The No Film School Podcast

In this episode of No Film School, GG Hawkins sits down with filmmakers Sarah Mokh, Stephen Cedars, Benji Kleiman, and Imran J. Khan to discuss navigating the South by Southwest (SXSW) Film Festival. With insights from seasoned festival veterans, this episode offers practical advice and candid reflections on how to make the most of a festival experience, whether you’re a first-timer or a returning filmmaker. In this episode, No Film School’s GG Hawkins and guests discuss: The importance of preparation before attending a festival and knowing how to pitch yourself and your project. How to pace yourself and avoid burnout over the course of a week-long festival. The value of publicists in boosting your film's visibility and managing PR. Stories and lessons from navigating previous festivals, including Sundance and SXSW. Audience engagement strategies to make your screenings successful. Memorable Quotes: Stephen Cedars: “South by Southwest is the most fun film festival in the entire world… It’s your first time, and it’ll be your only first time here.” (25:02) Imran J. Khan: “Any movie, even a feature, is still kind of just an audition for another thing… You have to figure out what’s next and be ready to talk about it.” (17:10) Benji Kleiman: “You need to have some talking points ready—what do you want people to say about your movie? That’s what’s going to make it into print.” (41:10) Guests: Sarah Mokh: Filmmaker behind Cigarettes, premiering in the SXSW Independent Pilot Competition. Stephen Cedars: Co-director of Snatchers, a horror-comedy that premiered at SXSW. Benji Kleiman: Co-director of Snatchers and veteran of multiple SXSW screenings. Imran J. Khan: Director of Mustache, winner of the SXSW Audience Award. Resources: SXSW Film Festival Lineup Follow I Really Love My Husband: Instagram Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: [email protected] Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of the No Film School podcast, hosts GG Hawkins and Jason Hellerman discuss the devastating fires in Los Angeles and their impact on the film industry. They share personal experiences of evacuation and the emotional toll of the crisis, emphasizing the importance of community support and resilience. The conversation highlights the need for filmmakers to prioritize their safety and mental health while navigating the uncertain future of the industry. They also explore the power of storytelling as a means of processing trauma and fostering empathy in challenging times. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of No Film School, GG Hawkins speaks with the filmmakers behind two impactful films, Hazard and Studio One Forever. Writer-director Eddie Mensore shares the journey of creating Hazard, an indie drama about the opioid crisis in Appalachia, and how leaving LA led to the film's 40-theater release. Later, Marc Saltarelli discusses the acclaimed LGBTQ+ documentary Studio One Forever, exploring its historical significance and enduring legacy. In this episode, No Film School’s GG Hawkins, Eddie Mensore, and Marc Saltarelli discuss: How Eddie’s move away from LA revitalized his career and allowed him to focus on meaningful indie films The challenges and triumphs of making Hazard, a deeply personal story about the opioid crisis Marc’s experience documenting LGBTQ+ history through Studio One Forever and the film’s resonance in today’s political climate Advice for filmmakers navigating the industry outside of traditional Hollywood structures Memorable Quotes: “As an independent filmmaker, it’s not about what’s the most passionate project you want to make. It’s about which one can you physically make.” “I hope that the younger generation will take a little bit of time out from TikTok and watch these 90 minutes and realize what we went through—and what’s at stake.” “I had to take a few steps backward, I believe that I’m ultimately taking 10 steps forward.” Resources: Hazard Official Website Hazard Theatrical Release Studio One Forever Official Trailer STUDIO ONE FOREVER is the untold story of America’s first gay disco, a kaleidoscopic excursion into LGBTQ+ history through the lens of this groundbreaking club. Directed by Marc Saltarelli, the film features interviews with Chita Rivera, Bruce Vilanch, Lance Bass, and others. Eddie Mensore on IMDb Marc Saltarelli on IMDb Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: [email protected] Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of No Film School, GG Hawkins and Jason Hellerman chat with John August, an acclaimed screenwriter, podcaster, and software developer. Known for films like Big Fish and Aladdin, as well as co-hosting Scriptnotes with Craig Mazin, John August discusses his career, the evolution of screenwriting tools, and how he's simplifying life for writers with his app, Highland. In this episode, No Film School’s GG Hawkins, Jason Hellerman, and John August discuss: John’s journey from journalism major to one of Hollywood’s most recognized