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From Madagascar to Hollywood with Director Andrew Kightlinger; Plus, 'Don't Move' Directors’ Microbudget to Sam Raimi-Produced Journey

25 oktober 2024 | 92 min

What does it take to go from indie filmmaking on a shoestring budget to working with legends like Sam Raimi? Andrew Kightlinger’s journey from Madagascar to Hollywood shows how personal experiences shape a filmmaker’s voice. Filmmakers Adam Schindler and Brian Netto share how they moved from microbudget horror films to collaborating with one of the industry’s icons. This episode explores the highs and lows of filmmaking, from preparation and improvisation to building trust on set.

Andrew Kightlinger grew up surrounded by the vibrant landscapes of Madagascar, which ignited his passion for filmmaking. Now directing in Hollywood, his films, like Lost on a Mountain in Maine, showcase his ability to merge personal experiences with visually captivating storytelling. Lost on a Mountain in Maine releases on November 1.

Adam Schindler and Brian Netto began their filmmaking journey with microbudget horror, mastering the craft of tension and suspense. Their latest film, Don’t Move, produced by Sam Raimi, is set to release on October 25, 2024 on Netflix, proving that powerful stories don’t require massive budgets

In today’s episode, No Film School’s Jason Hellerman and GG Hawkins speak with Andrew Kightlinger, Adam Schindler, and Brian Netto to discuss:

Andrew Kightlinger’s journey from Madagascar to Hollywood
How his upbringing influenced Lost on a Mountain in Maine
The need for preparation and improvisation with tight budgets
Schindler and Netto’s move from micro budget films to working with Sam Raimi on Don’t Move
Creating real-time horror with minimal voiceover and non-linear techniques
The role of trust and collaboration in elevating a project

Memorable Quotes:

“The big lesson I learned in that movie was who not to work with, and I won't go into more detail than that, but I think that's a very important lesson in a collaborative field like ours.” (12:03)
“I believe that filmmaking is preparation. Like bar none, that's what your job as a director is to do. So prepare because it's gonna be chaos when you start shooting.” (18:02)
“I knew what I wanted the film to be. And then I also storyboarded the whole movie just with stick figures. I just had an iPad and I drew out all the really complicated stuff to the best of my ability.” (20:06)
“He's the consummate collaborator, like… horror icon, but also like one of the best script to screen notes… he lives up to all of it.” (45:22)
“We became directors together. Our passion for film began together. We founded together. I think the things that we enjoy are slightly different. We like the same movies, but we also have different tastes.” (55:17)
“I think the filmmaking part of it is the fun part and the easy part. It's all the other things that you have to juggle and have the temperament for and the stomach for and the patience for and all those sorts of things.” (1:04:26)

Resources:

Andrew on IMDb

Lost on a Mountain in Maine on IMDb

Adam Schindler on IMDb

Follow Adam on Instagram

Brian Netto on IMDb

Follow Brian on Instagram

Don’t Move on IMDB

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Why Writer-Director Hallie Meyers-Shyer Wrote ‘Goodrich’ for Only Michael Keaton

21 oktober 2024 | 61 min

In filmmaking, finding the right actor can make all the difference, and for Hallie Meyers-Shyer, Michael Keaton was the only choice for the lead role in Goodrich. This episode delves into the creative journey of writing and directing a deeply personal film, navigating the challenges of independent production, and discovering the heart of the story during editing. It also explores how persistence, vision, and collaboration are essential in bringing a project to life.

Hallie Meyers-Shyer is a writer and director known for her heartfelt and character-driven stories. Following in the footsteps of her legendary filmmaking parents, Nancy Meyers and Charles Shyer, Hallie made her directorial debut with Home Again in 2017. Her latest film, Goodrich, is a personal story inspired by her family dynamics, with a lead role written specifically for Michael Keaton. Hallie is passionate about crafting films that blend humor and emotion, creating stories that resonate on a deeply human level.

In today’s episode, No Film School’s GG Hawkins and Jason Hellerman speak with Hallie Meyers-Shyer to discuss:

Insights from the LA Director’s Lab, a workshop that offers directors a space to practice their craft and experiment with creative risks
Why Michael Keaton was the perfect fit for Goodrich and how she wrote the role with him in mind
The personal inspiration behind the story, rooted in Hallie’s experiences with her own family
How to keep pushing forward with a film project, even when financing falls through
The importance of outlining in the writing process and how it provides freedom in creativity
Hallie’s experience working with a tight-knit team and storyboarding the entire film
The emotional discoveries that shaped the film during editing and how the film revealed itself as more than just a comedy

Memorable Quotes:

“I work hard to fully flesh out each character and make them not just servicing the thing that you want to get across in that scene and make them people with a lot of layers and things.” (15:06)
“I kind of always felt this was going to be an independent movie, even though it sort of would have been a studio movie probably 30 years ago.” (18:24)
“I had Pinterest boards for costumes. I had Pinterest boards for every location. I also had a really long time to work on this movie, so I had about six years of images pulled.” (26:27)
“I love editing. I just love it. It's one of my favorite parts, if not my favorite part.” (36:02)
“Something I noticed about Michael Keaton in the editing room (…) is he brings the first scene of the movie into the last scene of the movie.” (37:15)
“I know many super talented writers who can do multiple projects at once. I admire it. I cannot do it. I am so fully immersed in what I'm writing.” (46:27)
“I think it's so important for human stories, personal stories about people and emotions and whatever your life story is, get it out there, keep at it, be your biggest champion, make it happen.” (51:52)

Resources:

Hallie on IMDb

Goodrich on IMDb

Hollywood Camera Works trainings

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Mihai Malaimare Jr. on Instagram

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

18 oktober 2024 | 65 min

The Austin Film Festival (AFF) stands out for its unique focus on writers and emerging filmmakers, providing a space for attendees to connect with industry professionals and discover creative collaborations. With its welcoming atmosphere, AFF offers an ideal environment for networking, learning, and exploring new opportunities. The conversation also delves into the career of cinematographer Mihai Malaimare Jr., who shares his journey from film school to working with legendary director Francis Ford Coppola, offering insights into his approach to cinematography and navigating the evolving role of technology in film.

Andy Volk is the Senior Film Programmer at Austin Film Festival. He selects films from around the world and helps shape the festival’s diverse lineup.

Emily Lock is the Conference Director at Austin Film Festival. She organizes panels and events focused on screenwriting and filmmaking.

Mihai Malaimare Jr. is a cinematographer known for Megalopolis and Jojo Rabbit. He began working with Francis Ford Coppola shortly after film school and is recognized for his innovative approach to both film and digital cinematography. Mihai has worked on several acclaimed films, blending artistry with evolving technology.

In today’s episode, No Film School’s GG Hawkins and Ryan Koo speak with Andy Volk, Emily Lock, and Mihai Malaimare Jr. to discuss:

How to make the most of your time at the Austin Film Festival
Why AFF stands out as a community-driven festival
Tips for networking, pitching, and finding creative collaborations at the festival
Mihai Malaimare Jr.’s journey from film school to becoming Francis Ford Coppola’s go-to cinematographer
How Mihai navigates the evolving landscape of VFX-heavy productions and maintains the balance between technology and artistry
Building lasting professional relationships with directors and how to stay open to creative ideas on set

Memorable Quotes:

“[AFF] is one of the more welcoming festivals that I've ever been to, and it really is about community. And I think that's one of the things that we really pride ourselves on at the festival is making it feel really warm and really open.” (7:34)
“It's a very rare opportunity for an aspiring and emerging storyteller to get in a room with someone who's an actual gatekeeper for Hollywood, to hear their perspective on what they're looking for and their advice to emerging voices, and to have the opportunity to speak with them, either one-on-one or in a group, and really pitch themselves.” (16:22)
“I want any of our listeners who sort of skew on the shyer side to practice introducing themselves to somebody that they don't know.” (19:03)
“My advice is watch everything. And I know that sounds trite, but it's so important to get outside your own taste bubble.” (25:34)
“Make space for things that don't jump out at you. And you would be surprised how much you can love something that didn't really necessarily call to you.” (25:58)
“It can be very stressful when you're not prepared, and you're used to productions that are really very carefully planned. If you move an inch, then it's a disaster.” (38:09)
“I'm still trying to figure out why, but I'm more attracted to still photography than stills from other movies.” (52:18)

Resources Mentioned:

Austin Film Festival

On Story podcast

Mihai Malaimare Jr. on IMDb

Mihai Malaimare Jr.’s website

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Follow Sneha Mendes on Instagram

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Applying for Your O-1 Visa To Work in Film and TV

14 oktober 2024 | 56 min

The O-1 visa, also known as the "artist visa," is a crucial step for filmmakers and creative professionals aiming to establish their careers in the U.S. Designed for individuals with extraordinary ability in their fields, the application process can be daunting. This episode offers insights into what it takes to qualify, how to strengthen your application, and common challenges faced by those seeking an O-1. Whether you're in the middle of applying or just starting out, this episode provides a roadmap for navigating the process.

Alabama Blonde is a casting director, costume designer, and performance coach originally from Australia. Now based in Los Angeles, she has navigated the O-1 visa process twice, ultimately securing a green card. Alabama’s multidisciplinary career spans various creative roles, giving her unique insights into the challenges of obtaining visas as an artist working across multiple fields.

Julia Zanin de Paula is a Brazilian filmmaker, director, and editor currently based in New York. With a background in horror films, including her notable short Mother of Monsters, Julia has successfully transitioned from a student visa to an O-1 artist visa. She offers valuable advice on gathering press, awards, and recommendations to strengthen her application.

Sneha Mendis is a producer and screenwriter from India, currently in New York, and in the midst of applying for her O-1 visa. With a background in production and development, Sneha shares her experience of building a case for the visa while working in various roles across film sets in the U.S.

In today’s episode, No Film School’s GG Hawkins and Jason Hellerman speak with filmmakers Alabama Blonde, Julia Zanin de Paula, and Sneha Mendes to discuss:

What qualifies as “extraordinary ability” and how to demonstrate it in your visa application
The key documents and evidence required to strengthen your case, including press coverage, awards, and work offers
The emotional challenges of navigating the visa process and finding support while applying
Common misconceptions about the O-1 visa and why it’s not as "easy" as some think
Financial considerations: the costs of legal fees, recommendations, and union approvals

Memorable Quotes:

“I think being extraordinary is having something that sets you apart from everyone who's doing the thing that you do.” (15:05)
“You know what happens when you're a filmmaker and you are starting your career? You're couch surfing. You know, it's not always easy.” (24:10)
“They can't say Julia will be extraordinary. They have to say Julia is extraordinary right now, and she will be extraordinary in the US.” (25:56)
“You've got to be a little insane to do the O1 visa. You've got to be a little delusional. Because if you don't go all in, you're not going to get it.” (32:34)
If you have a long-term project that the producer has never encountered your visa and has never gone through human resources with your kind of visa, they might not be down to do it.” (43:22)
“It doesn't get easier once you get it. It's just a constant struggle to grow in your career.” (44:20)

Mentioned:

Sneha’s website

Sneha on IMDb

Follow Julia Zanin de Paula on Instagram

Julia’s website

Julia on IMDb

Follow Alabama Blonde on Instagram

Strike the Blonde Casting on Instagram

Find No Film School everywhere:

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Facebook

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Jourdan Aldredge's article about Eddie AI

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How to Scale Video Editing With an AI Storytelling Partner

8 oktober 2024 | 48 min

As AI continues to reshape creative industries, video editing is undergoing a major transformation. Tools like Eddie AI are making the editing process faster, more efficient, and more accessible to filmmakers. By acting as a storytelling partner, AI can quickly generate rough cuts, find key moments in footage, and even suggest alternative storylines, all while freeing up creatives to focus on the art of storytelling. This episode explores how AI is changing the landscape of post-production, addressing both the excitement and concerns about its growing role in filmmaking.

Shamir Allibhai is the co-founder and CEO of Eddie AI, an innovative tool designed to assist filmmakers in streamlining the video editing process. With a background in documentary filmmaking and production work at the BBC, Shamir transitioned into tech to solve the workflow challenges he encountered in the field. His passion for storytelling drives his mission to use AI as a tool to empower creators, making the process of crafting stories more efficient and accessible to all.

Jourdan Aldredge is the tech editor at No Film School, with years of experience covering filmmaking tools, techniques, and trends. A filmmaker and writer himself, Jourdan brings a unique perspective on how technology intersects with storytelling.

In today’s episode, No Film School’s Gigi Hawkins speaks with Jourdan Aldredge and Shamir Allibhai to discuss:

The evolution of video editing and how AI tools can help streamline the process
How Eddie AI functions as a "storytelling partner" for filmmakers, not just an editing tool
The iterative nature of filmmaking and how AI can aid in refining the story during production
Addressing fears around AI in creative industries, including concerns about replacing human creativity
How AI tools can save time and focus more energy on the craft of storytelling
The future of AI in film and how it can democratize storytelling

Memorable Quotes:

“I have this aspiration that more people can tell better stories. And I want to help bring those untold stories out.” (5:04)
“Hey, let's find the most important sound bites on these topics, let's start creating a rough cut, but also, hey, you also need 10 TikToks.” (16:58)
“Imagine if production and post-production weren't the siloed steps. What if they could operate in tandem in a similar sense to an agile workflow?” (20:36)
“I think with every technology we've observed, they've actually led to an increase in productivity or creativity.” (24:13)
“I truly believe that a lot of these tools are like bicycles for the mind.” (36:03)

Mentioned:

Eddie AI

Follow Jourdan on LinkedIn

Follow Shamir on X

Shamir on IMDb

Find No Film School everywhere:

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Max Lugavere on Instagram

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Bad Shabbos' Editor Talks Mental Health in Post & How Doc Informs Narrative

7 oktober 2024 | 51 min

Death of Pilot Season, Big Pivots & Max Lugavere's Deeply Personal, Long-Game Doc ‘Little Empty Boxes’

4 oktober 2024 | 86 min

As streaming reshapes the industry, pilot season is a thing of the past, leaving creatives to navigate constant demands and year-round pitching. How do filmmakers find balance when the lines between work and rest blur? And how can unexpected pivots lead to more meaningful projects? This episode explores staying resilient in a world without structure, featuring Max Lugavere's decade-long journey with Little Empty Boxes, a deeply personal documentary about his mother's battle with dementia that evolved in ways he never expected.

