan: “Any movie, even a feature, is still kind of just an audition for another thing… You have to figure out what’s next and be ready to talk about it.” (17:10) Benji Kleiman: “You need to have some talking points ready—what do you want people to say about your movie? That’s what’s going to make it into print.” (41:10) Guests: Sarah Mokh: Filmmaker behind Cigarettes, premiering in the SXSW Independent Pilot Competition. Stephen Cedars: Co-director of Snatchers, a horror-comedy that premiered at SXSW. Benji Kleiman: Co-director of Snatchers and veteran of multiple SXSW screenings. Imran J. Khan: Director of Mustache, winner of the SXSW Audience Award. Resources: SXSW Film Festival Lineup Follow I Really Love My Husband: Instagram Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Sat, 25 Jan 2025 00:57:00 -0000 full No Film School In this episode of No Film School, GG Hawkins sits down with filmmakers Sarah Mokh, Stephen Cedars, Benji Kleiman, and Imran J. Khan to discuss navigating the South by Southwest (SXSW) Film Festival. With insights from seasoned festival veterans, this episode offers practical advice and candid reflections on how to make the most of a festival experience, whether you’re a first-timer or a returning filmmaker. In this episode, No Film School’s GG Hawkins and guests discuss: The importance of preparation before attending a festival and knowing how to pitch yourself and your project. How to pace yourself and avoid burnout over the course of a week-long festival. The value of publicists in boosting your film's visibility and managing PR. Stories and lessons from navigating previous festivals, including Sundance and SXSW. Audience engagement strategies to make your screenings successful. Memorable Quotes: Stephen Cedars: “South by Southwest is the most fun film festival in the entire world… It’s your first time, and it’ll be your only first time here.” (25:02) Imran J. Khan: “Any movie, even a feature, is still kind of just an audition for another thing… You have to figure out what’s next and be ready to talk about it.” (17:10) Benji Kleiman: “You need to have some talking points ready—what do you want people to say about your movie? That’s what’s going to make it into print.” (41:10) Guests: Sarah Mokh: Filmmaker behind Cigarettes, premiering in the SXSW Independent Pilot Competition. Stephen Cedars: Co-director of Snatchers, a horror-comedy that premiered at SXSW. Benji Kleiman: Co-director of Snatchers and veteran of multiple SXSW screenings. Imran J. Khan: Director of Mustache, winner of the SXSW Audience Award. Resources: SXSW Film Festival Lineup Follow I Really Love My Husband: Instagram Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of No Film School, GG Hawkins sits down with filmmakers Sarah Mokh, Stephen Cedars, Benji Kleiman, and Imran J. Khan to discuss navigating the South by Southwest (SXSW) Film Festival. With insights from seasoned festival veterans, this episode offers practical advice and candid reflections on how to make the most of a festival experience, whether you’re a first-timer or a returning filmmaker.

In this episode, No Film School’s GG Hawkins and guests discuss:

  • The importance of preparation before attending a festival and knowing how to pitch yourself and your project.
  • How to pace yourself and avoid burnout over the course of a week-long festival.
  • The value of publicists in boosting your film's visibility and managing PR.
  • Stories and lessons from navigating previous festivals, including Sundance and SXSW.
  • Audience engagement strategies to make your screenings successful.

Memorable Quotes:

  • Stephen Cedars: “South by Southwest is the most fun film festival in the entire world… It’s your first time, and it’ll be your only first time here.” (25:02)
  • Imran J. Khan: “Any movie, even a feature, is still kind of just an audition for another thing… You have to figure out what’s next and be ready to talk about it.” (17:10)
  • Benji Kleiman: “You need to have some talking points ready—what do you want people to say about your movie? That’s what’s going to make it into print.” (41:10)

Guests:

  • Sarah Mokh: Filmmaker behind Cigarettes, premiering in the SXSW Independent Pilot Competition.
  • Stephen Cedars: Co-director of Snatchers, a horror-comedy that premiered at SXSW.
  • Benji Kleiman: Co-director of Snatchers and veteran of multiple SXSW screenings.
  • Imran J. Khan: Director of Mustache, winner of the SXSW Audience Award.

Resources:

Find No Film School everywhere:

Send us an email with questions or feedback: podcast@nofilmschool.com



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

]]> 3835 How Filmmakers Are Coming Together Amidst the LA Fires In this episode of the No Film School podcast, hosts GG Hawkins and Jason Hellerman discuss the devastating fires in Los Angeles and their impact on the film industry. They share personal experiences of evacuation and the emotional toll of the crisis, emphasizing the importance of community support and resilience. The conversation highlights the need for filmmakers to prioritize their safety and mental health while navigating the uncertain future of the industry. They also explore the power of storytelling as a means of processing trauma and fostering empathy in challenging times. Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 15 Jan 2025 02:39:02 -0000 full No Film School In this episode of the No Film School podcast, hosts GG Hawkins and Jason Hellerman discuss the devastating fires in Los Angeles and their impact on the film industry. They share personal experiences of evacuation and the emotional toll of the crisis, emphasizing the importance of community support and resilience. The conversation highlights the need for filmmakers to prioritize their safety and mental health while navigating the uncertain future of the industry. They also explore the power of storytelling as a means of processing trauma and fostering empathy in challenging times. Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of the No Film School podcast, hosts GG Hawkins and Jason Hellerman discuss the devastating fires in Los Angeles and their impact on the film industry. They share personal experiences of evacuation and the emotional toll of the crisis, emphasizing the importance of community support and resilience. The conversation highlights the need for filmmakers to prioritize their safety and mental health while navigating the uncertain future of the industry. They also explore the power of storytelling as a means of processing trauma and fostering empathy in challenging times.

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

]]> 1195 How Leaving LA Led to a 40 Theater Release With a First Script In this episode of No Film School, GG Hawkins speaks with the filmmakers behind two impactful films, Hazard and Studio One Forever. Writer-director Eddie Mensore shares the journey of creating Hazard, an indie drama about the opioid crisis in Appalachia, and how leaving LA led to the film's 40-theater release. Later, Marc Saltarelli discusses the acclaimed LGBTQ+ documentary Studio One Forever, exploring its historical significance and enduring legacy. In this episode, No Film School’s GG Hawkins, Eddie Mensore, and Marc Saltarelli discuss: How Eddie’s move away from LA revitalized his career and allowed him to focus on meaningful indie films The challenges and triumphs of making Hazard, a deeply personal story about the opioid crisis Marc’s experience documenting LGBTQ+ history through Studio One Forever and the film’s resonance in today’s political climate Advice for filmmakers navigating the industry outside of traditional Hollywood structures Memorable Quotes: “As an independent filmmaker, it’s not about what’s the most passionate project you want to make. It’s about which one can you physically make.” “I hope that the younger generation will take a little bit of time out from TikTok and watch these 90 minutes and realize what we went through—and what’s at stake.” “I had to take a few steps backward, I believe that I’m ultimately taking 10 steps forward.” Resources: Hazard Official Website Hazard Theatrical Release Studio One Forever Official Trailer STUDIO ONE FOREVER is the untold story of America’s first gay disco, a kaleidoscopic excursion into LGBTQ+ history through the lens of this groundbreaking club. Directed by Marc Saltarelli, the film features interviews with Chita Rivera, Bruce Vilanch, Lance Bass, and others. Eddie Mensore on IMDb Marc Saltarelli on IMDb Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 10 Jan 2025 09:00:00 -0000 full No Film School In this episode of No Film School, GG Hawkins speaks with the filmmakers behind two impactful films, Hazard and Studio One Forever. Writer-director Eddie Mensore shares the journey of creating Hazard, an indie drama about the opioid crisis in Appalachia, and how leaving LA led to the film's 40-theater release. Later, Marc Saltarelli discusses the acclaimed LGBTQ+ documentary Studio One Forever, exploring its historical significance and enduring legacy. In this episode, No Film School’s GG Hawkins, Eddie Mensore, and Marc Saltarelli discuss: How Eddie’s move away from LA revitalized his career and allowed him to focus on meaningful indie films The challenges and triumphs of making Hazard, a deeply personal story about the opioid crisis Marc’s experience documenting LGBTQ+ history through Studio One Forever and the film’s resonance in today’s political climate Advice for filmmakers navigating the industry outside of traditional Hollywood structures Memorable Quotes: “As an independent filmmaker, it’s not about what’s the most passionate project you want to make. It’s about which one can you physically make.” “I hope that the younger generation will take a little bit of time out from TikTok and watch these 90 minutes and realize what we went through—and what’s at stake.” “I had to take a few steps backward, I believe that I’m ultimately taking 10 steps forward.” Resources: Hazard Official Website Hazard Theatrical Release Studio One Forever Official Trailer STUDIO ONE FOREVER is the untold story of America’s first gay disco, a kaleidoscopic excursion into LGBTQ+ history through the lens of this groundbreaking club. Directed by Marc Saltarelli, the film features interviews with Chita Rivera, Bruce Vilanch, Lance Bass, and others. Eddie Mensore on IMDb Marc Saltarelli on IMDb Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of No Film School, GG Hawkins speaks with the filmmakers behind two impactful films, Hazard and Studio One Forever. Writer-director Eddie Mensore shares the journey of creating Hazard, an indie drama about the opioid crisis in Appalachia, and how leaving LA led to the film's 40-theater release. Later, Marc Saltarelli discusses the acclaimed LGBTQ+ documentary Studio One Forever, exploring its historical significance and enduring legacy.

In this episode, No Film School’s GG Hawkins, Eddie Mensore, and Marc Saltarelli discuss:

  • How Eddie’s move away from LA revitalized his career and allowed him to focus on meaningful indie films
  • The challenges and triumphs of making Hazard, a deeply personal story about the opioid crisis
  • Marc’s experience documenting LGBTQ+ history through Studio One Forever and the film’s resonance in today’s political climate
  • Advice for filmmakers navigating the industry outside of traditional Hollywood structures


Memorable Quotes:

  • “As an independent filmmaker, it’s not about what’s the most passionate project you want to make. It’s about which one can you physically make.”
  • “I hope that the younger generation will take a little bit of time out from TikTok and watch these 90 minutes and realize what we went through—and what’s at stake.”
  • “I had to take a few steps backward, I believe that I’m ultimately taking 10 steps forward.”


Resources:


Find No Film School everywhere:


Send us an email with questions or feedback: podcast@nofilmschool.com


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

]]> 3732 John August Wants to Make Your (Screenwriting) Life Easier In this episode of No Film School, GG Hawkins and Jason Hellerman chat with John August, an acclaimed screenwriter, podcaster, and software developer. Known for films like Big Fish and Aladdin, as well as co-hosting Scriptnotes with Craig Mazin, John August discusses his career, the evolution of screenwriting tools, and how he's simplifying life for writers with his app, Highland. In this episode, No Film School’s GG Hawkins, Jason Hellerman, and John August discuss: John’s journey from journalism major to one of Hollywood’s most recognized screenwriters How working across different mediums—from novels to musicals—has shaped his storytelling The philosophy behind creating Highland, a screenwriting app designed to keep writers in the flow Practical advice for writers starting out in today’s industry Memorable Quotes: “Your ability to have an idea but then actually articulate the idea… to yourself, to your team, and to the audience is so fundamental and so important.” “When I see something in the world that bothers me, I try to fix it. My instinct is to get involved and figure it out.” “A screenplay is a luxury. You know you have about 120 pages. There are constraints, and those constraints help you figure out what’s important.” Resources: John August on IMDb Highland App Scriptnotes Podcast Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 02 Jan 2025 09:00:00 -0000 full No Film School In this episode of No Film School, GG Hawkins and Jason Hellerman chat with John August, an acclaimed screenwriter, podcaster, and software developer. Known for films like Big Fish and Aladdin, as well as co-hosting Scriptnotes with Craig Mazin, John August discusses his career, the evolution of screenwriting tools, and how he's simplifying life for writers with his app, Highland. In this episode, No Film School’s GG Hawkins, Jason Hellerman, and John August discuss: John’s journey from journalism major to one of Hollywood’s most recognized screenwriters How working across different mediums—from novels to musicals—has shaped his storytelling The philosophy behind creating Highland, a screenwriting app designed to keep writers in the flow Practical advice for writers starting out in today’s industry Memorable Quotes: “Your ability to have an idea but then actually articulate the idea… to yourself, to your team, and to the audience is so fundamental and so important.” “When I see something in the world that bothers me, I try to fix it. My instinct is to get involved and figure it out.” “A screenplay is a luxury. You know you have about 120 pages. There are constraints, and those constraints help you figure out what’s important.” Resources: John August on IMDb Highland App Scriptnotes Podcast Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of No Film School, GG Hawkins and Jason Hellerman chat with John August, an acclaimed screenwriter, podcaster, and software developer. Known for films like Big Fish and Aladdin, as well as co-hosting Scriptnotes with Craig Mazin, John August discusses his career, the evolution of screenwriting tools, and how he's simplifying life for writers with his app, Highland.


In this episode, No Film School’s GG Hawkins, Jason Hellerman, and John August discuss:

  • John’s journey from journalism major to one of Hollywood’s most recognized screenwriters
  • How working across different mediums—from novels to musicals—has shaped his storytelling
  • The philosophy behind creating Highland, a screenwriting app designed to keep writers in the flow
  • Practical advice for writers starting out in today’s industry


Memorable Quotes:

  • “Your ability to have an idea but then actually articulate the idea… to yourself, to your team, and to the audience is so fundamental and so important.”
  • “When I see something in the world that bothers me, I try to fix it. My instinct is to get involved and figure it out.”
  • “A screenplay is a luxury. You know you have about 120 pages. There are constraints, and those constraints help you figure out what’s important.”


Resources:


Find No Film School everywhere:


Send us an email with questions or feedback: podcast@nofilmschool.com


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

]]> 2851 James Mangold Unwraps the Craft of "A Complete Unknown" In this episode of No Film School, GG Hawkins and Jason Hellerman sit down with acclaimed director James Mangold to dive into the making of his latest film, A Complete Unknown. Known for iconic works like Logan and Ford v Ferrari, Mangold shares deep insights into his creative process, the importance of preparation, and how he navigates the complexities of storytelling. This holiday special offers invaluable lessons for filmmakers at every level. In this episode, No Film School’s GG Hawkins, Jason Hellerman, and James Mangold discuss: How Mangold approached depicting Bob Dylan’s relationships with iconic figures like Woody Guthrie and Johnny Cash The value of mentorship in filmmaking and how Alexander Mackendrick influenced Mangold’s career Finding the balance between preparation and flexibility when directing Mangold’s advice for capturing subtext and the unspoken dynamics between characters The art of juxtaposition and how to craft impactful scene transitions Memorable Quotes: “You come to the set with a plan, but your actors are gonna add a lot, and you don’t want to be so slavish, so enslaved by your plan that you feel lost if an idea comes up with one of the actors that undermines the plan you came with.” “The point for the director is to make everything look like you planned it—even if you didn’t.” “What is the scene about, and what are the beats I must make sure the audience sees? Not lines, but what’s unsaid—the subtext, the human thought behind the eyes.” Resources: James Mangold on IMDb Microbudget Workshop with GG Hawkins Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 25 Dec 2024 09:00:00 -0000 full No Film School In this episode of No Film School, GG Hawkins and Jason Hellerman sit down with acclaimed director James Mangold to dive into the making of his latest film, A Complete Unknown. Known for iconic works like Logan and Ford v Ferrari, Mangold shares deep insights into his creative process, the importance of preparation, and how he navigates the complexities of storytelling. This holiday special offers invaluable lessons for filmmakers at every level. In this episode, No Film School’s GG Hawkins, Jason Hellerman, and James Mangold discuss: How Mangold approached depicting Bob Dylan’s relationships with iconic figures like Woody Guthrie and Johnny Cash The value of mentorship in filmmaking and how Alexander Mackendrick influenced Mangold’s career Finding the balance between preparation and flexibility when directing Mangold’s advice for capturing subtext and the unspoken dynamics between characters The art of juxtaposition and how to craft impactful scene transitions Memorable Quotes: “You come to the set with a plan, but your actors are gonna add a lot, and you don’t want to be so slavish, so enslaved by your plan that you feel lost if an idea comes up with one of the actors that undermines the plan you came with.” “The point for the director is to make everything look like you planned it—even if you didn’t.” “What is the scene about, and what are the beats I must make sure the audience sees? Not lines, but what’s unsaid—the subtext, the human thought behind the eyes.” Resources: James Mangold on IMDb Microbudget Workshop with GG Hawkins Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of No Film School, GG Hawkins and Jason Hellerman sit down with acclaimed director James Mangold to dive into the making of his latest film, A Complete Unknown. Known for iconic works like Logan and Ford v Ferrari, Mangold shares deep insights into his creative process, the importance of preparation, and how he navigates the complexities of storytelling. This holiday special offers invaluable lessons for filmmakers at every level.

In this episode, No Film School’s GG Hawkins, Jason Hellerman, and James Mangold discuss:

  • How Mangold approached depicting Bob Dylan’s relationships with iconic figures like Woody Guthrie and Johnny Cash
  • The value of mentorship in filmmaking and how Alexander Mackendrick influenced Mangold’s career
  • Finding the balance between preparation and flexibility when directing
  • Mangold’s advice for capturing subtext and the unspoken dynamics between characters
  • The art of juxtaposition and how to craft impactful scene transitions


Memorable Quotes:

  • “You come to the set with a plan, but your actors are gonna add a lot, and you don’t want to be so slavish, so enslaved by your plan that you feel lost if an idea comes up with one of the actors that undermines the plan you came with.”
  • “The point for the director is to make everything look like you planned it—even if you didn’t.”
  • “What is the scene about, and what are the beats I must make sure the audience sees? Not lines, but what’s unsaid—the subtext, the human thought behind the eyes.”


Resources:


Find No Film School everywhere:


Send us an email with questions or feedback: podcast@nofilmschool.com



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

]]> 2401 How The ‘Los Frikis’ Directors Injected Dark Humor, History, and HIV into Their Film In this episode of No Film School, Jason Hellerman interviews Tyler Nielsen and Michael Schwartz, the dynamic directing duo behind the bold and provocative film Los Frikis. Known for their previous success with Peanut Butter Falcon, Tyler and Michael take listeners on a journey into the making of their latest project—a darkly comedic and deeply human tale about the Los Frikis generation in 1990s Cuba. The film explores themes of rebellion, freedom, and survival, centering on punks who willfully injected HIV to escape oppression. In this episode, No Film School’s Jason Hellerman, Tyler Nielsen, and Michael Schwartz discuss: How Tyler and Michael transitioned from Peanut Butter Falcon to Los Frikis The challenge of balancing dark humor with historical and cultural authenticity Why the directors learned Spanish to ensure authenticity in directing Cuban actors Their approach to punk rock aesthetics, both musically and visually, in the film Practical advice for filmmakers tackling deeply unconventional and emotional stories Memorable Quotes: “Punk rock is choosing freedom and choosing, like, your reality, regardless of the authorities or the powers that be.” “If you task the audience with remembering 10 things, they might remember the wrong five. So we focused on the five things that mattered most.” “We really just try to set a vibe. The vibe matches the story. And then we invite people to bring themselves to it.” Resources: Microbudget Workshop with GG Hawkins Tyler Nielsen IMDb Michael Schwartz IMDb Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 24 Dec 2024 09:00:00 -0000 full No Film School In this episode of No Film School, Jason Hellerman interviews Tyler Nielsen and Michael Schwartz, the dynamic directing duo behind the bold and provocative film Los Frikis. Known for their previous success with Peanut Butter Falcon, Tyler and Michael take listeners on a journey into the making of their latest project—a darkly comedic and deeply human tale about the Los Frikis generation in 1990s Cuba. The film explores themes of rebellion, freedom, and survival, centering on punks who willfully injected HIV to escape oppression. In this episode, No Film School’s Jason Hellerman, Tyler Nielsen, and Michael Schwartz discuss: How Tyler and Michael transitioned from Peanut Butter Falcon to Los Frikis The challenge of balancing dark humor with historical and cultural authenticity Why the directors learned Spanish to ensure authenticity in directing Cuban actors Their approach to punk rock aesthetics, both musically and visually, in the film Practical advice for filmmakers tackling deeply unconventional and emotional stories Memorable Quotes: “Punk rock is choosing freedom and choosing, like, your reality, regardless of the authorities or the powers that be.” “If you task the audience with remembering 10 things, they might remember the wrong five. So we focused on the five things that mattered most.” “We really just try to set a vibe. The vibe matches the story. And then we invite people to bring themselves to it.” Resources: Microbudget Workshop with GG Hawkins Tyler Nielsen IMDb Michael Schwartz IMDb Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of No Film School, Jason Hellerman interviews Tyler Nielsen and Michael Schwartz, the dynamic directing duo behind the bold and provocative film Los Frikis. Known for their previous success with Peanut Butter Falcon, Tyler and Michael take listeners on a journey into the making of their latest project—a darkly comedic and deeply human tale about the Los Frikis generation in 1990s Cuba. The film explores themes of rebellion, freedom, and survival, centering on punks who willfully injected HIV to escape oppression.

In this episode, No Film School’s Jason Hellerman, Tyler Nielsen, and Michael Schwartz discuss:

  • How Tyler and Michael transitioned from Peanut Butter Falcon to Los Frikis
  • The challenge of balancing dark humor with historical and cultural authenticity
  • Why the directors learned Spanish to ensure authenticity in directing Cuban actors
  • Their approach to punk rock aesthetics, both musically and visually, in the film
  • Practical advice for filmmakers tackling deeply unconventional and emotional stories


Memorable Quotes:

  • “Punk rock is choosing freedom and choosing, like, your reality, regardless of the authorities or the powers that be.”
  • “If you task the audience with remembering 10 things, they might remember the wrong five. So we focused on the five things that mattered most.”
  • “We really just try to set a vibe. The vibe matches the story. And then we invite people to bring themselves to it.”


Resources:


Find No Film School everywhere:


Send us an email with questions or feedback: podcast@nofilmschool.com


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

]]> 2079 Invisible Work of Producers Plus Sundance Slate 2025 In this special episode of No Film School, GG Hawkins and Jason Hellerman delve into the often-overlooked role of producers and the essential work they perform behind the scenes. They are joined by Emmy-nominated producer Carolina Groppa, who shares insights from her remarkable career. The episode also highlights key films from the newly announced Sundance 2025 slate, offering reflections on the festival’s evolving influence. Meet Carolina Groppa: Carolina is an Emmy-nominated producer who was previously the Executive in Charge of Production at Issa Rae’s HOORAE Media and ColorCreative. Born in São Paulo, Brazil, Carolina moved to the US as a child, and her immigrant upbringing inspired her to work hard to build the career of her dreams. Carolina produced the 2017 Emmy-nominated feature documentary AUTISM IN LOVE, which explores how adults with autism find and navigate romantic relationships. Passionate about supporting female filmmakers, she was a co-producer on Netflix’s MISS VIRGINIA, starring Uzo Aduba, and IFC’s THE FEMALE BRAIN, Whitney Cummings’ directorial debut. She was a physical producer on Amazon’s SYLVIE'S LOVE, starring Tessa Thompson and Nnamdi Asomugha, and the UPM/EP on Adamma Ebo’s 2022 Sundance hit HONK FOR JESUS. SAVE YOUR SOUL, starring Regina Hall and Sterling K. Brown. She also produced the documentaries HYSTERICAL (2020) for FX and THE HONORABLE: SHYNE (2024) for Hulu. Additionally, she is the creator, host, and producer of ANGLE ON PRODUCERS, a podcast spotlighting producers across entertainment. A love letter to the creative community, the show boasts over 95 episodes and has featured notable guests such as Eva Longoria, Stephanie Allain, Lynette Howell Taylor, and Cynthia Erivo. In this episode, No Film School’s GG Hawkins, Jason Hellerman, and Carolina Groppa discuss: Carolina Groppa’s career journey, from her early days as an actor to becoming a producer and podcast host The invisible yet critical role of producers and why their contributions are often misunderstood Practical advice for emerging producers, including navigating challenges and building strong collaborations Reflections on the 2025 Sundance slate, including standout films like Sorry Baby and Dead Lover How trust and leadership shape successful filmmaking partnerships Memorable Quotes: “Producing is about choices. It’s never just about saying no; it’s about saying, ‘Here’s what we can do with what we have.’” “The only thing people remember is how you made them feel on set. If you can lead with kindness and clarity, that’s what sticks.” “Sundance is where you see the future of storytelling take shape, and this year’s slate is no exception.” Resources: Carolina Groppa’s Podcast: Angle on Producers Carolina’s IMDb: Carolina Groppa Carolina on Instagram: @carolinagroppa Learn more about the Sundance Film Festival: Sundance 2025 Highlighted Sundance Films: Sorry Baby: A heartfelt indie produced by Pastel, Barry Jenkins’ company Dead Lover: Directed and written by Grace Glowicki, featuring Ben Petrie, and described as “genre-bending and unforgettable” Lose: A poignant drama set in Hong Kong about a man searching for his daughter Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 19 Dec 2024 09:00:00 -0000 full No Film School In this special episode of No Film School, GG Hawkins and Jason Hellerman delve into the often-overlooked role of producers and the essential work they perform behind the scenes. They are joined by Emmy-nominated producer Carolina Groppa, who shares insights from her remarkable career. The episode also highlights key films from the newly announced Sundance 2025 slate, offering reflections on the festival’s evolving influence. Meet Carolina Groppa: Carolina is an Emmy-nominated producer who was previously the Executive in Charge of Production at Issa Rae’s HOORAE Media and ColorCreative. Born in São Paulo, Brazil, Carolina moved to the US as a child, and her immigrant upbringing inspired her to work hard to build the career of her dreams. Carolina produced the 2017 Emmy-nominated feature documentary AUTISM IN LOVE, which explores how adults with autism find and navigate romantic relationships. Passionate about supporting female filmmakers, she was a co-producer on Netflix’s MISS VIRGINIA, starring Uzo Aduba, and IFC’s THE FEMALE BRAIN, Whitney Cummings’ directorial debut. She was a physical producer on Amazon’s SYLVIE'S LOVE, starring Tessa Thompson and Nnamdi Asomugha, and the UPM/EP on Adamma Ebo’s 2022 Sundance hit HONK FOR JESUS. SAVE YOUR SOUL, starring Regina Hall and Sterling K. Brown. She also produced the documentaries HYSTERICAL (2020) for FX and THE HONORABLE: SHYNE (2024) for Hulu. Additionally, she is the creator, host, and producer of ANGLE ON PRODUCERS, a podcast spotlighting producers across entertainment. A love letter to the creative community, the show boasts over 95 episodes and has featured notable guests such as Eva Longoria, Stephanie Allain, Lynette Howell Taylor, and Cynthia Erivo. In this episode, No Film School’s GG Hawkins, Jason Hellerman, and Carolina Groppa discuss: Carolina Groppa’s career journey, from her early days as an actor to becoming a producer and podcast host The invisible yet critical role of producers and why their contributions are often misunderstood Practical advice for emerging producers, including navigating challenges and building strong collaborations Reflections on the 2025 Sundance slate, including standout films like Sorry Baby and Dead Lover How trust and leadership shape successful filmmaking partnerships Memorable Quotes: “Producing is about choices. It’s never just about saying no; it’s about saying, ‘Here’s what we can do with what we have.’” “The only thing people remember is how you made them feel on set. If you can lead with kindness and clarity, that’s what sticks.” “Sundance is where you see the future of storytelling take shape, and this year’s slate is no exception.” Resources: Carolina Groppa’s Podcast: Angle on Producers Carolina’s IMDb: Carolina Groppa Carolina on Instagram: @carolinagroppa Learn more about the Sundance Film Festival: Sundance 2025 Highlighted Sundance Films: Sorry Baby: A heartfelt indie produced by Pastel, Barry Jenkins’ company Dead Lover: Directed and written by Grace Glowicki, featuring Ben Petrie, and described as “genre-bending and unforgettable” Lose: A poignant drama set in Hong Kong about a man searching for his daughter Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this special episode of No Film School, GG Hawkins and Jason Hellerman delve into the often-overlooked role of producers and the essential work they perform behind the scenes. They are joined by Emmy-nominated producer Carolina Groppa, who shares insights from her remarkable career. The episode also highlights key films from the newly announced Sundance 2025 slate, offering reflections on the festival’s evolving influence.

Meet Carolina Groppa: Carolina is an Emmy-nominated producer who was previously the Executive in Charge of Production at Issa Rae’s HOORAE Media and ColorCreative. Born in São Paulo, Brazil, Carolina moved to the US as a child, and her immigrant upbringing inspired her to work hard to build the career of her dreams.

Carolina produced the 2017 Emmy-nominated feature documentary AUTISM IN LOVE, which explores how adults with autism find and navigate romantic relationships. Passionate about supporting female filmmakers, she was a co-producer on Netflix’s MISS VIRGINIA, starring Uzo Aduba, and IFC’s THE FEMALE BRAIN, Whitney Cummings’ directorial debut. She was a physical producer on Amazon’s SYLVIE'S LOVE, starring Tessa Thompson and Nnamdi Asomugha, and the UPM/EP on Adamma Ebo’s 2022 Sundance hit HONK FOR JESUS. SAVE YOUR SOUL, starring Regina Hall and Sterling K. Brown.

She also produced the documentaries HYSTERICAL (2020) for FX and THE HONORABLE: SHYNE (2024) for Hulu. Additionally, she is the creator, host, and producer of ANGLE ON PRODUCERS, a podcast spotlighting producers across entertainment. A love letter to the creative community, the show boasts over 95 episodes and has featured notable guests such as Eva Longoria, Stephanie Allain, Lynette Howell Taylor, and Cynthia Erivo.


In this episode, No Film School’s GG Hawkins, Jason Hellerman, and Carolina Groppa discuss:

  • Carolina Groppa’s career journey, from her early days as an actor to becoming a producer and podcast host
  • The invisible yet critical role of producers and why their contributions are often misunderstood
  • Practical advice for emerging producers, including navigating challenges and building strong collaborations
  • Reflections on the 2025 Sundance slate, including standout films like Sorry Baby and Dead Lover
  • How trust and leadership shape successful filmmaking partnerships


Memorable Quotes:

  • “Producing is about choices. It’s never just about saying no; it’s about saying, ‘Here’s what we can do with what we have.’”
  • “The only thing people remember is how you made them feel on set. If you can lead with kindness and clarity, that’s what sticks.”
  • “Sundance is where you see the future of storytelling take shape, and this year’s slate is no exception.”


Resources:


Highlighted Sundance Films:

  • Sorry Baby: A heartfelt indie produced by Pastel, Barry Jenkins’ company
  • Dead Lover: Directed and written by Grace Glowicki, featuring Ben Petrie, and described as “genre-bending and unforgettable”
  • Lose: A poignant drama set in Hong Kong about a man searching for his daughter


Find No Film School everywhere:


Send us an email with questions or feedback: podcast@nofilmschool.com


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

]]> 4583 Lie Your Way to the Top, FYC, Festival Purgatory & the Indies In this episode of No Film School, host GG Hawkins and tech editor Jordan Aldridge are joined by two incredible guests: filmmaker Leah Saint Marie and award-winning director Lizzy Born. The discussion delves into the challenges of navigating the indie film world, the stress of festival notification season, and creative approaches to career-building in a competitive industry. Both guests share personal stories, practical advice, and insights on how to push boundaries in filmmaking. In this episode, No Film School’s GG Hawkins, Jordan Aldridge, Leah Saint Marie, and Lizzy Born discuss: Leah Saint Marie’s journey from projectionist to filmmaker and her strategies for staying resilient in “festival purgatory” The challenges of navigating FYC campaigns as an indie filmmaker Lizzy Born’s approach to directing, from Ziwe to branded content, and how she balances dark humor with social commentary Practical advice for emerging filmmakers, including the importance of collaboration and creating your own opportunities The inaugural Indies Awards, celebrating independent films outside of mainstream festival circuits Memorable Quotes: “No one else is telling you no, except yourself. If you haven’t made a movie or written a script and you’re afraid to do it, do it anyway.” (39:44) “This job is about community. Finding your community of people who feel like they are in the same space as you is so essential.” (1:16:32) “Sometimes I wish I didn’t know as much... You’re going to do it in a fresh way because you don’t know what you’re referencing.” (1:19:50) Resources: Leah’s Podcast: Pitch! A Screenwriting Podcast Leah on X (formerly Twitter): @leahwelch19 Leah’s IMDb:Leah Saint Marie Lizzy’s Website: Lizzy Born Lizzy’s Instagram: @LizzyB0rn Read reviews of Ziwe: Variety on Ziwe Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 12 Dec 2024 09:00:00 -0000 full No Film School In this episode of No Film School, host GG Hawkins and tech editor Jordan Aldridge are joined by two incredible guests: filmmaker Leah Saint Marie and award-winning director Lizzy Born. The discussion delves into the challenges of navigating the indie film world, the stress of festival notification season, and creative approaches to career-building in a competitive industry. Both guests share personal stories, practical advice, and insights on how to push boundaries in filmmaking. In this episode, No Film School’s GG Hawkins, Jordan Aldridge, Leah Saint Marie, and Lizzy Born discuss: Leah Saint Marie’s journey from projectionist to filmmaker and her strategies for staying resilient in “festival purgatory” The challenges of navigating FYC campaigns as an indie filmmaker Lizzy Born’s approach to directing, from Ziwe to branded content, and how she balances dark humor with social commentary Practical advice for emerging filmmakers, including the importance of collaboration and creating your own opportunities The inaugural Indies Awards, celebrating independent films outside of mainstream festival circuits Memorable Quotes: “No one else is telling you no, except yourself. If you haven’t made a movie or written a script and you’re afraid to do it, do it anyway.” (39:44) “This job is about community. Finding your community of people who feel like they are in the same space as you is so essential.” (1:16:32) “Sometimes I wish I didn’t know as much... You’re going to do it in a fresh way because you don’t know what you’re referencing.” (1:19:50) Resources: Leah’s Podcast: Pitch! A Screenwriting Podcast Leah on X (formerly Twitter): @leahwelch19 Leah’s IMDb:Leah Saint Marie Lizzy’s Website: Lizzy Born Lizzy’s Instagram: @LizzyB0rn Read reviews of Ziwe: Variety on Ziwe Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of No Film School, host GG Hawkins and tech editor Jordan Aldridge are joined by two incredible guests: filmmaker Leah Saint Marie and award-winning director Lizzy Born. The discussion delves into the challenges of navigating the indie film world, the stress of festival notification season, and creative approaches to career-building in a competitive industry. Both guests share personal stories, practical advice, and insights on how to push boundaries in filmmaking.


In this episode, No Film School’s GG Hawkins, Jordan Aldridge, Leah Saint Marie, and Lizzy Born discuss:

  • Leah Saint Marie’s journey from projectionist to filmmaker and her strategies for staying resilient in “festival purgatory”
  • The challenges of navigating FYC campaigns as an indie filmmaker
  • Lizzy Born’s approach to directing, from Ziwe to branded content, and how she balances dark humor with social commentary
  • Practical advice for emerging filmmakers, including the importance of collaboration and creating your own opportunities
  • The inaugural Indies Awards, celebrating independent films outside of mainstream festival circuits


Memorable Quotes:

  • “No one else is telling you no, except yourself. If you haven’t made a movie or written a script and you’re afraid to do it, do it anyway.” (39:44)
  • “This job is about community. Finding your community of people who feel like they are in the same space as you is so essential.” (1:16:32)
  • “Sometimes I wish I didn’t know as much... You’re going to do it in a fresh way because you don’t know what you’re referencing.” (1:19:50)


Resources:

Leah’s Podcast: Pitch! A Screenwriting Podcast

Leah on X (formerly Twitter): @leahwelch19

Leah’s IMDb:Leah Saint Marie

Lizzy’s Website: Lizzy Born

Lizzy’s Instagram: @LizzyB0rn

Read reviews of Ziwe: Variety on Ziwe


Find No Film School everywhere:


Send us an email with questions or feedback: podcast@nofilmschool.com



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

]]> 5213 Programmers & Filmmakers on the State of Shorts In this episode of No Film School, hosts GG Hawkins and Jason Hellerman are joined by filmmakers and programmers Erin Brown Thomas, Jillian Corsie, and Rafael Leyva to discuss the current state of short films. They dive into the challenges, creativity, and evolving landscape of the medium, exploring how short films serve as a crucial platform for experimentation and storytelling. In this episode, No Film School’s GG Hawkins and Jason Hellerman discuss: The current climate for short films in the industry, including programming and distribution challenges How filmmakers like Erin, Jillian, and Rafael are innovating within the short film format The role of short films as both creative playgrounds and stepping stones for larger projects Programming insights from festivals like Salute Your Shorts and Slamdance Personal experiences creating impactful shorts, including Tooth and The Foster Ranch Memorable Quotes: “Short films are such a cool outlet. If there’s any upcoming filmmakers out there, it’s such a great way to tell a story in a little time, and people have no idea how difficult that is.” (10:31) “Shorts are this wonderful playground for creativity and trying new things.” (32:11) “There’s a certain level of experimentation in shorts, and that’s why I think, even if I’m four features into my career, there might still be room for me to make shorts.” (32:11) Resources: Tooth Short Film Erin Brown Thomas on Instagram: @erinbrownthomas_filmmaker Erin on TikTok: @erinbrownthomas_film Jillian Corsie on Instagram: @jcorsie Salute Your Shorts on TikTok: @salute_your_shorts The Foster Ranch Trailer: The Foster Ranch Rafael Leyva's Website: RLEYVADP.COM Versatile Assassins Films Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 05 Dec 2024 19:33:00 -0000 full No Film School In this episode of No Film School, hosts GG Hawkins and Jason Hellerman are joined by filmmakers and programmers Erin Brown Thomas, Jillian Corsie, and Rafael Leyva to discuss the current state of short films. They dive into the challenges, creativity, and evolving landscape of the medium, exploring how short films serve as a crucial platform for experimentation and storytelling. In this episode, No Film School’s GG Hawkins and Jason Hellerman discuss: The current climate for short films in the industry, including programming and distribution challenges How filmmakers like Erin, Jillian, and Rafael are innovating within the short film format The role of short films as both creative playgrounds and stepping stones for larger projects Programming insights from festivals like Salute Your Shorts and Slamdance Personal experiences creating impactful shorts, including Tooth and The Foster Ranch Memorable Quotes: “Short films are such a cool outlet. If there’s any upcoming filmmakers out there, it’s such a great way to tell a story in a little time, and people have no idea how difficult that is.” (10:31) “Shorts are this wonderful playground for creativity and trying new things.” (32:11) “There’s a certain level of experimentation in shorts, and that’s why I think, even if I’m four features into my career, there might still be room for me to make shorts.” (32:11) Resources: Tooth Short Film Erin Brown Thomas on Instagram: @erinbrownthomas_filmmaker Erin on TikTok: @erinbrownthomas_film Jillian Corsie on Instagram: @jcorsie Salute Your Shorts on TikTok: @salute_your_shorts The Foster Ranch Trailer: The Foster Ranch Rafael Leyva's Website: RLEYVADP.COM Versatile Assassins Films Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of No Film School, hosts GG Hawkins and Jason Hellerman are joined by filmmakers and programmers Erin Brown Thomas, Jillian Corsie, and Rafael Leyva to discuss the current state of short films. They dive into the challenges, creativity, and evolving landscape of the medium, exploring how short films serve as a crucial platform for experimentation and storytelling.


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

  • The current climate for short films in the industry, including programming and distribution challenges
  • How filmmakers like Erin, Jillian, and Rafael are innovating within the short film format
  • The role of short films as both creative playgrounds and stepping stones for larger projects
  • Programming insights from festivals like Salute Your Shorts and Slamdance
  • Personal experiences creating impactful shorts, including Tooth and The Foster Ranch


Memorable Quotes:

  • “Short films are such a cool outlet. If there’s any upcoming filmmakers out there, it’s such a great way to tell a story in a little time, and people have no idea how difficult that is.” (10:31)
  • “Shorts are this wonderful playground for creativity and trying new things.” (32:11)
  • “There’s a certain level of experimentation in shorts, and that’s why I think, even if I’m four features into my career, there might still be room for me to make shorts.” (32:11)


Resources:


Find No Film School everywhere:


Send us an email with questions or feedback: podcast@nofilmschool.com



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

]]> 3882 How Director David Gordon Green Reverse-Engineered ‘Nutcrackers' Plus Major Movie Monologues In this episode of No Film School, hosts GG Hawkins and Jason Hellerman explore the craft of cinematic monologues and discuss how these powerful moments can elevate films. They also sit down with director David Gordon Green, whose latest holiday family film, Nutcrackers, debuts on Hulu. David shares his process of crafting a heartfelt and improvisational movie built around four real-life brothers, discussing how his indie roots continue to shape his creative approach. In this episode, No Film School’s GG Hawkins and Jason Hellerman discuss: The craft of writing and performing memorable movie monologues Iconic monologues from The Godfather, Network, Cabin in the Woods, Scent of a Woman, and more David Gordon Green’s process of reverse-engineering Nutcrackers around its young, untrained stars Why David values improvisation and naturalism in his filmmaking Advice for indie filmmakers about creating economically viable films while staying true to their creative vision Memorable Quotes: “When you’re writing a great monologue, you’re giving actors a reason to want to say those words and embody that character.” (4:21) “The movie became just a sculpture of things I want to see.” (22:54) “There’s only one you, and you have to be that as loud as you can.” (45:00) Resources: The 25 Best Movie Monologues Watch Nutcrackers on Hulu GG Hawkins' Instagram: @LostinGraceland Jason Hellerman’s Twitter: @JasonHellerman David Gordon Green’s IMDb: David Gordon Green Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 29 Nov 2024 04:33:00 -0000 full No Film School In this episode of No Film School, host GG Hawkins and Jason Hellerman explore the craft of cinematic monologues and discuss how these powerful moments can elevate films. They also sit down with director David Gordon Green, whose latest holiday family film, Nutcrackers, debuts on Hulu. David shares his process of crafting a heartfelt and improvisational movie built around four real-life brothers, discussing how his indie roots continue to shape his creative approa In this episode of No Film School, hosts GG Hawkins and Jason Hellerman explore the craft of cinematic monologues and discuss how these powerful moments can elevate films. They also sit down with director David Gordon Green, whose latest holiday family film, Nutcrackers, debuts on Hulu. David shares his process of crafting a heartfelt and improvisational movie built around four real-life brothers, discussing how his indie roots continue to shape his creative approach. In this episode, No Film School’s GG Hawkins and Jason Hellerman discuss: The craft of writing and performing memorable movie monologues Iconic monologues from The Godfather, Network, Cabin in the Woods, Scent of a Woman, and more David Gordon Green’s process of reverse-engineering Nutcrackers around its young, untrained stars Why David values improvisation and naturalism in his filmmaking Advice for indie filmmakers about creating economically viable films while staying true to their creative vision Memorable Quotes: “When you’re writing a great monologue, you’re giving actors a reason to want to say those words and embody that character.” (4:21) “The movie became just a sculpture of things I want to see.” (22:54) “There’s only one you, and you have to be that as loud as you can.” (45:00) Resources: The 25 Best Movie Monologues Watch Nutcrackers on Hulu GG Hawkins' Instagram: @LostinGraceland Jason Hellerman’s Twitter: @JasonHellerman David Gordon Green’s IMDb: David Gordon Green Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of No Film School, hosts GG Hawkins and Jason Hellerman explore the craft of cinematic monologues and discuss how these powerful moments can elevate films. They also sit down with director David Gordon Green, whose latest holiday family film, Nutcrackers, debuts on Hulu. David shares his process of crafting a heartfelt and improvisational movie built around four real-life brothers, discussing how his indie roots continue to shape his creative approach.

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

  • The craft of writing and performing memorable movie monologues
  • Iconic monologues from The Godfather, Network, Cabin in the Woods, Scent of a Woman, and more
  • David Gordon Green’s process of reverse-engineering Nutcrackers around its young, untrained stars
  • Why David values improvisation and naturalism in his filmmaking
  • Advice for indie filmmakers about creating economically viable films while staying true to their creative vision

Memorable Quotes:

  • “When you’re writing a great monologue, you’re giving actors a reason to want to say those words and embody that character.” (4:21)
  • “The movie became just a sculpture of things I want to see.” (22:54)
  • “There’s only one you, and you have to be that as loud as you can.” (45:00)

Resources:

Find No Film School everywhere:

Send us an email with questions or feedback: podcast@nofilmschool.com

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

]]> 3064 WWII Recap & 'Best Man’s Ghostwriter' Creator Matthew Starr In this episode of No Film School, host GG Hawkins sits down with Jason Hellerman and special guest Matthew Starr, the creator of the Audible original series The Best Man's Ghostwriter. They delve into the creative process behind the audio series, which is described as an American version of Love Actually for audio, starring Glenn Powell and Nicholas Braun. Matthew shares how he transformed his experience as a ghostwriter for best man speeches into a compelling and humorous narrative. The discussion also explores the genre of World War II films. Jason, Matthew, and GG each discuss their favorite WWII movies, sparking a conversation about the role these films play in culture and history. In this episode, No Film School’s GG Hawkins, Jason Hellerman, and Matthew Starr discuss: Matthew Starr's journey creating The Best Man’s Ghostwriter, from its early concept to Audible production Adapting personal experiences into a scripted audio series Challenges and advantages of creating an episodic narrative in the audio format A discussion on their favorite World War II movies, including The Longest Day, Band of Brothers, Raiders of the Lost Ark, and Jojo Rabbit How WWII movies have shaped film culture and continue to resonate with audiences Memorable Quotes: “Narrative audio is such a vibrant medium—it's about figuring out how to make it fun and engaging to listen to.” (15:18) “Band of Brothers really captures the experience of fighting and surviving in WWII, unlike anything else.” (07:04) “If you just want to see Nazis getting killed, go watch Sisu. One grizzled old man takes on a team of Nazis, and it’s incredible.” (11:15) Resources: Top World War II Movies Matthew Starr’s Website: MatthewSStarr.com Follow Matthew on Instagram: @matthewsstarr Listen to The Best Man’s Ghostwriter on Audible Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 21 Nov 2024 09:00:00 -0000 full No Film School In this episode of No Film School, host GG Hawkins sits down with Jason Hellerman and special guest Matthew Starr, the creator of the Audible original series The Best Man's Ghostwriter. They delve into the creative process behind the audio series, which is described as an American version of Love Actually for audio, starring Glenn Powell and Nicholas Braun. Matthew shares how he transformed his experience as a ghostwriter for best man speeches into a compelling and humorous narrative. The discussion also explores the genre of World War II films. Jason, Matthew, and GG each discuss their favorite WWII movies, sparking a conversation about the role these films play in culture and history. In this episode, No Film School’s GG Hawkins, Jason Hellerman, and Matthew Starr discuss: Matthew Starr's journey creating The Best Man’s Ghostwriter, from its early concept to Audible production Adapting personal experiences into a scripted audio series Challenges and advantages of creating an episodic narrative in the audio format A discussion on their favorite World War II movies, including The Longest Day, Band of Brothers, Raiders of the Lost Ark, and Jojo Rabbit How WWII movies have shaped film culture and continue to resonate with audiences Memorable Quotes: “Narrative audio is such a vibrant medium—it's about figuring out how to make it fun and engaging to listen to.” (15:18) “Band of Brothers really captures the experience of fighting and surviving in WWII, unlike anything else.” (07:04) “If you just want to see Nazis getting killed, go watch Sisu. One grizzled old man takes on a team of Nazis, and it’s incredible.” (11:15) Resources: Top World War II Movies Matthew Starr’s Website: MatthewSStarr.com Follow Matthew on Instagram: @matthewsstarr Listen to The Best Man’s Ghostwriter on Audible Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of No Film School, host GG Hawkins sits down with Jason Hellerman and special guest Matthew Starr, the creator of the Audible original series The Best Man's Ghostwriter. They delve into the creative process behind the audio series, which is described as an American version of Love Actually for audio, starring Glenn Powell and Nicholas Braun. Matthew shares how he transformed his experience as a ghostwriter for best man speeches into a compelling and humorous narrative.

The discussion also explores the genre of World War II films. Jason, Matthew, and GG each discuss their favorite WWII movies, sparking a conversation about the role these films play in culture and history.

In this episode, No Film School’s GG Hawkins, Jason Hellerman, and Matthew Starr discuss:

  • Matthew Starr's journey creating The Best Man’s Ghostwriter, from its early concept to Audible production
  • Adapting personal experiences into a scripted audio series
  • Challenges and advantages of creating an episodic narrative in the audio format
  • A discussion on their favorite World War II movies, including The Longest Day, Band of Brothers, Raiders of the Lost Ark, and Jojo Rabbit
  • How WWII movies have shaped film culture and continue to resonate with audiences

Memorable Quotes:

  • “Narrative audio is such a vibrant medium—it's about figuring out how to make it fun and engaging to listen to.” (15:18)
  • “Band of Brothers really captures the experience of fighting and surviving in WWII, unlike anything else.” (07:04)
  • “If you just want to see Nazis getting killed, go watch Sisu. One grizzled old man takes on a team of Nazis, and it’s incredible.” (11:15)

Resources:

Find No Film School everywhere:

Send us an email with questions or feedback: podcast@nofilmschool.com

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

]]> 2802 Editing Duplass Episodic 'Penelope' & Film Industry Outside of NY & LA Feat. Celia Beasley In this episode, GG Hawkins sits down with editor Celia Beasley to discuss her role in shaping Penelope, the new episodic series by the Duplass Brothers, now on Netflix. They explore the unique process of editing an episodic series that was shot like an indie film and edited entirely in the cloud. Celia shares her experiences of working outside major film hubs and the impact of community on her career. Through insightful conversations on editing, storytelling, and collaboration, Celia reveals her creative process and what it means to find success beyond New York and LA. In this episode, No Film School’s GG Hawkins and Celia Beasley discuss: Transitioning from still photography to filmmaking and discovering editing as a storytelling tool Navigating the industry outside of major film hubs and the importance of a supportive community The unique challenges of editing Penelope, including cloud-based editing and handling extensive footage Using editing techniques to convey the protagonist's journey, especially in time-compressed scenes Advice for emerging filmmakers on trusting instincts, building collaborative relationships, and allowing a film to develop organically Memorable Quotes: “Editing is not an afterthought. It’s the last chance for the film to be the best version of itself.” (46:44) “In the edit, I feel like I’m getting a giant bin of Legos, and it’s up to me to put the pieces together to make it all work.” (30:24) “It’s okay to ask questions, especially as an editor. I need to understand the vision, and I’m here to serve that.” (52:16) “People outside of New York and LA are in film for the love of it; we’re doing it because we’re passionate.” (12:32) Resources: Celia Beasley’s Website: CeliaBeasley.com Celia on Instagram: @CeliaBeasley_Films Netflix Series Penelope: Watch on Netflix Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 14 Nov 2024 09:00:00 -0000 full No Film School In this episode, GG Hawkins sits down with editor Celia Beasley to discuss her role in shaping Penelope, the new episodic series by the Duplass Brothers, now on Netflix. They explore the unique process of editing an episodic series that was shot like an indie film and edited entirely in the cloud. Celia shares her experiences of working outside major film hubs and the impact of community on her career. Through insightful conversations on editing, storytelling, and collaboration, Celia reveals her creative process and what it means to find success beyond New York and LA. In this episode, No Film School’s GG Hawkins and Celia Beasley discuss: Transitioning from still photography to filmmaking and discovering editing as a storytelling tool Navigating the industry outside of major film hubs and the importance of a supportive community The unique challenges of editing Penelope, including cloud-based editing and handling extensive footage Using editing techniques to convey the protagonist's journey, especially in time-compressed scenes Advice for emerging filmmakers on trusting instincts, building collaborative relationships, and allowing a film to develop organically Memorable Quotes: “Editing is not an afterthought. It’s the last chance for the film to be the best version of itself.” (46:44) “In the edit, I feel like I’m getting a giant bin of Legos, and it’s up to me to put the pieces together to make it all work.” (30:24) “It’s okay to ask questions, especially as an editor. I need to understand the vision, and I’m here to serve that.” (52:16) “People outside of New York and LA are in film for the love of it; we’re doing it because we’re passionate.” (12:32) Resources: Celia Beasley’s Website: CeliaBeasley.com Celia on Instagram: @CeliaBeasley_Films Netflix Series Penelope: Watch on Netflix Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, GG Hawkins sits down with editor Celia Beasley to discuss her role in shaping Penelope, the new episodic series by the Duplass Brothers, now on Netflix. They explore the unique process of editing an episodic series that was shot like an indie film and edited entirely in the cloud. Celia shares her experiences of working outside major film hubs and the impact of community on her career. Through insightful conversations on editing, storytelling, and collaboration, Celia reveals her creative process and what it means to find success beyond New York and LA.


In this episode, No Film School’s GG Hawkins and Celia Beasley discuss:

  • Transitioning from still photography to filmmaking and discovering editing as a storytelling tool
  • Navigating the industry outside of major film hubs and the importance of a supportive community
  • The unique challenges of editing Penelope, including cloud-based editing and handling extensive footage
  • Using editing techniques to convey the protagonist's journey, especially in time-compressed scenes
  • Advice for emerging filmmakers on trusting instincts, building collaborative relationships, and allowing a film to develop organically


Memorable Quotes:

  • “Editing is not an afterthought. It’s the last chance for the film to be the best version of itself.” (46:44)
  • “In the edit, I feel like I’m getting a giant bin of Legos, and it’s up to me to put the pieces together to make it all work.” (30:24)
  • “It’s okay to ask questions, especially as an editor. I need to understand the vision, and I’m here to serve that.” (52:16)
  • “People outside of New York and LA are in film for the love of it; we’re doing it because we’re passionate.” (12:32)


Resources:


Find No Film School everywhere:


Send us an email with questions or feedback: podcast@nofilmschool.com



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

]]> 3561 Microbudget Filmmakers Are Not Okay (But Thanks for Asking) — Advice & Support from AFF Filmmakers In this episode, host GG Hawkins hosts a roundtable discussion with microbudget filmmakers at the Austin Film Festival. They share their journeys of creating feature films under tight budgets and high personal stakes. Each filmmaker provides insight into the emotional, physical, and financial tolls of producing indie films while managing personal challenges. Despite the struggles, their stories are underscored by the resilience and camaraderie that helped them see their projects through. The discussion touches on how these filmmakers greenlit their own projects, self-funded, and navigated logistical and emotional hurdles. From crafting stories inspired by personal traumas to relying on a supportive community to rally resources, the episode reveals what it truly takes to complete a microbudget film. The filmmakers open up about facing setbacks, from COVID shutdowns to creative crises, while pushing forward in pursuit of their vision. Panelists featured in this episode include: Sisters Sarah Khasrovi (Story By, Lead) Susie Yankou (Writer/Director, Lead)  Lady Parts Bonnie Gross (Screenwriter, Executive Producer) Edith Belmont (Editor) Young King Bryant T Griffin (Writer, Director) Selena Leoni, p.g.a. (Producer) Crossword Michael Vlamis (Co-writer, Director, Producer, and Actor) The Ego Death of Queen Cecilia Travis White (Producer) Jo Schaeffer (Lead, Producer) In this episode, No Film School’s GG Hawkins speaks with indie filmmakers to discuss: The personal inspiration behind their microbudget films Emotional and physical tolls in the process of making a low-budget film Strategies for overcoming logistical challenges, from location scouting to equipment sourcing The importance of a supportive filmmaking community in DIY film production How each filmmaker dealt with setbacks and moments of doubt Key lessons from their experiences in indie filmmaking at AFF Memorable Quotes: “If I was going to do this and fail, it would be good to have a support system around us.” (20:10) “Making the movie, getting picture lock… you’re only 60% there.” (44:13) “It’s like a constant vulnerability. It’s like cutting yourself open and letting your guts out every day.” (25:27) “I don’t know if I’ll do this again… It’s incredible, but the toll is so high.” (50:42) Resources: Austin Film Festival GG Hawkins' Micro-Budget Filmmaking Newsletter: @LostinGraceland on Instagram Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 07 Nov 2024 09:00:00 -0000 full No Film School In this episode, host GG Hawkins hosts a roundtable discussion with microbudget filmmakers at the Austin Film Festival. They share their journeys of creating feature films under tight budgets and high personal stakes. Each filmmaker provides insight into the emotional, physical, and financial tolls of producing indie films while managing personal challenges. Despite the struggles, their stories are underscored by the resilience and camaraderie that helped them see their projects through. The discussion touches on how these filmmakers greenlit their own projects, self-funded, and navigated logistical and emotional hurdles. From crafting stories inspired by personal traumas to relying on a supportive community to rally resources, the episode reveals what it truly takes to complete a microbudget film. The filmmakers open up about facing setbacks, from COVID shutdowns to creative crises, while pushing forward in pursuit of their vision. Panelists featured in this episode include: Sisters Sarah Khasrovi (Story By, Lead) Susie Yankou (Writer/Director, Lead)  Lady Parts Bonnie Gross (Screenwriter, Executive Producer) Edith Belmont (Editor) Young King Bryant T Griffin (Writer, Director) Selena Leoni, p.g.a. (Producer) Crossword Michael Vlamis (Co-writer, Director, Producer, and Actor) The Ego Death of Queen Cecilia Travis White (Producer) Jo Schaeffer (Lead, Producer) In this episode, No Film School’s GG Hawkins speaks with indie filmmakers to discuss: The personal inspiration behind their microbudget films Emotional and physical tolls in the process of making a low-budget film Strategies for overcoming logistical challenges, from location scouting to equipment sourcing The importance of a supportive filmmaking community in DIY film production How each filmmaker dealt with setbacks and moments of doubt Key lessons from their experiences in indie filmmaking at AFF Memorable Quotes: “If I was going to do this and fail, it would be good to have a support system around us.” (20:10) “Making the movie, getting picture lock… you’re only 60% there.” (44:13) “It’s like a constant vulnerability. It’s like cutting yourself open and letting your guts out every day.” (25:27) “I don’t know if I’ll do this again… It’s incredible, but the toll is so high.” (50:42) Resources: Austin Film Festival GG Hawkins' Micro-Budget Filmmaking Newsletter: @LostinGraceland on Instagram Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode, host GG Hawkins hosts a roundtable discussion with microbudget filmmakers at the Austin Film Festival. They share their journeys of creating feature films under tight budgets and high personal stakes. Each filmmaker provides insight into the emotional, physical, and financial tolls of producing indie films while managing personal challenges. Despite the struggles, their stories are underscored by the resilience and camaraderie that helped them see their projects through.

The discussion touches on how these filmmakers greenlit their own projects, self-funded, and navigated logistical and emotional hurdles. From crafting stories inspired by personal traumas to relying on a supportive community to rally resources, the episode reveals what it truly takes to complete a microbudget film. The filmmakers open up about facing setbacks, from COVID shutdowns to creative crises, while pushing forward in pursuit of their vision.

Panelists featured in this episode include:

Sisters

  • Sarah Khasrovi (Story By, Lead)
  • Susie Yankou (Writer/Director, Lead) 

Lady Parts

  • Bonnie Gross (Screenwriter, Executive Producer)
  • Edith Belmont (Editor)

Young King

  • Bryant T Griffin (Writer, Director)
  • Selena Leoni, p.g.a. (Producer)

Crossword

  • Michael Vlamis (Co-writer, Director, Producer, and Actor)

The Ego Death of Queen Cecilia

  • Travis White (Producer)
  • Jo Schaeffer (Lead, Producer)


In this episode, No Film School’s GG Hawkins speaks with indie filmmakers to discuss:

  • The personal inspiration behind their microbudget films
  • Emotional and physical tolls in the process of making a low-budget film
  • Strategies for overcoming logistical challenges, from location scouting to equipment sourcing
  • The importance of a supportive filmmaking community in DIY film production
  • How each filmmaker dealt with setbacks and moments of doubt
  • Key lessons from their experiences in indie filmmaking at AFF


Memorable Quotes:

  • “If I was going to do this and fail, it would be good to have a support system around us.” (20:10)
  • “Making the movie, getting picture lock… you’re only 60% there.” (44:13)
  • “It’s like a constant vulnerability. It’s like cutting yourself open and letting your guts out every day.” (25:27)
  • “I don’t know if I’ll do this again… It’s incredible, but the toll is so high.” (50:42)


Resources:


Find No Film School everywhere:

Send us an email with questions or feedback: podcast@nofilmschool.com

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

]]> 4651 How Indie Body Horror Comedy 'Booger' Director, Editor & Lead Meld Minds Celebrating Halloween, this special episode dives into the indie horror-comedy Booger, an unconventional story that combines grief, body horror, and dark humor. Director Mary Dauterman, editor Kyle Moriarty, and lead actor Grace Glowicki share the creative and logistical challenges they faced bringing this unique film to life. From crafting a cat-human transformation story inspired by loss to the collaborative spirit on set, they reveal how to keep indie film projects grounded in vision, even on a tight budget. Mary Dauterman is a director and writer making her feature debut with Booger, a horror-comedy that blends humor and body horror to explore themes of grief. With a background in illustration and advertising, Mary brings a unique visual style to her work, making her voice distinct in the indie film scene. Kyle Moriarty is an editor known for his collaborative approach to indie projects, often working closely with directors to capture unique tones and pacing. His work on Booger helped shape the film’s unsettling, humorous edge, bringing out the full impact of its horror-comedy fusion. Grace Glowicki is an actor and filmmaker acclaimed for her physical, transformative performances. In Booger, she brings the role to life through meticulous body language, channeling both horror and humor in the character’s journey of transformation. In today’s episode, No Film School’s GG Hawkins speaks with Mary Dauterman, Kyle Moriarty, and Grace Glowicki to discuss: The inspiration behind Booger, blending dark themes with horror and humor How the 2020 lockdown shaped the film’s themes of grief and loneliness Mary Dauterman’s transition from shorts to her debut feature film and what that entailed The creative approach to body horror, from prosthetics to unique camera techniques How editor Kyle Moriarty’s previous collaboration with Mary Dauterman influenced the edit’s tone and pacing Grace Glowicki’s physical preparation for the role, embodying the character’s transformation Managing DIY effects on a low budget   Memorable Quotes: “Writing it during lockdown and writing it being like super isolated, these themes of grief and loneliness started creeping in.” (04:18) “I decided to storyboard the entire film all the way through, which was crazy, but I'm really glad I did it because I think I could pay attention to certain things like: how does the film feel visually?” (12:12) “Our specialty lenses were called a lens baby, which is kind of like a lens with an accordion and you can push it all around and the focus falls and it looks really unsettling.” (14:06) “The biggest challenge was we were shooting like July into August and turns out prosthetics melt.” (24:48) “It's a little bit like the more seriously we take her cat behavior and transformation and just all that grossness… the funnier it is.” (30:52) “I was getting these poster designs that I was like, what? No. I'm going to do this myself. So I went a little nuts.” (46:20) Resources: Booger on IMDb Follow Mary Dauterman on Instagram Mary Dauterman on IMDb Mary Dauterman’s website Kyle Moriarty on IMDb Kyle Moriarty’s website Grace Glowicki 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: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 31 Oct 2024 08:00:00 -0000 full No Film School Celebrating Halloween, this special episode dives into the indie horror-comedy Booger, an unconventional story that combines grief, body horror, and dark humor. Director Mary Dauterman, editor Kyle Moriarty, and lead actor Grace Glowicki share the creative and logistical challenges they faced bringing this unique film to life. From crafting a cat-human transformation story inspired by loss to the collaborative spirit on set, they reveal how to keep indie film projects grounded in vision, even on a tight budget. Mary Dauterman is a director and writer making her feature debut with Booger, a horror-comedy that blends humor and body horror to explore themes of grief. With a background in illustration and advertising, Mary brings a unique visual style to her work, making her voice distinct in the indie film scene. Kyle Moriarty is an editor known for his collaborative approach to indie projects, often working closely with directors to capture unique tones and pacing. His work on Booger helped shape the film’s unsettling, humorous edge, bringing out the full impact of its horror-comedy fusion. Grace Glowicki is an actor and filmmaker acclaimed for her physical, transformative performances. In Booger, she brings the role to life through meticulous body language, channeling both horror and humor in the character’s journey of transformation. In today’s episode, No Film School’s GG Hawkins speaks with Mary Dauterman, Kyle Moriarty, and Grace Glowicki to discuss: The inspiration behind Booger, blending dark themes with horror and humor How the 2020 lockdown shaped the film’s themes of grief and loneliness Mary Dauterman’s transition from shorts to her debut feature film and what that entailed The creative approach to body horror, from prosthetics to unique camera techniques How editor Kyle Moriarty’s previous collaboration with Mary Dauterman influenced the edit’s tone and pacing Grace Glowicki’s physical preparation for the role, embodying the character’s transformation Managing DIY effects on a low budget   Memorable Quotes: “Writing it during lockdown and writing it being like super isolated, these themes of grief and loneliness started creeping in.” (04:18) “I decided to storyboard the entire film all the way through, which was crazy, but I'm really glad I did it because I think I could pay attention to certain things like: how does the film feel visually?” (12:12) “Our specialty lenses were called a lens baby, which is kind of like a lens with an accordion and you can push it all around and the focus falls and it looks really unsettling.” (14:06) “The biggest challenge was we were shooting like July into August and turns out prosthetics melt.” (24:48) “It's a little bit like the more seriously we take her cat behavior and transformation and just all that grossness… the funnier it is.” (30:52) “I was getting these poster designs that I was like, what? No. I'm going to do this myself. So I went a little nuts.” (46:20) Resources: Booger on IMDb Follow Mary Dauterman on Instagram Mary Dauterman on IMDb Mary Dauterman’s website Kyle Moriarty on IMDb Kyle Moriarty’s website Grace Glowicki 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: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Celebrating Halloween, this special episode dives into the indie horror-comedy Booger, an unconventional story that combines grief, body horror, and dark humor. Director Mary Dauterman, editor Kyle Moriarty, and lead actor Grace Glowicki share the creative and logistical challenges they faced bringing this unique film to life. From crafting a cat-human transformation story inspired by loss to the collaborative spirit on set, they reveal how to keep indie film projects grounded in vision, even on a tight budget.

Mary Dauterman is a director and writer making her feature debut with Booger, a horror-comedy that blends humor and body horror to explore themes of grief. With a background in illustration and advertising, Mary brings a unique visual style to her work, making her voice distinct in the indie film scene.

Kyle Moriarty is an editor known for his collaborative approach to indie projects, often working closely with directors to capture unique tones and pacing. His work on Booger helped shape the film’s unsettling, humorous edge, bringing out the full impact of its horror-comedy fusion.

Grace Glowicki is an actor and filmmaker acclaimed for her physical, transformative performances. In Booger, she brings the role to life through meticulous body language, channeling both horror and humor in the character’s journey of transformation.