screenwriters How working across different mediums—from novels to musicals—has shaped his storytelling The philosophy behind creating Highland, a screenwriting app designed to keep writers in the flow Practical advice for writers starting out in today’s industry Memorable Quotes: “Your ability to have an idea but then actually articulate the idea… to yourself, to your team, and to the audience is so fundamental and so important.” “When I see something in the world that bothers me, I try to fix it. My instinct is to get involved and figure it out.” “A screenplay is a luxury. You know you have about 120 pages. There are constraints, and those constraints help you figure out what’s important.” Resources: John August on IMDb Highland App Scriptnotes Podcast Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: [email protected] Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of No Film School, GG Hawkins and Jason Hellerman sit down with acclaimed director James Mangold to dive into the making of his latest film, A Complete Unknown. Known for iconic works like Logan and Ford v Ferrari, Mangold shares deep insights into his creative process, the importance of preparation, and how he navigates the complexities of storytelling. This holiday special offers invaluable lessons for filmmakers at every level. In this episode, No Film School’s GG Hawkins, Jason Hellerman, and James Mangold discuss: How Mangold approached depicting Bob Dylan’s relationships with iconic figures like Woody Guthrie and Johnny Cash The value of mentorship in filmmaking and how Alexander Mackendrick influenced Mangold’s career Finding the balance between preparation and flexibility when directing Mangold’s advice for capturing subtext and the unspoken dynamics between characters The art of juxtaposition and how to craft impactful scene transitions Memorable Quotes: “You come to the set with a plan, but your actors are gonna add a lot, and you don’t want to be so slavish, so enslaved by your plan that you feel lost if an idea comes up with one of the actors that undermines the plan you came with.” “The point for the director is to make everything look like you planned it—even if you didn’t.” “What is the scene about, and what are the beats I must make sure the audience sees? Not lines, but what’s unsaid—the subtext, the human thought behind the eyes.” Resources: James Mangold on IMDb Microbudget Workshop with GG Hawkins Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: [email protected] Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of No Film School, Jason Hellerman interviews Tyler Nielsen and Michael Schwartz, the dynamic directing duo behind the bold and provocative film Los Frikis. Known for their previous success with Peanut Butter Falcon, Tyler and Michael take listeners on a journey into the making of their latest project—a darkly comedic and deeply human tale about the Los Frikis generation in 1990s Cuba. The film explores themes of rebellion, freedom, and survival, centering on punks who willfully injected HIV to escape oppression. In this episode, No Film School’s Jason Hellerman, Tyler Nielsen, and Michael Schwartz discuss: How Tyler and Michael transitioned from Peanut Butter Falcon to Los Frikis The challenge of balancing dark humor with historical and cultural authenticity Why the directors learned Spanish to ensure authenticity in directing Cuban actors Their approach to punk rock aesthetics, both musically and visually, in the film Practical advice for filmmakers tackling deeply unconventional and emotional stories Memorable Quotes: “Punk rock is choosing freedom and choosing, like, your reality, regardless of the authorities or the powers that be.” “If you task the audience with remembering 10 things, they might remember the wrong five. So we focused on the five things that mattered most.” “We really just try to set a vibe. The vibe matches the story. And then we invite people to bring themselves to it.” Resources: Microbudget Workshop with GG Hawkins Tyler Nielsen IMDb Michael Schwartz IMDb Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: [email protected] Learn more about your ad choices. Visit megaphone.fm/adchoices

In this special episode of No Film School, GG Hawkins and Jason Hellerman delve into the often-overlooked role of producers and the essential work they perform behind the scenes. They are joined by Emmy-nominated producer Carolina Groppa, who shares insights from her remarkable career. The episode also highlights key films from the newly announced Sundance 2025 slate, offering reflections on the festival’s evolving influence. Meet Carolina Groppa: Carolina is an Emmy-nominated producer who was previously the Executive in Charge of Production at Issa Rae’s HOORAE Media and ColorCreative. Born in São Paulo, Brazil, Carolina moved to the US as a child, and her immigrant upbringing inspired her to work hard to build the career of her dreams. Carolina produced the 2017 Emmy-nominated feature documentary AUTISM IN LOVE, which explores how