Max Lugavere is a filmmaker, health journalist, and New York Times bestselling author. After his mother’s diagnosis with Lewy body dementia, Max chronicled her experience in Little Empty Boxes. The film, which took over a decade to complete, shifted from an investigative piece to an intimate portrayal of love, loss, and resilience.

In today’s episode, No Film School’s Gigi Hawkins speaks with Jason Hellerman, Max Lugavere and Chris Newhard to discuss:

The death of pilot season and how streaming has transformed the TV landscape
The endless cycle of pitching and the impact on writers’ lives
Finding balance between personal life and an unpredictable film industry.
How unexpected creative pivots can lead to more meaningful work.
Max Lugavere’s personal journey documenting his mother’s battle with dementia in Little Empty Boxes
Chris Newhard’s role in reshaping Little Empty Boxes through fresh eyes, helping it evolve into a deeply emotional and impactful documentary

Memorable Quotes:

“The thing with pilot season not existing is interesting because you still have network TV, right? Network TV still generally functions the way it always has, except for it doesn't embrace the buying and research and development behind pilot season anymore.” [5:36]
“The anxiety of pitching year-round is that you're also assuming these execs are reading year-round. They need a break too.” [9:03]
“There were likely overlapping skills that I had learned as a short form content creator that could be applied to long form documentary filmmaking, but of course the amount of money and time and personnel required to create a feature length documentary… it's so different.” [26:28]
“Being in front of the camera allowed me access to some moments that I think you probably wouldn't have been able to catch on film had I not actually had been there.” [41:04]
“I just simply found that going with the emotion instead of trying to fight the tide was more beneficial for me.” [53:24]
“He spent a lot of time and a lot of money trying to make this movie happen. And the first thing I did is I deleted it.” [55:42]

Mentioned:

Little Empty Boxes website

Max Lugavere’s website

The Genius Life podcast

Max Lugavere’s Books

Chris Newhard’s website

Chris Newhard on Instagram

Jason Hellerman on IMDb

Jason’s library of content on No Film School

Jason on Instagram

Jason on X

KYNO editing tool

Find No Film School everywhere:

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Jason’s library of content on No Film School

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The State of Spec Scripts, ‘The Substance’ & Panama Filmmaking

27 september 2024 | 97 min

Selling a script can feel like a distant dream, but the process is very much alive. From using platforms like The Black List to writing query letters and building personal connections, breaking into the industry is challenging but not impossible.

Plus, we explore the rise of the Panamanian film industry, how it has evolved, and what it takes to make a mark in a smaller but growing market.

Delfina Vidal is a Panamanian filmmaker known for her documentaries. She has contributed significantly to the growing Panamanian film industry, focusing on telling stories that resonate with local and international audiences.

Arianne Benedetti is a producer and key figure in the Panamanian film scene. She is instrumental in the development of Panama’s cinematic landscape, working on projects that showcase the country’s cultural and artistic diversity.

Maria Isabel Burnes is involved in promoting the Panamanian film industry, playing an essential role in nurturing emerging filmmakers and helping develop a vibrant film culture in Panama.

In today’s episode, No Film School’s GG Hawkins speaks with Jason Hellerman and filmmakers from Panama Delfina Vidal, Arianne Benedetti and Maria Isabel Burnes to discuss:

How to break into the industry by selling or optioning scripts
The importance of getting your work out into the world and building a community around it
The Substance, the film starring Demi Moore, Dennis Quaid and Margaret Qualley, written and directed by Coralie Fargeat
What emerging filmmakers in Panama are doing to grow their film industry
Strategies to create universal stories that can travel beyond local markets
Why female filmmakers are thriving in Panama’s expanding film scene

Memorable Quotes:

"You have to get your story out into the world. You have to be willing to hear the sometimes harsh feedback that these websites deliver.” [05:25]
"Don't stop writing, because maybe the main thing here is: one script can open a couple doors, two scripts can open more, three, you know, onward and upward, but you're gonna need scripts." [16:34]
“It's not just about how great your script is, but how marketable it is. Who sees that they can make money from it? Is this some material that I can get something in return for?” [20:15]
“It’s more common to be on an NFL roster than it is to be a working screenwriter in Hollywood.” [26:21”
“When you're going to work with kids, make sure you have a lot of time before set so they can relate to you and feel very comfortable with you.” [59:02]
“Always, always prepare for the worst. Prepare your coworkers for the worst. Prepare your actors for the worst. Prepare the location that you're working in for the worst.” [1:03:07]

Mentioned:

Jason Hellerman on IMDb

Jason on Instagram

Jason on X

Delfina Vidal on IMDb

Arianne Benedetti on IMDb

Maria Isabel Burnes on IMDb

The Black List

Stage 32

Roadmap Writers

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Learn more about Scott Monahan

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Why Indie Film Distribution Is About To Go Punk Rock

19 september 2024 | 82 min

Filmmaking isn’t just about making a great film—it’s about getting that film seen. With traditional distribution models crumbling, independent filmmakers are finding new ways to connect directly with audiences. This episode explores how the indie film landscape is shifting, with filmmakers taking control of their own distribution, marketing, and audience-building strategies. Whether you’re a first-time filmmaker or a seasoned pro, this episode will inspire you to think outside the box and embrace a more grassroots approach to getting your work into the world.

Jon Reiss is a filmmaker, author of the book Think Outside the Box Office, and a media strategist who runs 8 Above, a company that creates custom distribution strategies for indie films. He has consulted with filmmakers and organizations worldwide including The Gotham, IDA, and Film Independent, and has led workshops on distribution and marketing through his 8 Above Distribution Lab. Reiss is currently producing a documentary on robotic performance artist Mark Pauline, and is producing the second season of a podcast, Plantscendence, about people’s psychedelic experiences. He has recently launched a Substack focused on indie film distribution and marketing.

Annamaria Sofillas, a development executive and producer, is the Director of Content at Kino Lorber’s MHz SVOD. She is the lead producer of the documentary "I'm “George Lucas": A Connor Ratliff Story, which premiered at Slamdance ’24 and received theatrical exhibition nationwide through Alamo Drafthouse Cinemas, with digital distribution by Grasshopper Film. Annamaria was instrumental in building NBCUniversal's Seeso and Gimlet Media's scripted division, where she led over 25 long-form television series and 30 stand-up specials, including the GLAAD Award-nominated Take My Wife and BAFTA Award-nominated Flowers.

Scott Monahan, the filmmaker behind Anchorage, has been candid about his experience with self-distribution, highlighting the challenges and successes of taking control of a film’s release.

Glen Reynolds, founder of Circus Road Films, is a producer rep and festival advocate who helps indie filmmakers navigate distribution and find the right partners to bring their projects to audiences.

In this roundtable discussion, No Film School’s GG Hawkins speaks with Jon Reiss, Annamaria Sofillas, Scott Monahan, and Glen Reynolds to discuss:

Why hybrid distribution is essential for indie filmmakers today
How film festivals and events can help grow your audience
Why setting clear release goals is crucial for your film’s success
How building your audience starts long before your film's release
Real-world examples of filmmakers using grassroots promotion and festival tours
Why filmmakers are taking control of their own marketing and outreach strategies
How indie filmmakers are embracing a punk rock mentality to bypass traditional distribution models

Links:

Learn more about Glen Reynolds

Follow Annamaria Sofillas on Instagram

Buy or rent I’m “George Lucas”: A Connor Ratliff Story on Amazon/Apple

I'm "George Lucas": A Connor Ratliff Story Website

Follow I’m “George Lucas” on Instagram

Follow I’m “George Lucas” on Facebook

Follow I’m “George Lucas” on X

8 Above with Jon Reiss Substack

8 Above website

Find No Film School everywhere:

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Jason’s library of content on No Film School

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Imagery, Fall Fest Sales & Director Niclas Larsson on His 'Mother, Couch!' Production Book

18 september 2024 | 75 min

Imagery plays a crucial role in filmmaking, shaping how a story visually unfolds. This element must be integrated into the scriptwriting process, rather than being left for production. With fall film festivals in full swing, indie filmmakers are not only focused on storytelling but also on the challenges of navigating the competitive market and selling their films. A strong visual narrative can make all the difference when it comes to standing out and securing distribution deals.

Director Niclas Larsson’s feature film Mother, Couch! brings an intriguing mix of surrealism and family drama to the screen. Premiering at the 2023 Toronto International Film Festival, this film stars Ewan McGregor and explores the strange dynamic of a mother refusing to leave a couch in a furniture store. Its unique visual storytelling and offbeat premise are sure to leave an impression.

In today’s episode, No Film School’s GG Hawkins speaks with Jason Hellerman and Niclas Larsson to discuss:

Why memorable imagery in scripts is key to creating impactful films
The challenges of today’s film festival market and indie acquisitions
Niclas Larsson’s unique creative process and his “Storm Book”
How the physical layout of Mother, Couch! plays a critical role in the story's themes
Why sticking to your gut and vision is essential in the post-production process

Memorable Quotes:

"Imagery is something that should go hand in hand with filmmaking." [1:55]
"We're missing images right from the core. We're relying too much on cinematographers or directors to find them later." [5:08]
"If you can master the short form, if you can really pay attention to every single second of what you're doing and the importance of every second." [24:23]
"Everything we do in scene one to nine needs to be confused, it needs to resemble or picture, convey confusion and displacement." [30:12]
"You make movies for other people—the real people. A singular vision is supposed to be criticized." [01:04:37]
"The level of filmmaking has declined and is declining rapidly. And we need to stay strong, giving an adult audience bang for their buck, because that's our job." [01:04:56]

Mentioned

Jason Hellerman on IMDb

Learn more about Mother, Couch! on IMDb

Niclas Larsson on IMDb

Follow Niclas on Vimeo

Follow Niclas Larsson on Instagram

Find No Film School everywhere:

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Follow Patrick Walsh on IG

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We’re All Halfway Through Writing a Short Film That We Will Direct

13 september 2024 | 73 min

Actor Saoirse Ronan recently revealed that she is halfway through writing a short film that she plans to direct— and it feels so relatable. It reminds us that creative struggles are universal, no matter who you are. But being halfway through is not a failure but a part of the journey. Tune in to know what to do to reach the finish line.

In today’s episode, No Film School’s GG Hawkins, Jason Hellerman and guest Patrick Walsh discuss:

Saoirse Ronan is halfway through writing a short film she plans to direct
The relatable struggle of getting stuck halfway through a project
Outlining and having a clear ending in mind to avoid getting stuck in the middle of a writing project
Actors transitioning to directing and the unique perspective they bring
The value of grants, labs, and workshops for filmmakers to get support and feedback
The list of grants and labs that No Film School has launched on its website
The recent positive performance of films at the box office
Patrick’s journey into editing, starting from film studies
Patrick’s experience of destination editing for the film The Uninvited
Technical challenges and workflow of remote editing

Memorable Quotes

“I do think short films are coming back to Hollywood.” [03:03]
“Don’t start writing something you don’t absolutely know how it ends. It’s not worth cranking out 100 final draft pages if you don’t know what happens in the last four.” [3:39]
“Labs beget labs, just as festivals beget festivals.” [15:50]
“These grants are that stepping stone that maybe you didn’t know you needed.” [15:03]
“Seeing these movies do well has been a strong indicator that movies are back, and original ideas with strong genres and points of view have a viable place in the marketplace.” [21:49]
“It’s been good to see Hollywood bounce back a little bit from the strikes and from the MPTP not paying writers and actors what they deserve.” [23:22]
“Films aren’t finished. They’re abandoned.” [51:33]

Links:

Patrick Walsh Website

Grants and Labs List

Find No Film School everywhere:

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Facebook

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Instagram

Follow Nadine Crocker on Instagram

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Why A LUT Will Save Your Movie (Kinda)

12 september 2024 | 48 min

In this episode of the No Film School podcast, GG Hawkins interviews Ryan Thomas, the cinematographer, and Dan Edwards, the colorist, of the film 'I Really Love My Husband'. They discuss the process of color grading and the importance of early collaboration and communication between the director, DP, and colorist. They emphasize the need for budgeting for color grading and creating a LUT (lookup table) before shooting to establish the desired look of the film. They also discuss the dangers of editing in log and the importance of developing a shared vision and trust between the creative team. In this conversation, Dan, GG Hawkins, and Ryan discuss the importance of color grading in filmmaking and how it can enhance the storytelling process. They talk about the role of color in creating a specific mood and atmosphere, as well as the challenges and considerations when working with different skin tones. They also touch on the importance of communication and collaboration between the director, DP, and colorist, and the use of visual references to convey desired looks. The conversation concludes with advice for emerging filmmakers interested in color grading.

Takeaways

Early collaboration and communication between the director, DP, and colorist is crucial for achieving the desired look of the film.
Budgeting for color grading is important to ensure that there is enough time and resources for the process.
Creating a LUT before shooting can help establish the look of the film and avoid surprises in the final grade.
Editing in log can limit creativity and make it difficult to achieve the desired look of the film.
Developing a shared vision and trust between the creative team is essential for a successful color grading process. Color grading plays a crucial role in enhancing the storytelling process by creating a specific mood and atmosphere.
Working with different skin tones requires careful consideration and communication to achieve the desired look.
Collaboration and communication between the director, DP, and colorist are essential for a successful color grading session.
Visual references can be used to convey desired looks and facilitate effective communication.
Investing in a comfortable and well-equipped color grading environment can enhance the client's experience and trust in the process.
For emerging filmmakers interested in color grading, it is recommended to seek out reliable learning resources and invest in a calibrated display for accurate color representation.