In today’s episode, No Film School’s GG Hawkins speaks with Mary Dauterman, Kyle Moriarty, and Grace Glowicki to discuss:

  • The inspiration behind Booger, blending dark themes with horror and humor
  • How the 2020 lockdown shaped the film’s themes of grief and loneliness
  • Mary Dauterman’s transition from shorts to her debut feature film and what that entailed
  • The creative approach to body horror, from prosthetics to unique camera techniques
  • How editor Kyle Moriarty’s previous collaboration with Mary Dauterman influenced the edit’s tone and pacing
  • Grace Glowicki’s physical preparation for the role, embodying the character’s transformation
  • Managing DIY effects on a low budget

 

Memorable Quotes:

  • “Writing it during lockdown and writing it being like super isolated, these themes of grief and loneliness started creeping in.” (04:18)
  • “I decided to storyboard the entire film all the way through, which was crazy, but I'm really glad I did it because I think I could pay attention to certain things like: how does the film feel visually?” (12:12)
  • “Our specialty lenses were called a lens baby, which is kind of like a lens with an accordion and you can push it all around and the focus falls and it looks really unsettling.” (14:06)
  • “The biggest challenge was we were shooting like July into August and turns out prosthetics melt.” (24:48)
  • “It's a little bit like the more seriously we take her cat behavior and transformation and just all that grossness… the funnier it is.” (30:52)
  • “I was getting these poster designs that I was like, what? No. I'm going to do this myself. So I went a little nuts.” (46:20)


Resources:

Booger on IMDb

Follow Mary Dauterman on Instagram

Mary Dauterman on IMDb

Mary Dauterman’s website

Kyle Moriarty on IMDb

Kyle Moriarty’s website

Grace Glowicki 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: podcast@nofilmschool.com

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

]]> 3420 From Madagascar to Hollywood with Director Andrew Kightlinger; Plus, 'Don't Move' Directors’ Microbudget to Sam Raimi-Produced Journey What does it take to go from indie filmmaking on a shoestring budget to working with legends like Sam Raimi? Andrew Kightlinger’s journey from Madagascar to Hollywood shows how personal experiences shape a filmmaker’s voice. Filmmakers Adam Schindler and Brian Netto share how they moved from microbudget horror films to collaborating with one of the industry’s icons. This episode explores the highs and lows of filmmaking, from preparation and improvisation to building trust on set.   Andrew Kightlinger grew up surrounded by the vibrant landscapes of Madagascar, which ignited his passion for filmmaking. Now directing in Hollywood, his films, like Lost on a Mountain in Maine, showcase his ability to merge personal experiences with visually captivating storytelling. Lost on a Mountain in Maine releases on November 1.   Adam Schindler and Brian Netto began their filmmaking journey with microbudget horror, mastering the craft of tension and suspense. Their latest film, Don’t Move, produced by Sam Raimi, is set to release on October 25, 2024 on Netflix, proving that powerful stories don’t require massive budgets   In today’s episode, No Film School’s Jason Hellerman and GG Hawkins speak with Andrew Kightlinger, Adam Schindler, and Brian Netto to discuss: Andrew Kightlinger’s journey from Madagascar to Hollywood How his upbringing influenced Lost on a Mountain in Maine The need for preparation and improvisation with tight budgets Schindler and Netto’s move from micro budget films to working with Sam Raimi on Don’t Move Creating real-time horror with minimal voiceover and non-linear techniques The role of trust and collaboration in elevating a project     Memorable Quotes: “The big lesson I learned in that movie was who not to work with, and I won't go into more detail than that, but I think that's a very important lesson in a collaborative field like ours.” (12:03) “I believe that filmmaking is preparation. Like bar none, that's what your job as a director is to do. So prepare because it's gonna be chaos when you start shooting.” (18:02)  “I knew what I wanted the film to be. And then I also storyboarded the whole movie just with stick figures. I just had an iPad and I drew out all the really complicated stuff to the best of my ability.” (20:06) “He's the consummate collaborator, like… horror icon, but also like one of the best script to screen notes… he lives up to all of it.” (45:22) “We became directors together. Our passion for film began together. We founded together. I think the things that we enjoy are slightly different. We like the same movies, but we also have different tastes.” (55:17) “I think the filmmaking part of it is the fun part and the easy part. It's all the other things that you have to juggle and have the temperament for and the stomach for and the patience for and all those sorts of things.” (1:04:26)   Resources: Follow Andrew Kightlinger on Instagram   Andrew on IMDb   Lost on a Mountain in Maine on IMDb   Adam Schindler on IMDb   Follow Adam on Instagram   Brian Netto on IMDb   Follow Brian on Instagram   Don’t Move on IMDB     Find No Film School everywhere: On the Web https://nofilmschool.com/   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: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 25 Oct 2024 08:00:00 -0000 full No Film School What does it take to go from indie filmmaking on a shoestring budget to working with legends like Sam Raimi? Andrew Kightlinger’s journey from Madagascar to Hollywood shows how personal experiences shape a filmmaker’s voice. Filmmakers Adam Schindler and Brian Netto share how they moved from microbudget horror films to collaborating with one of the industry’s icons. This episode explores the highs and lows of filmmaking, from preparation and improvisation to building trust on set.   Andrew Kightlinger grew up surrounded by the vibrant landscapes of Madagascar, which ignited his passion for filmmaking. Now directing in Hollywood, his films, like Lost on a Mountain in Maine, showcase his ability to merge personal experiences with visually captivating storytelling. Lost on a Mountain in Maine releases on November 1.   Adam Schindler and Brian Netto began their filmmaking journey with microbudget horror, mastering the craft of tension and suspense. Their latest film, Don’t Move, produced by Sam Raimi, is set to release on October 25, 2024 on Netflix, proving that powerful stories don’t require massive budgets   In today’s episode, No Film School’s Jason Hellerman and GG Hawkins speak with Andrew Kightlinger, Adam Schindler, and Brian Netto to discuss: Andrew Kightlinger’s journey from Madagascar to Hollywood How his upbringing influenced Lost on a Mountain in Maine The need for preparation and improvisation with tight budgets Schindler and Netto’s move from micro budget films to working with Sam Raimi on Don’t Move Creating real-time horror with minimal voiceover and non-linear techniques The role of trust and collaboration in elevating a project     Memorable Quotes: “The big lesson I learned in that movie was who not to work with, and I won't go into more detail than that, but I think that's a very important lesson in a collaborative field like ours.” (12:03) “I believe that filmmaking is preparation. Like bar none, that's what your job as a director is to do. So prepare because it's gonna be chaos when you start shooting.” (18:02)  “I knew what I wanted the film to be. And then I also storyboarded the whole movie just with stick figures. I just had an iPad and I drew out all the really complicated stuff to the best of my ability.” (20:06) “He's the consummate collaborator, like… horror icon, but also like one of the best script to screen notes… he lives up to all of it.” (45:22) “We became directors together. Our passion for film began together. We founded together. I think the things that we enjoy are slightly different. We like the same movies, but we also have different tastes.” (55:17) “I think the filmmaking part of it is the fun part and the easy part. It's all the other things that you have to juggle and have the temperament for and the stomach for and the patience for and all those sorts of things.” (1:04:26)   Resources: Follow Andrew Kightlinger on Instagram   Andrew on IMDb   Lost on a Mountain in Maine on IMDb   Adam Schindler on IMDb   Follow Adam on Instagram   Brian Netto on IMDb   Follow Brian on Instagram   Don’t Move on IMDB     Find No Film School everywhere: On the Web https://nofilmschool.com/   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: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices What does it take to go from indie filmmaking on a shoestring budget to working with legends like Sam Raimi? Andrew Kightlinger’s journey from Madagascar to Hollywood shows how personal experiences shape a filmmaker’s voice. Filmmakers Adam Schindler and Brian Netto share how they moved from microbudget horror films to collaborating with one of the industry’s icons. This episode explores the highs and lows of filmmaking, from preparation and improvisation to building trust on set.

 

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

 

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

 

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

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

 

 

Memorable Quotes:

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

 

Resources:

Follow Andrew Kightlinger on Instagram

 

Andrew on IMDb

 

Lost on a Mountain in Maine on IMDb

 

Adam Schindler on IMDb

 

Follow Adam on Instagram

 

Brian Netto on IMDb

 

Follow Brian on Instagram

 

Don’t Move on IMDB

 

 

Find No Film School everywhere:

On the Web

https://nofilmschool.com/

 

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: podcast@nofilmschool.com

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

]]> 5403 Why Writer-Director Hallie Meyers-Shyer Wrote ‘Goodrich’ for Only Michael Keaton 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: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 21 Oct 2024 08:00:00 -0000 full No Film School 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: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices 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: podcast@nofilmschool.com

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

]]> 3534 Navigating Austin Film Fest; DP Mihai Malaimare Jr.: From Film School to Francis Ford Coppola 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 18 Oct 2024 14:31:03 -0000 full No Film School 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3805 Applying for Your O-1 Visa To Work in Film and TV 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 14 Oct 2024 16:40:17 -0000 full No Film School 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3253 How to Scale Video Editing With an AI Storytelling Partner 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 08 Oct 2024 08:00:00 -0000 full No Film School 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2743 Bad Shabbos' Editor Talks Mental Health in Post & How Doc Informs Narrative 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 07 Oct 2024 08:00:00 -0000 full No Film School 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? 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2966 Death of Pilot Season, Big Pivots & Max Lugavere's Deeply Personal, Long-Game Doc ‘Little Empty Boxes’ 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 04 Oct 2024 01:43:35 -0000 full No Film School 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 4931 The State of Spec Scripts, ‘The Substance’ & Panama Filmmaking 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 27 Sep 2024 08:00:00 -0000 full No Film School 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 5609 Why Indie Film Distribution Is About To Go Punk Rock 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 19 Sep 2024 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 4808 Imagery, Fall Fest Sales & Director Niclas Larsson on His 'Mother, Couch!' Production Book 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 18 Sep 2024 19:10:42 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 4246 We’re All Halfway Through Writing a Short Film That We Will Direct 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 13 Sep 2024 22:27:57 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!


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

]]> 4123 Why A LUT Will Save Your Movie (Kinda) 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 Thu, 12 Sep 2024 15:49:51 -0000 full No Film School 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 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

]]> 2880 How ‘Continue’ Director Nadine Crocker Turned Rejection Into Two Lionsgate Features 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 09 Sep 2024 14:08:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!



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

]]> 3694 Back-To-Back Microbudgets, Folk Filmmaking & the Micro-Budget Chain Reaction Feat. ‘Peak Season’ Directors What happens when you make two micro-budget films back-to-back? For filmmakers Henry Loevner and Steven Kanter, it sparks what they’ve dubbed the “micro-budget chain reaction,” inspiring others in their community to pick up cameras and start shooting. As the industry consolidates and traditional distribution becomes harder to navigate, indie filmmakers are finding new ways to create and share their work, embracing folk filmmaking and using platforms like YouTube to bypass traditional barriers. Peak Season, the duo's second feature, serves as a perfect example of this movement.   In today’s episode, No Film School’s GG Hawkins speaks with filmmakers Henry Loevner and Steven Kanter to discuss: What the "micro-budget chain reaction" means and how it inspired others to follow in their footsteps The challenges of making two micro-budget films back-to-back The impact of friends and community on the rise of indie filmmaking Their experience shooting Peak Season in Wyoming with a small crew How the landscape of indie film distribution is changing and why many filmmakers are turning to YouTube The importance of flexibility and improvisation in low-budget filmmaking How Peak Season found its audience and landed a theatrical release Why Henry and Steven are ready to transition to a studio film after their micro-budget projects   Memorable Quotes: "It's contagious for better or worse... we're making something, and we're not waiting for permission." [5:40] “Despite all the doom and gloom about the industry in general and how hard it is to make a living, there's never been an easier time to go out and make your film.” [6:43] “If you just put your movie on YouTube, you can get it out there immediately, which is amazing.” [8:19] “If you've written a script and it's going to take $10 million to make this movie and you don't have $10 million, then write a new script.” [51:33] “The only way to do it is you have to just write something small that you can manage. Write something that's set in a single location.” [51:56]   Mentioned Peak Season on IMDb Follow Henry Loevner on IG Follow Steven Kanter 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Sat, 07 Sep 2024 01:32:00 -0000 full No Film School What happens when you make two micro-budget films back-to-back? For filmmakers Henry Loevner and Steven Kanter, it sparks what they’ve dubbed the “micro-budget chain reaction,” inspiring others in their community to pick up cameras and start shooting. What happens when you make two micro-budget films back-to-back? For filmmakers Henry Loevner and Steven Kanter, it sparks what they’ve dubbed the “micro-budget chain reaction,” inspiring others in their community to pick up cameras and start shooting. As the industry consolidates and traditional distribution becomes harder to navigate, indie filmmakers are finding new ways to create and share their work, embracing folk filmmaking and using platforms like YouTube to bypass traditional barriers. Peak Season, the duo's second feature, serves as a perfect example of this movement.   In today’s episode, No Film School’s GG Hawkins speaks with filmmakers Henry Loevner and Steven Kanter to discuss: What the "micro-budget chain reaction" means and how it inspired others to follow in their footsteps The challenges of making two micro-budget films back-to-back The impact of friends and community on the rise of indie filmmaking Their experience shooting Peak Season in Wyoming with a small crew How the landscape of indie film distribution is changing and why many filmmakers are turning to YouTube The importance of flexibility and improvisation in low-budget filmmaking How Peak Season found its audience and landed a theatrical release Why Henry and Steven are ready to transition to a studio film after their micro-budget projects   Memorable Quotes: "It's contagious for better or worse... we're making something, and we're not waiting for permission." [5:40] “Despite all the doom and gloom about the industry in general and how hard it is to make a living, there's never been an easier time to go out and make your film.” [6:43] “If you just put your movie on YouTube, you can get it out there immediately, which is amazing.” [8:19] “If you've written a script and it's going to take $10 million to make this movie and you don't have $10 million, then write a new script.” [51:33] “The only way to do it is you have to just write something small that you can manage. Write something that's set in a single location.” [51:56]   Mentioned Peak Season on IMDb Follow Henry Loevner on IG Follow Steven Kanter 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: podcast@nofilmschool.com! 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 Steven Kanter, it sparks what they’ve dubbed the “micro-budget chain reaction,” inspiring others in their community to pick up cameras and start shooting. As the industry consolidates and traditional distribution becomes harder to navigate, indie filmmakers are finding new ways to create and share their work, embracing folk filmmaking and using platforms like YouTube to bypass traditional barriers. Peak Season, the duo's second feature, serves as a perfect example of this movement.

 

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

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

 

Memorable Quotes:

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

 

Mentioned

Peak Season on IMDb

Follow Henry Loevner on IG

Follow Steven Kanter 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: podcast@nofilmschool.com!

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

]]> 3593 Why Producer Ken Kao (Cuckoo, The Nice Guys, Mid90s) Wants More Mid-Budget Films 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 30 Aug 2024 21:36:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3157 Crafting Tension: ‘Spermworld’ & ‘How To Blow Up a Pipeline’ Editor Explains 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 23 Aug 2024 21:13:00 -0000 full No Film School 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2452 Rebuilding the Film Industry, Closure, Plus a $400 Doc Short 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 20 Aug 2024 15:30:44 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 4514 'DÌDI (弟弟)’ Director Sean Wang & Editor Arielle Zakowski on Kid Talent, Short Turnarounds & Angst on the Big Screen 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 15 Aug 2024 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!


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

]]> 2545 Want To Make Worldbuilding Movies? ‘Borderlands’ EP Emmy Yu on Development, Production & Why VFX Should Be Onboard ASAP 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 08 Aug 2024 14:17:57 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3359 Making a Movie Is Scary—This Is How We Manage Our Fear 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 Tue, 06 Aug 2024 00:11:00 -0000 full No Film School 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'. 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 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

]]> 2153 ‘War Game’ Directors Jesse Moss & Tony Gerber on Fearless Collaboration, Plus Comic-Con & Experimental Films “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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Sat, 03 Aug 2024 02:40:18 -0000 full No Film School “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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2702 Breaking Down the Black List 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: podcast@nofilmschool.com!   Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 25 Jul 2024 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com!   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: podcast@nofilmschool.com!

 

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

]]> 3601 Navigate All Facets of Comedy With 'The Office' & 'Abbott Elementary' Director Ken Whittingham 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 18 Jul 2024 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 4017 How ‘I Saw the TV Glow’ Editor Balances Creative, Tech & Negotiates Higher Pay 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 15 Jul 2024 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2364 Paramount — Skydance Merger; Scope, Scale & Dragon Battles 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 11 Jul 2024 08:00:00 -0000 full No Film School 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! 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 1944 How To Write a Movie To Shoot (In Three Months) 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 Mon, 08 Jul 2024 14:25:49 -0000 full No Film School 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. 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 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

]]> 1490 The Burden of Unpaid Work, Ramping Up Your Reps & Roth IRAs; Plus ‘A Family Affair’ Screenwriter Carrie Solomon 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 04 Jul 2024 19:02:58 -0000 full No Film School 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? 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 4288 Why This Doc Editor Let's Himself Get Lost 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 02 Jul 2024 14:40:46 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2518 Don’t Sacrifice Creative: ‘A House is Not A Disco’ DP & Editor Share Tools on Staying Lean, Nimble You don’t have to have high-end tech or complicated processes to create your film. You just need an open mind and a passion for the story you are telling, as we’ll learn from this week’s episode from the DP and editor of A House Is Not a Disco. In today’s episode, No Film School’s GG Hawkins speaks with cinematographer Eric Schleicher and editor Blake Pruitt to discuss: How Eric and Blake landed on this film Why the sound designer had to create sound effects  Having everything outlined and organized in a Google Doc What gave the film a kaleidoscopic structure  Asking for consent to film party scenes  Keeping the operating team small during production Matchframing - what it is and why it’s so helpful in the edit Challenges during the shoot and the edit The beauty of not having a production company fund the film Making the space to do projects you’re interested in Memorable Quotes “I’m not one to kill myself for a job. Even a dream project, I don’t want to work more than 8 hours a day on this.” [10:24] “It's more PBS doc than this high-end streamer doc that is out there right now.” [16:22] “You got an idea? Grab your camera. Shoot what you need.” [39:27] “Be open to unexpected things happening, but also have boundaries.” [45:47] Mentioned A House Is Not a Disco Fire Island    Find No Film School everywhere: On the Web https://nofilmschool.com/ 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 27 Jun 2024 08:00:00 -0000 full No Film School You don’t have to have high-end tech or complicated processes to create your film. You just need an open mind and a passion for the story you are telling, as we’ll learn from this week’s episode from the DP and editor of A House Is Not a Disco. You don’t have to have high-end tech or complicated processes to create your film. You just need an open mind and a passion for the story you are telling, as we’ll learn from this week’s episode from the DP and editor of A House Is Not a Disco. In today’s episode, No Film School’s GG Hawkins speaks with cinematographer Eric Schleicher and editor Blake Pruitt to discuss: How Eric and Blake landed on this film Why the sound designer had to create sound effects  Having everything outlined and organized in a Google Doc What gave the film a kaleidoscopic structure  Asking for consent to film party scenes  Keeping the operating team small during production Matchframing - what it is and why it’s so helpful in the edit Challenges during the shoot and the edit The beauty of not having a production company fund the film Making the space to do projects you’re interested in Memorable Quotes “I’m not one to kill myself for a job. Even a dream project, I don’t want to work more than 8 hours a day on this.” [10:24] “It's more PBS doc than this high-end streamer doc that is out there right now.” [16:22] “You got an idea? Grab your camera. Shoot what you need.” [39:27] “Be open to unexpected things happening, but also have boundaries.” [45:47] Mentioned A House Is Not a Disco Fire Island    Find No Film School everywhere: On the Web https://nofilmschool.com/ 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices You don’t have to have high-end tech or complicated processes to create your film. You just need an open mind and a passion for the story you are telling, as we’ll learn from this week’s episode from the DP and editor of A House Is Not a Disco.


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

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



Memorable Quotes

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



Mentioned

A House Is Not a Disco

Fire Island

  


Find No Film School everywhere:

On the Web

https://nofilmschool.com/


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: podcast@nofilmschool.com!

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

]]> 3139 ‘A Quiet Place: Day One’ Writer-Director Michael Sarnoski's Path from 'Pig' to Studio Franchise 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 27 Jun 2024 02:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2272 'Ren Faire' Dir Lance Oppenheim Plus Hard Comedy and Hard Questions 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 Sat, 22 Jun 2024 17:58:33 -0000 full No Film School 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? 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 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

]]> 4540 An Editing Round Table Of Emmy Contenders Part II 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 21 Jun 2024 15:42:36 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2566 Jeff Nichols Discusses the Inspiration, Writing, and Directing of 'The Bikeriders' 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 20 Jun 2024 08:00:00 -0000 full No Film School 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?” 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 1878 An Editing Round Table Of Emmy Contenders! 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 20 Jun 2024 07:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3192 Your Freelance Healthcare Questions Answered 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 13 Jun 2024 08:00:00 -0000 full No Film School 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? 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3597 Choosing Your Next Project & Immediate Next Steps 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 06 Jun 2024 08:00:00 -0000 full No Film School 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? 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2594 How to Get Your Short Out In the World & Write to Your Darkest Instincts 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 03 Jun 2024 08:00:00 -0000 full No Film School 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 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 5567 Break Up With Your Temp Score & Other Placeholders; Plus, Blackmagic Won NAB 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 30 May 2024 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2939 How To Cut Like an Anthropologist from 'Scrambled’ & ‘Alpha’ Editor Sandra Granovsky 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 27 May 2024 08:00:00 -0000 full No Film School Editing is more than just assembling footage. According to editor Sandra Granovsky, the whole editing process requires an interest and understanding of human nature. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2351 The Pause in Pipeline Programs & What It Means for You 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 23 May 2024 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 1796 ‘Prom Dates’ Writer & Director on Reviving the Teen Sex Comedy 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 20 May 2024 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2114 Film Fests: The Merits and Scams; Plus, Film Communities Outside of the Bubbles with Amy Dotson 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 16 May 2024 08:00:00 -0000 full No Film School 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? 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3332 How To Get a Short Film Into Sundance – and Turn It Into a Feature “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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 13 May 2024 08:00:00 -0000 full No Film School “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. “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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2732 ‘Shōgun’ DPs on Lenses, Looks & How ‘The Descent’ Brought Them Together 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 03 May 2024 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3800 Writing the Unfilmable & Managing Your Career When SH*T Hits the Fan 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 02 May 2024 18:36:44 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2208 How ‘Challengers’ Screenwriter Justin Kuritzkes Aces Character, Tension and Stakes 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 29 Apr 2024 08:00:00 -0000 full No Film School 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! 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 1784 Packaging and the Death of Naked Specs 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 25 Apr 2024 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 1989 Live from NAB 2024: Blackmagic's CEO on the URSA Cine 12K & Future of AI 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 22 Apr 2024 14:06:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3566 Editing Tyler Perry's Life Story with Filmmaker Erick Sasso 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 19 Apr 2024 14:17:42 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 4174 Why The 'Blood for Dust' Director & Producer Don't Wait for Permission To Make Movies 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 19 Apr 2024 01:25:59 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3680 These No Film School Listeners Won Slamdance and Then Some 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 12 Apr 2024 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2382 Survive Until 2025 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 11 Apr 2024 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2894 How to Safely Light Chris Hemsworth on Fire 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 05 Apr 2024 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2834 How Heat Shapes Your Career & the Biz Feat Oscar-Nominated Producer Chris Moore & Team 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 04 Apr 2024 08:00:00 -0000 full No Film School 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?” 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 5203 Is Achieving the American Dream Possible Through Cinematography? 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 29 Mar 2024 13:51:40 -0000 full No Film School 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? 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 5306 Troubleshooting Tech for Dummies & Bombing an Interview 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 28 Mar 2024 08:00:00 -0000 full No Film School 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? 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2505 Let’s Talk About Sex (On Screen) With a Team of Intimacy Coordinators 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 22 Mar 2024 16:48:12 -0000 full No Film School 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? 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 4884 To Rent or Buy Gear? Plus, Movies That Made Us Want To Make Movies 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 21 Mar 2024 08:00:00 -0000 full No Film School 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? 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2717 Pete Ohs Rethinks How We Make Movies 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 15 Mar 2024 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3292 How Your First Ten Pages — Or AI? — Will Determine if Someone Finishes Your Script 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 14 Mar 2024 08:00:00 -0000 full No Film School 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? 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3145 ‘Damsel’ Director Juan Carlos Fresnadillo Sets Fantasy on Fire (And It Looks Awesome) 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 08 Mar 2024 09:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2152 How We Manage Our Careers — From Annual Goals to Daily Tasks 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 07 Mar 2024 09:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3547 How Broadcast Dramas Work, With ‘Quantum Leap’ Writer Shakina 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 01 Mar 2024 09:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2800 Dissecting Emerging AI and Why Your Human Voice Is So Important 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 29 Feb 2024 09:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2951 Career-Sustaining Advice for a Consolidating Film Industry 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 23 Feb 2024 09:00:00 -0000 full No Film School 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.” 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3742 How To Ensure People Can Watch Your Movie (Hopefully) Forever 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 22 Feb 2024 20:46:02 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3355 How First-Time Feature Director Katie Burrell Subverts Ski Comedy... Hilariously 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 16 Feb 2024 09:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2912 Are Super Bowl Ads Creative Anymore? Plus, a New Film Camera! 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 15 Feb 2024 09:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!


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

]]> 2516 ‘The Florida Project’ Producer Francesca Silvestri & ‘Suncoast’ Director Laura Chinn on Unlocking the Director-Producer Relationship 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 09 Feb 2024 09:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 1546 Indecision Is Death: ‘Argylle’ Director Matthew Vaughn on Titles, Twists & Scripts 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 08 Feb 2024 09:00:00 -0000 full No Film School 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! 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2863 Neon’s Horror Subversion ‘Handling the Undead’ Director Thea Hvistendahl on the Patience To Face Your Nightmares 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 06 Feb 2024 09:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2157 'Expats' Director Lulu Wang on the Power of Saying “No”…and Sound 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Sat, 03 Feb 2024 01:41:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 1998 Oscars Snobbery or Misogyny? Plus, Doug Liman's 'Road House' Boycott 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 01 Feb 2024 22:12:21 -0000 full No Film School 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? 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!


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

]]> 3144 Lollapalooza, Oil, & Life-Or-Death Stakes: These Sundance Doc Directors Wear All the Hats 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 31 Jan 2024 09:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3487 E-Girl Investigators of Sundance Premiere Neon Doc ‘Seeking Mavis Beacon’ on Ethics, DIY, and How To Ask For What You Need 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Sun, 28 Jan 2024 09:00:00 -0000 full No Film School Jazmin Joes 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!


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

]]> 2170 From Landing the Job to Boosting Morale: Sundance DP Roundtable Dives into Filters & More 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Sat, 27 Jan 2024 15:50:02 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3553 When Sundance Is the End of Your Festival Run: ‘How To Have Sex’ Director Molly Manning Walker 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 24 Jan 2024 14:52:54 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 1822 NFS @ Sundance: Community and Creativity at the No Film School Alumni Party 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 23 Jan 2024 15:52:08 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2282 ‘Layla’ Director Amrou Al-Kadhi and Cast on Opening Sundance, Casting Chemistry, and the Power of Subtext 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 23 Jan 2024 09:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!


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

]]> 2132 NFS @ Sundance: Risks, Giveaways and What the Fest Tells Us About the Industry 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 22 Jan 2024 14:49:51 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2734 ‘Blackfish’ Director Gabriela Cowperthwaite Turns Blacklist Script ‘I.S.S.’ Into Sci-Fi Thriller Theatrical Release 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 19 Jan 2024 09:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2715 Surviving Our Lowest Lows 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 18 Jan 2024 15:58:29 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2972 Crucial Advice on Pitching Your TV Show 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 12 Jan 2024 14:18:41 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2491 Industry Etiquette Tips for Social Media and Feedback 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 11 Jan 2024 09:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3190 How To Make a Movie... For TikTok? 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 05 Jan 2024 09:00:00 -0000 full No Film School 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! 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2396 Filmmaker Resolutions for 2024 Are you planning on making any new year's resolutions for 2024? Maybe you want to integrate more positive practices into your life? Are there any habits that are hurting you, that you want to work on reducing? In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: Prioritizing your health by getting adequate sleep  Paying attention to the people we surround ourselves with Being in the present moment and not over analyzing your projects  The benefits of reading for pleasure Reading film news in paper format versus digital format Why you should get a treadmill desk Reasons you should always be writing or developing scripts Giving a “thumbs down” instead of the middle finger  Memorable Quotes “Good people are the fucking best. They are the best.” [4:10] “The only thing you have ultimate control over is writing. You can always write.” [18:55] “Live your life and figure out what makes you happy.” [22:30] “I need to stop getting so angry at motherfuckers who drive in the bike lane.” [22:40] Find No Film School everywhere: On the Web https://nofilmschool.com/ 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 04 Jan 2024 09:00:00 -0000 full No Film School 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? 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!


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

]]> 1873 Micro Budget by Design With the Screenwriting Life’s Jeff Graham 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 29 Dec 2023 09:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3088 Why Breaking Story Is Like Breaking a Horse 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 29 Dec 2023 09:00:00 -0000 full No Film School 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! 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3733 Indie Horror Duo the LeVecks: From Production To Press On ‘A Creature Was Stirring’ 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 22 Dec 2023 09:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2447 A Shocking Netflix Dump, Plus Lessons From Our Fav Holiday Flicks 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 21 Dec 2023 14:40:30 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 5221 'Share?' Director Ira Rosensweig on Full Stack Filmmaking 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 15 Dec 2023 09:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2782 Why Don’t We Have an Indie Streaming Platform? Plus Our 700th Episode! 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 14 Dec 2023 09:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 1908 Unpacking the Ethical Minefield of Docs With the Team Behind ‘Subject’ 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 08 Dec 2023 09:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3065 The Joy of Networking in Hollywood! 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 07 Dec 2023 09:00:00 -0000 full No Film School 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! 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 1878 How ‘May December’ Writer Samy Burch Plays With Power on the Page 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 01 Dec 2023 09:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2291 What Actors Need To Know About Cinematography, Plus Building Your Post Team 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 30 Nov 2023 09:00:00 -0000 full No Film School As an actor, will knowing the ins and out 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? 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2902 ‘Hungry Dog Blues’ Filmmakers Share Secret to Indie Film (Good Follow Up) 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 24 Nov 2023 17:57:24 -0000 full No Film School 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.” 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 4105 Gift Guide 2023 and the Pokémon Cards of Filmmaking 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 23 Nov 2023 09:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2323 ‘Asteroid City’ DP Robert D. Yeoman on Film vs Digital, Long-Term Director Relationships, and Sleep 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 17 Nov 2023 09:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3149 An Indie Film Exec Unpacks The Post-Strike World “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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 16 Nov 2023 09:00:00 -0000 full No Film School “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. “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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2750 Demystifying Artist Labs and Programs with Tribeca Studios’ Bryce Norbitz 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: untoldstories@tribecafilm.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 Send us an email with questions or feedback: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 10 Nov 2023 14:31:25 -0000 full No Film School 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. 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: untoldstories@tribecafilm.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 Send us an email with questions or feedback: podcast@nofilmschool.com! 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: untoldstories@tribecafilm.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


Send us an email with questions or feedback: podcast@nofilmschool.com!

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

]]> 3232 How To Talk About Your Film Career at the Holiday Dinner Table 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 09 Nov 2023 09:00:00 -0000 full No Film School 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2907 ‘TMNT: Mutant Mayhem’ Production Designer Yashar Kassai on the Future of Animation 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 03 Nov 2023 08:00:00 -0000 full No Film School 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.” 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3184 Avoid Making Your Sets Look Like Sets; Plus, Are Intermissions Back? 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 02 Nov 2023 08:00:00 -0000 full No Film School 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? 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2549 Why Horror Films Are a Mirror of Society 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 31 Oct 2023 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3607 Piloting Real-Time Post-Collab on Damien LeVeck’s Holiday Horror 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Sat, 28 Oct 2023 12:32:03 -0000 full No Film School 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!




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

]]> 2202 Breaking Down the Color of Horror with LatinXorcists’ Ricardo Martinez 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 27 Oct 2023 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3454 Practical Advice for Practical Effects With the Directors of SXSW Creature Feature ‘Snatchers' 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 26 Oct 2023 13:34:40 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2947 Adventures in Indie Filmmaking and Leveraging Famous Faces 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 19 Oct 2023 08:00:00 -0000 full No Film School 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? 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3419 How 'The Creator' DP Challenges Big Budget Filmmaking with an Indie Mindset 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 18 Oct 2023 23:55:30 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!


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

]]> 3412 How The Weird Satanist Guy Spawned a Sundance Indie With Demon Puppets 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 18 Oct 2023 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 4165 Why You Should Write Your Spec with 'Greenland' Screenwriter Chris Sparling 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 10 Oct 2023 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3068 The WGA Strike is Over - What's Next? 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 05 Oct 2023 08:00:00 -0000 full No Film School 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? 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2688 The Most Disturbing Shorts at Sundance 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 29 Sep 2023 08:00:00 -0000 full No Film School 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!


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

]]> 4058 The Writer's Strike Ends and Social Media Debates a Screenplay Page 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 28 Sep 2023 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2219 How To Cast, Direct and Make Movies for Kids 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Sat, 23 Sep 2023 00:16:55 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2289 The iPhone 15 is for Filmmakers, Casting Problems, and a Panamanian Adventure 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 21 Sep 2023 15:33:30 -0000 full No Film School 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? 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2690 How These SNL Editors Cut an Emmy-Nominated Sketch With 60+ VFX Shots in Two Days 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 15 Sep 2023 15:02:12 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3366 Secrets to a Happy Set 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 14 Sep 2023 08:00:00 -0000 full No Film School 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? 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3141 How “Blackberry” Editor Induces Anxiety in Comedy 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 08 Sep 2023 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3087 Strike Updates & Questions Directors Need To Answer in Prep (Feat. A Director in Prep) 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 07 Sep 2023 08:00:00 -0000 full No Film School 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? 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!


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

]]> 3256 Grit, Hustle and Self-Distribution: Learnings From Team Behind "Anchorage" 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 Fri, 01 Sep 2023 12:51:23 -0000 full No Film School 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. 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 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

]]> 3247 How To Write a Screenplay in Ten Days and Shoot a Movie in Less 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 31 Aug 2023 20:20:19 -0000 full No Film School 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? 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2898 How To Reinvent a Classic With Birth/Rebirth’s Laura Moss and Brendan J. O’Brien 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 25 Aug 2023 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3175 How To Actually Shoot a Movie On Your iPhone 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 Austin 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 24 Aug 2023 08:00:00 -0000 full No Film School 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. 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 Austin 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: podcast@nofilmschool.com! 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 Austin 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: podcast@nofilmschool.com!

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

]]> 2661 SNL Vet On Directing, Producing and Shooting Sketch, Parody and Satire 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 18 Aug 2023 05:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2562 Rock & Roller Grace Potter Explains Her Filmic Inspirations, Aspirations 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 17 Aug 2023 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3593 “Mutt” Director and Actor Unpack Career-Launching First Feature 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 11 Aug 2023 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 4161 How “The Bear” Editor Harnesses Chaos Across Film and TV 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 10 Aug 2023 08:00:00 -0000 full No Film School 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? 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2865 Top Legal Mistakes Filmmakers Make and How To Avoid Them “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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 04 Aug 2023 08:00:00 -0000 full No Film School “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. “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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3784 How To Shoot and Edit for Visual and Practical FX With “Appendage” Editor 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 03 Aug 2023 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3057 How Appalachia-Based Filmmakers Blend Doc and Myth in “King Coal” 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 28 Jul 2023 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3089 The DGA Deal Point Everyone Should Be Talking About, Plus Strike Updates 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 27 Jul 2023 12:19:29 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3265 "Plan C" Editor Reveals the Skill Every Creative Should Foster 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 21 Jul 2023 08:00:00 -0000 full No Film School 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? 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2876 Your Double Strike Questions Answered: Waivers, Indies, Subscriptions and More 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 20 Jul 2023 12:37:12 -0000 full No Film School 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? 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3484 Why You Shouldn't Choose a Lane as a Filmmaker 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 14 Jul 2023 08:00:00 -0000 full No Film School 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? 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2674 What Indie Filmmakers Can Learn From ‘Indiana Jones’ 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 13 Jul 2023 08:00:00 -0000 full No Film School 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? 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2762 What Podcasters and TV Writers Can Learn From Each Other 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 07 Jul 2023 13:18:36 -0000 full No Film School 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? 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!


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

]]> 3342 The Boundary-Pushing Tech at Cine Gear and Tribeca 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 06 Jul 2023 08:00:00 -0000 full No Film School 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3022 What Can Tribeca Doc Editors Teach Us About Tools, Tone and Working Remote? 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 30 Jun 2023 08:00:00 -0000 full No Film School 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3757 How To Sell Your TV Show Plus a Sundance Episodic Darling 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 29 Jun 2023 08:00:00 -0000 full No Film School 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? 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 5333 The Festival Challenging Industry Norms & It's Best Feature Doc Winner 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 23 Jun 2023 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3155 Big Movies Require Big Risks - 'God is a Bullet’ Producer and Financier Talks Filmmaking 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 22 Jun 2023 08:00:00 -0000 full No Film School 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 5042 ‘Extraction 2’ Director Sam Hargrave’s Advice on Oners, Stunts, and Emails 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 16 Jun 2023 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2811 Live From TriBeCa plus a Film That Takes on Toxic Frat Culture 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 15 Jun 2023 08:00:00 -0000 full No Film School 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3035 ‘White Lotus’ DP Explains the Difference Between Shooting Film & TV 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 09 Jun 2023 12:47:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2869 How to Transition Roles Within the Film Industry Feat. ‘Flamin’ Hot’ Director Eva Longoria 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 08 Jun 2023 08:00:00 -0000 full No Film School 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2580 How to Craft a Freaky Jump Scare With ‘Boogeyman’ Director Rob Savage 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 02 Jun 2023 08:00:00 -0000 full No Film School 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2831 Why We’ll Be Babysitting AI To Avoid a Cliche Hellhole 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 01 Jun 2023 12:55:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3213 An Accidental First Feature—Walé Oyéjidé’s on His Stunning ‘Bravo, Burkina!’ 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 26 May 2023 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3437 How To Navigate Hollywood Power Structures and What SAG Striking Means for the WGA 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 25 May 2023 08:00:00 -0000 full No Film School 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? 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!



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

]]> 3440 How To Break Into TV and Keep Healthy Boundaries 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 19 May 2023 12:43:44 -0000 full No Film School 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? 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3382 Is Your Project Fellowship-Ready? Plus, Find The Perfect IP For You 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 18 May 2023 13:27:10 -0000 full No Film School 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? 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3142 A Step-By-Step Guide to Indie Film: From Labs to Sundance to Theaters 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 12 May 2023 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3965 Live From the WGA Picket Line and Why It Matters to You 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 11 May 2023 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 2553 How To Nail Camp Across Genres 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 05 May 2023 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com!

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

]]> 3016 How To Salvage a Toxic Production and the Death of the Movie Star 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 04 May 2023 08:00:00 -0000 full No Film School 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? 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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: podcast@nofilmschool.com!

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

]]> 2873 Puberty and Filmmaking—Not So Different! ‘Are You There God?’ Director Kelly Fremon Craig 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 28 Apr 2023 13:10:51 -0000 full No Film School 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. 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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: podcast@nofilmschool.com!

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

]]> 2139 Golden Elevator to Indie Film? Plus, Rolling Calls 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 27 Apr 2023 16:40:59 -0000 full No Film School 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! 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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: podcast@nofilmschool.com!

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

]]> 2692 'Chevalier' Director Stephen Williams on Big Breaks Outside of Hollywood 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 21 Apr 2023 08:00:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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: podcast@nofilmschool.com!

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

]]> 3177 Day 2 of NAB 2023: Innovation, Battle Testing Camera to Cloud 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 21 Apr 2023 01:47:46 -0000 full No Film School 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.” 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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: podcast@nofilmschool.com!

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

]]> 3698 Day 1 of NAB 2023: The Largest Community of Creatives and the Philosophy of What Makes a Camera Great 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 18 Apr 2023 15:34:24 -0000 full No Film School 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. 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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: podcast@nofilmschool.com!

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

]]> 3188 ‘Renfield’ Director Chris McKay: The DNA of Your Movie Is the People Who Make It “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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 14 Apr 2023 13:17:27 -0000 full No Film School “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. “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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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: podcast@nofilmschool.com!

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

]]> 3173 WGA Strikes for Everybody, Plus Ray Romano, and Falling Out of Love 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 13 Apr 2023 12:42:34 -0000 full No Film School 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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: podcast@nofilmschool.com!

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

]]> 4213 ‘Joyland’ Director Saim Sadiq Redefines What it Means to be a Director 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 07 Apr 2023 08:00:00 -0000 full No Film School 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? 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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: podcast@nofilmschool.com!

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

]]> 2928 True Originality is Within Your Grasp 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 06 Apr 2023 08:00:00 -0000 full No Film School 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 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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: podcast@nofilmschool.com!

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

]]> 2388 Turning "You're Not Gonna Make It" into Emmys with Director-Editor Kabir Akhtar 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 31 Mar 2023 14:59:00 -0000 full No Film School 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. 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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: podcast@nofilmschool.com!

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

]]> 4369 The Money Episode 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 30 Mar 2023 13:32:19 -0000 full No Film School Should you tell others how much money you make? Should you pay for your own productions? How should you be properly allocating your money? 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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: podcast@nofilmschool.com!

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

]]> 3395 How to Greenlight Yourself with ‘Wildflower’ Director 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 24 Mar 2023 13:39:37 -0000 full No Film School 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? 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2944 Tarantino's Last Movie, plus, Surviving Freelance, Anchoring Scripts, and Ronin 4D Flex 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 23 Mar 2023 08:00:00 -0000 full No Film School 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? 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 3572 How to Cut Weeks of Shooting and Still Win at Sundance with ‘Mami Wata’ Director C.J. “Fiery” Obasi and Cinematographer Lílis Soares 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 17 Mar 2023 17:02:09 -0000 full No Film School 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2682 Too Many Cooks in the Best Picture Category? Plus, Critiques, Critics, and 'No Hard Feelings' 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 megaphone.fm/adchoices Thu, 16 Mar 2023 08:00:00 -0000 full No Film School 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 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 3216 Daniels and Paul Rogers talk Oscar-Winning (Re-Run) 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 14 Mar 2023 14:53:17 -0000 full No Film School 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. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 7566 From Sundance to SXSW: "Fancy Dance" Director Erica Tremblay and Co-Writer Miciana Alise 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 10 Mar 2023 18:36:46 -0000 full No Film School 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. 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2650 Big Data in Little Hollywood 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 09 Mar 2023 20:24:40 -0000 full No Film School 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2981 SXSW Preview: Should You Produce Your Festival Experience? Plus Interview with Director Ella Glendining 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 03 Mar 2023 15:13:50 -0000 full No Film School 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. 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 3113 Do We Miss Development Hell? Plus, The Last of Us 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 02 Mar 2023 09:00:00 -0000 full No Film School 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, 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 3179 "The Banshees of Inisherin" Editor Mikkel E.G. Nielsen on Making Films Come Full Circle 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 24 Feb 2023 09:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 3337 Do We Need AI to Cry? Plus, the Future of Red. 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 23 Feb 2023 09:00:00 -0000 full No Film School 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 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2990 Nailing the LOL with Women Write Now’s Sundance Fellows 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 17 Feb 2023 13:32:00 -0000 full No Film School 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 3400 Editors and Post Sound Have a Crush on Each Other('s Work) 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 10 Feb 2023 09:00:00 -0000 full No Film School 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 3798 How to Deal with Agents, Managers, and Breaking Up with Collaborators 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 09 Feb 2023 03:04:00 -0000 full No Film School 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 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 3668 Jason Woliner on Developing Filmmaking Stamina and Creative Confidence 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 07 Feb 2023 09:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2103 For These DP's Connecting with Story and Storytellers Prevents Burnout 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 03 Feb 2023 13:51:52 -0000 full No Film School 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 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 3170 Live From Sundance: Festival Favorites, Acquisitions, and the Good/Bad/Ugly of Networking 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 27 Jan 2023 20:26:00 -0000 full No Film School 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. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 3505 “Don’t Follow the Rules, Rewrite the Rules” — Sundance Director Alison O'Daniel on Slow Burn Filmmaking by Design, Weaving Captioning into Film Narrative 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 26 Jan 2023 02:05:00 -0000 full No Film School This week we spoke with Alison O’Daniel, director of The Tuba Thieves, which premiered at Sundance. O’Daniel is a filmmaker and visual artist. Her work mixes conceptual art practice, narrative storytelling, documentary, and engagement with the deaf and hard-of-hearing communities. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2633 Live from Sundance, plus Powderkeg Media’s Head of Development Approaches the Fest in a Time of Pure Flux 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 23 Jan 2023 09:00:00 -0000 full No Film School 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2786 What We Wish We Knew About Film Festivals When We Were Younger 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 20 Jan 2023 03:00:00 -0000 full No Film School 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 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 3991 What is the 'Secret Sauce' of a Great Film? Oscar-Winning Editor Lee Smith Helps Us Find Out 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 17 Jan 2023 09:00:00 -0000 full No Film School Today’s guest is Editor Lee Smith, who has won numerous awards for his editing work, including an Oscar. 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. 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2393 Why is Francis Ford Coppola Losing His Crew? 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 13 Jan 2023 09:00:00 -0000 full No Film School 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 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2301 How to Make Money as a Cinematographer 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 megaphone.fm/adchoices Tue, 10 Jan 2023 14:00:00 -0000 full No Film School After thousands of free articles, videos and podcasts (this is episode 600!) we're finally creating our first in-depth online course. Editor-in-chief George Edelman is joined by NFS Founder Ryan Koo and director/DP Charles Haine to talk about why we did it. 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 3716 You Can Own a Piece of A Disruptive Film and TV Development Model 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 03 Jan 2023 17:05:00 -0000 full No Film School 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. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2314 Darius Khondji on Scale, Scope, and Cinematic Storytelling 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 29 Dec 2022 09:00:00 -0000 full No Film School 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 it was like working on the film, Bardo: False Chronicle of a Handful of Truths. Bardo is now available on Netflix. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 1428 Filmmaker First Steps: Anne Sophie Bine on Short Film Success 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 27 Dec 2022 09:00:00 -0000 full No Film School 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 



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

]]> 2227 There is a Whole New Way Movies Are Marketed... Will it Work? 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 22 Dec 2022 09:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 4674 Going Right From Film School Shorts to a First Feature 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 20 Dec 2022 09:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2658 Making Your Creative Intentions Count 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 15 Dec 2022 09:00:00 -0000 full No Film School 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 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 3159 Todd Field Tells us How to Study Character in Tar 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 13 Dec 2022 09:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2078 A.I. Leaps Forward Again...Do Filmmakers Need to Worry? 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 08 Dec 2022 09:00:00 -0000 full No Film School 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 



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

]]> 4309 How to Craft Natural Light into Stunning Visuals in Banshees of Inisherin 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 06 Dec 2022 09:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2035 NEW AI Tech That Blows Our Minds and How to Use Improv on Set 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 01 Dec 2022 09:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 3484 Navigating Ego in Filmmaking 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 24 Nov 2022 09:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 4622 How to Get Your Kinds of Movies Made with Dean Craig Writer/Director of 'The Estate' 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 22 Nov 2022 09:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2051 Is This the Tool Filmmakers Need to Find Their Audience? 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Sat, 19 Nov 2022 09:00:00 -0000 full No Film School 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 3263 Tony Kushner Breaks Down 'The Fabelmans' and Collaborating with Steven Spielberg 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 15 Nov 2022 09:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 1531 You Finished Your Screenplay. Now What? 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 11 Nov 2022 09:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 3948 “Smile” Director and DP Share the Secret Rules to Their On-Set Success 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 08 Nov 2022 09:00:00 -0000 full No Film School 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 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 



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

]]> 2572 How to Get Commercial Directing Gigs and Brand New Camera Tech We Love 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 03 Nov 2022 08:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 3328 How This 15 Year Old Shot a Horror Short and Got it To Cannes 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 28 Oct 2022 08:00:00 -0000 full No Film School 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 1979 How to Give Notes That Help and What AI Will Do to Filmmaking 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 27 Oct 2022 08:00:00 -0000 full No Film School Note-giving is an art unto itself... if you want to get desired results 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 3459 Paul Feig Teaches Us the Nuances of Comedy and Collaboration 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 25 Oct 2022 08:00:00 -0000 full No Film School 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, director of films such as Bridesmaids and television shows like The Office and Nurse Jackie. 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 1890 When and How to "Run and Gun" Wisely 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 20 Oct 2022 18:15:11 -0000 full No Film School What do large studios, “run and gun” filmmakers, and project stakeholders all have in common? They lack humility. 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 3316 How Can You Option Valuable IP and Get it Made with Josh Gordon and Will Speck 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 18 Oct 2022 08:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2451 Box Office Smarts for Filmmakers or How To Make Your Movie When Something Like it Bombed 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 13 Oct 2022 08:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 3248 "Bodies Bodies Bodies" Director Halina Reijn Shares Her Directing Process 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 11 Oct 2022 08:00:00 -0000 full No Film School Preparation, preparation, preparation. Director, Halina Reign, shares why it is important to prepare before filming and how she prepared for her film, Bodies Bodies Bodies. 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2223 How to Stay Healthy During #SetLife 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 07 Oct 2022 08:00:00 -0000 full No Film School Your brain is part of your body. The way you eat on set will affect how you think on set. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 3549 'The Redeem Team' Director Jon Weinbach Teaches Us How to Sell The Stories We Love 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 04 Oct 2022 08:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2176 How Do You Make Money While Pursuing a Filmmaking Career? 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 30 Sep 2022 08:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 3422 Debunking and Decoding the Industry with 'Superbad' and 'Confess, Fletch' Director Greg Mottola 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 27 Sep 2022 14:25:00 -0000 full No Film School 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. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 3043 How to Shoot Sex Scenes Responsibly, Even Without A Big Budget 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 23 Sep 2022 13:41:40 -0000 full No Film School 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. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2758 What's The Cost of Doing Work You Care About? Jerrod Carmichael Explains 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 20 Sep 2022 08:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 1940 Is There Still a Place in Cinema for Rule Breakers? 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 editor@nofilmschool.com!  Visit https://nordvpn.com/nofilmschool Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 15 Sep 2022 08:00:00 -0000 full No Film School Just because something is different doesn’t mean it is wrong. Sometimes “breaking the rules” is precisely what makes films so great. 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 editor@nofilmschool.com!  Visit https://nordvpn.com/nofilmschool Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

Visit https://nordvpn.com/nofilmschool

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

]]> 3323 Face Down Your Filmmaking Challenges with this Approach From Medieval Director Petr Jakl 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 editor@nofilmschool.com!  Visit https://nordvpn.com/nofilmschool Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 13 Sep 2022 08:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com!  Visit https://nordvpn.com/nofilmschool Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

Visit https://nordvpn.com/nofilmschool

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

]]> 2338 How to Become More Hireable and What We like About the Fuji X-H2 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 editor@nofilmschool.com!  Visit https://nordvpn.com/nofilmschool Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 09 Sep 2022 08:00:00 -0000 full No Film School For those working in the entertainment industry, it is important to learn how to: hire, manage, and fire. 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 editor@nofilmschool.com!  Visit https://nordvpn.com/nofilmschool Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 


Visit https://nordvpn.com/nofilmschool

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

]]> 3116 How to Find Your Way Into the Industry with Jessica M. Thompson 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 editor@nofilmschool.com!  Vist https://nordvpn.com/nofilmschool Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 06 Sep 2022 08:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com!  Vist https://nordvpn.com/nofilmschool Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

Vist https://nordvpn.com/nofilmschool

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

]]> 2112 Joe Dante Believes You Can Create Amazing Things 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 editor@nofilmschool.com!  Vist https://nordvpn.com/nofilmschool Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 02 Sep 2022 08:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com!  Vist https://nordvpn.com/nofilmschool Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

Vist https://nordvpn.com/nofilmschool

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

]]> 1668 When is the Right Time to Take Big Career Swings? 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 editor@nofilmschool.com!  Vist https://nordvpn.com/nofilmschool Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 01 Sep 2022 17:03:00 -0000 full No Film School 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. 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 editor@nofilmschool.com!  Vist https://nordvpn.com/nofilmschool Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 


Vist https://nordvpn.com/nofilmschool

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

]]> 3471 Yes, You Can Still Do This... and Audiences Need You to! 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 editor@nofilmschool.com! Vist https://nordvpn.com/nofilmschool Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 30 Aug 2022 08:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com! Vist https://nordvpn.com/nofilmschool Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!


Vist https://nordvpn.com/nofilmschool

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

]]> 2219 China Sends Hollywood a Message 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 editor@nofilmschool.com!  Vist https://nordvpn.com/nofilmschool Learn more about your ad choices. Visit megaphone.fm/adchoices Sat, 27 Aug 2022 13:21:00 -0000 full No Film School 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. 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 editor@nofilmschool.com!  Vist https://nordvpn.com/nofilmschool Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 


Vist https://nordvpn.com/nofilmschool

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

]]> 3062 How to Identify Your Filmmaking Voice and Expand Beyond It 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 editor@nofilmschool.com! Sign up for NordVPN here: https://nordvpn.com/nofilmschool Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 23 Aug 2022 13:49:00 -0000 full No Film School Filmmaker, actor, & writer Cherien Dabis shares how navigating clashing cultures and embracing multiple perspectives expanded her voice and helped grow her career… 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 editor@nofilmschool.com! Sign up for NordVPN here: https://nordvpn.com/nofilmschool Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!


Sign up for NordVPN here: https://nordvpn.com/nofilmschool

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

]]> 2135 How Can You Navigate Hollywood if You Aren't Rich or Connected? 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 18 Aug 2022 08:00:00 -0000 full No Film School 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 3519 How to Create Your Directing Opportunities with Liz Allen Rosenbaum 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 16 Aug 2022 08:00:00 -0000 full No Film School Purple Hearts director Elizabeth Allen Rosenbaum reflects on her journey from underexposed dailies in film school to directing a Netflix feature that reminds people from opposite sides of the aisle you can find a middle ground… 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2113 Find Out What the Hell Happened with HBO Max 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 11 Aug 2022 12:29:00 -0000 full No Film School 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”... 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2940 How 'Nope' Editor Nicholas Monsour Creates Perspective and Meaning “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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 09 Aug 2022 08:00:00 -0000 full No Film School “Nope” Editor Nicholas Monsour sheds light on cutting scenes with Jordan Peele and finding the balance between ambiguity and intention… “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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2547 How Do You Know When Your Edit is Done? 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 04 Aug 2022 08:00:00 -0000 full No Film School 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… 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 3546 The New Soft Skills You Need as a Modern Filmmaker 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 28 Jul 2022 08:00:00 -0000 full No Film School 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 3354 Here's How This DP Did Something Nobody's EVER Done Before 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 26 Jul 2022 08:00:00 -0000 full No Film School Cinematographer Bianca Cline explains how she shot the feature film Marcel The Shell With His Shoes On. Now playing in theatres, check out Marcel The Shell With His Shoes On! 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2112 Is it Bad That Spielberg and A.I. Generators Are Playing in Our Sandbox? 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 21 Jul 2022 08:00:00 -0000 full No Film School 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? 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 3459 This is Why You Can Do Better Work Even With Limitations 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 14 Jul 2022 08:00:00 -0000 full No Film School 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… 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 3587 How To Create Amazing Cinematic Sequences with the 'Elvis' Editors and Cinematographer 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 12 Jul 2022 08:00:00 -0000 full No Film School Editors Jonathan Redmond and Matt Villa and DP Mandy Walker share what it was like cutting scenes for Elvis while following the vision of Baz Luhrman. Elvis is in theaters now! 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 4217 How You Can Benefit from Finding Filmmaking Communities 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 megaphone.fm/adchoices Thu, 07 Jul 2022 18:56:00 -0000 full No Film School Plus we talk about comments from Tom Cruise and James Cameron 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 4538 Here is How a Random Crush Turned into Someone's Break Through Feature 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 05 Jul 2022 08:00:00 -0000 full No Film School Screenwriter Heidi Lux talks about how having a random crush at 30 turned into a YA movie… 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2065 The Personal and the Political of Filmmaking in Unprecedented Times 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 30 Jun 2022 13:16:00 -0000 full No Film School We discuss the Supreme Court's decision to repeal the Roe Wade decision, recent tech news, and some new lenses. 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2949 Unlocking the Challenges of Directing Actors with Sophie Hyde 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 28 Jun 2022 08:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 1805 Let's Face Filmmaker Imposter Syndrome Together 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 23 Jun 2022 08:00:00 -0000 full No Film School 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… 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2472 Straightforward Ways to Be a Better Director from 'Hustle' Director Jeremiah Zagar 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 21 Jun 2022 14:39:00 -0000 full No Film School 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. 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2518 Find Out What's Happening to the Streaming Business Model and What's Next in Lenses from Cine Gear 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 16 Jun 2022 08:00:00 -0000 full No Film School 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… 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 3418 Go Inside the Editing of "Top Gun: Maverick" 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 14 Jun 2022 08:00:00 -0000 full No Film School Editor Eddie Hamilton tells us about cutting Top Gun: Maverick, building his career, and working with Tom Cruise. 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2900 Learn From The "Sketchy" Things We Did When We Started Out... 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 09 Jun 2022 14:25:00 -0000 full No Film School 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… 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2268 Make Your Feature by Embracing Fear 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 07 Jun 2022 08:00:00 -0000 full No Film School 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… 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 1932 What's Your Responsibility as a Filmmaker AND Film-watcher? 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 02 Jun 2022 08:00:00 -0000 full No Film School 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… 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2549 Film Festival Founders Share How You Can Grow from the Festival Experience 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 31 May 2022 13:47:00 -0000 full No Film School 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… 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2517 Do Movie Stars Still Matter for Indie Filmmakers? 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 26 May 2022 08:00:00 -0000 full No Film School 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… 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2026 Will This Be James Cameron's WATERloo? 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 19 May 2022 08:00:00 -0000 full No Film School Avatar is back after a long layoff since it changed the game. What can it offer filmmaking and audiences now? 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 1675 How This Writing Team Got Their First Feature (With a Little Help From This Podcast!) 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 17 May 2022 08:00:00 -0000 full No Film School 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… 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2255 The Problem with TV, The Cat People's Narrative, And a Tool That Finally Crosses the Streams 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 12 May 2022 08:00:00 -0000 full No Film School 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… 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 3326 Award-Winning Director John Madden Talks Crafting Tension in 'Operation Mincemeat' 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 10 May 2022 08:00:00 -0000 full No Film School Accomplished director John Madden shares his extensive film and radio experience and breaks down the art of storytelling in ‘Operation Mincemeat’… 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2349 Word of Mouth and Making Good Movies Still Works! 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 05 May 2022 08:00:00 -0000 full No Film School 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2388 Filmmaking Tools and Tech That Excite Us the Most as We Wrap Up NAB 2022 NAB 2022 is coming to a close and we're reflecting on the most amazing things we saw, the innovations we're inspired by, and the changes we believe the future of film tech holds for filmmakers everywhere. In this episode, we talk about… Teradek’s cloud-based post-production and portable mixing solutions and affordable line for filmmakers Aputure’s growth and other upcoming small companies to watch   Robots with cameras and Frame.io’s futuristic wireless transmission  Audio Design Desk’s mind-blowing software solution for audio designers  Battery options and Came-TV’s dual V-mount charger     High end lenses, Maxon, and the evolution of effects work  Going for the tools you need but recognizing the free or less expensive alternatives  ARRI’s rise to the top and where camera systems will go from here How filmmakers can leverage technology to push the industry forward   Cutting through the noise with branding, storytelling, and design principles  The possibility of better things and embracing cinema all over again  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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 03 May 2022 08:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2971 These Innovations Let You Light However You Want 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 27 Apr 2022 00:35:00 -0000 full No Film School 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2033 Robert Eggers Explains How the Devil is in the Details on 'The Northman' 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 26 Apr 2022 08:00:00 -0000 full No Film School Visionary Director Robert Eggers joins us to talk about inspiration, struggles, humility, and confidence on set. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 1142 The First Day of NAB 2022 Introduces Insane New Workflows 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 25 Apr 2022 21:28:00 -0000 full No Film School 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. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 1952 There May Be No Better Way to Learn and Get Inspired Than This 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Sat, 23 Apr 2022 16:14:00 -0000 full No Film School Turner Classic Movies host Eddie Muller talks about the impact of studying classic films at the TCM Film Festival. 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2027 The Genius Talent Behind "Everything Everywhere All At Once", All at Once 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 22 Apr 2022 11:51:00 -0000 full No Film School Everyone once in a while a movie comes out that blows our collective hearts and minds. This is that movie, and these are the people who made it. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 7536 What Happened to All The Sex in Movies? 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 21 Apr 2022 08:00:00 -0000 full No Film School 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… 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2493 A Round Table On Apps Every Filmmaker Needs 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 19 Apr 2022 08:00:00 -0000 full No Film School 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… 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 

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YouTube 

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Instagram

https://www.instagram.com/nofilmschool

 

Get your questions answered on the podcast by emailing editor@nofilmschool.com!

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

]]> 3331 NAB is Coming And Here is Why We're Pumped 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 14 Apr 2022 12:26:00 -0000 full No Film School Specs about all the shiny new tech released before the annual NAB show and the unfortunate reality of bad projection experiences… 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 3049 How This First Time Filmmaker Got Elite Talent on Her Side 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 12 Apr 2022 15:37:00 -0000 full No Film School 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... 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 1597 Plagiarizing Film Students and Was 'The Godfather' Lit Poorly? 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 07 Apr 2022 08:00:00 -0000 full No Film School 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… 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2724 How This First Time Filmmaker Got it Done By Laying it All on The Line 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 05 Apr 2022 08:00:00 -0000 full No Film School 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2513 What To Do With Your Hands... At a Film Festival or Awards Show 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 31 Mar 2022 00:16:00 -0000 full No Film School 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… 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2943 Learn Directly From these 2021 Academy Award Filmmakers 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 25 Mar 2022 16:46:00 -0000 Learn Directly From these 2021 Academy Award Filmmakers full No Film School 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… 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 4139 Who Will Win The Streaming War and All Your $$? 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 25 Mar 2022 08:00:00 -0000 full No Film School 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… 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2597 The Oscar Nominated Art Team Behind "Nightmare Alley" 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 23 Mar 2022 08:00:00 -0000 full No Film School Production designer Tamara Deverell and costume designer Luis Sequeria illuminate the process behind building the brilliant and haunting world of Nightmare Alley… 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2931 Dune: A Masterclass in Bringing a World to Life Through Sound 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 22 Mar 2022 17:46:00 -0000 full No Film School 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… 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 3660 The Tragedy of People Missing the Point of Movies 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Sun, 20 Mar 2022 12:58:00 -0000 full No Film School 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… 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 3659 Find Out Why These Producers Read ‘Mass’ and Had to Make It 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 16 Mar 2022 08:00:00 -0000 full No Film School 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2660 3 Filmmaking News Stories That Push All Kinds of Buttons 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 14 Mar 2022 08:00:00 -0000 full No Film School 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 3499 The Not-So-Secret Hack That Makes 'Winning Time' So Amazing '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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 09 Mar 2022 09:00:00 -0000 full No Film School Cinematographers Todd Banhazl and Mihai Malaimare Jr. share how they seamlessly transport audiences to the 70’s and 80’s in 'Winning Time' '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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 4476 Why Does The Academy Hate Actual Filmmaking? 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 03 Mar 2022 09:00:00 -0000 full No Film School 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… 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 3485 Want To Binge The Best Movies Ever? This Month You Can... 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 01 Mar 2022 09:00:00 -0000 full No Film School 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2767 Investors Scamming Filmmakers and a New Camera That Blows Our Mind 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 24 Feb 2022 09:00:00 -0000 full No Film School 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… 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 3981 How Two Very Different Paths Led To Filmmaking Careers 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 22 Feb 2022 09:00:00 -0000 full No Film School Talia Lugacy and Chad Galster share their different experiences of how film school influenced their current careers and remind us there’s no right way to filmmaking… 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 5133 This Eye-Tracking Tech Could Change Filmmaking and Watching 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 17 Feb 2022 09:00:00 -0000 full No Film School The return of MoviePass, tech updates, and how eyeball tracking gets us one step closer to the perfect shot… 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2248 Creating Subtext in The Power of The Dog 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 15 Feb 2022 09:00:00 -0000 full No Film School 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… 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2434 In a World of Mostly Bad Things, Make Something Good 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 10 Feb 2022 09:00:00 -0000 full No Film School 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… 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 3794 Station 11 DP's Teach Creating New Looks in Familiar Genre 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 08 Feb 2022 09:00:00 -0000 full No Film School 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… 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2513 Censorship, Changed Endings, and The Big Chungus of Gear 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 03 Feb 2022 09:00:00 -0000 full No Film School China’s happy ending to Fight Club, nerding out about DJI’s new 4D camera and Skydio drones… 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 3497 What Cameras Are Most Popular for Sundance Filmmakers? 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 27 Jan 2022 09:00:00 -0000 full No Film School 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… 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 3013 How Driving to LA With Nothing But the Dream Worked For These Guys 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 25 Jan 2022 09:00:00 -0000 full No Film School 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 4436 A Rights-Buying Story So Weird it Might Be a Joke 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 20 Jan 2022 14:47:00 -0000 full No Film School 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… 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 3051 The Secrets Behind Directing Great Television From Someone Who Does It 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 18 Jan 2022 09:00:00 -0000 full No Film School Dan Attias breaks down his prolific directing experience and getting to the authenticity of storytelling… 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 3064 How to Make the Slow Time of Year Busy 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 13 Jan 2022 09:00:00 -0000 full No Film School 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… 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2221 How Do You Raise Money at a Film Festival? 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 07 Jan 2022 09:00:00 -0000 full No Film School 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… 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2994 Nathalie Biancheri on Writing and Directing 'Wolf' 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 06 Jan 2022 09:00:00 -0000 full No Film School Nathalie Biancheri shares her non-traditional path to filmmaking and her creative process behind writing and directing the feature film ‘Wolf’... 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 1905 Nora Fingscheidt On Being 'Drafted' to Direct a Large Scale Feature 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 04 Jan 2022 09:00:00 -0000 full No Film School Nora Fingscheidt shares what it’s like to be plucked from German filmmaking to direct a Netflix feature film starring Sandra Bullock… 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2234 Licorice Pizza's Editor and DP On Breaking Rules with PTA 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 23 Dec 2021 09:00:00 -0000 full No Film School 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 4192 Nightmare Alley DP and Editor Shed Light on Crafting Utter Darkness 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 21 Dec 2021 09:00:00 -0000 full No Film School Dan Laustsen and Cam McLaughlin dive into some of the nooks and crannies and hidden crevices of Nightmare Alley… 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2015 Why Make Movies? 2021 In Review 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 16 Dec 2021 09:00:00 -0000 full No Film School Wrapping up the best of 2021, consuming content Gangnam Style and Todd’s tinfoil hat corner… 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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:


Ask us questions at editor@nofilmschool.com! 

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

]]> 2657 Sir Kenneth Branagh on 'Belfast', Cinema History, Growing Up, and Being Human 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 14 Dec 2021 09:00:00 -0000 full No Film School Sir Kenneth Branagh shares how his own family’s experiences influenced Belfast, his new film that focuses on adult-sized issues like 'the troubles' Ireland from the perspective of a child… 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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

Ask us questions at editor@nofilmschool.com! 

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

]]> 1735 What’s Going On With the Austin Film Festival Screenplay Coverage? 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 09 Dec 2021 09:00:00 -0000 full No Film School 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 1867 Dolph Lundgren On Hollywood, Ambition, and Changing Course 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 08 Dec 2021 09:00:00 -0000 full No Film School You may know Dolph Lundgren from his never-ending list of action-packed roles, but you may not truly know Dolph Lundgren at all... 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 1888 Why Comic-Con is for Filmmakers 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 02 Dec 2021 09:00:00 -0000 full No Film School 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2257 DP Robert Yeoman on Shooting With Wes Anderson 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 30 Nov 2021 09:00:00 -0000 full No Film School 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... 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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/

Ask us questions at editor@nofilmschool.com!

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

]]> 1835 Turn Your Holidays into a Filmmaking Laboratory 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 25 Nov 2021 09:00:00 -0000 full No Film School 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... 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2195 How to Shoot a Feature in One Take. FOR REAL. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 23 Nov 2021 09:00:00 -0000 full No Film School 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 1836 Sony Venice 2 Drops Here is What You Should Know 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 18 Nov 2021 09:00:00 -0000 full No Film School Will Movie Pass make a comeback? Plus tech news about Sony’s Venice 2 and Quasar Science’s new light... 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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:

Ask us questions at editor@nofilmschool.com!

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

]]> 2521 What’s it Like to Write a Movie For Marvel? 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 15 Nov 2021 09:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 1791 Optioning Scripts for Indie Filmmakers, When to Drone, and GOOD DEAL/BAD DEAL 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 12 Nov 2021 09:00:00 -0000 full No Film School Today’s episode includes a deep dive into option contracts and what you need in them. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2748 'The Harder They Fall' and 'The Master' DP on Creating a Modern Western Look 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 11 Nov 2021 09:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 1883 Dune DP Greig Fraser and Editor Joe Walker Break Down Crafting a Cinematic Epic 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 04 Nov 2021 08:00:00 -0000 full No Film School Get ready for tons of insight on this massive film! 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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:

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 editor@nofilmschool.com!