adults with autism find and navigate romantic relationships. Passionate about supporting female filmmakers, she was a co-producer on Netflix’s MISS VIRGINIA, starring Uzo Aduba, and IFC’s THE FEMALE BRAIN, Whitney Cummings’ directorial debut. She was a physical producer on Amazon’s SYLVIE'S LOVE, starring Tessa Thompson and Nnamdi Asomugha, and the UPM/EP on Adamma Ebo’s 2022 Sundance hit HONK FOR JESUS. SAVE YOUR SOUL, starring Regina Hall and Sterling K. Brown. She also produced the documentaries HYSTERICAL (2020) for FX and THE HONORABLE: SHYNE (2024) for Hulu. Additionally, she is the creator, host, and producer of ANGLE ON PRODUCERS, a podcast spotlighting producers across entertainment. A love letter to the creative community, the show boasts over 95 episodes and has featured notable guests such as Eva Longoria, Stephanie Allain, Lynette Howell Taylor, and Cynthia Erivo. In this episode, No Film School’s GG Hawkins, Jason Hellerman, and Carolina Groppa discuss: Carolina Groppa’s career journey, from her early days as an actor to becoming a producer and podcast host The invisible yet critical role of producers and why their contributions are often misunderstood Practical advice for emerging producers, including navigating challenges and building strong collaborations Reflections on the 2025 Sundance slate, including standout films like Sorry Baby and Dead Lover How trust and leadership shape successful filmmaking partnerships Memorable Quotes: “Producing is about choices. It’s never just about saying no; it’s about saying, ‘Here’s what we can do with what we have.’” “The only thing people remember is how you made them feel on set. If you can lead with kindness and clarity, that’s what sticks.” “Sundance is where you see the future of storytelling take shape, and this year’s slate is no exception.” Resources: Carolina Groppa’s Podcast: Angle on Producers Carolina’s IMDb: Carolina Groppa Carolina on Instagram: @carolinagroppa Learn more about the Sundance Film Festival: Sundance 2025 Highlighted Sundance Films: Sorry Baby: A heartfelt indie produced by Pastel, Barry Jenkins’ company Dead Lover: Directed and written by Grace Glowicki, featuring Ben Petrie, and described as “genre-bending and unforgettable” Lose: A poignant drama set in Hong Kong about a man searching for his daughter Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: [email protected] Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of No Film School, host GG Hawkins and tech editor Jordan Aldridge are joined by two incredible guests: filmmaker Leah Saint Marie and award-winning director Lizzy Born. The discussion delves into the challenges of navigating the indie film world, the stress of festival notification season, and creative approaches to career-building in a competitive industry. Both guests share personal stories, practical advice, and insights on how to push boundaries in filmmaking. In this episode, No Film School’s GG Hawkins, Jordan Aldridge, Leah Saint Marie, and Lizzy Born discuss: Leah Saint Marie’s journey from projectionist to filmmaker and her strategies for staying resilient in “festival purgatory” The challenges of navigating FYC campaigns as an indie filmmaker Lizzy Born’s approach to directing, from Ziwe to branded content, and how she balances dark humor with social commentary Practical advice for emerging filmmakers, including the importance of collaboration and creating your own opportunities The inaugural Indies Awards, celebrating independent films outside of mainstream festival circuits Memorable Quotes: “No one else is telling you no, except yourself. If you haven’t made a movie or written a script and you’re afraid to do it, do it anyway.” (39:44) “This job is about community. Finding your community of people who feel like they are in the same space as you is so essential.” (1:16:32) “Sometimes I wish I didn’t know as much... You’re going to do it in a fresh way because you don’t know what you’re referencing.” (1:19:50) Resources: Leah’s Podcast: Pitch! A Screenwriting Podcast Leah on X (formerly Twitter): @leahwelch19 Leah’s IMDb:Leah Saint Marie Lizzy’s Website: Lizzy Born Lizzy’s Instagram: @LizzyB0rn Read reviews of Ziwe: Variety on Ziwe Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: [email protected] Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of No Film School, hosts GG Hawkins and Jason Hellerman are joined by filmmakers and programmers Erin Brown Thomas, Jillian Corsie, and Rafael Leyva to discuss the current state of short films. They dive into the challenges, creativity, and evolving landscape of the medium, exploring how short films serve as a crucial platform for experimentation and storytelling. In this episode, No Film School’s GG Hawkins and Jason Hellerman discuss: The current climate for short films in the industry, including programming and distribution challenges How filmmakers like Erin, Jillian, and Rafael are innovating within the short film format The role of short films as both creative playgrounds and