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How ‘Continue’ Director Nadine Crocker Turned Rejection Into Two Lionsgate Features

9 september 2024 | 66 min

The world of filmmaking is full of challenges, from industry rejection to personal setbacks. Yet, for many independent filmmakers, these obstacles become opportunities for growth and perseverance. This episode explores how passion, persistence, and a refusal to give up can turn seemingly insurmountable odds into career-defining moments. Whether you're an aspiring filmmaker or a seasoned professional, the story of how Nadine Crocker made her mark in the industry is sure to inspire.

Nadine is a filmmaker, actor, and mental health advocate whose latest feature, “Continue,” is based on her own struggles with depression and suicide. The award-winning drama tells the story of a woman who, after a failed suicide attempt, is taken to a mental institution where she finds unexpected friendships, love, and a new purpose. Release by Lionsgate during Suicide Awareness Month, the film has garnered critical acclaim for its raw portrayal of mental health struggles. Nadine not only wrote, directed, and produced “Continue,” but also stars in it, bringing an intensely personal narrative to life. After years of being typecast and facing rejection, she took control of her career.

In today’s episode, No Film School’s GG Hawkins speaks with Nadine Crocker to discuss:

Being dropped by her reps shortly after having her son—and how it led her to make “Continue” independently.
Breaking free from being typecast and proving herself as a writer, director, and producer.
Balancing waitressing and raising a newborn while working on her first feature film.
Securing financing through personal savings and a small group of supportive investors.
Deciding to stop waiting for permission and create her own opportunities.
How “Continue” became a movement for mental health awareness through her nonprofit, Continue On.

Memorable Quotes:

“I did hear like all the time that I was too pretty to play the best friend and I wasn't famous enough to be the lead.” [6:01]

“I'm done asking for permission. I'm making this movie and I don't care what I have to do or how much work or how many years it takes.” [9:16]

“I invested my life savings into this movie, like everything we had, and went back to waitressing so that I could keep the lights on.” [11:30]

"Imagine being dropped in the middle of the ocean with nothing but a hard drive, and you gotta keep it over your head and tread motherfucking water until someone comes." [21:09]

Links:

Continue IMDb

Continue the Film on Instagram

Learn more about her nonprofit

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Back-To-Back Microbudgets, Folk Filmmaking & the Micro-Budget Chain Reaction Feat. ‘Peak Season’ Directors

7 september 2024 | 64 min

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 Steven Kanter on Instagram

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Why Producer Ken Kao (Cuckoo, The Nice Guys, Mid90s) Wants More Mid-Budget Films

30 augusti 2024 | 57 min

How can you break into the film industry? Especially if you're not in Hollywood or you come from a different profession, like law. Is thick skin essential? Can you balance business with creativity? Producer Ken Kao, co-founder of Waypoint Entertainment, shares insights on these topics, some of his experiences, and recent projects.

Ken’s latest feature, CUCKOO, written and directed by Tilman Singer, stars Hunter Schafer, Dan Stevens, and Jessica Henwick and premiered at the 2024 Berlin International Film Festival. With a diverse portfolio spanning films like Academy Award-winning THE FAVORITE and THE NICE GUYS, featuring Ryan Gosling and Russell Crowe, Ken's expertise and vision have shaped the landscape of modern cinema.

In today’s episode, No Film School’s GG Hawkins speaks with Ken Kao, co-founder of Waypoint Entertainment and producer of some of the most anticipated films of 2024, to discuss:

How Ken started in the industry, moving from lawyer to producer without film school
Advice for emerging filmmakers and indie producers
The Waypoint x Neon partnership and the opportunity in mid-budget films
How he selects projects, being a genre-agnostic producer
How Waypoint stays nimble and adaptive in the ever-changing industry
What every producer or aspiring producer should be consuming and Ken’s media diet beyond movies
Living in Hawaii and maintaining distance from Hollywood
His latest feature, "CUCKOO," by Tilman Singer, starring Hunter Schafer, Dan Stevens, and Jessica Henwick
Waypoint’s involvement in the release of “Longlegs,” directed by Osgood Perkins and starring Nicolas Cage and Maika Monroe
Other projects currently in development

Memorable quotes:

“You never know what's gonna happen when you start making a film” [12:02]

“We're all just trying to make good movies that touch people and that we can be proud of” [20:05]

“I think the vast majority, especially this younger generation of people, if you're gonna get them off their sofas, getting to put their phone down, take 10 to 20 minutes to drive to a theater park and get it and sit there and give up two hours of their time, you need to give them some kind of authentic experience. I think what's good is subjective, but I think their ability to sniff the BS is high.” [21:55]

“As difficult as the film business right now is, I think as a creator, and I'm not just speaking for myself, I'm just speaking for aspiring creators, people that are creating already, in some ways it's as strong as the time has ever.” [41:00]

“A good number of people know when actors are choosing movies to make a buck. And when they really love the material and they're putting themselves in that role, in that movie.” [46:07]

“Trust your taste, trust what you're trying to say to people, and trust your instincts.” [47:33]

Links:

Ken Kao on IMDb

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Ukrainians in Exile: A Documentary Short Film

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Crafting Tension: ‘Spermworld’ & ‘How To Blow Up a Pipeline’ Editor Explains

23 augusti 2024 | 45 min

Rebuilding the Film Industry, Closure, Plus a $400 Doc Short

20 augusti 2024 | 79 min

TV is oversaturated. California is too expensive to film in. Many audiences are underserved. It’s time we indie filmmakers rebuild the film industry on our terms. Plus, we bid farewell to a beloved host of the No Film School podcast.

In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman, and guest Janek Ambros discuss:

Not waiting on labs or studios to give you the green light
The influx of people looking for jobs in the market
Needing better streamer options for indie projects
The benefits of serving an underserved audience
Why the distribution process is vital
Advice for people who think they are finished with their project
The important reasons Charles insists on working in Davinci Resolve
Why Charles is leaving the No Film School podcast
The origin of the short documentary film, Ukrainians in Exile
Why Janek wanted to keep the movie so simple and so short
Advice for documentary filmmakers

Memorable Quotes:

“We’re going to have this feral resurgence of indie filmmaking because we are so sick of the industry to figure it out.” [5:54]
“Breakdowns lead to breakthroughs. We need to break through because the way it’s been working is not sustainable.” [6:35]
“It should be a lot easier to shoot in California, it shouldn’t be so expensive.” [13:32]
“Because of the way distribution works, distribution never feels finished.” [28:00]
“People think I know all these celebrities, but I don’t. I just annoy every single publicist in Hollywood.” [1:03:07]
“If you want to make a short doc, you can make a short doc. There’s no excuse for that.” [1:07:50]

Links:

Follow Assembly Line Entertainment on IG

Follow Janek on X

BlueCheck Ukraine

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'DÌDI (弟弟)’ Director Sean Wang & Editor Arielle Zakowski on Kid Talent, Short Turnarounds & Angst on the Big Screen

15 augusti 2024 | 44 min

Want To Make Worldbuilding Movies? ‘Borderlands’ EP Emmy Yu on Development, Production & Why VFX Should Be Onboard ASAP

8 augusti 2024 | 58 min

Making a Movie Is Scary—This Is How We Manage Our Fear

6 augusti 2024 | 36 min

‘War Game’ Directors Jesse Moss & Tony Gerber on Fearless Collaboration, Plus Comic-Con & Experimental Films

3 augusti 2024 | 47 min

Breaking Down the Black List

25 juli 2024 | 62 min

Navigate All Facets of Comedy With 'The Office' & 'Abbott Elementary' Director Ken Whittingham

18 juli 2024 | 71 min

How ‘I Saw the TV Glow’ Editor Balances Creative, Tech & Negotiates Higher Pay

15 juli 2024 | 43 min

Paramount — Skydance Merger; Scope, Scale & Dragon Battles

11 juli 2024 | 36 min

How To Write a Movie To Shoot (In Three Months)

8 juli 2024 | 25 min

The Burden of Unpaid Work, Ramping Up Your Reps & Roth IRAs; Plus ‘A Family Affair’ Screenwriter Carrie Solomon

4 juli 2024 | 73 min

At what point should you get paid for the work you do to develop a project? What types of conversations should you be having with your agent? How can you show up confidently for potential projects, even though you’re feeling utterly afraid?

In today’s episode, No Film School’s GG Hawkins, Jason Hellerman, and guest Carrie Solomon discuss:

Smart ways to save money as a filmmaker
How to build rapport with your reps and make sure you’re on the same page
The truth about doing development work and how you should approach being paid
An important question you must ask yourself when writing a spec
When Carrie realized she needed to scale up the story for A Family Affair
Getting in the habit of reading scripts
Why she quit working as a PA on Ingrid Goes West
Being thrown into the world of studio writing
How doing improv helped Carrie have less fear when going into meetings
Embracing failure and welcoming fear
The most intimidating part about writing A Family Affair
The difference between likeability and lovability in characters

Memorable Quotes

“It's hard to get money out of Hollywood right now. You’re squeezing water from a stone.” [19:59]
“The only way to make money in this business is if someone loves your idea so much.” [22:35]
“I try to read as many scripts as I possibly can. I’m usually not picking up a book, I’m picking up a screenplay.” [29:00]
“From a very young age, I was a storyteller. And by that, I mean as a child, I was a big fat liar.” [37:54]
“Everyone has their own terrible little journey with finally getting their fingers on the keyboard.” [50:50]

Mentioned

A Family Affair

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Why This Doc Editor Let's Himself Get Lost

2 juli 2024 | 46 min

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

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Here's What Happens When You Win the Nicholl Fellowship in Screenwriting

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Don’t Sacrifice Creative: ‘A House is Not A Disco’ DP & Editor Share Tools on Staying Lean, Nimble

27 juni 2024 | 56 min

‘A Quiet Place: Day One’ Writer-Director Michael Sarnoski's Path from 'Pig' to Studio Franchise

27 juni 2024 | 42 min

'Ren Faire' Dir Lance Oppenheim Plus Hard Comedy and Hard Questions

22 juni 2024 | 80 min

An Editing Round Table Of Emmy Contenders Part II

21 juni 2024 | 47 min

Jeff Nichols Discusses the Inspiration, Writing, and Directing of 'The Bikeriders'

20 juni 2024 | 31 min

An Editing Round Table Of Emmy Contenders!

20 juni 2024 | 57 min

Your Freelance Healthcare Questions Answered

13 juni 2024 | 60 min

Choosing Your Next Project & Immediate Next Steps

6 juni 2024 | 43 min

How to Get Your Short Out In the World & Write to Your Darkest Instincts

3 juni 2024 | 93 min

In life, we can’t please everyone. There will be people who “get us” and others who simply don’t. It’s the same when you’re a filmmaker. Your work won’t vibe with everyone who sees it, and that’s totally okay! It’s time to face your fears, give it your all, and create those projects that reveal your darkest instincts.

In today’s episode, No Film School’s GG Hawkins speaks with Sam Baron and Madison Lanesy to discuss:

What it’s like to receive polarized reactions
Feeling terrified to share projects with personal subject matter
Career lessons from Ice Age and Mrs.Doubtfire
Having a YouTube video go viral at 17 years old
The story behind the name of Sam’s short, The Orgy
Turning in films as book reports in middle school
The beauty and freedom of improv acting
Sam’s process of submitting shorts
Pushing past fear and discomfort
Working with a team that believes in your project
Making personal sacrifices while working on projects

Memorable Quotes

“Working on any project takes so much from you…so you better make sure it’s a worthwhile project you really care about.” [18:51]
“You need to take the temperature of the audience, but you also need to take the temperature of yourself. If you just do one or the other, you’re going to get out of balance.” [32:00]
“I accidentally proved a concept by being true to my deep, creative nature.” [52:41]
“Get to know yourself as a filmmaker. You are the only you.” [76:42]

Mentioned

Is This the Tool Filmmakers Need to Find Their Audience?

Short: Tall Dark and Handsome

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How To Spend $10,000 on Film Festival Submissions…

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Break Up With Your Temp Score & Other Placeholders; Plus, Blackmagic Won NAB

30 maj 2024 | 49 min

How To Cut Like an Anthropologist from 'Scrambled’ & ‘Alpha’ Editor Sandra Granovsky

27 maj 2024 | 39 min

The Pause in Pipeline Programs & What It Means for You

23 maj 2024 | 30 min

‘Prom Dates’ Writer & Director on Reviving the Teen Sex Comedy

20 maj 2024 | 35 min

Film Fests: The Merits and Scams; Plus, Film Communities Outside of the Bubbles with Amy Dotson

16 maj 2024 | 56 min

What film festivals are worth submitting your projects to? Which festivals are legitimate and which ones are scams out for your money? Is it possible to find like-minded creatives to collaborate with, outside of places like L.A. and New York?

