The No Film School Podcast (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. 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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“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

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

'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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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 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 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

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