stepping stones for larger projects Programming insights from festivals like Salute Your Shorts and Slamdance Personal experiences creating impactful shorts, including Tooth and The Foster Ranch Memorable Quotes: “Short films are such a cool outlet. If there’s any upcoming filmmakers out there, it’s such a great way to tell a story in a little time, and people have no idea how difficult that is.” (10:31) “Shorts are this wonderful playground for creativity and trying new things.” (32:11) “There’s a certain level of experimentation in shorts, and that’s why I think, even if I’m four features into my career, there might still be room for me to make shorts.” (32:11) Resources: Tooth Short Film Erin Brown Thomas on Instagram: @erinbrownthomas_filmmaker Erin on TikTok: @erinbrownthomas_film Jillian Corsie on Instagram: @jcorsie Salute Your Shorts on TikTok: @salute_your_shorts The Foster Ranch Trailer: The Foster Ranch Rafael Leyva's Website: RLEYVADP.COM Versatile Assassins Films Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: [email protected] Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of No Film School, hosts GG Hawkins and Jason Hellerman explore the craft of cinematic monologues and discuss how these powerful moments can elevate films. They also sit down with director David Gordon Green, whose latest holiday family film, Nutcrackers, debuts on Hulu. David shares his process of crafting a heartfelt and improvisational movie built around four real-life brothers, discussing how his indie roots continue to shape his creative approach. In this episode, No Film School’s GG Hawkins and Jason Hellerman discuss: The craft of writing and performing memorable movie monologues Iconic monologues from The Godfather, Network, Cabin in the Woods, Scent of a Woman, and more David Gordon Green’s process of reverse-engineering Nutcrackers around its young, untrained stars Why David values improvisation and naturalism in his filmmaking Advice for indie filmmakers about creating economically viable films while staying true to their creative vision Memorable Quotes: “When you’re writing a great monologue, you’re giving actors a reason to want to say those words and embody that character.” (4:21) “The movie became just a sculpture of things I want to see.” (22:54) “There’s only one you, and you have to be that as loud as you can.” (45:00) Resources: The 25 Best Movie Monologues Watch Nutcrackers on Hulu GG Hawkins' Instagram: @LostinGraceland Jason Hellerman’s Twitter: @JasonHellerman David Gordon Green’s IMDb: David Gordon Green Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: [email protected] Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of No Film School, host GG Hawkins sits down with Jason Hellerman and special guest Matthew Starr, the creator of the Audible original series The Best Man's Ghostwriter. They delve into the creative process behind the audio series, which is described as an American version of Love Actually for audio, starring Glenn Powell and Nicholas Braun. Matthew shares how he transformed his experience as a ghostwriter for best man speeches into a compelling and humorous narrative. The discussion also explores the genre of World War II films. Jason, Matthew, and GG each discuss their favorite WWII movies, sparking a conversation about the role these films play in culture and history. In this episode, No Film School’s GG Hawkins, Jason Hellerman, and Matthew Starr discuss: Matthew Starr's journey creating The Best Man’s Ghostwriter, from its early concept to Audible production Adapting personal experiences into a scripted audio series Challenges and advantages of creating an episodic narrative in the audio format A discussion on their favorite World War II movies, including The Longest Day, Band of Brothers, Raiders of the Lost Ark, and Jojo Rabbit How WWII movies have shaped film culture and continue to resonate with audiences Memorable Quotes: “Narrative audio is such a vibrant medium—it's about figuring out how to make it fun and engaging to listen to.” (15:18) “Band of Brothers really captures the experience of fighting and surviving in WWII, unlike anything else.” (07:04) “If you just want to see Nazis getting killed, go watch Sisu. One grizzled old man takes on a team of Nazis, and it’s incredible.” (11:15) Resources: Top World War II Movies Matthew Starr’s Website: MatthewSStarr.com Follow Matthew on Instagram: @matthewsstarr Listen to The Best Man’s Ghostwriter on Audible Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: [email protected] Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, GG Hawkins sits down with editor Celia Beasley to discuss her role in shaping Penelope, the new episodic series by the Duplass Brothers, now on Netflix. They explore the unique process of editing an episodic series that was shot like an indie film and edited entirely in the cloud. Celia shares her experiences of working outside major film hubs and the impact of community on her career. Through insightful conversations on