In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman, and guest Amy Dotson discuss:

Figuring out what you want to get out of a festival
Reasons why small festivals are awesome
Things to consider when vetting festivals
What Amy learned interning at Pee-wee’s Playhouse
Telling your unique story in only one paragraph
Why you need to constantly update your bio
Moving from New York City to Portland
Thinking about cinematic storytelling in new ways
Collaborations between local artists and big household names
How the Portland Art Museum honors multi-faceted creatives

Memorable Quotes

“What are you going to the festival for? Is it about Hollywood connections or about sharing your film with an audience?” [3:54]
“Being in the mix and connecting with people at a human level is incredibly valuable. You will find those relationships pay off in the long run.” [12:42]
“Everybody is different and that’s okay. It’s not a one-size-fits-all model anymore.” [23:34]
“The goal is to meet other like-minded humans that can help push your career and push you as a human forward.” [29:37]
“There are stories to be told that are less project-centered and more people-centered.” [46:24]

Mentioned

Portland Art Museum

PAM CUT Sustainability Labs

PAM CUT Tomorrow Theater

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Witchcraft (Rod & Noah’s production company)

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How To Get a Short Film Into Sundance – and Turn It Into a Feature

13 maj 2024 | 46 min

‘Shōgun’ DPs on Lenses, Looks & How ‘The Descent’ Brought Them Together

3 maj 2024 | 63 min

Writing the Unfilmable & Managing Your Career When SH*T Hits the Fan

2 maj 2024 | 37 min

How ‘Challengers’ Screenwriter Justin Kuritzkes Aces Character, Tension and Stakes

29 april 2024 | 30 min

Packaging and the Death of Naked Specs

25 april 2024 | 33 min

Live from NAB 2024: Blackmagic's CEO on the URSA Cine 12K & Future of AI

22 april 2024 | 59 min

Editing Tyler Perry's Life Story with Filmmaker Erick Sasso

19 april 2024 | 70 min

Why The 'Blood for Dust' Director & Producer Don't Wait for Permission To Make Movies

19 april 2024 | 61 min

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

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One Moore Hollywood Podcast on IG

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These No Film School Listeners Won Slamdance and Then Some

12 april 2024 | 40 min

Survive Until 2025

11 april 2024 | 48 min

How to Safely Light Chris Hemsworth on Fire

5 april 2024 | 47 min

How Heat Shapes Your Career & the Biz Feat Oscar-Nominated Producer Chris Moore & Team

4 april 2024 | 87 min

Heat is important to your film career. It means that you and your work are gaining attention and recognition, which can lead to more opportunities in the future. So how can you generate and navigate heat at an industry level? What contributes to “positive heat” or “negative heat?”

In today’s episode, No Film School’s GG Hawkins and Jason Hellerman speak with Chris Moore, Katie Marpe, and Dennis De Nobile to discuss:

How Chris, Katie, and Dennis entered the industry and how they met
Why you need to promote yourself and your work
The One Moore Hollywood Podcast and the topics they discuss
The difference between “in the business heat” and “out of the business heat”
Seeing big corporations gravitating toward original ideas
How audiences decide whether they will watch a movie or not
Getting feedback on your ideas
Why your idea may be better suited for a different medium
Good Will Hunting - Generating authentic heat with the script
When you realize a script isn’t working
How your attitude and behavior affect the type of heat you generate
Sensing tension of the cast and crew while watching a movie

Memorable Quotes

“It’s like surfing. The best thing to do in your career is to read what’s happening around you and take the wave where it’s taking you.” [4:22]
“You have to be able to sell yourself and your ideas. You can’t just operate in a vacuum and expect somebody to discover you.” [16:12 ]
“Go out and make something you think you would pay for.” [52:12]
“What’s the commercial version of your weirdness?” [1:01:28]
“Heat will come back to you. It will tell you if your shit is good. If you can’t generate any heat, that means your shit is not good.” [1:07:17]

Mentioned:

Follow Chris on IG

Follow Dennis on IG

Follow Katie on IG

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Follow Love and Work on Instagram

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Is Achieving the American Dream Possible Through Cinematography?

29 mars 2024 | 88 min

Troubleshooting Tech for Dummies & Bombing an Interview

28 mars 2024 | 42 min

Let’s Talk About Sex (On Screen) With a Team of Intimacy Coordinators

22 mars 2024 | 81 min

To Rent or Buy Gear? Plus, Movies That Made Us Want To Make Movies

21 mars 2024 | 45 min

Pete Ohs Rethinks How We Make Movies

15 mars 2024 | 55 min

Who says making a movie requires expensive equipment, a large crew, and a script? Maybe creating a film can be a creative experiment between a couple of friends who are excited about the uncertainty of the journey that awaits. This was the realization Pete Ohs had when he recognized that the typical approach to filmmaking was not for him.

In today’s episode, No Film School’s GG Hawkins speaks with Pete Ohs, Will Madden, Frank Mosley, and Charles Watson to discuss:

Finding a location that is narratively inspiring and accessible
Thinking about the edit while directing
An extremely unique and collaborative way to develop characters
Creating a score that is not traditional to other films
Pete’s unique approach to creating movies
How Pete keeps the budget so low and why it’s important
Feeling excited by the challenge of the limited resources you have
Why the uncertainty of this style of filmmaking is exciting and magical
Their Slamdance Film Festival experience
Other festivals and what they love about them
Starting with what you have available

Memorable Quotes

“Can I make a movie the way I did when I was fifteen?” [14:27]
“It doesn’t have to cost so much money. Filmmaking can just be an activity. It can be just a hobby.” [16:19]
“Every camera that’s new is good enough. You don’t need the newest camera.” [18:09]
“There’s no reason you shouldn’t be making a movie. You can do it if you want to.” [22:26]
“The things you think you need, you probably don’t.” [40:20]

Mentioned:

LOVE AND WORK teaser

Follow Pete on Instagram

Follow Frank on Instagram

Follow Will on Instagram

Follow Charles on Instagram

Slamdance Film Festival

Film Fort in Idaho

Side Walk Film Festival in Alabama

Overlook Film Fesitval

American Film Festival in Poland

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How Your First Ten Pages — Or AI? — Will Determine if Someone Finishes Your Script

14 mars 2024 | 52 min

‘Damsel’ Director Juan Carlos Fresnadillo Sets Fantasy on Fire (And It Looks Awesome)

8 mars 2024 | 36 min

How We Manage Our Careers — From Annual Goals to Daily Tasks

7 mars 2024 | 59 min

How Broadcast Dramas Work, With ‘Quantum Leap’ Writer Shakina

1 mars 2024 | 47 min

Dissecting Emerging AI and Why Your Human Voice Is So Important

29 februari 2024 | 49 min

Career-Sustaining Advice for a Consolidating Film Industry

23 februari 2024 | 62 min

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

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OpenAI’s Insanely Powerful Text-to-Video Model ‘Sora’ is Here

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How To Ensure People Can Watch Your Movie (Hopefully) Forever

22 februari 2024 | 56 min

There’s a very important lesson can we learn from films like 28 Days Later, which is not available in physical format or on streamer. It’s hard to believe a film starring award-winning talent like Cillian Murphy, who is nominated for an Oscar this year, is not commercially available to audiences. Let’s find out how you can make sure your movie doesn’t succumb to the same fate.

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

Staying conscious about the ways our contracts are written
Thinking about where projects will be in 100 years
Automating residual systems - is it a good idea?
Feeling disturbed and disappointed by the lack of physical media available
Pros and cons of text-to-video tools like Sora AI
How AI can be a useful tool if it is subordinate to creatives
Jaywalking in front of self-driving vehicles
What is causing the current short story phenomenon
Why you should be reading screenplays every week

Memorable Quotes

Thinking about your digital legacy is a really interesting thing to try to negotiate and navigate.” [9:15]
“Don’t get too attached to the movie you made because it might just completely go away.” [12:30]
“Your scripts should be entertaining. Your goal is to create a great read.” [43:48]
“I’m against building statues of anybody that’s alive. It’s expensive to take down a statue.” [48:24]

Mentioned:

What are the Ramifications of the New 'Sora' OpenAI App on Hollywood?

Here’s How Sora’s AI Video Could Actually be Good for Filmmakers

Why Are Short Stories Hot In Hollywood Right Now?

Rest of World article

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How First-Time Feature Director Katie Burrell Subverts Ski Comedy... Hilariously

16 februari 2024 | 49 min

Are Super Bowl Ads Creative Anymore? Plus, a New Film Camera!

15 februari 2024 | 42 min

‘The Florida Project’ Producer Francesca Silvestri & ‘Suncoast’ Director Laura Chinn on Unlocking the Director-Producer Relationship

9 februari 2024 | 26 min

Every year at Sundance, we aim to speak with indie filmmaking teams who have collaborated on some of our favorite movies. Learning from these successful collaborations can help us in our own future projects. Let’s take a look at the collaboration between filmmakers Francesca Silvestri and Laura Chinn, and how their undeniable chemistry helped them in the production of the film, Suncoast.

In today’s episode, No Film School’s GG Hawkins, speaks with Francesca Silvestri and Laura Chinn to discuss:

Feeling both nervous and excited for the wide release of the film
Not having to sell the film at Sundance
Never taking no for an answer
What Laura and Francesca love about working together
Challenges with shooting in certain locations
Tapping into the 2000s nostalgia without overdoing it
Seeing younger casts at Sundance this year
Being at shocked at how many writers don’t write
Trusting that feedback is constructive and helpful
Why self-development is so helpful for filmmakers

Memorable Quotes

“There are so many that have come into my life, that I will never work with again after this experience.” [6:36]
“The 2000s in my opinion were not inherently cool.” [10:54]
“When they tell you it’s bad and they give you a bunch of notes, cry hard and then move on.” [17:28]
“When you do write, you do get better at it. When you do listen to other people’s feedback, you get better at it.” [17:40]
“Work on you man, because everything will get better. Everything will get easier. Writing, directing, producing, whatever it is.” [20:53]

Mentioned:

Suncoast - Streaming on Hulu, Feb 9, 2024

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Indecision Is Death: ‘Argylle’ Director Matthew Vaughn on Titles, Twists & Scripts

8 februari 2024 | 48 min

Neon’s Horror Subversion ‘Handling the Undead’ Director Thea Hvistendahl on the Patience To Face Your Nightmares

6 februari 2024 | 36 min

How do we deal with losing someone we love? Is it even possible to move on? These questions are explored in Handling the Undead, a film that meditates on topics such as grief and loss and the impossible wish of wanting the past to become the present. Handling the Undead, which is based on the best-selling Norwegian novel of the same name, premiered at the 2024 Sundance Film Festival.

In today’s episode, No Film School’s GG Hawkins, speaks with Director Thea Hvistendahl to discuss:

Thea’s feelings and thoughts post-premiere
Having the sound and images tell the story as opposed to dialogue
Her approach to directing and staging actors
Using a mix of real people, prosthetics, VFX, and dolls
Finding the balance between looking dead but not like zombies
The challenges in shooting the final scene
How Thea became a filmmaker
Financing the feature and shooting in multiple countries
Getting the balance right between the different stories within the film
Feeling anxious during the screening process
Trusting her gut feelings in the editing process
Having a much needed celebration when the film was finally finished

Memorable Quotes

“For the human brain, it’s more unsettling the more realistic it is… I wanted it to be as realistic as possible.” [16:15]
“The finale was the hardest part to solve, but it worked in the end.” [20:21]
“It really pains me to do stuff that doesn’t feel right, but sometimes I try it.” [27:29]
“It dragged out a very long time, so it wasn’t like a cathartic moment…It was a very slow finishing process.” [30:07]
“It’s always better to make something…rather than wait and hold back.” [31:16]

Mentioned:

Handling the Undead

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The 2024 Academy Awards Nominations

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'Expats' Director Lulu Wang on the Power of Saying “No”…and Sound

3 februari 2024 | 33 min

Oscars Snobbery or Misogyny? Plus, Doug Liman's 'Road House' Boycott

1 februari 2024 | 52 min

Are the Oscars the leading edge of culture, or are they trailing behind? While some of this year's nominations happily surprised us, other nominations have left us wondering if the academy is just voting for what’s familiar. Also, what’s up with big films skipping a theatrical release and going straight to streaming?

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

Favorite films and biggest takeaways from Sundance 2024
Upcoming No Film School episodes highlighting Sundance filmmakers
Jason breaking up a fight in the AMC lobby
Our opinions on the 2024 Academy Award nominations
How the Oscars are staying internationally relevant
Comedy versus drama
An actor who sold his Oscar to pay for healthcare
The dark history behind the Oscars - why they were created
Why Doug Liman is boycotting the premiere of his film Road House
Why filmmakers have to be conscious of audience activation

Memorable Quotes

“One of my favorite things about the Oscars is when they bring attention to a movie that wouldn’t get it otherwise.” [13:23]
“Drama trumps comedy in awards, always. Which I think is bullshit.” [19:00]
“It’s not misogyny, but snobbery.” [27:44]
“All of the craft awards are never the best, it’s the most. It’s never the best edited movie, it’s the most edited movie.” [34:02]
“If we all stay silent and continue to let these big corporate overlords make these decisions…we are going to lose that communal experience.” [42:50]

Mentioned:

How Does Oscar Voting Work?

'Road House' Director Doug Liman Boycotts SXSW Over Amazon Exiling His Movie to Streaming

Brooklyn 35mm

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God Save Texas - The Price of Oil Episode

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Lollapalooza, Oil, & Life-Or-Death Stakes: These Sundance Doc Directors Wear All the Hats

31 januari 2024 | 58 min

Not all documentary filmmakers planned to be in the documentary space. Some didn’t even know they would be in the film industry to begin with. This is what we talked about in our round table discussion at Sundance, with a group of documentary film directors. Each of these award-winning directors have decades of experience in filmmaking.