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

]]> 4724 Edgar Wright and Krysty Wilson Cairns Dissect 'Last Night in Soho' 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 02 Nov 2021 08:00:00 -0000 full No Film School 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 1397 Manfrotto Camera Movement Week and Box Office Victories 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 29 Oct 2021 08:00:00 -0000 full No Film School It's Manfrotto week at No Film School, check out all our great camera movement content! 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 3539 Film Set Tragedy 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 megaphone.fm/adchoices Thu, 28 Oct 2021 08:00:00 -0000 full No Film School 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 2219 IATSE’s New Contract 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Sat, 23 Oct 2021 15:16:09 -0000 full No Film School Today’s episode sees the return of Good Deal, Bad Deal, along with other important industry and tech news! 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 3121 Justin Long, Christian Long, and Justin Chon for 'Lady of the Manor' and 'Blue Bayou' 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 19 Oct 2021 08:00:00 -0000 full No Film School 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! 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2747 Should You Pay For Script Coverage? 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 15 Oct 2021 08:00:00 -0000 Get ready for a deep dive into script coverage, whether or not you should pay for it, and which platforms are best for it. full No Film School 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 



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

]]> 3621 Fuqua, Gyllenhaal, and Melfi on THE GUILTY and THE STARLING 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 13 Oct 2021 08:00:00 -0000 full No Film School 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... 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2503 Bond is Back And We're Chatting With No Time To Die's Visual Wizards 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 08 Oct 2021 15:09:00 -0000 full No Film School This mini bonus episode features two awesome guests who both worked on the new James Bond film, Linus the cinematographer and Chris the special effects supervisor. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 1397 STRIKE! And Russians in Space... With Cameras? 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 07 Oct 2021 08:00:00 -0000 full No Film School Lots of big and exciting news in the film industry this week, including the recent strike authorization vote by IATSE! 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 3221 Sara Colangelo Tells The Truth in 'Worth' 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 05 Oct 2021 08:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2140 What Does the Huge CAA News Mean For You? 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 30 Sep 2021 08:00:00 -0000 full No Film School 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... 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2824 How Two Friends Turned an Inside Joke into a Feature Film 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 29 Sep 2021 08:00:00 -0000 full No Film School Patricia Gomez and Elza Kephat share the 15-year journey that led to their new horror film SLAXX. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2281 Ed Burns Shares the Art of Indie Film Compromise 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 24 Sep 2021 08:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2365 Just How Cinematic IS This New iPhone 13?! 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 23 Sep 2021 08:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2380 Welcome To The Wild West Of Streaming Wars and Digital Cameras 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 16 Sep 2021 08:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2630 How to Carve a Sundance Worthy Doc From Hours of Archival Footage 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 14 Sep 2021 08:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 1933 Working on Labor Day 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 09 Sep 2021 08:00:00 -0000 full No Film School What made Shang-Chi’s opening so successful and when’s the last time you played Dance Dance Revolution? 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 3459 Paul Schrader Tells Us the Keys To Character Study and How 'Taxi Driver 2' Almost Happened 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 07 Sep 2021 08:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 1919 What Could Blockchain Coming to Hollywood Mean For Filmmakers? 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 02 Sep 2021 08:00:00 -0000 full No Film School 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? 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 4123 Turning Disappointment into Growth with Shawn Levy Shawn Levy, director, co-writer, and producer of “Free Guy”, joins the show to discuss how to approach failure, humility and why you’ve got to really know yourself and see yourself to find the path that’s right for you.  In this episode, we talk about… What led to Levy’s “Hollywood System Career” The power of seeing yourself with harsh clarity to truly know thyself Understanding on the other side of the hard path is a chance at greatness Reconciling the idea of your identity with who you really are and what you can be Knowing how to use your words, persona and vision to inspire movie stars (and money) to bet on you Spielberg’s advice on knowing when you’ve got it right  Why Shawn believes directing requires decisive leadership and being clear about what you want  Learning the language of actors so you can put them in the mood and the moment so they can be great   What Shawn and Ryan Reynolds added to the Free Guy script and why it worked   How Shawn picks his projects based on comedic and heart-felt content Links to Resources: Turn Cheap Miniatures Into Awesome Visual Effects https://www.youtube.com/watch?v=VMuf2bHdGrY Subscribe to our newsletter for news, contests, deals, and a FREE ebook at https://nofilmschool.com/screenwritingbook.  Check out our new video on lighting night shoots: https://www.youtube.com/watch?v=J66WWsCp7XE You can read about all this and more at https://nofilmschool.com/. You can also check out our Gear Guides and Entertainment News on the right hand side. Please like us on Facebook, follow us on Twitter, and check us out on Instagram! Ask us questions at editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 31 Aug 2021 08:00:00 -0000 full No Film School 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 to suceed. Shawn Levy, director, co-writer, and producer of “Free Guy”, joins the show to discuss how to approach failure, humility and why you’ve got to really know yourself and see yourself to find the path that’s right for you.  In this episode, we talk about… What led to Levy’s “Hollywood System Career” The power of seeing yourself with harsh clarity to truly know thyself Understanding on the other side of the hard path is a chance at greatness Reconciling the idea of your identity with who you really are and what you can be Knowing how to use your words, persona and vision to inspire movie stars (and money) to bet on you Spielberg’s advice on knowing when you’ve got it right  Why Shawn believes directing requires decisive leadership and being clear about what you want  Learning the language of actors so you can put them in the mood and the moment so they can be great   What Shawn and Ryan Reynolds added to the Free Guy script and why it worked   How Shawn picks his projects based on comedic and heart-felt content Links to Resources: Turn Cheap Miniatures Into Awesome Visual Effects https://www.youtube.com/watch?v=VMuf2bHdGrY Subscribe to our newsletter for news, contests, deals, and a FREE ebook at https://nofilmschool.com/screenwritingbook.  Check out our new video on lighting night shoots: https://www.youtube.com/watch?v=J66WWsCp7XE You can read about all this and more at https://nofilmschool.com/. You can also check out our Gear Guides and Entertainment News on the right hand side. Please like us on Facebook, follow us on Twitter, and check us out on Instagram! Ask us questions at editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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:

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

]]> 2462 Free Range Production Assistants and Billion Dollar Deals 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 26 Aug 2021 08:00:00 -0000 full No Film School 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 3060 Creating an Epic Landscape in ‘The Green Knight’ 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 24 Aug 2021 08:00:00 -0000 full No Film School Cinematographer Andrew Droz Palermo takes us through his collaboration with David Lowery on 'The Green Knight’ in today’s interview. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2065 Toxic Fandom, Tarantino's Mother Issues, and We Play 'Good Deal/Bad Deal' 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 19 Aug 2021 08:00:00 -0000 full No Film School Make sure you listen to the whole episode for a new segment that we’re debuting at the end. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 3615 From Caviar With Arnold To 'Cruising' With The Rock 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 17 Aug 2021 11:11:00 -0000 full No Film School Two of the film industry’s most prolific producers - John Davis and John Fox of Disney's 'Jungle Cruise' tell us what goes into producing the biggest summer movies. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2945 Are Director's 'Hot Takes' Good For Their Movies? 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 12 Aug 2021 08:00:00 -0000 full No Film School Today’s episode covers a range of film current event topics and some important food for thought for your film career. 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 4271 How They Made the Camera Sing and Dance in 'In The Heights' 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 10 Aug 2021 08:00:00 -0000 full No Film School The DP of In the Heights, Alice Brooks, is chatting today about all the things that make this new movie musical so special. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2245 ScarJo Takes on Disney and What Makes a 'Good' Deepfaker? 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 05 Aug 2021 08:00:00 -0000 full No Film School 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! 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 3810 What Comes After an Entry-Level Job? 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 29 Jul 2021 08:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2371 How 'Stillwater' Keeps You Riveted and How 'Let Us In' Found an ‘IP’ Loophole 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 28 Jul 2021 08:00:00 -0000 full No Film School Learn from Oscar-Winning filmmaker Tom McCarthy and then writer/director of 'Let Us in' Craig Moss 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 3852 Nine Days is the Film Of Our Times. How the Heck Did it Get Made? 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 27 Jul 2021 08:00:00 -0000 full No Film School 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 4233 M. Night Shyamalan Explains his Directing Choices on 'Old', Plus the 'PIG' Filmmakers Preach Perseverance 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 20 Jul 2021 08:00:00 -0000 full No Film School There are multiple filmmakers on the podcast today who have lots of mic drop moments about these two new releases 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 3028 How to Take and Give Notes, What is the Future of Celluloid, and RIP Richard Donner 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 15 Jul 2021 08:00:00 -0000 full No Film School There are all kinds of pertinent topics discussed in today’s episode, including how filmmakers can support each other. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 3842 'Gunpowder Milkshake' Director Navot Papushado On Shooting Awesome Gunfights 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 13 Jul 2021 08:00:00 -0000 full No Film School 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! 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 editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com!

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

]]> 2126 No Sudden Move Writer Ed Solomon Teaches Us About Success, Failure, Growth, and Alaskan Strip Clubs 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 09 Jul 2021 06:30:00 -0000 No Sudden Move Writer Ed Solomon Teaches Us About Success, Failure, Growth, and Alaskan Strip Clubs full No Film School 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. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 4611 TCM Host Ben Mankiewicz Takes Us Behind The Scenes On One of Hollywood's Biggest Sets 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 07 Jul 2021 06:30:00 -0000 full No Film School George chats with Ben Mankiewicz and Julie Salamon about their podcast The Plot Thickens, and how Julie’s book The Devil’s Candy is the best book on movie making... ever 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 3449 How Many Ks Do You Need? Blackmagic Week Special Episode 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 01 Jul 2021 12:00:00 -0000 full No Film School 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. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 3582 How Has Visual Effects Photography Has Evolved and Where Is It Going? 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 29 Jun 2021 20:58:00 -0000 full No Film School 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. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2212 You're Not a DP Until You've Cut Your Own Material 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 28 Jun 2021 06:26:00 -0000 full No Film School DP John Brawley drops wisdom from years in the trenches, plus insights into the development of Blackmagic Design. 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 editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com! 

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

]]> 2688 Are Netflix and Actors Are Both Trying to Hide Something? 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 megaphone.fm/adchoices Thu, 24 Jun 2021 06:25:00 -0000 full No Film School No, it’s not a conspiracy - but Netflix and Actors are each trying to hide something different. 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 3927 'Wonder Showzen' and 'False Positive' Co-Creator John Lee Wants You to Push Buttons 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 megaphone.fm/adchoices Tue, 22 Jun 2021 06:26:00 -0000 full No Film School John Lee talks about his latest film and his career 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 4843 Edgar Wright Shares His Inspiration and Passion with "The Sparks Bros" 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 megaphone.fm/adchoices Fri, 18 Jun 2021 16:42:02 -0000 full No Film School 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! 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 2285 Renny Harlin Says He Could Live Without Food... But Not Without Movies 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 megaphone.fm/adchoices Fri, 18 Jun 2021 05:27:00 -0000 full No Film School 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. 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 2156 What Makes This New Drone So Special? 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 megaphone.fm/adchoices Thu, 17 Jun 2021 06:27:00 -0000 full No Film School 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. 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 2166 Safe Sex on Sets and Creative Cloud Questions 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 megaphone.fm/adchoices Thu, 10 Jun 2021 08:00:00 -0000 full No Film School The group is chatting about hot topics in the industry (and world), like safety and consent for sex scenes. 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 2256 AMC is Buying Arclight and How Do Filmmakers Ask For a Raise? 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 megaphone.fm/adchoices Thu, 03 Jun 2021 06:26:00 -0000 full No Film School AMC’s buying spree, how to go about finding new clients, tips on asking for raises, and more! 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 3251 Screenwriting Guru Robert McKee Demystifies Character and Structure 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 megaphone.fm/adchoices Tue, 01 Jun 2021 06:26:00 -0000 full No Film School There are countless books, guides, and templates on writing screenplays - but how important are they? 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 3342 Choosing Your First Industry Job 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 megaphone.fm/adchoices Thu, 27 May 2021 06:26:00 -0000 Choosing Your First Industry Job full No Film School How did you choose? Plus Amazon's big buy. 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 3172 How to Budget Your Indie Feature 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 megaphone.fm/adchoices Thu, 20 May 2021 06:26:00 -0000 full No Film School Learn about seeking representation, and budgeting for independent features. 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 4086 Director Timur Bekmambetov Is Loving This New Innovative Filmmaking Technique 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 megaphone.fm/adchoices Tue, 18 May 2021 05:05:00 -0000 Director Timur Bekmambetov Is Loving This New Innovative Filmmaking Technique full No Film School A new kind of filmmaking for our era. 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 1959 How Ratings and Algorithms Impact Your Filmmaking Career 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 editor@nofilmschool.com and we’ll eventually talk about it on the show! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 13 May 2021 06:26:00 -0000 full No Film School 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. 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 editor@nofilmschool.com and we’ll eventually talk about it on the show! Learn more about your ad choices. Visit megaphone.fm/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 editor@nofilmschool.com and we’ll eventually talk about it on the show!

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

]]> 3400 Who Will Save Arclight Cinemas? 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 06 May 2021 07:01:00 -0000 full No Film School A weekly No Film School Podcast episode: resurrecting the Arclight, combatting franchise fatigue, FilmConvert iPhone software and scholarships. 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 ask@nofilmschool.com!

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

]]> 2517 'Miss Juneteenth' Writer/Director Shows Us How to Beat the Odds 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 megaphone.fm/adchoices Tue, 04 May 2021 08:26:47 -0000 full No Film School An interview with 'Miss Juneteenth' writer/director Channing Godfrey Peoples and producer Neil Creque Williams 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 4158 I'm Producing A Feature... What First Steps Do I Take? 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 ask@nofilmschool.com! *Editorial note: Burning was released in 2018, the year prior to Parasite.  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 29 Apr 2021 07:01:00 -0000 full No Film School A weekly No Film School Podcast episode: Oscars, an Apple law suit, indie feature producing and movies that stunned us. 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 ask@nofilmschool.com! *Editorial note: Burning was released in 2018, the year prior to Parasite.  Learn more about your ad choices. Visit megaphone.fm/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 ask@nofilmschool.com!

*Editorial note: Burning was released in 2018, the year prior to Parasite. 

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]]> 3428 The Guys Who Edited Borat Tell All 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 megaphone.fm/adchoices Tue, 27 Apr 2021 07:01:00 -0000 full No Film School An interview with the editors of Borat Subsequent Moviefilm. 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 2858 The Pros and Cons of Integrating AI into Filmmaking 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 22 Apr 2021 07:01:00 -0000 full No Film School A weekly No Film School Podcast episode: AI screenwriting, Dynascore and product placement in old movies! 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 ask@nofilmschool.com!

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

]]> 2941 Following a True Story Landed This Writer/Director His Feature Debut 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 megaphone.fm/adchoices Tue, 20 Apr 2021 08:04:00 -0000 full No Film School An interview with the team behind Concrete Cowboy. 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 3211 How to Break In... As a PA 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 15 Apr 2021 16:00:00 -0000 full No Film School A weekly No Film School Podcast episode: boycotting Georgia, Bong's wisdom, DJI's newest drone and breaking in at the entry level. 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 ask@nofilmschool.com!

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

]]> 3568 Ridley Scott's Longtime DP Darius Wolski Has War Stories 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 megaphone.fm/adchoices Tue, 13 Apr 2021 07:39:00 -0000 full No Film School An interview with director of photography Darius Wolski. 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 2738 Why Rian Johnson Can't Stop Winning 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 ask@nofilmschool.com! *Note: this podcast was recorded remotely, please forgive the minor background noise in some of the audio. Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 08 Apr 2021 07:01:00 -0000 full No Film School A weekly No Film School Podcast episode: Oscar skepticism, peak Rian Johnson, autofocus and shutter speed. 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 ask@nofilmschool.com! *Note: this podcast was recorded remotely, please forgive the minor background noise in some of the audio. Learn more about your ad choices. Visit megaphone.fm/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 ask@nofilmschool.com!

*Note: this podcast was recorded remotely, please forgive the minor background noise in some of the audio.

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

]]> 2975 Success Happened Because There Was No Plan B 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 megaphone.fm/adchoices Tue, 06 Apr 2021 07:33:00 -0000 Success Happened Because There Was No Plan B full No Film School An interview with director of photography Nancy Schreiber, master of many formats. 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 3694 Do Directors Need a Certain Personality Type To Suceed? 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 01 Apr 2021 07:23:00 -0000 Do Director's Need a Certain Personality Type To Suceed? full No Film School We debunk a common myth 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 ask@nofilmschool.com!

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

]]> 3586 Creating the Physical Look of David Fincher's 'Mank' 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 megaphone.fm/adchoices Tue, 30 Mar 2021 07:01:00 -0000 full No Film School An interview with production designer Donald Graham Burt and set decorator Jan Pascale about their work on 'Mank.' 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 3336 Is Zach Snyder's 'Justice League' a Good Movie? 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 25 Mar 2021 07:01:00 -0000 full No Film School A weekly No Film School Podcast episode: 'Justice League', Oscar Nominations, a de-clicker plug-in and steadicams. 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 ask@nofilmschool.com!

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

]]> 2884 Mark Toia Self-Financed a VFX-Heavy Robot Action Movie for 1.6 Million 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 megaphone.fm/adchoices Tue, 23 Mar 2021 07:00:00 -0000 full No Film School An interview with Mark Toia, the writer-director-producer about his new film 'Monsters of Man'. 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 2089 How WandaVision Achieved Its Kaleidoscope of Looks With One Camera 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 18 Mar 2021 07:01:00 -0000 full No Film School A weekly No Film School Podcast episode: WandaVision, deep fakes 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 ask@nofilmschool.com!

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

]]> 2993 How Michael Stephenson Turned a Child Actor Nightmare Into a Fruitful Directing Career 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 megaphone.fm/adchoices Tue, 16 Mar 2021 07:01:00 -0000 full No Film School An interview with Michael Stephenson, former child star of 'Troll 2' and director of the documentary 'Attack of the Murder Hornets'. 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 2879 TCM Chooses to Discuss Rather Than 'Cancel' and Why It Matters 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 11 Mar 2021 08:00:00 -0000 full No Film School A weekly No Film School Podcast episode: TCM tackles problematic films, IMAX makes summer predictions and Godard plans for retirement. 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 ask@nofilmschool.com!

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

]]> 3088 Mark Ruffalo's Doc on The Rights of Nature Breaks Ground 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 megaphone.fm/adchoices Tue, 09 Mar 2021 17:34:38 -0000 full No Film School An interview with Josh Pribanic and Melissa Troutman on their new documentary 'The Invisible Hand.' 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 2998 Is George Lucas Returning to Star Wars? We Discuss the Filmmaking Maverick 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 04 Mar 2021 08:00:00 -0000 full No Film School A weekly No Film School Podcast episode: Lucas' possible return to the Disney universe, DJI innovations and soundproofing your house. 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 ask@nofilmschool.com!

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

]]> 2934 What Do Producers Want? We Ask One 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 megaphone.fm/adchoices Tue, 02 Mar 2021 08:05:00 -0000 What Do Producers Want? We Ask One full No Film School An interview with Shivani Rawat about her producing career, making everything from 'Captain Fantastic' and 'Trumbo' happen. 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 2924 Sorry Dude, Amazon Prime Video Direct Does Not Want Your Documentary 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 25 Feb 2021 08:00:00 -0000 full No Film School A weekly No Film School Podcast episode: HPFA's diversity problem, Amazon's new no-doc policy and more! 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 ask@nofilmschool.com!

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

]]> 3173 The United States vs. Billie Holiday DP Says Celluloid Was a 'No Brainer' 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 megaphone.fm/adchoices Tue, 23 Feb 2021 17:36:00 -0000 full No Film School An interview with cinematographer Andrew Dunn on his accomplished and varied career. 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 2823 Was Gina Carano's Firing Fair? 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 18 Feb 2021 16:52:11 -0000 Was Gina Carano's Firing Fair? full No Film School A weekly No Film School Podcast episode: Gina vs. 'The Mandalorian', Oscar shortlists, a new feature from Frame.io and romantic movies! 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 ask@nofilmschool.com!

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

]]> 2944 'Ma Rainey's Black Bottom' DP Tobias Schliessler is Always Learning 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 megaphone.fm/adchoices Tue, 16 Feb 2021 18:35:00 -0000 full No Film School An interview with Tobias Schiessler, a DP who has worked with directors such as Peter Berg, Bill Condon and George C. Wolfe. 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 3547 Meet Matt Ritter: The Man Who Almost Scored the Film Rights to the Gamestop Madness 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 11 Feb 2021 16:34:53 -0000 full No Film School This episode of the weekly No Film School Podcast: an awesome Swedish film festival, the Forza 300B and a conversation with screenwriter Matt Ritter. 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 ask@nofilmschool.com!

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

]]> 3215 Oscar-Winning Director of 'The Mauritanian' and 'The Last King of Scotland' Kevin Macdonald 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 megaphone.fm/adchoices Tue, 09 Feb 2021 16:38:00 -0000 Oscar Winning Director of 'The Mauritanian' and 'The Last King of Scotland' Kevin Macdonald full No Film School Macdonald shares his insights on capturing great performances, and treading on dangerous ground. 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 2851 Why Remote Sundance is Awesome For Filmmakers and Audiences 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 04 Feb 2021 15:42:00 -0000 full No Film School A weekly No Film School Podcast episode: Sundance, COVID compliance officers, Levee and the perils of plagiarism. 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 ask@nofilmschool.com!

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

]]> 3167 'Search Party' DP Jonathan Furmanski Discusses the Art Of Lensing Comedy 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 megaphone.fm/adchoices Tue, 02 Feb 2021 15:35:00 -0000 full No Film School Jonathan Furmanski shoots the popular series 'Search Party' but his background in docs helped him hone his craft. 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 3503 What You Need to Know About the Sony Alpha 1 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 28 Jan 2021 16:00:00 -0000 full No Film School A weekly No Film School Podcast episode: Sundance goes virtual, AMC's big gamble, the Sony Alpha 1, and lying on your resume. 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 ask@nofilmschool.com!

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

]]> 3420 Frank Oz, Voice of Yoda and Muppet Co-Founder, Breaks New Ground and New Formats 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 megaphone.fm/adchoices Tue, 26 Jan 2021 08:05:00 -0000 Frank Oz and Derek DelGaudio Use Creative Anarchy to Break Things in 'In & Of Itself' full No Film School Frank Oz and Derek DelGaudio divulge the nuances of 'In & Of Itself' 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 3456 Is There Anything Left in the Superhero Genre to Explore? 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 21 Jan 2021 13:21:00 -0000 full No Film School This episode of the weekly No Film School Podcast: boat movies of 2003, superheroes, Chinese IP knockoffs, an artificial sun and Wifi 6. 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 ask@nofilmschool.com!

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

]]> 2856 How to Work Your Way Up at a Production Company Until You Direct Your Debut Feature 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 19 Jan 2021 08:58:00 -0000 full No Film School An interview with the producer and director of the new film 'Blindfire'. 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 ask@nofilmschool.com!

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

]]> 3821 Is Quentin Tarantino Giving Us Bad Career Advice? 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 14 Jan 2021 08:00:00 -0000 full No Film School A weekly No Film School Podcast episode in which we talk about HBO Max residuals, spec screenplays, Sony drones, crowdfunding and more! 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 ask@nofilmschool.com!

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

]]> 2858 Can Cinema Make You Immortal? A Deep Chat With 'Dick Johnson Is Dead' Creator Kirsten Johnson 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 megaphone.fm/adchoices Tue, 12 Jan 2021 09:08:00 -0000 full No Film School An interview with director Kirsten Johnson about her latest film, 'Dick Johnson Is Dead' and other existential quandaries. 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 3717 Did Patty Jenkins Try to Save 'Wonder Woman'? 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 megaphone.fm/adchoices Thu, 07 Jan 2021 08:00:00 -0000 full No Film School This episode of the weekly No Film School Podcast: 'Wonder Woman 1984', the Golden Globes vs. 'Minari' and more! 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 2596 The Producers of 'Black Bear' Tell You What It Really Takes To Make a Legit Indie Film 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 megaphone.fm/adchoices Tue, 05 Jan 2021 09:38:00 -0000 full No Film School An interview with Julie Christeas and Jonny Blitstein, producers of 'Black Bear' starring Aubrey Plaza. 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 2858 How Writer-Director Tara Miele Brought Her Passion Project 'Wander Darkly' to Life 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 megaphone.fm/adchoices Wed, 30 Dec 2020 17:57:39 -0000 full No Film School 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 2967 Why ScriptHop Will Help Get Your Screenplay Read By the Right People 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 megaphone.fm/adchoices Tue, 29 Dec 2020 08:00:00 -0000 full No Film School An interview with the creators of ScriptHop. 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 2520 What Is Up with Tom Cruise and Why Did His COVID Regulation Tirade Seem Fake? 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 megaphone.fm/adchoices Thu, 24 Dec 2020 08:00:00 -0000 full No Film School This episode of the weekly No Film School Podcast: Tom Cruise, 'The Mandalorian' finale, RED Komodo's new autofocus feature and how to light dark rooms. 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 3085 Why Disney's New Wave of Content Matters (For Better or Worse) 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 megaphone.fm/adchoices Thu, 17 Dec 2020 08:00:00 -0000 full No Film School A weekly No Film School Podcast episode: Disney shows, sound, Xelmus lenses and shrimp boats. 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 2377 Oscar-Winning Sound Supervisor Mark Mangini Gives You The Keys to the Kingdom 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 megaphone.fm/adchoices Wed, 16 Dec 2020 08:00:00 -0000 full No Film School An interview with sound designer Mark Mangini, Oscar-winning ear behind "Mad Max: Fury Road," "Aladdin" and many, many more. 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 3781 How Watson Wu Captures Your Favorite Sounds 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 megaphone.fm/adchoices Mon, 14 Dec 2020 16:00:00 -0000 full No Film School An interview with Watson Wu, the man behind the sounds of great video games and movies. 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 2768 Heavyweight Directors Vs. Warner Bros: Who Will Have the Last Word? https://nofilmschool.com/2023/11/heavyweight-directors-vs-warner-bros-who-will-have-last-word 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 megaphone.fm/adchoices Thu, 10 Dec 2020 08:00:00 -0000 full No Film School The beef between directors and studios over streaming 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 3649 Why 'The Crown' Takes Liberties with Historical Facts and You Should Too (Because It’s All Fiction) 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 03 Dec 2020 08:00:00 -0000 full No Film School 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 ask@nofilmschool.com!

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

]]> 2795 How Oscar Winning DP Chris Menges Mastered Naturalistic Cinematography 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 ask@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 02 Dec 2020 08:00:00 -0000 full No Film School 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 ask@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 ask@nofilmschool.com! 

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

]]> 3250 One Director's Honest, Harsh, and Heartwarming Story of Making it in Hollywood 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 ask@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 01 Dec 2020 08:00:00 -0000 full No Film School 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 ask@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 ask@nofilmschool.com! 

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

]]> 3373 How Michael Angelo Covino and Kyle Marvin Ascended to the Top of the Film World with 'The Climb' 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 30 Nov 2020 08:00:00 -0000 full No Film School 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 ask@nofilmschool.com!

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

]]> 2843 What's the Best Cinema Camera for Under 10K? 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 26 Nov 2020 08:00:00 -0000 full No Film School 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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 ask@nofilmschool.com!

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

]]> 3720 Phedon Papamichael is an Actor's Cinematographer. What Does That Mean? 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 ask@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 25 Nov 2020 08:00:00 -0000 full No Film School 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 ask@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/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 ask@nofilmschool.com! 

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

]]> 3720 How 'The Queen's Gambit' Editor Michelle Tesoro Became So Versatile In Cutting Prestige TV 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 24 Nov 2020 08:00:00 -0000 full No Film School 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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:


Please email us any questions or comments at ask@nofilmschool.com!

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

]]> 4106 Why Did Leonardo DiCaprio Want 'Killers of the Flower Moon' Rewritten? 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 ask@nofilmschool.com! *Editorial note: 'Up in the Air' does not star Denzel Washington. Charles meant 'Flight'. Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 19 Nov 2020 08:01:00 -0000 full No Film School 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 ask@nofilmschool.com! *Editorial note: 'Up in the Air' does not star Denzel Washington. Charles meant 'Flight'. Learn more about your ad choices. Visit megaphone.fm/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:


Please email us any questions or comments at ask@nofilmschool.com!

*Editorial note: 'Up in the Air' does not star Denzel Washington. Charles meant 'Flight'.

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

]]> 2606 How Ross Emery Became a Go-To Cameraman for Modern Sci-Fi Classics 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 18 Nov 2020 15:30:08 -0000 full No Film School 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 ask@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/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:


Please email us any questions or comments at ask@nofilmschool.com!

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

]]> 3740 Malin Akerman Explains How to Attach Talent to a Project 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 ask@nofilmschool.com! *Editorial note: we apologize for occasional background noise in Malin's audio. Learn more about your ad choices. Visit megaphone.fm/adchoices Tue, 17 Nov 2020 15:52:59 -0000 full No Film School 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 ask@nofilmschool.com! *Editorial note: we apologize for occasional background noise in Malin's audio. Learn more about your ad choices. Visit megaphone.fm/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:


Please email us any questions or comments at ask@nofilmschool.com!

*Editorial note: we apologize for occasional background noise in Malin's audio.

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

]]> 2616 DaVinci Resolve 17 Has Tons of New Features You'll Like 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 megaphone.fm/adchoices Thu, 12 Nov 2020 14:00:13 -0000 full No Film School 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 megaphone.fm/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:


*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 megaphone.fm/adchoices

]]> 3334 Sony's New Virtual Sound Tech Was So Good These Veteran Mixers Couldn't Believe Their Ears 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 megaphone.fm/adchoices Wed, 11 Nov 2020 15:33:00 -0000 full No Film School 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 4044 Daron Aronofsky's Rockstar DP Matthew Libatique Talks Career and 'Requiem For a Dream' Anniversary 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 megaphone.fm/adchoices Tue, 10 Nov 2020 08:05:00 -0000 full No Film School 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 megaphone.fm/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:

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 megaphone.fm/adchoices

]]> 3898 What You Can Do With the Blackmagic 12K... Oh And About That Election... 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 megaphone.fm/adchoices Thu, 05 Nov 2020 16:23:00 -0000 full No Film School 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 megaphone.fm/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:

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]]> 4040 ‘Over The Moon’ Director Glen Keane Uncovers The Secret Sauce Of Story 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 megaphone.fm/adchoices Tue, 03 Nov 2020 18:24:00 -0000 full No Film School 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 megaphone.fm/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!

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]]> 2959 The Ghost of Quibi Haunts The Entertainment Industry 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 megaphone.fm/adchoices Thu, 29 Oct 2020 16:14:00 -0000 full No Film School 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 megaphone.fm/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."

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]]> 3292 'Lovecraft Country' DP Michael Watson On Shooting During Covid-19 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 megaphone.fm/adchoices Wed, 28 Oct 2020 16:36:00 -0000 full No Film School 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 megaphone.fm/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:


*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.

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]]> 2895 Jim Cummings Might Owe His Directing Career to a Shopping Cart 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 megaphone.fm/adchoices Tue, 27 Oct 2020 15:21:57 -0000 full No Film School 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 megaphone.fm/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:

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]]> 3405 How Filmmaker Friendly is the iPhone 12? 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 megaphone.fm/adchoices Thu, 22 Oct 2020 16:00:00 -0000 full No Film School 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 megaphone.fm/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!

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

]]> 3456 'Back to the Future' Writer Bob Gale Shares Timeless Screenwriting Advice 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 megaphone.fm/adchoices Tue, 20 Oct 2020 16:40:25 -0000 full No Film School 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 megaphone.fm/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!

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

]]> 3180 Not Coming to A Theater Near You? How Disney+ Is Changing Movies 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 megaphone.fm/adchoices Thu, 15 Oct 2020 15:23:37 -0000 full No Film School 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 megaphone.fm/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!

*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 megaphone.fm/adchoices

]]> 3709 No One Gives A Sh*t About Max Barbakow and Andy Siara, Creators of “Palm Springs” 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 megaphone.fm/adchoices Tue, 13 Oct 2020 21:11:02 -0000 full No Film School 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 megaphone.fm/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: 

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

]]> 3865 Why Can't The White House Find a Competent Video Editor? 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 megaphone.fm/adchoices Fri, 09 Oct 2020 22:22:00 -0000 full No Film School 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 megaphone.fm/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:

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

]]> 3168 How One Filmmaker Gave Up A Successful Career to Make Documentaries... And How it Worked 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 megaphone.fm/adchoices Tue, 06 Oct 2020 17:45:49 -0000 full No Film School 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 1901 What Grants Should You Be Looking At This Fall? 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 megaphone.fm/adchoices Thu, 01 Oct 2020 16:20:50 -0000 full No Film School 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 3575 ’The Last Shift’ is a Masterclass in How to Make the Leap from DIY Nonfiction to Big-Time Narrative 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 megaphone.fm/adchoices Mon, 28 Sep 2020 16:26:00 -0000 full No Film School 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 1907 9.24.20: Why the Canon C70 Is The Compact Camera We've Been Waiting For 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 megaphone.fm/adchoices Thu, 24 Sep 2020 16:48:51 -0000 full No Film School 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 megaphone.fm/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:

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

]]> 3195 9.17.20: How CAA Tried to Outsmart the WGA (And Failed) 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 megaphone.fm/adchoices Thu, 17 Sep 2020 17:01:55 -0000 full No Film School 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 megaphone.fm/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:

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

]]> 3308 Cinematic Legend Walter Murch on Editing, Sound Design, and His Unique Methods 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 megaphone.fm/adchoices Tue, 15 Sep 2020 17:59:00 -0000 full No Film School 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 megaphone.fm/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:



As always please like, subscribe, and leave a comment. Thanks for listening!

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

]]> 4139 9.10.20: Why Colourlab Will Be a Game-Changer (For Real!) 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 ask@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 10 Sep 2020 17:26:27 -0000 full No Film School 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 ask@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/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:


Email us with any questions at ask@nofilmschool.com

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

]]> 3406 You Need to Know the Miracle of "The Peanut Butter Falcon" https://nofilmschool.com/peanut-butter-falcon-filmmakers-miracle 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 megaphone.fm/adchoices Tue, 08 Sep 2020 15:22:00 -0000 full No Film School PODCAST 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 megaphone.fm/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:

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

]]> 4726 9.03.20: What is Sync Sketch? And Remembering Chadwick Boseman https://nofilmschool.com/podcast-chadwick-boseman-legacy 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 megaphone.fm/adchoices Thu, 03 Sep 2020 14:58:00 -0000 full No Film School 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 3360 David Fincher's Longtime DP Jeff Cronenweth has Advice, Insight, and Stories 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 megaphone.fm/adchoices Fri, 28 Aug 2020 21:11:00 -0000 full No Film School 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 4242 8.27.20: The Good, Bad, and Ugly of Film Festival Strategy 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 megaphone.fm/adchoices Thu, 27 Aug 2020 20:39:00 -0000 full No Film School 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 3730 How Logan Schneider Became the "Drunk History" DP 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 megaphone.fm/adchoices Wed, 26 Aug 2020 22:44:55 -0000 full No Film School 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 4039 8.20.20: A Middle-Class Moviemaking Manifesto? https://nofilmschool.com/2020/08/middle-class-moviemaking-manifesto 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 megaphone.fm/adchoices Mon, 24 Aug 2020 15:29:29 -0000 8.20.20: A Middle-Class Moviemaking Manifesto? full No Film School 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 megaphone.fm/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 megaphone.fm/adchoices

]]> 3875 8.14.20: How will the end of the Paramount Decrees affect theaters and filmmakers? https://soundcloud.com/nofilmschool/8420-decrees-decisions-and-debuts 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 megaphone.fm/adchoices Fri, 14 Aug 2020 18:51:09 -0000 full No Film School Back to the future...of Vertical Integration. The… 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 megaphone.fm/adchoices

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

]]> 2790 yes 8.6.20: Will families pay $30 for Mulan? https://soundcloud.com/nofilmschool/8620-will-families-pay-30-for-mulan 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 megaphone.fm/adchoices Mon, 10 Aug 2020 22:52:52 -0000 full No Film School Unlike Hamilton, Mulan will hit Disney+ VOD... at… 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 megaphone.fm/adchoices

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

]]> 1835 yes How Do You 'Just Shoot It' During a Pandemic? https://soundcloud.com/nofilmschool/jsi-final-for-soundcloud 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 megaphone.fm/adchoices Wed, 05 Aug 2020 20:32:39 -0000 full No Film School Two years ago, Matt Enlow and Oren Kaplan started… 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 megaphone.fm/adchoices

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

]]> 3563 yes 7.31.20: Did Filmmakers Finally Get What They Wanted? https://soundcloud.com/nofilmschool/73120-did-filmmakers-finally-get-what-theyre-looking-for 7.31.20: Did Filmmakers Finally Get What They Wanted? by No Film School Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 31 Jul 2020 22:25:03 -0000 full No Film School 7.31.20: Did Filmmakers Finally Get What They Wan… 7.31.20: Did Filmmakers Finally Get What They Wanted? by No Film School Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 3189 yes 7.24.20: Ks For Days https://soundcloud.com/nofilmschool/july-24th-final 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 megaphone.fm/adchoices Fri, 24 Jul 2020 19:41:52 -0000 full No Film School This week, Charles, George, and Michelle reflect … 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 megaphone.fm/adchoices

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

]]> 3211 yes 7.17.20: Is Canon feeling burned? https://soundcloud.com/nofilmschool/weeklypodcast-71720 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 megaphone.fm/adchoices Fri, 17 Jul 2020 18:52:09 -0000 full No Film School We're feeling hot, hot, hot as Canon cameras heat… 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 megaphone.fm/adchoices

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

]]> 2824 yes 7.10.20: Revolutions, Revelations, and Resolutions https://soundcloud.com/nofilmschool/71020-revolutions-revelations-and-resolutions 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 megaphone.fm/adchoices Wed, 15 Jul 2020 16:33:59 -0000 full No Film School We’re not throwing away our shot to talk about Ha… 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 megaphone.fm/adchoices

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

]]> 2157 yes This is How One Man Created a Thriving Indie Production Company with Hope https://soundcloud.com/nofilmschool/7620-bk-fulton 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 megaphone.fm/adchoices Tue, 07 Jul 2020 18:22:03 -0000 full No Film School It seems improbable or impossible to the more sea… 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 megaphone.fm/adchoices

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

]]> 4453 yes 7.3.20: To Sit Or Not To Sit? https://soundcloud.com/nofilmschool/friday-july-3rd-final-final-for-soundcloud 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 megaphone.fm/adchoices Fri, 03 Jul 2020 19:58:17 -0000 full No Film School A Christopher Nolan rumor makes us consider on-se… 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 megaphone.fm/adchoices

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

]]> 2972 yes What Will Creatives Do About Apple's Big News? https://soundcloud.com/nofilmschool/weekly-podcast-for-friday-june-26th 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 megaphone.fm/adchoices Fri, 26 Jun 2020 15:40:26 -0000 full No Film School Apple changes everything (again) and forces a dec… 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 megaphone.fm/adchoices

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

]]> 3367 yes 6.19.20: The Dinosaurs Are Going Back to Set, But Not The Writers https://soundcloud.com/nofilmschool/nfspod-june172020-mixdown 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 megaphone.fm/adchoices Fri, 19 Jun 2020 16:20:02 -0000 full No Film School This week's theme is how Dinosaurs will adjust to… 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 megaphone.fm/adchoices

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

]]> 3883 yes What Is It like to Write a Spider-Man Movie? https://soundcloud.com/nofilmschool/61520-chris-mckenna-bob-byington-interview 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 megaphone.fm/adchoices Mon, 15 Jun 2020 16:18:31 -0000 full No Film School Chris McKenna tells us about his day job writing … 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 megaphone.fm/adchoices

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

]]> 2476 yes 6.12.20: Lights, Camera, Covid? https://soundcloud.com/nofilmschool/friday-june-12th-final-for-soundcloud 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 megaphone.fm/adchoices Fri, 12 Jun 2020 21:58:00 -0000 full No Film School Today is Friday, June 12th, which is the date giv… 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 megaphone.fm/adchoices

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

]]> 2617 yes 6.5.20: What Is the Role of the Filmmaker in a Time of Unprecedented Upheaval? https://soundcloud.com/nofilmschool/friday-june-4th-final 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 megaphone.fm/adchoices Fri, 05 Jun 2020 19:34:15 -0000 full No Film School We are living in interesting times, to say the le… 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 megaphone.fm/adchoices

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

]]> 2796 yes 5.26.20: Will 'Tenet' bring movie goers back to theaters? https://soundcloud.com/nofilmschool/may-26th-with-music-mixdown 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 megaphone.fm/adchoices Fri, 29 May 2020 16:52:12 -0000 full No Film School This week brings a lot of questions. Will Christ… 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 megaphone.fm/adchoices

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

]]> 2873 yes Getting a Camera Inside the Moment That Shook the NBA https://soundcloud.com/nofilmschool/blackballed-interview 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 megaphone.fm/adchoices Mon, 25 May 2020 15:22:57 -0000 full No Film School Former NBA owner Donald Sterling made a series of… 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 megaphone.fm/adchoices

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

]]> 2666 yes 5.22.20: Remembering Lynn Shelton, 'Unreal' Visuals, and Adobe Premiere Updates https://soundcloud.com/nofilmschool/52220-its-never-too-late-to-be-unreal 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 megaphone.fm/adchoices Fri, 22 May 2020 21:40:11 -0000 full No Film School This week, we reminisce and share more about the … 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 megaphone.fm/adchoices

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

]]> 2690 yes 5.15.20: Fake Artist... Real Weirdness. What Do We Make of Lil Miquela? https://soundcloud.com/nofilmschool/may-12th-final-for-nfsn 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 megaphone.fm/adchoices Fri, 15 May 2020 16:59:28 -0000 full No Film School In a world full of real artists, why not create a… 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 megaphone.fm/adchoices

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

]]> 2972 yes Jonathan Frakes Shoots to Thrill https://soundcloud.com/nofilmschool/nfspod-frakes-mixdown2 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 megaphone.fm/adchoices Tue, 12 May 2020 07:00:34 -0000 full No Film School Our guest this week is the unique and legendary J… 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 megaphone.fm/adchoices

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

]]> 2453 yes 5.8.20: How will Netflix Get Back On Set? https://soundcloud.com/nofilmschool/friday-may-8th-final 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 megaphone.fm/adchoices Fri, 08 May 2020 16:04:13 -0000 full No Film School This week, we “Follow The Cheese” towards Netflix… 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 megaphone.fm/adchoices

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

]]> 2747 yes 'Rick and Morty' Creator Justin Roiland Gives Us a Tour of His New Show and His Twisted Mind https://soundcloud.com/nofilmschool/solar-opposites 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 megaphone.fm/adchoices Mon, 04 May 2020 05:00:58 -0000 full No Film School Justin Roiland is best known as the co-creator an… 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 megaphone.fm/adchoices

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

]]> 3720 yes 5.1.20: What Can You Do to Make the Most of Quarantine? https://soundcloud.com/nofilmschool/april-28th-final-with-music 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 megaphone.fm/adchoices Fri, 01 May 2020 15:46:42 -0000 full No Film School We discuss two new cameras hitting the market. Ja… 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 megaphone.fm/adchoices

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

]]> 2409 yes These Two Filmmakers Heard About a Job, Wanted It, and Won It https://soundcloud.com/nofilmschool/valley-girl-interview 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 megaphone.fm/adchoices Mon, 27 Apr 2020 17:14:09 -0000 full No Film School We talk to Rachel Lee Goldenberg(director) and Am… 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 megaphone.fm/adchoices

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

]]> 2069 yes 4.24.20: When Can Production Resume in the Time of Coronavirus? https://soundcloud.com/nofilmschool/friday-april-24th-final-mixdown 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 megaphone.fm/adchoices Fri, 24 Apr 2020 15:35:29 -0000 full No Film School There may not be NAB in Vegas this week, but that… 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 megaphone.fm/adchoices

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

]]> 2897 yes 4.17.20: Adobe Productions Is Here and so Are Our Questions https://soundcloud.com/nofilmschool/41720-adobe-productions-is-here-and-so-are-our-questions 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 megaphone.fm/adchoices Fri, 17 Apr 2020 19:58:46 -0000 full No Film School While week 5 of COVID shutdown has us forgetting … 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 megaphone.fm/adchoices

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

]]> 1859 yes How Colorists Help You Get the Best Finished Product https://soundcloud.com/nofilmschool/nfs-sundance-colorist-roundtable 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 megaphone.fm/adchoices Mon, 13 Apr 2020 15:17:13 -0000 full No Film School A common mistake among indie filmmakers is not pr… 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 megaphone.fm/adchoices

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

]]> 2039 yes 4.10.20: How to Get the Cash the Government is Giving Freelancers https://soundcloud.com/nofilmschool/nfs-april-10th-final 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 megaphone.fm/adchoices Fri, 10 Apr 2020 08:00:53 -0000 full No Film School Filmmaker Zack Arnold has done the research so yo… 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 megaphone.fm/adchoices

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

]]> 2056 yes Does Making Midnight Movies Sharpen Your Style? https://soundcloud.com/nofilmschool/462020-midnight-shorts-roundtable-sundance-2020 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 megaphone.fm/adchoices Mon, 06 Apr 2020 14:55:24 -0000 full No Film School What makes something a 'midnight' film anyway? Is… 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 megaphone.fm/adchoices

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

]]> 4084 yes 4.3.20: How Unemployment on a Shut-Down Production Works https://soundcloud.com/nofilmschool/nfs-weekly-april-3rd 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 megaphone.fm/adchoices Fri, 03 Apr 2020 08:00:32 -0000 full No Film School Matrix 4 shut down, how the team set to work on i… 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 megaphone.fm/adchoices

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

]]> 2448 yes 6 DPs Reveal Their Process and How They Built Their Careers https://soundcloud.com/nofilmschool/sundance-dp-roundtable-1 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 megaphone.fm/adchoices Mon, 30 Mar 2020 14:59:17 -0000 full No Film School Charles Haine sits down with Sundance DPs to pick… 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 megaphone.fm/adchoices

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

]]> 2455 yes 3.27.20: Who Will Get Netflix's $100 Million? https://soundcloud.com/nofilmschool/nfs-podcast-march-26th 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 megaphone.fm/adchoices Fri, 27 Mar 2020 16:11:38 -0000 full No Film School COVID-19 has hit the world, and industry, hard. T… 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 megaphone.fm/adchoices

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

]]> 2307 yes 3.20.20: Welcome to Quarantine... Now What? https://soundcloud.com/nofilmschool/nfs-podcast-march-20th 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 megaphone.fm/adchoices Fri, 20 Mar 2020 23:09:32 -0000 full No Film School The world, and our industry, has changed dramatic… 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 megaphone.fm/adchoices

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

]]> 1336 yes 3.12.20: How Will Coronavirus Impact Filmmakers? https://soundcloud.com/nofilmschool/nfs-podcast-march-12th 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 megaphone.fm/adchoices Thu, 12 Mar 2020 07:05:00 -0000 full No Film School Things are going to get complicated as the virus … 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 megaphone.fm/adchoices

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

]]> 2273 yes Why Making a Short is a Career Game-Changer https://soundcloud.com/nofilmschool/why-making-a-short-is-a-career-game-changer 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 megaphone.fm/adchoices Mon, 09 Mar 2020 08:00:20 -0000 full No Film School Doc to narrative. Actor to director. Short to fea… 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 megaphone.fm/adchoices

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

]]> 3662 yes 3.4.20: What City Do You Need To Be in To Pursue a Career in Filmmaking? https://soundcloud.com/nofilmschool/nfs-podcast-march-4th 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 megaphone.fm/adchoices Thu, 05 Mar 2020 16:19:30 -0000 full No Film School COVID-19 continues to impact the world and we cat… 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 megaphone.fm/adchoices

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

]]> 2278 yes How Do You Find a Good Producer? Sundance Producers Show Us The Way https://soundcloud.com/nofilmschool/producers-round-table-sundance-2020 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 megaphone.fm/adchoices Mon, 02 Mar 2020 19:55:03 -0000 full No Film School We've answered the question, "what does a produce… 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 megaphone.fm/adchoices

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

]]> 4018 yes 2.28.20: How Long Until The Tech Behind 'The Mandalorian' is Available to More of Us? https://soundcloud.com/nofilmschool/nfs-podcast-for-friday-february-28th 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 megaphone.fm/adchoices Fri, 28 Feb 2020 18:04:33 -0000 full No Film School We are still drooling over the possibilities when… 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 megaphone.fm/adchoices

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

]]> 2637 yes 2.21.20: Kinefinity's Price Drop, Coronavirus, Bond, and Working with Actors https://soundcloud.com/nofilmschool/nfs-weekly-podcast-february-20th 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 megaphone.fm/adchoices Fri, 21 Feb 2020 16:58:28 -0000 full No Film School This week on the No Film School Podcast we talk a… 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 megaphone.fm/adchoices

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

]]> 2935 yes 7 Editors Take Us Behind the Curtain on Cutting a Sundance Feature https://soundcloud.com/nofilmschool/nfs-editors-round-table 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 megaphone.fm/adchoices Thu, 20 Feb 2020 00:24:06 -0000 full No Film School Our editor's roundtable covers many important top… 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 megaphone.fm/adchoices

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

]]> 2843 yes 2.12.20: Canon Goes 8K, RED goes 6K, SNL Wants Smoke, Plus FCP7 Help! https://soundcloud.com/nofilmschool/nfs-feb-10th-v2 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 megaphone.fm/adchoices Wed, 12 Feb 2020 18:40:54 -0000 full No Film School Did these two manufacturers do a swap with their … 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 megaphone.fm/adchoices

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

]]> 2124 yes Powerful Emotions, Exciting Innovations and Record Breaking Deals https://soundcloud.com/nofilmschool/powerfulemotionssundance2020 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 megaphone.fm/adchoices Mon, 03 Feb 2020 19:21:19 -0000 full No Film School This year's festival hit us right in the feels. T… 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 megaphone.fm/adchoices

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

]]> 3567 yes Fifteen Filmmakers, One Boat: How OMNIBOAT Became the First Film ‘Based on a PDF’ https://soundcloud.com/nofilmschool/omniboat 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 megaphone.fm/adchoices Thu, 30 Jan 2020 14:39:43 -0000 full No Film School How do you go from making movies with your local … 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 megaphone.fm/adchoices

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

]]> 3285 yes 1.27.20: What We Learned, Enjoyed, and Endured at Sundance 2020 https://soundcloud.com/nofilmschool/sundance-roundtable-2 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 megaphone.fm/adchoices Mon, 27 Jan 2020 20:07:39 -0000 full No Film School Plus we debrief on an emotionally devastating int… 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 megaphone.fm/adchoices

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

]]> 3621 yes How Dan Mirvish Started Slamdance Film Festival https://soundcloud.com/nofilmschool/nfspod-mirvish 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 megaphone.fm/adchoices Mon, 27 Jan 2020 19:45:17 -0000 full No Film School Last year in Park City, we had the opportunity to… 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 megaphone.fm/adchoices

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

]]> 3638 yes What is The Future of Interactive Storytelling? https://soundcloud.com/nofilmschool/no-film-school-new-frontier-roundtable 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 megaphone.fm/adchoices Sun, 26 Jan 2020 19:46:40 -0000 full No Film School The New Frontier program is taking us new places,… 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 megaphone.fm/adchoices

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

]]> 3822 yes 1.26.20: What's Hot, Exciting, and New on the First Day of Sundance 2020 https://soundcloud.com/nofilmschool/no-film-school-staff-roundtable-1 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 megaphone.fm/adchoices Sun, 26 Jan 2020 03:37:46 -0000 full No Film School Sundance 2020 first impressions from the NFS team… 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 megaphone.fm/adchoices

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

]]> 2003 yes Attention Creators: This Might Be Your Best Way Into Sundance https://soundcloud.com/nofilmschool/charlie-sextro-interview 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 megaphone.fm/adchoices Fri, 24 Jan 2020 14:36:44 -0000 full No Film School Sundance's Indie Episodic Program presents filmma… 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 megaphone.fm/adchoices

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

]]> 2856 yes 1.21.20: Attend the Great Beating Heart of American Independent Film https://soundcloud.com/nofilmschool/monday-january-20th-final 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 megaphone.fm/adchoices Tue, 21 Jan 2020 17:30:43 -0000 full No Film School Should you attend Sundance even if you don't have… 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 megaphone.fm/adchoices

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

]]> 2618 yes 1.7.20: Unraveling '1917', Meet the Insta 360, and Chris Terrio taking on ILM https://soundcloud.com/nofilmschool/friday-january-10th-v2 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 megaphone.fm/adchoices Fri, 10 Jan 2020 22:21:45 -0000 full No Film School This week Michelle Delateur joins Charles Haine a… 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 megaphone.fm/adchoices

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

]]> 3287 yes Sundance Institute Founder and Director Michelle Satter Predicts the Future of Indie Filmmaking https://soundcloud.com/nofilmschool/nfspod-satter 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 megaphone.fm/adchoices Fri, 27 Dec 2019 16:15:19 -0000 full No Film School There are few people who know the ever-shifting l… 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 megaphone.fm/adchoices

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

]]> 2437 yes 12.20.19: We Watched Watchmen! Plus Nikon News, and How Fair Use Works on YouTube https://soundcloud.com/nofilmschool/friday-december-20th 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 megaphone.fm/adchoices Fri, 20 Dec 2019 19:00:21 -0000 full No Film School This week we couldn't ignore contextualizing the … 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 megaphone.fm/adchoices

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

]]> 3523 yes 12.13.19: Can You Distribute Your Short Film and is The Mandalorian Lying to Us?! https://soundcloud.com/nofilmschool/friday-december-13th-2 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 megaphone.fm/adchoices Fri, 13 Dec 2019 23:10:05 -0000 full No Film School There is talk that Disney's The Mandalorian is no… 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 megaphone.fm/adchoices

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

]]> 3210 yes 12.05.19: The Perks of Being a P.O.C. (Proof of Concept, That Is) https://soundcloud.com/nofilmschool/nfspod-120519 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 megaphone.fm/adchoices Thu, 05 Dec 2019 19:49:08 -0000 full No Film School This week we are joined by Filmmaker Katherine To… 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 megaphone.fm/adchoices

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

]]> 3390 yes 11.27.19: Analyzing Every Corner of 'The Irishman' https://soundcloud.com/nofilmschool/112719-going-irish-a-deep-dive 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 megaphone.fm/adchoices Wed, 27 Nov 2019 16:38:24 -0000 full No Film School Martin Scorsese's mob epic has come to Netflix. T… 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 megaphone.fm/adchoices

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

]]> 3775 yes 11.21.2019: A Potential Movie Distribution Game-Changer plus The New MacBook Pro https://soundcloud.com/nofilmschool/nfspod-112119 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 megaphone.fm/adchoices Fri, 22 Nov 2019 22:03:37 -0000 full No Film School The Department of Justice is working to rescind t… 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 megaphone.fm/adchoices

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

]]> 2237 yes 11.14.19: Begun The Streaming War Has https://soundcloud.com/nofilmschool/111419-begun-the-streaming-war-has 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 megaphone.fm/adchoices Fri, 15 Nov 2019 19:33:03 -0000 full No Film School This week we discuss the sudden arrival of multip… 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 megaphone.fm/adchoices

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

]]> 2110 yes Andre Hyland talks comedy and horror in 'The Death of Dick Long' and 'Old Haunt' https://soundcloud.com/nofilmschool/111219-andre-hyland-interview 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 megaphone.fm/adchoices Wed, 13 Nov 2019 17:29:18 -0000 full No Film School At Sundance 2019 George Edelman spoke with actor/… 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 megaphone.fm/adchoices

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

]]> 2466 yes 11.07.19: Nothing Less Than The Future of Cinema Itself Is At Stake https://soundcloud.com/nofilmschool/110719-nothing-less-than-the-future-of-cinema-itself-is-at-stake 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 megaphone.fm/adchoices Thu, 07 Nov 2019 16:10:14 -0000 full No Film School This week, we talk the biggest stories out of Ado… 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 megaphone.fm/adchoices

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

]]> 2975 yes How Larry Sher Shot 'Joker', Built a Career, and Almost Got Fired on His First Day of Filmmaking https://soundcloud.com/nofilmschool/10312019-laurence-sher-interview 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 megaphone.fm/adchoices Thu, 31 Oct 2019 21:42:31 -0000 full No Film School Director of Photography Lawrence Sher takes us th… 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 megaphone.fm/adchoices

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

]]> 2294 yes 10.24.19: Will Crackdowns on the 'Gig Economy' Crush Indie-Filmmaking? https://soundcloud.com/nofilmschool/102419-alexander-paynes-struggle-the-consequences-of 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 megaphone.fm/adchoices Wed, 23 Oct 2019 19:11:30 -0000 full No Film School This week we discuss Alexander Payne's new movie … 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 megaphone.fm/adchoices

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

]]> 2628 yes 10.17.19: What Would the Perfect Film School Curriculum Look Like? https://soundcloud.com/nofilmschool/nfspod-101719-mixdown 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 megaphone.fm/adchoices Wed, 16 Oct 2019 22:40:31 -0000 full No Film School This week we also discuss the Sigma fp, Deakins u… 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 megaphone.fm/adchoices

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

]]> 3436 yes 10.10.19: No Film School vs. Joker, Marty vs. Marvel, and Your Short Film vs. Film Festivals https://soundcloud.com/nofilmschool/101019-scorsese-vs-marvel-joker-vs-george-festivals-vs-your-shitty-film 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 megaphone.fm/adchoices Wed, 09 Oct 2019 21:39:33 -0000 full No Film School This week we sort through the various debates in … 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 megaphone.fm/adchoices

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

]]> 3287 yes 10.4.19: The Irishman Strives, GoPro Stumbles, and We Follow Up on Distribber https://soundcloud.com/nofilmschool/nfspod-100419-mixdown 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 megaphone.fm/adchoices Fri, 04 Oct 2019 23:29:38 -0000 full No Film School We put the de-aging process under the microscope,… 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 megaphone.fm/adchoices

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

]]> 3739 yes 9.27.19: BMPCC4K Updates, Moon Pirates, Bankruptcy, and Beef with Orson Welles https://soundcloud.com/nofilmschool/bmpcc4k-updates-moon-pirates-bankruptcy-and-beef-with-orson-welles 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 megaphone.fm/adchoices Fri, 27 Sep 2019 17:35:56 -0000 full No Film School This week we discuss what we know about the Distr… 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 megaphone.fm/adchoices

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

]]> 2496 yes Downton Abbey Goes Big: Here is How Michael Engler Expanded the Canvas https://soundcloud.com/nofilmschool/downton-abbey-goes-big-heres-how-michael-engler-expanded-the-canvas 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 megaphone.fm/adchoices Mon, 23 Sep 2019 18:24:07 -0000 full No Film School We talk with director Michael Engler about his ca… 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 megaphone.fm/adchoices

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

]]> 925 yes 9.20.19: The Joker, Raw Wars, and BAD Vibrations! https://soundcloud.com/nofilmschool/the-joker-raw-wars-and-bad-vibrations 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 megaphone.fm/adchoices Fri, 20 Sep 2019 23:53:32 -0000 full No Film School How we went from Cesar Romero to Joaquin Phoenix,… 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 megaphone.fm/adchoices

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

]]> 2720 yes 9.13.19: The Sony FX9, The iPhone 11 PRO, plus The Rise of The Middle Class DP https://soundcloud.com/nofilmschool/91319-the-sony-fx9-the-iphone-11-pro-plus-the-rise-of-the-middle-class-dp 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 megaphone.fm/adchoices Mon, 16 Sep 2019 20:48:52 -0000 full No Film School There are so many cameras to talk about we needed… 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 megaphone.fm/adchoices

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

]]> 3382 yes 9.6.19: Ryan Koo Critiques a Camera (BMPCC6K)And Other News https://soundcloud.com/nofilmschool/962019-koo-critiques-a-camera-blackmagic-pocket-6k 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 megaphone.fm/adchoices Fri, 06 Sep 2019 17:00:34 -0000 full No Film School This week NFS Founder and CEO Ryan Koo stops by t… 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 megaphone.fm/adchoices

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

]]> 3255 yes How to Take Advantage of Your Low Budget (and Get Into Sundance… Twice) https://soundcloud.com/nofilmschool/how-to-take-advantage-of-your-low-budget-and-get-into-sundance-twice 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 megaphone.fm/adchoices Tue, 03 Sep 2019 21:04:56 -0000 full No Film School In this episode of the No Film School Podcast, we… 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 megaphone.fm/adchoices

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

]]> 4475 yes 8.30.19: Behold The Panasonic S1H And Its Myriad Wonders https://soundcloud.com/nofilmschool/83019-behold-the-panasonic-s1h-and-its-many-wonders 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 megaphone.fm/adchoices Fri, 30 Aug 2019 18:47:36 -0000 full No Film School This week Charles and George discuss the big news… 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 megaphone.fm/adchoices

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

]]> 3016 yes 8.22.19: Sony Vs. Disney, Apple Vs. Red, The Office Vs. The Office https://soundcloud.com/nofilmschool/82219-the-importance-of-second-seasons 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 megaphone.fm/adchoices Thu, 22 Aug 2019 21:07:25 -0000 full No Film School Titans clash on the pod this week as George and C… 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 megaphone.fm/adchoices

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

]]> 2858 yes 8.16.19: The Pros and Cons of the BMPCC 6K https://soundcloud.com/nofilmschool/81619-pocket-camera-colateral 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 megaphone.fm/adchoices Fri, 16 Aug 2019 20:43:25 -0000 full No Film School This week The No Film School Podcast covers the B… 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 megaphone.fm/adchoices

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

]]> 2059 yes 8.9.19: Can You Tell When The Project You're Working On is Good? https://soundcloud.com/nofilmschool/8919-tarantino-critiques-boogie-nights-nfs-bigwigs-pine-for-silent-era-film-stock 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 megaphone.fm/adchoices Fri, 09 Aug 2019 22:27:58 -0000 full No Film School Tarantino's 'Boogie Nights' complaint gets dissec… 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 megaphone.fm/adchoices

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

]]> 2554 yes 8.1.9: Once Upon A Time in (No) Film School https://soundcloud.com/nofilmschool/08012019-once-upon-a-time-in-no-film-school 8.1.9: Once Upon A Time in (No) Film School by No Film School Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 02 Aug 2019 16:23:10 -0000 full No Film School 8.1.9: Once Upon A Time in (No) Film School by No… 8.1.9: Once Upon A Time in (No) Film School by No Film School Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2618 yes 7.26.19 Those Human-ish Cats Still Make Us Feel Weird and Other Stories of the Week https://soundcloud.com/nofilmschool/072619a 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 megaphone.fm/adchoices Fri, 26 Jul 2019 20:55:41 -0000 full No Film School This week on The No Film School Podcast, Editor-i… 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 megaphone.fm/adchoices

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

]]> 2796 yes ‘Relaxer’ Filmmakers: Don't Make Poser Movies or You Will Fail! https://soundcloud.com/nofilmschool/071619-interview-with-joel-potrykus-relaxer 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 megaphone.fm/adchoices Wed, 17 Jul 2019 02:13:52 -0000 full No Film School Joel Potrykus, DP Adam J. Minnick, and actors Jos… 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 megaphone.fm/adchoices

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

]]> 2375 yes 7.12.19: RIP Macbook, Firmware Updates, and Which John Wick Timeline Are We In? https://soundcloud.com/nofilmschool/071219a 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 megaphone.fm/adchoices Fri, 12 Jul 2019 22:32:01 -0000 full No Film School This week on The No Film School Podcast, Editor-i… 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 megaphone.fm/adchoices

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

]]> 1971 yes 7.5.19: Deep Fakes, Netflix Victories and Gas Money https://soundcloud.com/nofilmschool/070519-deep-fakes-netflix-victories-and-gas-money 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 megaphone.fm/adchoices Sat, 06 Jul 2019 02:39:31 -0000 full No Film School This week on The No Film School Podcast, Editor-i… 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 megaphone.fm/adchoices

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

]]> 1746 yes 6.21.19: DP Shane Hurlbut on His Process, Collaborators, and the Hurlbut Academy https://soundcloud.com/nofilmschool/062119-shane-hurlbut-interview 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 megaphone.fm/adchoices Mon, 24 Jun 2019 22:32:29 -0000 full No Film School Shane Hurlbut and our host Charles Haine talk abo… 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 megaphone.fm/adchoices

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

]]> 1720 yes Jim Jarmusch on How to Pick Up on Your Actor's Needs https://soundcloud.com/nofilmschool/jim-jarmusch-on-how-to-pick-up-on-your-actors-needs 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 megaphone.fm/adchoices Mon, 17 Jun 2019 07:00:06 -0000 full No Film School It's safe to say that legendary auteur Jim Jarmus… 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 megaphone.fm/adchoices

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

]]> 1267 yes 6.14.19: Praising Chernobyl, "Burning Cane" and Taking a Stand Against Apple’s New Monitor https://soundcloud.com/nofilmschool/061419-praising-chernobyl-burning-cane-and-taking-a-stand-against-apples-new-monitor 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 megaphone.fm/adchoices Fri, 14 Jun 2019 21:38:07 -0000 full No Film School This week on The No Film School Podcast, our resi… 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 megaphone.fm/adchoices

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

]]> 2048 yes 6.7.2019: The Week of Panasonic's New Mirrorless Camera and Apple's New Cheese Grater https://soundcloud.com/nofilmschool/06072019-the-week-of-panasonics-new-mirrorless-camera-and-apples-new-cheese-grater 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 megaphone.fm/adchoices Fri, 07 Jun 2019 22:36:18 -0000 full No Film School This week on the No Film School Podcast, Host Cha… 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 megaphone.fm/adchoices

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

]]> 1936 yes The Ultimate Screenwriting Masterclass with John Fusco and Jon Fusco https://soundcloud.com/nofilmschool/the-ultimate-screenwriting-masterclass-with-john-fusco-and-jon-fusco 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 megaphone.fm/adchoices Mon, 03 Jun 2019 07:00:07 -0000 full No Film School Today is a very special episode of The No Film Sc… 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 megaphone.fm/adchoices

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

]]> 2065 yes How to Build the Perfect Lookbook with Adam Egypt Mortimer https://soundcloud.com/nofilmschool/adam-egypt-mortimer-on-how-to-build-the-perfect-lookbook 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 megaphone.fm/adchoices Mon, 27 May 2019 07:00:17 -0000 full No Film School Adam Egypt Mortimer's latest feature, like many o… 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 megaphone.fm/adchoices

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

]]> 1882 yes 5.23.19: Game of Thrones Ends, War Against ATA Rages On https://soundcloud.com/nofilmschool/nfspod-week4-052319-v2 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 megaphone.fm/adchoices Thu, 23 May 2019 22:10:25 -0000 full No Film School The No Film School Podcast is a weekly show devot… 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 megaphone.fm/adchoices

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

]]> 1778 yes Why You Should Experiment Early In Your Career: 'The Mountain' https://soundcloud.com/nofilmschool/why-you-should-experiment-early-in-your-career-the-mountain 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 megaphone.fm/adchoices Mon, 20 May 2019 07:00:19 -0000 full No Film School If there's one universal truth about filmmaking, … 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 megaphone.fm/adchoices

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

]]> 1832 yes NFS 5.19.19: Game of Thrones Goes Heavy Metal, ARRI Goes to Charleston https://soundcloud.com/nofilmschool/nfs-51919-game-of-thrones-goes-heavy-metal-arri-goes-to-charleston 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 megaphone.fm/adchoices Thu, 16 May 2019 23:18:28 -0000 full No Film School The No Film School Podcast is a weekly show devot… 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 megaphone.fm/adchoices

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

]]> 1836 yes How to Prove You Can Write With Just One Script - 'Big Time Adolescence' Director Jason Orley https://soundcloud.com/nofilmschool/how-to-prove-you-can-write-big-time-adolescence-director-jason-orley 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 megaphone.fm/adchoices Mon, 13 May 2019 07:00:19 -0000 full No Film School Big Time Adolescence is a feature close to direct… 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 megaphone.fm/adchoices

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

]]> 1090 yes How to One-Man-Crew it like an Olympian https://soundcloud.com/nofilmschool/how-to-one-man-crew-it-like-an-olympian 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 megaphone.fm/adchoices Mon, 06 May 2019 07:00:19 -0000 full No Film School For his new film Olympic Dreams, filmmaker Jeremy… 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 megaphone.fm/adchoices

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

]]> 1484 yes NFS 5.2.19: The Long Night is Over https://soundcloud.com/nofilmschool/the-no-film-school-podcast-05 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 megaphone.fm/adchoices Thu, 02 May 2019 18:47:39 -0000 full No Film School Introducing the No Film School Podcast a weekly s… 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 megaphone.fm/adchoices