editing, storytelling, and collaboration, Celia reveals her creative process and what it means to find success beyond New York and LA. In this episode, No Film School’s GG Hawkins and Celia Beasley discuss: Transitioning from still photography to filmmaking and discovering editing as a storytelling tool Navigating the industry outside of major film hubs and the importance of a supportive community The unique challenges of editing Penelope, including cloud-based editing and handling extensive footage Using editing techniques to convey the protagonist's journey, especially in time-compressed scenes Advice for emerging filmmakers on trusting instincts, building collaborative relationships, and allowing a film to develop organically Memorable Quotes: “Editing is not an afterthought. It’s the last chance for the film to be the best version of itself.” (46:44) “In the edit, I feel like I’m getting a giant bin of Legos, and it’s up to me to put the pieces together to make it all work.” (30:24) “It’s okay to ask questions, especially as an editor. I need to understand the vision, and I’m here to serve that.” (52:16) “People outside of New York and LA are in film for the love of it; we’re doing it because we’re passionate.” (12:32) Resources: Celia Beasley’s Website: CeliaBeasley.com Celia on Instagram: @CeliaBeasley_Films Netflix Series Penelope: Watch on Netflix Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: [email protected] Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, host GG Hawkins hosts a roundtable discussion with microbudget filmmakers at the Austin Film Festival. They share their journeys of creating feature films under tight budgets and high personal stakes. Each filmmaker provides insight into the emotional, physical, and financial tolls of producing indie films while managing personal challenges. Despite the struggles, their stories are underscored by the resilience and camaraderie that helped them see their projects through. The discussion touches on how these filmmakers greenlit their own projects, self-funded, and navigated logistical and emotional hurdles. From crafting stories inspired by personal traumas to relying on a supportive community to rally resources, the episode reveals what it truly takes to complete a microbudget film. The filmmakers open up about facing setbacks, from COVID shutdowns to creative crises, while pushing forward in pursuit of their vision. Panelists featured in this episode include: Sisters Sarah Khasrovi (Story By, Lead) Susie Yankou (Writer/Director, Lead) Lady Parts Bonnie Gross (Screenwriter, Executive Producer) Edith Belmont (Editor) Young King Bryant T Griffin (Writer, Director) Selena Leoni, p.g.a. (Producer) Crossword Michael Vlamis (Co-writer, Director, Producer, and Actor) The Ego Death of Queen Cecilia Travis White (Producer) Jo Schaeffer (Lead, Producer) In this episode, No Film School’s GG Hawkins speaks with indie filmmakers to discuss: The personal inspiration behind their microbudget films Emotional and physical tolls in the process of making a low-budget film Strategies for overcoming logistical challenges, from location scouting to equipment sourcing The importance of a supportive filmmaking community in DIY film production How each filmmaker dealt with setbacks and moments of doubt Key lessons from their experiences in indie filmmaking at AFF Memorable Quotes: “If I was going to do this and fail, it would be good to have a support system around us.” (20:10) “Making the movie, getting picture lock… you’re only 60% there.” (44:13) “It’s like a constant vulnerability. It’s like cutting yourself open and letting your guts out every day.” (25:27) “I don’t know if I’ll do this again… It’s incredible, but the toll is so high.” (50:42) Resources: Austin Film Festival GG Hawkins' Micro-Budget Filmmaking Newsletter: @LostinGraceland on Instagram Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Send us an email with questions or feedback: [email protected] Learn more about your ad choices. Visit megaphone.fm/adchoices

Celebrating Halloween, this special episode dives into the indie horror-comedy Booger, an unconventional story that combines grief, body horror, and dark humor. Director Mary Dauterman, editor Kyle Moriarty, and lead actor Grace Glowicki share the creative and logistical challenges they faced bringing this unique film to life. From crafting a cat-human transformation story inspired by loss to the collaborative spirit on set, they reveal how to keep indie film projects grounded in vision, even on a tight budget. Mary Dauterman is a director and writer making her feature debut with Booger, a horror-comedy that blends humor and body horror to explore themes of grief. With a background in illustration and advertising, Mary brings a unique visual style to her work, making her voice distinct in the indie film scene. Kyle Moriarty is an editor known for his collaborative approach to indie projects, often working closely with directors to capture unique tones and pacing. His work on