In today’s episode, No Film School’s GG Hawkins, speaks with documentary directors Alex Stapleton, Jeff Zimbalist, Michael John Warren, and Tony Gerber to discuss:

Their current projects
What it’s like to finally turn the camera on yourself as a director
How to find yourself and who you really want to be
Their unique paths to becoming documentary filmmakers
Earning more money and having more creative autonomy
Holding onto your projects even if it doesn’t sell right away
Why you should avoid industry chatter
Finding the overlap between your hobby and filmmaking
Figuring out where to start - production or post
A good story is more important than high-tech tools

Memorable Quotes

“Documentaries were a way to insert myself into the heart of certain communities around the world.” [17:30]
“I did not go to film school. I didn’t even finish college.” [19:18]
“It’s okay to not know where you’re going. Sometimes following your gut and not having a master plan is fruitful, and builds wisdom.” [25:44]
“My mother always told me, don’t work in the film business. It’s full of criminals.” [26:08]
“I don’t think about what the audience wants. I think about what the audience doesn’t yet know that they need.” [47:47]
The only thing that matters is story and learning how to tell a good story. The tools are just tools.” [51:16]
“Think about the story. Pick a side of the industry you want to be in. And be so good they can’t say no.” [51:39]

Mentioned:

Alex Stapleton

Jeff Zimbalist

Skywalkers: A Love Story

Michael John Warren

Lolla: The Story of Lollapalooza

Tony Gerber

War Game

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Unpacking the Ethical Minefield of Docs with the Team Behind ‘Subject’

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E-Girl Investigators of Sundance Premiere Neon Doc ‘Seeking Mavis Beacon’ on Ethics, DIY, and How To Ask For What You Need

28 januari 2024 | 36 min

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

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Connect with Alejandro on IG

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From Landing the Job to Boosting Morale: Sundance DP Roundtable Dives into Filters & More

27 januari 2024 | 59 min

At No Film School, we enjoy diving into both the hard skills and soft skills required to be successful in this industry. For example, we enjoy the technical talk of cinematography. We also like diving into things like leadership skills, collaboration decisions, and how to hire or fire. These are some of the things we discuss with a roundtable of cinematographers whose films premiered at Sundance and Slamdance this year.

In today’s episode, No Film School’s GG Hawkins, speaks with cinematographers Bruce Francis Cole, Alejandro Mejia, and Sean Mattison to discuss:

How all three DP’s got connected to their respective projects
Thinking of the setting as a “character” in the story
Working with light and figuring out tone
The benefits of using multiple cameras
Allowing your team the freedom to express themselves
The importance of picking your team
Cutting off stressful energy before it spreads to the rest of the crew
How they decide what projects to work on
Choosing personality over technical ability

Memorable Quotes

“We chose the lenses that had the character built into them.” [24:51]
“What elements can we bring into it visually that will bring the audience into this world?” [26:53]
“If you can pick your team you truly trust in, you can easily allow everyone to do their job.” [33:32]
“We’re sensitive people. We work in a creative field.” [48:17]
“It’s a very New York thing that I learned when I moved there. People either like you or not.” [48:39]

Mentioned

Suncoast

Connect with Bruce on IG

In the Summers

Petro

Connect with Sean on IG

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Online Giveaway: Enter to Win

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When Sundance Is the End of Your Festival Run: ‘How To Have Sex’ Director Molly Manning Walker

24 januari 2024 | 30 min

NFS @ Sundance: Community and Creativity at the No Film School Alumni Party

23 januari 2024 | 38 min

‘Layla’ Director Amrou Al-Kadhi and Cast on Opening Sundance, Casting Chemistry, and the Power of Subtext

23 januari 2024 | 36 min

NFS @ Sundance: Risks, Giveaways and What the Fest Tells Us About the Industry

22 januari 2024 | 46 min

It’s that time of year again! The time of year we get to meet emerging filmmakers and watch their creative, original, risk-taking films at the Sundance Film Festival. Not only are we networking and enjoying amazing films, but we are bringing some fun surprises to the festival this year.

In today’s episode, No Film School’s GG Hawkins, Ryan Koo, and Jo Light discuss:

Why the Sundance volunteers are so important to the spirit of the festival
Running into people we haven’t seen in over a decade
Hosting a No Film School party at Sundance this year
An online giveaway for No Film School listeners
Films we love and films we have mixed feelings about
Being unexpectedly moved by a beautiful zombie film
An unconventional pairing that gives a fresh perspective on love
Stories that encourage us to bring more originality to our work
Being independent from what’s considered “commercially viable”
Why you need to watch the documentary lineup at Sundance

Memorable Quotes

“This is what I come to Sundance for…This is an original idea that is audacious and creative. It’s something I have never seen before.” [20:00]
“We are not here to be critics. We are not here to give films grades. We are here to be inspired as filmmakers.” [21:00]
“What we come here to see is risk taking.” [32:12]
“We’re all in this community together. We are all trying to get movies made. It’s harder than ever.” [35:21]

Mentioned

Freaky Tales - Directed by: Anna Boden & Ryan Fleck

How to Have Sex - Directed by: Molly Manning Walker

Layla - Directed by: Amrou Al-Kadhi

Handling the Undead - Directed by: Thea Hvistendahl

Love Me - Directed by: Sam & Andy Zuchero

Your Monster - Directed by: Caroline Lindy

Seeking Mavis Beacon - Directed by: Jazmin Jones

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Unpacking the Ethical Minefield of Docs with the Team Behind ‘Subject’

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‘Blackfish’ Director Gabriela Cowperthwaite Turns Blacklist Script ‘I.S.S.’ Into Sci-Fi Thriller Theatrical Release

19 januari 2024 | 45 min

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

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A Creature was Stirring

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Surviving Our Lowest Lows

18 januari 2024 | 50 min

Crucial Advice on Pitching Your TV Show

12 januari 2024 | 42 min

Industry Etiquette Tips for Social Media and Feedback

11 januari 2024 | 53 min

How To Make a Movie... For TikTok?

5 januari 2024 | 40 min

Filmmaker Resolutions for 2024

4 januari 2024 | 31 min

Why Breaking Story Is Like Breaking a Horse

29 december 2023 | 62 min

Micro Budget by Design With the Screenwriting Life’s Jeff Graham

29 december 2023 | 51 min

Indie Horror Duo the LeVecks: From Production To Press On ‘A Creature Was Stirring’

22 december 2023 | 41 min

Damien and Natalie LeVeck are the masterminds behind the film, A Creature Was Stirring. The film is a holiday horror that explores topics such as secrets, guilt, and mental illness. We had the honor of interviewing each filmmaker separately in the past. Now, this married duo is back to discuss all things production, including planning, shooting, and distributing.

In today’s episode, No Film School’s GG Hawkins speaks with director Damien LeVeck and producer Natalie LeVeck to discuss:

Shooting a winter-themed film in the middle of a very hot summer
Using expensive, concert style lasers in the film
Surrounding yourself with a production team you trust
Saying “no” while trying to find a middle ground
Being married and working together - what is that like?
The biggest on set challenge that ended up working out for the better
How having editing experience can become a director’s super power
Why you should make your own press kit and what to include in it
Posting pictures before your film is purchased by a distributor
What makes this horror film unique

Memorable Quotes

“You really need to know what hills you will die on. And what sacrifices are you willing to make.” [6:31]
“Making any independent film is going to be harder than pretty much anything you ever do in your life.” [12:44]
“Movies don’t want to be made.” [13:07]
“You’re not directing to find it in the edit. You’re directing to get the edit you have in your mind.” [19:48]
“The horror movie fans are some of the best fans out there.” [21:07]

Mentioned:

Natalie's LinkedIn

Natalie's on Instagram

Damien’s Instagram

Top Legal Mistakes Filmmakers Make and How To Avoid Them

Piloting Real-Time Post-Collab on Damien LeVeck’s Holiday Horror

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The making of Ryan's film 'Amateur'

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A Shocking Netflix Dump, Plus Lessons From Our Fav Holiday Flicks

21 december 2023 | 87 min

Netflix delivered your Christmas gift early this year! For the first time ever, the platform just released all of its streaming data! This “data dump” is beneficial for many in the industry, and it seems we will be getting more of these gifts in the foreseeable future.

In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman, Ryan Koo and writer Amanda Barnes discuss:

The streaming data that was recently released by Netflix
The metric Netflix used in ranking it’s shows and movies
Observations we have been making since the data dump
Using the data as a negotiation talking point for future films
How to avoid chasing others and instead attract attention
Borrowing lines and ideas from our favorite holiday movies
How to respond when you receive shitty notes
The blessings and curses of being a writer
The concessions you make as an indie filmmaker
Handling heavy themes by wrapping them in joy and humor

Memorable Quotes

“What it was like to not know how many people were watching my movie out in the world.” [2:45]
“The one thing Netflix has never done is tell us who is watching what.” [7:26]
“I want to know who’s watching my show, so I can get paid accordingly.” [7:56]
“Oh shit, now I have to learn how to write a Christmas movie.” [51:01]
“If you have a vision and you need it executed your way and only your way, you have to make it yourself. And you have to be okay with the fact that maybe no one will see it.” [57:34]

Mentioned:

Netflix Releases All Its Streaming Data for the First Time Ever

Connect with Amanda on Instagram

Watch ‘Just Like a Christmas Movie’

Watch 'The Holiday Shift'

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Follow Subject Film on IG

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'Share?' Director Ira Rosensweig on Full Stack Filmmaking

15 december 2023 | 46 min

Why Don’t We Have an Indie Streaming Platform? Plus Our 700th Episode!

14 december 2023 | 32 min

Unpacking the Ethical Minefield of Docs With the Team Behind ‘Subject’

8 december 2023 | 51 min

When we watch documentaries, we often don’t think about how these films can leave a lasting impact on the lives of the participants. Not only do the films affect their reputation, but they can affect their businesses, relationships, and mental health. In this unprecedented era of documentary filmmaking, it’s time we take a serious look at the effects these films have on the lives of the subjects.

In today’s episode, No Film School’s GG Hawkins speaks with Jen Tiexiera, Susanne Reisenbichler, Matt Klug, and Josh Harding to discuss:

How each of these filmmakers came to the world of documentary
All the sacrifices involved in creating a documentary film
Being clear about boundaries and expectations with the crew from the beginning
DAWG’s Framework for values, ethics, and accountability in nonfiction filmmaking
The depth of the connection between crew and actors
Finding the participants who would be featured in the films
Shifting the way things are done to improve lives of participants and the crew
Establishing a consent calendar with the participants and what that looks like
The first steps to creating a documentary film

Memorable Quotes

“When you’re bringing the people around you that you’re going to go into battle with, it’s extremely important that everything is out on the table.” [14:00]
“We’re entering a new era of bringing the humanness back into filmmaking.” [19:52]
“I want to document their life. I want to document what they’re doing…It’s about respecting their space. Respecting who they are.” [24:02]
“Documentary is and always should be a really intense collaboration.” [44:03]

Mentioned:

Subject

Follow Susanne on IG

Follow Jen on IG

Chasin' Butterflies

Chasin' Butterflies Record & Movie

Follow Josh on IG

Follow Matt on IG

DAWG Framework

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Hungry Dog Blues Instagram

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The Joy of Networking in Hollywood!

7 december 2023 | 31 min

How ‘May December’ Writer Samy Burch Plays With Power on the Page

1 december 2023 | 38 min

What Actors Need To Know About Cinematography, Plus Building Your Post Team

30 november 2023 | 48 min

‘Hungry Dog Blues’ Filmmakers Share Secret to Indie Film (Good Follow Up)

24 november 2023 | 68 min

What does it feel like to finally finish your first feature? It’s difficult to explain the mix of emotions running through you. To quote the director of Hungry Dog Blues, it kind of feels like “finishing a marathon or coming out of a psychedelic drug trip.”

In today’s episode, No Film School’s GG Hawkins speaks with filmmakers Jason Abrams and Irina Gorovaia to discuss:

The very unique experience of making your first film
The magical sense of community on an indie set
How the film was inspired by a true story
Why people prefer to work on a project that already has momentum
Launching a crowdfunding campaign right before the pandemic started
How the proof of concept made a huge impact on their fundraising efforts
Why frequently following up with investors is so important
The practice of not taking things personally
Why it’s a win if people hate your movie
Understanding you have to wear a lot of hats on your first film
Learning to enjoy every little part of the filmmaking process

Memorable Quotes

“It’s a very unique process to take something through, from nothing to something.” [4:52]
“Everybody wants to be on a moving train. Nobody wants to shovel coal.” [12:16]
“It’s not your job to say ‘no’ for other people.” [30:39]
“Slow down. Take your time. Enjoy every little piece of it. Learn to enjoy every little piece of the filmmaking process.” [58:04]
“You can create just for the sake of creating. Just because you have a story to tell. That’s allowed, too.” [61:57]

Mentioned:

Hungry Dog Blues

Irina's Instagram

Jason's Instagram

Variations on a Theme (YouTube channel)

Resources they used:

Producing

Film Budget Template

Line Producer Tips

Successful Crowdfunding Campaigns

Entertainment Lawyer Help Filmmakers

Creative

Breaking the Fourth Wall

The Art of Suspense

Jumping from Short to Feature

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Getting accepted into the Sundance Labs on the 5th attempt

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Gift Guide 2023 and the Pokémon Cards of Filmmaking

23 november 2023 | 39 min

‘Asteroid City’ DP Robert D. Yeoman on Film vs Digital, Long-Term Director Relationships, and Sleep

17 november 2023 | 52 min

An Indie Film Exec Unpacks The Post-Strike World

16 november 2023 | 46 min

Demystifying Artist Labs and Programs with Tribeca Studios’ Bryce Norbitz

10 november 2023 | 54 min

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:

New Orleans Film Festival

Blackstar Film Festival

Connect with Bryce: untoldstories@tribecafilm.com

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‘Joyland’ Director Saim Sadiq Redefines What It Means To Be a Director

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

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How To Talk About Your Film Career at the Holiday Dinner Table

9 november 2023 | 48 min

‘TMNT: Mutant Mayhem’ Production Designer Yashar Kassai on the Future of Animation

3 november 2023 | 53 min

Avoid Making Your Sets Look Like Sets; Plus, Are Intermissions Back?