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

]]> 1497 yes How to Ensure You are Taking Advantage of the Democratization of Film https://soundcloud.com/nofilmschool/how-to-ensure-you-are-taking-advantage-of-the-democratization-of-film 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 megaphone.fm/adchoices Mon, 29 Apr 2019 07:00:19 -0000 full No Film School Mariam Webster defines "democratization" as to ma… 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 megaphone.fm/adchoices

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

]]> 2979 yes How to Subversively Film a Politically Subversive Film https://soundcloud.com/nofilmschool/the-wall-of-mexico-mixdown 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 megaphone.fm/adchoices Mon, 22 Apr 2019 07:00:24 -0000 full No Film School Barry Jenkins once said, "Art is inherently polit… 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 megaphone.fm/adchoices

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

]]> 1407 yes Why Writing and Directing Comedy Go Hand in Hand: Will Forte & 'Extra Ordinary' https://soundcloud.com/nofilmschool/why-writing-and-directing-comedy-go-hand-in-hand-will-forte-extra-ordinary 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 megaphone.fm/adchoices Mon, 15 Apr 2019 07:00:24 -0000 full No Film School Will Forte never met Mike Ahern or Enda Loughman … 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 megaphone.fm/adchoices

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

]]> 1170 yes How to Make a Coming of Age Movie that Doesn't Suck: Ninian Doff on 'Boyz in the Wood' https://soundcloud.com/nofilmschool/how-to-make-a-coming-of-age-movie-that-doesnt-suck-ninian-doff-on-boyz-in-the-wood 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 megaphone.fm/adchoices Mon, 08 Apr 2019 13:40:54 -0000 full No Film School Making a coming of age film can be a tricky thing… 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 megaphone.fm/adchoices

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

]]> 2088 yes Masturbation on Film: Karen Maine, Natalia Dyer & More on SXSW Standout 'Yes, God, Yes' https://soundcloud.com/nofilmschool/masturbation-on-film-karen-maine-natalia-dyer-more-on-sxsw-standout-yes-god-yes 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 megaphone.fm/adchoices Mon, 01 Apr 2019 07:00:12 -0000 full No Film School This week on the No Film School Podcast, we’re go… 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 megaphone.fm/adchoices

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

]]> 1353 yes 'Don't be Afraid if You Didn't Go To Film School': The Method to Success Behind 'Greener Grass' https://soundcloud.com/nofilmschool/dont-be-afraid-if-you-didnt-go-to-film-school-the-method-to-success-behind-greener-grass 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 megaphone.fm/adchoices Mon, 11 Mar 2019 13:47:10 -0000 full No Film School Greener Grass is a project that has been on a whi… 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 megaphone.fm/adchoices

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

]]> 1804 yes 'There's No Business Like Slow Business': Lee Cronin on His Path to Horror Glory https://soundcloud.com/nofilmschool/theres-no-business-like-slow-business-lee-cronin-on-his-path-to-horror-glory 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 megaphone.fm/adchoices Mon, 04 Mar 2019 08:00:13 -0000 full No Film School For Lee Cronin, getting to the point where he cou… 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 megaphone.fm/adchoices

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

]]> 1512 yes How Young Filmmakers Can Take Advantage of Fellowships https://soundcloud.com/nofilmschool/how-young-filmmakers-can-take-advantage-of-fellowships 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 megaphone.fm/adchoices Mon, 25 Feb 2019 08:00:16 -0000 full No Film School Some filmmakers get their starts late, and some f… 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 megaphone.fm/adchoices

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

]]> 2323 yes DIAY: Do It ALL Yourself with Director Johannes Nyholhm https://soundcloud.com/nofilmschool/diay-do-it-all-yourself-with-director-johannes-nyholhm 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 megaphone.fm/adchoices Mon, 18 Feb 2019 08:00:15 -0000 full No Film School Johannes Nyholm, director of Sundance standout Ko… 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 megaphone.fm/adchoices

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

]]> 1425 yes How To Put Yourself in the Room: Sundance Breakout ‘Them That Follow’ https://soundcloud.com/nofilmschool/how-to-put-yourself-in-the-room-sundance-breakout-them-that-follow “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 megaphone.fm/adchoices Mon, 11 Feb 2019 08:00:15 -0000 full No Film School “In the rugged wilderness of Appalachia, the memb… “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 megaphone.fm/adchoices

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

]]> 1528 yes How to Become a Sundance Worthy Documentary Cinematographer https://soundcloud.com/nofilmschool/how-to-become-a-sundance-worthy-documentary-cinematographer 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 megaphone.fm/adchoices Mon, 04 Feb 2019 08:00:15 -0000 full No Film School The documentary cinematographer is a special kind… 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 megaphone.fm/adchoices

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

]]> 2205 yes Does This Year's Sundance Signal the Death of Truly Independent Film? NFS Live Pt.2 https://soundcloud.com/nofilmschool/does-this-years-sundance-signal-the-death-of-truly-independent-film-nfs-live-pt2 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 megaphone.fm/adchoices Thu, 31 Jan 2019 08:00:25 -0000 full No Film School Emily Buder, Erik Luers, George Edelman, Ryan Koo… 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 megaphone.fm/adchoices

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

]]> 3199 yes No Film School Live from Sundance 2019 Pt.1 https://soundcloud.com/nofilmschool/no-film-school-live-from-sundance-2019-pt1 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 megaphone.fm/adchoices Mon, 28 Jan 2019 08:00:33 -0000 full No Film School Taking its rightful place at the very beginning o… 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 megaphone.fm/adchoices

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

]]> 2720 yes Best of the 2018 No Film School Podcast Interviews, Part 3 https://soundcloud.com/nofilmschool/best-of-the-2018-no-film-school-podcast-interviews-part-3 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 megaphone.fm/adchoices Mon, 21 Jan 2019 08:00:35 -0000 full No Film School It's not all about big names and big projects her… 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 megaphone.fm/adchoices

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

]]> 4229 yes Best of the 2018 No Film School Podcast Interviews, Part 2 https://soundcloud.com/nofilmschool/best-of-the-2018-no-film-school-podcast-interviews-part-2 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 megaphone.fm/adchoices Mon, 14 Jan 2019 08:00:15 -0000 full No Film School We had some of the biggest directors of the year … 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 megaphone.fm/adchoices

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

]]> 3806 yes IFW 1.10.19: The Final Episode https://soundcloud.com/nofilmschool/ifw-11019-the-final-episode 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 megaphone.fm/adchoices Thu, 10 Jan 2019 08:00:15 -0000 full No Film School Liz Nord, Erik Luers, Charles Haine and (kind of)… 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 megaphone.fm/adchoices

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

]]> 3871 yes Best of the 2018 No Film School Podcast Interviews, Part 1 https://soundcloud.com/nofilmschool/best-of-the-2018-no-film-school-podcast-interviews-pt1 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 megaphone.fm/adchoices Mon, 07 Jan 2019 08:00:15 -0000 full No Film School Depending on what stage of your career you’re at,… 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 megaphone.fm/adchoices

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

]]> 3656 yes IFW 12.20.18: Indie Film Weekly Will Come to an End in 2019 https://soundcloud.com/nofilmschool/ifw-122018-indie-film-weekly-will-come-to-an-end-in-2019 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 megaphone.fm/adchoices Thu, 20 Dec 2018 08:00:15 -0000 full No Film School It is with a heavy heart that today we are announ… 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 megaphone.fm/adchoices

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

]]> 136 yes IFW 12.13.18: How to Build Relationships in the Biz & 2018's Biggest Box Office Draw https://soundcloud.com/nofilmschool/ifw-121318-how-to-build-relationships-in-the-biz-2018s-biggest-box-office-draw 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 megaphone.fm/adchoices Thu, 13 Dec 2018 08:00:25 -0000 full No Film School Jon Fusco, Erik Luers, and Liz Nord are back toge… 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 megaphone.fm/adchoices

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

]]> 2869 yes Why the Bolex is the World’s Most Beloved Camera https://soundcloud.com/nofilmschool/why-the-bolex-is-the-worlds-most-beloved-camera 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 megaphone.fm/adchoices Mon, 10 Dec 2018 08:00:37 -0000 full No Film School Filmmaker Alyssa Bolsey didn’t discover until she… 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 megaphone.fm/adchoices

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

]]> 2605 yes IFW 12.6.18: Sundance Selections & Our Full Review of the Blackmagic Pocket Cinema Camera https://soundcloud.com/nofilmschool/ifw-12618-sundance-selections-our-full-review-of-the-blackmagic-pocket-cinema-camera 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 megaphone.fm/adchoices Thu, 06 Dec 2018 08:00:17 -0000 full No Film School Sundance's own Liz Nord joins the show to give Jo… 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 megaphone.fm/adchoices

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

]]> 2649 yes Making the Move from Producer to Director: Cristina Gallego on 'Birds of Passage' https://soundcloud.com/nofilmschool/making-the-move-from-producer-to-director-cristina-gallego-on-birds-of-passage 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 megaphone.fm/adchoices Mon, 03 Dec 2018 08:00:14 -0000 full No Film School While Cristina Gallego was busy working as a prod… 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 megaphone.fm/adchoices

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

]]> 1760 yes IFW 11.29.18: The First Film Awards of the Season & How to Shoot Safe Sex https://soundcloud.com/nofilmschool/ifw-112918-the-first-film-awards-of-the-season-how-to-shoot-safe-sex 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 megaphone.fm/adchoices Thu, 29 Nov 2018 08:00:14 -0000 full No Film School Jon Fusco, Erik Luers, and Liz Nord are here to c… 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 megaphone.fm/adchoices

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

]]> 2898 yes Yorgos Lanthimos on How to Shoot Surrealist Film https://soundcloud.com/nofilmschool/yorgos-lanthimos-on-how-to-shoot-surrealist-film 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 megaphone.fm/adchoices Mon, 26 Nov 2018 08:00:24 -0000 full No Film School If you've seen any of Yorgos Lanthimos' films, th… 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 megaphone.fm/adchoices

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

]]> 1523 yes IFW 11.22.18: A Thanksgiving Miracle & Are Big Changes Coming for Final Cut? https://soundcloud.com/nofilmschool/ifw-112218-a-thanksgiving-miracle-are-big-changes-coming-for-final-cut 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 megaphone.fm/adchoices Thu, 22 Nov 2018 08:00:14 -0000 full No Film School Jon Fusco and Erik Luers are stranded together in… 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 megaphone.fm/adchoices

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

]]> 2716 yes Academy Award Winner László Nemes on Following Your Inspiration to Success https://soundcloud.com/nofilmschool/academy-award-winner-laszlo-nemes-on-following-your-inspiration-to-success 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 megaphone.fm/adchoices Mon, 19 Nov 2018 08:00:18 -0000 full No Film School How we approach history and how we approach film … 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 megaphone.fm/adchoices

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

]]> 1730 yes IFW 11.15.18: Our Favorite Books on Cinema & The Death of a Real-Life Superhero https://soundcloud.com/nofilmschool/ifw-111518-our-favorite-books-on-cinema-the-death-of-a-real-life-superhero 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 megaphone.fm/adchoices Thu, 15 Nov 2018 08:00:18 -0000 full No Film School Jon Fusco, Erik Luers, and Liz Nord are here to r… 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 megaphone.fm/adchoices

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

]]> 2636 yes Mike Leigh on How to Become Your Actor's Dream Director https://soundcloud.com/nofilmschool/mike-leigh-on-how-to-become-your-actors-dream-director 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 megaphone.fm/adchoices Mon, 12 Nov 2018 14:02:13 -0000 full No Film School Working with Mike Leigh is what you would call an… 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 megaphone.fm/adchoices

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

]]> 1427 yes IFW 11.8.18: The Greatest Foreign Films of All Time & How Much You Should Be Asking for Upfront? https://soundcloud.com/nofilmschool/ifw-11818-the-greatest-foreign-films-of-all-time-how-much-you-should-be-asking-for-upfront 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 megaphone.fm/adchoices Thu, 08 Nov 2018 08:00:19 -0000 full No Film School Jon Fusco, Erik Luers, and Liz Nord are here this… 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 megaphone.fm/adchoices

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

]]> 2833 yes 'Diamantino': How to Make a Masterpiece Out of Your Mistakes https://soundcloud.com/nofilmschool/diamantino-how-to-make-a-masterpiece-out-of-your-mistakes 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 megaphone.fm/adchoices Mon, 05 Nov 2018 08:00:28 -0000 full No Film School For co-directors Daniel Schmidt and Gabriel Abran… 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 megaphone.fm/adchoices

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

]]> 2091 yes IFW 11.1.18: Farewell FilmStruck & Is Apple Finally Filmmaker Friendly? https://soundcloud.com/nofilmschool/ifw-11118-farewell-filmstruck-is-apple-finally-filmmaker-friendly 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 megaphone.fm/adchoices Thu, 01 Nov 2018 07:00:43 -0000 full No Film School Jon Fusco, Erik Luers, and Liz Nord are back toge… 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 megaphone.fm/adchoices

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

]]> 3126 yes For Paycheck or For Passion? Steven Yeun on 'Burning', 'Sorry to Bother You' and Building a Career https://soundcloud.com/nofilmschool/for-paycheck-or-for-passion-steven-yeun-on-burning-sorry-to-bother-you-and-building-a-career 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 megaphone.fm/adchoices Mon, 29 Oct 2018 10:22:16 -0000 full No Film School It's hard to coin Steven Yeun's year as "breakthr… 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 megaphone.fm/adchoices

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

]]> 1535 yes IFW 10.25.18: Our Thoughts on the New MacBook Pro & Where to Submit Your Film Online https://soundcloud.com/nofilmschool/ifw-102518-our-thoughts-on-the-new-macbook-pro-where-to-submit-your-film-online 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 megaphone.fm/adchoices Thu, 25 Oct 2018 07:00:43 -0000 full No Film School Jon Fusco is back this week with Liz Nord to lead… 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 megaphone.fm/adchoices

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

]]> 2559 yes Why You Should Edit Your Own Films https://soundcloud.com/nofilmschool/why-you-should-edit-your-own-films 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 megaphone.fm/adchoices Mon, 22 Oct 2018 07:01:03 -0000 full No Film School Irene Lusztig (‘Yours in Sisterhood’) and Dominic… 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 megaphone.fm/adchoices

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

]]> 2683 yes IFW 10.18.18: Why 2018 Has Been a Great Year for Movies & Where to Move if You Want to Make One https://soundcloud.com/nofilmschool/ifw-101818-why-2018-has-been-a-great-year-for-movies-where-to-move-if-you-want-to-make-one 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 megaphone.fm/adchoices Thu, 18 Oct 2018 07:00:29 -0000 full No Film School Erik Luers and Liz Nord are together again to dis… 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 megaphone.fm/adchoices

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

]]> 2318 yes One Hundred Different Ways to Get Your Film Funded https://soundcloud.com/nofilmschool/one-hundred-different-ways-to-get-your-film-funded 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 megaphone.fm/adchoices Mon, 15 Oct 2018 07:00:09 -0000 full No Film School Hayley Pappas (Head of RYOT Films), Caroline von … 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 megaphone.fm/adchoices

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

]]> 3419 yes IFW 10.11.18: Your Favorite Filmmakers Defined & A New Mirrorless Camera from Fuji https://soundcloud.com/nofilmschool/ifw-101118-your-favorite-filmmakers-defined-a-new-mirrorless-camera-from-fuji 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 megaphone.fm/adchoices Thu, 11 Oct 2018 07:00:19 -0000 full No Film School Erik Luers, and Liz Nord get together this week t… 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 megaphone.fm/adchoices

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

]]> 2450 yes How to Become a Top Notch Sound Designer with the Team Behind 'First Man' https://soundcloud.com/nofilmschool/how-to-become-a-top-notch-sound-designer-with-the-team-behind-first-man 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 megaphone.fm/adchoices Mon, 08 Oct 2018 07:00:19 -0000 full No Film School Not many people with an interest in film have the… 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 megaphone.fm/adchoices

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

]]> 2271 yes IFW 10.4.18: When to Move On to Freelancing & Why You Should Be Playing Video Games https://soundcloud.com/nofilmschool/when-to-move-onto-freelancing-why-you-should-be-playing-video-games 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 megaphone.fm/adchoices Thu, 04 Oct 2018 07:00:29 -0000 full No Film School Jon Fusco and Erik Luers buckle down and get seri… 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 megaphone.fm/adchoices

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

]]> 2554 yes Jeremy Saulnier on Why Being a DP is More Fun than Being a Director https://soundcloud.com/nofilmschool/jeremy-saulnier-on-why-being-a-dp-is-more-fun-than-being-a-director 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 megaphone.fm/adchoices Mon, 01 Oct 2018 07:00:19 -0000 full No Film School Jeremy Saulnier has carved out his own little pla… 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 megaphone.fm/adchoices

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

]]> 1396 yes IFW 9.27.18: How to Correctly Use a Fish & A New Mirrorless Camera From Panasonic? https://soundcloud.com/nofilmschool/ifw-92718-how-to-correctly-use-a-fish-a-new-mirrorless-camera-from-panasonic 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 megaphone.fm/adchoices Thu, 27 Sep 2018 07:00:19 -0000 full No Film School It seems like the Toronto International Film Fest… 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 megaphone.fm/adchoices

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

]]> 2364 yes From Film School 'Failure' to Godard's Cinematographer: Fabrice Aragno on Working with Jean-Luc https://soundcloud.com/nofilmschool/from-film-school-failure-to-godards-cinematographer-fabrice-aragno-on-working-with-jean-luc 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 megaphone.fm/adchoices Mon, 24 Sep 2018 07:00:16 -0000 full No Film School When Fabrice Aragno went to film school, he was w… 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 megaphone.fm/adchoices

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

]]> 2167 yes IFW 9.20.18: Two of the Years Biggest Cameras & How to Advertise Your Short Film https://soundcloud.com/nofilmschool/ifw-92018-two-of-the-years-biggest-cameras-how-to-advertise-your-short-film 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 megaphone.fm/adchoices Thu, 20 Sep 2018 07:00:16 -0000 full No Film School In this episode, Jon Fusco and Erik Luers talk TI… 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 megaphone.fm/adchoices

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

]]> 2960 yes 'Think Slow, Act Fast': Joe Walker on Editing for Steve McQueen and Denis Villeneuve https://soundcloud.com/nofilmschool/think-slow-act-fast-joe-walker-on-editing-for-steve-mcqueen-and-denis-villeneuve 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 megaphone.fm/adchoices Mon, 17 Sep 2018 12:19:59 -0000 full No Film School Steve McQueen has made some great movies. So has … 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 megaphone.fm/adchoices

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

]]> 1411 yes IFW 9.12.2018: The Academy Makes a Smart Decision & How Hard Should You Be Working? https://soundcloud.com/nofilmschool/ifw-9122018-the-academy-makes-a-smart-decision-how-hard-should-you-be-working 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 megaphone.fm/adchoices Thu, 13 Sep 2018 14:26:33 -0000 full No Film School In this episode, Erik Luers and Liz Nord reveal a… 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 megaphone.fm/adchoices

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

]]> 1900 yes How Do You Know What to Cut on the Editing Floor? The First Short: THE GUY [Episode 3] https://soundcloud.com/nofilmschool/how-do-you-know-what-to-cut-on-the-editing-floor-the-first-short-the-guy-episode-3 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 megaphone.fm/adchoices Mon, 10 Sep 2018 07:00:26 -0000 full No Film School It seems that many short films even after they wr… 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 megaphone.fm/adchoices

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

]]> 4027 yes IFW 9.6.18: Our Most Anticipated Films at TIFF & Other Movies to See in Fall 2018 https://soundcloud.com/nofilmschool/ifw-9618-our-most-anticipated-films-at-tiff-other-movies-to-see-in-fall-2018 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 megaphone.fm/adchoices Thu, 06 Sep 2018 07:00:26 -0000 full No Film School Festival season is upon us once more and with it,… 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 megaphone.fm/adchoices

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

]]> 2539 yes How to Raise Money & What Should You Expect in Production? The First Short: THE GUY [Episode 2] https://soundcloud.com/nofilmschool/how-to-raise-money-what-should-you-expect-in-production-the-first-short-the-guy-episode-2 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 megaphone.fm/adchoices Mon, 03 Sep 2018 07:00:16 -0000 full No Film School A short film is a tricky thing, you don’t know ho… 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 megaphone.fm/adchoices

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

]]> 3666 yes IFW 8.30.18: Our Top Advice from Three Years of Filmmaker Interviews https://soundcloud.com/nofilmschool/ifw-83018-our-top-advice-from-three-years-of-filmmaker-interviews 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 megaphone.fm/adchoices Thu, 30 Aug 2018 07:00:26 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… 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 megaphone.fm/adchoices

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

]]> 2279 yes How Do You Make a Film with Zero Experience? The First Short: THE GUY [Episode 1] https://soundcloud.com/nofilmschool/how-do-you-make-a-film-with-zero-experience-the-first-short-the-guy-episode-1 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 megaphone.fm/adchoices Mon, 27 Aug 2018 07:00:18 -0000 full No Film School A short film is a tricky thing, you don’t know ho… 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 megaphone.fm/adchoices

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

]]> 3589 yes IFW 8.23.18: 360° Filmmaking Finally Makes Sense & How Old is Too Old to Make a Movie? https://soundcloud.com/nofilmschool/ifw-82318-360-filmmaking-finally-makes-sense-how-old-is-too-old-to-make-a-movie 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 megaphone.fm/adchoices Thu, 23 Aug 2018 07:00:18 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… 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 megaphone.fm/adchoices

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

]]> 3142 yes 'Meow Wolf': How to Build an Immersive World Through Film https://soundcloud.com/nofilmschool/meow-wolf-how-to-build-an-immersive-world-through-film 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 megaphone.fm/adchoices Mon, 20 Aug 2018 13:19:57 -0000 full No Film School Oakley Anderson Moore sits down with co directors… 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 megaphone.fm/adchoices

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

]]> 1934 yes IFW 8.16.18: Blackmagic's New Resolve is a Masterpiece & The Scariest Trailer Ever Made https://soundcloud.com/nofilmschool/ifw-81618-blackmagics-new-resolve-is-a-masterpiece-the-scariest-trailer-ever-made 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 megaphone.fm/adchoices Thu, 16 Aug 2018 07:00:34 -0000 full No Film School With Liz Nord absent and on the hunt for Alfonso … 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 megaphone.fm/adchoices

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

]]> 2882 yes How to Make a Short Film for Only $4.50 https://soundcloud.com/nofilmschool/how-to-make-a-short-film-for-only-450 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 megaphone.fm/adchoices Mon, 13 Aug 2018 07:00:44 -0000 full No Film School What is the least amount of money you think you c… 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 megaphone.fm/adchoices

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

]]> 2020 yes IFW 8.9.18: How to Perfect Your Script & Why Docs Are the New Blockbusters https://soundcloud.com/nofilmschool/ifw-8918-how-to-perfect-your-script-why-docs-are-the-new-blockbusters In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers discuss how theatrical documentaries are taking over the summer box office, give a fall festival preview, and mull over a newly announced Oscar category. In gear news, we reveal two new mobile audio solutions and an affordable ultra-wide zoom. Jon answers an Ask No Film School question about how to make sure your film script is properly formatted—and the right length. 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 megaphone.fm/adchoices Thu, 09 Aug 2018 07:00:04 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers discuss how theatrical documentaries are taking over the summer box office, give a fall festival preview, and mull over a newly announced Oscar category. In gear news, we reveal two new mobile audio solutions and an affordable ultra-wide zoom. Jon answers an Ask No Film School question about how to make sure your film script is properly formatted—and the right length. 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 megaphone.fm/adchoices

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

]]> 2858 yes How to Shoot a Feature Film for Only $7000 https://soundcloud.com/nofilmschool/how-to-shoot-a-feature-film-for-only-7000 With only $7K, fourteen days, and no crew, Alejandro Montoya Marín made a chockablock action-comedy feature. If you're wondering why these parameters, here's the reason: it took $7000 bucks for Robert Rodriguez to shoot his breakout film El Mariachi. And since it’s the 25th anniversary of that film, Rodriguez decided to host a show with El Rey called Rebel Without a Crew where he picks five filmmakers to each make a feature using the same arsenal. Marín was one of those filmmakers! The contingency of being on the show was that you would make a feature film with $7K and only fourteen shooting days -- with only a plus-one as your crew. In this conversation, NFS contributors Oakley Anderson Moore and Chris Boone talk to Marín about how he was able to pull all this off, and how ultimately, this experience was the perfect way to get past the hurdle where he can now himself a filmmaker. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 06 Aug 2018 07:00:14 -0000 full No Film School With only $7K, fourteen days, and no crew, Alejan… With only $7K, fourteen days, and no crew, Alejandro Montoya Marín made a chockablock action-comedy feature. If you're wondering why these parameters, here's the reason: it took $7000 bucks for Robert Rodriguez to shoot his breakout film El Mariachi. And since it’s the 25th anniversary of that film, Rodriguez decided to host a show with El Rey called Rebel Without a Crew where he picks five filmmakers to each make a feature using the same arsenal. Marín was one of those filmmakers! The contingency of being on the show was that you would make a feature film with $7K and only fourteen shooting days -- with only a plus-one as your crew. In this conversation, NFS contributors Oakley Anderson Moore and Chris Boone talk to Marín about how he was able to pull all this off, and how ultimately, this experience was the perfect way to get past the hurdle where he can now himself a filmmaker. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 3175 yes IFW 8.2.18: What to Know Before You Drone & The Best Way to Get Your Short Seen https://soundcloud.com/nofilmschool/ifw-8218-what-to-know-before-you-drone-the-best-way-to-get-your-short-seen In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers discuss the union negotiations that might have the Hollywood film industry gearing up for a strike, and ponder what the heck is going on with Moviepass. Jon also shares wisdom from Short of the Week about how to develop a distribution strategy for your short film. In gear news, Liz reviews the Freefly Movi smartphone stabilizer. Aerial cinematographer Randall Esulto joins us to answer an Ask No Film School question about how to get started with drones. 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 megaphone.fm/adchoices Thu, 02 Aug 2018 07:00:04 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers discuss the union negotiations that might have the Hollywood film industry gearing up for a strike, and ponder what the heck is going on with Moviepass. Jon also shares wisdom from Short of the Week about how to develop a distribution strategy for your short film. In gear news, Liz reviews the Freefly Movi smartphone stabilizer. Aerial cinematographer Randall Esulto joins us to answer an Ask No Film School question about how to get started with drones. 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 megaphone.fm/adchoices

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

]]> 3115 yes How to Become a Top TV Editor https://soundcloud.com/nofilmschool/how-to-become-a-top-tv-editor Emmy-nominated TV editors A.M. Peters ('Queer Eye') and Tenille Uithoff ('Full Frontal with Samantha Bee’) join Liz Nord to discuss how to break into post-production for TV, what you can expect once you do, and how to make it in the television editing business. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 30 Jul 2018 07:00:04 -0000 full No Film School Emmy-nominated TV editors A.M. Peters ('Queer Eye… Emmy-nominated TV editors A.M. Peters ('Queer Eye') and Tenille Uithoff ('Full Frontal with Samantha Bee’) join Liz Nord to discuss how to break into post-production for TV, what you can expect once you do, and how to make it in the television editing business. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2304 yes IFW 7.26.18: Nikon Teases a Full Frame Mirrorless & What Should We Make of the James Gunn Firing? https://soundcloud.com/nofilmschool/ifw-72618-nikon-teases-a-full-frame-mirrorless-what-should-we-make-of-the-james-gunn-firing In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers discuss what we should make of James Gunn being fired from the ‘Guardians of the Galaxy’ franchise over controversial tweets. We also reveal an industry trend worth watching from this year’s massive Comic-Con. Charles Haine joins us for gear news including confirmed rumors of Nikon's new mirrorless camera. Charles also answers an Ask No Film School question about building a portfolio website for your film work. 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 megaphone.fm/adchoices Thu, 26 Jul 2018 07:00:04 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers discuss what we should make of James Gunn being fired from the ‘Guardians of the Galaxy’ franchise over controversial tweets. We also reveal an industry trend worth watching from this year’s massive Comic-Con. Charles Haine joins us for gear news including confirmed rumors of Nikon's new mirrorless camera. Charles also answers an Ask No Film School question about building a portfolio website for your film work. 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 megaphone.fm/adchoices

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

]]> 2702 yes How to Make the Jump from Short to Feature with Award Winning Director Jim Cummings https://soundcloud.com/nofilmschool/how-to-make-the-jump-from-short-to-feature-with-award-winning-director-jim-cummings Jim Cummings career is a case study in DIY Filmmaking. His short film Thunder Road redefined the path of a festival award winner. After earning the Grand Jury Prize at Sundance, the short took the internet by storm, bringing Jim and his crew ample exposure and a shot to turn their project into a feature. One would think that having a viral, Grand Jury Prize winning short would be enough to attract the attention of major studios, but despite the fact that they had a whole fifteen minutes of the film they could show off right away, Jim and his producing partner Ben Weissner could not get any big bites from investors. So they took matters into their own hands. The self-produced and largely crowd-funded feature version of Thunder Road premiered at SXSW earlier this year where it, guess what, won the Grand Jury Award for best feature. Now Jim and Ben want to share the knowledge they’ve learned over the course of their experience with young filmmakers across the world and to do so they’ve launched a Short to Feature lab in Malibu. We asked them to give us a rundown of what applicants can expect as well as the skills that they think every filmmaker interested in controlling the entire life of their film should know. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 23 Jul 2018 07:00:04 -0000 full No Film School Jim Cummings career is a case study in DIY Filmma… Jim Cummings career is a case study in DIY Filmmaking. His short film Thunder Road redefined the path of a festival award winner. After earning the Grand Jury Prize at Sundance, the short took the internet by storm, bringing Jim and his crew ample exposure and a shot to turn their project into a feature. One would think that having a viral, Grand Jury Prize winning short would be enough to attract the attention of major studios, but despite the fact that they had a whole fifteen minutes of the film they could show off right away, Jim and his producing partner Ben Weissner could not get any big bites from investors. So they took matters into their own hands. The self-produced and largely crowd-funded feature version of Thunder Road premiered at SXSW earlier this year where it, guess what, won the Grand Jury Award for best feature. Now Jim and Ben want to share the knowledge they’ve learned over the course of their experience with young filmmakers across the world and to do so they’ve launched a Short to Feature lab in Malibu. We asked them to give us a rundown of what applicants can expect as well as the skills that they think every filmmaker interested in controlling the entire life of their film should know. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 1623 yes IFW 7.19.18: How to Start Your Own Netflix & Why You Should Buy a Still Camera Over Video https://soundcloud.com/nofilmschool/ifw-71918-how-to-start-your-own-netflix-why-you-should-buy-a-still-camera-over-video In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, Erik Luers, and Charles Haine discuss why you might be able to skip having your film on Netflix in favor of launching your own streaming service. We also discuss a new study on film critics and what it means for production funding, and say a sad goodbye to Blockbuster Video. In gear news, the MacBook Pro sort of wins us back. Charles also answers an Ask No Film School question about why you should buy a stills camera to shoot video. 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 megaphone.fm/adchoices Thu, 19 Jul 2018 07:00:04 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, Erik Luers, and Charles Haine discuss why you might be able to skip having your film on Netflix in favor of launching your own streaming service. We also discuss a new study on film critics and what it means for production funding, and say a sad goodbye to Blockbuster Video. In gear news, the MacBook Pro sort of wins us back. Charles also answers an Ask No Film School question about why you should buy a stills camera to shoot video. 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 megaphone.fm/adchoices

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

]]> 3078 yes Why Making a Good Music Documentary Means Speaking Two Universal Languages https://soundcloud.com/nofilmschool/why-making-a-good-music-documentary-means-speaking-two-universal-languages It’s very hard to make a film about music that’s better than actually just listening to music. That’s the challenge co-directors T.G. Herrington and Danny Clinch took on in A Tuba to Cuba, a documentary the revered New Orleans Jazz band as they travel to post-embargo Cuba. NFS writer Oakley Anderson Moore sat down with Herrington and producer Nicelle Herrington, as well as band leader and doc subject Ben Jaffe at the film's SXSW premiere. They talk The importance of knowing your story, whether or not you know where it will take you, how to capture musicality through visuals and recording sound on a music documentary that contains and live concerts. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 16 Jul 2018 07:00:34 -0000 full No Film School It’s very hard to make a film about music that’s … It’s very hard to make a film about music that’s better than actually just listening to music. That’s the challenge co-directors T.G. Herrington and Danny Clinch took on in A Tuba to Cuba, a documentary the revered New Orleans Jazz band as they travel to post-embargo Cuba. NFS writer Oakley Anderson Moore sat down with Herrington and producer Nicelle Herrington, as well as band leader and doc subject Ben Jaffe at the film's SXSW premiere. They talk The importance of knowing your story, whether or not you know where it will take you, how to capture musicality through visuals and recording sound on a music documentary that contains and live concerts. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2077 yes IFW 7.12.18: How to Properly Use a Green Screen & The 25 Coolest Festivals in the World https://soundcloud.com/nofilmschool/ifw-71218-how-to-properly-use-a-green-screen-the-25-coolest-festivals-in-the-world Jon Fusco, Erik Luers and Charles Haine are here this week to help you identify a few dozen film festivals that need to be on your radar, go bananas over just how many billions of dollars Netflix is spending in 2018 and Nicolas Winding Refn's shocking accusation about the film industry. In gear news, we get serious about some security measures you could take to ensure the protection of your projects. This week on Ask No Film School we answer whether you should be using a blue, green, or even a red screen to accomplish digital effects in your film. Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 12 Jul 2018 07:00:04 -0000 full No Film School Jon Fusco, Erik Luers and Charles Haine are here … Jon Fusco, Erik Luers and Charles Haine are here this week to help you identify a few dozen film festivals that need to be on your radar, go bananas over just how many billions of dollars Netflix is spending in 2018 and Nicolas Winding Refn's shocking accusation about the film industry. In gear news, we get serious about some security measures you could take to ensure the protection of your projects. This week on Ask No Film School we answer whether you should be using a blue, green, or even a red screen to accomplish digital effects in your film. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2722 yes How Working Within Extreme Constraints Actually Benefits Your Film https://soundcloud.com/nofilmschool/how-working-within-extreme-constraints-actually-benefits-your-film Emmy-winning director Madeline Sackler, Cinematographer Wolfgang Held (BRÜNO, PARTICLE FEVER) , and actor/producer Boyd Holbrook (LOGAN, NARCOS) join No Film School’s Liz Nord to share how they pulled off one of the most amazing behind-the-scenes production stories we've ever heard. Their narrative feature O.G. and documentary IT’S A HARD TRUTH AIN’T IT were both shot simultaneously in an active maximum-security prison. The documentary is co-directed by 13 incarcerated men and the feature was cast with more than 90% real inmates as extras and even as one of the leads. This conversation and the huge steps these filmmakers had to take to get their projects made—including spending an hour each way going in and out of prison security with all their gear every single day of production—will be an inspiration to anyone who has lofty goals but big constraints for their independent films. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 09 Jul 2018 07:00:04 -0000 full No Film School Emmy-winning director Madeline Sackler, Cinematog… Emmy-winning director Madeline Sackler, Cinematographer Wolfgang Held (BRÜNO, PARTICLE FEVER) , and actor/producer Boyd Holbrook (LOGAN, NARCOS) join No Film School’s Liz Nord to share how they pulled off one of the most amazing behind-the-scenes production stories we've ever heard. Their narrative feature O.G. and documentary IT’S A HARD TRUTH AIN’T IT were both shot simultaneously in an active maximum-security prison. The documentary is co-directed by 13 incarcerated men and the feature was cast with more than 90% real inmates as extras and even as one of the leads. This conversation and the huge steps these filmmakers had to take to get their projects made—including spending an hour each way going in and out of prison security with all their gear every single day of production—will be an inspiration to anyone who has lofty goals but big constraints for their independent films. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2679 yes IFW 7.5.18: Where to Live for a Career in Film & How to Spend Your Camera Budget https://soundcloud.com/nofilmschool/ifw-7518-where-to-live-for-a-career-in-film-how-to-spend-your-camera-budget In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, Erik Luers, and Charles Haine discuss how the extension of California’s Production Tax Credits is affecting the film and TV business, and the fate of ‘Supersize Me 2’ in the wake of director Morgan Spurlock’s sexual assault accusations. We also say a sad goodbye to the journalists killed last week at the Capital Gazette newspaper. In gear news, we geek out about 10Gb ethernet. Charles answers an Ask No Film School question about how to find your perfect camera and the best way to invest your gear budget. 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 megaphone.fm/adchoices Thu, 05 Jul 2018 07:00:04 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, Erik Luers, and Charles Haine discuss how the extension of California’s Production Tax Credits is affecting the film and TV business, and the fate of ‘Supersize Me 2’ in the wake of director Morgan Spurlock’s sexual assault accusations. We also say a sad goodbye to the journalists killed last week at the Capital Gazette newspaper. In gear news, we geek out about 10Gb ethernet. Charles answers an Ask No Film School question about how to find your perfect camera and the best way to invest your gear budget. 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 megaphone.fm/adchoices

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

]]> 2788 yes 'Leave No Trace': The Secret Ingredient to Great Casting https://soundcloud.com/nofilmschool/leave-no-trace-the-secret-ingredient-to-great-casting Debra Granik is perhaps best known for her casting and direction of Jennifer Lawrence’s breakout role in WINTER’S BONE, which was nominated for an Oscar for Best Picture in 2011. In her latest, LEAVE NO TRACE, which premiered at Sundance earlier this year and is now hitting theaters, her casting is spot-on once again with a new young actress Thomasin McKenzie and actor Ben Foster of HELL OR HIGH WATER fame. In this episode, Liz Nord learned some of the secrets behind the organic feeling of her films, including fostering an environment throughout casting and production where every cast and crew member has a willingness of to be flexible and adaptive to changes in circumstance. Nord and Granik are joined by LEAVE NO TRACE producers Anne Rossellini and Anne Harrison to discuss how they cultivate this quality among their collaborators, the steps they had to take to shoot in an unpredictable outdoor environment, and lots more. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 02 Jul 2018 07:00:04 -0000 full No Film School Debra Granik is perhaps best known for her castin… Debra Granik is perhaps best known for her casting and direction of Jennifer Lawrence’s breakout role in WINTER’S BONE, which was nominated for an Oscar for Best Picture in 2011. In her latest, LEAVE NO TRACE, which premiered at Sundance earlier this year and is now hitting theaters, her casting is spot-on once again with a new young actress Thomasin McKenzie and actor Ben Foster of HELL OR HIGH WATER fame. In this episode, Liz Nord learned some of the secrets behind the organic feeling of her films, including fostering an environment throughout casting and production where every cast and crew member has a willingness of to be flexible and adaptive to changes in circumstance. Nord and Granik are joined by LEAVE NO TRACE producers Anne Rossellini and Anne Harrison to discuss how they cultivate this quality among their collaborators, the steps they had to take to shoot in an unpredictable outdoor environment, and lots more. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2039 yes IFW 6.28.18: How YouTube and Instagram Are Competing For Your Videos https://soundcloud.com/nofilmschool/ifw-62818-how-youtube-and-instagram-are-competing-for-your-videos In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers discuss how Instagram’s new IGTV service prompted YouTube to give more benefits to video creators, and other news from the massive VidCon event. We also cover the largest addition to the Academy of Motion Pictures ever, and yet another new addition to the movie theater subscription service arena. In gear news, Charles shares some exciting news in the post-production space. We also answers an Ask No Film School question about fair use, and when you can (or can’t) use news clips in your movie. 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 megaphone.fm/adchoices Thu, 28 Jun 2018 07:00:04 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers discuss how Instagram’s new IGTV service prompted YouTube to give more benefits to video creators, and other news from the massive VidCon event. We also cover the largest addition to the Academy of Motion Pictures ever, and yet another new addition to the movie theater subscription service arena. In gear news, Charles shares some exciting news in the post-production space. We also answers an Ask No Film School question about fair use, and when you can (or can’t) use news clips in your movie. 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 megaphone.fm/adchoices

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

]]> 2659 yes What You Can Do in Distribution to Maximize the Life of Your Film https://soundcloud.com/nofilmschool/what-you-can-do-in-distribution-to-maximize-the-life-of-your-film When you start out as a filmmaker, you think that all you have to do is make a great film. Unfortunately, it’s damn hard to get people to even hear about your film let alone watch it. Even if you play a prestigious festival like Sundance, for most filmmakers, the success of your film depends in large part on a well thought out and executed distribution strategy. Liz Manashil, manager of the Creative Distribution Initiative at the Sundance Institute sat down with NFS' Erik Luers and Oakley Anderson Moore to discuss some possibilities of such a strategy. From the state of distribution for indie films at this past Sundance Film Festival, to how you can get noticed by distributors at a film festival, there’s a wide parameter of useful information to prepare experienced and beginning filmmakers to maximize the life of your film after you finish it. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 25 Jun 2018 07:00:14 -0000 full No Film School When you start out as a filmmaker, you think that… When you start out as a filmmaker, you think that all you have to do is make a great film. Unfortunately, it’s damn hard to get people to even hear about your film let alone watch it. Even if you play a prestigious festival like Sundance, for most filmmakers, the success of your film depends in large part on a well thought out and executed distribution strategy. Liz Manashil, manager of the Creative Distribution Initiative at the Sundance Institute sat down with NFS' Erik Luers and Oakley Anderson Moore to discuss some possibilities of such a strategy. From the state of distribution for indie films at this past Sundance Film Festival, to how you can get noticed by distributors at a film festival, there’s a wide parameter of useful information to prepare experienced and beginning filmmakers to maximize the life of your film after you finish it. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2900 yes IFW 6.21.18: Our First Impressions of ProRes RAW & The Movie Ticket Subscription Race Heats Up https://soundcloud.com/nofilmschool/ifw-62118-our-first-impressions-of-prores-raw-the-movie-ticket-subscription-race-heats-up In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers discuss why a recent marketing stunt by MoviePass smells rotten, and what a major theater chain is doing to compete with the ticket subscription service. We also examine where development execs are looking (or listening) for projects today. Charles Haine joins us for gear news, including the results of our ProRes RAW testing. Charles also answers an Ask No Film School question about how to mark clips while recording without stopping your scene or interview. 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 megaphone.fm/adchoices Thu, 21 Jun 2018 07:00:14 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers discuss why a recent marketing stunt by MoviePass smells rotten, and what a major theater chain is doing to compete with the ticket subscription service. We also examine where development execs are looking (or listening) for projects today. Charles Haine joins us for gear news, including the results of our ProRes RAW testing. Charles also answers an Ask No Film School question about how to mark clips while recording without stopping your scene or interview. 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 megaphone.fm/adchoices

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

]]> 3006 yes How to Meld the Perfect Collaborative Atmosphere on Set https://soundcloud.com/nofilmschool/how-to-meld-the-perfect-collaborative-atmosphere-on-set Making a movie is like making a good stew. Sure, that may not be the first analogy you’d jump to while racking your filmmaking ethos, but for Robert Schwartzman director of The Unicorn, one of 2018’s best comedies, it just makes sense. Every good stew requires fresh ingredients. Your cast and crew are the meat and potatoes. But that stew can't just be about the ingredients. Without the proper mixture, it would just be a bunch of vegetables. You've got balance them out in a way so the flavors come together as a harmonious whole. And that’s the real job of the director. They’re the head chef. The captain. If you walked onto the set of a truly great chef, you'd find yourself in a sacred place that exudes the right collaborative energy. Perhaps the simplest way to achieve this is by treating everyone with the same level of respect, making sure every actor on set knows every crew member, how they contribute to the cooking process, and vice versa. Schwartzman erases the divide between the cast and crew, and focuses on the fact that everyone is just a person, working together to create something great. When you hear how Lauren Lapkus, Nick Rutherford, Maya Kazan and Darrell Britt-Gibson speak about their director in this podcast, you'll gain a better appreciation for just how important maintaining this type of atmosphere is. No Film School producer Jon Fusco sat down with them at SXSW 2018, for a conversation that is often hilarious and consistently insightful. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 18 Jun 2018 07:00:14 -0000 full No Film School Making a movie is like making a good stew. Sure, … Making a movie is like making a good stew. Sure, that may not be the first analogy you’d jump to while racking your filmmaking ethos, but for Robert Schwartzman director of The Unicorn, one of 2018’s best comedies, it just makes sense. Every good stew requires fresh ingredients. Your cast and crew are the meat and potatoes. But that stew can't just be about the ingredients. Without the proper mixture, it would just be a bunch of vegetables. You've got balance them out in a way so the flavors come together as a harmonious whole. And that’s the real job of the director. They’re the head chef. The captain. If you walked onto the set of a truly great chef, you'd find yourself in a sacred place that exudes the right collaborative energy. Perhaps the simplest way to achieve this is by treating everyone with the same level of respect, making sure every actor on set knows every crew member, how they contribute to the cooking process, and vice versa. Schwartzman erases the divide between the cast and crew, and focuses on the fact that everyone is just a person, working together to create something great. When you hear how Lauren Lapkus, Nick Rutherford, Maya Kazan and Darrell Britt-Gibson speak about their director in this podcast, you'll gain a better appreciation for just how important maintaining this type of atmosphere is. No Film School producer Jon Fusco sat down with them at SXSW 2018, for a conversation that is often hilarious and consistently insightful. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 1940 yes IFW 6.14.18: Why Renting Gear Just Got Easier & How to Overcome Your Creative Block https://soundcloud.com/nofilmschool/ifw-61418-why-renting-gear-just-got-easier-how-to-overcome-your-creative-block In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord and Jon Fusco discuss the absurd reality that pits a film star against a TV star on the geopolitical stage, and why we will miss Anthony Bourdain. Charles Haine joins us for tech and gear news, including a move from ShareGrid that could change the gear rental market for the much, much better. Charles and Liz also answer an Ask No Film School question about what to do if you’re feeling stuck and having trouble moving forward on your films. 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 megaphone.fm/adchoices Thu, 14 Jun 2018 07:00:05 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord and Jon Fusco discuss the absurd reality that pits a film star against a TV star on the geopolitical stage, and why we will miss Anthony Bourdain. Charles Haine joins us for tech and gear news, including a move from ShareGrid that could change the gear rental market for the much, much better. Charles and Liz also answer an Ask No Film School question about what to do if you’re feeling stuck and having trouble moving forward on your films. 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 megaphone.fm/adchoices

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

]]> 2770 yes No Business School: How to Save Time and Money on Your Films https://soundcloud.com/nofilmschool/no-business-school-how-to-save-time-and-money-on-your-films Stephen R. Morse (AMANDA KNOX, EUROTRUMP) joins Liz Nord to discuss how his education at Oxford Business School changed the way he makes movies, and he breaks down some business school lessons that we can all apply to make our films in the most efficient and cost-effective ways possible. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 11 Jun 2018 07:00:04 -0000 full No Film School Stephen R. Morse (AMANDA KNOX, EUROTRUMP) joins L… Stephen R. Morse (AMANDA KNOX, EUROTRUMP) joins Liz Nord to discuss how his education at Oxford Business School changed the way he makes movies, and he breaks down some business school lessons that we can all apply to make our films in the most efficient and cost-effective ways possible. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2318 yes IFW 6.7.18: Our Favorite Gear from Cinegear 2018 & Why Movie Theaters are Failing Audiences https://soundcloud.com/nofilmschool/ifw-6718-our-favorite-gear-from-cinegear-2018-why-movie-theaters-are-failing-audiences In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers discuss the unexpected indie hit en route to becoming Magnolia’s highest-grossing film, how cinemas may actually be doing a disservice to great cinematography, and a new platform helping filmmakers make money. Charles Haine joins us fresh off the plane from Cinegear to report on all the latest in video tech from the expo, including some big announcements from Panavision. Charles also answers an Ask No Film School question about which audio editing software to choose for a documentary.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 megaphone.fm/adchoices Thu, 07 Jun 2018 07:00:12 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers discuss the unexpected indie hit en route to becoming Magnolia’s highest-grossing film, how cinemas may actually be doing a disservice to great cinematography, and a new platform helping filmmakers make money. Charles Haine joins us fresh off the plane from Cinegear to report on all the latest in video tech from the expo, including some big announcements from Panavision. Charles also answers an Ask No Film School question about which audio editing software to choose for a documentary.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 megaphone.fm/adchoices

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

]]> 3091 yes "Hearts Beat Loud": The Secrets to Recording Live Music for Film https://soundcloud.com/nofilmschool/hearts-beat-loud-the-secrets-to-recording-live-music-for-film For "Hearts Beat Loud", Director Brett Haley wanted to tell a story about people who make music, so he asked his stars, Nick Offerman and Kiersey Clemons to play all the music...completely live. When it comes to actors playing musicians on screen, he made sure not to follow the conventional standard of well, having no standards. No lip synching, no dubs, no inserts of a hairy-knuckled hand double who knows how to play the guitar. Oakley Anderson Moore sat down with Haley and Offerman at Sundance to talk about the orchestration between film crew and musician that would create a set which allows his two professional actors (but amateur musicians) to do justice to both their roles and the music. For this film, the two aspects are intrinsically connected. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 04 Jun 2018 07:00:03 -0000 full No Film School For "Hearts Beat Loud", Director Brett Haley want… For "Hearts Beat Loud", Director Brett Haley wanted to tell a story about people who make music, so he asked his stars, Nick Offerman and Kiersey Clemons to play all the music...completely live. When it comes to actors playing musicians on screen, he made sure not to follow the conventional standard of well, having no standards. No lip synching, no dubs, no inserts of a hairy-knuckled hand double who knows how to play the guitar. Oakley Anderson Moore sat down with Haley and Offerman at Sundance to talk about the orchestration between film crew and musician that would create a set which allows his two professional actors (but amateur musicians) to do justice to both their roles and the music. For this film, the two aspects are intrinsically connected. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 1451 yes How Do You Become a Filmmaker (And Other Questions)? The First Feature: AMATEUR [Episode 10] https://soundcloud.com/nofilmschool/how-do-you-become-a-filmmaker-amateur-episode-10 In this episode of our step-by-step podcast on how to get your first feature made, using No Film School founder Ryan Koo's Netflix Film Amateur as a case study, we answer questions from listeners. This is the final episode! Watch Amateur on Netflix, available now worldwide at netflix.com/amateur. You can find all other episodes of The First Feature at nofilmschool.com/firstfeature. This episode of The First Feature is sponsored by Music Bed. Get 20% off you next on-site license at musicbed.com/new with coupon code "FirstFeature20." Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 30 May 2018 04:00:32 -0000 full No Film School In this episode of our step-by-step podcast on ho… In this episode of our step-by-step podcast on how to get your first feature made, using No Film School founder Ryan Koo's Netflix Film Amateur as a case study, we answer questions from listeners. This is the final episode! Watch Amateur on Netflix, available now worldwide at netflix.com/amateur. You can find all other episodes of The First Feature at nofilmschool.com/firstfeature. This episode of The First Feature is sponsored by Music Bed. Get 20% off you next on-site license at musicbed.com/new with coupon code "FirstFeature20." Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 3573 yes How Tech Can Be Used to Turn Your Movie into a Global Movement https://soundcloud.com/nofilmschool/how-to-use-technology-to-turn-your-movie-into-a-worldwide-movement Four-time Sundance filmmaker Tiffany Shlain and her Let It Ripple Studio have made and distributed films that have engaged over 50 Million people in dialogue with a new model that they developed to start global conversations with screenings and discussions across all continents on the same day, with a combination of live and virtual events. Shlain joins Liz Nord to discuss the mechanics behind these events, and how other filmmakers can turn their movies into far-reaching movements. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 28 May 2018 07:00:02 -0000 full No Film School Four-time Sundance filmmaker Tiffany Shlain and h… Four-time Sundance filmmaker Tiffany Shlain and her Let It Ripple Studio have made and distributed films that have engaged over 50 Million people in dialogue with a new model that they developed to start global conversations with screenings and discussions across all continents on the same day, with a combination of live and virtual events. Shlain joins Liz Nord to discuss the mechanics behind these events, and how other filmmakers can turn their movies into far-reaching movements. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 3061 yes IFW 5.24.18: Netflix Nabs the Obamas & A Major Week for RED https://soundcloud.com/nofilmschool/ifw-52418-netflix-nabs-the-obamas-a-major-week-for-red In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, Erik Luers and Charles Haine discuss the quiet indie making a loud noise at the international box office and why now is the time to pitch your high-concept horror film, as well as Netflix’s newest independent filmmakers: Barack and Michelle Obama. We also say a sad goodbye to master movie poster designer Bill Gold and literary titan Philip Roth, who both passed away this week. In gear news, RED’s hot streak with three big announcements this week. Charles also answers an Ask No Film School question about the difference between LUTs, color grading plugins, and dedicated color grading software. Plus, Wim Wenders on narrowing down his 8-hour rough cut of ‘Pope Francis - A Man of His Word.’ As always, we also bring you the latest gear news, upcoming grant and festival deadlines, new indie film releases, 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 megaphone.fm/adchoices Thu, 24 May 2018 07:00:12 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, Erik Luers and Charles Haine discuss the quiet indie making a loud noise at the international box office and why now is the time to pitch your high-concept horror film, as well as Netflix’s newest independent filmmakers: Barack and Michelle Obama. We also say a sad goodbye to master movie poster designer Bill Gold and literary titan Philip Roth, who both passed away this week. In gear news, RED’s hot streak with three big announcements this week. Charles also answers an Ask No Film School question about the difference between LUTs, color grading plugins, and dedicated color grading software. Plus, Wim Wenders on narrowing down his 8-hour rough cut of ‘Pope Francis - A Man of His Word.’ As always, we also bring you the latest gear news, upcoming grant and festival deadlines, new indie film releases, 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 megaphone.fm/adchoices

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

]]> 2804 yes How Do You Release Your Film? The First Feature: AMATEUR [Episode 9] https://soundcloud.com/nofilmschool/how-do-you-release-your-film-the-first-feature-amateur-episode-9 In this episode of our step-by-step podcast on how to get your first feature made, using No Film School founder Ryan Koo's Netflix Film Amateur as a case study, we dive into the final release of Amateur. Watch Amateur on Netflix, available now worldwide at netflix.com/amateur. You can find all other episodes of The First Feature at nofilmschool.com/firstfeature. This episode of The First Feature is sponsored by Music Bed. Get 20% off you next on-site license at musicbed.com/new with coupon code "FirstFeature20." Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 23 May 2018 04:00:12 -0000 full No Film School In this episode of our step-by-step podcast on ho… In this episode of our step-by-step podcast on how to get your first feature made, using No Film School founder Ryan Koo's Netflix Film Amateur as a case study, we dive into the final release of Amateur. Watch Amateur on Netflix, available now worldwide at netflix.com/amateur. You can find all other episodes of The First Feature at nofilmschool.com/firstfeature. This episode of The First Feature is sponsored by Music Bed. Get 20% off you next on-site license at musicbed.com/new with coupon code "FirstFeature20." Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 3620 yes How Post-Production Makes or Breaks a Film, Part 2: The Secret Art of Colorists https://soundcloud.com/nofilmschool/how-post-production-makes-or-breaks-a-film-part-2-the-secret-art-of-colorists If you've seen a few independent films that have come out of the festival circuit the past year or two, odds are you've seen the work of Sam Daley, Nat Jencks, or Seth Ricart. They are three talented colorists who have graded films like "The Florida Project", "City of Ghosts", and "Beach Rats". All three sat down with No Film School at this past Sundance Film Festival where they premiered their color work on some of the edgiest, loveliest, or grittiest films we've seen this year! How do they work? What are the real lives of an indie film colorist? How can you get your film to look like that? Listen to this conversation to find out! Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 21 May 2018 07:00:02 -0000 full No Film School If you've seen a few independent films that have … If you've seen a few independent films that have come out of the festival circuit the past year or two, odds are you've seen the work of Sam Daley, Nat Jencks, or Seth Ricart. They are three talented colorists who have graded films like "The Florida Project", "City of Ghosts", and "Beach Rats". All three sat down with No Film School at this past Sundance Film Festival where they premiered their color work on some of the edgiest, loveliest, or grittiest films we've seen this year! How do they work? What are the real lives of an indie film colorist? How can you get your film to look like that? Listen to this conversation to find out! Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 3009 yes IFW 5.17.18: How to Make Sure You Get Paid & Have We Discovered the New RED? https://soundcloud.com/nofilmschool/ifw-51718-how-to-make-sure-you-get-paid-have-we-discovered-the-new-red In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers share loads of news from the 71st Cannes Film Festival, including the biggest acquisitions, what caused Agnes Varda and Ava DuVernay to team up, and Spike Lee’s Oscar contender. Charles Haine joins us for gear news including why a company known for monitors might be making your next camera. Charles also answers an Ask No Film School question about the best cloud storage for video editing. 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 megaphone.fm/adchoices Thu, 17 May 2018 07:00:12 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers share loads of news from the 71st Cannes Film Festival, including the biggest acquisitions, what caused Agnes Varda and Ava DuVernay to team up, and Spike Lee’s Oscar contender. Charles Haine joins us for gear news including why a company known for monitors might be making your next camera. Charles also answers an Ask No Film School question about the best cloud storage for video editing. 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 megaphone.fm/adchoices

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

]]> 2395 yes How Do You Finish Your Film? The First Feature: AMATEUR [Episode 8] https://soundcloud.com/nofilmschool/how-do-you-finish-your-film In this episode of our step-by-step podcast on how to get your first feature made, using No Film School founder Ryan Koo's Netflix Film Amateur as a case study, we dive into the post-production stage of filmmaking. Watch Amateur on Netflix, available now worldwide at netflix.com/amateur. You can find all other episodes of The First Feature at nofilmschool.com/firstfeature. This episode of The First Feature is sponsored by Music Bed. Get 20% off you next on-site license at musicbed.com/new with coupon code "FirstFeature20." Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 16 May 2018 07:01:34 -0000 full No Film School In this episode of our step-by-step podcast on ho… In this episode of our step-by-step podcast on how to get your first feature made, using No Film School founder Ryan Koo's Netflix Film Amateur as a case study, we dive into the post-production stage of filmmaking. Watch Amateur on Netflix, available now worldwide at netflix.com/amateur. You can find all other episodes of The First Feature at nofilmschool.com/firstfeature. This episode of The First Feature is sponsored by Music Bed. Get 20% off you next on-site license at musicbed.com/new with coupon code "FirstFeature20." Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 4102 yes How Post-Production Makes or Breaks a Film, Part 1: The Editor's Process https://soundcloud.com/nofilmschool/how-post-production-makes-or The difference between a film that has some good moments and a full-fledged, unhindered story hinges on how it's treated in post-production. That success starts with the delicate navigation of the editor. Sitting down at this past Sundance Film Festival, a handful of talented post-production artists who worked on some of the most cutting-edge indie films of 2018, discuss how they work to make brilliant, award-winning films. In Part 1 of this podcast, we focus on the role of the editor, their process of working with directors, and how they articulate the nuanced philosophy behind their craft. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 14 May 2018 07:01:28 -0000 full No Film School The difference between a film that has some good … The difference between a film that has some good moments and a full-fledged, unhindered story hinges on how it's treated in post-production. That success starts with the delicate navigation of the editor. Sitting down at this past Sundance Film Festival, a handful of talented post-production artists who worked on some of the most cutting-edge indie films of 2018, discuss how they work to make brilliant, award-winning films. In Part 1 of this podcast, we focus on the role of the editor, their process of working with directors, and how they articulate the nuanced philosophy behind their craft. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2617 yes IFW 5.10.18: A Selfie-Free Cannes Kicks Off & Can Your Short Really Be a Calling Card? https://soundcloud.com/nofilmschool/ifw-5-10-18-a-selfie-free In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers discuss the opening of the 71st annual Cannes Film Festival and how Netlifx is playing nice—or are they? We also cover the first results of the Academy’s ethics enforcements, and say a sad goodbye to prolific editor of ‘Lawrence of Arabia’ and over 50 more films, Anne V. Coates. Jon also answers an Ask No Film School question about whether or not a short film should be used as an industry “calling card.” Charles Haine joins us for gear news, including a hot take on why 8K is a good thing. 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 megaphone.fm/adchoices Thu, 10 May 2018 07:00:31 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers discuss the opening of the 71st annual Cannes Film Festival and how Netlifx is playing nice—or are they? We also cover the first results of the Academy’s ethics enforcements, and say a sad goodbye to prolific editor of ‘Lawrence of Arabia’ and over 50 more films, Anne V. Coates. Jon also answers an Ask No Film School question about whether or not a short film should be used as an industry “calling card.” Charles Haine joins us for gear news, including a hot take on why 8K is a good thing. 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 megaphone.fm/adchoices

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

]]> 3039 yes How Do You Go Through Production? The First Feature: AMATEUR [Episode 7] https://soundcloud.com/nofilmschool/how-do-you-go-through-production-the-first-feature-amateur-episode-7 In this episode of our step-by-step podcast on how to get your first feature made, using No Film School founder Ryan Koo's Netflix Film Amateur as a case study, we dive into the production stage of filmmaking. Watch Amateur on Netflix, available now worldwide at netflix.com/amateur. You can find all other episodes of The First Feature at nofilmschool.com/firstfeature. This episode of The First Feature is sponsored by Music Bed. Get 20% off you next on-site license at musicbed.com/new with coupon code "FirstFeature20." Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 09 May 2018 04:00:16 -0000 full No Film School In this episode of our step-by-step podcast on ho… In this episode of our step-by-step podcast on how to get your first feature made, using No Film School founder Ryan Koo's Netflix Film Amateur as a case study, we dive into the production stage of filmmaking. Watch Amateur on Netflix, available now worldwide at netflix.com/amateur. You can find all other episodes of The First Feature at nofilmschool.com/firstfeature. This episode of The First Feature is sponsored by Music Bed. Get 20% off you next on-site license at musicbed.com/new with coupon code "FirstFeature20." Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 3870 yes How Do You Protect Your Film’s Subjects, Data, and Yourself in Unsafe Situations? https://soundcloud.com/nofilmschool/how-do-you-protect-your-films Three filmmakers with documentary films in the 2018 Tribeca and HotDocs lineups—Assia Boundaoui of ‘The Feeling of Being Watched’, Nancy Schwartzman of ‘Roll Red Roll', and Cynthia Lowen of ’Netizens'—sit down with No Film School’s Liz Nord to discuss their powerful films and several behind-the-scenes topics like how to gain the trust of subjects who have been exploited by the media or other institutions in the past, how to make uncomfortable issues into conversation-starters, how to tackle films that challenge entrenched beliefs while keeping yourself and your subjects safe, and more. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 07 May 2018 07:01:08 -0000 full No Film School Three filmmakers with documentary films in the 20… Three filmmakers with documentary films in the 2018 Tribeca and HotDocs lineups—Assia Boundaoui of ‘The Feeling of Being Watched’, Nancy Schwartzman of ‘Roll Red Roll', and Cynthia Lowen of ’Netizens'—sit down with No Film School’s Liz Nord to discuss their powerful films and several behind-the-scenes topics like how to gain the trust of subjects who have been exploited by the media or other institutions in the past, how to make uncomfortable issues into conversation-starters, how to tackle films that challenge entrenched beliefs while keeping yourself and your subjects safe, and more. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2805 yes IFW 5.3.18: Why RED is Partnering with Facebook & Is MoviePass Finished? https://soundcloud.com/nofilmschool/ifw-5-3-18-why-red-is In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers discuss two of the most important industry events that you might never have heard of, Cinemacon and the Newfronts, along with mayhem at Moviepass. We also say a sad goodbye to photojournalist Shah Marai, who was killed in a bombing in Afghanistan this week. Charles Haine joins us for gear news, including a potentially exciting partnership between RED and Facebook.Charles and Jon also answer an Ask No Film School question about the right audio gear for recording podcasts. 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 megaphone.fm/adchoices Thu, 03 May 2018 07:00:36 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers discuss two of the most important industry events that you might never have heard of, Cinemacon and the Newfronts, along with mayhem at Moviepass. We also say a sad goodbye to photojournalist Shah Marai, who was killed in a bombing in Afghanistan this week. Charles Haine joins us for gear news, including a potentially exciting partnership between RED and Facebook.Charles and Jon also answer an Ask No Film School question about the right audio gear for recording podcasts. 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 megaphone.fm/adchoices

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

]]> 3079 yes How Do You Tell Your Story Visually? The First Feature: AMATEUR [Episode 6] https://soundcloud.com/nofilmschool/how-do-you-go-into-production In this episode of our step-by-step podcast on how to get your first feature made, using No Film School founder Ryan Koo's Netflix Film "Amateur" as a case study, we dive into the creative and visual side of prep including storyboarding, shotlisting, previz, and creating overheads. He also discusses some common pitfalls to avoid such as why it's challenging to rewrite the script during prep and why locking locations is so important before starting principal photography. Ryan gives us some tips into his favorite tools and apps that helped him through pre-production as well as the cameras and gear that made the production of the film possible. Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 02 May 2018 07:00:30 -0000 full No Film School In this episode of our step-by-step podcast on ho… In this episode of our step-by-step podcast on how to get your first feature made, using No Film School founder Ryan Koo's Netflix Film "Amateur" as a case study, we dive into the creative and visual side of prep including storyboarding, shotlisting, previz, and creating overheads. He also discusses some common pitfalls to avoid such as why it's challenging to rewrite the script during prep and why locking locations is so important before starting principal photography. Ryan gives us some tips into his favorite tools and apps that helped him through pre-production as well as the cameras and gear that made the production of the film possible. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 3393 yes What a Festival Programmer Looks for in a Short Film https://soundcloud.com/nofilmschool/what-a-festival-programmer We’ve discussed many different tactics for getting your short films into film festivals on this podcast, but at SXSW last month we decided to head straight for the source: the people in charge of selecting the films themselves. That’s right we’re talking about the all-powerful festival programmer. And to get the inside scope there’s no one better than SXSW Senior Film Programmer Claudette Godfrey. On today’s program, Claudette and NFS Producer Jon Fusco run through exactly what it is that attracts a festival programmer to a certain short. She also gives us a rundown of the things a filmmaker should focus on when submitting, as well as what they should attempt to avoid when working on a project they hope will be selected. Claudette makes a powerful case for the value of festivals like SXSW for all filmmakers and if you’re in the middle of planning a festival run, you better listen close. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 30 Apr 2018 07:01:19 -0000 full No Film School We’ve discussed many different tactics for gettin… We’ve discussed many different tactics for getting your short films into film festivals on this podcast, but at SXSW last month we decided to head straight for the source: the people in charge of selecting the films themselves. That’s right we’re talking about the all-powerful festival programmer. And to get the inside scope there’s no one better than SXSW Senior Film Programmer Claudette Godfrey. On today’s program, Claudette and NFS Producer Jon Fusco run through exactly what it is that attracts a festival programmer to a certain short. She also gives us a rundown of the things a filmmaker should focus on when submitting, as well as what they should attempt to avoid when working on a project they hope will be selected. Claudette makes a powerful case for the value of festivals like SXSW for all filmmakers and if you’re in the middle of planning a festival run, you better listen close. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2354 yes IFW 4.26.18: Has Tribeca Become New York’s Best Fest for Indie Filmmakers? https://soundcloud.com/nofilmschool/ifw-4-26-18-has-tribeca-become In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Erik Luers and Jon Fusco share all the news, films, projects, and directors you need to know about from our on-the-ground coverage of the Tribeca Film Festival, and debate Tribeca’s importance for indie filmmakers. Charles Haine joins us for tech and gear news, including the lighting that was designed for Michael Haneke and is now available to you. Charles also answers an Ask No Film School question about whether or not you really need to shoot at 60fps for broadcast production. 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 megaphone.fm/adchoices Thu, 26 Apr 2018 07:01:33 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Erik Luers and Jon Fusco share all the news, films, projects, and directors you need to know about from our on-the-ground coverage of the Tribeca Film Festival, and debate Tribeca’s importance for indie filmmakers. Charles Haine joins us for tech and gear news, including the lighting that was designed for Michael Haneke and is now available to you. Charles also answers an Ask No Film School question about whether or not you really need to shoot at 60fps for broadcast production. 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 megaphone.fm/adchoices