Booger helped shape the film’s unsettling, humorous edge, bringing out the full impact of its horror-comedy fusion. Grace Glowicki is an actor and filmmaker acclaimed for her physical, transformative performances. In Booger, she brings the role to life through meticulous body language, channeling both horror and humor in the character’s journey of transformation. In today’s episode, No Film School’s GG Hawkins speaks with Mary Dauterman, Kyle Moriarty, and Grace Glowicki to discuss: The inspiration behind Booger, blending dark themes with horror and humor How the 2020 lockdown shaped the film’s themes of grief and loneliness Mary Dauterman’s transition from shorts to her debut feature film and what that entailed The creative approach to body horror, from prosthetics to unique camera techniques How editor Kyle Moriarty’s previous collaboration with Mary Dauterman influenced the edit’s tone and pacing Grace Glowicki’s physical preparation for the role, embodying the character’s transformation Managing DIY effects on a low budget Memorable Quotes: “Writing it during lockdown and writing it being like super isolated, these themes of grief and loneliness started creeping in.” (04:18) “I decided to storyboard the entire film all the way through, which was crazy, but I'm really glad I did it because I think I could pay attention to certain things like: how does the film feel visually?” (12:12) “Our specialty lenses were called a lens baby, which is kind of like a lens with an accordion and you can push it all around and the focus falls and it looks really unsettling.” (14:06) “The biggest challenge was we were shooting like July into August and turns out prosthetics melt.” (24:48) “It's a little bit like the more seriously we take her cat behavior and transformation and just all that grossness… the funnier it is.” (30:52) “I was getting these poster designs that I was like, what? No. I'm going to do this myself. So I went a little nuts.” (46:20) Resources: Booger on IMDb Follow Mary Dauterman on Instagram Mary Dauterman on IMDb Mary Dauterman’s website Kyle Moriarty on IMDb Kyle Moriarty’s website Grace Glowicki on IMDb Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected] Learn more about your ad choices. Visit megaphone.fm/adchoices

What does it take to go from indie filmmaking on a shoestring budget to working with legends like Sam Raimi? Andrew Kightlinger’s journey from Madagascar to Hollywood shows how personal experiences shape a filmmaker’s voice. Filmmakers Adam Schindler and Brian Netto share how they moved from microbudget horror films to collaborating with one of the industry’s icons. This episode explores the highs and lows of filmmaking, from preparation and improvisation to building trust on set. Andrew Kightlinger grew up surrounded by the vibrant landscapes of Madagascar, which ignited his passion for filmmaking. Now directing in Hollywood, his films, like Lost on a Mountain in Maine, showcase his ability to merge personal experiences with visually captivating storytelling. Lost on a Mountain in Maine releases on November 1. Adam Schindler and Brian Netto began their filmmaking journey with microbudget horror, mastering the craft of tension and suspense. Their latest film, Don’t Move, produced by Sam Raimi, is set to release on October 25, 2024 on Netflix, proving that powerful stories don’t require massive budgets In today’s episode, No Film School’s Jason Hellerman and GG Hawkins speak with Andrew Kightlinger, Adam Schindler, and Brian Netto to discuss: Andrew Kightlinger’s journey from Madagascar to Hollywood How his upbringing influenced Lost on a Mountain in Maine The need for preparation and improvisation with tight budgets Schindler and Netto’s move from micro budget films to working with Sam Raimi on Don’t Move Creating real-time horror with minimal voiceover and non-linear techniques The role of trust and collaboration in elevating a project Memorable Quotes: “The big lesson I learned in that movie was who not to work with, and I won't go into more detail than that, but I think that's a very important lesson in a collaborative field like ours.” (12:03) “I believe that filmmaking is preparation. Like bar none, that's what your job as a director is to do. So prepare because it's gonna be chaos when you start shooting.” (18:02) “I knew what I wanted the film to be. And then I also storyboarded the whole movie just with stick figures. I just had an iPad and I drew out all the really complicated stuff to the best of my ability.” (20:06) “He's the consummate collaborator, like… horror icon, but also like one of the best script to screen notes… he lives up to all of it.” (45:22) “We became directors together. Our passion for film began together. We founded together. I think the things that we enjoy are slightly different. We like the same movies, but we also have different tastes.” (55:17) “I think the filmmaking part of it is the fun part and the easy part. It's all the other things that you have to juggle and have the temperament for and the stomach for and the patience for and all those sorts of things.” (1:04:26) Resources: Follow Andrew Kightlinger on Instagram Andrew on IMDb Lost on a Mountain in Maine on IMDb Adam Schindler on IMDb Follow Adam on Instagram Brian Netto on IMDb Follow Brian on Instagram Don’t Move on IMDB Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected] Learn more about your ad choices. Visit megaphone.fm/adchoices