2 november 2023 | 42 min

Why Horror Films Are a Mirror of Society

31 oktober 2023 | 60 min

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

Kelly Fremon Craig Shares With NFS How To Adapt Beloved Classics for Theaters

The Confidence Code

Hope for Film

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Check out Ricardo's website

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

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Piloting Real-Time Post-Collab on Damien LeVeck’s Holiday Horror

28 oktober 2023 | 37 min

Breaking Down the Color of Horror with LatinXorcists’ Ricardo Martinez

27 oktober 2023 | 58 min

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

The Bloodstone Comic

The Handy Foundation

The LatinXorcists website

The LatinXorcists Instagram

Ricardo's Instagram

The Bloodstone Instagram

Burden of Dreams film

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Anchorage | Official Trailer

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Practical Advice for Practical Effects With the Directors of SXSW Creature Feature ‘Snatchers'

26 oktober 2023 | 49 min

Adventures in Indie Filmmaking and Leveraging Famous Faces

19 oktober 2023 | 57 min

How 'The Creator' DP Challenges Big Budget Filmmaking with an Indie Mindset

18 oktober 2023 | 57 min

How The Weird Satanist Guy Spawned a Sundance Indie With Demon Puppets

18 oktober 2023 | 69 min

Why You Should Write Your Spec with 'Greenland' Screenwriter Chris Sparling

10 oktober 2023 | 51 min

The WGA Strike is Over - What's Next?

5 oktober 2023 | 45 min

The Most Disturbing Shorts at Sundance

29 september 2023 | 68 min

The Writer's Strike Ends and Social Media Debates a Screenplay Page

28 september 2023 | 37 min

How To Cast, Direct and Make Movies for Kids

23 september 2023 | 38 min

The iPhone 15 is for Filmmakers, Casting Problems, and a Panamanian Adventure

21 september 2023 | 45 min

How These SNL Editors Cut an Emmy-Nominated Sketch With 60+ VFX Shots in Two Days

15 september 2023 | 56 min

Secrets to a Happy Set

14 september 2023 | 52 min

How “Blackberry” Editor Induces Anxiety in Comedy

8 september 2023 | 51 min

Strike Updates & Questions Directors Need To Answer in Prep (Feat. A Director in Prep)

7 september 2023 | 54 min

Grit, Hustle and Self-Distribution: Learnings From Team Behind "Anchorage"

1 september 2023 | 54 min

The feature film, Anchorage, is a true indie film that was shot in 5 days and created on a self-funded, budget of only $54,000. The film, which was originally planned to be a short, has gone on to receive 11 awards and 10 nominations across 17 festivals. The film’s team has been independently producing a theatrical tour, across the US and in the UK.

In today’s episode, No Film School’s GG Hawkins speaks with Scott Monahan, Dakota Loesch, Erin Naifeh, and Spencer Showalter to discuss:

Getting coverage in big publications like The Guardian
Developing a short into a feature using the same budget
Selling family heirlooms in order to finance the film
The process of shooting in the high desert for five days
Letting actors move around and do what they wanted to do
Putting your crew together based on personality not talent or budget
Learning how to do an assembly cut before bringing on the editor
Cutting and editing depending on what feels right to the story
Playing at Music Box Theater alongside Oppenheimer and Asteroid City
The 3 most powerful words you can say as a director

Memorable Quotes

“The movie changed from a short to a feature, but the budget was the same.” [7:40]
“We had structure but we also had freedom to improvise and be organic.” [9:35]
“Sometimes it’s more important what other people bring to your project than what you are bringing to your project.” [35:07]
“We’re not good will hunting, we are bad will hunting.” [41:37]

Resources:

Anchorage IG/FB/X: @anchoragemovie

Anchorage | Deeper Into Movies Screening (FREE)

YES, Manchester | September 6th 7:30pm

https://dice.fm/event/gax26-anchorage-qa-6th-sep-yes-the-pink-room-manchester-tickets?lng=en-US

Anchorage | Deeper Into Movies Screening (FREE)

TT Liquor, London | September 9th 3:30pm

https://dice.fm/event/l5d6r-anchorage-qa-9th-sep-tt-liquor-store-london-tickets?lng=en-US

Anchorage | Curzon Q&A Screening

September 12th Curzon Hoxton 6:40pm

https://www.curzon.com/ticketing/seats/HOX1-12139/

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How To Write a Screenplay in Ten Days and Shoot a Movie in Less

31 augusti 2023 | 48 min

How To Reinvent a Classic With Birth/Rebirth’s Laura Moss and Brendan J. O’Brien

25 augusti 2023 | 53 min

How To Actually Shoot a Movie On Your iPhone

24 augusti 2023 | 44 min

SNL Vet On Directing, Producing and Shooting Sketch, Parody and Satire

18 augusti 2023 | 43 min

Rock & Roller Grace Potter Explains Her Filmic Inspirations, Aspirations

17 augusti 2023 | 60 min

“Mutt” Director and Actor Unpack Career-Launching First Feature

11 augusti 2023 | 73 min

How “The Bear” Editor Harnesses Chaos Across Film and TV

10 augusti 2023 | 52 min

Top Legal Mistakes Filmmakers Make and How To Avoid Them

4 augusti 2023 | 67 min

“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

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King Coal official website

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

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How To Shoot and Edit for Visual and Practical FX With “Appendage” Editor

3 augusti 2023 | 53 min

How Appalachia-Based Filmmakers Blend Doc and Myth in “King Coal”

28 juli 2023 | 53 min

Elaine McMillion Sheldon is a director and writer known for documentaries, such as the Netflix Original Documentaries, Heroin(e) and Recovery Boys. Her latest film, King Coal, premiered at the 2023 Sundance Film Festival. This “part fable, part documentary” is about the complex, coal culture in Central Appalachia.

In this episode, No Film School’s GG Hawkins speaks with Emmy-winning filmmakers, Elaine McMillion Sheldon and Curren Sheldon to discuss:

The inception of the film and how it became a hybrid style
What the lens vetting process was like
Not using any artificial light
The reason behind focusing on the young characters in the film
Why it’s important to have bad ideas
Pushing through moments of vulnerability
Where Elaine got inspiration from
Working with a breath artist to create all the crazy sounds in the film
All the wonderful support they received from labs and grants
Why you need to have a long-term version

Memorable Quotes

“How do we make this feel almost like a dream, almost like an imagined future?” [7:51]
“This film required a level of failure and vulnerability that made me insecure at moments. But ultimately made me grow as a filmmaker.” [14:09]
“Having a long view of your career is so healthy otherwise you’re gonna get burnt out and depressed.” [31:20]
“Most of this industry lives in a bubble, on a coast.” [42:08]

Resources:

King Coal trailer

King Coal on Instagram

Here is the upcoming 2023 theatrical:

August 11th - DCTV- New York City, NY (weeklong)

August 18th - Aperture Cinema - Winston-Salem, NC (weeklong)

August 25th - Laemmle Glendale - Los Angeles, CA (weeklong)

August 28th -Harris Theater - Pittsburgh, PA (Select shows during the week)

August 31- Floralee Theater - Charleston, WV (Select shows)

September 1st - The Nightlight - Akron, OH (weeklong)

September 1st- Zoetropolis Cinema - Lancaster, PA (two-week run)

September 1st - Central Cinema - Knoxville, TN (weeklong)

September 4th - The Woodward Theater - Cincinnati, OH (one night)

September 8th - Wexner Center of the Arts - Columbus, OH (one night)

September 9th - Museum of the Moving Image- Queens, NY (one night)

September 15th- Raleigh Playhouse- Beckley, WV (one night)

September 21st - The Lyric Theater- Blacksburg, VA (one night)

September 22nd - The Granada Theater- Bluefield, WV (one night)

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Read the SAG Deal and See the Basic Needs the AMPTP Rejected

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The DGA Deal Point Everyone Should Be Talking About, Plus Strike Updates

27 juli 2023 | 56 min

"Plan C" Editor Reveals the Skill Every Creative Should Foster

21 juli 2023 | 50 min

Your Double Strike Questions Answered: Waivers, Indies, Subscriptions and More

20 juli 2023 | 60 min

As of June 13, SAG joined the writers union and is now on strike. This is the first time, since 1960, that the WGA and SAG have been on strike against the AMPTP. So what is the strike about, why isn’t the DGA also on strike, and can we simultaneously support the strike while also continuing to work in film?

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:

Minimum Basic Agreement (MBA) - why it’s so important
Why arguing only about AI is not effective for the strike
Our thoughts on the DGA not striking
Knocking over food delivery robots in Los Angeles
Writers coming out and discussing how poor the pay is
Why you should not do cosplay at Comic Con this year
Why boycotting subscription services won’t actually help
Physically supporting people on the picket line
Why indie filmmakers should seek waivers from unions
Our theories on how long the SAG strike will last
Why new filmmakers should be excited this is going on right now
How you can avoid working for an AMPTP company

Memorable Quotes

“What you want to be negotiating on is as many fronts you can possibly, emotionally sustain. Because that is how you actually win these battles.” [4:19]
“It’s very rare you win battles by picking a single subject.” [4:27]
“We will see this golden, indie surge afterwards. We are going to see a lot of amazing films coming out of this. ” [39:15]
“This industry isn’t done. We care about the future of the industry and we want to set it up properly to thrive way into the future.” [42:53]

Resources:

SAG-AFTRA Strike Rules for Creators and Indie Producers

Strong Asian Lead - Artist Directory

Strong Asian Lead - Free Asian American movies to watch

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Why You Shouldn't Choose a Lane as a Filmmaker

14 juli 2023 | 47 min

What Indie Filmmakers Can Learn From ‘Indiana Jones’

13 juli 2023 | 48 min

What Podcasters and TV Writers Can Learn From Each Other

7 juli 2023 | 58 min

The Boundary-Pushing Tech at Cine Gear and Tribeca

6 juli 2023 | 52 min

What Can Tribeca Doc Editors Teach Us About Tools, Tone and Working Remote?

30 juni 2023 | 65 min

How To Sell Your TV Show Plus a Sundance Episodic Darling

29 juni 2023 | 91 min

The Festival Challenging Industry Norms & It's Best Feature Doc Winner

23 juni 2023 | 55 min

Big Movies Require Big Risks - 'God is a Bullet’ Producer and Financier Talks Filmmaking

22 juni 2023 | 86 min

‘Extraction 2’ Director Sam Hargrave’s Advice on Oners, Stunts, and Emails

16 juni 2023 | 49 min

Live From TriBeCa plus a Film That Takes on Toxic Frat Culture

15 juni 2023 | 53 min

‘White Lotus’ DP Explains the Difference Between Shooting Film & TV

9 juni 2023 | 50 min

How to Transition Roles Within the Film Industry Feat. ‘Flamin’ Hot’ Director Eva Longoria

8 juni 2023 | 45 min

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

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How to Be A Hollywood Assistant in Film and TV

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

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How to Craft a Freaky Jump Scare With ‘Boogeyman’ Director Rob Savage

2 juni 2023 | 49 min

Why We’ll Be Babysitting AI To Avoid a Cliche Hellhole

1 juni 2023 | 56 min

An Accidental First Feature—Walé Oyéjidé’s on His Stunning ‘Bravo, Burkina!’

26 maj 2023 | 59 min

How To Navigate Hollywood Power Structures and What SAG Striking Means for the WGA

25 maj 2023 | 59 min

If you have ever been treated like garbage by others with power positions, we can relate. How do you respond to that type of treatment? Do you “kill them with kindness” or do you yell right back at them? Is there a way that we can train those in the industry to start being more conscious and kind?

In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman are joined by award-winning creator, Capella Fahoome to discuss:

Loving the passion-driven film industry
How Hollywood should be a place where we can collectively create and treat each other with mutuality
Using technology to improve quality of life, not eliminate it
Finding a balance between being kind and protecting yourself from exploitation
Why email is not effective to use when communicating to those with power
What things will look like if SAG decides to go on strike
Why groups need to publicly demand things
Talking about foreign films that have really moved us
The benefits that come with watching foreign films

Memorable Quotes

“No one person can know everything. You have to have these relationships.” [3:56]
“Hollywood is a collection, for all of us creatives to come and meet and collaborate in one place.” [5:21]
“We can use A.I. for good. We don’t have to use it to eliminate people’s livelihood.” [9:03]
“I hate the term soft skills…they are more important than the hard skills and calling them soft skills make them seem like towels.” [14:20]

Resources:

‘Joyland’ Director Saim Sadiq Redefines What It Means To Be a Director

Capella’s website

Capella’s Instagram

When Is Now podcast

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How To Break Into TV and Keep Healthy Boundaries

19 maj 2023 | 56 min

Is Your Project Fellowship-Ready? Plus, Find The Perfect IP For You

18 maj 2023 | 52 min

A Step-By-Step Guide to Indie Film: From Labs to Sundance to Theaters

12 maj 2023 | 66 min

Laurel Parmet is a director and writer who has been nominated and awarded for her shorts, Kira Burning and Spring. Kara Durrett is a producer who works in both independent film and television, producing films such as Save Yourselves! and Topside. We were honored to speak to both of them about their recent film, The Starling Girl, which made its world premiere at the 2023 Sundance Film Festival.