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

]]> 3413 yes How Do You Attach Cast and Prep a Film? The First Feature: AMATEUR [Episode 5] https://soundcloud.com/nofilmschool/how-do-you-cast-and-prep-a-film-the-first-feature-amateur-episode-5 In this episode of our step-by-step podcast on how to get your first feature made, using No Film School founder Ryan Koo's Netflix Film Amateur as a case study, we dive into how to cast your movie—and what to expect when you go into prep. This episode covers Ryan's experiences attaching cast to Amateur, including Michael Rainey Jr. (POWER, LUV), Josh Charles (THE GOOD WIFE, SPORTS NIGHT), Sharon Leal (ADDICTED, DREAMGIRLS), and Brian White (RAY DONOVAN, SCANDAL). We then move into the prep process on the film, and touch on: How a short film can help with attaching cast; The two-part process of auditioning Michael Rainey Jr. (who came us to via Jason Berman, who had produced a film with Michael in it, LUV); The value of a casting director (in Amateur's case, Jessica Kelly and Kate Geller; What an "offer" is and why you can only offer the part to one actor at a time; Doing street casting to find "real people," in this case, several basketball players who had never acted before; Location scouting and tax credits; Scheduling and what a "company move" is (and why we needed to avoid them); The challenges of working with a child actor and the resulting limitations on shooting hours; Rehearsing and read-throughs; Tech scouts... and more. Thank you to the Panavision New Filmmaker Program, Sony, G-technology, and Vision Research for their help in providing equipment on the film (which we'll cover more of in our forthcoming production episodes). Watch Amateur on Netflix, available now worldwide at netflix.com/amateur. You can find all other episodes of The First Feature at nofilmschool.com/firstfeature. This episode of The First Feature is sponsored by Music Bed. Get 20% off you next on-site license at musicbed.com/new with coupon code "FirstFeature20." Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 25 Apr 2018 04:00:14 -0000 full No Film School In this episode of our step-by-step podcast on ho… In this episode of our step-by-step podcast on how to get your first feature made, using No Film School founder Ryan Koo's Netflix Film Amateur as a case study, we dive into how to cast your movie—and what to expect when you go into prep. This episode covers Ryan's experiences attaching cast to Amateur, including Michael Rainey Jr. (POWER, LUV), Josh Charles (THE GOOD WIFE, SPORTS NIGHT), Sharon Leal (ADDICTED, DREAMGIRLS), and Brian White (RAY DONOVAN, SCANDAL). We then move into the prep process on the film, and touch on: How a short film can help with attaching cast; The two-part process of auditioning Michael Rainey Jr. (who came us to via Jason Berman, who had produced a film with Michael in it, LUV); The value of a casting director (in Amateur's case, Jessica Kelly and Kate Geller; What an "offer" is and why you can only offer the part to one actor at a time; Doing street casting to find "real people," in this case, several basketball players who had never acted before; Location scouting and tax credits; Scheduling and what a "company move" is (and why we needed to avoid them); The challenges of working with a child actor and the resulting limitations on shooting hours; Rehearsing and read-throughs; Tech scouts... and more. Thank you to the Panavision New Filmmaker Program, Sony, G-technology, and Vision Research for their help in providing equipment on the film (which we'll cover more of in our forthcoming production episodes). Watch Amateur on Netflix, available now worldwide at netflix.com/amateur. You can find all other episodes of The First Feature at nofilmschool.com/firstfeature. This episode of The First Feature is sponsored by Music Bed. Get 20% off you next on-site license at musicbed.com/new with coupon code "FirstFeature20." Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 4559 yes Why Now is the Time to Make Your Doc Short https://soundcloud.com/nofilmschool/why-now-is-the-time-to-make Three filmmakers with short nonfiction films in the SXSW 2018 lineup—Jury Award-winner Charlie Tyrell, Mohammad Gorjestani, and Leah Galant—sit down with No Film School’s Liz Nord to discuss why this is a golden age for documentary shorts, how they each got their projects made, and how shorts can fit into your filmmaking career’s bigger picture even if you’ve already worked on commercials or features. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 23 Apr 2018 11:02:20 -0000 full No Film School Three filmmakers with short nonfiction films in t… Three filmmakers with short nonfiction films in the SXSW 2018 lineup—Jury Award-winner Charlie Tyrell, Mohammad Gorjestani, and Leah Galant—sit down with No Film School’s Liz Nord to discuss why this is a golden age for documentary shorts, how they each got their projects made, and how shorts can fit into your filmmaking career’s bigger picture even if you’ve already worked on commercials or features. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2979 yes IFW 4.19.18: The NAB Tech That You Need to Know & Does Netflix or Cannes Have Indie Film's Back? https://soundcloud.com/nofilmschool/ifw-4-19-18-the-nab-tech-that In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord and Erik Luers and discuss whether independent filmmakers ultimately pay the price in the ongoing war between Netflix and the Cannes Film Festival. We also preview the Tribeca Film Festival, which we will be covering in depth over the next two weeks, and say a sad goodbye to influential film director Milos Forman, who passed away last Friday. Charles Haine joins us for gear and tech news, wherein he recaps the best new filmmaking toys and tools that our team discovered over four days at America’s biggest broadcasting expo. Charles also answers an Ask No Film School question about how to put together a showreel for sound design. 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 www.nofilmschool.com   Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 19 Apr 2018 04:01:01 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord and Erik Luers and discuss whether independent filmmakers ultimately pay the price in the ongoing war between Netflix and the Cannes Film Festival. We also preview the Tribeca Film Festival, which we will be covering in depth over the next two weeks, and say a sad goodbye to influential film director Milos Forman, who passed away last Friday. Charles Haine joins us for gear and tech news, wherein he recaps the best new filmmaking toys and tools that our team discovered over four days at America’s biggest broadcasting expo. Charles also answers an Ask No Film School question about how to put together a showreel for sound design. 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 www.nofilmschool.com   Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 3618 yes How Do You Pitch Your Film and Find Financing? The First Feature: AMATEUR [Episode 4] https://soundcloud.com/nofilmschool/how-do-you-pitch-your-film-and-find-financing-the-first-feature-amateur-episode-4 In this episode of our step-by-step podcast on how to get your first feature made, we dive into the pitching and financing processes on Ryan Koo's Netflix Film AMATEUR. This episode covers his experiences pitching Amateur eighty (!) times and eventually getting it to Netflix, including the following points: Making a pitch into a back-and-forth conversation as early as possible; What goes into a pitch packet other than the script, including a rip-o-matic/multimedia lookbook; Using CRM software to track producers and financiers (Ryan used Streak); How rejection can be a development process unto itself; Why "producer" is an amorphous term and how to identify producers with complementary skill sets; Who his producers were (Jason Michael Berman, Chip Hourihan, and Mark Moran) and what their roles were; and finally, How he got the film to Netflix. Watch Amateur on Netflix, available now worldwide at netflix.com/amateur. You can find all other episodes of The First Feature at nofilmschool.com/firstfeature. This episode of The First Feature is sponsored by Music Bed. Get 20% off you next on-site license with coupon code "FirstFeature20." Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 18 Apr 2018 04:00:23 -0000 full No Film School In this episode of our step-by-step podcast on ho… In this episode of our step-by-step podcast on how to get your first feature made, we dive into the pitching and financing processes on Ryan Koo's Netflix Film AMATEUR. This episode covers his experiences pitching Amateur eighty (!) times and eventually getting it to Netflix, including the following points: Making a pitch into a back-and-forth conversation as early as possible; What goes into a pitch packet other than the script, including a rip-o-matic/multimedia lookbook; Using CRM software to track producers and financiers (Ryan used Streak); How rejection can be a development process unto itself; Why "producer" is an amorphous term and how to identify producers with complementary skill sets; Who his producers were (Jason Michael Berman, Chip Hourihan, and Mark Moran) and what their roles were; and finally, How he got the film to Netflix. Watch Amateur on Netflix, available now worldwide at netflix.com/amateur. You can find all other episodes of The First Feature at nofilmschool.com/firstfeature. This episode of The First Feature is sponsored by Music Bed. Get 20% off you next on-site license with coupon code "FirstFeature20." Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 4057 yes How to Get a Vimeo Staff Pick with DANIELS, Kirsten Lepore, and Head Curator Sam Morrill https://soundcloud.com/nofilmschool/how-to-get-a-vimeo-staff-pick The landscape for short films is changing quickly. One might say we're entering a "Golden Age," where content is being taken seriously and you can even make money off of a five-minute video...if you get the right eyes on it. Traditionally, getting those views used to be all about submitting your project onto the festival circuit. This also came with the stipulation that you couldn't exhibit your project online or anywhere else if you wanted to make it in. That's not the case anymore.  Many aspiring filmmakers may not know just how valuable a Vimeo Staff Pick can be to your career. The distinction, which celebrated its tenth anniversary at SXSW this year, can lead not only to massive exposure but gigs from brands, producers and even music companies. You can really make a name for yourself if you're one of the 3-4 projects selected every day. Case and point, Jon Fusco's guests on today's show who have a combined 19 video staff picks between them: DANIELS, of Swiss Army Man fame, and Kirsten Lepore who's animated shorts in the style of Hi, Stranger led to jobs like creating an episode of Adventure Time, which later went on to win an Emmy. Together they join Vimeo's Head of Curation Sam Morrill to discuss how to get a Vimeo Staff Pick, what that Staff Pick can do for your career and how to best position yourself for a successful career after creating a short. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 16 Apr 2018 07:01:15 -0000 full No Film School The landscape for short films is changing quickly… The landscape for short films is changing quickly. One might say we're entering a "Golden Age," where content is being taken seriously and you can even make money off of a five-minute video...if you get the right eyes on it. Traditionally, getting those views used to be all about submitting your project onto the festival circuit. This also came with the stipulation that you couldn't exhibit your project online or anywhere else if you wanted to make it in. That's not the case anymore.  Many aspiring filmmakers may not know just how valuable a Vimeo Staff Pick can be to your career. The distinction, which celebrated its tenth anniversary at SXSW this year, can lead not only to massive exposure but gigs from brands, producers and even music companies. You can really make a name for yourself if you're one of the 3-4 projects selected every day. Case and point, Jon Fusco's guests on today's show who have a combined 19 video staff picks between them: DANIELS, of Swiss Army Man fame, and Kirsten Lepore who's animated shorts in the style of Hi, Stranger led to jobs like creating an episode of Adventure Time, which later went on to win an Emmy. Together they join Vimeo's Head of Curation Sam Morrill to discuss how to get a Vimeo Staff Pick, what that Staff Pick can do for your career and how to best position yourself for a successful career after creating a short. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 3028 yes IFW 4.12.18: The Gear That Finally Made NAB Exciting Again https://soundcloud.com/nofilmschool/ifw-4-12-18-the-gear-that In this special episode of Indie Film Weekly, Charles Haine, Andy Zou, and Jon Fusco broadcast live from the historic Plaza Hotel in downtown Las Vegas. The trio of No Film School editors come together to discuss their first couple of days of non-stop coverage at the annual NAB Show. And man, did this year's convention come through in a big way. While we've seen less of the sexy lenses and cameras that were abundant earlier in the decade, certain pieces of gear (including major products in the lighting department) signal that we could very well be on our way to a new era of filmmaking. Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 12 Apr 2018 04:26:42 -0000 full No Film School In this special episode of Indie Film Weekly, Cha… In this special episode of Indie Film Weekly, Charles Haine, Andy Zou, and Jon Fusco broadcast live from the historic Plaza Hotel in downtown Las Vegas. The trio of No Film School editors come together to discuss their first couple of days of non-stop coverage at the annual NAB Show. And man, did this year's convention come through in a big way. While we've seen less of the sexy lenses and cameras that were abundant earlier in the decade, certain pieces of gear (including major products in the lighting department) signal that we could very well be on our way to a new era of filmmaking. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 1948 yes How Do You Become a Screenwriter? The First Feature: AMATEUR [Episode 3] https://soundcloud.com/nofilmschool/how-do-you-become-a-screenwriter-the-first-feature-amateur-episode-3 In this episode of our step-by-step podcast on how to get your first feature made, we dive into the screenwriting process on No Film School founder Ryan Koo's Netflix Film Amateur (out now!). This episode covers many screenwriting tips and tricks, including: Tracking your hours to ensure you prioritize screenwriting in your life; Brainstorming out loud and recording yourself so you don't forget a lightbulb moment; Writing your first draft by hand to ensure you finish it and you can't go back and edit; Spending >50% of your time NOT in screenwriting software — researching, outlining, breaking the story; Why applying for grants can be helpful even if you don't win them; The Sundance Screenwriters Lab (which we did an entire podcast on at Sundance); Doing entire drafts from the perspective of supporting characters; Apps like Workflowy, Final Draft, and WriterDuet; and Workshopping your script with actors at table reads. Watch Amateur on Netflix, available now worldwide. You can find all other episodes of The First Feature at nofilmschool.com/firstfeature. Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 11 Apr 2018 05:50:05 -0000 full No Film School In this episode of our step-by-step podcast on ho… In this episode of our step-by-step podcast on how to get your first feature made, we dive into the screenwriting process on No Film School founder Ryan Koo's Netflix Film Amateur (out now!). This episode covers many screenwriting tips and tricks, including: Tracking your hours to ensure you prioritize screenwriting in your life; Brainstorming out loud and recording yourself so you don't forget a lightbulb moment; Writing your first draft by hand to ensure you finish it and you can't go back and edit; Spending >50% of your time NOT in screenwriting software — researching, outlining, breaking the story; Why applying for grants can be helpful even if you don't win them; The Sundance Screenwriters Lab (which we did an entire podcast on at Sundance); Doing entire drafts from the perspective of supporting characters; Apps like Workflowy, Final Draft, and WriterDuet; and Workshopping your script with actors at table reads. Watch Amateur on Netflix, available now worldwide. You can find all other episodes of The First Feature at nofilmschool.com/firstfeature. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 3329 yes How the Directors of 'Prospect' Built a Utopia in Pre-Production https://soundcloud.com/nofilmschool/how-the-directors-of-prospect What would you do if you were tasked with building an entire universe on an infinitesimally small budget? Where would you even start? This is probably the biggest problem that any independent filmmaker with a science fiction project must solve. Co-Directors Zeek Earl and Christopher Caldwell have found a solution. To put it plainly, you can't separate the money from the creativity. For Earl, Caldwell and producer Brice Budke, this meant that every creative decision was tied with a producing decision. Perhaps the most important of these decisions was to rent a warehouse in Seattle, fill it up with thirty different artists (from bike-makers to carpenters), and go through seven months of pre-production, building the universe of their debut feature "Prospect" as practically and detailed as they could. Their efforts garnered them the Adam Yauch Hörnblowér Award after their premiere at SXSW. This singled out their film as the best in the Visions category. NFS Producer Jon Fusco sits down with Zeek, Christopher and Brice to discuss their old-school, unorthodox methods and what it takes to build a Utopia in pre-production. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 09 Apr 2018 04:00:18 -0000 full No Film School What would you do if you were tasked with buildin… What would you do if you were tasked with building an entire universe on an infinitesimally small budget? Where would you even start? This is probably the biggest problem that any independent filmmaker with a science fiction project must solve. Co-Directors Zeek Earl and Christopher Caldwell have found a solution. To put it plainly, you can't separate the money from the creativity. For Earl, Caldwell and producer Brice Budke, this meant that every creative decision was tied with a producing decision. Perhaps the most important of these decisions was to rent a warehouse in Seattle, fill it up with thirty different artists (from bike-makers to carpenters), and go through seven months of pre-production, building the universe of their debut feature "Prospect" as practically and detailed as they could. Their efforts garnered them the Adam Yauch Hörnblowér Award after their premiere at SXSW. This singled out their film as the best in the Visions category. NFS Producer Jon Fusco sits down with Zeek, Christopher and Brice to discuss their old-school, unorthodox methods and what it takes to build a Utopia in pre-production. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 1368 yes IFW 4.5.18: Silicon Valley Takes on Hollywood & How Long Should Your Short Film Be? https://soundcloud.com/nofilmschool/ifw-4-5-18-silicon-valley In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord and Jon Fusco discuss a new finding on the average length of Oscar-winning short films and what it means for you, which digital companies may be replacing the Hollywood studio system once and for all, and why some audiences in Asia may be missing out on the most popular indie films. In tech and gear news we get in the mood for NAB with some filmmaker-friendly updates from Adobe and more. Filmmaker and editor Josh Granger joins us to answer an Ask No Film School question about using multiple nested timelines in Premiere Pro. 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 megaphone.fm/adchoices Thu, 05 Apr 2018 04:01:31 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord and Jon Fusco discuss a new finding on the average length of Oscar-winning short films and what it means for you, which digital companies may be replacing the Hollywood studio system once and for all, and why some audiences in Asia may be missing out on the most popular indie films. In tech and gear news we get in the mood for NAB with some filmmaker-friendly updates from Adobe and more. Filmmaker and editor Josh Granger joins us to answer an Ask No Film School question about using multiple nested timelines in Premiere Pro. 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 megaphone.fm/adchoices

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

]]> 1964 yes How Do You Turn a Short into a Feature? The First Feature: AMATEUR [Episode 2] https://soundcloud.com/nofilmschool/how-do-you-turn-a-short-into-a Here's Episode Two of our new podcast series The First Feature. This is a step-by-step guide on how to get your first feature made, using Ryan Koo's new Netflix Original Film AMATEUR as a case study. In this episode, we get into: Whether or not your short should be a proof-of-concept for a feature, how to make production manageable and cost-effective for a short film, auditioning, casting, and finding crew for a short without a lot of personal connections, production prep, how much money you need to make your short, and how to distribute it once its done. AMATEUR will premiere on Netflix on April 6, 2018. You can find all episodes of The First Feature at nofilmschool.com/firstfeature Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 04 Apr 2018 04:00:51 -0000 full No Film School Here's Episode Two of our new podcast series The … Here's Episode Two of our new podcast series The First Feature. This is a step-by-step guide on how to get your first feature made, using Ryan Koo's new Netflix Original Film AMATEUR as a case study. In this episode, we get into: Whether or not your short should be a proof-of-concept for a feature, how to make production manageable and cost-effective for a short film, auditioning, casting, and finding crew for a short without a lot of personal connections, production prep, how much money you need to make your short, and how to distribute it once its done. AMATEUR will premiere on Netflix on April 6, 2018. You can find all episodes of The First Feature at nofilmschool.com/firstfeature Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 3812 yes 'First Match': Money-Saving Production Hacks to Make Low-Budget Features Shine https://soundcloud.com/nofilmschool/first-match-money-saving Director/Writer Olivia Newman, DP Ashley Connor, Editor Tamara Meem, and producers Chanelle Elaine and Bryan Unkeless of ‘First Match’ join No Film School’s Liz Nord to discuss how they took their film from short to Netflix Original feature, how they made a sports movie inside a personal narrative instead of the other way around, and the strategies they used to stretch a limited production budget into creating a very polished final product. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 02 Apr 2018 07:00:22 -0000 full No Film School Director/Writer Olivia Newman, DP Ashley Connor, … Director/Writer Olivia Newman, DP Ashley Connor, Editor Tamara Meem, and producers Chanelle Elaine and Bryan Unkeless of ‘First Match’ join No Film School’s Liz Nord to discuss how they took their film from short to Netflix Original feature, how they made a sports movie inside a personal narrative instead of the other way around, and the strategies they used to stretch a limited production budget into creating a very polished final product. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 3013 yes IFW 3.29.18: Canon Reveals its ARRI Competitor & Spielberg's Take on Netflix https://soundcloud.com/nofilmschool/ifw-3-29-18-canon-reveals-its In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers discuss the MoviePass effect on indie films and a whole bunch of ways the industry is throwing shade on Netflix—including promising young upstart Steven Spielberg. Charles Haine joins us for gear news, including Canon’s entry into the Full Frame Cinema market with the C700 FF. Charles also answers an Ask No Film School question about recording pro-res. 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 megaphone.fm/adchoices Thu, 29 Mar 2018 07:01:26 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers discuss the MoviePass effect on indie films and a whole bunch of ways the industry is throwing shade on Netflix—including promising young upstart Steven Spielberg. Charles Haine joins us for gear news, including Canon’s entry into the Full Frame Cinema market with the C700 FF. Charles also answers an Ask No Film School question about recording pro-res. 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 megaphone.fm/adchoices

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

]]> 3143 yes How Do You Know Which Idea to Pursue? The First Feature: AMATEUR [Episode 1] https://soundcloud.com/nofilmschool/how-do-you-know-which-idea-to-pursue-the-first-feature-amateur-e1 Here's Episode One of our new podcast series The First Feature. This is a step-by-step guide on how to get your first feature made, using Ryan Koo's new Netflix Original Film AMATEUR as a case study. In this episode, we get into: The three questions you can ask yourself to help decide which movie to make; when you need an agent; how Koo lied his way into MTV (and New York); Koo's DIY web series with Zack Lieberman, The West Side; how new platforms represent an opportunity because of decreased competition; how failure can be more instructive than success. AMATEUR will premiere on Netflix on April 6, 2018. You can find all episodes of The First Feature at nofilmschool.com/firstfeature Learn more about your ad choices. Visit megaphone.fm/adchoices Wed, 28 Mar 2018 04:43:59 -0000 full No Film School Here's Episode One of our new podcast series The … Here's Episode One of our new podcast series The First Feature. This is a step-by-step guide on how to get your first feature made, using Ryan Koo's new Netflix Original Film AMATEUR as a case study. In this episode, we get into: The three questions you can ask yourself to help decide which movie to make; when you need an agent; how Koo lied his way into MTV (and New York); Koo's DIY web series with Zack Lieberman, The West Side; how new platforms represent an opportunity because of decreased competition; how failure can be more instructive than success. AMATEUR will premiere on Netflix on April 6, 2018. You can find all episodes of The First Feature at nofilmschool.com/firstfeature Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2943 yes Don't Wait for Somebody to Make Your Movie, Do it Yourself: The Winning Mantra Behind 'Thunder Road' https://soundcloud.com/nofilmschool/dont-wait-for-somebody-to-make Some would say that Jim Cummings' journey to winning this year's SXSW Grand Jury Prize for best narrative feature started back in 2016 when his short film "Thunder Road" won the Grand Jury Prize at Sundance. Yes, the short, which many consider one of the greatest of all time, was the source for their feature adaptation, but in reality, Jim's journey to SXSW royalty started long before "Thunder Road." And while he's certainly the star of this film, it would also be unfair to say that Jim made this journey alone. Between Jim, the film's creative director Danny Madden, and producer Ben Wiessner, the tight-knit crew behind the film have worked together on projects at SXSW for the last seven years in a row. In 2018, their production company ORNANA, wasn't only in Austin to represent "Thunder Road", but also for the Vimeo Staff Pick Award-winning short "Krista." Mere hours after winning their respective awards, the team was already at it again, creating a video and launching a Kickstarter for the feature-length version of Krista. Even with a Grand Jury Prize from Sundance at their disposal, Jim and crew found it impossible to find anyone who would produce their feature. But that didn't stop them. It just fueled the fire more. "Thunder Road", which tells the story of an eccentric police officer whose mourning over his mother's death leads to disastrous consequences, is the result of a decade of strong team building, work ethic, and an unrelenting desire to get stories told. Joining Producer Jon Fusco on the podcast today are several members of the producing team that made it happen, Ben Wiessner, Natalie Metzger and Matt Miller. cinematographer Lowell Meyer (who himself had three projects in competition at the festival) and of course: writer, director and actor, Officer Arnaud himself, Jim Cummings. We discuss all aspects of production which surround their mantra: "Don't wait for somebody to make your movie, do it yourself." Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 26 Mar 2018 07:03:49 -0000 full No Film School Some would say that Jim Cummings' journey to winn… Some would say that Jim Cummings' journey to winning this year's SXSW Grand Jury Prize for best narrative feature started back in 2016 when his short film "Thunder Road" won the Grand Jury Prize at Sundance. Yes, the short, which many consider one of the greatest of all time, was the source for their feature adaptation, but in reality, Jim's journey to SXSW royalty started long before "Thunder Road." And while he's certainly the star of this film, it would also be unfair to say that Jim made this journey alone. Between Jim, the film's creative director Danny Madden, and producer Ben Wiessner, the tight-knit crew behind the film have worked together on projects at SXSW for the last seven years in a row. In 2018, their production company ORNANA, wasn't only in Austin to represent "Thunder Road", but also for the Vimeo Staff Pick Award-winning short "Krista." Mere hours after winning their respective awards, the team was already at it again, creating a video and launching a Kickstarter for the feature-length version of Krista. Even with a Grand Jury Prize from Sundance at their disposal, Jim and crew found it impossible to find anyone who would produce their feature. But that didn't stop them. It just fueled the fire more. "Thunder Road", which tells the story of an eccentric police officer whose mourning over his mother's death leads to disastrous consequences, is the result of a decade of strong team building, work ethic, and an unrelenting desire to get stories told. Joining Producer Jon Fusco on the podcast today are several members of the producing team that made it happen, Ben Wiessner, Natalie Metzger and Matt Miller. cinematographer Lowell Meyer (who himself had three projects in competition at the festival) and of course: writer, director and actor, Officer Arnaud himself, Jim Cummings. We discuss all aspects of production which surround their mantra: "Don't wait for somebody to make your movie, do it yourself." Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 1631 yes IFW 3.22.18: No Film School's Greatest Piece of Original Content Ever & A New Cut of 'The Shining'? https://soundcloud.com/nofilmschool/no-film-schools-greatest-piece Jon Fusco and Erik Luers are back from SXSW while Liz Nord has mysteriously disappeared, so get ready for a testosterone-fueled recap of the week's best news from the entertainment world! The resident men of the publication discuss the impact of what could be No Film's Greatest piece of original content ever, an intriguing new cut of Stanley Kubrick's classic The Shining, and how The Weinstein's Company bankruptcy could make things even worse for Harvey's victims. Charles Haine joins us for gear news, including what could be a less expensive new alternative to the Alexa LF. Charles also answers an Ask No Film School question about the best way to find clean, high quality archival footage for your documentaries. 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 megaphone.fm/adchoices Thu, 22 Mar 2018 07:00:44 -0000 full No Film School Jon Fusco and Erik Luers are back from SXSW while… Jon Fusco and Erik Luers are back from SXSW while Liz Nord has mysteriously disappeared, so get ready for a testosterone-fueled recap of the week's best news from the entertainment world! The resident men of the publication discuss the impact of what could be No Film's Greatest piece of original content ever, an intriguing new cut of Stanley Kubrick's classic The Shining, and how The Weinstein's Company bankruptcy could make things even worse for Harvey's victims. Charles Haine joins us for gear news, including what could be a less expensive new alternative to the Alexa LF. Charles also answers an Ask No Film School question about the best way to find clean, high quality archival footage for your documentaries. 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 megaphone.fm/adchoices

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

]]> 2486 yes The First Feature: AMATEUR Podcast Announcement https://soundcloud.com/nofilmschool/the-first-feature-amateur-podcast-announcement The First Feature is a new in-depth podcast series on No Film School about the making of a single film: in this case, NFS founder Ryan Koo's first feature AMATEUR. AMATEUR is a Netflix Original and premieres April 6; the trailer was released today. Every episode of The First Feature will cover a different phase of production, from screenwriting, to prep, to production, to release. It's meant to be a step-by-step guide to everything Koo did to get his first feature made, and the lessons he learned along the way. Episode one coming soon. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 19 Mar 2018 21:50:22 -0000 full No Film School The First Feature is a new in-depth podcast serie… The First Feature is a new in-depth podcast series on No Film School about the making of a single film: in this case, NFS founder Ryan Koo's first feature AMATEUR. AMATEUR is a Netflix Original and premieres April 6; the trailer was released today. Every episode of The First Feature will cover a different phase of production, from screenwriting, to prep, to production, to release. It's meant to be a step-by-step guide to everything Koo did to get his first feature made, and the lessons he learned along the way. Episode one coming soon. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 158 yes How to Film in the Face of Opposition https://soundcloud.com/nofilmschool/how-to-film-in-the-face-of Can you imagine being pepper sprayed, pelted/bombarded with rubber bullets, or hit with water cannons while still managing to hold on to your camera and record? That’s what filmmaker Cody Lucich took on for eight months to document the Standing Rock protests of the Dakota Access Pipeline.  No Film School's Oakley Anderson Moore saw the first screening of Akicita: The Battle of Standing Rock at the Sundance film festival and sat down with Lucich and producer Ginger Shankar to talk about the process of making their feature. If you’ve wondered what it takes to film an uprising of civil disobedience in the face of a militarized police force, this conversation will put you right in the middle of one.  Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 19 Mar 2018 07:01:28 -0000 full No Film School Can you imagine being pepper sprayed, pelted/bomb… Can you imagine being pepper sprayed, pelted/bombarded with rubber bullets, or hit with water cannons while still managing to hold on to your camera and record? That’s what filmmaker Cody Lucich took on for eight months to document the Standing Rock protests of the Dakota Access Pipeline.  No Film School's Oakley Anderson Moore saw the first screening of Akicita: The Battle of Standing Rock at the Sundance film festival and sat down with Lucich and producer Ginger Shankar to talk about the process of making their feature. If you’ve wondered what it takes to film an uprising of civil disobedience in the face of a militarized police force, this conversation will put you right in the middle of one.  Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2285 yes IFW 3.15.18: Why SXSW is More than Just a Film Festival https://soundcloud.com/nofilmschool/ifw-31518-why-sxsw-is-more-than-just-a-film-festival Co-hosts Jon Fusco, Erik Luers, Oakley Anderson-Moore and yours truly, Liz Nord have been running all over downtown Austin, Texas for the past week to bring you insights from America's coolest film event, the SXSW Film Festival and conference. In this episode, we forego our regular show format to share in-depth festival coverage, from news on the ground, to interviews with festival award-winners, to the best advice from industry panelists, to survival tips for navigating the massive event. We also talk about the value for filmmakers of a festival with as many non-film tracks and sections as this one has. Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 15 Mar 2018 14:49:34 -0000 full No Film School Co-hosts Jon Fusco, Erik Luers, Oakley Anderson-M… Co-hosts Jon Fusco, Erik Luers, Oakley Anderson-Moore and yours truly, Liz Nord have been running all over downtown Austin, Texas for the past week to bring you insights from America's coolest film event, the SXSW Film Festival and conference. In this episode, we forego our regular show format to share in-depth festival coverage, from news on the ground, to interviews with festival award-winners, to the best advice from industry panelists, to survival tips for navigating the massive event. We also talk about the value for filmmakers of a festival with as many non-film tracks and sections as this one has. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2545 yes Episodic Roundtable: How to Get Your Series Off the Ground https://soundcloud.com/nofilmschool/episodic-roundtable-how-to-get Nash Edgerton, Tonya Glanz, and Cesar Mazariegos are three creators of shows that were featured in the new Indie Episodic section at Sundance 2018. They Join No Film School’s Liz Nord to discuss how the got their series off the ground, stretched production dollars across multiple episodes, and how much freedom they felt working in this burgeoning medium, unrestricted by duration, platform and traditional production rules. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 12 Mar 2018 04:01:13 -0000 full No Film School Nash Edgerton, Tonya Glanz, and Cesar Mazariegos … Nash Edgerton, Tonya Glanz, and Cesar Mazariegos are three creators of shows that were featured in the new Indie Episodic section at Sundance 2018. They Join No Film School’s Liz Nord to discuss how the got their series off the ground, stretched production dollars across multiple episodes, and how much freedom they felt working in this burgeoning medium, unrestricted by duration, platform and traditional production rules. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2301 yes IFW 3.8.18: What to Look for at SXSW 2018 & How to Perfect Your Dolly Moves https://soundcloud.com/nofilmschool/ifw-3-8-18-what-to-look-for-at In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers get pumped for America’s coolest film festival, SXSW, and share our fun-fact-filled awards season recap. Charles Haine joins us for gear news including new and improved versions of three useful tools. Charles also answers an Ask No Film School question about the best way to get those surprisingly tricky super slow shots. 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 megaphone.fm/adchoices Thu, 08 Mar 2018 05:01:00 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers get pumped for America’s coolest film festival, SXSW, and share our fun-fact-filled awards season recap. Charles Haine joins us for gear news including new and improved versions of three useful tools. Charles also answers an Ask No Film School question about the best way to get those surprisingly tricky super slow shots. 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 megaphone.fm/adchoices

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

]]> 2591 yes How To Use Trends in Filmmaking to Your Advantage https://soundcloud.com/nofilmschool/how-to-use-trends-in If you haven’t picked up on the hottest trend in film and TV right now, then you may be living under a rock. Of course, we're talking about the “80’s Revival” a movement seemingly spurred by the success of Stranger Things. In reality, however, the 80’s Revival may just be the sign of a new wave of filmmakers coming to fruition in the masses. 80’s babies who are looking to re-live their childhood on the big screen are having their moment at just the right time. They have an eager audience at their disposal and an even more eager group of producers looking for projects. Many movies of the revival deal with similar themes. You can usually bet that a group of suburban children will encounter some sort of supernatural force then band together to defeat it. Summer of 84 puts a spin on the trend, keeping many of the Stand By Me vibes, but committing to an antagonist that’s more grounded in reality. In the film, a group of kids begins to suspect that their neighbor is, in fact, a serial killer. As a result, the kids spend their summer gathering clues and spying on him to prove he’s responsible for the death of several other teens in the neighborhood. Summer of 84 is directed by the filmmaking trio that made Turbo Kid, which first started off as a short, before being picked up and greenlit for a feature. No Film School's Jon Fusco sat down with the directing trio at Sundance and talked about how they used the “80’s Revival” to their advantage to strike while the iron was hot. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 05 Mar 2018 08:02:47 -0000 full No Film School If you haven’t picked up on the hottest trend in … If you haven’t picked up on the hottest trend in film and TV right now, then you may be living under a rock. Of course, we're talking about the “80’s Revival” a movement seemingly spurred by the success of Stranger Things. In reality, however, the 80’s Revival may just be the sign of a new wave of filmmakers coming to fruition in the masses. 80’s babies who are looking to re-live their childhood on the big screen are having their moment at just the right time. They have an eager audience at their disposal and an even more eager group of producers looking for projects. Many movies of the revival deal with similar themes. You can usually bet that a group of suburban children will encounter some sort of supernatural force then band together to defeat it. Summer of 84 puts a spin on the trend, keeping many of the Stand By Me vibes, but committing to an antagonist that’s more grounded in reality. In the film, a group of kids begins to suspect that their neighbor is, in fact, a serial killer. As a result, the kids spend their summer gathering clues and spying on him to prove he’s responsible for the death of several other teens in the neighborhood. Summer of 84 is directed by the filmmaking trio that made Turbo Kid, which first started off as a short, before being picked up and greenlit for a feature. No Film School's Jon Fusco sat down with the directing trio at Sundance and talked about how they used the “80’s Revival” to their advantage to strike while the iron was hot. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 1749 yes IFW 3.1.18: Canon Finally Makes a Mirrorless Camera & Our 2018 Oscars Preview https://soundcloud.com/nofilmschool/ifw-3-1-18-canon-finally-makes In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers preview the upcoming Academy Awards, ponder whether Netflix’s total dominance of original content is good for indie filmmakers, update you on the latest in the battle for Net Neutrality, and say a sad goodbye to veteran producer Benjamin Melniker. Charles Haine joins us for gear news, including new camera offerings from Sony and Canon in the affordable 4K mirrorless space. Charles also answers an Ask No Film School question about how to rig a camera to a rollercoaster. 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. https://nofilmschool.com/2018/03/indie-film-weekly-030118   Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 01 Mar 2018 00:04:25 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers preview the upcoming Academy Awards, ponder whether Netflix’s total dominance of original content is good for indie filmmakers, update you on the latest in the battle for Net Neutrality, and say a sad goodbye to veteran producer Benjamin Melniker. Charles Haine joins us for gear news, including new camera offerings from Sony and Canon in the affordable 4K mirrorless space. Charles also answers an Ask No Film School question about how to rig a camera to a rollercoaster. 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. https://nofilmschool.com/2018/03/indie-film-weekly-030118   Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 3215 yes Why You Need to Stop Making Excuses and Make a Short Film https://soundcloud.com/nofilmschool/why-you-need-to-stop-making To say that it’s tough to play your short at Sundance is an understatement. In 2018, 69 shorts were picked from 8,740 submissions. While there’s no simple formula on how to make a short film will get into Sundance, programmer Dilcia Barerra told No Film School that there is one important guiding principle for filmmakers that do get in: be authentic to your reality and your style. Anything contrived is obvious to programmers. While at Sundance, Oakley Anderson Moore sat down with five filmmakers whose short films embody just that authentic quality that you instantly recognize in a really good short. Their conversation can offer you insight on how to make a good film that’s authentic to your voice. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 26 Feb 2018 08:01:08 -0000 full No Film School To say that it’s tough to play your short at Sund… To say that it’s tough to play your short at Sundance is an understatement. In 2018, 69 shorts were picked from 8,740 submissions. While there’s no simple formula on how to make a short film will get into Sundance, programmer Dilcia Barerra told No Film School that there is one important guiding principle for filmmakers that do get in: be authentic to your reality and your style. Anything contrived is obvious to programmers. While at Sundance, Oakley Anderson Moore sat down with five filmmakers whose short films embody just that authentic quality that you instantly recognize in a really good short. Their conversation can offer you insight on how to make a good film that’s authentic to your voice. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 3053 yes IFW 2.22.18: When to Use a Cine Lens & Has BitCoin Officially Hit the Film Industry? https://soundcloud.com/nofilmschool/ifw-2-22-18-when-to-use-a-cine In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers and discuss how BitCoin and the blockchain are revolutionizing the film industry. We also update you on awards season and the Berlin International Film Festival, as well as marvel over ‘Black Panther's astonishing opening weekend and talk about what it means for indie filmmakers. Charles Haine joins us for gear news including official details of the Fujifilm X-H1 mirrorless camera. Charles also answers an Ask No Film School question about the difference between still and cinema lenses. 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 megaphone.fm/adchoices Thu, 22 Feb 2018 08:01:11 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers and discuss how BitCoin and the blockchain are revolutionizing the film industry. We also update you on awards season and the Berlin International Film Festival, as well as marvel over ‘Black Panther's astonishing opening weekend and talk about what it means for indie filmmakers. Charles Haine joins us for gear news including official details of the Fujifilm X-H1 mirrorless camera. Charles also answers an Ask No Film School question about the difference between still and cinema lenses. 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 megaphone.fm/adchoices

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

]]> 3170 yes 'Piercing': How to Cultivate Tone and Style in Your Film https://soundcloud.com/nofilmschool/piercing-how-to-cultivate-tone It’s no secret that filmmakers copy those other filmmakers in their lives who most inspire them. Whether that’s picking up on some sort of trademark dialogue, production design, pacing, music, performances, editing, or camerawork, many times it's easy to identify and trace a piece of style one director drew influence in from another. With two wildly different, yet eerily similar films under his belt, Nicolas Pesce is mastering the art of adapting his favorite filmmaker’s techniques in a way that serves his own form of storytelling. He describes his first film The Eyes of My Mother as his tribute to 50’s/60’s black and white horror, while he claims his newest project, the stylistically impressive thriller Piercing, is his take on the Giallo crime pictures which peaked in popularity in Italy during the 1970’s. That’s not to say his films are a direct emulation of those pieces that he so dearly loves. As his actor Christopher Abbott puts it, filmmaking is all about “gathering influences to create something of your own.” Clearly, Pesce is a filmmaker who is not only interested in taking risks, but in creating and pushing style as well. Piercing is indeed one of those risky pictures. Abbott plays a man with, well, psychological problems. One night he kisses his wife and baby goodbye, seemingly on his way to a business conference. His real plan, however, is to check into a hotel, call an escort service, and kill an unsuspecting prostitute. That prostitute is played by Mia Wasikowska who ends up providing her captor with a little bit more trouble than he initially imagined. No Film School's Jon Fusco sat down with Pesce, Abbot, and their producer Jacob Wasserman back at Sundance to discuss, cultivating tone and style in your picture, maintaining your vision through intensely detailed pre-production and how to create screenplays that will attract both actors and producers to your project. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 19 Feb 2018 08:00:39 -0000 full No Film School It’s no secret that filmmakers copy those other f… It’s no secret that filmmakers copy those other filmmakers in their lives who most inspire them. Whether that’s picking up on some sort of trademark dialogue, production design, pacing, music, performances, editing, or camerawork, many times it's easy to identify and trace a piece of style one director drew influence in from another. With two wildly different, yet eerily similar films under his belt, Nicolas Pesce is mastering the art of adapting his favorite filmmaker’s techniques in a way that serves his own form of storytelling. He describes his first film The Eyes of My Mother as his tribute to 50’s/60’s black and white horror, while he claims his newest project, the stylistically impressive thriller Piercing, is his take on the Giallo crime pictures which peaked in popularity in Italy during the 1970’s. That’s not to say his films are a direct emulation of those pieces that he so dearly loves. As his actor Christopher Abbott puts it, filmmaking is all about “gathering influences to create something of your own.” Clearly, Pesce is a filmmaker who is not only interested in taking risks, but in creating and pushing style as well. Piercing is indeed one of those risky pictures. Abbott plays a man with, well, psychological problems. One night he kisses his wife and baby goodbye, seemingly on his way to a business conference. His real plan, however, is to check into a hotel, call an escort service, and kill an unsuspecting prostitute. That prostitute is played by Mia Wasikowska who ends up providing her captor with a little bit more trouble than he initially imagined. No Film School's Jon Fusco sat down with Pesce, Abbot, and their producer Jacob Wasserman back at Sundance to discuss, cultivating tone and style in your picture, maintaining your vision through intensely detailed pre-production and how to create screenplays that will attract both actors and producers to your project. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2132 yes IFW 2.15.18: The Worst Job On Set Gets Better & What Camera Should You Shoot Your Short On? https://soundcloud.com/nofilmschool/ifw-2-15-18-the-worst-job-on In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers discuss ‘Black Panther’ mania ahead of the groundbreaking film’s opening weekend. We also get into the Parking Production Assistants of New York decision to unionize, the results of the WGA Awards, and say a sad goodbye to Oscar-nominated film composer Jóhann Jóhannsson. Charles Haine joins us for gear news including some speculation about a potentially game-changing partnership between RED and Foxconn. Charles also answers an Ask No Film School question on whether you should shoot with RED or ARRI cameras for your short film. 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. https://nofilmschool.com/2018/02/indie-film-weekly-021518   Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 15 Feb 2018 08:01:31 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers discuss ‘Black Panther’ mania ahead of the groundbreaking film’s opening weekend. We also get into the Parking Production Assistants of New York decision to unionize, the results of the WGA Awards, and say a sad goodbye to Oscar-nominated film composer Jóhann Jóhannsson. Charles Haine joins us for gear news including some speculation about a potentially game-changing partnership between RED and Foxconn. Charles also answers an Ask No Film School question on whether you should shoot with RED or ARRI cameras for your short film. 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. https://nofilmschool.com/2018/02/indie-film-weekly-021518   Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2905 yes How to Maintain Your Sanity as Director When Everything Descends Into Chaos https://soundcloud.com/nofilmschool/how-to-maintain-your-sanity-as In his introduction speech prior to the premiere of "The Catcher Was a Spy," Sundance Director of Programming John Cooper described the film’s director Ben Lewin as the “nicest director you'll ever meet.” When you’ve got four decades of dealing with the chaos of filmmaking under your belt and can still be described as such, you know you must be doing something right. While Lewin may describe his career as a “career built on accidents,” in reality, it is his attitude and personality that keep people coming with projects again and again. The greatest lessons Lewin’s learned don’t come from a technical, professional or even filmmaking level. They’re personal lessons. These are the type which help to maintain a working personality, sanity, level-headedness and leadership when the shit around you has hit the fan. His philosophy is to stay positive, especially between projects. Everyone knows it's hard to make a movie, so why gripe about it? "The Catcher Was a Spy" is a film that not only Lewin, but Hollywood at large, has been trying to bring to the big screen for years. It tells the story of Moe Berg, a queer Jewish major league baseball player, who was hired by the US government during WWII as a spy. His mission: to kill Werner Heisenberg before he could finish creating the Atomic Bomb for the Nazis. While it may sound absurd, the story is one hundred percent true. The film made its premiere at Sundance where No Film School's Jon Fusco sat down with Lewin to discuss his career, coping with the post-production blues, and most importantly, how to maintain your sanity when making a living as a director. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 12 Feb 2018 08:01:36 -0000 full No Film School In his introduction speech prior to the premiere … In his introduction speech prior to the premiere of "The Catcher Was a Spy," Sundance Director of Programming John Cooper described the film’s director Ben Lewin as the “nicest director you'll ever meet.” When you’ve got four decades of dealing with the chaos of filmmaking under your belt and can still be described as such, you know you must be doing something right. While Lewin may describe his career as a “career built on accidents,” in reality, it is his attitude and personality that keep people coming with projects again and again. The greatest lessons Lewin’s learned don’t come from a technical, professional or even filmmaking level. They’re personal lessons. These are the type which help to maintain a working personality, sanity, level-headedness and leadership when the shit around you has hit the fan. His philosophy is to stay positive, especially between projects. Everyone knows it's hard to make a movie, so why gripe about it? "The Catcher Was a Spy" is a film that not only Lewin, but Hollywood at large, has been trying to bring to the big screen for years. It tells the story of Moe Berg, a queer Jewish major league baseball player, who was hired by the US government during WWII as a spy. His mission: to kill Werner Heisenberg before he could finish creating the Atomic Bomb for the Nazis. While it may sound absurd, the story is one hundred percent true. The film made its premiere at Sundance where No Film School's Jon Fusco sat down with Lewin to discuss his career, coping with the post-production blues, and most importantly, how to maintain your sanity when making a living as a director. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 1954 yes IFW 2.8.18: ARRI Finally Goes 4K & Tarantino's Big On-Set Boner https://soundcloud.com/nofilmschool/arri-finally-goes-4k In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers discuss why the ‘Kill Bill’ car crash story matters for every filmmaker, how to create a winning Super Bowl ad, and the results of the recent DGA Awards. Liz also answers an Ask No Film School question about what to do if you don’t think you fit in at film school. Charles Haine joins us for a huge week in gear announcements, including ARRI’s new 4K Alexa LF. As always, we also bring you 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 megaphone.fm/adchoices Thu, 08 Feb 2018 08:01:43 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers discuss why the ‘Kill Bill’ car crash story matters for every filmmaker, how to create a winning Super Bowl ad, and the results of the recent DGA Awards. Liz also answers an Ask No Film School question about what to do if you don’t think you fit in at film school. Charles Haine joins us for a huge week in gear announcements, including ARRI’s new 4K Alexa LF. As always, we also bring you 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 megaphone.fm/adchoices

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

]]> 3295 yes DP Roundtable: How to be the Cinematographer Your Director Needs https://soundcloud.com/nofilmschool/dp-roundtable-how-to-be-the Meet four powerhouse cinematographers who had nine projects between them at Sundance this year: Claudia Raschke, Shana Hagan, Ashley Connor and Mia Cioffi Henry. The talented group sat down at Sundance 2018 with No Film School’s Liz Nord to discuss the benefits of switching between docs & features instead of sticking to just one, how to be the cinematographer your director needs, what to do when a production starts to go off the rails, why cinematography is a people’s business, and much more. The group has a pretty amazing combined filmography. At Sundance alone, they screened docs, narratives, shorts, and an episodic TV show. They also represent four different decades of DPs, having begun shooting professionally in the ‘80s, ‘90s, 2000’s and 2010s, respectively, so they were able to share stories and advice with each other that we can all benefit from. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 05 Feb 2018 08:01:36 -0000 full No Film School Meet four powerhouse cinematographers who had nin… Meet four powerhouse cinematographers who had nine projects between them at Sundance this year: Claudia Raschke, Shana Hagan, Ashley Connor and Mia Cioffi Henry. The talented group sat down at Sundance 2018 with No Film School’s Liz Nord to discuss the benefits of switching between docs & features instead of sticking to just one, how to be the cinematographer your director needs, what to do when a production starts to go off the rails, why cinematography is a people’s business, and much more. The group has a pretty amazing combined filmography. At Sundance alone, they screened docs, narratives, shorts, and an episodic TV show. They also represent four different decades of DPs, having begun shooting professionally in the ‘80s, ‘90s, 2000’s and 2010s, respectively, so they were able to share stories and advice with each other that we can all benefit from. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 3588 yes IFW 2.1.18: Why VR is Finally Hot & Has RED Developed Its Alexa Killer? https://soundcloud.com/nofilmschool/ifw-2-1-18-why-vr-is-finally In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers discuss two historic Sundance deals and what the festival sales tell us about the ever-changing indie distribution landscape. We also cover the Sundance awards and ponder whether MoviePass’s risky strategy will pay off. Liz answers an Ask No Film School question about perfecting your film's fundraising pitch. Charles Haine joins us for gear news, including RED’s limited edition Gemini sensor and an analysis of the cameras that were used to shoot Sundance films. 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 megaphone.fm/adchoices Thu, 01 Feb 2018 08:00:51 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Erik Luers discuss two historic Sundance deals and what the festival sales tell us about the ever-changing indie distribution landscape. We also cover the Sundance awards and ponder whether MoviePass’s risky strategy will pay off. Liz answers an Ask No Film School question about perfecting your film's fundraising pitch. Charles Haine joins us for gear news, including RED’s limited edition Gemini sensor and an analysis of the cameras that were used to shoot Sundance films. 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 megaphone.fm/adchoices

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

]]> 2704 yes The Zellner Brothers on Why You Need to Do Something New With Every Film You Make https://soundcloud.com/nofilmschool/the-zellner-brothers-on-why Nathan and David Zellner are no strangers to Sundance, but perhaps they wish the festival was as new and exciting to them as it was when they premiered "Kumiko, the Treasure Hunter" back in 2014. That's not to say Park City has grown stale for the directing brothers, merely that they enjoy new experiences. So much so, in fact, that it has become the driving force in their creative mission over the course of their career. They make it a point not to explore material which they have already explored, so with every new film, they add a new genre to their resume. For their current project, the subversively titled "Damsel," that means "western." "Damsel" takes place in the frontier west sometime in the 1800's. Robert Pattinson plays a wealthy dandy-man by the name of Samuel who hires a priest (in fact played by one of the Zellners) to accompany him in tracking down and marrying his beloved Penelope. Penelope is played by Mia Wasikowska who had two brilliant and strong-willed performances at the festival this year with this film and Nick Pesce's "Piercing." No Film School's Jon Fusco sat down with the Zellner's the day after their film premiered to discuss their "fresh start" philosophy, their roots as child filmmakers, and what it's important to remember when acting in your own films. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 29 Jan 2018 08:00:49 -0000 full No Film School Nathan and David Zellner are no strangers to Sund… Nathan and David Zellner are no strangers to Sundance, but perhaps they wish the festival was as new and exciting to them as it was when they premiered "Kumiko, the Treasure Hunter" back in 2014. That's not to say Park City has grown stale for the directing brothers, merely that they enjoy new experiences. So much so, in fact, that it has become the driving force in their creative mission over the course of their career. They make it a point not to explore material which they have already explored, so with every new film, they add a new genre to their resume. For their current project, the subversively titled "Damsel," that means "western." "Damsel" takes place in the frontier west sometime in the 1800's. Robert Pattinson plays a wealthy dandy-man by the name of Samuel who hires a priest (in fact played by one of the Zellners) to accompany him in tracking down and marrying his beloved Penelope. Penelope is played by Mia Wasikowska who had two brilliant and strong-willed performances at the festival this year with this film and Nick Pesce's "Piercing." No Film School's Jon Fusco sat down with the Zellner's the day after their film premiered to discuss their "fresh start" philosophy, their roots as child filmmakers, and what it's important to remember when acting in your own films. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 1459 yes IFW 1.25.18: Did Streaming Deals Die at Sundance 2018? https://soundcloud.com/nofilmschool/ifw-1-25-18-did-streaming In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord and Jon Fusco are joined by Oakley Anderson-Moore and Erik Luers to give a full rundown from the snowy streets of Park City. The whole team has been trudging through the mountain snow for the past week to bring you all the most fascinating stories from America's preeminent independent film event. We forego our regular show format to share in-depth Sundance coverage, from the lay of the land, to celebrity run-ins, to the most intriguing films. We also cover festival acquisitions—or lack thereof—and what the lesser presence of Netflix and Amazon in the buying pool might mean for independent filmmakers. Finally, we bring news of the other biggest event in the film world this past week, the 2018 Academy Award nominations.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 megaphone.fm/adchoices Thu, 25 Jan 2018 06:00:53 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord and Jon Fusco are joined by Oakley Anderson-Moore and Erik Luers to give a full rundown from the snowy streets of Park City. The whole team has been trudging through the mountain snow for the past week to bring you all the most fascinating stories from America's preeminent independent film event. We forego our regular show format to share in-depth Sundance coverage, from the lay of the land, to celebrity run-ins, to the most intriguing films. We also cover festival acquisitions—or lack thereof—and what the lesser presence of Netflix and Amazon in the buying pool might mean for independent filmmakers. Finally, we bring news of the other biggest event in the film world this past week, the 2018 Academy Award nominations.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 megaphone.fm/adchoices

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

]]> 3457 yes How to Build a Score That Raises Your Audience's Expectations https://soundcloud.com/nofilmschool/how-to-build-a-score-that Well, here we are, live from Utah and our first interview out of Sundance is for a film called "Arizona." Bizarre right? Well not nearly as bizarre as the film itself. Set in the midst of the 2009 housing crisis, this darkly comedic story follows Cassie Fowler (played by Rosemary DeWitt), a single mom and struggling realtor whose life goes off the rails when she witnesses a murder. The man who commits the murder (played by Danny McBride) proceeds to take her hostage and she must do her best to escape the grasp of his insanity. The result is a film that quickly alternates between dark comedy and horror/slasher, which makes sense considering the team behind it will be responsible for the "Halloween" sequel coming later this year. But how do you toe that line without lessening the effects of either genre? Director Jonathan Watson has been part of David Gordon Green and McBride's Rough House Pictures since "Eastbound and Down," but this is his first shot at the helm of a feature. To enhance that slasher vibe he employed the talents of composer Joseph Stephens. No Film School's Jon Fusco sits down with the collaborators to talk about how a great score can be used to influence your audience, the typical workflow of audio post-production and how a composer can stand out in the biz. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 22 Jan 2018 06:55:09 -0000 full No Film School Well, here we are, live from Utah and our first i… Well, here we are, live from Utah and our first interview out of Sundance is for a film called "Arizona." Bizarre right? Well not nearly as bizarre as the film itself. Set in the midst of the 2009 housing crisis, this darkly comedic story follows Cassie Fowler (played by Rosemary DeWitt), a single mom and struggling realtor whose life goes off the rails when she witnesses a murder. The man who commits the murder (played by Danny McBride) proceeds to take her hostage and she must do her best to escape the grasp of his insanity. The result is a film that quickly alternates between dark comedy and horror/slasher, which makes sense considering the team behind it will be responsible for the "Halloween" sequel coming later this year. But how do you toe that line without lessening the effects of either genre? Director Jonathan Watson has been part of David Gordon Green and McBride's Rough House Pictures since "Eastbound and Down," but this is his first shot at the helm of a feature. To enhance that slasher vibe he employed the talents of composer Joseph Stephens. No Film School's Jon Fusco sits down with the collaborators to talk about how a great score can be used to influence your audience, the typical workflow of audio post-production and how a composer can stand out in the biz. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 1912 yes IFW 1.18.18: The Best Filmmaking Apps & Our Sundance 2018 Preview https://soundcloud.com/nofilmschool/ifw-1-18-18-the-best In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord and Jon Fusco are headed to Park City, Utah for the 34th Sundance Film Festival. They are joined by NFS Managing Editor Erik Luers to share everything you should know to get ready for the big event, whether you’ll be there in person or not. In gear news, Kodak makes a big gamble on a new version of old tech, and in Ask No Film School, Charles Haine reveals the most useful film production apps on the market. 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 megaphone.fm/adchoices Thu, 18 Jan 2018 08:01:23 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord and Jon Fusco are headed to Park City, Utah for the 34th Sundance Film Festival. They are joined by NFS Managing Editor Erik Luers to share everything you should know to get ready for the big event, whether you’ll be there in person or not. In gear news, Kodak makes a big gamble on a new version of old tech, and in Ask No Film School, Charles Haine reveals the most useful film production apps on the market. 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 megaphone.fm/adchoices

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

]]> 2701 yes Best of the The No Film School Podcast 2017, Part 3 https://soundcloud.com/nofilmschool/best-of-the-the-no-film-1 This is the third and final episode of our “Best of 2017”, but honestly, with the quality of advice we received over the course of our interviews last year, we could keep this going forever. All of the excerpts featured in this week’s volume are part of what we here at No Film School like to call “Roundtable” episodes. We’ll try to get at least one or two of these done at every festival we travel to. The idea is really to get a group of filmmakers together and have them discuss their craft together in a forum where everyone can relate to each other and build off of their experiences. A lot of times they will be fresh off seeing each other's work so the questions keep flying and lead to some fantastic stories. We’ve selected three of these episodes to feature today, “What It Takes to Get Your Short into Sundance,” “How to Get Your Midnight Shorts into SXSW,” and “DP Roundtable: The Shots That Almost Killed Us.” For those of you making short films, these clips should be especially helpful. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 15 Jan 2018 08:01:31 -0000 full No Film School This is the third and final episode of our “Best … This is the third and final episode of our “Best of 2017”, but honestly, with the quality of advice we received over the course of our interviews last year, we could keep this going forever. All of the excerpts featured in this week’s volume are part of what we here at No Film School like to call “Roundtable” episodes. We’ll try to get at least one or two of these done at every festival we travel to. The idea is really to get a group of filmmakers together and have them discuss their craft together in a forum where everyone can relate to each other and build off of their experiences. A lot of times they will be fresh off seeing each other's work so the questions keep flying and lead to some fantastic stories. We’ve selected three of these episodes to feature today, “What It Takes to Get Your Short into Sundance,” “How to Get Your Midnight Shorts into SXSW,” and “DP Roundtable: The Shots That Almost Killed Us.” For those of you making short films, these clips should be especially helpful. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 3480 yes IFW 1.11.18: Our Pick for Best Mirrorless Camera & A Golden Globes to Remember https://soundcloud.com/nofilmschool/ifw-1-11-18-our-pick-for-best In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord and Jon Fusco discuss one of the most memorable Golden Globes ever and other awards season news, as well as the group of industry women coming out *against* the #MeToo movement. Liz answers an Ask No Film School question about holding public screenings before your festival premiere. Charles Haine joins us to preview the new film and video gear being released at this year’s CES, including a very unusual entry from Kodak. 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 megaphone.fm/adchoices Thu, 11 Jan 2018 08:02:58 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord and Jon Fusco discuss one of the most memorable Golden Globes ever and other awards season news, as well as the group of industry women coming out *against* the #MeToo movement. Liz answers an Ask No Film School question about holding public screenings before your festival premiere. Charles Haine joins us to preview the new film and video gear being released at this year’s CES, including a very unusual entry from Kodak. 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 megaphone.fm/adchoices

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

]]> 2971 yes Best of the The No Film School Podcast 2017, Part 2 https://soundcloud.com/nofilmschool/best-of-the-the-no-film It’s officially a new year but we’re still not over how great our podcasts turned out in 2017. Last year, we started doing interview podcasts every single week in addition to our Indie Film Weekly episodes. We’ve had tons of great guests from Sean Baker to Flying Lotus and everything in between. In the first volume of our “Best Of” episodes, we heard from Flying Lotus, Gillian Robespierre, Brett Gelman and more. Today you’ll hear selections from Sean Baker, Ruben Ostlund, Parker Smith and Lloyd Kaufman of Troma Entertainment. Our series will continue next week, as NFS Producer Jon Fusco leads you through more of the best clips from 2017. If you haven’t heard all of our interview podcasts, these are some great examples of the type of information you can expect to come away with after every listen. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 08 Jan 2018 08:04:10 -0000 full No Film School It’s officially a new year but we’re still not ov… It’s officially a new year but we’re still not over how great our podcasts turned out in 2017. Last year, we started doing interview podcasts every single week in addition to our Indie Film Weekly episodes. We’ve had tons of great guests from Sean Baker to Flying Lotus and everything in between. In the first volume of our “Best Of” episodes, we heard from Flying Lotus, Gillian Robespierre, Brett Gelman and more. Today you’ll hear selections from Sean Baker, Ruben Ostlund, Parker Smith and Lloyd Kaufman of Troma Entertainment. Our series will continue next week, as NFS Producer Jon Fusco leads you through more of the best clips from 2017. If you haven’t heard all of our interview podcasts, these are some great examples of the type of information you can expect to come away with after every listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 3069 yes IFW 1.4.18: The Most Popular Rental Gear of 2017 & Is Netflix About to Be Sold? https://soundcloud.com/nofilmschool/ifw-1-4-18-the-most-popular In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Charles Haine discuss rumors of a major merger that could change the industry as we know it, and results of the 2017 box office returns. We also say a sad goodbye to ‘Black Swan’ production designer Thérèse DePrez. In gear news, we reveal the most rented items on ShareGrid last year. Charles also answers an Ask No Film School question about how to choose vintage lenses for your next project. 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 megaphone.fm/adchoices Thu, 04 Jan 2018 08:02:34 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Charles Haine discuss rumors of a major merger that could change the industry as we know it, and results of the 2017 box office returns. We also say a sad goodbye to ‘Black Swan’ production designer Thérèse DePrez. In gear news, we reveal the most rented items on ShareGrid last year. Charles also answers an Ask No Film School question about how to choose vintage lenses for your next project. 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 megaphone.fm/adchoices

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

]]> 2595 yes Best of the The No Film School Podcast 2017, Part 1 https://soundcloud.com/nofilmschool/best-of-the-the-no-film-school Well, it's been quite a year. Here at No Film School, we started doing interview podcasts every single week in addition to our Indie Film Weekly episodes. We’ve had tons of great guests from Sean Baker to Flying Lotus and everything in between and we’re all really proud of the type of resource this podcast has become. Before we conduct each interview, we'll take the time to remind our guests that this will be a different sort of interview than the other ones they’ve been doing on the press junket or at the festivals. We’re not just interested in hearing about what makes their movie great. Rather, we want to frame these episodes as educational gems, with takeaways from their experiences that every one of our listeners can put into practice. In that sense, we really think we’ve succeeded. If you went back and listened to every single one of our interview episodes that came out this year, we're confident that you’ll come out with more than enough information to get yourself started on making your film. You’ll be all out of excuses. Over the next couple weeks, editor/producer Jon Fusco will be leading you through some of our best clips of 2017, 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. Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 28 Dec 2017 05:10:15 -0000 full No Film School Well, it's been quite a year. Here at No Film Sch… Well, it's been quite a year. Here at No Film School, we started doing interview podcasts every single week in addition to our Indie Film Weekly episodes. We’ve had tons of great guests from Sean Baker to Flying Lotus and everything in between and we’re all really proud of the type of resource this podcast has become. Before we conduct each interview, we'll take the time to remind our guests that this will be a different sort of interview than the other ones they’ve been doing on the press junket or at the festivals. We’re not just interested in hearing about what makes their movie great. Rather, we want to frame these episodes as educational gems, with takeaways from their experiences that every one of our listeners can put into practice. In that sense, we really think we’ve succeeded. If you went back and listened to every single one of our interview episodes that came out this year, we're confident that you’ll come out with more than enough information to get yourself started on making your film. You’ll be all out of excuses. Over the next couple weeks, editor/producer Jon Fusco will be leading you through some of our best clips of 2017, 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. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2475 yes IFW 12.21.17: The Best Movies, Gear, and Filmmaking Advice of 2017 https://soundcloud.com/nofilmschool/ifw-12-21-17-the-best-movies This special, year-end episode of Indie Film Weekly reveals the best that 2017 had to offer while you were busy making films. This year was full of controversy and growing pains in the industry, balanced by stellar indie releases, gear innovations, and inspiring filmmaker journeys. In our final episode of 2017, co-hosts Liz Nord, Jon Fusco, and Charles Haine reveal our favorite films, top camera and gear choices, and predictions for the future of the film business. We also discuss our best takeaways from talking to some of the most interesting filmmakers and industry pros on the planet, from DIY maverick Sean Baker to ‘Wonder Woman’ DP Matt Jensen to French new wave and Cannes-winning filmmaker Agnes Varda. 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 megaphone.fm/adchoices Thu, 21 Dec 2017 08:01:52 -0000 full No Film School This special, year-end episode of Indie Film Week… This special, year-end episode of Indie Film Weekly reveals the best that 2017 had to offer while you were busy making films. This year was full of controversy and growing pains in the industry, balanced by stellar indie releases, gear innovations, and inspiring filmmaker journeys. In our final episode of 2017, co-hosts Liz Nord, Jon Fusco, and Charles Haine reveal our favorite films, top camera and gear choices, and predictions for the future of the film business. We also discuss our best takeaways from talking to some of the most interesting filmmakers and industry pros on the planet, from DIY maverick Sean Baker to ‘Wonder Woman’ DP Matt Jensen to French new wave and Cannes-winning filmmaker Agnes Varda. 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 megaphone.fm/adchoices

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

]]> 2826 yes IFW 12.14.17: Netflix's Most Popular Shows Revealed & An Unexpected Way to Improve Your Script https://soundcloud.com/nofilmschool/ifw-12-14-17-netflixs-most In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord and Jon Fusco discuss Louis CK’s ‘I Love You, Daddy’ distribution saga and awards season updates (and upsets) from the Golden Globes, European Film Awards, and IDA Documentary Awards. We also reveal Netflix's most binged shows of 2017, get into a pretty geeky debate about Star Wars, and share tips from filmmaker Ela Thier about how to become your own script doctor. Charles Haine joins us for gear news and answers an Ask No Film School question about scanning photos to use in your film. 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 megaphone.fm/adchoices Thu, 14 Dec 2017 08:01:14 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord and Jon Fusco discuss Louis CK’s ‘I Love You, Daddy’ distribution saga and awards season updates (and upsets) from the Golden Globes, European Film Awards, and IDA Documentary Awards. We also reveal Netflix's most binged shows of 2017, get into a pretty geeky debate about Star Wars, and share tips from filmmaker Ela Thier about how to become your own script doctor. Charles Haine joins us for gear news and answers an Ask No Film School question about scanning photos to use in your film. 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 megaphone.fm/adchoices

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

]]> 3058 yes How to Film in a War Zone https://soundcloud.com/nofilmschool/how-to-film-in-a-war-zone Directors Nathan Fitch and Daniel McCabe join No Film School’s Liz Nord to share their tips on preparing to film in a conflict zone, both practically and emotionally. Fitch embedded with the US Military in Afghanistan for his film 'Island Soldier', and McCabe filmed amidst various factions of the Congolese civil war for six years for his documentary 'This is Congo’. In this episode, the directors reflect on their experiences and give advice on what gear makes sense to bring into a conflict situation and how to shoot while you’re literally being shot at. For new stories daily on the craft of filmmaking, visit nofilmschool.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 11 Dec 2017 08:00:57 -0000 full No Film School Directors Nathan Fitch and Daniel McCabe join No … Directors Nathan Fitch and Daniel McCabe join No Film School’s Liz Nord to share their tips on preparing to film in a conflict zone, both practically and emotionally. Fitch embedded with the US Military in Afghanistan for his film 'Island Soldier', and McCabe filmed amidst various factions of the Congolese civil war for six years for his documentary 'This is Congo’. In this episode, the directors reflect on their experiences and give advice on what gear makes sense to bring into a conflict situation and how to shoot while you’re literally being shot at. For new stories daily on the craft of filmmaking, visit nofilmschool.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2664 yes IFW 12.7.17: How a Filmmaker Brought Down the Russian Olympics & When Do You Hide Brand Logos? https://soundcloud.com/nofilmschool/ifw-12-7-17-how-a-filmmaker In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Charles Haine discuss one filmmaker’s major role in Russia’s Olympic doping scandal, the first news from Sundance 2018, and the inaugural Los Angeles Online Film Critics Society Awards decision to split best male and female directors into two separate categories. We say goodbye to influential video essay series ‘Every Frame a Painting’ and Charles also answers an Ask No Film School question about how to deal with brands and logos in your film. 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 megaphone.fm/adchoices Thu, 07 Dec 2017 08:00:59 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Charles Haine discuss one filmmaker’s major role in Russia’s Olympic doping scandal, the first news from Sundance 2018, and the inaugural Los Angeles Online Film Critics Society Awards decision to split best male and female directors into two separate categories. We say goodbye to influential video essay series ‘Every Frame a Painting’ and Charles also answers an Ask No Film School question about how to deal with brands and logos in your film. 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 megaphone.fm/adchoices

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

]]> 2830 yes IFW 11.30.17: Major Changes Coming To Awards Season & When Should You Shoot Anamorphic? https://soundcloud.com/nofilmschool/ifw-11-30-17-major-changes In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Charles Haine discuss the indie films that are changing the face of awards season after the results of the Gothams and the National Board of Review list results were revealed this week. We cover the questionable award categorizations of Jordan Peele’s ‘Get Out’ and Errol Morris’ ‘Wormwood’ and why they matter to other filmmakers. We also hear some unconventional lensing advice from rising star DP Katelin Arizmendi and debate the merits of anamorphic. In gear news, we share the results of getting our hands on DJI’s new Zenmuse X7 camera. Charles also answers an Ask No Film School question about how to shoot anamorphic on a still camera. As always, we 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 megaphone.fm/adchoices Thu, 30 Nov 2017 08:00:41 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Charles Haine discuss the indie films that are changing the face of awards season after the results of the Gothams and the National Board of Review list results were revealed this week. We cover the questionable award categorizations of Jordan Peele’s ‘Get Out’ and Errol Morris’ ‘Wormwood’ and why they matter to other filmmakers. We also hear some unconventional lensing advice from rising star DP Katelin Arizmendi and debate the merits of anamorphic. In gear news, we share the results of getting our hands on DJI’s new Zenmuse X7 camera. Charles also answers an Ask No Film School question about how to shoot anamorphic on a still camera. As always, we 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 megaphone.fm/adchoices

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

]]> 2513 yes A Pre-to-Post Primer on Documentary Filmmaking https://soundcloud.com/nofilmschool/a-pre-to-post-primer-on Three producers with decades of combined experience under their belts join No Film School’s Liz Nord for a detailed primer on how to get a documentary made and seen. Geeta Gandbhir has been nominated for three Emmy Awards and has won two, as well as working professionally as an editor as such acclaimed titles as Oscar-winning 'O.J.: Made in America’, Chanda Chevannes is an award-winning documentarian as well as a film instructor at Centennial College in Toronto, and Chris Metzler is prolific documentarian known for cult favorite docs like the John Waters-narrated ‘Plagues and Pleasures on the Salton Sea’ which won over 30 best doc awards and was broadcast on the Sundance Channel. In this episode, we cover an A to Z of documentary production, and discuss what a successful producer’s role is at every stage of a film’s life. Learn more at nofilmschool.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 27 Nov 2017 08:01:12 -0000 full No Film School Three producers with decades of combined experien… Three producers with decades of combined experience under their belts join No Film School’s Liz Nord for a detailed primer on how to get a documentary made and seen. Geeta Gandbhir has been nominated for three Emmy Awards and has won two, as well as working professionally as an editor as such acclaimed titles as Oscar-winning 'O.J.: Made in America’, Chanda Chevannes is an award-winning documentarian as well as a film instructor at Centennial College in Toronto, and Chris Metzler is prolific documentarian known for cult favorite docs like the John Waters-narrated ‘Plagues and Pleasures on the Salton Sea’ which won over 30 best doc awards and was broadcast on the Sundance Channel. In this episode, we cover an A to Z of documentary production, and discuss what a successful producer’s role is at every stage of a film’s life. Learn more at nofilmschool.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 3373 yes IFW 11.23.17: How the FCC is Screwing Filmmakers & Your Best Black Friday Deals https://soundcloud.com/nofilmschool/ifw-11-23-17-how-the-fcc-is In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Charles Haine discuss discuss what the FCC's recent actions on Net Neutrality and the 600mhz band mean for filmmakers, along with the most bizarre and heartbreaking turns in the avalanche of sexual misconduct stories and how they're affecting productions everywhere. In gear news, we reveal some of the best Black Friday discounts for filmmakers. Charles also answers an Ask No Film School question about color grading for different outputs. 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 megaphone.fm/adchoices Wed, 22 Nov 2017 21:47:48 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Charles Haine discuss discuss what the FCC's recent actions on Net Neutrality and the 600mhz band mean for filmmakers, along with the most bizarre and heartbreaking turns in the avalanche of sexual misconduct stories and how they're affecting productions everywhere. In gear news, we reveal some of the best Black Friday discounts for filmmakers. Charles also answers an Ask No Film School question about color grading for different outputs. 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 megaphone.fm/adchoices

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

]]> 2537 yes How Do You Know if One Character Can Carry Your Whole Movie? https://soundcloud.com/nofilmschool/how-do-you-know-if-one No Film School’s Liz Nord is joined by three directors who have taken on the challenge of telling character-based stories where their films center around the personal journeys of one or a small handful of subjects. Their characters couldn’t be more different—one is the tough guy frontman of a New York hardcore band, one is the first female Sharia Law judge in Palestine, and one is a woman who has started a traveling circus of cats—but the lessons the filmmakers learned and advice they share is surprisingly similar and applies to any filmmaker trying to tell a good story. Erika Cohn ('The Judge'), Ian McFarland ('Godfathers of Hardcore'), and Jacob Feiring ('Samantha’s Amazing Acrocats'), discuss how they pulled off their impressive films, and the bravery it takes to embark on such a project both behind and in front of the camera. Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 17 Nov 2017 22:51:28 -0000 full No Film School No Film School’s Liz Nord is joined by three dire… No Film School’s Liz Nord is joined by three directors who have taken on the challenge of telling character-based stories where their films center around the personal journeys of one or a small handful of subjects. Their characters couldn’t be more different—one is the tough guy frontman of a New York hardcore band, one is the first female Sharia Law judge in Palestine, and one is a woman who has started a traveling circus of cats—but the lessons the filmmakers learned and advice they share is surprisingly similar and applies to any filmmaker trying to tell a good story. Erika Cohn ('The Judge'), Ian McFarland ('Godfathers of Hardcore'), and Jacob Feiring ('Samantha’s Amazing Acrocats'), discuss how they pulled off their impressive films, and the bravery it takes to embark on such a project both behind and in front of the camera. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2919 yes IFW 11.16.17: How to Make Your Old Footage Look Great & Cash in with Kickstarter's Answer to Patreon https://soundcloud.com/nofilmschool/ifw-11-16-17-how-to-make-your In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord and Jon Fusco discuss Drip, Kickstarter's bold new move for filmmakers, plus a field report from DOC NYC that reveals why it's become the American documentary festival to pay attention to. We also cover the first Oscars handed out this year, marvel at Agnes Varda's infinite wisdom, and say farewell to Oscar-winning filmmaker Debra Chasnoff, who died last week. Charles Haine joins us for gear news, including the new Lumix G9 from Panasonic, and answers an Ask No Film School question about the best way to up-res VHS footage. 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 megaphone.fm/adchoices Thu, 16 Nov 2017 08:01:44 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord and Jon Fusco discuss Drip, Kickstarter's bold new move for filmmakers, plus a field report from DOC NYC that reveals why it's become the American documentary festival to pay attention to. We also cover the first Oscars handed out this year, marvel at Agnes Varda's infinite wisdom, and say farewell to Oscar-winning filmmaker Debra Chasnoff, who died last week. Charles Haine joins us for gear news, including the new Lumix G9 from Panasonic, and answers an Ask No Film School question about the best way to up-res VHS footage. 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 megaphone.fm/adchoices

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

]]> 2539 yes How Niche Filmmaking Can Move Your Filmmaking Career Ahead https://soundcloud.com/nofilmschool/how-niche-filmmaking-can-move We all know that getting your first film made is hard. With the added pressure of expectation, getting a second made can be even harder. And then there are the Julie Cohens of the world. Cohen is a documentary filmmaker who has completed and distributed 8 feature docs and 5 shorts in the past ten years, and won three Emmys along the way. And this is after a prolific career as a producer at NBC, where she produced more than 20 hour-long and two-hour programs for Dateline. Cohen’s latest, available on iTunes now just in time for Veteran’s Day, is called AMERICAN VETERAN. It tells the story of Army Sergeant Nick Mendes, who was paralyzed from the neck down by a massive improvised explosive device in Afghanistan in 2011, when he was 21. Liz Nord sits down with Cohen to discuss tips on speeding up production, how to reach niche audiences to market your work, and steps for sustaining your career in this unpredictable business. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 13 Nov 2017 08:03:07 -0000 full No Film School We all know that getting your first film made is … We all know that getting your first film made is hard. With the added pressure of expectation, getting a second made can be even harder. And then there are the Julie Cohens of the world. Cohen is a documentary filmmaker who has completed and distributed 8 feature docs and 5 shorts in the past ten years, and won three Emmys along the way. And this is after a prolific career as a producer at NBC, where she produced more than 20 hour-long and two-hour programs for Dateline. Cohen’s latest, available on iTunes now just in time for Veteran’s Day, is called AMERICAN VETERAN. It tells the story of Army Sergeant Nick Mendes, who was paralyzed from the neck down by a massive improvised explosive device in Afghanistan in 2011, when he was 21. Liz Nord sits down with Cohen to discuss tips on speeding up production, how to reach niche audiences to market your work, and steps for sustaining your career in this unpredictable business. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 3174 yes How To Shoot Where You're Not Allowed https://soundcloud.com/nofilmschool/how-to-shoot-where-youre-not What happens when the community you’re filming doesn’t want you there? That is exactly the dilemma that faced celebrated documentarians Heidi Ewing and Rachel Grady when they embarked on their latest project, the Netflix Original film 'One of Us'. The directing duo returns to the territory that garnered them an Oscar nomination in 2007 for 'Jesus Camp': extreme religious sects in America. In 'One of Us', we travel far from the rural Evangelical Christian summer camps of Jesus Camp to a very different world: the insular Hasidic Jewish community in Brooklyn, New York. The film focuses on three young people attempting to leave the community despite threats of retaliation. They are at different stages of separation but each is struggling to join mainstream America after having been raised strictly following daily religious mandates, speaking Yiddish, and with virtually no secular education. Because of sensitivities around their subjects and the community at large, Ewing, Grady and their cinematographers, Jenni Morello and Alex Takats, had to to develop all kinds of tactics and strategies for shooting very inconspicuously. Both the directors and DPs join No Film School's Liz Nord on this episode to discuss how they managed to film and craft such a sympathetic tale from within a notoriously closed community. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 06 Nov 2017 08:01:19 -0000 full No Film School What happens when the community you’re filming do… What happens when the community you’re filming doesn’t want you there? That is exactly the dilemma that faced celebrated documentarians Heidi Ewing and Rachel Grady when they embarked on their latest project, the Netflix Original film 'One of Us'. The directing duo returns to the territory that garnered them an Oscar nomination in 2007 for 'Jesus Camp': extreme religious sects in America. In 'One of Us', we travel far from the rural Evangelical Christian summer camps of Jesus Camp to a very different world: the insular Hasidic Jewish community in Brooklyn, New York. The film focuses on three young people attempting to leave the community despite threats of retaliation. They are at different stages of separation but each is struggling to join mainstream America after having been raised strictly following daily religious mandates, speaking Yiddish, and with virtually no secular education. Because of sensitivities around their subjects and the community at large, Ewing, Grady and their cinematographers, Jenni Morello and Alex Takats, had to to develop all kinds of tactics and strategies for shooting very inconspicuously. Both the directors and DPs join No Film School's Liz Nord on this episode to discuss how they managed to film and craft such a sympathetic tale from within a notoriously closed community. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2042 yes Hitchcock 101: Everything You've Ever Wanted to Know About Psycho https://soundcloud.com/nofilmschool/hitchcock-101-everything-youve Have you ever been at one of those parties where people talk about movies and Hitchcock comes up, but you’ve never seen any Hitchcock? So then you get all sweaty and start avoiding people’s gaze? It feels like everyone is watching you, the world is slowly closing in and you get so claustrophobic and insane that you feel like you want to scream? Us neither. Funnily enough, the experience of watching Psycho for the first time feels exactly the same way. So now that you know what you’re in for, it’s time to stop making excuses and just watch it. Right now. Or rather, after you’ve listened to this podcast and before you go see Alexandre Phillipe’s illuminating documentary 78/52. This documentary defies the mere convention of looking back at an entire filmmaker’s career and it takes an even deeper focus than just examining one film. Instead, Phillipe focuses on one scene. Psycho’s infamous shower scene, which had 78 camera setups, 52 cuts and took seven days to shoot. In many ways, examining this one scene provides us with more insight on Hitchcock’s filmmaking than if we were to look at his resume as a whole. Jon Fusco sits down with Phillipe to discuss Hitchcock’s legacy, what Psycho has to say about his tendencies as a filmmaker, and plenty more interesting facts that will place you firmly in the realm of Hitchcock expert. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 30 Oct 2017 07:00:55 -0000 full No Film School Have you ever been at one of those parties where … Have you ever been at one of those parties where people talk about movies and Hitchcock comes up, but you’ve never seen any Hitchcock? So then you get all sweaty and start avoiding people’s gaze? It feels like everyone is watching you, the world is slowly closing in and you get so claustrophobic and insane that you feel like you want to scream? Us neither. Funnily enough, the experience of watching Psycho for the first time feels exactly the same way. So now that you know what you’re in for, it’s time to stop making excuses and just watch it. Right now. Or rather, after you’ve listened to this podcast and before you go see Alexandre Phillipe’s illuminating documentary 78/52. This documentary defies the mere convention of looking back at an entire filmmaker’s career and it takes an even deeper focus than just examining one film. Instead, Phillipe focuses on one scene. Psycho’s infamous shower scene, which had 78 camera setups, 52 cuts and took seven days to shoot. In many ways, examining this one scene provides us with more insight on Hitchcock’s filmmaking than if we were to look at his resume as a whole. Jon Fusco sits down with Phillipe to discuss Hitchcock’s legacy, what Psycho has to say about his tendencies as a filmmaker, and plenty more interesting facts that will place you firmly in the realm of Hitchcock expert. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2227 yes IFW 10.26.17: Halloween Spooktacular II - Advice for the Aspiring Horror Auteur https://soundcloud.com/nofilmschool/ifw-10-26-17-halloween In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Charles Haine get in the mood for Halloween by sharing some of No Film School's best horror filmmaking tips from the likes of Jeremy Saulnier and Rob Zombie. We discuss a lens so good that it got its own Emmy (plus this year's other Engineering Emmy winners) and why there's an uncertain future for Amazon Studios. We also say a sad goodbye to Oscar-winning cinematographer Walter Lassally. Gear news includes Sony's 42 megapixel beast, the a7R III, and Charles answers Liz's Ask No Film School question about migrating a project from FCP6 to Premiere. 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 megaphone.fm/adchoices Thu, 26 Oct 2017 07:01:07 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Charles Haine get in the mood for Halloween by sharing some of No Film School's best horror filmmaking tips from the likes of Jeremy Saulnier and Rob Zombie. We discuss a lens so good that it got its own Emmy (plus this year's other Engineering Emmy winners) and why there's an uncertain future for Amazon Studios. We also say a sad goodbye to Oscar-winning cinematographer Walter Lassally. Gear news includes Sony's 42 megapixel beast, the a7R III, and Charles answers Liz's Ask No Film School question about migrating a project from FCP6 to Premiere. 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 megaphone.fm/adchoices

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

]]> 2424 yes How to Master the Art of Satire: Ruben Östlund on 'The Square' https://soundcloud.com/nofilmschool/how-to-master-the-art-of Ruben Östlund has never been one to shy away from difficult themes. That's not to say that the themes he presents his audiences are controversial or difficult to watch. It's more that they're difficult to fully comprehend. Östlund's ability to translate his thoughts to screen, however, is unrivaled among his contemporaries. "The Square" is certainly one of these pictures. Östlund explores what exactly the concept of 'trust' means in a modern society where paranoia is the dominant human emotion and catastrophe seems to await us around every new corner. The Palmes d' Or winning film centers on Christian, a curator at a renowned modern art museum in Sweden. One day he is robbed in blind daylight and his ensuing decision to track down the thieves sets off a series of events that cause his life to descend into chaos. No Film School's Jon Fusco sat down with Östlund at the New York Film Festival to discuss his mind-bending new feature. They cover everything from how to make a two-and-a-half hour movie breeze by at a lightspeed pace to what Östlund (a teacher himself) feels is the most important part of film school. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 23 Oct 2017 07:01:38 -0000 full No Film School Ruben Östlund has never been one to shy away from… Ruben Östlund has never been one to shy away from difficult themes. That's not to say that the themes he presents his audiences are controversial or difficult to watch. It's more that they're difficult to fully comprehend. Östlund's ability to translate his thoughts to screen, however, is unrivaled among his contemporaries. "The Square" is certainly one of these pictures. Östlund explores what exactly the concept of 'trust' means in a modern society where paranoia is the dominant human emotion and catastrophe seems to await us around every new corner. The Palmes d' Or winning film centers on Christian, a curator at a renowned modern art museum in Sweden. One day he is robbed in blind daylight and his ensuing decision to track down the thieves sets off a series of events that cause his life to descend into chaos. No Film School's Jon Fusco sat down with Östlund at the New York Film Festival to discuss his mind-bending new feature. They cover everything from how to make a two-and-a-half hour movie breeze by at a lightspeed pace to what Östlund (a teacher himself) feels is the most important part of film school. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 1170 yes IFW 10.19.17: Welcome to a Post-Harvey Hollywood & Your Best Bet for a 360° Stereo Camera https://soundcloud.com/nofilmschool/ifw-10-19-17-welcome-to-a-post In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Charles Haine predict what the Harvey Weinstein fallout could means for future film sets and discuss some steps being taken by the Academy, the PGA, and other film institutions to combat sexual misconduct in the industry. We also share a ton of news from Netflix, including the company's plans to release 80 original films in 2018. In gear news, we reveal how filmmakers can use Microsoft's new GPU, and Charles answers an Ask No Film School question about renting a 360 stereoscopic camera. 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 megaphone.fm/adchoices Thu, 19 Oct 2017 07:01:44 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Charles Haine predict what the Harvey Weinstein fallout could means for future film sets and discuss some steps being taken by the Academy, the PGA, and other film institutions to combat sexual misconduct in the industry. We also share a ton of news from Netflix, including the company's plans to release 80 original films in 2018. In gear news, we reveal how filmmakers can use Microsoft's new GPU, and Charles answers an Ask No Film School question about renting a 360 stereoscopic camera. 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 megaphone.fm/adchoices

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

]]> 2639 yes Spielberg: Behind the Scenes with the World’s Most Famous Filmmaker https://soundcloud.com/nofilmschool/spielberg-behind-the-scenes Steven Spielberg is the highest grossing directors of all time, with over 50 influential titles under his belt. And yet, do we really know Spielberg? After all, he rarely does public appearances or gives in-depth interviews. Perhaps the director was just waiting for the right moment to tell his life’s story and the right person to tell it to. Fortunately, that time has come, and that person is our guest, Susan Lacy. As executive producer of the PBS series American Masters, she produced 250 films exploring the lives of America’s most influential cultural icons. For the new HBO documentary ‘Spielberg', she turned her hand to directing. Lacy interviewed Steven Spielberg for over 30 hours collectively, skillfully pulling out threads from his own life to weave together the film’s thesis: though he’s not known as a “personal filmmaker", there’s a part of Spielberg in every film he makes. In this episode Susan Lacy joins No Film School’s Liz Nord and the film’s editor, Deborah Peretz, to discuss how they managed decades-worth of archival and new interview material, and what they learned from Spielberg and his movies in making this one. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 16 Oct 2017 07:01:00 -0000 full No Film School Steven Spielberg is the highest grossing director… Steven Spielberg is the highest grossing directors of all time, with over 50 influential titles under his belt. And yet, do we really know Spielberg? After all, he rarely does public appearances or gives in-depth interviews. Perhaps the director was just waiting for the right moment to tell his life’s story and the right person to tell it to. Fortunately, that time has come, and that person is our guest, Susan Lacy. As executive producer of the PBS series American Masters, she produced 250 films exploring the lives of America’s most influential cultural icons. For the new HBO documentary ‘Spielberg', she turned her hand to directing. Lacy interviewed Steven Spielberg for over 30 hours collectively, skillfully pulling out threads from his own life to weave together the film’s thesis: though he’s not known as a “personal filmmaker", there’s a part of Spielberg in every film he makes. In this episode Susan Lacy joins No Film School’s Liz Nord and the film’s editor, Deborah Peretz, to discuss how they managed decades-worth of archival and new interview material, and what they learned from Spielberg and his movies in making this one. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2148 yes IFW 10.12.17: Two Cameras with Unprecedented Resolution & Must-Sees from the New York Film Festival https://soundcloud.com/nofilmschool/ifw-10-12-17-two-cameras-with In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord and Jon Fusco discuss the Harvey Weinstein sexual abuse accusations and what they mean for indie film, share highlights from our New York Film Festival coverage including conversations with Richard Linklater and Sean Baker, and ponder what exactly is the future of storytelling. In gear news, RED has finally released its Monstro sensor and DJI has released its highest resolution drone cinema camera yet. DP Open Soffer joins us to answer an Ask No Film School question about how to shoot dialog scenes. 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 megaphone.fm/adchoices Thu, 12 Oct 2017 02:33:59 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord and Jon Fusco discuss the Harvey Weinstein sexual abuse accusations and what they mean for indie film, share highlights from our New York Film Festival coverage including conversations with Richard Linklater and Sean Baker, and ponder what exactly is the future of storytelling. In gear news, RED has finally released its Monstro sensor and DJI has released its highest resolution drone cinema camera yet. DP Open Soffer joins us to answer an Ask No Film School question about how to shoot dialog scenes. 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 megaphone.fm/adchoices

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

]]> 2076 yes 'The Florida Project': Sean Baker on Why You Need to Invest in Yourself When No One Else Will https://soundcloud.com/nofilmschool/the-florida-project-sean-baker "The Florida Project" may be the first Sean Baker movie you'll go out to see in theaters, but he's been on the scene for a long, long time. Perhaps best known for the iPhone 5s filmed "Tangerine", Baker has been a champion of low-budget filmmaking for his entire career. More so than that, he has been a trailblazer in the democratization of film. Inspired by the Dogme 95 movement pioneered by Danish directors Lars von Trier and Thomas Vinterberg, he makes the absolute best use of the resources that are available to him. "Take Out", "The Prince of Broadway" and, yes, "Tangerine" were all shot on minuscule budgets with minimal crew and whatever gear they could afford to shoot on. His latest film, "The Florida Project", breaks this trend but keeps the Dogme 95 spirit well alive. It’s his first film to be granted a million dollar budget and shot on 35mm every frame oozes with beauty. The film is set over one summer in Celebration, Florida (the home of DisneyWorld) and follows the everyday adventures of precocious 6-year-old Moonee, a child whose mother lives month to month in a motel and does some less than favorable things to make rent. Baker and No Film School's Jon Fusco discuss the director's long road through obscurity, the level of discipline every filmmaker should aspire to own, and how even when no one else believes in you, you can still believe in yourself.   Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 09 Oct 2017 07:00:54 -0000 full No Film School "The Florida Project" may be the first Sean Baker… "The Florida Project" may be the first Sean Baker movie you'll go out to see in theaters, but he's been on the scene for a long, long time. Perhaps best known for the iPhone 5s filmed "Tangerine", Baker has been a champion of low-budget filmmaking for his entire career. More so than that, he has been a trailblazer in the democratization of film. Inspired by the Dogme 95 movement pioneered by Danish directors Lars von Trier and Thomas Vinterberg, he makes the absolute best use of the resources that are available to him. "Take Out", "The Prince of Broadway" and, yes, "Tangerine" were all shot on minuscule budgets with minimal crew and whatever gear they could afford to shoot on. His latest film, "The Florida Project", breaks this trend but keeps the Dogme 95 spirit well alive. It’s his first film to be granted a million dollar budget and shot on 35mm every frame oozes with beauty. The film is set over one summer in Celebration, Florida (the home of DisneyWorld) and follows the everyday adventures of precocious 6-year-old Moonee, a child whose mother lives month to month in a motel and does some less than favorable things to make rent. Baker and No Film School's Jon Fusco discuss the director's long road through obscurity, the level of discipline every filmmaker should aspire to own, and how even when no one else believes in you, you can still believe in yourself.   Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 1948 yes IFW 10.5.17: The Future of Buying and Selling Lenses & The Best Screenwriters of All Time https://soundcloud.com/nofilmschool/ifw-10-5-17-the-future-of In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Charles Haine discuss Vulture’s list of the Top 100 Screenwriters of All Time, a new online marketplace for lenses, an indie distributor making bold moves, and how one filmmaker is changing the entire advertising industry. Charles also answers an Ask No Film School question about whether or not you need to buy a cage for your small camera. As always, we also bring you the latest gear news, upcoming grant and festival deadlines, a slew of 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 megaphone.fm/adchoices Thu, 05 Oct 2017 07:01:17 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Charles Haine discuss Vulture’s list of the Top 100 Screenwriters of All Time, a new online marketplace for lenses, an indie distributor making bold moves, and how one filmmaker is changing the entire advertising industry. Charles also answers an Ask No Film School question about whether or not you need to buy a cage for your small camera. As always, we also bring you the latest gear news, upcoming grant and festival deadlines, a slew of 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 megaphone.fm/adchoices

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

]]> 2746 yes What is a Film Fellowship and Why Should You Do One? https://soundcloud.com/nofilmschool/what-is-a-film-fellowship-and Three directors who have been invited to and attended some of the most elite labs and fellowships in the business join No Film School's Liz Nord to define pitch forums, labs, retreats, and fellowships, and let other filmmakers know why participation in these opportunities can be extremely rewarding. Guests Sierra Pettengill ('The Reagan Show'), Sabaah Folayan ('Whose Streets’), and Jeff Unay (‘Cage Fighter’) share their own filmmaking journies and pitching processes, and also elaborate the value of fellowships to anyone trying to get a film made—everything from relationships to mentorship to feedback to simply having space to cry. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 02 Oct 2017 07:01:29 -0000 full No Film School Three directors who have been invited to and atte… Three directors who have been invited to and attended some of the most elite labs and fellowships in the business join No Film School's Liz Nord to define pitch forums, labs, retreats, and fellowships, and let other filmmakers know why participation in these opportunities can be extremely rewarding. Guests Sierra Pettengill ('The Reagan Show'), Sabaah Folayan ('Whose Streets’), and Jeff Unay (‘Cage Fighter’) share their own filmmaking journies and pitching processes, and also elaborate the value of fellowships to anyone trying to get a film made—everything from relationships to mentorship to feedback to simply having space to cry. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 3116 yes IFW 9.28.17: The Next Hottest Rental Camera & It's Time to Stop Putting Lives at Risk on Set https://soundcloud.com/nofilmschool/ifw-9-28-17-the-next-hottest In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Charles Haine discuss the lifesaving info that every filmmaker can learn from recent Radiohead and NARCOS shoots, and a dirty debacle threatening the beloved indie institutions in the Alamo Drafthouse family. In gear news, we get a first look at Sony’s full-frame VENICE, and we answer an Ask No Film School question about what you can do in 8K that you can’t do in four. As always, we also bring you the latest filmmaking tools, 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 megaphone.fm/adchoices Thu, 28 Sep 2017 07:00:44 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Charles Haine discuss the lifesaving info that every filmmaker can learn from recent Radiohead and NARCOS shoots, and a dirty debacle threatening the beloved indie institutions in the Alamo Drafthouse family. In gear news, we get a first look at Sony’s full-frame VENICE, and we answer an Ask No Film School question about what you can do in 8K that you can’t do in four. As always, we also bring you the latest filmmaking tools, 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 megaphone.fm/adchoices

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

]]> 2402 yes Pitching Do's and Don’ts: How to Get Your Film Funded https://soundcloud.com/nofilmschool/pitching-dos-and-donts-how-to This week’s guests have heard over 10,000 pitches between them and, in this episode, they reveal what works and what doesn't when you're trying to raise money for your films. No Film School’s Liz Nord is joined by Molly O’Brien (Chief Business Development Officer of Fork Films), Daniel Chalfen (Co-founder of Naked Edge Films), and Jose Rodriguez (Director of Documentary Programs at the Tribeca Film Institute) to discuss the art of the pitch. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 25 Sep 2017 07:03:47 -0000 full No Film School This week’s guests have heard over 10,000 pitches… This week’s guests have heard over 10,000 pitches between them and, in this episode, they reveal what works and what doesn't when you're trying to raise money for your films. No Film School’s Liz Nord is joined by Molly O’Brien (Chief Business Development Officer of Fork Films), Daniel Chalfen (Co-founder of Naked Edge Films), and Jose Rodriguez (Director of Documentary Programs at the Tribeca Film Institute) to discuss the art of the pitch. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2107 yes IFW 9.21.17: Why Your Film Isn't Getting into Festivals & Tips From a Guerrilla Filmmaking Legend https://soundcloud.com/nofilmschool/ifw-9-21-17-why-your-film-isnt In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord and Jon Fusco discuss why the Emmys are actually worth noticing this year and what we should make of all the hubbub around Darren Aronofsky’s latest film, ‘mother!’. We also share wrap-ups from the Toronto and Camden International Film Festivals, including the movie made with 10,000 hours of surveillance footage. In Ask No Film School, we answer the perennial question of why your film isn’t getting into festivals. 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 megaphone.fm/adchoices Thu, 21 Sep 2017 07:01:58 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord and Jon Fusco discuss why the Emmys are actually worth noticing this year and what we should make of all the hubbub around Darren Aronofsky’s latest film, ‘mother!’. We also share wrap-ups from the Toronto and Camden International Film Festivals, including the movie made with 10,000 hours of surveillance footage. In Ask No Film School, we answer the perennial question of why your film isn’t getting into festivals. 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 megaphone.fm/adchoices

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

]]> 2235 yes How To Keep Your Production Running Smoothly Across Every Medium https://soundcloud.com/nofilmschool/how-to-keep-your-production Why do theater when you can do film? Why do film when you can do theater? Why do one when you can do both? Why do both when you can do VR? Director Dan Hasse and director/actor Taylor Myers are an ambitious pair of artists based in New York City who grappled with these pressing questions at length before finally coming to a conclusion. The answer? Just do all three. The duo went abroad earlier this year after conceiving the idea to fly to Ireland, rent a castle, and perform an immersive theater adaptation of Shakespeare’s immortal play Hamlet. Then they thought, well why would we limit this experience to just a few people? So the theater makers, brought along a crew and decided to become filmmakers as well. The result is Hamlet in the Golden Vale, a feature-length film that will be appearing on the festival circuit next year. All of this output from a single independent film production is made even more impressive considering that In the process, they also managed to secure funding for a companion VR piece as well. Dan and Taylor sit down with No Film School Producer Jon Fusco to discuss their multi-pronged effort to make the most of their eleven days in Ireland and the difficulties in translating from stage to the screen in all different aspects of production. From screenwriting to acting to directing they share a few tips on how to keep things running smoothly across every medium. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 18 Sep 2017 07:05:36 -0000 full No Film School Why do theater when you can do film? Why do film … Why do theater when you can do film? Why do film when you can do theater? Why do one when you can do both? Why do both when you can do VR? Director Dan Hasse and director/actor Taylor Myers are an ambitious pair of artists based in New York City who grappled with these pressing questions at length before finally coming to a conclusion. The answer? Just do all three. The duo went abroad earlier this year after conceiving the idea to fly to Ireland, rent a castle, and perform an immersive theater adaptation of Shakespeare’s immortal play Hamlet. Then they thought, well why would we limit this experience to just a few people? So the theater makers, brought along a crew and decided to become filmmakers as well. The result is Hamlet in the Golden Vale, a feature-length film that will be appearing on the festival circuit next year. All of this output from a single independent film production is made even more impressive considering that In the process, they also managed to secure funding for a companion VR piece as well. Dan and Taylor sit down with No Film School Producer Jon Fusco to discuss their multi-pronged effort to make the most of their eleven days in Ireland and the difficulties in translating from stage to the screen in all different aspects of production. From screenwriting to acting to directing they share a few tips on how to keep things running smoothly across every medium. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2527 yes IFW 9.14.17: All Things Apple & Panasonic's Surprisingly Affordable New Camera https://soundcloud.com/nofilmschool/ifw-9-14-17-all-things-apple In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Charles Haine bring you a fall gear preview. We discuss all the latest gear news coming out of Amsterdam's IBC expo, including more details of Panasonic's EVA-1 and major Resolve upgrades, plus the multiple Apple announcements made at the company's annual launch event and how they affect indie filmmakers. We also cover a bevy of indie acquisition news out of TIFF, Louis CK’s top-secret DIY movie, the Creative Arts Emmys, and Disney's latest Star Wars shakeup. As always, the show also brings Ask No Film School, plus news you can use about 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. 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 megaphone.fm/adchoices Thu, 14 Sep 2017 07:07:15 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Charles Haine bring you a fall gear preview. We discuss all the latest gear news coming out of Amsterdam's IBC expo, including more details of Panasonic's EVA-1 and major Resolve upgrades, plus the multiple Apple announcements made at the company's annual launch event and how they affect indie filmmakers. We also cover a bevy of indie acquisition news out of TIFF, Louis CK’s top-secret DIY movie, the Creative Arts Emmys, and Disney's latest Star Wars shakeup. As always, the show also brings Ask No Film School, plus news you can use about 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. 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 megaphone.fm/adchoices

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

]]> 2479 yes How a 4-Day Journalism Assignment Became an Explosive Yearlong Doc Production https://soundcloud.com/nofilmschool/how-a-brief-journalism When Israeli journalist Maya Zinshtein took on a four-day assignment to cover the arrival of two foreign players to a local soccer club, she had no idea that it would turn into a year-long making of a feature documentary that dramatically reveals the skeletons in her own country’s closet. But this was no ordinary soccer team—and this is certainly not your average sports documentary. The team at the center of the film is Beitar Jerusalem, which had been historically known for the right wing politics and even racist tendencies of its fan base. In fact, It was the only team in Israel’s premier league never to sign an Arab player. When two Muslim players from Chechnya were brought onto the team, the resulting backlash exposed the ugliest parts of Israeli society, and threatened to tear the team and country apart. Rarely does a documentary—especially about something as apparently innocuous as soccer—expose so many layers of one society, from race to class to politics to economics. But it didn’t come without Zinshtein’s own battles. In her conversation with No Film School's Liz Nord, she is very candid about how she overcame the challenges she faced making the film, especially in trying to convince people to let her turn vérité cameras on them in the midst of personal and national crises. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 11 Sep 2017 07:00:49 -0000 full No Film School When Israeli journalist Maya Zinshtein took on a … When Israeli journalist Maya Zinshtein took on a four-day assignment to cover the arrival of two foreign players to a local soccer club, she had no idea that it would turn into a year-long making of a feature documentary that dramatically reveals the skeletons in her own country’s closet. But this was no ordinary soccer team—and this is certainly not your average sports documentary. The team at the center of the film is Beitar Jerusalem, which had been historically known for the right wing politics and even racist tendencies of its fan base. In fact, It was the only team in Israel’s premier league never to sign an Arab player. When two Muslim players from Chechnya were brought onto the team, the resulting backlash exposed the ugliest parts of Israeli society, and threatened to tear the team and country apart. Rarely does a documentary—especially about something as apparently innocuous as soccer—expose so many layers of one society, from race to class to politics to economics. But it didn’t come without Zinshtein’s own battles. In her conversation with No Film School's Liz Nord, she is very candid about how she overcame the challenges she faced making the film, especially in trying to convince people to let her turn vérité cameras on them in the midst of personal and national crises. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 1816 yes IFW 9.7.17: From Werner Herzog to Barry Jenkins: Best Advice from Over 50 Filmmaker Interviews https://soundcloud.com/nofilmschool/ifw-9-7-17-from-werner-herzog In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder jump into fall festival season with reports from Venice, Telluride, and TIFF. We also share some positive financial news for indies against the backdrop of the summer blockbuster fail. For her very last episode ever, Emily shares a compendium of all the best filmmaking advice she's received from dozens of interviews with groundbreaking filmmakers. Charles Haine joins us for gear news, including the world's highest capacity microSD card, and answers a pressing Ask No Film School question about lens adapters and flange focal distance. 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 megaphone.fm/adchoices Thu, 07 Sep 2017 07:00:35 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder jump into fall festival season with reports from Venice, Telluride, and TIFF. We also share some positive financial news for indies against the backdrop of the summer blockbuster fail. For her very last episode ever, Emily shares a compendium of all the best filmmaking advice she's received from dozens of interviews with groundbreaking filmmakers. Charles Haine joins us for gear news, including the world's highest capacity microSD card, and answers a pressing Ask No Film School question about lens adapters and flange focal distance. 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 megaphone.fm/adchoices

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

]]> 3021 yes 'Expect That Everything Will Go Wrong': How to Ensure Your First Short Film is the Best it Can Be https://soundcloud.com/nofilmschool/expect-that-everything-will-go Making a short should be an easy thing, right? That’s what No Film School Producer/Editor Jon Fusco thought when he decided he would finally shoot his own. He was wrong. Making any film, no matter the length is certain to be an ordeal. In both pre-production and on set, many more things are bound to go wrong than right. Fusco sits down with award-winning short director Hughes William Thompson to discuss some of the more common struggles first-time filmmakers face and the steps that you can take to ensure your production goes as smooth as possible. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 04 Sep 2017 07:01:09 -0000 full No Film School Making a short should be an easy thing, right? Th… Making a short should be an easy thing, right? That’s what No Film School Producer/Editor Jon Fusco thought when he decided he would finally shoot his own. He was wrong. Making any film, no matter the length is certain to be an ordeal. In both pre-production and on set, many more things are bound to go wrong than right. Fusco sits down with award-winning short director Hughes William Thompson to discuss some of the more common struggles first-time filmmakers face and the steps that you can take to ensure your production goes as smooth as possible. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2403 yes IFW 8.31.17: The Best Way to Choose an Anamorphic Lens & Who Rules the Indie Box Office? https://soundcloud.com/nofilmschool/ifw-8-31-17-the-best-way-to In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Charles Haine reveal the best anamorphic lens test we've ever seen and ponder the future of indie stalwart Fox Searchlight. We also discuss how one actor is proving that Hollywood really can change how it does casting, and say a sad goodbye to influential horror director Tobe Hooper. In gear news, we discuss ShareGrid's comprehensive new anamorphic lens test, and Charles answers an Ask No Film School question about how to best pull off a multi-user workflow in post-production. 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 megaphone.fm/adchoices Thu, 31 Aug 2017 07:02:06 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Charles Haine reveal the best anamorphic lens test we've ever seen and ponder the future of indie stalwart Fox Searchlight. We also discuss how one actor is proving that Hollywood really can change how it does casting, and say a sad goodbye to influential horror director Tobe Hooper. In gear news, we discuss ShareGrid's comprehensive new anamorphic lens test, and Charles answers an Ask No Film School question about how to best pull off a multi-user workflow in post-production. 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 megaphone.fm/adchoices

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

]]> 2530 yes What to Do When You've Lost All Hope for Your Film https://soundcloud.com/nofilmschool/what-to-do-when-youve-lost-all Director Janicza Bravo and actor Brett Gelman were 'covered in blood' while trying to get their film ‘LEMON’ made, but now it's theatrically released by Magnolia Pictures. The pair are rising stars in both TV and independent film—she directed a Sundance-winning short and an episode of Emmy-winning ‘Atlanta’ and he has appeared in dozens of shows and his own Adult Swim comedy specials—but ‘LEMON’ was born out of the same creative frustrations and anxiety that plague the rest of us. The real-life married couple co-wrote the film, which Janicza directed. In it, Brett plays Isaac, a bit of an unlikable sad sack in the middle of one of life’s downward spirals. In this episode, No Film School’s Liz Nord sits down with the couple on the night before the film's New York premiere, and they share very candid details about the six-year struggle to get the film made, how they overcame each hurdle, and how the industry actually works. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 28 Aug 2017 07:01:27 -0000 full No Film School Director Janicza Bravo and actor Brett Gelman wer… Director Janicza Bravo and actor Brett Gelman were 'covered in blood' while trying to get their film ‘LEMON’ made, but now it's theatrically released by Magnolia Pictures. The pair are rising stars in both TV and independent film—she directed a Sundance-winning short and an episode of Emmy-winning ‘Atlanta’ and he has appeared in dozens of shows and his own Adult Swim comedy specials—but ‘LEMON’ was born out of the same creative frustrations and anxiety that plague the rest of us. The real-life married couple co-wrote the film, which Janicza directed. In it, Brett plays Isaac, a bit of an unlikable sad sack in the middle of one of life’s downward spirals. In this episode, No Film School’s Liz Nord sits down with the couple on the night before the film's New York premiere, and they share very candid details about the six-year struggle to get the film made, how they overcame each hurdle, and how the industry actually works. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2492 yes IFW 8.24.17: The Death of Final Cut 7 & Indie Film's Sex Abuse Scandal https://soundcloud.com/nofilmschool/ifw-8-24-17-the-death-of-final In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder discuss the CineFamily controversy that's shaking up LA's underground film scene, how much cash exactly is made by the films of top-grossing indie directors, and an update on last week's record-breaking story about whether or not MoviePass will mean the end of theater-going as we know it. We also say sad goodbyes to editor Eric Zumbrunnen, comedian and filmmaker Jerry Lewis, and the print edition of the Village Voice. Charles Haine joins us for gear news, including the death of Final Cut 7, and answers an Ask No Film School question about how to create a fog effect in your film. 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 megaphone.fm/adchoices Thu, 24 Aug 2017 07:01:00 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder discuss the CineFamily controversy that's shaking up LA's underground film scene, how much cash exactly is made by the films of top-grossing indie directors, and an update on last week's record-breaking story about whether or not MoviePass will mean the end of theater-going as we know it. We also say sad goodbyes to editor Eric Zumbrunnen, comedian and filmmaker Jerry Lewis, and the print edition of the Village Voice. Charles Haine joins us for gear news, including the death of Final Cut 7, and answers an Ask No Film School question about how to create a fog effect in your film. 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 megaphone.fm/adchoices

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

]]> 2403 yes The First Family of DIY on How to ‘Make Your Own Damn Movie' https://soundcloud.com/nofilmschool/the-first-family-of-diy-on-how The reigning families of modern American movies are household names: the Coppolas, the Gyllenhaals, the Afflecks. But what about the Kaufmans? If you are a filmmaker, they have very likely affected your life.  Dad is Lloyd Kaufman, creator of the Toxic Avenger and king of B-movies, whose independent studio Troma Entertainment has produced and distributed more than 1,000 films. Mom is Pat Swinney Kaufman, who was the deputy film commissioner for New York State for 20 years. Their daughter is Lisbeth Kaufman, co-founder of KitSplit, which is now the biggest online camera rental company. Liz Nord speaks with the family and between the three of them, there’s a veritable treasure trove of industry gold. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 21 Aug 2017 07:01:27 -0000 full No Film School The reigning families of modern American movies a… The reigning families of modern American movies are household names: the Coppolas, the Gyllenhaals, the Afflecks. But what about the Kaufmans? If you are a filmmaker, they have very likely affected your life.  Dad is Lloyd Kaufman, creator of the Toxic Avenger and king of B-movies, whose independent studio Troma Entertainment has produced and distributed more than 1,000 films. Mom is Pat Swinney Kaufman, who was the deputy film commissioner for New York State for 20 years. Their daughter is Lisbeth Kaufman, co-founder of KitSplit, which is now the biggest online camera rental company. Liz Nord speaks with the family and between the three of them, there’s a veritable treasure trove of industry gold. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2621 yes IFW 8.17.17: 8K is a Lie & Will the Controversial Plan to Make Movies Cheap Actually Kill Them? https://soundcloud.com/nofilmschool/ifw-8-17-17-8k-is-a-lie-will In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder ponder whether or not cameras have reached peak resolution, and debate the merits of MoviePass’s new plan to let you see unlimited movies in theaters for $10 a month. We also discuss Facebook's aim to become the new YouTube and Apple's billion-dollar content investment. I answer an Ask No Film School question about what the heck to do with your short film once it's finished, and we hear from the Safdie Brothers about their new film ‘Good Time’, which opens in theaters this week. 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 megaphone.fm/adchoices Thu, 17 Aug 2017 07:01:10 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder ponder whether or not cameras have reached peak resolution, and debate the merits of MoviePass’s new plan to let you see unlimited movies in theaters for $10 a month. We also discuss Facebook's aim to become the new YouTube and Apple's billion-dollar content investment. I answer an Ask No Film School question about what the heck to do with your short film once it's finished, and we hear from the Safdie Brothers about their new film ‘Good Time’, which opens in theaters this week. 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 megaphone.fm/adchoices

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

]]> 2534 yes Why Making a Film is the Only Thing That Can Ever Really Prepare You for Making Your First Film https://soundcloud.com/nofilmschool/why-making-a-film-is-the-only The quality of this summer’s offering of independent films has just been utterly ridiculous. There have already been so many new voices, new perspectives, and unique stories hitting the big screen and now we can add Matt Spicer’s Ingrid Goes West to the list as yet another standout title. The film, which earned the coveted Waldo Salt Screenwriting Award at Sundance follows Ingrid Thorburn, an unhinged social media stalker, frenetically brought to life by Aubrey Plaza, who moves to LA in an attempt to make friends with her latest obsession, the boho-chic social media influencer, Taylor Sloane, a character that’s oh-so convincingly played by Elizabeth Olson. Even with a hilarious cast and chuckle-worthy premise, it's hard to call Ingrid Goes West a comedy, in the truest sense of the word, because, well, it is really, really, creepy. The disturbing tone carefully planted beneath the film's shimmering Los Angeles foreground will stick with you long after you've left the theater.  For Spicer, who penned the film along with David Branson Smith, this was the culmination of a ten-year journey from screenwriter to director. He joins us this week to discuss the steps he took to make this film happen, the pros and cons of social media’s new role in the film industry, and how making a film is the only thing that can ever really prepare you for making a film. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 14 Aug 2017 07:01:52 -0000 full No Film School The quality of this summer’s offering of independ… The quality of this summer’s offering of independent films has just been utterly ridiculous. There have already been so many new voices, new perspectives, and unique stories hitting the big screen and now we can add Matt Spicer’s Ingrid Goes West to the list as yet another standout title. The film, which earned the coveted Waldo Salt Screenwriting Award at Sundance follows Ingrid Thorburn, an unhinged social media stalker, frenetically brought to life by Aubrey Plaza, who moves to LA in an attempt to make friends with her latest obsession, the boho-chic social media influencer, Taylor Sloane, a character that’s oh-so convincingly played by Elizabeth Olson. Even with a hilarious cast and chuckle-worthy premise, it's hard to call Ingrid Goes West a comedy, in the truest sense of the word, because, well, it is really, really, creepy. The disturbing tone carefully planted beneath the film's shimmering Los Angeles foreground will stick with you long after you've left the theater.  For Spicer, who penned the film along with David Branson Smith, this was the culmination of a ten-year journey from screenwriter to director. He joins us this week to discuss the steps he took to make this film happen, the pros and cons of social media’s new role in the film industry, and how making a film is the only thing that can ever really prepare you for making a film. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 1745 yes IFW 8.10.17: Best Tripods for Your Budget & The Academy's Surprise President https://soundcloud.com/nofilmschool/ifw-8-10-17-best-tripods-for In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco,and Emily Buder discuss two new and very different industry studies: one about the use of swear words in movies, and the other about the future of the documentary film industry. We also talk about the new President of the Academy of Motion Pictures, updates from the Locarno, TIFF and NYFF festivals, and Netflix’s first acquisition of another company. Charles Haine joins us for gear news, including the Panasonic EVA-1 specs and an embarrassing moment for Apple. Charles also answers an Ask No Film School question about how to assess and buy tripods in a range of budgets. 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 megaphone.fm/adchoices Thu, 10 Aug 2017 07:00:52 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco,and Emily Buder discuss two new and very different industry studies: one about the use of swear words in movies, and the other about the future of the documentary film industry. We also talk about the new President of the Academy of Motion Pictures, updates from the Locarno, TIFF and NYFF festivals, and Netflix’s first acquisition of another company. Charles Haine joins us for gear news, including the Panasonic EVA-1 specs and an embarrassing moment for Apple. Charles also answers an Ask No Film School question about how to assess and buy tripods in a range of budgets. 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 megaphone.fm/adchoices

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

]]> 2341 yes The Worst Things a Director Can Do on Set https://soundcloud.com/nofilmschool/the-worst-things-a-director The experienced cast of ‘In the Radiant City’ joins No Film School’s Liz Nord to dish on how (and how not) to direct actors. 'In the Radiant City’ is directed by Jeff Nichols protégé Rachel Lambert and co-written by Lambert and Nathan Gregorski. The film is a quiet but very tense family drama about a man who testified against his brother in a murder trial when they were kids, and his return to their rural Kentucky hometown twenty years later to face the family that was left behind. Its talented ensemble cast includes Marin Ireland ('Hell or High Water’), Michael Abbott Jr. (‘Loving'), Madisen Beaty ('The Master'), and Celia Weston, who has over 60 credits to her name but may be best recognized as Barb Tucker from 'Modern Family.’ On this lively episode, that entire group, plus Lambert and Gregorski, discuss what you should *not* do on set as much as they give constructive tips for directing actors. Lambert also shares the details of how she got her debut feature off the ground, including great advice like "Get to know every goddam bartender in the area,” as well as the most important things she learned from mentor Jeff Nichols, who produced the film. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 07 Aug 2017 07:00:55 -0000 full No Film School The experienced cast of ‘In the Radiant City’ joi… The experienced cast of ‘In the Radiant City’ joins No Film School’s Liz Nord to dish on how (and how not) to direct actors. 'In the Radiant City’ is directed by Jeff Nichols protégé Rachel Lambert and co-written by Lambert and Nathan Gregorski. The film is a quiet but very tense family drama about a man who testified against his brother in a murder trial when they were kids, and his return to their rural Kentucky hometown twenty years later to face the family that was left behind. Its talented ensemble cast includes Marin Ireland ('Hell or High Water’), Michael Abbott Jr. (‘Loving'), Madisen Beaty ('The Master'), and Celia Weston, who has over 60 credits to her name but may be best recognized as Barb Tucker from 'Modern Family.’ On this lively episode, that entire group, plus Lambert and Gregorski, discuss what you should *not* do on set as much as they give constructive tips for directing actors. Lambert also shares the details of how she got her debut feature off the ground, including great advice like "Get to know every goddam bartender in the area,” as well as the most important things she learned from mentor Jeff Nichols, who produced the film. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2413 yes IFW 8.3.17: The Demise of DSLR & Soderbergh's Plan to Save Movies https://soundcloud.com/nofilmschool/ifw-8-3-17-the-demise-of-dslr In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco,and Emily Buder wonder if DSLR filmmaking is finally dead, and whether Soderbergh's new production model can revive indies. We also discuss a former Google Android exec who extols iPhone filmmaking, Netflix's $20.5 billion in debt, and say a sad goodbye to Pulitzer-Winning writer, director, and actor Sam Shepard. We hear from video essay guru Kogonada about his debut feature ‘Columbus,’ which hits theaters this week. In gear news, Fusion gets a VR toolset and big price break, the TSA adds filmmaker-unfriendly travel rules, and lens mount options grow for the Fujfilm MK zooms. Ask No Film School fields a question about what extent you should involve an author in your film when it's based on their book. 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 megaphone.fm/adchoices Thu, 03 Aug 2017 07:00:16 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco,and Emily Buder wonder if DSLR filmmaking is finally dead, and whether Soderbergh's new production model can revive indies. We also discuss a former Google Android exec who extols iPhone filmmaking, Netflix's $20.5 billion in debt, and say a sad goodbye to Pulitzer-Winning writer, director, and actor Sam Shepard. We hear from video essay guru Kogonada about his debut feature ‘Columbus,’ which hits theaters this week. In gear news, Fusion gets a VR toolset and big price break, the TSA adds filmmaker-unfriendly travel rules, and lens mount options grow for the Fujfilm MK zooms. Ask No Film School fields a question about what extent you should involve an author in your film when it's based on their book. 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 megaphone.fm/adchoices

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

]]> 2326 yes How Stupid Videos Led to a $5 Million Deal For 'Brigsby Bear' & An 11 Year Trip to 'Killing Ground' https://soundcloud.com/nofilmschool/how-stupid-videos-led-to-a-5 Back at Sundance, No Film School's Jon Fusco sat down with a few of the teams behind a few of this summer's best independent films while they were still fresh off their premiere highs. Brigsby Bear, which came out July 28, obtained a $5 million deal from Sony Pictures Classic for Distribution rights. Director Dave McCary and screenwriter Kevin Costello join the podcast to discuss the journey each of them took to get that deal. From stupid YouTube sketches with their comedy group Good Neighbor to Saturday Night Live Digital Shorts and now full-length features, their process is a great model for collaborative filmmaking. Through a lethal combination of non-linear storytelling, gender reversals, and Deliverance type thrills, director Damien Power successfully toys with audience expectations all the way throughout his debut feature, Killing Ground, which we might add took 11 years to make. We discussed how Australia's film scene helps to foster artists who take greater risks, the lengths Power went to to get his film made, and the strategies he put in place to create the script for Sundance's most mind-bending horror film. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 31 Jul 2017 07:00:43 -0000 full No Film School Back at Sundance, No Film School's Jon Fusco sat … Back at Sundance, No Film School's Jon Fusco sat down with a few of the teams behind a few of this summer's best independent films while they were still fresh off their premiere highs. Brigsby Bear, which came out July 28, obtained a $5 million deal from Sony Pictures Classic for Distribution rights. Director Dave McCary and screenwriter Kevin Costello join the podcast to discuss the journey each of them took to get that deal. From stupid YouTube sketches with their comedy group Good Neighbor to Saturday Night Live Digital Shorts and now full-length features, their process is a great model for collaborative filmmaking. Through a lethal combination of non-linear storytelling, gender reversals, and Deliverance type thrills, director Damien Power successfully toys with audience expectations all the way throughout his debut feature, Killing Ground, which we might add took 11 years to make. We discussed how Australia's film scene helps to foster artists who take greater risks, the lengths Power went to to get his film made, and the strategies he put in place to create the script for Sundance's most mind-bending horror film. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2044 yes IFW 7.27.17: How to Break into Modern Hollywood & The Latest DSLR Fail https://soundcloud.com/nofilmschool/ifw-7-27-17-how-to-break-into In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder discuss the new rules for breaking into Hollywood and why "constantly reminding people you exist is now part of the job." We also share what we learned from last week's Comic-Con and the 38th News and Docs Emmy nominations, which were announced this week. We bid farewell to both Adobe Flash and the YouTube editing tool. Our rundown of this week's indie film releases is particularly robust, with no less than six festival favorites hitting theaters. Charles Haine joins us for gear news, including Canon's latest camera fail, and answers an Ask No Film School inquiry about the differences between online and offline editing. 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 megaphone.fm/adchoices Thu, 27 Jul 2017 07:00:48 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder discuss the new rules for breaking into Hollywood and why "constantly reminding people you exist is now part of the job." We also share what we learned from last week's Comic-Con and the 38th News and Docs Emmy nominations, which were announced this week. We bid farewell to both Adobe Flash and the YouTube editing tool. Our rundown of this week's indie film releases is particularly robust, with no less than six festival favorites hitting theaters. Charles Haine joins us for gear news, including Canon's latest camera fail, and answers an Ask No Film School inquiry about the differences between online and offline editing. 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 megaphone.fm/adchoices

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

]]> 2759 yes 'Landline': How to Avoid Sophomore Slump and Make Your Second Feature https://soundcloud.com/nofilmschool/landline-how-to-avoid ‘Landline’ co-writers, Director Gillan Robespierre and Producer Elisabeth Holm join No Film School’s Liz Nord to discuss how they overcame the typical hurdles to get their second feature made and theatrically released. The pair first collaborated on 'Obvious Child', which premiered at Sundance 2014, where Holm won the Red Crown Producer’s Award, and went on to critical and audience acclaim and theatrical release. They joined efforts again for ‘Landline', which was nominated for the Grand Jury Prize at Sundance 2017 and opened in theaters last Friday. In this episode, Robespierre and Holm talk about how they avoided the "Sophomore slump", writing authentic dialog and getting equally authentic performances out of your actors, and how filmmaking is like polyamory. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 24 Jul 2017 07:00:23 -0000 full No Film School ‘Landline’ co-writers, Director Gillan Robespierr… ‘Landline’ co-writers, Director Gillan Robespierre and Producer Elisabeth Holm join No Film School’s Liz Nord to discuss how they overcame the typical hurdles to get their second feature made and theatrically released. The pair first collaborated on 'Obvious Child', which premiered at Sundance 2014, where Holm won the Red Crown Producer’s Award, and went on to critical and audience acclaim and theatrical release. They joined efforts again for ‘Landline', which was nominated for the Grand Jury Prize at Sundance 2017 and opened in theaters last Friday. In this episode, Robespierre and Holm talk about how they avoided the "Sophomore slump", writing authentic dialog and getting equally authentic performances out of your actors, and how filmmaking is like polyamory. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2208 yes IFW 7.20.17: The Dangers of Being on Set & Best Advice from Summer's Top Indie Directors https://soundcloud.com/nofilmschool/ifw-7-20-17-the-dangers-of In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco,and Emily Buder discuss George Romero's DIY Legacy, what filmmakers should note about last week's Emmy nominations, and a trio of stories about crucial on-set safety issues. We also share the best advice we've gotten from some of summer's biggest indie directors, and hear from ‘Killing Ground’ director Damien Power about his 11-year journey to get his newly released film made. Charles Haine joins us for gear news, and answers an Ask No Film School question about whether your production company should accept credit cards. As always, we also bring you the latest 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 megaphone.fm/adchoices Thu, 20 Jul 2017 07:01:11 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco,and Emily Buder discuss George Romero's DIY Legacy, what filmmakers should note about last week's Emmy nominations, and a trio of stories about crucial on-set safety issues. We also share the best advice we've gotten from some of summer's biggest indie directors, and hear from ‘Killing Ground’ director Damien Power about his 11-year journey to get his newly released film made. Charles Haine joins us for gear news, and answers an Ask No Film School question about whether your production company should accept credit cards. As always, we also bring you the latest 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 megaphone.fm/adchoices

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

]]> 2492 yes Flying Lotus on How Rejecting Film School Made Him a Greater Director https://soundcloud.com/nofilmschool/flying-lotus-on-how-rejecting You may know Steve Ellison better by his beat-making alias Flying Lotus, or perhaps even as Flying Lotus' MC alias, Captain Murphy. Music, however, was not his first love. The director, who now simply goes by "Steve" actually went to film school far before he laid down his first mixtape. Just don't call him a product of the cinematic education system. Steve's debut feature Kuso truly goes against every single rule his teachers may have taught him back in his days as a student. In fact, Steve says he had to consciously take some time off to unlearn film school, where he believes things were taught to be done in a certain, almost factory-like way. He is a staunch believer that if you limit yourself to what you learn there, you may miss out on crucial organic discoveries. Instead, Kuso plays out more like his music: free-form, chaotic, jazz-like. It is comprised of four horrifying shorts, woven together, but separated by a series of animated hip-hop freak-outs that, when put together, form some sort of grotesque psychedelic tapestry. No Film School's Jon Fusco sat down with Steve to talk about what scares him about being a filmmaker, erasing all self-doubt, and jumping into your first project with a punk rock, let's do this attitude.  Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 17 Jul 2017 07:01:11 -0000 full No Film School You may know Steve Ellison better by his beat-mak… You may know Steve Ellison better by his beat-making alias Flying Lotus, or perhaps even as Flying Lotus' MC alias, Captain Murphy. Music, however, was not his first love. The director, who now simply goes by "Steve" actually went to film school far before he laid down his first mixtape. Just don't call him a product of the cinematic education system. Steve's debut feature Kuso truly goes against every single rule his teachers may have taught him back in his days as a student. In fact, Steve says he had to consciously take some time off to unlearn film school, where he believes things were taught to be done in a certain, almost factory-like way. He is a staunch believer that if you limit yourself to what you learn there, you may miss out on crucial organic discoveries. Instead, Kuso plays out more like his music: free-form, chaotic, jazz-like. It is comprised of four horrifying shorts, woven together, but separated by a series of animated hip-hop freak-outs that, when put together, form some sort of grotesque psychedelic tapestry. No Film School's Jon Fusco sat down with Steve to talk about what scares him about being a filmmaker, erasing all self-doubt, and jumping into your first project with a punk rock, let's do this attitude.  Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 1620 yes IFW 7.13.17: Russia's Plot to Kill Indies & RED's Hype Machine https://soundcloud.com/nofilmschool/ifw-7-13-17-russias-plot-to In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco,and Emily Buder discuss how even indie movies aren't safe from Russian interference, updates in the indie box office, the battle to save net neutrality, and a too-early goodbye to actor Nelsan Ellis. We also hear from director David Lowery about the challenges of making his summer indie hit ‘A Ghost Story.’ Charles Haine joins us for gear news, including RED’s incessant product teases and a TV that might replace movie screens for good. Charles also answers an Ask No Film School question about which affordable monitors to buy. 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 megaphone.fm/adchoices Thu, 13 Jul 2017 07:01:11 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco,and Emily Buder discuss how even indie movies aren't safe from Russian interference, updates in the indie box office, the battle to save net neutrality, and a too-early goodbye to actor Nelsan Ellis. We also hear from director David Lowery about the challenges of making his summer indie hit ‘A Ghost Story.’ Charles Haine joins us for gear news, including RED’s incessant product teases and a TV that might replace movie screens for good. Charles also answers an Ask No Film School question about which affordable monitors to buy. 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 megaphone.fm/adchoices

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

]]> 2053 yes Nathan Silver on How a Director Can Pull off Making 8 Films in 8 Years https://soundcloud.com/nofilmschool/how-a-director-can-pull-off No Film School's Emily Buder sits down with prolific indie filmmaker Nathan Silver and the stars of his latest movie, Thirst Street, Lindsay Burdge and Damien Bonnard.  Silver has made a movie every year for the past 8 years. Last year, he had the film Actor Martinez at Tribeca. Needless to say, Silver is a staple in the New York indie film scene. In their conversation, they discuss how Silver manages to get his micro-budget projects off the ground, some tips for shooting with limited resources, Thirst Street's distinctive '70s psychodrama aesthetic, and the extreme emotional risks some of the main actors had to take for their roles. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 10 Jul 2017 07:01:30 -0000 full No Film School No Film School's Emily Buder sits down with proli… No Film School's Emily Buder sits down with prolific indie filmmaker Nathan Silver and the stars of his latest movie, Thirst Street, Lindsay Burdge and Damien Bonnard.  Silver has made a movie every year for the past 8 years. Last year, he had the film Actor Martinez at Tribeca. Needless to say, Silver is a staple in the New York indie film scene. In their conversation, they discuss how Silver manages to get his micro-budget projects off the ground, some tips for shooting with limited resources, Thirst Street's distinctive '70s psychodrama aesthetic, and the extreme emotional risks some of the main actors had to take for their roles. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2648 yes IFW 7.6.17: Canon's Big Misstep & Is Rotten Tomatoes Ruining Moviegoing? https://soundcloud.com/nofilmschool/ifw-7-6-17-canons-big-misstep In this episode of Indie Film Weekly, Emily Buder, Jon Fusco and Charles Haine discuss Hollywood studios' beef with Rotten Tomatoes and what the highest-grossing films of the year so far have to do with it all. They also talk about Canon's latest misfire with the 6D Mark II, Christopher Nolan's 70mm Dunkirk release, and Emily's favorite movie of the year thus far: David Lowery's A Ghost Story.   Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 06 Jul 2017 07:00:51 -0000 full No Film School In this episode of Indie Film Weekly, Emily Buder… In this episode of Indie Film Weekly, Emily Buder, Jon Fusco and Charles Haine discuss Hollywood studios' beef with Rotten Tomatoes and what the highest-grossing films of the year so far have to do with it all. They also talk about Canon's latest misfire with the 6D Mark II, Christopher Nolan's 70mm Dunkirk release, and Emily's favorite movie of the year thus far: David Lowery's A Ghost Story.   Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2168 yes This Director Proves Everyone Can Act, If Only Given the Right Character https://soundcloud.com/nofilmschool/this-director-proves-everyone When Liz Nord spoke with first time Palestinian filmmaker Maysaloun Hamoud back at the Toronto International Film Festival last year, her narrative feature In Between (or Bar Bahar in Arabic) was just about to premiere. As with any new director, she had no idea what the response would be or what the coming year would bring. But her film’s path has been particularly unpredictable, leading to three awards in San Sebastian, Hamoud being hand-chosen by Isabelle Huppert to receive the Young Talents Award at Cannes, and being issued the first religious Fatwa in Palestinian history. In their fascinating conversation, Hamoud shares her methods for trying to make audiences see themselves in her characters, working with non-actors, and what it was like to make the first film of its kind in her community. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 03 Jul 2017 07:00:41 -0000 full No Film School When Liz Nord spoke with first time Palestinian f… When Liz Nord spoke with first time Palestinian filmmaker Maysaloun Hamoud back at the Toronto International Film Festival last year, her narrative feature In Between (or Bar Bahar in Arabic) was just about to premiere. As with any new director, she had no idea what the response would be or what the coming year would bring. But her film’s path has been particularly unpredictable, leading to three awards in San Sebastian, Hamoud being hand-chosen by Isabelle Huppert to receive the Young Talents Award at Cannes, and being issued the first religious Fatwa in Palestinian history. In their fascinating conversation, Hamoud shares her methods for trying to make audiences see themselves in her characters, working with non-actors, and what it was like to make the first film of its kind in her community. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 1519 yes IFW 6.29.17: Star Wars' Systemic Problem & How to Avoid Getting Hacked https://soundcloud.com/nofilmschool/ifw-6-29-17-star-wars-systemic In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, Charles Haine and Emily Buder discuss the real problem with Lucasfilm's firing of Lord & Miller, and how to protect yourself from a cyberattack. We also reveal why a promising streaming subscription was killed before it even had a chance to live, and why you might never see Albert Maysles’ final film. In Ask No Film School, we outline the best color grading software for Premiere Pro. As always, we also bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, 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 megaphone.fm/adchoices Thu, 29 Jun 2017 07:00:27 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, Charles Haine and Emily Buder discuss the real problem with Lucasfilm's firing of Lord & Miller, and how to protect yourself from a cyberattack. We also reveal why a promising streaming subscription was killed before it even had a chance to live, and why you might never see Albert Maysles’ final film. In Ask No Film School, we outline the best color grading software for Premiere Pro. As always, we also bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, 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 megaphone.fm/adchoices

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

]]> 2265 yes How Starting a Production Company Can Help You Make Your First Film https://soundcloud.com/nofilmschool/how-starting-a-production-company-can-help-you-make-your-first-film Ashley McKenzie is the type of director that does it all. The Canadian multi-hyphenate runs her own production company, writes her own scripts, and directs all of the company's films. When she’s on set, however, she gives up almost all notions of planning and control to make her shots as organic and in the moment as possible. For her debut feature, Werewolf, which has won awards at almost every regional Canadian festival she’s brought it to, this included throwing the actors into real-life situations, adding events into scenes without telling them, keeping the camera rolling after the scene had cut, and even casting non-actors as key characters at locations on the fly. The film itself follows a pair of outcast methadone users who push a rusty lawnmower door-to-door to cut grass for money to feed their addiction. No Film School’s Jon Fusco sat down with McKenzie and her two lead actors Andrew Gillis and Breagh MacNeil to discuss their intensely real collaboration. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 26 Jun 2017 12:53:03 -0000 full No Film School Ashley McKenzie is the type of director that does… Ashley McKenzie is the type of director that does it all. The Canadian multi-hyphenate runs her own production company, writes her own scripts, and directs all of the company's films. When she’s on set, however, she gives up almost all notions of planning and control to make her shots as organic and in the moment as possible. For her debut feature, Werewolf, which has won awards at almost every regional Canadian festival she’s brought it to, this included throwing the actors into real-life situations, adding events into scenes without telling them, keeping the camera rolling after the scene had cut, and even casting non-actors as key characters at locations on the fly. The film itself follows a pair of outcast methadone users who push a rusty lawnmower door-to-door to cut grass for money to feed their addiction. No Film School’s Jon Fusco sat down with McKenzie and her two lead actors Andrew Gillis and Breagh MacNeil to discuss their intensely real collaboration. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 1547 yes IFW 6.22.17: Why You Should Go to Film School & How to Rent Your Gear for Profit https://soundcloud.com/nofilmschool/ifw-6-22-17-why-you-should-go In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Charles Haine weigh the benefits of film school against its rising cost, and debates the merits of renting out your own gear. We share some fun facts about the crossover between TV directors and the year's biggest films, say a (possibly temporary) farewell to one of the world's greatest actors, and discuss whether or not Apple is finally a serious contender in the original content game with its latest hires. What’s more, we discuss the Canon and Sony summer gear rumors, and hear from ‘Wonder Woman’ DP Matt Jensen about the differences between shooting for action and drama. As always, we bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, 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 megaphone.fm/adchoices Thu, 22 Jun 2017 07:00:45 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Charles Haine weigh the benefits of film school against its rising cost, and debates the merits of renting out your own gear. We share some fun facts about the crossover between TV directors and the year's biggest films, say a (possibly temporary) farewell to one of the world's greatest actors, and discuss whether or not Apple is finally a serious contender in the original content game with its latest hires. What’s more, we discuss the Canon and Sony summer gear rumors, and hear from ‘Wonder Woman’ DP Matt Jensen about the differences between shooting for action and drama. As always, we bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, 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 megaphone.fm/adchoices