In this episode, No Film School’s GG Hawkins, director Laurel Parmet, and producer Kara Durrett discuss:

The surreal, emotional feeling of premiering at Sundance
What the film, The Starling Girl, is about
Why Laurel believes going to film school was invaluable for her
Getting fully financed and then losing it all when the pandemic started
Pitching a film - how to do it and why it’s so amazing
What the remote editing experience was like
Plotting out each scene to encourage certain audience emotions
Feeling fortunate from the positive response after premiering at Sundance
The process of bringing a film to the screen
How to maintain stamina on projects that take years to make
What you need to do before deciding to become a producer

Memorable Quotes

“Eventually it all fell apart and we didn’t know how we were going to make the film, and it was pretty dark for me.” [19:33]
“Everytime you pitch, you are honing in on what is the most important part of the story.” [24:46]
“Make sure you realize you are running a marathon, not a sprint, because it’s a long road.” [34:38]
“Pick the people you adore and then make something together.” [55:07]

Mentioned Resources:

The Starling Girl

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Are You There God? It’s Me, Margaret

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Live From the WGA Picket Line and Why It Matters to You

11 maj 2023 | 43 min

How To Nail Camp Across Genres

5 maj 2023 | 50 min

How To Salvage a Toxic Production and the Death of the Movie Star

4 maj 2023 | 48 min

Puberty and Filmmaking—Not So Different! ‘Are You There God?’ Director Kelly Fremon Craig

28 april 2023 | 36 min

Kelly Fremon Craig is a writer and director who has earned awards and nominations for her first feature, The Edge of Seventeen. Her second feature, Are You There God? It's Me, Margaret, is based on the very famous Judy Blume novel of the same name. A main theme of this film is what it’s like to undergo the complicated process of puberty, which is ironically similar to Craig’s experience with the screenwriting process.

In this episode, No Film School’s GG Hawkins and director Kelly Fremon Craig, discuss:

How this film brought a sense of relief from embarrassment
Why the worst place to create from is a place of self-consciousness
Accepting the complicated emotions that arise during the writing process
Trying to render the truth of an experience
Letting kid actors give their authentic reactions on camera
Giving actors the freedom to play and create on set
How she decided to shoot a very specific scene in the film
Figuring out how to shoot more intimate moments without crossing the line
Why directors need to get different versions of a shot
Watching all the different takes and pulling out the nuggets
What Kelly hopes this film will inspire viewers to do

Memorable Quotes

“I felt such a crushing pressure not to screw it up.” [5:44]
“I love creating a set, an atmosphere on set, where everybody feels safe to try even their wildest ideas.” [16:54]
“I like that ‘fly on the wall’ style of shooting where you feel like you’re eavesdropping.” [24:12]
“Every single different version is a different tool in your toolbelt.” [26:54]
“It’s treasure hunting on set. You’re just looking for little diamonds.” [29:04]

Mentioned Resources:

The Edge of Seventeen

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Golden Elevator to Indie Film? Plus, Rolling Calls

27 april 2023 | 45 min

'Chevalier' Director Stephen Williams on Big Breaks Outside of Hollywood

21 april 2023 | 53 min

Stephen Williams is a producer, director, and writer who has worked on popular TV shows such as Lost, Undercovers, and Watchmen. He recently directed, Chevalier, a film based on the true story of one of France’s most important composers. Chevalier is about the journey of understanding oneself better, through the trials and tribulations that life sends one’s way.

In this episode, No Film School’s GG Hawkins and director Stephen Williams, discuss:

Growing up in Jamaica and skipping class to go to the movie theater
Starting as a PA in a production house in Toronto, Canada
Moving to Hawaii to produce and direct episodes of Lost
Comparing the role of producer to the role of director
A scene in Chevalier, that was like a rap battle, but with violins
Selecting collaborators behind the camera with the same care you cast the performers
An example of how his collaborators saved him from making a mistake
Thinking about the impact his career has on his family
How to tell a narrative story about a real person
Identifying and connecting to the journey of the main character

You can watch Chevalier in theaters on April 21, 2023.

Memorable Quotes

“Literally on a Friday I was pushing a broom as a PA, and on a Monday, I was a director at this company.” [9:00]
“I just didn’t find anything that really warranted me stopping what I was doing, until I read Chevalier.” [19:25]
“I want everyone to feel free…completely free to bring all of themselves to the table.” [28:18]
“My working life is really important to me, but it pales in comparison to my family life.” [34:52]
“Not everything has to be factually true…It just has to be essentially true.” [42:44]

Mentioned Resources:

Chevalier trailer

More of Stephen’s work

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Lexar’s Professional CFexpress Type B Card GOLD Series

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Day 2 of NAB 2023: Innovation, Battle Testing Camera to Cloud

21 april 2023 | 62 min

It’s Day 2 of NAB 2023, and Tech Editor Yaroslav Altunin and NAB host Raafi Rivero sit down to share more details about the conference. Joining the episode are special guests, Haeleigh Royall and Indeana Underhill of Cinematography for Actors, and producer Ian McClellan of Coco Butter Family. We all agree the one word that comes to mind when describing NAB 2023 is “innovation.”

In today’s episode, we discuss:

Recognizing the need for imagination with the rise of virtual production
Seeing NAB from the perspective of a newbie
Speaking to Stefan Karle from DoPchoice about their accessible gear
How OWC is accommodating workflow solutions
Being impressed by Sennheiser’s wireless microphone
Meeting the CEO of the companies that you love at NAB
The issues we had filming NAB on Day 1
Collaborating with people that aren’t in your same physical location
Filmic’s 106 bit color reader
Lexar’s amazing new memory card
The benefits to automatic transcription now offered by Adobe Premiere Pro
Being inspired by every booth we visited

Memorable Quotes

“For virtual production, you have to be even more imaginative. You have to be able to sink yourself deeper into a world.” [9:31]
“The cloud is so integrated into these products…before it was kind of a whisper and now it’s more of a shout.” [11:26]
“Green screen doesn’t exist anymore. It doesn’t have to.” [15:53]
“They could start editing a clip that you’re not done shooting, and they can be in different parts of the world.” [38:32]
“Everyone is innovating in their direction of interest, and there’s still infinite potential.” [45:23]

Mentioned Resources:

Adobe Premiere Pro

Pixotope

No Film School Coverage of NAB 2023

Connect With the Guests & Hosts:

Cinematography for Actors

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Find Miciana on Instagram

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Day 1 of NAB 2023: The Largest Community of Creatives and the Philosophy of What Makes a Camera Great

18 april 2023 | 53 min

Tech Editor Yaroslav Altunin and NAB host Raafi Rivero sit down to discuss Day 1 of NAB 2023. So what does the most prominent tech trade show have to offer this year? How about some of the hottest pieces of kit? The duo also chat about Blackmagic Design CEO Granty Petty, filming on Fujifilm cameras with Frame.io, and what makes the community of this trade show such an essential part of the broadcast and cinematic medium.

In today’s episode, we discuss:

The incredibly intense and exciting experience of going to NAB
The history of NAB and who the conference is for
A truly innovative product Creamsource developed themselves
Camcorders - would we ever use one again
Being confused by some of Canon’s newest lenses
How cine zooms are catching up to prime lenses
Unique ways people have been using Fuji’s Cine Box Lens
New features being added to Davinci Resolve studio post production software
Black Magic Design - They are building both products and a community
Applying cloud-based technologies to shows like The Lord of the Rings: The Rings of Power
Tools that get out of your way and help you be a better creative

Memorable Quotes

“This is a mirrorless camera I can throw in my backpack.” [10:28]
“Am I crazy or is it the same lens just on opposite ends of the spectrum?” [14:25]
“Get a 12K…It’s a dope camera. Go get one right now.” [33:08]
“The cloud is matter of fact. The cloud is the state of the art.” [40:31]
“A needle in the haystack problem has been solved by A.I.” [46:59]

Mentioned Resources:

DaVinci Resolve

Lexar

‘Renfield’ Director Chris McKay: The DNA of Your Movie Is the People Who Make It

14 april 2023 | 53 min

WGA Strikes for Everybody, Plus Ray Romano, and Falling Out of Love

13 april 2023 | 70 min

‘Joyland’ Director Saim Sadiq Redefines What it Means to be a Director

7 april 2023 | 49 min

True Originality is Within Your Grasp

6 april 2023 | 40 min

Turning "You're Not Gonna Make It" into Emmys with Director-Editor Kabir Akhtar

31 mars 2023 | 73 min

The Money Episode

30 mars 2023 | 57 min

How to Greenlight Yourself with ‘Wildflower’ Director

24 mars 2023 | 49 min

Tarantino's Last Movie, plus, Surviving Freelance, Anchoring Scripts, and Ronin 4D Flex

23 mars 2023 | 60 min

How to Cut Weeks of Shooting and Still Win at Sundance with ‘Mami Wata’ Director C.J. “Fiery” Obasi and Cinematographer Lílis Soares

17 mars 2023 | 45 min

Too Many Cooks in the Best Picture Category? Plus, Critiques, Critics, and 'No Hard Feelings'

16 mars 2023 | 54 min

Daniels and Paul Rogers talk Oscar-Winning (Re-Run)

14 mars 2023 | 126 min

From Sundance to SXSW: "Fancy Dance" Director Erica Tremblay and Co-Writer Miciana Alise

10 mars 2023 | 44 min

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 Erica on Instagram

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Get your questions answered on the podcast by emailing editor@nofilmschool.com!

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Big Data in Little Hollywood

9 mars 2023 | 50 min

SXSW Preview: Should You Produce Your Festival Experience? Plus Interview with Director Ella Glendining

3 mars 2023 | 52 min

If you bring your full self to a festival, to a film, to any project, whilst helping others shine in the process, you will find your place in this industry.

In this episode, GG Hawkins speaks with director, Ella Glendining about her feature film, Is There Anybody Out There? She also speaks with cinematographers Lauretta Prevost and Laura Valladao on recent Sundance films they worked on.

We discuss:

Being a vehicle for communicating your passion
Feeling self conscious about filming oneself everyday for a documentary film
The surreal experience of having a film premiere at Sundance
Accessibility, open captioning and inclusive viewing experiences at the festival
Prioritizing everyone’s comfort in the making of a film
Figuring out how to shoot and edit a purely black and white film
Limiting air flow on set during Covid
Experiences working with nonactors
How emerging filmmakers should approach attending film festivals

Memorable Quotes

“I think anybody who’s ever felt other or left out or discriminated against, hopefully will be able to take something very powerful from the film.” [11:23]
“I didn’t really notice I was making a feature until I was in the editing suite.” [19:10]
“You must, must, must stick to your gut. Like if you absolutely know something is right, then it is.” [22:46]
“Texture is so important in black in white because you don’t have color information to help you understand the space and the depth.” [33:14]
“It’s the first time I’ve really felt like an adult here…I feel like a grown up.” [38:56]

Resources:

Find Ella on Instagram

Find Laura on Instagram

Laura’s website

Lauretta’s website

Find No Film School everywhere:

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Get your questions answered on the podcast by emailing editor@nofilmschool.com!

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Do We Miss Development Hell? Plus, The Last of Us

2 mars 2023 | 53 min

"The Banshees of Inisherin" Editor Mikkel E.G. Nielsen on Making Films Come Full Circle

24 februari 2023 | 56 min

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:

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Instagram

https://womenwritenow.com/

Get your questions answered on the podcast by emailing editor@nofilmschool.com!

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Do We Need AI to Cry? Plus, the Future of Red.

23 februari 2023 | 50 min

Nailing the LOL with Women Write Now’s Sundance Fellows

17 februari 2023 | 57 min

Hours before their Sundance premieres, we spoke with the writing fellows of Women Write Now, Hartbeat’s annual comedic screenwriting fellowship for Black women in partnership with the Sundance Institute. In addition to having the three writing fellows on, we were also joined by Hartbeat’s Head of Film, Candice Wilson-Cherry, who takes us through how the program is designed to directly address the lack of BIPOC women in leadership positions like showrunners and in writers' rooms. We also were joined by Hey Boo director Logan Browning who you might know from The Perfection and Dear White People. And in addition to diving into the art of comedy, we also dig into the art of directing for comedy. All of these shorts are directed by actors — the other two being Tika Sumpter and Nicole Byer.

In this episode, we discuss…

How the Women Write Now program is filling a void in the writing space
Their process for finding writiers and directors for the program
The development process of each of the shorts
Fitting the script into only 10 pages
Having to adjust things for the budgets
Finding mentors who would guide fellows in nurturing yet realistic ways
Doing table reads versus chemistry reads
Letting go of control by trusting actors
Hitting deadlines so you don’t hold up production

Memorable Quotes

“It’s really important that all of our films, tv shows, and formats are all reflective of the world.” [3:28]
“That was really nice, sort of discovering a different layer and different element to the story.” [9:56]
“They have helped me walk into a door that was closed.” [14:03]
“Make sure your actors get to be free and play.” [22:28]
“Write, write, write. You only become good, by just doing it.” [34:32]
“If you feel like you are a writer to your core, don’t be afraid to say it and don’t be afraid to tell people.” [41:03]

Mentioned:

The Real Hartbeat on Instagram

Candice Wilson Cherry (Producer of the films)

Logan Browning (Hey Boo director)

Danielle Solomon (Hey Boo writer)

Mayanna Berrin (Power Dynamics writer)

Kiana Butler (Night Off writer)

Find No Film School everywhere:

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Anthony Vanchure Instagram

Get your questions answered on the podcast by emailing editor@nofilmschool.com!

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Editors and Post Sound Have a Crush on Each Other('s Work)

10 februari 2023 | 63 min

Continuing our Sundance coverage in episode 608 of the No Film School podcast, we sat down with editors and sound teams from films premiering at the festival. In addition to unpacking post production — the final and critical phase of filmmaking — we uncovered possibly the biggest work crushes in the film industry. In this conversation, you’ll hear from:

Emmy-winning editor, Taylor Mason - Editor for the psychological horror film Birth/Rebirth which premiered in the Midnight section on say one of Sundance. Mason’s previous work includes the Netflix mini-series Dahmer – Monster: The Jeffrey Dahmer Story, and Pose, as well as the variety show A Black Lady Sketch Show, for which Taylor and her team of editors became the first all-Black team to win a Primetime Emmy Award for Outstanding Picture Editing.
Jon Philpot - Editor for the mockumentary film Theater Camp. Jon previously worked on beloved comedy series like Hacks, Search Party, Broad City, and Awkwafina is Nora From Queens, and At Home With Amy Sedaris.
Mike James Gallagher and Anthony Vanchure - Part of the sound team on Onyx the Fortuitous and the Talisman, the pair also recently worked on the biopic Weird: The Al Yankovic Story, as well as Selena Gomez: My Mind & Me and their collaboration on the documentary Lucy and Desi earned the pair an Emmy nomination.