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

]]> 2211 yes How to Tap into Your Animalistic Filmmaking Instincts and Become a 'Bitch' https://soundcloud.com/nofilmschool/how-to-tap-into-your We saw a lot of movies in the Midnight Section at Sundance this year. There were a lot of weird movies. 'Bitch,' however, is a batshit insane movie. In terms of understanding what we’re dealing with here, the premise really only gets you half the way there: an underappreciated mother finds out her jerk-off husband is cheating on her and as a result, well, she turns into a dog. The real insanity, however, comes across in a near constant destruction of genre conventions. Is it a horror? Is it a comedy? Is it a relationship drama? At times it’s all of these things all together, at times it is very clearly just one. Marianna Palka wrote the script in just two days, which aside from being a remarkable achievement, is a testament to the free-wheeling nature of the film itself. She also directs and stars in the film. At Sundance, NFS Producer Jon Fusco was joined by Emily Buder, Palka, and actor/musician Zack Clark to discuss Palka’s unrivaled writing technique and the benefits of being a multi-hyphenate. If you're in New York you can check out Bitch at BAM CinemaFest this week. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 19 Jun 2017 07:00:45 -0000 full No Film School We saw a lot of movies in the Midnight Section at… We saw a lot of movies in the Midnight Section at Sundance this year. There were a lot of weird movies. 'Bitch,' however, is a batshit insane movie. In terms of understanding what we’re dealing with here, the premise really only gets you half the way there: an underappreciated mother finds out her jerk-off husband is cheating on her and as a result, well, she turns into a dog. The real insanity, however, comes across in a near constant destruction of genre conventions. Is it a horror? Is it a comedy? Is it a relationship drama? At times it’s all of these things all together, at times it is very clearly just one. Marianna Palka wrote the script in just two days, which aside from being a remarkable achievement, is a testament to the free-wheeling nature of the film itself. She also directs and stars in the film. At Sundance, NFS Producer Jon Fusco was joined by Emily Buder, Palka, and actor/musician Zack Clark to discuss Palka’s unrivaled writing technique and the benefits of being a multi-hyphenate. If you're in New York you can check out Bitch at BAM CinemaFest this week. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 1306 yes IFW 6.15.17: What to Look for in a Budget Lens & Why David Mamet is Anti-Film School https://soundcloud.com/nofilmschool/indie-film-weekly-6-15-17-what In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder discuss the new coalition that has longtime rivals HBO and Netflix joining forces, why producers are losing money, and a new digital filmmaking initiative in LA. Charles Haine joins us for gear news and answers an Ask No Film School question about how to buy good lenses on a budget. In Weekly Words of Wisdom, we share tips from Steven Spielberg, Game of Thrones costume designer Michele Clapton, and David Mamet himself on the three best ways to learn filmmaking. As always, we also bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, 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 megaphone.fm/adchoices Thu, 15 Jun 2017 07:01:46 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder discuss the new coalition that has longtime rivals HBO and Netflix joining forces, why producers are losing money, and a new digital filmmaking initiative in LA. Charles Haine joins us for gear news and answers an Ask No Film School question about how to buy good lenses on a budget. In Weekly Words of Wisdom, we share tips from Steven Spielberg, Game of Thrones costume designer Michele Clapton, and David Mamet himself on the three best ways to learn filmmaking. As always, we also bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, 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 megaphone.fm/adchoices

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

]]> 1919 yes How to Make an Authentic Movie About Someone Else's Story https://soundcloud.com/nofilmschool/how-to-make-an-authentic-movie The Emmy award-winning co-directors of Berlinale premiere ‘For Ahkeem', Jeremy S. Levine and Landon Van Soest, and one of the film’s producers, Iyabo Boyd, join No Film School’s Liz Nord for a frank and fascinating discussion about how to overcome the challenges inherent in telling the story of someone whose background is entirely different from your own. In this case, the film’s co-directors are two, middle-class white men from New York City, and their subject is a charismatic, 17-year-old African-American girl named Daje Shelton from outside of Ferguson, Missouri, where fellow black teenager Michael Brown had been famously shot and killed by police. In order to authentically portray this story as outsiders, Levine and Van Soest made Shelton a partner in the filmmaking process, and diversified the larger crew of people working on their film, including Boyd, their female, African-American producer. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 12 Jun 2017 07:01:11 -0000 full No Film School The Emmy award-winning co-directors of Berlinale … The Emmy award-winning co-directors of Berlinale premiere ‘For Ahkeem', Jeremy S. Levine and Landon Van Soest, and one of the film’s producers, Iyabo Boyd, join No Film School’s Liz Nord for a frank and fascinating discussion about how to overcome the challenges inherent in telling the story of someone whose background is entirely different from your own. In this case, the film’s co-directors are two, middle-class white men from New York City, and their subject is a charismatic, 17-year-old African-American girl named Daje Shelton from outside of Ferguson, Missouri, where fellow black teenager Michael Brown had been famously shot and killed by police. In order to authentically portray this story as outsiders, Levine and Van Soest made Shelton a partner in the filmmaking process, and diversified the larger crew of people working on their film, including Boyd, their female, African-American producer. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2061 yes IFW 6.8.17: Hollywood's Dark Overlord & Panasonic's Race for Indie Dominance https://soundcloud.com/nofilmschool/ifw-6-8-17-hollywoods-dark In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder discuss the camera that Panasonic hopes will win back indie DPs, and the threat holding Hollywood ransom. We also uncover the indie heart of the Wonder Woman phenomenon, and how its director Patty Jenkins' next move is coming directly to a niche streaming service near you. The episode goes into Apple's first original program, and says goodbye to Peter Sallis, the voice of Wallace from the ‘Wallace and Gromit’ films and a true supporter of independent filmmakers. Charles Haine joins us for an update from the Cine Gear Expo—including Panasonic's EVA1—and more gear news. In Ask No Film School, Elise McCave from Kickstarter shares some do's and don'ts for crowdfunding your film. As always, we also bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, 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 megaphone.fm/adchoices Thu, 08 Jun 2017 07:00:34 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder discuss the camera that Panasonic hopes will win back indie DPs, and the threat holding Hollywood ransom. We also uncover the indie heart of the Wonder Woman phenomenon, and how its director Patty Jenkins' next move is coming directly to a niche streaming service near you. The episode goes into Apple's first original program, and says goodbye to Peter Sallis, the voice of Wallace from the ‘Wallace and Gromit’ films and a true supporter of independent filmmakers. Charles Haine joins us for an update from the Cine Gear Expo—including Panasonic's EVA1—and more gear news. In Ask No Film School, Elise McCave from Kickstarter shares some do's and don'ts for crowdfunding your film. As always, we also bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, 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 megaphone.fm/adchoices

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

]]> 2679 yes How to Avoid the Crucial Mistakes Everyone Makes on their First Movie https://soundcloud.com/nofilmschool/how-to-avoid-the-crucial At Tribeca, No Film School's Emily Buder sat down with first time director Sophie Brooks and her producer, David Brooks, who also happens to be her brother. Their film The Boy Downstairs went through a very well structured series of steps to prepare it for a premiere at a major festival. The duo talk the strategies they put in place to prevent Sophie from making the same mistakes any other first-time director would make. From test screenings to re-writes, they share some great tips that you can borrow on the lead up to your own future releases. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 05 Jun 2017 07:01:55 -0000 full No Film School At Tribeca, No Film School's Emily Buder sat down… At Tribeca, No Film School's Emily Buder sat down with first time director Sophie Brooks and her producer, David Brooks, who also happens to be her brother. Their film The Boy Downstairs went through a very well structured series of steps to prepare it for a premiere at a major festival. The duo talk the strategies they put in place to prevent Sophie from making the same mistakes any other first-time director would make. From test screenings to re-writes, they share some great tips that you can borrow on the lead up to your own future releases. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2979 yes IFW 6.1.17: Canon's Leaked Camera & Why the Judges Cried at Cannes https://soundcloud.com/nofilmschool/ifw-6-1-17-canons-leaked In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder reveal the film that got Jessica Chastain and Pedro Almodovar teary-eyed at Cannes, and a lot more about the best and worst of the world's pre-eminent film festival from this year. We also discuss Canon's latest offering—an affordable camera whose specs were leaked ahead of this week's Cine Gear Expo in Los Angeles. In Ask No Film School, we share some tips on finding a job in the film industry. As always, we also bring you this week’s indie film releases, upcoming grant and festival deadlines, 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 megaphone.fm/adchoices Thu, 01 Jun 2017 07:01:23 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder reveal the film that got Jessica Chastain and Pedro Almodovar teary-eyed at Cannes, and a lot more about the best and worst of the world's pre-eminent film festival from this year. We also discuss Canon's latest offering—an affordable camera whose specs were leaked ahead of this week's Cine Gear Expo in Los Angeles. In Ask No Film School, we share some tips on finding a job in the film industry. As always, we also bring you this week’s indie film releases, upcoming grant and festival deadlines, 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 megaphone.fm/adchoices

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

]]> 2579 yes How Do You Know if Your Film is Porn or Art? https://soundcloud.com/nofilmschool/how-do-you-know-if-your-film 'Flames' co-directors Josephine Decker and Zefrey Throwell waded into the most intimate waters with Ashley Connor, the DP who filmed them having sex. The threesome joins No Film School’s Liz Nord to discuss their provocative film—an art-docu-fiction-softcore porn-hybrid about Decker and Throwell's real-life relationship and its aftermath—after its Tribeca premiere. The conversation includes the fine line between porn and art, what happens when you add a third person and their camera to your relationship, how they managed to make a cinematic-looking film on the 5D, and so much more. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 29 May 2017 07:01:20 -0000 full No Film School 'Flames' co-directors Josephine Decker and Zefrey… 'Flames' co-directors Josephine Decker and Zefrey Throwell waded into the most intimate waters with Ashley Connor, the DP who filmed them having sex. The threesome joins No Film School’s Liz Nord to discuss their provocative film—an art-docu-fiction-softcore porn-hybrid about Decker and Throwell's real-life relationship and its aftermath—after its Tribeca premiere. The conversation includes the fine line between porn and art, what happens when you add a third person and their camera to your relationship, how they managed to make a cinematic-looking film on the 5D, and so much more. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2026 yes IFW 5.25.17: How to Keep Your Actors in the Moment & Where Not to Pitch Your Project https://soundcloud.com/nofilmschool/ifw-5-25-17-how-to-keep-your In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco and Charles Haine divulge how to get the most authentic performances out of your actors, and how this year’s television NewFronts affect indie filmmakers. We also discuss an alternative to YouTube where you might actually get paid for your work, and share advice for directors, producers and cinematographers from industry pros in our newest segment: Weekly Words of Wisdom. As always, we also bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, 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. http://nofilmschool.com/2017/05/indie-film-weekly-052517-podcast Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 25 May 2017 07:00:35 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco and Charles Haine divulge how to get the most authentic performances out of your actors, and how this year’s television NewFronts affect indie filmmakers. We also discuss an alternative to YouTube where you might actually get paid for your work, and share advice for directors, producers and cinematographers from industry pros in our newest segment: Weekly Words of Wisdom. As always, we also bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, 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. http://nofilmschool.com/2017/05/indie-film-weekly-052517-podcast Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2141 yes Divide and Conquer: Why You Should be Working With a Co-Director https://soundcloud.com/nofilmschool/divide-and-conquer-why-you Brothers Eshom and Ian Nelms come from humble beginnings. Neither went to film school, instead, they learned from going out and shooting a lot of bad stuff. Their first feature, Squirrel Trap, may be the perfect example. Shot for $1500 in the woods behind their parent's house, their crew consisted of only three people. Their father lit the whole thing with a flashlight and a bounce board. After submitting to a ton of festivals, they only were accepted to about four or five. Things are much different now, to say the least. Their latest film Small Town Crime, was one of the buzziest films at SXSW this year. It's a sterling entry into a resurgent neo-noir genre, which stars John Hawkes as an alcoholic ex-cop who finds the body of a young woman and becomes hell-bent on finding the killer. Much of the duo's success can be credited to the fact that they are just that, a duo. Each acts as the yin to the other's yang with different skillsets and strong-suits, but they are able to maintain a synchronicity on-set that is much appreciated by the entirety of their crew. With a co-director at your side, you have the ability to delegate different jobs, divide and conquer, and possess an instant soundboard to shoot down or agree with your ideas. No Film School's Jon Fusco sat down with the directing duo as well as their recurring partner in cinematography, Johnny Derango, and composer Chris Westlake to discuss all the benefits of having a partner in crime on your film shoot. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 22 May 2017 07:00:30 -0000 full No Film School Brothers Eshom and Ian Nelms come from humble beg… Brothers Eshom and Ian Nelms come from humble beginnings. Neither went to film school, instead, they learned from going out and shooting a lot of bad stuff. Their first feature, Squirrel Trap, may be the perfect example. Shot for $1500 in the woods behind their parent's house, their crew consisted of only three people. Their father lit the whole thing with a flashlight and a bounce board. After submitting to a ton of festivals, they only were accepted to about four or five. Things are much different now, to say the least. Their latest film Small Town Crime, was one of the buzziest films at SXSW this year. It's a sterling entry into a resurgent neo-noir genre, which stars John Hawkes as an alcoholic ex-cop who finds the body of a young woman and becomes hell-bent on finding the killer. Much of the duo's success can be credited to the fact that they are just that, a duo. Each acts as the yin to the other's yang with different skillsets and strong-suits, but they are able to maintain a synchronicity on-set that is much appreciated by the entirety of their crew. With a co-director at your side, you have the ability to delegate different jobs, divide and conquer, and possess an instant soundboard to shoot down or agree with your ideas. No Film School's Jon Fusco sat down with the directing duo as well as their recurring partner in cinematography, Johnny Derango, and composer Chris Westlake to discuss all the benefits of having a partner in crime on your film shoot. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2789 yes IFW 5.18.17: A Game-Changing Law for Freelancers & Are Indies Rising From the Blockbuster's Ashes? https://soundcloud.com/nofilmschool/ifw-5-18-17-a-game-changing In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Charles Haine wonder if the massive decline predicted for summer box office returns is a hidden boon for indie filmmakers. We also discuss the new rules that might affect every freelancer, new E-mount lenses from Sony, an obituary for the MP3, and why the war between Netflix and movie theaters rages on even at the Cannes Film Festival. In Ask No Film School, we reveal the best way to set up a 4:3 timeline (and whether you’d really want to). As always, we also bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, 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. http://nofilmschool.com/2017/05/indie-film-weekly-051817-podcast Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 18 May 2017 07:00:50 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Charles Haine wonder if the massive decline predicted for summer box office returns is a hidden boon for indie filmmakers. We also discuss the new rules that might affect every freelancer, new E-mount lenses from Sony, an obituary for the MP3, and why the war between Netflix and movie theaters rages on even at the Cannes Film Festival. In Ask No Film School, we reveal the best way to set up a 4:3 timeline (and whether you’d really want to). As always, we also bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, 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. http://nofilmschool.com/2017/05/indie-film-weekly-051817-podcast Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2237 yes How to Turn an On-Set Day Job Into Your Own Film https://soundcloud.com/nofilmschool/how-to-turn-an-on-set-day-job Renée Felice Smith and C.A. Gabriel, co-writers and directors of ‘The Relationtrip,’ join No Film School’s Liz Nord after the film’s SXSW premiere to discuss how they parlayed everything they’ve learned on other people’s sets (Smith as a lead actress on 'NCIS: Los Angeles' for eight seasons, and Gabriel as a commercial composer for high-profile brands) into their own utterly charming indie feature. They made the film with their best friends, and used low-budget practical effects to make their weirdest fantasies real on screen, including spending six whole hours out of a 16-day shoot on an eleven-second stop motion animation. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 15 May 2017 07:01:21 -0000 full No Film School Renée Felice Smith and C.A. Gabriel, co-writers a… Renée Felice Smith and C.A. Gabriel, co-writers and directors of ‘The Relationtrip,’ join No Film School’s Liz Nord after the film’s SXSW premiere to discuss how they parlayed everything they’ve learned on other people’s sets (Smith as a lead actress on 'NCIS: Los Angeles' for eight seasons, and Gabriel as a commercial composer for high-profile brands) into their own utterly charming indie feature. They made the film with their best friends, and used low-budget practical effects to make their weirdest fantasies real on screen, including spending six whole hours out of a 16-day shoot on an eleven-second stop motion animation. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2374 yes IFW 5.11.17: How to Beat the Film Fest System & David Lynch Leaves Movies Behind Forever https://soundcloud.com/nofilmschool/ifw-5-11-17-how-to-beat-the In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder introduce a filmmaker who learned how to tell whether festivals have actually watched his movie, and mourn the inimitable David Lynch's retirement from cinema. We also discuss what the annual Newfronts advertising presentations can tell you about where to pitch or sell your films, the closure of Facebook's VR production wing Oculus Story Studios, and whether or not other movie awards should follow in MTV's footsteps by eliminating gender-specific acting awards categories. Charles Haine joins us to report on the latest filmmaking tools, including a new wireless light meter that might change the way you evaluate a scene. Charles also answers an Ask No Film School question about the necessity of director's viewfinders. As always, we also bring you this week’s indie film releases, upcoming grant and festival deadlines, 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 megaphone.fm/adchoices Thu, 11 May 2017 07:01:53 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder introduce a filmmaker who learned how to tell whether festivals have actually watched his movie, and mourn the inimitable David Lynch's retirement from cinema. We also discuss what the annual Newfronts advertising presentations can tell you about where to pitch or sell your films, the closure of Facebook's VR production wing Oculus Story Studios, and whether or not other movie awards should follow in MTV's footsteps by eliminating gender-specific acting awards categories. Charles Haine joins us to report on the latest filmmaking tools, including a new wireless light meter that might change the way you evaluate a scene. Charles also answers an Ask No Film School question about the necessity of director's viewfinders. As always, we also bring you this week’s indie film releases, upcoming grant and festival deadlines, 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 megaphone.fm/adchoices

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

]]> 2778 yes What to Expect on the Road to Becoming an Ace Documentary Producer https://soundcloud.com/nofilmschool/what-to-expect-on-the-road-to What does it take to be a fantastic documentary producer? From sitting in a ditch in Greenland’s below freezing weather, to pulling out an intensely personal story from a cut that may be a few hours too long, experienced producers Kate McLean and Glen Zipper embody the sort of intrepid attitude that a producer on a non-fiction film tends to need. What exactly does a documentary producer do, and why become one? No Film School's Oakley Anderson-Moore sat down with Kate and Glen at SXSW after the premieres of their latest respective films, Bill Nye Science Guy and Ramblin' Freak. Together they discuss the adventurous steps necessary to take on the role of an ace documentary producer. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 08 May 2017 07:02:19 -0000 full No Film School What does it take to be a fantastic documentary p… What does it take to be a fantastic documentary producer? From sitting in a ditch in Greenland’s below freezing weather, to pulling out an intensely personal story from a cut that may be a few hours too long, experienced producers Kate McLean and Glen Zipper embody the sort of intrepid attitude that a producer on a non-fiction film tends to need. What exactly does a documentary producer do, and why become one? No Film School's Oakley Anderson-Moore sat down with Kate and Glen at SXSW after the premieres of their latest respective films, Bill Nye Science Guy and Ramblin' Freak. Together they discuss the adventurous steps necessary to take on the role of an ace documentary producer. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 1951 yes Indie Film Weekly 5.4.17: 'The Handmaid's Tale' Backlash & Is Tribeca Secretly a Doc Fest? https://soundcloud.com/nofilmschool/indie-film-weekly-5-4-17-the In this special festival episode of Indie Film Weekly, No Film School co-hosts Liz Nord and Emily Buder ask whether the Tribeca Film Festival has a secret identity, and talk about why everyone is talking about 'The Handmaid's Tale.' We share tales and trivia from our on-the-ground coverage of Tribeca, including fest acquisitions, awards, dystopian premonitions, plant musicians and the most memorable festival films to look out for. We also discuss recent news outside of the festival bubble, including a major update on the Writers Guild of America negotiations, and a labor strike at camera stalwart B&H photo. As always, the show also brings news you can use about upcoming grant and festival deadlines, this week’s indie film releases, 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 megaphone.fm/adchoices Thu, 04 May 2017 07:01:07 -0000 full No Film School In this special festival episode of Indie Film We… In this special festival episode of Indie Film Weekly, No Film School co-hosts Liz Nord and Emily Buder ask whether the Tribeca Film Festival has a secret identity, and talk about why everyone is talking about 'The Handmaid's Tale.' We share tales and trivia from our on-the-ground coverage of Tribeca, including fest acquisitions, awards, dystopian premonitions, plant musicians and the most memorable festival films to look out for. We also discuss recent news outside of the festival bubble, including a major update on the Writers Guild of America negotiations, and a labor strike at camera stalwart B&H photo. As always, the show also brings news you can use about upcoming grant and festival deadlines, this week’s indie film releases, 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 megaphone.fm/adchoices

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

]]> 2101 yes John Carroll Lynch on How to Be the Director Your Actors Have Always Wanted https://soundcloud.com/nofilmschool/john-carroll-lynch-on-how-to Chances are, you know John Carroll Lynch’s face even if you don’t know his name. The actor, whose perhaps best known for his role as the Zodiac killer in David Fincher’s Zodiac, has a staggering 110 acting credits to his name. At this year’s SXSW, Lynch finally added another role to his resume: Director. His debut feature, Lucky, stars the legendary Harry Dean Stanton, another actor who is no slouch when it comes to having a prolific acting career. In fact, the ninety-year-old vet has amassed 199 acting credits to his name throughout his career. The film is a character study of an elderly, yet spirited atheist living in small town Texas. Lucky must come to terms with the fact that he may be in the midst of his last few years of life. Lynch has worked with some of the best directors of our age, a list that includes everyone from Fincher to Scorsese to Clint Eastwood. We talk the techniques he brought with him from his favorites of the bunch, the transition from actor to director, and what it's like directing David Lynch. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 01 May 2017 07:04:22 -0000 full No Film School Chances are, you know John Carroll Lynch’s face e… Chances are, you know John Carroll Lynch’s face even if you don’t know his name. The actor, whose perhaps best known for his role as the Zodiac killer in David Fincher’s Zodiac, has a staggering 110 acting credits to his name. At this year’s SXSW, Lynch finally added another role to his resume: Director. His debut feature, Lucky, stars the legendary Harry Dean Stanton, another actor who is no slouch when it comes to having a prolific acting career. In fact, the ninety-year-old vet has amassed 199 acting credits to his name throughout his career. The film is a character study of an elderly, yet spirited atheist living in small town Texas. Lucky must come to terms with the fact that he may be in the midst of his last few years of life. Lynch has worked with some of the best directors of our age, a list that includes everyone from Fincher to Scorsese to Clint Eastwood. We talk the techniques he brought with him from his favorites of the bunch, the transition from actor to director, and what it's like directing David Lynch. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 1759 yes Indie Film Weekly 4.27.17: Why This Year's NAB is the Most 'Terrifying' for Filmmakers Yet https://soundcloud.com/nofilmschool/indie-film-weekly-42716-why-this-years-nab-is-the-most-terrifying-for-filmmakers-yet In this special episode of Indie Film Weekly, Charles Haine, Micah Van Hove and Jon Fusco broadcast live from the historic Plaza Hotel in downtown Las Vegas. The trio of No Film School editors come together for a moment of solace to discuss a week of non-stop coverage at the annual NAB Show. What they identify is a worrying trend. Another year with no huge gear announcements and technological advances which signal the further automation of filmmaking. As cameras and accessories get more sophisticated, it appears that some human elements of filmmaking may be in jeopardy. It wasn't all bad though. Whatever news was missing from the usual suspects, the emergence of some smaller start-ups they found while exploring the halls of the convention center more than made up for it. Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 27 Apr 2017 06:48:33 -0000 full No Film School In this special episode of Indie Film Weekly, Cha… In this special episode of Indie Film Weekly, Charles Haine, Micah Van Hove and Jon Fusco broadcast live from the historic Plaza Hotel in downtown Las Vegas. The trio of No Film School editors come together for a moment of solace to discuss a week of non-stop coverage at the annual NAB Show. What they identify is a worrying trend. Another year with no huge gear announcements and technological advances which signal the further automation of filmmaking. As cameras and accessories get more sophisticated, it appears that some human elements of filmmaking may be in jeopardy. It wasn't all bad though. Whatever news was missing from the usual suspects, the emergence of some smaller start-ups they found while exploring the halls of the convention center more than made up for it. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2158 yes How to Make the Jump from Lowly PA to Almighty Director https://soundcloud.com/nofilmschool/how-to-make-the-jump-from-lowly-pa-to-almighty-director Adam Leon made only one short before breaking onto the indie scene with his SXSW winning debut feature Gimme the Loot. With a budget around $60,000 the writer/director won the "Someone To Watch" award at the Film Independent Spirits and was able to get his film into almost every notable film festival on the market, including a run in the Un Certain Regard competition at Cannes. How did he pull it off? Hard work and humble beginnings. Leon's work ethic was noticed on set as a PA and as a result of his efforts, he found collaborators and producers that were eager to invest in his future. His latest film, Tramps, debuted at the Toronto International Film Festival last summer and was quickly scooped up by Netflix. It follows a young man and woman as they are unwittingly thrown into the middle of a money drop off gone awry. But for Leon, the real challenge came in crafting a genuine romance without leaning on cliche. To achieve this goal, he turned to his writing partner and producer Jamund Washington early on in the development process. Leon and Washington join us on this week's episode of The No Film School Podcast to talk filmmaking as a collaborative art form, the right way to take notes on your screenplay, and finding partners that won't compromise your vision but help to build upon it. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 24 Apr 2017 06:59:58 -0000 full No Film School Adam Leon made only one short before breaking ont… Adam Leon made only one short before breaking onto the indie scene with his SXSW winning debut feature Gimme the Loot. With a budget around $60,000 the writer/director won the "Someone To Watch" award at the Film Independent Spirits and was able to get his film into almost every notable film festival on the market, including a run in the Un Certain Regard competition at Cannes. How did he pull it off? Hard work and humble beginnings. Leon's work ethic was noticed on set as a PA and as a result of his efforts, he found collaborators and producers that were eager to invest in his future. His latest film, Tramps, debuted at the Toronto International Film Festival last summer and was quickly scooped up by Netflix. It follows a young man and woman as they are unwittingly thrown into the middle of a money drop off gone awry. But for Leon, the real challenge came in crafting a genuine romance without leaning on cliche. To achieve this goal, he turned to his writing partner and producer Jamund Washington early on in the development process. Leon and Washington join us on this week's episode of The No Film School Podcast to talk filmmaking as a collaborative art form, the right way to take notes on your screenplay, and finding partners that won't compromise your vision but help to build upon it. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 1591 yes Indie Film Weekly 4.20.17: Tribeca Must-Sees & How to Create a DCP the Right Way https://soundcloud.com/nofilmschool/indie-film-weekly-4-20-17 In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco and Emily Buder get excited about the 16th edition of the Tribeca Film Festival opening this week, and discuss whether (finally!) Netflix might let us see its films in theaters. We also say goodbye to the genius cinematographer Michael Ballhaus and remember his storied career working with Rainer Werner Fassbinder, Martin Scorsese, and Francis Ford Coppola. Tech writer Charles Haine joins us to share more previews of the big NAB gear expo that starts this weekend. He also answers an Ask No Film School question about creating Digital Cinema Packages for your movie. As always, we also bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, 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 http://nofilmschool.com/2017/04/indie-film-weekly-042017-podcast Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 20 Apr 2017 07:01:25 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco and Emily Buder get excited about the 16th edition of the Tribeca Film Festival opening this week, and discuss whether (finally!) Netflix might let us see its films in theaters. We also say goodbye to the genius cinematographer Michael Ballhaus and remember his storied career working with Rainer Werner Fassbinder, Martin Scorsese, and Francis Ford Coppola. Tech writer Charles Haine joins us to share more previews of the big NAB gear expo that starts this weekend. He also answers an Ask No Film School question about creating Digital Cinema Packages for your movie. As always, we also bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, 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 http://nofilmschool.com/2017/04/indie-film-weekly-042017-podcast Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2225 yes DP Roundtable: The Shots That Almost Killed Us https://soundcloud.com/nofilmschool/dp-roundtable-the-shoots-that Three cinematographers with three very different films at SXSW 2017 discuss their favorite gear, what DPs can do to stand out off set, how they make room for their actors or subjects in vulnerable situations, and of course, the shoots that almost killed them. Guests include Autumn Eakin, who shot Jessica M. Thompson's realist, contemporary THE LIGHT OF THE MOON, which won the SXSW Narrative Feature Audience Award; James Axel West, who shot Adam Keleman’s stylish, ‘70s-referencing drama EASY LIVING; and Shane King, who shot Jennifer M. Kroot’s feature documentary THE UNTOLD TALES OF ARMISTEAD MAUPIN which won the SXSW Documentary Spotlight Audience Award.  Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 17 Apr 2017 07:01:18 -0000 full No Film School Three cinematographers with three very different … Three cinematographers with three very different films at SXSW 2017 discuss their favorite gear, what DPs can do to stand out off set, how they make room for their actors or subjects in vulnerable situations, and of course, the shoots that almost killed them. Guests include Autumn Eakin, who shot Jessica M. Thompson's realist, contemporary THE LIGHT OF THE MOON, which won the SXSW Narrative Feature Audience Award; James Axel West, who shot Adam Keleman’s stylish, ‘70s-referencing drama EASY LIVING; and Shane King, who shot Jennifer M. Kroot’s feature documentary THE UNTOLD TALES OF ARMISTEAD MAUPIN which won the SXSW Documentary Spotlight Audience Award.  Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2592 yes Indie Film Weekly 4.12.17: NAB Sneak Peek & What’s Shutting Down Hollywood https://soundcloud.com/nofilmschool/indie-film-weekly-4-12-17-nab In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord and Emily Buder discuss the strike that threatens to bring Hollywood to a halt, while a big move by Netflix attempts to bring a whole new life to production in Tinsel Town. Charles Haine joins us to disclose all of the drone rumors from this year’s upcoming NAB show, and answers an Ask No Film School question about what focal lengths to consider when buying prime lenses. We also talk about what the new Oscar eligibility rules mean for you, and hear from two directors of indie films that are being released this week: Joe Swanberg of ‘Win it All’ and Michael O'Shea of ‘The Transfiguration.’ As always, we bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, 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 megaphone.fm/adchoices Thu, 13 Apr 2017 05:29:11 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord and Emily Buder discuss the strike that threatens to bring Hollywood to a halt, while a big move by Netflix attempts to bring a whole new life to production in Tinsel Town. Charles Haine joins us to disclose all of the drone rumors from this year’s upcoming NAB show, and answers an Ask No Film School question about what focal lengths to consider when buying prime lenses. We also talk about what the new Oscar eligibility rules mean for you, and hear from two directors of indie films that are being released this week: Joe Swanberg of ‘Win it All’ and Michael O'Shea of ‘The Transfiguration.’ As always, we bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, 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 megaphone.fm/adchoices

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

]]> 2033 yes 'DRIB': What Happens When Reality and Fiction Collide? https://soundcloud.com/nofilmschool/drib-what-happens-when-reality The docu-fiction hybrid genre isn't necessarily a new thing. In fact, there are some festivals that are entirely devoted to those films that blur the line between what is real and what is written. It's the liberties in which the filmmakers choose to blur the lines where the real magic shines through.    Kristoffer Borgli, director of the SXSW standout DRIB and guest on today's episode of The No Film School Podcast, didn't realize the full potential of the genre until he was halfway through making his film. He always knew he wanted to screw around with his audience, but to what extent?   DRIB is the true story of performance artist Amir Asgharnejad, a man who amassed a following through fake fight videos he would put up on the internet. For Amir, it was never about getting famous however, it was all just a joke. It seems the joke was lost on an LA based energy drink company who decided Amir would be the face of their new brand.    This is a film unlike any other, weaving together an embellished narrative of Amir's story, with real interviews discussing Amir's experience on which the narrative is based, and behind the scenes footage of what it was like making the film itself. If that sounds confusing. It's because it is. Oh yeah, and on top of all that, Amir stars as himself throughout the film's entirety.     NFS Producer Jon Fusco sat down with Kris, Amir and co-star Brett Gelman at SXSW to get some insight into the art of play and trickery. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 10 Apr 2017 07:00:36 -0000 full No Film School The docu-fiction hybrid genre isn't necessarily a… The docu-fiction hybrid genre isn't necessarily a new thing. In fact, there are some festivals that are entirely devoted to those films that blur the line between what is real and what is written. It's the liberties in which the filmmakers choose to blur the lines where the real magic shines through.    Kristoffer Borgli, director of the SXSW standout DRIB and guest on today's episode of The No Film School Podcast, didn't realize the full potential of the genre until he was halfway through making his film. He always knew he wanted to screw around with his audience, but to what extent?   DRIB is the true story of performance artist Amir Asgharnejad, a man who amassed a following through fake fight videos he would put up on the internet. For Amir, it was never about getting famous however, it was all just a joke. It seems the joke was lost on an LA based energy drink company who decided Amir would be the face of their new brand.    This is a film unlike any other, weaving together an embellished narrative of Amir's story, with real interviews discussing Amir's experience on which the narrative is based, and behind the scenes footage of what it was like making the film itself. If that sounds confusing. It's because it is. Oh yeah, and on top of all that, Amir stars as himself throughout the film's entirety.     NFS Producer Jon Fusco sat down with Kris, Amir and co-star Brett Gelman at SXSW to get some insight into the art of play and trickery. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 1741 yes Where VR Has Never Gone Before: The 40 Minute Narrative Feature ‘Miyubi’ https://soundcloud.com/nofilmschool/where-vr-has-never-gone-before NFS Writer Oakley Anderson-Moore talks with the talented artists behind Felix & Paul studios, one of the leading VR production companies in the film world. The cinematic quality that is a hallmark of their projects is very uncommon in these rudimentary days of VR. Virtual reality has been excelling in the realm of documentary because exhibiting an immersive experience of a location goes almost hand in hand with that genre. With narrative VR, however, it’s been a harder nut to crack. How do you create a character arc in a 360 environment where viewers can look anywhere they want at any moment? It’s a challenge Felix & Paul take head on in their film "Miyubi," the story of a 1980s toy robot through whose eyes we watch a family grow up as he grows obsolete. Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 06 Apr 2017 07:00:43 -0000 full No Film School NFS Writer Oakley Anderson-Moore talks with the t… NFS Writer Oakley Anderson-Moore talks with the talented artists behind Felix & Paul studios, one of the leading VR production companies in the film world. The cinematic quality that is a hallmark of their projects is very uncommon in these rudimentary days of VR. Virtual reality has been excelling in the realm of documentary because exhibiting an immersive experience of a location goes almost hand in hand with that genre. With narrative VR, however, it’s been a harder nut to crack. How do you create a character arc in a 360 environment where viewers can look anywhere they want at any moment? It’s a challenge Felix & Paul take head on in their film "Miyubi," the story of a 1980s toy robot through whose eyes we watch a family grow up as he grows obsolete. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 1939 yes What it Takes to Get Your Midnight Short into SXSW https://soundcloud.com/nofilmschool/what-it-takes-to-get-your-1 When attending film festivals, there is no more exciting prospect than catching a screening of a midnights shorts section. These are generally made up of the strangest, and in many ways, the most innovative projects accepted. They are playgrounds for exploration, coming from filmmakers who are absolutely fearless in exploding the themes and neurosis of their own daily lives. And SXSW selects the best of them.    NFS Producer Jon Fusco sat down with a handful of crew members from shorts featured in this year's edition of SXSW, including Drew Maynard and Caleb Dirks from The Saurus, Celine Held and Logan George from Mouse, and Sarah Winshall from Whiskey Fist.   We discussed the different favors, planning efforts, and resources it took for each of these filmmakers to get their short into SXSW. There was one constant in every path, however. No one made a short to get into a midnight section or even a film festival. They all just made stories which they felt needed to be told. The stories also just happen to be bat-shit insane.   Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 03 Apr 2017 07:02:20 -0000 full No Film School When attending film festivals, there is no more e… When attending film festivals, there is no more exciting prospect than catching a screening of a midnights shorts section. These are generally made up of the strangest, and in many ways, the most innovative projects accepted. They are playgrounds for exploration, coming from filmmakers who are absolutely fearless in exploding the themes and neurosis of their own daily lives. And SXSW selects the best of them.    NFS Producer Jon Fusco sat down with a handful of crew members from shorts featured in this year's edition of SXSW, including Drew Maynard and Caleb Dirks from The Saurus, Celine Held and Logan George from Mouse, and Sarah Winshall from Whiskey Fist.   We discussed the different favors, planning efforts, and resources it took for each of these filmmakers to get their short into SXSW. There was one constant in every path, however. No one made a short to get into a midnight section or even a film festival. They all just made stories which they felt needed to be told. The stories also just happen to be bat-shit insane.   Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2243 yes Indie Film Weekly 3.30.17: Here's Why Hollywood Studios Are Panicking and What it Means For You https://soundcloud.com/nofilmschool/indie-film-weekly-3-30-17 In this week's episode, co-hosts Jon Fusco and Emily Buder discuss what's causing major panic in the studio world, why (and how) you should use Facebook to promote your movies, and why it may finally be time to concede to HDR. We also hear from Richard Kelly, writer/director of 'Donnie Darko,' about how his cult classic scared off distributors at Sundance and then flopped at the box office, and Charlie McDowell, director of Netflix's 'The Discovery,' about why he opted for a streaming deal out of Sundance. Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 30 Mar 2017 07:01:53 -0000 full No Film School In this week's episode, co-hosts Jon Fusco and Em… In this week's episode, co-hosts Jon Fusco and Emily Buder discuss what's causing major panic in the studio world, why (and how) you should use Facebook to promote your movies, and why it may finally be time to concede to HDR. We also hear from Richard Kelly, writer/director of 'Donnie Darko,' about how his cult classic scared off distributors at Sundance and then flopped at the box office, and Charlie McDowell, director of Netflix's 'The Discovery,' about why he opted for a streaming deal out of Sundance. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2637 yes How to Make a Movie Entirely on Your Own https://soundcloud.com/nofilmschool/how-to-make-a-movie-entirely Before "Ramblin Freak'," Tacodeli employee Parker Smith had made only one movie featuring sound. The three three-time film school dropout was stuck between a rock and a hard place after realizing his internship at The Austin Film Society was little more than the theater job he had left in Boulder, Colorado to make a name for himself in Texas. Now, the task of making your first feature is a daunting one. Some would think that filming it entirely alone should make things a hundred times more difficult. For Parker, however, being the only member of his film crew provided him with exactly the freedom necessary to experiment, learn and shoot his movie right.   No Film School's Jon Fusco sat down with Smith at SXSW to learn how he pulled off making a movie about a guy who doesn't know how to make a movie. From watching five documentaries a night to finding a producer through Instagram, he provides us with tremendous insight into the art of learning as you go. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 27 Mar 2017 07:01:46 -0000 full No Film School Before "Ramblin Freak'," Tacodeli employee Parker… Before "Ramblin Freak'," Tacodeli employee Parker Smith had made only one movie featuring sound. The three three-time film school dropout was stuck between a rock and a hard place after realizing his internship at The Austin Film Society was little more than the theater job he had left in Boulder, Colorado to make a name for himself in Texas. Now, the task of making your first feature is a daunting one. Some would think that filming it entirely alone should make things a hundred times more difficult. For Parker, however, being the only member of his film crew provided him with exactly the freedom necessary to experiment, learn and shoot his movie right.   No Film School's Jon Fusco sat down with Smith at SXSW to learn how he pulled off making a movie about a guy who doesn't know how to make a movie. From watching five documentaries a night to finding a producer through Instagram, he provides us with tremendous insight into the art of learning as you go. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2044 yes Indie Film Weekly 3.23.17: Has Netflix Replaced Cinema? https://soundcloud.com/nofilmschool/indie-film-weekly-3-23-17-has In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder dissect Netflix’s balancing act between the indie and studio worlds, and how indie theater guru Tim League threw down the gauntlet against the streaming giant. We also cover why getting your film graded F could be a good thing, according to IMDB, and a sad goodbye to indie film producer Robin O’Hara (‘Raising Victor Vargas’, ‘Gummo’). We hear from two directors whose films are hitting theaters this month, Alice Lowe of ‘Prevenge’ and Sarah Adina Smith of ‘Buster’s Mal Heart’. Charles Haine joins us for gear news, including an app that lets you shoot in LOG mode on your phone and his review of the new Sigma Cinema Zoom lenses. As always, we also bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, 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 megaphone.fm/adchoices Thu, 23 Mar 2017 07:00:57 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder dissect Netflix’s balancing act between the indie and studio worlds, and how indie theater guru Tim League threw down the gauntlet against the streaming giant. We also cover why getting your film graded F could be a good thing, according to IMDB, and a sad goodbye to indie film producer Robin O’Hara (‘Raising Victor Vargas’, ‘Gummo’). We hear from two directors whose films are hitting theaters this month, Alice Lowe of ‘Prevenge’ and Sarah Adina Smith of ‘Buster’s Mal Heart’. Charles Haine joins us for gear news, including an app that lets you shoot in LOG mode on your phone and his review of the new Sigma Cinema Zoom lenses. As always, we also bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, 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 megaphone.fm/adchoices

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

]]> 2133 yes Nick Offerman and 'Infinity Baby' Crew: Being a Script Supervisor is the Best Path to Directing https://soundcloud.com/nofilmschool/nick-offerman-and-infinity This week, we’re kicking off our SXSW coverage on a particularly high note. That’s because this interview features arguably the best voice we’ve ever had on the podcast in Nick Offerman, and also one of the best laughs we’ve ever had on the show in actress Trieste Kelly Dunn. They are joined by acclaimed indie director Bob Byington to discuss the creation of Infinity Baby, a film that premiered to uproarious laughter at the festival last week. The film is a convergence of three separate narratives surrounding a corporation that sells a highly unusual product: babies that never age. So while Byington may have made a name for himself with naturalistic movies like 7 Chinese Brothers, the surrealistic elements of Infinity Baby’s plot act as a springboard to the intricate dialogue of screenwriter Onur Tukel and grounded performances from Offerman, Kelly Dunn and the rest of the cast. We talk about how script supervising may be the best training ground for directors, how Nick Offerman overcame being a "sucky actor," and how sometimes if you want to get your break in Hollywood, all you have to do is make sure you have fresh laundry. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 20 Mar 2017 07:01:41 -0000 full No Film School This week, we’re kicking off our SXSW coverage on… This week, we’re kicking off our SXSW coverage on a particularly high note. That’s because this interview features arguably the best voice we’ve ever had on the podcast in Nick Offerman, and also one of the best laughs we’ve ever had on the show in actress Trieste Kelly Dunn. They are joined by acclaimed indie director Bob Byington to discuss the creation of Infinity Baby, a film that premiered to uproarious laughter at the festival last week. The film is a convergence of three separate narratives surrounding a corporation that sells a highly unusual product: babies that never age. So while Byington may have made a name for himself with naturalistic movies like 7 Chinese Brothers, the surrealistic elements of Infinity Baby’s plot act as a springboard to the intricate dialogue of screenwriter Onur Tukel and grounded performances from Offerman, Kelly Dunn and the rest of the cast. We talk about how script supervising may be the best training ground for directors, how Nick Offerman overcame being a "sucky actor," and how sometimes if you want to get your break in Hollywood, all you have to do is make sure you have fresh laundry. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 1273 yes Indie Film Weekly 3.16.17: Why SXSW is the Festival for Fearless Filmmakers https://soundcloud.com/nofilmschool/indie-film-weekly-3-16-17-why Co-hosts Jon Fusco, Emily Buder, Oakley Anderson-Moore and Liz Nord have been running all over downtown Austin, Texas for the past week to bring you insights from America's coolest film event, the SXSW Film Festival and conference. In this episode, we forego our regular show format to share in-depth festival coverage, from keynotes with the likes of Rogue One director Gareth Edwards and legendary Muppeteer Frank Oz, to interviews with festival award-winners, to the best advice from industry panelists. Of course, we ask the perennial question: What is this festival good for, anyway? Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 16 Mar 2017 06:00:57 -0000 full No Film School Co-hosts Jon Fusco, Emily Buder, Oakley Anderson-… Co-hosts Jon Fusco, Emily Buder, Oakley Anderson-Moore and Liz Nord have been running all over downtown Austin, Texas for the past week to bring you insights from America's coolest film event, the SXSW Film Festival and conference. In this episode, we forego our regular show format to share in-depth festival coverage, from keynotes with the likes of Rogue One director Gareth Edwards and legendary Muppeteer Frank Oz, to interviews with festival award-winners, to the best advice from industry panelists. Of course, we ask the perennial question: What is this festival good for, anyway? Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 3498 yes DP Roundtable: From Brilliant Color to Black and White, Lensing a Sundance Award-Winning Film https://soundcloud.com/nofilmschool/dp-roundtable-from-brilliant In today's episode of The New Film School Podcast, writer Oakley Anderson Moore talks with two DPs. Her guests are Andrew Ackerman, who shot the brilliant, colorful underwater documentary "Chasing Coral," and Ante Cheng who DPed the nuanced black and white narrative Gook, set during the 1992 LA riots. While the style of productions are practically polar opposites of each other, from underwater timelapse nightmares to stylized lighting for black and white, they find common ground in the joy of telling a story through the visual image. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 13 Mar 2017 06:01:34 -0000 full No Film School In today's episode of The New Film School Podcast… In today's episode of The New Film School Podcast, writer Oakley Anderson Moore talks with two DPs. Her guests are Andrew Ackerman, who shot the brilliant, colorful underwater documentary "Chasing Coral," and Ante Cheng who DPed the nuanced black and white narrative Gook, set during the 1992 LA riots. While the style of productions are practically polar opposites of each other, from underwater timelapse nightmares to stylized lighting for black and white, they find common ground in the joy of telling a story through the visual image. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 1912 yes Indie Film Weekly 3.9.17: Smooth Aperture Moves & How To Get the World Talking About Your Film https://soundcloud.com/nofilmschool/indie-film-weekly-3-8-17 In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder give the secret to shots that smoothly pan from dark to light and introduce a filmmaker whose work has started a global conversation. We celebrate Women’s History Month with Ava DuVernay’s Twitter takeover. We also get advice from four-time Sundance director Tiffany Shlain. Later, we preview this week’s SXSW Film Festival, tech writer Charles Haine joins us with gear news, including our lens test comparing five different Anamorphics on RED Weapon vs. ARRI Alexa, and Dutch director Martin Koolhoven discusses his new film 'Brimstone'. As always, we also bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, 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 megaphone.fm/adchoices Thu, 09 Mar 2017 08:01:25 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder give the secret to shots that smoothly pan from dark to light and introduce a filmmaker whose work has started a global conversation. We celebrate Women’s History Month with Ava DuVernay’s Twitter takeover. We also get advice from four-time Sundance director Tiffany Shlain. Later, we preview this week’s SXSW Film Festival, tech writer Charles Haine joins us with gear news, including our lens test comparing five different Anamorphics on RED Weapon vs. ARRI Alexa, and Dutch director Martin Koolhoven discusses his new film 'Brimstone'. As always, we also bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, 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 megaphone.fm/adchoices

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

]]> 2816 yes How to Start a Production Company: From Film School to Raising Money Out of Your Bedroom Office https://soundcloud.com/nofilmschool/how-to-start-a-production In this episode of the No Film School podcast, Emily Buder sits down with David Ethan Shapiro, CEO of Starlight Studios, and Jacob Schulsinger, editor ("Force Majeure," "Antichrist"), to discuss their Sundance premiere, "Come Swim," Kristen Stewart's experimental short film. We talk the merits of film school and why it's important to recreate that creative atmosphere in your career, the secret to raising money as a producer, why editors should help directors write movies, and more. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 06 Mar 2017 08:04:04 -0000 full No Film School In this episode of the No Film School podcast, Em… In this episode of the No Film School podcast, Emily Buder sits down with David Ethan Shapiro, CEO of Starlight Studios, and Jacob Schulsinger, editor ("Force Majeure," "Antichrist"), to discuss their Sundance premiere, "Come Swim," Kristen Stewart's experimental short film. We talk the merits of film school and why it's important to recreate that creative atmosphere in your career, the secret to raising money as a producer, why editors should help directors write movies, and more. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2608 yes Indie Film Weekly 3.2.17: How To Make Your Actors Cry & Some Last Words From Bill Paxton https://soundcloud.com/nofilmschool/indie-film-weekly-3-2-17-how In the 50th episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco and Emily Buder share our final conversation with Bill Paxton and advice on getting your actors to tear up on camera. We discuss what the Academy Awards can teach us about producing, along with this year’s indie-oriented results from both the Oscars and the Film Independent Spirit Awards, and how Netflix is already vying for next awards season with a Martin Scorsese pic. We also say goodbye to Seijun Suzuki and hear from director Ry Russo-Young about her film ‘Before I Fall,’ opening in theaters this weekend. Filmmaker and actress Christina Beck joins us for an Ask No Film School about making actors cry. And, as always, we also bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, and other notable things you might have missed while you were busy making films. http://nofilmschool.com/2017/03/indie-film-weekly-030217-podcast Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 02 Mar 2017 08:03:28 -0000 full No Film School In the 50th episode of Indie Film Weekly, No Film… In the 50th episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco and Emily Buder share our final conversation with Bill Paxton and advice on getting your actors to tear up on camera. We discuss what the Academy Awards can teach us about producing, along with this year’s indie-oriented results from both the Oscars and the Film Independent Spirit Awards, and how Netflix is already vying for next awards season with a Martin Scorsese pic. We also say goodbye to Seijun Suzuki and hear from director Ry Russo-Young about her film ‘Before I Fall,’ opening in theaters this weekend. Filmmaker and actress Christina Beck joins us for an Ask No Film School about making actors cry. And, as always, we also bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, and other notable things you might have missed while you were busy making films. http://nofilmschool.com/2017/03/indie-film-weekly-030217-podcast Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2573 yes Why VR is Not Filmmaking https://soundcloud.com/nofilmschool/why-vr-is-not-filmmaking In a breakthrough year for virtual reality, No Film School’s Liz Nord sits down with four Sundance filmmakers who learned to get past convention and embrace creating in VR. Each of their fascinating projects are cinematic, but they're certainly not cinema—which didn’t stop them from premiering at this year’s Sundance Film Festival. Guests Lily Baldwin of 'Through You', Rose Troche of 'If Not Love', and Yasmin Elayat and Elie Zananiri of 'Zero Days VR' discuss how they brought their groundbreaking stories to life, and which filmmaking rules they had to throw out the window to do so. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 27 Feb 2017 08:01:27 -0000 full No Film School In a breakthrough year for virtual reality, No Fi… In a breakthrough year for virtual reality, No Film School’s Liz Nord sits down with four Sundance filmmakers who learned to get past convention and embrace creating in VR. Each of their fascinating projects are cinematic, but they're certainly not cinema—which didn’t stop them from premiering at this year’s Sundance Film Festival. Guests Lily Baldwin of 'Through You', Rose Troche of 'If Not Love', and Yasmin Elayat and Elie Zananiri of 'Zero Days VR' discuss how they brought their groundbreaking stories to life, and which filmmaking rules they had to throw out the window to do so. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

]]> 2201 yes Indie Film Weekly 2.23.17: We Put RED and ARRI Head to Head & What Makes a Film 'Indie,' Anyway? https://soundcloud.com/nofilmschool/indie-film-weekly-2-23-17-we In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder weigh in on how "independent film" should be defined, and share results of our big shootout between the Alexa Mini and Epic-W Helium. We also discuss how the inaugural American Independent Film Awards are helping to redefine awards season, how indie cinemas are banding together nationwide for a cause, a surprising way to increase your film’s profitability, and SAG-AFTRA’s wading into political waters. Tech writer Charles Haine joins us for gear news, including our epic (and contentious) shootout between recent two popular cameras, and a new lens from Fujinon that marks the company’s venture into the world of indie film. In Ask No Film School, we advise on why your videos look so different on YouTube than in your editing system, and how to compensate. As always, we also bring you upcoming grant and festival deadlines, this week’s indie film releases, 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 megaphone.fm/adchoices Thu, 23 Feb 2017 08:00:34 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder weigh in on how "independent film" should be defined, and share results of our big shootout between the Alexa Mini and Epic-W Helium. We also discuss how the inaugural American Independent Film Awards are helping to redefine awards season, how indie cinemas are banding together nationwide for a cause, a surprising way to increase your film’s profitability, and SAG-AFTRA’s wading into political waters. Tech writer Charles Haine joins us for gear news, including our epic (and contentious) shootout between recent two popular cameras, and a new lens from Fujinon that marks the company’s venture into the world of indie film. In Ask No Film School, we advise on why your videos look so different on YouTube than in your editing system, and how to compensate. As always, we also bring you upcoming grant and festival deadlines, this week’s indie film releases, 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 megaphone.fm/adchoices

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

]]> 2218 yes Breaking the Algorithm: How to Make Your Video Stand Out Online https://soundcloud.com/nofilmschool/breaking-the-algorithm-how-to Welcome to the world of modern filmmaking—a place where anyone can make anything at any time and put it online pretty much anywhere. Whether or not people actually watch it? Well, that's a different question. With the democratization of film comes the democratization of exhibitors, and in today's new media landscape, the number of platforms through which a filmmaker can show their work can be overwhelming. In this week's episode of The No Film School Podcast, Producer Jon Fusco sits down with a handful of short filmmakers whose projects have either been funded, licensed, or exhibited by the idiosyncratic video website Super Deluxe. The Super Deluxe platform is one that should be a model for innovative filmmakers looking to get their work noticed. Self-described as "a community of creative weirdos making videos that are (we hope) more substantial than much of what you see on the internet," they are truly a service to filmmakers, providing funding, creative freedom, and, most importantly, trust. Kenneth Gug, Pipus Larsen, and Scott Ross started making Instagram videos and are now Sundance alum with their short doc, Deer Squad. Matt Wolf has been making feature documentaries for years, and Super Deluxe funded his doc short, Bayard & Me, a biography about Civil Rights leader Bayard Washington. Anna Kerrigan was brought on as a director for hire for the web series The Chances, following two deaf friends as they navigate the buzzy scene in Los Angeles. There is no right way to go about getting your project recognized, although it's preferable to have a strategy rather than throwing something online and hoping it catches fire. All of these filmmakers came together at Sundance to discuss their own experience within the oversaturated new media landscape and their strategies in tailoring stories for an era of rabid media consumption. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 20 Feb 2017 08:06:16 -0000 full No Film School Welcome to the world of modern filmmaking—a place… Welcome to the world of modern filmmaking—a place where anyone can make anything at any time and put it online pretty much anywhere. Whether or not people actually watch it? Well, that's a different question. With the democratization of film comes the democratization of exhibitors, and in today's new media landscape, the number of platforms through which a filmmaker can show their work can be overwhelming. In this week's episode of The No Film School Podcast, Producer Jon Fusco sits down with a handful of short filmmakers whose projects have either been funded, licensed, or exhibited by the idiosyncratic video website Super Deluxe. The Super Deluxe platform is one that should be a model for innovative filmmakers looking to get their work noticed. Self-described as "a community of creative weirdos making videos that are (we hope) more substantial than much of what you see on the internet," they are truly a service to filmmakers, providing funding, creative freedom, and, most importantly, trust. Kenneth Gug, Pipus Larsen, and Scott Ross started making Instagram videos and are now Sundance alum with their short doc, Deer Squad. Matt Wolf has been making feature documentaries for years, and Super Deluxe funded his doc short, Bayard & Me, a biography about Civil Rights leader Bayard Washington. Anna Kerrigan was brought on as a director for hire for the web series The Chances, following two deaf friends as they navigate the buzzy scene in Los Angeles. There is no right way to go about getting your project recognized, although it's preferable to have a strategy rather than throwing something online and hoping it catches fire. All of these filmmakers came together at Sundance to discuss their own experience within the oversaturated new media landscape and their strategies in tailoring stories for an era of rabid media consumption. Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 1711 yes Indie Film Weekly 2.16.17: Most Anticipated Cameras of 2017 & How Not to Do a Guerrilla Film Shoot https://soundcloud.com/nofilmschool/indie-film-weekly-2-16-17-most In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco and Emily Buder reveal which cameras shooters are looking to buy this year, and help you avoid on-set arrests. They discuss the dominance of Panasonic's GH5 in indie filmmaker buzz, while ARRI's Alexa rules over the Academy's Sci-Tech Awards and film sets everywhere. The show covers the potential neutering of net neutrality by the new head of America's Federal Communications Commission, and an upcoming indie-helmed Netflix show that's pissing off white people. We also hear from screenwriter Paul Laverty on his BAFTA-winning film, ‘I, Daniel Blake’ and cinematographer Bojan Bazelli on his collaboration with Gore Verbinski for the wild ride that is ‘A Cure for Wellness’. In Ask No Film School, we cover when (and when not) to ask for permission for public shoots, and other tips for outdoor guerrilla filmmaking. As always, we also bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, 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 megaphone.fm/adchoices Thu, 16 Feb 2017 08:02:13 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco and Emily Buder reveal which cameras shooters are looking to buy this year, and help you avoid on-set arrests. They discuss the dominance of Panasonic's GH5 in indie filmmaker buzz, while ARRI's Alexa rules over the Academy's Sci-Tech Awards and film sets everywhere. The show covers the potential neutering of net neutrality by the new head of America's Federal Communications Commission, and an upcoming indie-helmed Netflix show that's pissing off white people. We also hear from screenwriter Paul Laverty on his BAFTA-winning film, ‘I, Daniel Blake’ and cinematographer Bojan Bazelli on his collaboration with Gore Verbinski for the wild ride that is ‘A Cure for Wellness’. In Ask No Film School, we cover when (and when not) to ask for permission for public shoots, and other tips for outdoor guerrilla filmmaking. As always, we also bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, 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 megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 2362 yes What It Takes to Get Your Short into Sundance https://soundcloud.com/nofilmschool/what-it-takes-to-get-your For all intents and purposes, the Sundance Film Festival is the Holy Grail for many short filmmakers around the world. Need proof? Just take a look at the number of entries to this year's competition: 9,000. It would take an army to sift through that much content. Or at least a highly dedicated and skilled team of programmers. Even with that sort of team in place, it seems like there has to be some element of luck involved with getting into one of the country's most prestigious festivals. In this episode of The No Film School Podcast, producer Jon Fusco and writer Oakley Anderson-Moore conduct a roundtable discussion with crew members from three of the 68 films presented in this year's shorts program. Included in the discussion are Rob Savage, Jed Shepherd and Douglas Cox from Dawn of the Deaf, a sign language zombie movie made with the deaf community in London; Native American filmmaker, Lyle Corbine Jr. who's latest short Shinaab marks his fifteenth film; and Jessica Beshir and Charlie Hoxie, who round out the group with their film Hairat, which details the strange nightly ritual of an Ethiopian man who feeds hyenas by dangling meat from a stick in his mouth. The result is a fascinating dissection of the steps each filmmaker took to find their place at Sundance. You'll find more than a few nuggets of advice in there to aid in your own short filmmaking projects. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 13 Feb 2017 08:01:30 -0000 full No Film School For all intents and purposes, the Sundance Film F… For all intents and purposes, the Sundance Film Festival is the Holy Grail for many short filmmakers around the world. Need proof? Just take a look at the number of entries to this year's competition: 9,000. It would take an army to sift through that much content. Or at least a highly dedicated and skilled team of programmers. Even with that sort of team in place, it seems like there has to be some element of luck involved with getting into one of the country's most prestigious festivals. In this episode of The No Film School Podcast, producer Jon Fusco and writer Oakley Anderson-Moore conduct a roundtable discussion with crew members from three of the 68 films presented in this year's shorts program. Included in the discussion are Rob Savage, Jed Shepherd and Douglas Cox from Dawn of the Deaf, a sign language zombie movie made with the deaf community in London; Native American filmmaker, Lyle Corbine Jr. who's latest short Shinaab marks his fifteenth film; and Jessica Beshir and Charlie Hoxie, who round out the group with their film Hairat, which details the strange nightly ritual of an Ethiopian man who feeds hyenas by dangling meat from a stick in his mouth. The result is a fascinating dissection of the steps each filmmaker took to find their place at Sundance. You'll find more than a few nuggets of advice in there to aid in your own short filmmaking projects. Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 3095 yes Indie Film Weekly 2.9.17: Risks of Making a Super Bowl Ad & Secrets To Shooting a Perfect Long Take https://soundcloud.com/nofilmschool/indie-film-weekly-2-9-17-the No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder discuss this year’s crop of filmmaker-helmed Super Bowl spots, and debate whether or not participating in America’s biggest day of ad spending helps aspiring directors. Plus, it’s a bumper week for new lenses, awards season marches on, and we say goodbye to tripod innovator Lino Manfrotto. In Ask No Film School, Charles Haine gives tips on creating a film that appears to be shot in one long take. As always, we also bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, 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 http://nofilmschool.com/2017/02/indie-film-weekly-020917-podcast Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 09 Feb 2017 08:01:31 -0000 full No Film School No Film School co-hosts Liz Nord, Jon Fusco, and … No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder discuss this year’s crop of filmmaker-helmed Super Bowl spots, and debate whether or not participating in America’s biggest day of ad spending helps aspiring directors. Plus, it’s a bumper week for new lenses, awards season marches on, and we say goodbye to tripod innovator Lino Manfrotto. In Ask No Film School, Charles Haine gives tips on creating a film that appears to be shot in one long take. As always, we also bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, 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 http://nofilmschool.com/2017/02/indie-film-weekly-020917-podcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 2516 yes How an Unlikely Yiddish Indie Became A24's First Foreign Language Acquisition https://soundcloud.com/nofilmschool/how-an-unlikely-yiddish-indie Yiddish is a language developed among the Jewish population of Central Europe in the 9th century as a mix of their Biblical Hebrew, and the German and other modern languages of the day. Before World War II, it was spoken by upwards of 13 million people. Today, in the US, it is estimated to only be spoken by less than 200,000. The scarcity of spoken Yiddish today makes it an especially unusual choice for the script written by American director and native English speaker Joshua Z. Weinstein on his new film “Menashe.” And that wasn’t the only—ahem—unorthodox choice that was made. The movie was filmed with almost all untrained actors from within an insular ultra-orthodox Jewish neighborhood in Brooklyn, and the script was developed alongside its star, a man who had never seen a movie in a theater. Perhaps even more surprising is that the feature not only made it into this year’s Sundance Film Festival, but got renowned Executive Producer Chris Columbus on board just before the event, and afterwards landed a deal with A24, which distributed last year’s biggest indie hit, “Moonlight.” Editor-in-Chief Liz Nord met up with Weinstein, along with the film’s cinematographer and co-producer Yoni Brook, and lead actor Menashe Lustig, at Sundance just after the film premiered. They discuss the unique production, camera techniques, and their unlikely success in making a film about a widowed man trying to convince his traditional community that he is capable of caring for his young son. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 06 Feb 2017 08:00:29 -0000 full No Film School Yiddish is a language developed among the Jewish … Yiddish is a language developed among the Jewish population of Central Europe in the 9th century as a mix of their Biblical Hebrew, and the German and other modern languages of the day. Before World War II, it was spoken by upwards of 13 million people. Today, in the US, it is estimated to only be spoken by less than 200,000. The scarcity of spoken Yiddish today makes it an especially unusual choice for the script written by American director and native English speaker Joshua Z. Weinstein on his new film “Menashe.” And that wasn’t the only—ahem—unorthodox choice that was made. The movie was filmed with almost all untrained actors from within an insular ultra-orthodox Jewish neighborhood in Brooklyn, and the script was developed alongside its star, a man who had never seen a movie in a theater. Perhaps even more surprising is that the feature not only made it into this year’s Sundance Film Festival, but got renowned Executive Producer Chris Columbus on board just before the event, and afterwards landed a deal with A24, which distributed last year’s biggest indie hit, “Moonlight.” Editor-in-Chief Liz Nord met up with Weinstein, along with the film’s cinematographer and co-producer Yoni Brook, and lead actor Menashe Lustig, at Sundance just after the film premiered. They discuss the unique production, camera techniques, and their unlikely success in making a film about a widowed man trying to convince his traditional community that he is capable of caring for his young son. Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 1941 yes Indie Film Weekly 2.2.17: Netflix and Trump Go After The Oscars https://soundcloud.com/nofilmschool/indie-film-weekly-2217-netflix-and-trump-go-after-the-oscars In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder discuss the Netflix acquisition of Oscar-worthy Mudbound, the highly charged SAG Awards, how the first two weeks of Trump’s term are shaking up the film industry, and which cameras and lenses were most popular among Sundance cinematographers this year. In Ask No Film School, DP Shane King clues us in on cropping 4K footage. As always, we also bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, 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 megaphone.fm/adchoices Thu, 02 Feb 2017 14:05:14 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder discuss the Netflix acquisition of Oscar-worthy Mudbound, the highly charged SAG Awards, how the first two weeks of Trump’s term are shaking up the film industry, and which cameras and lenses were most popular among Sundance cinematographers this year. In Ask No Film School, DP Shane King clues us in on cropping 4K footage. As always, we also bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, 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 megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 1889 yes A Civil War in 'Bushwick': Getting Your Film Made, from Pitch to Production https://soundcloud.com/nofilmschool/a-civil-war-in-bushwick This week, No Film School producer Jon Fusco sits down with Jonathan Milott and Cary Murnion, co-directors of Bushwick, a film that premiered in Sundance’s Midnight Section. The premise for a Neo-Civil War film in America may have seemed insane a decade ago when Millot and Murnion first came up with it; now, it doesn’t seem so far-fetched. Brittany Snow plays Lucy, a student on her way home to Bushwick while on break from grad school. She gets off the subway only to realize that her Brooklyn neighborhood is under siege from an unknown enemy. Later on in the film, it is revealed that Texas and a handful of other states have seceded from the union and are the force behind the attack. With the help of Stupe, a former marine played by Dave Bautista, they attempt to fight their way through the city to safety. For Millot and Murnion, the road to making Bushwick was paved by a ton of hard work and self-education. Neither went to film school, but through a series of successful short film competitions, they were able to capture the eye of a producer at SXSW. That led to a directing gig on the 2014 horror/comedy Cooties. In this podcast, they discuss the steps they took to win that film and how their process of making a movie evolved once they had one in the can. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 30 Jan 2017 08:01:07 -0000 full No Film School This week, No Film School producer Jon Fusco sits… This week, No Film School producer Jon Fusco sits down with Jonathan Milott and Cary Murnion, co-directors of Bushwick, a film that premiered in Sundance’s Midnight Section. The premise for a Neo-Civil War film in America may have seemed insane a decade ago when Millot and Murnion first came up with it; now, it doesn’t seem so far-fetched. Brittany Snow plays Lucy, a student on her way home to Bushwick while on break from grad school. She gets off the subway only to realize that her Brooklyn neighborhood is under siege from an unknown enemy. Later on in the film, it is revealed that Texas and a handful of other states have seceded from the union and are the force behind the attack. With the help of Stupe, a former marine played by Dave Bautista, they attempt to fight their way through the city to safety. For Millot and Murnion, the road to making Bushwick was paved by a ton of hard work and self-education. Neither went to film school, but through a series of successful short film competitions, they were able to capture the eye of a producer at SXSW. That led to a directing gig on the 2014 horror/comedy Cooties. In this podcast, they discuss the steps they took to win that film and how their process of making a movie evolved once they had one in the can. Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 1610 yes Indie Film Weekly 1.26.17: The Good, The Bad, and The Weird of Sundance 2017 https://soundcloud.com/nofilmschool/indie-film-weekly-1-26-17-the This episode of Indie Film Weekly brings reports from the ground on the movies, the acquisitions, and the suspected Russian hacking of independent cinema's beating heart. Co-hosts Jon Fusco, Emily Buder, Oakley Anderson-Moore Liz Nord have been hitting the snowy sidewalks of Park City, Utah, for the past week, to bring you all the most fascinating stories from America's preeminent independent film event, the Sundance Film Festival. They forego the regular show format to share in-depth Sundance coverage, from the lay of the land, to celebrity run-ins, to the most intriguing films and biggest acquisitions. They also cover one of the strangest occurrences in recent festival memory, a cyberattack on the Sundance online ticketing and admin systems. Finally, we bring news of the other biggest event in the film world this past week, the 2017 Academy Award nominations. Find links to all these stories and more about the craft of filmmaking at nofilmschool.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 26 Jan 2017 08:01:33 -0000 full No Film School This episode of Indie Film Weekly brings reports … This episode of Indie Film Weekly brings reports from the ground on the movies, the acquisitions, and the suspected Russian hacking of independent cinema's beating heart. Co-hosts Jon Fusco, Emily Buder, Oakley Anderson-Moore Liz Nord have been hitting the snowy sidewalks of Park City, Utah, for the past week, to bring you all the most fascinating stories from America's preeminent independent film event, the Sundance Film Festival. They forego the regular show format to share in-depth Sundance coverage, from the lay of the land, to celebrity run-ins, to the most intriguing films and biggest acquisitions. They also cover one of the strangest occurrences in recent festival memory, a cyberattack on the Sundance online ticketing and admin systems. Finally, we bring news of the other biggest event in the film world this past week, the 2017 Academy Award nominations. Find links to all these stories and more about the craft of filmmaking at nofilmschool.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 3131 yes How to Use Documentary as a Call to Action: The Mobilization Tactics of 'Whose Streets?' https://soundcloud.com/nofilmschool/using-documentary-as-a-call-to Producer Jon Fusco kicks off The No Film School Podcast's Sundance coverage with an incredibly important (and timely) discussion on how documentary film can be utilized as a powerful call to action. "Whose Streets?" picks up moments after the murder of unarmed black teen Michael Brown at the hands of Ferguson police officer Darren Wilson. Through a harrowing collage of guerrilla-style filmmaking and archival footage, Co-directors Sabaah Foloyan and Damon Davis place us at the epicenter of the Ferguson community as racial tensions in the city reach their boiling point. The directors, however, don’t focus on the forensics reports or harsh statistics associated with institutionalized racism. Instead, they sifted through nearly 400 hours of footage to deliver their message through the pain and heartbreak of the city’s residents. What we get is a stark contrast to a narrative the media presented back in 2014. And while it might be uncomfortable for some, the truth is made clear as we watch the intimate stories of the men and women who rallied together to push through injustice as the protests unfolded. On this episode, activist Brittany Ferrel joins Foloyan and Davis as we dig deep into the potential of documentary film as a tool for change. Regardless of your political affiliation, giving voice to the voices that usually go unheard is an objective every documentarian should seek to achieve. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 23 Jan 2017 07:01:05 -0000 full No Film School Producer Jon Fusco kicks off The No Film School P… Producer Jon Fusco kicks off The No Film School Podcast's Sundance coverage with an incredibly important (and timely) discussion on how documentary film can be utilized as a powerful call to action. "Whose Streets?" picks up moments after the murder of unarmed black teen Michael Brown at the hands of Ferguson police officer Darren Wilson. Through a harrowing collage of guerrilla-style filmmaking and archival footage, Co-directors Sabaah Foloyan and Damon Davis place us at the epicenter of the Ferguson community as racial tensions in the city reach their boiling point. The directors, however, don’t focus on the forensics reports or harsh statistics associated with institutionalized racism. Instead, they sifted through nearly 400 hours of footage to deliver their message through the pain and heartbreak of the city’s residents. What we get is a stark contrast to a narrative the media presented back in 2014. And while it might be uncomfortable for some, the truth is made clear as we watch the intimate stories of the men and women who rallied together to push through injustice as the protests unfolded. On this episode, activist Brittany Ferrel joins Foloyan and Davis as we dig deep into the potential of documentary film as a tool for change. Regardless of your political affiliation, giving voice to the voices that usually go unheard is an objective every documentarian should seek to achieve. Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 2185 yes Indie Film Weekly 1.19.17: The Sundance Hype is Real & RED Helium's Record-Breaking Sensor https://soundcloud.com/nofilmschool/indie-film-weekly-1-19-17-the In this episode of Indie Film Weekly, we preview the best that Sundance 2017 has to offer, and reveal why RED's Helium 8K is even better than we thought. No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder discuss the biggest festival buzz, and the films and filmmakers we're most excited to cover as we head to Park City, Utah, to bring you news and interviews from the Sundance Film Festival. We also discuss new filmmaker-friendly divisions at Vice and NatGeo, the Cinema Eye Honors results, and the too-short life of the Lily drone. In Ask No Film School, we advise on how to choose your next documentary camera. As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, 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 megaphone.fm/adchoices Thu, 19 Jan 2017 08:05:19 -0000 full No Film School In this episode of Indie Film Weekly, we preview … In this episode of Indie Film Weekly, we preview the best that Sundance 2017 has to offer, and reveal why RED's Helium 8K is even better than we thought. No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder discuss the biggest festival buzz, and the films and filmmakers we're most excited to cover as we head to Park City, Utah, to bring you news and interviews from the Sundance Film Festival. We also discuss new filmmaker-friendly divisions at Vice and NatGeo, the Cinema Eye Honors results, and the too-short life of the Lily drone. In Ask No Film School, we advise on how to choose your next documentary camera. As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, 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 megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 2326 yes How Filmmakers Can Conquer VR's Biggest Challenges https://soundcloud.com/nofilmschool/how-filmmakers-can-conquer-vrs In the emerging field of virtual reality filmmaking, there are still lots of basic questions about how best to tell a story in VR, which projects even make a worthwhile story in 360, and what conventions from traditional filmmaking that we need to throw right out the window to help pave the way for this medium. On this episode, I speak with some smart people who have been grappling with these questions and made some amazing projects—Ben C. Solomon, video journalist and filmmaker for The New York Times, and Carla Borras, Director of Digital Video at PBS’s long-running documentary series, Frontline. We are joined by Sean Flynn, Program Director of the Points North Institute who invited both Borras and Solomon to the Camden International Film Festival where we spoke, and curated its interactive storytelling lineup. Our guests share their stories and advice from the 360-degree trenches. For more, check out the podcast post at nofimschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 16 Jan 2017 08:02:39 -0000 full No Film School In the emerging field of virtual reality filmmaki… In the emerging field of virtual reality filmmaking, there are still lots of basic questions about how best to tell a story in VR, which projects even make a worthwhile story in 360, and what conventions from traditional filmmaking that we need to throw right out the window to help pave the way for this medium. On this episode, I speak with some smart people who have been grappling with these questions and made some amazing projects—Ben C. Solomon, video journalist and filmmaker for The New York Times, and Carla Borras, Director of Digital Video at PBS’s long-running documentary series, Frontline. We are joined by Sean Flynn, Program Director of the Points North Institute who invited both Borras and Solomon to the Camden International Film Festival where we spoke, and curated its interactive storytelling lineup. Our guests share their stories and advice from the 360-degree trenches. For more, check out the podcast post at nofimschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 1927 yes Indie Film Weekly 1.12.17: Why Gear Trade Shows May Be Dying & Kodak Revives a Film Stock Favorite https://soundcloud.com/nofilmschool/indie-film-weekly-1-12-17-why Co-hosts Jon Fusco, Emily Buder, and Charles Haine discuss Kodak's big reveal at CES—the revival of color reversal film stock Ektachrome—and why trade shows are becoming irrelevant. They also delve into the awards season, which kicked off with Sunday's Golden Globes; George Lucas' new museum; and how to manipulate aperture and light sensitivity. As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, our Ask No Film School segment, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 12 Jan 2017 08:04:42 -0000 full No Film School Co-hosts Jon Fusco, Emily Buder, and Charles Hain… Co-hosts Jon Fusco, Emily Buder, and Charles Haine discuss Kodak's big reveal at CES—the revival of color reversal film stock Ektachrome—and why trade shows are becoming irrelevant. They also delve into the awards season, which kicked off with Sunday's Golden Globes; George Lucas' new museum; and how to manipulate aperture and light sensitivity. As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, our Ask No Film School segment, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 2208 yes Indie Film Weekly 1.5.17: A Rough Start for American Filmmakers in 2017 & Full GH5 Specs Revealed https://soundcloud.com/nofilmschool/indie-film-weekly-1-5-17-a In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder discuss how the death of America’s Section 181 filmmaking tax incentive will affect indie filmmakers. We also talk about the NoBudge Film Awards and say a sad goodbye to Carrie Fisher, Debbie Reynolds, and TIFF co-founder Bill Marshall. In Ask No Film School, we give some pointers on properly backing up your footage. Tech writer Charles Haine joins us to bring the latest gear news, including a CES preview that reveals the full Panasonic GH5 specs, and as always, we update you on upcoming grant and festival deadlines, this week’s indie film releases, 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. http://nofilmschool.com/2017/01/indie-film-weekly-010517-podcast Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 05 Jan 2017 08:00:43 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder discuss how the death of America’s Section 181 filmmaking tax incentive will affect indie filmmakers. We also talk about the NoBudge Film Awards and say a sad goodbye to Carrie Fisher, Debbie Reynolds, and TIFF co-founder Bill Marshall. In Ask No Film School, we give some pointers on properly backing up your footage. Tech writer Charles Haine joins us to bring the latest gear news, including a CES preview that reveals the full Panasonic GH5 specs, and as always, we update you on upcoming grant and festival deadlines, this week’s indie film releases, 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. http://nofilmschool.com/2017/01/indie-film-weekly-010517-podcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 1994 yes Johannes Nyholm on How to Film Contemporary Surrealism https://soundcloud.com/nofilmschool/johannes-nyholm-on-how-to-film-contemporary-surrealism The Giant is a film that's nearly impossible to pin down. Director Johannes Nyholm describes it as a western, a cheesy sports movie, a drama, a surrealistic fantasy, and a dark comedy all rolled into one. It follows the daily life of an autistic and severely deformed little person named Rikard. His main ambition in life is to win the Scandinavian Championship of pétanque, a European bowling game much like bocce ball. Oh, also, there is a 200 foot giant by his side nearly every step of the way. On this week's episode of The No Film School Podcast, we deconstruct the film's veiled themes, and with the aid of it's Swedish director, piece them back together to reveal how surrealism can weave together a more meaningful message than your average run-of-the-mill drama. Nylholm is a DIY filmmaker through and through, he didn’t go to film school instead teaching himself as many tools as he could through shooting, editing, VFX and animation first for music videos and then his own shorts. He is living proof that, with the correct tools in place, you can create a movie that doesn’t cost much even though it looks like it does. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 02 Jan 2017 07:05:27 -0000 full No Film School The Giant is a film that's nearly impossible to p… The Giant is a film that's nearly impossible to pin down. Director Johannes Nyholm describes it as a western, a cheesy sports movie, a drama, a surrealistic fantasy, and a dark comedy all rolled into one. It follows the daily life of an autistic and severely deformed little person named Rikard. His main ambition in life is to win the Scandinavian Championship of pétanque, a European bowling game much like bocce ball. Oh, also, there is a 200 foot giant by his side nearly every step of the way. On this week's episode of The No Film School Podcast, we deconstruct the film's veiled themes, and with the aid of it's Swedish director, piece them back together to reveal how surrealism can weave together a more meaningful message than your average run-of-the-mill drama. Nylholm is a DIY filmmaker through and through, he didn’t go to film school instead teaching himself as many tools as he could through shooting, editing, VFX and animation first for music videos and then his own shorts. He is living proof that, with the correct tools in place, you can create a movie that doesn’t cost much even though it looks like it does. Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 1587 yes Justin Kurzel on Keeping Your Vision and Breaking the Video Game Curse with 'Assassin’s Creed' https://soundcloud.com/nofilmschool/justin-kurzel-on-keeping-your This week on The No Film School Podcast, Producer Jon Fusco sits down with Justin Kurzel, director of the new Assassin’s Creed movie. The film is, of course, based on the incredibly popular Ubisoft game series. There has yet to be a video game movie release that one could call "excellent," but it's easy to identify the factors that make these adaptations so challenging to do well.  This would certainly seem to be a higher profile guest then we usually have on the show, but like many other recent blockbuster directors, Mr. Kurzel is a low-budget filmmaker at heart. His two previous movies, The Snowtown Murders and Macbeth, are a few of the more stylized indie action flicks to have come out in recent years.  This same visionary style shines through in Assassin's Creed—whatever unevenness the script presents—making it one of the most enjoyable video game adaptations to date. With an $130 million budget, Assassin’s Creed is a far jump from the $15 million Macbeth, which was already a leap from the $ 2 million spent on The Snowtown Murders. In this conversation, we break down the biggest challenges of making the jump from independent film to blockbuster, where the scale is massive and there are endless voices in your ear throughout production. In the end, Mr. Kurzel insists what’s most important is keeping your vision strong despite all of those voices, and how in doing that himself, he hopes to have broken the dreaded “video game curse."   Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 29 Dec 2016 05:01:49 -0000 full No Film School This week on The No Film School Podcast, Producer… This week on The No Film School Podcast, Producer Jon Fusco sits down with Justin Kurzel, director of the new Assassin’s Creed movie. The film is, of course, based on the incredibly popular Ubisoft game series. There has yet to be a video game movie release that one could call "excellent," but it's easy to identify the factors that make these adaptations so challenging to do well.  This would certainly seem to be a higher profile guest then we usually have on the show, but like many other recent blockbuster directors, Mr. Kurzel is a low-budget filmmaker at heart. His two previous movies, The Snowtown Murders and Macbeth, are a few of the more stylized indie action flicks to have come out in recent years.  This same visionary style shines through in Assassin's Creed—whatever unevenness the script presents—making it one of the most enjoyable video game adaptations to date. With an $130 million budget, Assassin’s Creed is a far jump from the $15 million Macbeth, which was already a leap from the $ 2 million spent on The Snowtown Murders. In this conversation, we break down the biggest challenges of making the jump from independent film to blockbuster, where the scale is massive and there are endless voices in your ear throughout production. In the end, Mr. Kurzel insists what’s most important is keeping your vision strong despite all of those voices, and how in doing that himself, he hopes to have broken the dreaded “video game curse."   Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 1207 yes Indie Film Weekly 12.22.16: Best Movies, Cameras & Filmmaker Advice of 2016 https://soundcloud.com/nofilmschool/indie-film-weekly-12-22-16 This special, year-end episode of Indie Film Weekly reveals the best that 2016 had to offer while you were busy making films. This year was full of outstanding indie releases and gear innovations, and in our final episode of 2016, co-hosts Liz Nord, Jon Fusco, Emily Buder, and Charles Haine share our favorite films. We also unveil top camera choices and review the biggest gear news of the year, namely the launch of Lytro's groundbreaking Cinema Camera. We also discuss our best takeaways from talking to some of the most interesting filmmakers and industry pros on the planet, from Kodak President Steve Bellamy to Gianfranco Rosi, director of Italy's 2017 Foreign Language Oscar contender. 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 megaphone.fm/adchoices Thu, 22 Dec 2016 08:00:53 -0000 full No Film School This special, year-end episode of Indie Film Week… This special, year-end episode of Indie Film Weekly reveals the best that 2016 had to offer while you were busy making films. This year was full of outstanding indie releases and gear innovations, and in our final episode of 2016, co-hosts Liz Nord, Jon Fusco, Emily Buder, and Charles Haine share our favorite films. We also unveil top camera choices and review the biggest gear news of the year, namely the launch of Lytro's groundbreaking Cinema Camera. We also discuss our best takeaways from talking to some of the most interesting filmmakers and industry pros on the planet, from Kodak President Steve Bellamy to Gianfranco Rosi, director of Italy's 2017 Foreign Language Oscar contender. 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 megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 3026 yes 'A Monster Calls': How to Direct Young Actors to Brilliant Performances https://soundcloud.com/nofilmschool/a-monster-calls-how-to-direct On this week's episode of the No Film School Podcast, we lead a fascinating discussion on how directors can work with young actors to produce astounding performances. Our guests include director J.A. Bayona (The Orphanage, The Impossible), first-time screenwriter Patrick Ness, and 14-year-old Lewis MacDougall, the leading man of A Monster Calls. A Monster Calls, which hits New York and Los Angeles on December 23rd, is not your typical feel-good holiday story. It follows a child as he slips further and further into a fantastical relationship with a tree monster in an attempt to cope with the impending death of his mother. For the actor, screenwriter, and director, the film’s heavy themes posed many questions. How emotionally intense should a screenwriter render a child's role? How does a director encourage a young actor to reach deep into his emotional depths? And what does it take for the actor to get there? It took the efforts of all three to pull the final product off. Here's how they did it. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 19 Dec 2016 08:00:57 -0000 full No Film School On this week's episode of the No Film School Podc… On this week's episode of the No Film School Podcast, we lead a fascinating discussion on how directors can work with young actors to produce astounding performances. Our guests include director J.A. Bayona (The Orphanage, The Impossible), first-time screenwriter Patrick Ness, and 14-year-old Lewis MacDougall, the leading man of A Monster Calls. A Monster Calls, which hits New York and Los Angeles on December 23rd, is not your typical feel-good holiday story. It follows a child as he slips further and further into a fantastical relationship with a tree monster in an attempt to cope with the impending death of his mother. For the actor, screenwriter, and director, the film’s heavy themes posed many questions. How emotionally intense should a screenwriter render a child's role? How does a director encourage a young actor to reach deep into his emotional depths? And what does it take for the actor to get there? It took the efforts of all three to pull the final product off. Here's how they did it. Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 1405 yes Indie Film Weekly 12.15.16: The Best 4K Under $4K & Netflix's Bad Deal https://soundcloud.com/nofilmschool/indie-film-weekly-12-15-16-the In this episode of Indie Film Weekly, we reveal your best budget 4K camera options, and tell a cautionary distribution tale from the indie doc ‘Do Not Resist.’ No Film School co-hosts Liz Nord, Jon Fusco, Emily Buder and Charles Haine also discuss The Black List’s annual ranking of the best unproduced screenplays and Emmy Rossum’s “shameless” battle for equal pay on the set of her hit Showtime series, and share clips from our interview with Greig Fraser, DP of the latest Star Wars film, ‘Rogue One’. As always, we update you on the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, 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 megaphone.fm/adchoices Thu, 15 Dec 2016 08:01:14 -0000 full No Film School In this episode of Indie Film Weekly, we reveal y… In this episode of Indie Film Weekly, we reveal your best budget 4K camera options, and tell a cautionary distribution tale from the indie doc ‘Do Not Resist.’ No Film School co-hosts Liz Nord, Jon Fusco, Emily Buder and Charles Haine also discuss The Black List’s annual ranking of the best unproduced screenplays and Emmy Rossum’s “shameless” battle for equal pay on the set of her hit Showtime series, and share clips from our interview with Greig Fraser, DP of the latest Star Wars film, ‘Rogue One’. As always, we update you on the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, 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 megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 2147 yes Indie Film Weekly 12.8.16: Steadicam Inventor's Key to Creativity & 'Last Tango' Rape Controversy https://soundcloud.com/nofilmschool/indie-film-weekly-12-8-16 In this episode of Indie Film Weekly, we hear from one of the greatest influencers of modern cinema, Steadicam inventor Garrett Brown, and give our take on how consent issues might affect your filmmaking. No Film School co-hosts Liz Nord, Jon Fusco, Emily Buder, and Charles Haine also discuss Sundance 2017’s full lineup and the new movie app that has J.J. Abrams, Steven Spielberg and Tyler Perry on board. As always, the show brings our Ask No Film School segment, and we update you on upcoming grant and festival deadlines, this week’s indie film releases, 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 http://nofilmschool.com/2016/12/indie-film-weekly-120816-podcast Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 08 Dec 2016 08:01:46 -0000 full No Film School In this episode of Indie Film Weekly, we hear fro… In this episode of Indie Film Weekly, we hear from one of the greatest influencers of modern cinema, Steadicam inventor Garrett Brown, and give our take on how consent issues might affect your filmmaking. No Film School co-hosts Liz Nord, Jon Fusco, Emily Buder, and Charles Haine also discuss Sundance 2017’s full lineup and the new movie app that has J.J. Abrams, Steven Spielberg and Tyler Perry on board. As always, the show brings our Ask No Film School segment, and we update you on upcoming grant and festival deadlines, this week’s indie film releases, 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 http://nofilmschool.com/2016/12/indie-film-weekly-120816-podcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 2059 yes Alice Rohrwacher on Why You Have to Go into the Void to Make Good Movies https://soundcloud.com/nofilmschool/alice-rohrwacher-on-why-you Cannes-Winning director Alice Rohrwacher was selected to be this year's prestigious Film Society of Lincoln Center Filmmaker in Residence. Rohrwacher grew up in the Tuscan countryside and never saw a moving image until she was an adult. No Film School's Emily Buder discusses faking her way into her first directing gig, boredom's role in producing creativity, and why we need to go into the void to be great filmmakers. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 05 Dec 2016 08:01:18 -0000 full No Film School Cannes-Winning director Alice Rohrwacher was sele… Cannes-Winning director Alice Rohrwacher was selected to be this year's prestigious Film Society of Lincoln Center Filmmaker in Residence. Rohrwacher grew up in the Tuscan countryside and never saw a moving image until she was an adult. No Film School's Emily Buder discusses faking her way into her first directing gig, boredom's role in producing creativity, and why we need to go into the void to be great filmmakers. Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 2674 yes Indie Film Weekly 12.1.16: The Secret to a Great Screenplay & Hollywood's Math Problem https://soundcloud.com/nofilmschool/indie-film-weekly-12-1-16-the In this episode of Indie Film Weekly, we ask why movie financiers are ignoring box office numbers, and divulge how math might help you tell the best stories on screen. No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder discuss recent studies on the six emotional arcs of storytelling and the surprising relationship between director age and box office returns, along with the Gotham Independent Film Award winners, and how DJI continues to launch great new drones while GoPro’s drones continue to fall out of the sky. Tech writer Charles Haine joins us to bring the latest gear news, and as always, we update you on upcoming grant and festival deadlines, this week’s indie film releases, 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   http://nofilmschool.com/2016/12/indie-film-weekly-120116-podcast Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 01 Dec 2016 08:01:58 -0000 full No Film School In this episode of Indie Film Weekly, we ask why … In this episode of Indie Film Weekly, we ask why movie financiers are ignoring box office numbers, and divulge how math might help you tell the best stories on screen. No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder discuss recent studies on the six emotional arcs of storytelling and the surprising relationship between director age and box office returns, along with the Gotham Independent Film Award winners, and how DJI continues to launch great new drones while GoPro’s drones continue to fall out of the sky. Tech writer Charles Haine joins us to bring the latest gear news, and as always, we update you on upcoming grant and festival deadlines, this week’s indie film releases, 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   http://nofilmschool.com/2016/12/indie-film-weekly-120116-podcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 2462 yes Write Characters With Room For Actors: Wayne Roberts and Christopher Abbott on 'Katie Says Goodbye' https://soundcloud.com/nofilmschool/why-you-should-write Katie Says Goodbye is screenwriter/director Wayne Roberts' first feature. Unlike most first features, however, it had its world premiere earlier this year in front of a packed house in the middle of one of the world's biggest film events: Toronto International Film Festival. In the film, Olivia Cooke throws her name into the best actress ring starring as the titular Katie, an ever optimistic diner waitress who doesn't let the harsh realities of her Arizona homestead break her down. Instead, she focuses on earning enough money to finally break out of her trailer park and make a move to San Francisco. Her preferred method in fundraising? Prostitution. Needless to say, this leads to some challenges in her life, especially when she starts dating Bruno, stoically portrayed by Christopher Abbott, a mechanic with a history of grand theft auto. No Film School’s Jon Fusco sat down with Abbott and Roberts to discuss how a writer's work is best achieved by getting rid of any hesitations and letting their characters speak through them. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 21 Nov 2016 08:01:14 -0000 full No Film School Katie Says Goodbye is screenwriter/director Wayne… Katie Says Goodbye is screenwriter/director Wayne Roberts' first feature. Unlike most first features, however, it had its world premiere earlier this year in front of a packed house in the middle of one of the world's biggest film events: Toronto International Film Festival. In the film, Olivia Cooke throws her name into the best actress ring starring as the titular Katie, an ever optimistic diner waitress who doesn't let the harsh realities of her Arizona homestead break her down. Instead, she focuses on earning enough money to finally break out of her trailer park and make a move to San Francisco. Her preferred method in fundraising? Prostitution. Needless to say, this leads to some challenges in her life, especially when she starts dating Bruno, stoically portrayed by Christopher Abbott, a mechanic with a history of grand theft auto. No Film School’s Jon Fusco sat down with Abbott and Roberts to discuss how a writer's work is best achieved by getting rid of any hesitations and letting their characters speak through them. Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 1083 yes Indie Film Weekly 11.17.16: Early Oscar News & Film Budget Fundamentals https://soundcloud.com/nofilmschool/indie-film-weekly-11-17-16 This episode of Indie Film Weekly celebrates Jackie Chan's just rewards and helps you get started on creating an indie film budget. Co-hosts Liz Nord, Jon Fusco, and Emily Buder discuss other early Oscar disclosures, the future’s best films as presented at last week’s American Film Market, and cinematic goodbyes to songwriter Leonard Cohen and actor Robert Vaughn. Tech writer Charles Haine joins us to bring the latest gear news, including a report from NAB NY and a slew of drone updates from DJI. As always, we also share upcoming grant and festival deadlines, this week’s indie film releases, 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   Post: http://nofilmschool.com/2016/11/indie-film-weekly-111716 Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 17 Nov 2016 08:00:54 -0000 full No Film School This episode of Indie Film Weekly celebrates Jack… This episode of Indie Film Weekly celebrates Jackie Chan's just rewards and helps you get started on creating an indie film budget. Co-hosts Liz Nord, Jon Fusco, and Emily Buder discuss other early Oscar disclosures, the future’s best films as presented at last week’s American Film Market, and cinematic goodbyes to songwriter Leonard Cohen and actor Robert Vaughn. Tech writer Charles Haine joins us to bring the latest gear news, including a report from NAB NY and a slew of drone updates from DJI. As always, we also share upcoming grant and festival deadlines, this week’s indie film releases, 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   Post: http://nofilmschool.com/2016/11/indie-film-weekly-111716 Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 2173 yes Indie Film Weekly 11.11.16: What a Trump Presidency Means for Filmmakers https://soundcloud.com/nofilmschool/indie-film-weekly-11-11-16 In this episode of Indie Film Weekly, we break down the potential impact of America’s new government on artists and the press. No Film School co-hosts Liz Nord, Jon Fusco and Emily Buder also cover an ambitious Election Day documentary-in-the-making and the Cinema Eye Honors and IDA Awards nominees, say goodbye to French cinematographer Raoul Coutard, discuss how YouTube is branching into HDR, and talk about GoPro’s unfortunate recall of its new Karma drone. In the Ask No Film School segment, we advise on the best website builder for filmmakers. Tech writer Charles Haine joins us to bring the latest gear news, and we hear an excerpt from Liz’s interview with ‘Arrival’ DP Bradford Young. As always, we update you on upcoming grant and festival deadlines, this week’s indie film releases, 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 www.nofilmschool.com. http://nofilmschool.com/2017/07/indie-film-weekly-111116-podcast Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 11 Nov 2016 08:00:38 -0000 full No Film School In this episode of Indie Film Weekly, we break do… In this episode of Indie Film Weekly, we break down the potential impact of America’s new government on artists and the press. No Film School co-hosts Liz Nord, Jon Fusco and Emily Buder also cover an ambitious Election Day documentary-in-the-making and the Cinema Eye Honors and IDA Awards nominees, say goodbye to French cinematographer Raoul Coutard, discuss how YouTube is branching into HDR, and talk about GoPro’s unfortunate recall of its new Karma drone. In the Ask No Film School segment, we advise on the best website builder for filmmakers. Tech writer Charles Haine joins us to bring the latest gear news, and we hear an excerpt from Liz’s interview with ‘Arrival’ DP Bradford Young. As always, we update you on upcoming grant and festival deadlines, this week’s indie film releases, 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 www.nofilmschool.com. http://nofilmschool.com/2017/07/indie-film-weekly-111116-podcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 1942 yes 'The Eagle Huntress': What You Can Expect After Sundance https://soundcloud.com/nofilmschool/the-eagle-huntress-what-you When No Film School's Liz Nord saw 'The Eagle Huntress' at TIFF this year, she wrote that she may have seen the perfect documentary. It’s got all the elements: incredibly charismatic protagonists, majestic landscapes, underlying social issues, and a classic David and Goliath tale. In this case our "David" is actually a 13-year-old girl named Aisholpan who is determined to learn the dangerous art of hunting game with eagles in the frozen wilderness—and the "Goliath" is the 12-generation-long eagle-hunting tradition that has never, ever allowed a female to participate. Fortunately, Aisholpan's father—a champion eagle hunter himself— agrees to train her, despite objections of the community elders. The story behind the film is almost as dramatic as its subject.  Otto Bell's small crew underwent Herculean production efforts to shoot the sweeping film in the mountains of Mongolia. On this podcast, Mr. Bell is joined by producer Stacey Reiss, who came on to shepherd the project to completion when Bell had run entirely out of resources.  They discuss the film's year of post-production and distribution adventures, from running a team of post-production translators in Kazhakstan, to getting EP Daisy Ridley on board just shy of their Sundance premiere, to the workload any filmmaker can expect to take on after your film is in the can. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 07 Nov 2016 08:00:50 -0000 full No Film School When No Film School's Liz Nord saw 'The Eagle Hun… When No Film School's Liz Nord saw 'The Eagle Huntress' at TIFF this year, she wrote that she may have seen the perfect documentary. It’s got all the elements: incredibly charismatic protagonists, majestic landscapes, underlying social issues, and a classic David and Goliath tale. In this case our "David" is actually a 13-year-old girl named Aisholpan who is determined to learn the dangerous art of hunting game with eagles in the frozen wilderness—and the "Goliath" is the 12-generation-long eagle-hunting tradition that has never, ever allowed a female to participate. Fortunately, Aisholpan's father—a champion eagle hunter himself— agrees to train her, despite objections of the community elders. The story behind the film is almost as dramatic as its subject.  Otto Bell's small crew underwent Herculean production efforts to shoot the sweeping film in the mountains of Mongolia. On this podcast, Mr. Bell is joined by producer Stacey Reiss, who came on to shepherd the project to completion when Bell had run entirely out of resources.  They discuss the film's year of post-production and distribution adventures, from running a team of post-production translators in Kazhakstan, to getting EP Daisy Ridley on board just shy of their Sundance premiere, to the workload any filmmaker can expect to take on after your film is in the can. Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 1964 yes Indie Film Weekly 11.3.16: Apple vs. Microsoft - Who Wants Filmmakers More? https://soundcloud.com/nofilmschool/indie-film-weekly-11-3-16 In this episode of Indie Film Weekly, we compare the releases of the new Macbook Pro and Microsoft Surface Studio to a high school popularity contest. Outside of the hardware battle for filmmaker allegiance, co-hosts Jon Fusco, Emily Buder and Liz Nord go to the front lines of the Dakota Access oil pipeline protests to find out why police are targeting journalists and shooting down drones. We also discuss the death of Vine, the birth of Kickstarter Live, and, in our Ask No Film School segment, what you should expect to pay for a short film screenplay. Tech writer Charles Haine joins us to bring the latest gear news, and as always, we update you on upcoming grant and festival deadlines, this week’s indie film releases, and other notable things you might have missed while you were busy making films. Post: http://nofilmschool.com/2016/11/indie-film-weekly-110316-podcast Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 03 Nov 2016 07:01:36 -0000 full No Film School In this episode of Indie Film Weekly, we compare … In this episode of Indie Film Weekly, we compare the releases of the new Macbook Pro and Microsoft Surface Studio to a high school popularity contest. Outside of the hardware battle for filmmaker allegiance, co-hosts Jon Fusco, Emily Buder and Liz Nord go to the front lines of the Dakota Access oil pipeline protests to find out why police are targeting journalists and shooting down drones. We also discuss the death of Vine, the birth of Kickstarter Live, and, in our Ask No Film School segment, what you should expect to pay for a short film screenplay. Tech writer Charles Haine joins us to bring the latest gear news, and as always, we update you on upcoming grant and festival deadlines, this week’s indie film releases, and other notable things you might have missed while you were busy making films. Post: http://nofilmschool.com/2016/11/indie-film-weekly-110316-podcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 2126 yes Indie Film Weekly 10.27.16: How Not to Ask Your Actors to Get Naked - A Halloween Spooktacular https://soundcloud.com/nofilmschool/indie-film-weekly-102716-how-not-to-ask-your-actors-to-get-naked-a-halloween-spooktacular In this Halloween episode of Indie Film Weekly, we attack a scary question for many directors: how do I ask my cast to show some skin? No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder bring you an episode full of spooky surprises, like a visit from everyone’s favorite creepy documentarian, Werner Herzog. We also discuss our favorite horror flicks, a new direction for the series ‘Jessica Jones,’ and how Netflix is taking over Hollywood. Tech writer Charles Haine joins us to bring the latest gear news, and as always, we update you on upcoming grant and festival deadlines, this week’s indie film releases, 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 megaphone.fm/adchoices Thu, 27 Oct 2016 06:47:28 -0000 full No Film School In this Halloween episode of Indie Film Weekly, w… In this Halloween episode of Indie Film Weekly, we attack a scary question for many directors: how do I ask my cast to show some skin? No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder bring you an episode full of spooky surprises, like a visit from everyone’s favorite creepy documentarian, Werner Herzog. We also discuss our favorite horror flicks, a new direction for the series ‘Jessica Jones,’ and how Netflix is taking over Hollywood. Tech writer Charles Haine joins us to bring the latest gear news, and as always, we update you on upcoming grant and festival deadlines, this week’s indie film releases, 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 megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 2656 yes How Directors Joe Wright and Owen Harris Built the Dystopian Worlds of 'Black Mirror’ https://soundcloud.com/nofilmschool/how-directors-joe-wright-and With an imagination like Charlie Brooker's at your disposal, translating language into imagery is "like butter." If you aren’t familiar with the anthology show, Black Mirror got its start on Great Britain’s Channel 4 way back in 2011. It may best be labeled as “dystopian tech-fi,” in that it deals with technology that exists in our modern world, but could slide into some dark purpose. It's easy to see how society could slip into anyone of the nightmarish scenarios which Brooker creates, and that's what makes the series so effective. After two seasons with Channel 4, Black Mirror would go on to become a sensation in the United States thanks to millions of binge watches on Netflix. So when Channel 4 announced they would no longer be produce the show, it only made sense for Netflix to pick it up and fund a new season themselves. The season premiered on October 21. This episode of the No Film School Podcast is broken up into two parts. The first is an interview with Joe Wright who directed the episode “Nosedive.” Mr. Wright has directed some high budget adaptations including Atonement, Pride & Prejudice, Anna Karenina, and most recently Pan. Among other things, we discussed his transition from big budget picture to streaming TV and actors are the most important tool at your disposal as a filmmaker. Next, Producer Jon Fusco talked with Owen Harris, director of the “San Junipero” episode. No stranger to the series, Mr. Harris also directed the classic Be Right Back episode back in Season 2 about a grieving widow who uses computer software that allows you to "talk" to the deceased. We discussed the differences between directing for anthology and episodic TV and his open collaboration with writer/creator Charlie Brooker. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 24 Oct 2016 07:00:58 -0000 full No Film School With an imagination like Charlie Brooker's at you… With an imagination like Charlie Brooker's at your disposal, translating language into imagery is "like butter." If you aren’t familiar with the anthology show, Black Mirror got its start on Great Britain’s Channel 4 way back in 2011. It may best be labeled as “dystopian tech-fi,” in that it deals with technology that exists in our modern world, but could slide into some dark purpose. It's easy to see how society could slip into anyone of the nightmarish scenarios which Brooker creates, and that's what makes the series so effective. After two seasons with Channel 4, Black Mirror would go on to become a sensation in the United States thanks to millions of binge watches on Netflix. So when Channel 4 announced they would no longer be produce the show, it only made sense for Netflix to pick it up and fund a new season themselves. The season premiered on October 21. This episode of the No Film School Podcast is broken up into two parts. The first is an interview with Joe Wright who directed the episode “Nosedive.” Mr. Wright has directed some high budget adaptations including Atonement, Pride & Prejudice, Anna Karenina, and most recently Pan. Among other things, we discussed his transition from big budget picture to streaming TV and actors are the most important tool at your disposal as a filmmaker. Next, Producer Jon Fusco talked with Owen Harris, director of the “San Junipero” episode. No stranger to the series, Mr. Harris also directed the classic Be Right Back episode back in Season 2 about a grieving widow who uses computer software that allows you to "talk" to the deceased. We discussed the differences between directing for anthology and episodic TV and his open collaboration with writer/creator Charlie Brooker. Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 1397 yes Indie Film Weekly 10.20.16: Filmmakers Tackle the US Political Circus https://soundcloud.com/nofilmschool/indie-film-weekly-10-20-16 With less than three weeks left until Americans vote for their next president, Indie Film Weekly discusses the film world’s take on the craziest election cycle on record. No Film School co-hosts Emily Buder, Charles Haine and Liz Nord investigate how the far left, the far right, and several creators in between are using film to respond to both the candidates and the issues. We also cover the recent arrest of filmmakers and journalists attempting to film oil pipeline protests in North Dakota, the passing of Polish filmmaker Andrzej Wajda, and how Razer's purchase of THX gets us one step closer to standardized calibration. Our Ask No Film School question is twofold: we talk about the difference in ISO for still photography and video, and about making creative choices in your documentary. As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, 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 megaphone.fm/adchoices Thu, 20 Oct 2016 07:01:34 -0000 full No Film School With less than three weeks left until Americans v… With less than three weeks left until Americans vote for their next president, Indie Film Weekly discusses the film world’s take on the craziest election cycle on record. No Film School co-hosts Emily Buder, Charles Haine and Liz Nord investigate how the far left, the far right, and several creators in between are using film to respond to both the candidates and the issues. We also cover the recent arrest of filmmakers and journalists attempting to film oil pipeline protests in North Dakota, the passing of Polish filmmaker Andrzej Wajda, and how Razer's purchase of THX gets us one step closer to standardized calibration. Our Ask No Film School question is twofold: we talk about the difference in ISO for still photography and video, and about making creative choices in your documentary. As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, 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 megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 1934 yes Indie Film Weekly 10.13.16: RED Evolves with New 8K Brains & How to Shoot Digital to Feel Like Film https://soundcloud.com/nofilmschool/indie-film-weekly-10-13-16-red Three cheers for RED! It seems the company has finally conquered its longstanding PR issues by managing to ship something—the new 8K Helium brains—when it said it would. But why is the highest resolution option called "full frame"? We discuss that, introduce your new favorite streaming service, and tell you how to get the film look digitally in this episode of Indie Film Weekly, co-hosted by Jon Fusco, Emily Buder, and Charles Haine. As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, our Ask No Film School segment, and other notable things you might have missed while you were busy making films.   Read more at: http://nofilmschool.com/2017/10/indie-film-weekly-podcast-red-helium Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 13 Oct 2016 07:00:55 -0000 full No Film School Three cheers for RED! It seems the company has fi… Three cheers for RED! It seems the company has finally conquered its longstanding PR issues by managing to ship something—the new 8K Helium brains—when it said it would. But why is the highest resolution option called "full frame"? We discuss that, introduce your new favorite streaming service, and tell you how to get the film look digitally in this episode of Indie Film Weekly, co-hosted by Jon Fusco, Emily Buder, and Charles Haine. As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, our Ask No Film School segment, and other notable things you might have missed while you were busy making films.   Read more at: http://nofilmschool.com/2017/10/indie-film-weekly-podcast-red-helium Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 2542 yes Friction is Where the Good Stuff Comes: The Intense Writer/Director Collaboration Behind 'Christine' https://soundcloud.com/nofilmschool/friction-is-where-the-good-stuff-comes-the-intense-writerdirector-collaboration-behind-christine Antonio Campos and his collective, Borderline Films, have released some of the most exciting independent films of the past ten years. The group, which also includes filmmakers Josh Mond and Sean Durkin, famously take turns in the roles of producer, writer, or director of each other's films. So far, the products of their efforts have included the equally dark and twisted 'Martha Marcy May Marlene,' 'James White' and 'Simon Killer.' 'Christine' is Campos' first film outside of the Borderline Films model. No Film School's Jon Fusco talked with Campos and screenwriter Craig Shilowich at TIFF 2016 on how their collaboration for 'Christine' demonstrates what a filmmaker and writer can accomplish if they do away with pleasantries and just get real. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 10 Oct 2016 04:24:18 -0000 full No Film School Antonio Campos and his collective, Borderline Fil… Antonio Campos and his collective, Borderline Films, have released some of the most exciting independent films of the past ten years. The group, which also includes filmmakers Josh Mond and Sean Durkin, famously take turns in the roles of producer, writer, or director of each other's films. So far, the products of their efforts have included the equally dark and twisted 'Martha Marcy May Marlene,' 'James White' and 'Simon Killer.' 'Christine' is Campos' first film outside of the Borderline Films model. No Film School's Jon Fusco talked with Campos and screenwriter Craig Shilowich at TIFF 2016 on how their collaboration for 'Christine' demonstrates what a filmmaker and writer can accomplish if they do away with pleasantries and just get real. Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 1287 yes Indie Film Weekly 10.6.16: VR Nazi Hunters & How Much To Charge Your Clients https://soundcloud.com/nofilmschool/indie-film-weekly-10616-vr-nazi-hunters-how-much-to-charge-your-clients In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Charles Haine reveal how virtual reality is being used to take down the last living Nazi war criminals, and give practical tips on starting your freelance production business. We also get into New York City’s groundbreaking film fund, the most exhaustive lens test we’ve ever seen, an update from Austin's Fantastic Fest, and the controversy around Nate Parker’s historical slavery drama ‘The Birth of a Nation.’ As always, the show brings more news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, our Ask No Film School segment, 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 megaphone.fm/adchoices Thu, 06 Oct 2016 06:55:54 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Charles Haine reveal how virtual reality is being used to take down the last living Nazi war criminals, and give practical tips on starting your freelance production business. We also get into New York City’s groundbreaking film fund, the most exhaustive lens test we’ve ever seen, an update from Austin's Fantastic Fest, and the controversy around Nate Parker’s historical slavery drama ‘The Birth of a Nation.’ As always, the show brings more news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, our Ask No Film School segment, 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 megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 2698 yes Indie Film Weekly 9.29.16: Hail the Disruptors! https://soundcloud.com/nofilmschool/soundcloud-headline-indie-film In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder reveal companies, gear, and filmmakers that are changing the game for indie directors. You’ll learn about a new film incubation model from Pretty Ideas, a new level of financial transparency from distributors The Orchard, and a badass new drone from DJI. We also talk about Peacock Productions’ move to unionize, and chat with composer Jeremy Flower about how to go about creating an original score 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, our Ask No Film School segment, and other notable things you might have missed while you were busy making films. You can see all the links from the show in this week’s podcast post at nofilmschool.com Post: http://nofilmschool.com/2016/09/indie-film-weekly-podcast-092916 Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 29 Sep 2016 07:01:15 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder reveal companies, gear, and filmmakers that are changing the game for indie directors. You’ll learn about a new film incubation model from Pretty Ideas, a new level of financial transparency from distributors The Orchard, and a badass new drone from DJI. We also talk about Peacock Productions’ move to unionize, and chat with composer Jeremy Flower about how to go about creating an original score 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, our Ask No Film School segment, and other notable things you might have missed while you were busy making films. You can see all the links from the show in this week’s podcast post at nofilmschool.com Post: http://nofilmschool.com/2016/09/indie-film-weekly-podcast-092916 Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 2123 yes How to Keep Your Subjects Safe: Nanette Burstein on Dangerous Documentary https://soundcloud.com/nofilmschool/how-to-keep-your-subjects-safe Nanette Burstein is well known for films like On the Ropes, American Teen, and The Kid Stays in the Picture. Part of her success likely comes from her insatiable curiosity and persistence in getting to the bottom of a story. But these same qualities can put her own life—and the lives of her subjects—at risk. In fact, the premiere screening of her latest film, Gringo: The Dangerous Life of John McAfee, required the presence of police and bodyguards at the theater because of threats against her by the film’s antagonist.  In an interview from the Toronto International Film Festival, Liz Nord and Nanette discuss being responsible for your subjects' safety, how to approach the challenges that each new film presents, and sustaining your career with commercial directing.  Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 26 Sep 2016 07:01:12 -0000 full No Film School Nanette Burstein is well known for films like On … Nanette Burstein is well known for films like On the Ropes, American Teen, and The Kid Stays in the Picture. Part of her success likely comes from her insatiable curiosity and persistence in getting to the bottom of a story. But these same qualities can put her own life—and the lives of her subjects—at risk. In fact, the premiere screening of her latest film, Gringo: The Dangerous Life of John McAfee, required the presence of police and bodyguards at the theater because of threats against her by the film’s antagonist.  In an interview from the Toronto International Film Festival, Liz Nord and Nanette discuss being responsible for your subjects' safety, how to approach the challenges that each new film presents, and sustaining your career with commercial directing.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 1025 yes Indie Film Weekly 9.22.16: Panasonic Gives Us The Camera We Need & Who to Choose, Agent or Manager? https://soundcloud.com/nofilmschool/indie-film-weekly-9-22-16 In this episode of Indie Film Weekly, co-hosts Liz Nord, Jon Fusco, and Emily Buder answer one of our most pressing Ask No Film School questions: what the hell is the difference between an agent and a manager? We also discuss Emmy and TIFF wins (and subsequent toppling of patriarchies), give an overview of last week’s incredible Camden International Film Festival, reveal a new indie filmmaker initiative that may change commercial directing forever, and say goodbye to director Curtis Hanson. Charles Haine joins us to reveal new gear, including Panasonic’s mirrorless GH5 and GoPro’s first drone. As always, the show brings more news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, and other notable things you might have missed while you were busy making films. You can see all the links from this episode in this week’s podcast post at nofilmschool.com. Post: http://nofilmschool.com/2016/09/indie-film-weekly-092116-podcast Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 22 Sep 2016 07:01:46 -0000 full No Film School In this episode of Indie Film Weekly, co-hosts Li… In this episode of Indie Film Weekly, co-hosts Liz Nord, Jon Fusco, and Emily Buder answer one of our most pressing Ask No Film School questions: what the hell is the difference between an agent and a manager? We also discuss Emmy and TIFF wins (and subsequent toppling of patriarchies), give an overview of last week’s incredible Camden International Film Festival, reveal a new indie filmmaker initiative that may change commercial directing forever, and say goodbye to director Curtis Hanson. Charles Haine joins us to reveal new gear, including Panasonic’s mirrorless GH5 and GoPro’s first drone. As always, the show brings more news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, and other notable things you might have missed while you were busy making films. You can see all the links from this episode in this week’s podcast post at nofilmschool.com. Post: http://nofilmschool.com/2016/09/indie-film-weekly-092116-podcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 1721 yes Indie Film Weekly 9.14.16: Why TIFF Matters for Filmmakers (and What You Missed This Year) https://soundcloud.com/nofilmschool/indie-film-weekly-9-14-16-why In this special episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder come to you from North America’s largest film festival, where we interviewed Werner Herzog, Morgan Spurlock, Ana Lily Amirpour, and 30 other indie luminaries. We bring you news from the combined 60-plus films, filmmaker interviews, panels, and masterclasses that we covered at the influential festival. We discuss the significance of the festival for filmmakers and cinephiles, the cinematic themes that emerged out of this year’s fare, and set the scene to prepare you for when your film gets accepted next time around. You can see our growing list of interviews and masterclass coverage from TIFF 2016 here.  You can see all the links from this show in this week’s podcast post at www.nofilmschool.com   Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 15 Sep 2016 07:01:28 -0000 full No Film School In this special episode of Indie Film Weekly, No … In this special episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder come to you from North America’s largest film festival, where we interviewed Werner Herzog, Morgan Spurlock, Ana Lily Amirpour, and 30 other indie luminaries. We bring you news from the combined 60-plus films, filmmaker interviews, panels, and masterclasses that we covered at the influential festival. We discuss the significance of the festival for filmmakers and cinephiles, the cinematic themes that emerged out of this year’s fare, and set the scene to prepare you for when your film gets accepted next time around. You can see our growing list of interviews and masterclass coverage from TIFF 2016 here.  You can see all the links from this show in this week’s podcast post at www.nofilmschool.com   Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 2504 yes Indie Film Weekly 9.8.16: IBC Gear Sneak Peek, Canon's Redemption & Festival Madness https://soundcloud.com/nofilmschool/indie-film-weekly-9816-ibc-gear-sneak-peek-canons-redemption-festival-madness In this episode of Indie Film Weekly, we kick off fall film fest season with the latest from Telluride and the Venice Biennale, and preview new gear from Amsterdam’s IBC Expo. No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder also discuss Canon’s highly anticipated release of the C700 cinema camera, and talk about what the iPhone 7’s updated camera features—including a 12 megapixel sensor and 4K shooting capabilities—might mean for filmmakers. As always, the show includes our Ask No Film School segment (this week: how to plan your film’s festival rollout), plus grant and festival deadlines, gear news, upcoming indie film releases, and other notable things you might have missed while you were busy making films. Post: http://nofilmschool.com/2016/08/indie-film-weekly-090816-podcast Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 08 Sep 2016 06:06:15 -0000 full No Film School In this episode of Indie Film Weekly, we kick off… In this episode of Indie Film Weekly, we kick off fall film fest season with the latest from Telluride and the Venice Biennale, and preview new gear from Amsterdam’s IBC Expo. No Film School co-hosts Liz Nord, Jon Fusco, and Emily Buder also discuss Canon’s highly anticipated release of the C700 cinema camera, and talk about what the iPhone 7’s updated camera features—including a 12 megapixel sensor and 4K shooting capabilities—might mean for filmmakers. As always, the show includes our Ask No Film School segment (this week: how to plan your film’s festival rollout), plus grant and festival deadlines, gear news, upcoming indie film releases, and other notable things you might have missed while you were busy making films. Post: http://nofilmschool.com/2016/08/indie-film-weekly-090816-podcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 2091 yes Indie Film Weekly 9.1.16: Drone Laws Take Flight & What's Up With Canon’s Latest DSLR https://soundcloud.com/nofilmschool/indie-film-weekly-9-1-16-drone In this episode of Indie Film Weekly, No Film School’s Liz Nord, Jon Fusco, and Charles Haine get into how the FAA’s new unmanned aircraft regulations will change everything, while Canon’s long-anticipated 5D Mark IV release changed...not much. The FAA's new rules—which went into effect this week—will mean a lot not only for those doing aerial cinematography professionally or as hobbyists, but they affect everybody else, too. We discuss these implications, say goodbye to the beloved comedic actor Gene Wilder, and give advice on solutions for getting steady shots without carrying a lot of extra weight. We also hear from filmmaker and DP Erik Shirai, whose documentary ‘The Birth of Sake’ will have its broadcast premiere on PBS' POV on September 5. As always, the show brings more news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases,  and other notable things you might have missed while you were busy making films. http://nofilmschool.com/2016/09/drone-laws-take-flight-canons-5d-mark-iv-disappoints-podcast Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 01 Sep 2016 07:02:15 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School’s Liz Nord, Jon Fusco, and Charles Haine get into how the FAA’s new unmanned aircraft regulations will change everything, while Canon’s long-anticipated 5D Mark IV release changed...not much. The FAA's new rules—which went into effect this week—will mean a lot not only for those doing aerial cinematography professionally or as hobbyists, but they affect everybody else, too. We discuss these implications, say goodbye to the beloved comedic actor Gene Wilder, and give advice on solutions for getting steady shots without carrying a lot of extra weight. We also hear from filmmaker and DP Erik Shirai, whose documentary ‘The Birth of Sake’ will have its broadcast premiere on PBS' POV on September 5. As always, the show brings more news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases,  and other notable things you might have missed while you were busy making films. http://nofilmschool.com/2016/09/drone-laws-take-flight-canons-5d-mark-iv-disappoints-podcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 2007 yes Indie Film Weekly 8.25.16: The Best Budget Cameras & What’s Missing from BBC’s Top 100 Films https://soundcloud.com/nofilmschool/indie-film-weekly-8-25-16-the In this episode of Indie Film Weekly, we take a deep dive into the BBC's new list of the 21st century's greatest films, as chosen by 177 film critics. Our discussion includes the all-important question: Why the f*ck isn't ‘Lord of the Rings’ on there? We also address another ever-popular query: What camera should I buy? This time, we're talking about whether to go DSLR or not. In addition, we say a filmmaker farewell to Gawker.com, which shut its doors this week after 14 years in operation. As always, the show brings more news about gear, upcoming grant and festival deadlines, this week’s indie film releases, our Ask No Film School segment, and other notable things you might have missed while you were busy making films. This week's show once again brings nearly our entire Brooklyn-based crew to the mics; Liz Nord, Charles Haine, Jon Fusco and Emily Buder co-host.  Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 25 Aug 2016 07:00:40 -0000 full No Film School In this episode of Indie Film Weekly, we take a d… In this episode of Indie Film Weekly, we take a deep dive into the BBC's new list of the 21st century's greatest films, as chosen by 177 film critics. Our discussion includes the all-important question: Why the f*ck isn't ‘Lord of the Rings’ on there? We also address another ever-popular query: What camera should I buy? This time, we're talking about whether to go DSLR or not. In addition, we say a filmmaker farewell to Gawker.com, which shut its doors this week after 14 years in operation. As always, the show brings more news about gear, upcoming grant and festival deadlines, this week’s indie film releases, our Ask No Film School segment, and other notable things you might have missed while you were busy making films. This week's show once again brings nearly our entire Brooklyn-based crew to the mics; Liz Nord, Charles Haine, Jon Fusco and Emily Buder co-host.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 2391 yes Indie Film Weekly 8.18.16: The Unintentional DIY Episode https://soundcloud.com/nofilmschool/indie-film-weekly-8-18-16-the This episode of Indie Film Weekly brings surprising DIY stories, from Hollywood to Nollywood and the filmmaker-fashioned gear in between. This week, nearly our entire Brooklyn crew joins in on the show: Charles Haine, Jon Fusco, Emily Buder, and yours truly, Liz Nord co-host. We cover David Lowery's rise from backseat-living to Disney-directing, the documentary film community's new petition in support of the #RighttoRecord movement, the burgeoning Nigerian indie scene, and three new DIY gear hacks that repurpose existing tools (like LEGOs!) into useful filmmaking gear. As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, our Ask No Film School segment, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 18 Aug 2016 07:01:03 -0000 full No Film School This episode of Indie Film Weekly brings surprisi… This episode of Indie Film Weekly brings surprising DIY stories, from Hollywood to Nollywood and the filmmaker-fashioned gear in between. This week, nearly our entire Brooklyn crew joins in on the show: Charles Haine, Jon Fusco, Emily Buder, and yours truly, Liz Nord co-host. We cover David Lowery's rise from backseat-living to Disney-directing, the documentary film community's new petition in support of the #RighttoRecord movement, the burgeoning Nigerian indie scene, and three new DIY gear hacks that repurpose existing tools (like LEGOs!) into useful filmmaking gear. As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, our Ask No Film School segment, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 1934 yes Indie Film Weekly 8.11.16: A New Way to Shoot Magic Hour & What to Watch at Fall Fests https://soundcloud.com/nofilmschool/indie-film-weekly-8-11-16-a In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Emily Buder, and Jon Fusco reveal a new app that helps you channel your inner Terrence Malick and shoot magic hour like a boss. We also get a jump on the onslaught of upcoming film festivals and pick some films to keep an eye out for at TIFF and NYFF. We chat about Ava DuVernay’s upcoming adaptation of sci-fi classic ‘A Wrinkle in Time’ (and her general awesomeness) and Sony’s attempt to catch up to RED with a new RAW file format, and hear a clip from our interview with DANIELS about their newly released interactive short, ‘Possibilia.’ As always, the show brings more news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, our Ask No Film School segment, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 11 Aug 2016 07:00:51 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Emily Buder, and Jon Fusco reveal a new app that helps you channel your inner Terrence Malick and shoot magic hour like a boss. We also get a jump on the onslaught of upcoming film festivals and pick some films to keep an eye out for at TIFF and NYFF. We chat about Ava DuVernay’s upcoming adaptation of sci-fi classic ‘A Wrinkle in Time’ (and her general awesomeness) and Sony’s attempt to catch up to RED with a new RAW file format, and hear a clip from our interview with DANIELS about their newly released interactive short, ‘Possibilia.’ As always, the show brings more news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, our Ask No Film School segment, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 2055 yes Indie Film Weekly 8.4.16: Closing in on 8K & The Camera that Could Kill GoPro https://soundcloud.com/nofilmschool/indie-film-weekly-8-4-16 In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord and Jon Fusco discuss a Japanese company that has begun broadcast tests with 8K footage, and a Chinese one that is looking to assume GoPro’s throne with a new action camera. We also get into Vice’s upcoming nightly news show, Academy-Award-winning screenwriter Mark Boal’s First Amendment battles, and what Netflix and Amazon's increased spending on programming means for indie filmmakers. As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, our Ask No Film School segment, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 04 Aug 2016 07:04:37 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord and Jon Fusco discuss a Japanese company that has begun broadcast tests with 8K footage, and a Chinese one that is looking to assume GoPro’s throne with a new action camera. We also get into Vice’s upcoming nightly news show, Academy-Award-winning screenwriter Mark Boal’s First Amendment battles, and what Netflix and Amazon's increased spending on programming means for indie filmmakers. As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, our Ask No Film School segment, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 2115 yes Indie Film Weekly 7.28.16: We Pick the Best Camera for First-Time Directors https://soundcloud.com/nofilmschool/indie-film-weekly-7-28-16-we In this episode of Indie Film Weekly, No Film School Editor-in-Chief Liz Nord and Producer Jon Fusco are joined by Tech Writer Charles Haine to finally settle one of our most FAQs: which camera should I buy? We also get into the DNC's film connections, the new slate of super-trailers released at last week's Comic-Con, indies nominated for this year's News & Documentary Emmys, memorials to both director Garry Marshall (‘Pretty Woman’, ‘Beaches’) and the VCR, and some skyward drama around California's first drone-related arrest. As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, our Ask No Film School segment, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 28 Jul 2016 07:00:52 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School Editor-in-Chief Liz Nord and Producer Jon Fusco are joined by Tech Writer Charles Haine to finally settle one of our most FAQs: which camera should I buy? We also get into the DNC's film connections, the new slate of super-trailers released at last week's Comic-Con, indies nominated for this year's News & Documentary Emmys, memorials to both director Garry Marshall (‘Pretty Woman’, ‘Beaches’) and the VCR, and some skyward drama around California's first drone-related arrest. As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, our Ask No Film School segment, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 2196 yes Indie Film Weekly 7.21.16: Has China Created The Darth Vader of Theater Chains? https://soundcloud.com/nofilmschool/indie-film-weekly-72116-has-china-created-the-darth-vader-of-theater-chains In this episode of Indie Film Weekly, No Film School’s co-hosts Liz Nord, Jon Fusco and Emily Buder imagine the impact of AMC’s Odeon purchase, which creates the world’s largest cinema chain and might completely screw theatrical for indies. We also discuss the 2016 Emmy nominees, how Hollywood’s notorious casting scams affect indie actors, and Blackmagic’s forward-thinking new Arduino shield for DIY remote lens control. The episode includes exclusive clips from interviews with filmmakers Roar Uthaug, whose film 'The Wave’ is out on Netflix this week, and Brady Corbet, whose film ‘Childhood of a Leader’ is hitting VOD & limited theatrical. As always, the show brings more news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, our Ask No Film School segment, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 21 Jul 2016 12:41:16 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School’s co-hosts Liz Nord, Jon Fusco and Emily Buder imagine the impact of AMC’s Odeon purchase, which creates the world’s largest cinema chain and might completely screw theatrical for indies. We also discuss the 2016 Emmy nominees, how Hollywood’s notorious casting scams affect indie actors, and Blackmagic’s forward-thinking new Arduino shield for DIY remote lens control. The episode includes exclusive clips from interviews with filmmakers Roar Uthaug, whose film 'The Wave’ is out on Netflix this week, and Brady Corbet, whose film ‘Childhood of a Leader’ is hitting VOD & limited theatrical. As always, the show brings more news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, our Ask No Film School segment, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 2423 yes Indie Film Weekly 7.14.16: The Real Reason Pokemon Go Matters & RED Goes 8K for Bay https://soundcloud.com/nofilmschool/indie-film-weekly-7-14-16-the In this episode of Indie Film Weekly, No Film Schoolers Liz Nord, Emily Buder and Jon Fusco delve into the augmented reality craze that’s spreading faster than Tinder, and ‘Helium,’ RED’s new 8K sensor. At the top of the show, we cover some ways in which the indie film world is tackling the serious recent news headlines around race and violence in America. We also hear from director Jeff Nichols about his preference for shooting anamorphic, debate Michael Shannon’s recent complaints about underpaid indie actors, and discuss New York times coverage of documentary film funding. As always, the show also covers news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, Ask No Film School and and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 14 Jul 2016 07:01:00 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film Schoolers Liz Nord, Emily Buder and Jon Fusco delve into the augmented reality craze that’s spreading faster than Tinder, and ‘Helium,’ RED’s new 8K sensor. At the top of the show, we cover some ways in which the indie film world is tackling the serious recent news headlines around race and violence in America. We also hear from director Jeff Nichols about his preference for shooting anamorphic, debate Michael Shannon’s recent complaints about underpaid indie actors, and discuss New York times coverage of documentary film funding. As always, the show also covers news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, Ask No Film School and and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit megaphone.fm/adchoices In this episode of Indie Film Weekly, No Film Schoolers Liz Nord, Emily Buder and Jon Fusco delve into the augmented reality craze that’s spreading faster than Tinder, and ‘Helium,’ RED’s new 8K sensor. At the top of the show, we cover some ways in which the indie film world is tackling the serious recent news headlines around race and violence in America. We also hear from director Jeff Nichols about his preference for shooting anamorphic, debate Michael Shannon’s recent complaints about underpaid indie actors, and discuss New York times coverage of documentary film funding. As always, the show also covers news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, Ask No Film School and and other notable things you might have missed while you were busy making films.

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 2584 yes Indie Film Weekly 7.8.16: Saying Goodbye to a Film Legend and An Idealistic Camera https://soundcloud.com/nofilmschool/indie-film-weekly-7-8-16 In this special Friday episode of Indie Film Weekly, we mourn the loss of both celebrated Iranian filmmaker Abbas Kiarostami and the world's first crowdsourced camera, the Digital Bolex. We also get into how Brexit, the Academy’s diversity invitations, and new drone laws could change the face of indie film, and we mull over the state of the commercial industry according to AdAge's most recent compilation of A-List production companies. It is hosted by No Film School's Editor-in-Chief Liz Nord, Producer Jon Fusco and Managing Editor Emily Buder. As always, the episode also includes our Ask No Film School segment, plus grant and festival deadlines, gear news, upcoming indie film releases, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit megaphone.fm/adchoices Fri, 08 Jul 2016 07:01:20 -0000 full No Film School In this special Friday episode of Indie Film Week… In this special Friday episode of Indie Film Weekly, we mourn the loss of both celebrated Iranian filmmaker Abbas Kiarostami and the world's first crowdsourced camera, the Digital Bolex. We also get into how Brexit, the Academy’s diversity invitations, and new drone laws could change the face of indie film, and we mull over the state of the commercial industry according to AdAge's most recent compilation of A-List production companies. It is hosted by No Film School's Editor-in-Chief Liz Nord, Producer Jon Fusco and Managing Editor Emily Buder. As always, the episode also includes our Ask No Film School segment, plus grant and festival deadlines, gear news, upcoming indie film releases, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 2328 yes Indie Film Weekly 6.23.16: This Week, Indie Film Lost a Champion https://soundcloud.com/nofilmschool/indie-film-weekly-6-23-16-this Have you ever heard of the tickling fetish? Neither had we—until the very angry subjects of the documentary Tickled stormed a recent screening. We discuss that, Skywalker Sound's new multi-directional audio tech, the tragic loss of Anton Yelchin (who was a big proponent of indie film), what net neutrality means for filmmakers, and more. The episode is hosted by No Film School Editor-in-Chief Liz Nord, Producer Jon Fusco, and yours truly, Managing Editor Emily Buder. As always, it includes our Ask No Film School segment, plus grant and festival deadlines, gear news, upcoming indie film releases, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 23 Jun 2016 07:01:39 -0000 full No Film School Have you ever heard of the tickling fetish? Neith… Have you ever heard of the tickling fetish? Neither had we—until the very angry subjects of the documentary Tickled stormed a recent screening. We discuss that, Skywalker Sound's new multi-directional audio tech, the tragic loss of Anton Yelchin (who was a big proponent of indie film), what net neutrality means for filmmakers, and more. The episode is hosted by No Film School Editor-in-Chief Liz Nord, Producer Jon Fusco, and yours truly, Managing Editor Emily Buder. As always, it includes our Ask No Film School segment, plus grant and festival deadlines, gear news, upcoming indie film releases, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 2608 yes Inside the Minds of Film's Coolest Gatekeepers (& How to Get Yours Programmed) https://soundcloud.com/nofilmschool/inside-the-minds-of-films Our guests on this episode of the No Film School podcast have two of the coolest jobs in film. Dan Nuxoll is Programming Director of Rooftop Films, a screening series that showcases indie films in unique outdoor locations around New York, and Cristina Cacioppo is a New York programmer for Alamo Drafthouse, an incredible independent theatre chain started in Austin, Texas. We talk about what they look for in films to screen, how filmmakers can get our work out to appreciative audiences, and what it takes to create successful film events in Brooklyn—an area with an oversaturated but discriminating audience that has the potential to worldwide moviegoing trends. Learn more about your ad choices. Visit megaphone.fm/adchoices Mon, 20 Jun 2016 07:00:40 -0000 full No Film School Our guests on this episode of the No Film School … Our guests on this episode of the No Film School podcast have two of the coolest jobs in film. Dan Nuxoll is Programming Director of Rooftop Films, a screening series that showcases indie films in unique outdoor locations around New York, and Cristina Cacioppo is a New York programmer for Alamo Drafthouse, an incredible independent theatre chain started in Austin, Texas. We talk about what they look for in films to screen, how filmmakers can get our work out to appreciative audiences, and what it takes to create successful film events in Brooklyn—an area with an oversaturated but discriminating audience that has the potential to worldwide moviegoing trends. Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

]]> 2565 yes Indie Film Weekly 6.16.16: The Celluloid Debate & What We Can Do For Orlando https://soundcloud.com/nofilmschool/indie-film-weekly-6-16-16-the In this episode of Indie Film Weekly, No Film School’s Liz Nord, Emily Buder and Jon Fusco weigh in on our controversial interview with the president of Kodak, and reflect on how filmmakers can respond to Orlando's tragedy. We approach the big issues of the day with...what else? Movies! We come up with quite a list of summer recommendations, from our favorite LGBTQ works (to express solidarity with Orlando's gun violence victims), to standouts from the Brooklyn Film Festival, to this week's Sheffield Doc/Fest winners and more. As always, the episode includes our Ask No Film School segment, plus grant and festival deadlines, gear news, upcoming indie film releases, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit megaphone.fm/adchoices Thu, 16 Jun 2016 07:01:23 -0000 full No Film School In this episode of Indie Film Weekly, No Film Sch… In this episode of Indie Film Weekly, No Film School’s Liz Nord, Emily Buder and Jon Fusco weigh in on our controversial interview with the president of Kodak, and reflect on how filmmakers can respond to Orlando's tragedy. We approach the big issues of the day with...what else? Movies! We come up with quite a list of summer recommendations, from our favorite LGBTQ works (to express solidarity with Orlando's gun violence victims), to standouts from the Brooklyn Film Festival, to this week's Sheffield Doc/Fest winners and more. As always, the episode includes our Ask No Film School segment, plus grant and festival deadlines, gear news, upcoming indie film releases, and other notable things you might have missed while you were busy making films. Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

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