In this episode, we discuss…

Breaking story as an editor
The emotions of door sounds
Temp sound and editors hoping to impress the sound designers and vice-versa
Figuring out the most interesting way to keep people engaged
The great thing about low budget projects
Balancing the tone of a more dramatic story with moments of levity
The great combination of laughter and fear
How sound design can affect people psychologically
Why it's so fun for editors and sound designers to collaborate

Memorable Quotes

“Is this a scene? Is this supposed to be entertaining? What does this have to do with anything?” [16:14]
“I wanna do a great job. I wanna do that on every project I work on. You don’t just want to half ass it.” [21:38]
“The idea of mixing comedy and horror together is phenomenal.” [31:00]
“I love working with editors that take sound seriously.” [41:35]

Mentioned:

Taylor Mason Instagram

Jon Philpot Instagram

Mike James Gallagher Instagram, website and sound design deconstructions

Find No Film School everywhere:

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How to Deal with Agents, Managers, and Breaking Up with Collaborators

9 februari 2023 | 61 min

Jason Woliner on Developing Filmmaking Stamina and Creative Confidence

7 februari 2023 | 35 min

For These DP's Connecting with Story and Storytellers Prevents Burnout

3 februari 2023 | 53 min

Live From Sundance: Festival Favorites, Acquisitions, and the Good/Bad/Ugly of Networking

27 januari 2023 | 58 min

“Don’t Follow the Rules, Rewrite the Rules” — Sundance Director Alison O'Daniel on Slow Burn Filmmaking by Design, Weaving Captioning into Film Narrative

26 januari 2023 | 44 min

Live from Sundance, plus Powderkeg Media’s Head of Development Approaches the Fest in a Time of Pure Flux

23 januari 2023 | 46 min

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

Find No Film School everywhere:

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Get your questions answered on the podcast by emailing editor@nofilmschool.com!

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What We Wish We Knew About Film Festivals When We Were Younger

20 januari 2023 | 67 min

What is the 'Secret Sauce' of a Great Film? Oscar-Winning Editor Lee Smith Helps Us Find Out

17 januari 2023 | 40 min

Why is Francis Ford Coppola Losing His Crew?

13 januari 2023 | 38 min

How to Make Money as a Cinematographer

10 januari 2023 | 62 min

You Can Own a Piece of A Disruptive Film and TV Development Model

3 januari 2023 | 39 min

Darius Khondji on Scale, Scope, and Cinematic Storytelling

29 december 2022 | 24 min

Filmmaker First Steps: Anne Sophie Bine on Short Film Success

27 december 2022 | 37 min

There is a Whole New Way Movies Are Marketed... Will it Work?

22 december 2022 | 78 min

Going Right From Film School Shorts to a First Feature

20 december 2022 | 44 min

Making Your Creative Intentions Count

15 december 2022 | 53 min

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:

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Get your questions answered on the podcast by emailing editor@nofilmschool.com!

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Todd Field Tells us How to Study Character in Tar

13 december 2022 | 35 min

It is great when you have the opportunity to interpret a film for yourself and decide what it means for you. Filmmaker Todd Field offers this opportunity in the film, Tár. The film takes us through an epic character study that mirrors the way we humans experience the world. Tár is in theaters and available on streaming platforms.

In this episode, we talk about…

Todd’s inspiration to write and direct the film
Putting the character in a position of great power
How the character lives in a way that is contrary to the advice she gives others
Letting the movie and music speak for itself
The intent in writing the character as a real human being
The very simple rules for this film
What the editing and testing process was like
Why Todd believes it is healthy to have differing opinions
The pleasure of being the originator of the story

Memorable Quotes

“My writing life has been, for the most part, in adapting material.” [2:29]
“Human beings…sometimes they operate with their better angels and sometimes they’re monsters.” [12:35]
“This film is about this character. It’s about having an opportunity to meet this character in different facets of their life during this period of time. A public one, a sort of professional one, and a private one.” [16:32]
“The secret dream of many filmmakers is you never have to go through production. You would just go straight to the edit.” [20:03]
“That’s why we make films. We want the greatest possible engagement.” [24:07]
“I think being a filmmaker now is probably the most exciting thing you can possibly do.” [27:16]

Mentioned in the episode:

Tár

Find No Film School everywhere:

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https://www.nofilmschool.com/money-survey

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A.I. Leaps Forward Again...Do Filmmakers Need to Worry?

8 december 2022 | 72 min

How to Craft Natural Light into Stunning Visuals in Banshees of Inisherin

6 december 2022 | 34 min

NEW AI Tech That Blows Our Minds and How to Use Improv on Set

1 december 2022 | 58 min

Navigating Ego in Filmmaking

24 november 2022 | 77 min

How to Get Your Kinds of Movies Made with Dean Craig Writer/Director of 'The Estate'

22 november 2022 | 34 min

Is This the Tool Filmmakers Need to Find Their Audience?

19 november 2022 | 54 min

Tony Kushner Breaks Down 'The Fabelmans' and Collaborating with Steven Spielberg

15 november 2022 | 26 min

You Finished Your Screenplay. Now What?

11 november 2022 | 66 min

“Smile” Director and DP Share the Secret Rules to Their On-Set Success

8 november 2022 | 43 min

How to Get Commercial Directing Gigs and Brand New Camera Tech We Love

3 november 2022 | 55 min

How This 15 Year Old Shot a Horror Short and Got it To Cannes

28 oktober 2022 | 33 min

How to Give Notes That Help and What AI Will Do to Filmmaking

27 oktober 2022 | 58 min

Paul Feig Teaches Us the Nuances of Comedy and Collaboration

25 oktober 2022 | 32 min

When and How to "Run and Gun" Wisely

20 oktober 2022 | 55 min

How Can You Option Valuable IP and Get it Made with Josh Gordon and Will Speck

18 oktober 2022 | 41 min

Box Office Smarts for Filmmakers or How To Make Your Movie When Something Like it Bombed

13 oktober 2022 | 54 min

"Bodies Bodies Bodies" Director Halina Reijn Shares Her Directing Process

11 oktober 2022 | 37 min

How to Stay Healthy During #SetLife

7 oktober 2022 | 59 min

'The Redeem Team' Director Jon Weinbach Teaches Us How to Sell The Stories We Love

4 oktober 2022 | 36 min

How Do You Make Money While Pursuing a Filmmaking Career?

30 september 2022 | 57 min

Debunking and Decoding the Industry with 'Superbad' and 'Confess, Fletch' Director Greg Mottola

27 september 2022 | 51 min

How to Shoot Sex Scenes Responsibly, Even Without A Big Budget

23 september 2022 | 46 min

What's The Cost of Doing Work You Care About? Jerrod Carmichael Explains

20 september 2022 | 32 min

Is There Still a Place in Cinema for Rule Breakers?

15 september 2022 | 55 min

Face Down Your Filmmaking Challenges with this Approach From Medieval Director Petr Jakl

13 september 2022 | 39 min

How to Become More Hireable and What We like About the Fuji X-H2

9 september 2022 | 52 min

How to Find Your Way Into the Industry with Jessica M. Thompson

6 september 2022 | 36 min

Joe Dante Believes You Can Create Amazing Things

2 september 2022 | 29 min

When is the Right Time to Take Big Career Swings?

1 september 2022 | 59 min

Yes, You Can Still Do This... and Audiences Need You to!

30 augusti 2022 | 38 min

China Sends Hollywood a Message

27 augusti 2022 | 52 min

How to Identify Your Filmmaking Voice and Expand Beyond It

23 augusti 2022 | 37 min

How Can You Navigate Hollywood if You Aren't Rich or Connected?

18 augusti 2022 | 60 min

How to Create Your Directing Opportunities with Liz Allen Rosenbaum

16 augusti 2022 | 36 min

Find Out What the Hell Happened with HBO Max

11 augusti 2022 | 50 min

How 'Nope' Editor Nicholas Monsour Creates Perspective and Meaning

9 augusti 2022 | 43 min

How Do You Know When Your Edit is Done?

4 augusti 2022 | 60 min

The New Soft Skills You Need as a Modern Filmmaker

28 juli 2022 | 57 min

Here's How This DP Did Something Nobody's EVER Done Before

26 juli 2022 | 36 min

Is it Bad That Spielberg and A.I. Generators Are Playing in Our Sandbox?

21 juli 2022 | 59 min

This is Why You Can Do Better Work Even With Limitations

14 juli 2022 | 61 min

How To Create Amazing Cinematic Sequences with the 'Elvis' Editors and Cinematographer

12 juli 2022 | 71 min

How You Can Benefit from Finding Filmmaking Communities

7 juli 2022 | 77 min

Here is How a Random Crush Turned into Someone's Break Through Feature

5 juli 2022 | 35 min

The Personal and the Political of Filmmaking in Unprecedented Times

30 juni 2022 | 50 min

Unlocking the Challenges of Directing Actors with Sophie Hyde

28 juni 2022 | 31 min

Let's Face Filmmaker Imposter Syndrome Together

23 juni 2022 | 42 min

Straightforward Ways to Be a Better Director from 'Hustle' Director Jeremiah Zagar

21 juni 2022 | 43 min

Find Out What's Happening to the Streaming Business Model and What's Next in Lenses from Cine Gear

16 juni 2022 | 58 min

Go Inside the Editing of "Top Gun: Maverick"

14 juni 2022 | 49 min

Learn From The "Sketchy" Things We Did When We Started Out...

9 juni 2022 | 39 min

Make Your Feature by Embracing Fear

7 juni 2022 | 33 min

What's Your Responsibility as a Filmmaker AND Film-watcher?

2 juni 2022 | 43 min

Film Festival Founders Share How You Can Grow from the Festival Experience

31 maj 2022 | 43 min

Do Movie Stars Still Matter for Indie Filmmakers?

26 maj 2022 | 35 min

Will This Be James Cameron's WATERloo?

19 maj 2022 | 29 min

How This Writing Team Got Their First Feature (With a Little Help From This Podcast!)

17 maj 2022 | 39 min

The Problem with TV, The Cat People's Narrative, And a Tool That Finally Crosses the Streams

12 maj 2022 | 56 min

Award-Winning Director John Madden Talks Crafting Tension in 'Operation Mincemeat'

10 maj 2022 | 40 min

Word of Mouth and Making Good Movies Still Works!

5 maj 2022 | 41 min

Filmmaking Tools and Tech That Excite Us the Most as We Wrap Up NAB 2022

3 maj 2022 | 50 min

These Innovations Let You Light However You Want

27 april 2022 | 34 min

Robert Eggers Explains How the Devil is in the Details on 'The Northman'

26 april 2022 | 20 min

The First Day of NAB 2022 Introduces Insane New Workflows

25 april 2022 | 33 min

There May Be No Better Way to Learn and Get Inspired Than This

23 april 2022 | 35 min

The Genius Talent Behind "Everything Everywhere All At Once", All at Once

22 april 2022 | 127 min

What Happened to All The Sex in Movies?

21 april 2022 | 43 min

A Round Table On Apps Every Filmmaker Needs

19 april 2022 | 57 min

NAB is Coming And Here is Why We're Pumped

14 april 2022 | 52 min

How This First Time Filmmaker Got Elite Talent on Her Side

12 april 2022 | 28 min

Plagiarizing Film Students and Was 'The Godfather' Lit Poorly?

7 april 2022 | 46 min

How This First Time Filmmaker Got it Done By Laying it All on The Line

5 april 2022 | 43 min

What To Do With Your Hands... At a Film Festival or Awards Show

31 mars 2022 | 50 min

Learn Directly From these 2021 Academy Award Filmmakers

25 mars 2022 | 71 min

Who Will Win The Streaming War and All Your $$?

25 mars 2022 | 45 min

The Oscar Nominated Art Team Behind "Nightmare Alley"

23 mars 2022 | 51 min

Dune: A Masterclass in Bringing a World to Life Through Sound

22 mars 2022 | 62 min

The Tragedy of People Missing the Point of Movies

20 mars 2022 | 62 min

Find Out Why These Producers Read ‘Mass’ and Had to Make It

16 mars 2022 | 45 min

3 Filmmaking News Stories That Push All Kinds of Buttons

14 mars 2022 | 59 min

The Not-So-Secret Hack That Makes 'Winning Time' So Amazing

9 mars 2022 | 76 min

Why Does The Academy Hate Actual Filmmaking?

3 mars 2022 | 59 min

Want To Binge The Best Movies Ever? This Month You Can...

1 mars 2022 | 47 min

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Talia Lugacy (writer/director of indie film This is Not a War Story which is nominated for a Spirit Award) and Chad Galster (editor of the acclaimed series Yellowstone and 1883) share their different experiences of how film school influenced their current careers and remind us there’s no right way to filmmaking…

In this episode, we talk about…

Watching a Clockwork Orange obsessively and loving a certain level of excellence
Going to film school at NYU and showing up to film sets vs. film classes
Talia’s experience of moving to LA as a PA and why she went back to NYC
How attending acting school as a teenager eventually led to the film Descent
Working through trauma and staying at a monastery to practice Rinzai Zen
How Talia accelerated her writing practice and where This Is Not a War Story came from
Why it’s best to focus on your craft vs. what’s out of your control as a filmmaker
Chad’s decision to leave science and pursue his childhood dream of making movies
The benefits of USC’s film program and spending hours getting work experience as a student
Becoming the guy known for editing and getting his first credit
Advice to work hard, follow your passion, and be willing to pivot
How Chad’s music background influences his work as an editor
Experimenting with sound and being careful not to spoon feed the audience
How larger aspects of editing decisions impact the overall story and lessons
Committing to authenticity to help with audience engagement

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