In filmmaking, finding the right actor can make all the difference, and for Hallie Meyers-Shyer, Michael Keaton was the only choice for the lead role in Goodrich. This episode delves into the creative journey of writing and directing a deeply personal film, navigating the challenges of independent production, and discovering the heart of the story during editing. It also explores how persistence, vision, and collaboration are essential in bringing a project to life. Hallie Meyers-Shyer is a writer and director known for her heartfelt and character-driven stories. Following in the footsteps of her legendary filmmaking parents, Nancy Meyers and Charles Shyer, Hallie made her directorial debut with Home Again in 2017. Her latest film, Goodrich, is a personal story inspired by her family dynamics, with a lead role written specifically for Michael Keaton. Hallie is passionate about crafting films that blend humor and emotion, creating stories that resonate on a deeply human level. In today’s episode, No Film School’s GG Hawkins and Jason Hellerman speak with Hallie Meyers-Shyer to discuss: Insights from the LA Director’s Lab, a workshop that offers directors a space to practice their craft and experiment with creative risks Why Michael Keaton was the perfect fit for Goodrich and how she wrote the role with him in mind The personal inspiration behind the story, rooted in Hallie’s experiences with her own family How to keep pushing forward with a film project, even when financing falls through The importance of outlining in the writing process and how it provides freedom in creativity Hallie’s experience working with a tight-knit team and storyboarding the entire film The emotional discoveries that shaped the film during editing and how the film revealed itself as more than just a comedy Memorable Quotes: “I work hard to fully flesh out each character and make them not just servicing the thing that you want to get across in that scene and make them people with a lot of layers and things.” (15:06) “I kind of always felt this was going to be an independent movie, even though it sort of would have been a studio movie probably 30 years ago.” (18:24) “I had Pinterest boards for costumes. I had Pinterest boards for every location. I also had a really long time to work on this movie, so I had about six years of images pulled.” (26:27) “I love editing. I just love it. It's one of my favorite parts, if not my favorite part.” (36:02) “Something I noticed about Michael Keaton in the editing room (…) is he brings the first scene of the movie into the last scene of the movie.” (37:15) “I know many super talented writers who can do multiple projects at once. I admire it. I cannot do it. I am so fully immersed in what I'm writing.” (46:27) “I think it's so important for human stories, personal stories about people and emotions and whatever your life story is, get it out there, keep at it, be your biggest champion, make it happen.” (51:52) Resources: Follow Hallie Meyers-Shyer on Instagram Hallie on IMDb Goodrich on IMDb Hollywood Camera Works trainings Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected] Learn more about your ad choices. Visit megaphone.fm/adchoices

The Austin Film Festival (AFF) stands out for its unique focus on writers and emerging filmmakers, providing a space for attendees to connect with industry professionals and discover creative collaborations. With its welcoming atmosphere, AFF offers an ideal environment for networking, learning, and exploring new opportunities. The conversation also delves into the career of cinematographer Mihai Malaimare Jr., who shares his journey from film school to working with legendary director Francis Ford Coppola, offering insights into his approach to cinematography and navigating the evolving role of technology in film. Andy Volk is the Senior Film Programmer at Austin Film Festival. He selects films from around the world and helps shape the festival’s diverse lineup. Emily Lock is the Conference Director at Austin Film Festival. She organizes panels and events focused on screenwriting and filmmaking. Mihai Malaimare Jr. is a cinematographer known for Megalopolis and Jojo Rabbit. He began working with Francis Ford Coppola shortly after film school and is recognized for his innovative approach to both film and digital cinematography. Mihai has worked on several acclaimed films, blending artistry with evolving technology. In today’s episode, No Film School’s GG Hawkins and Ryan Koo speak with Andy Volk, Emily Lock, and Mihai Malaimare Jr. to discuss: How to make the most of your time at the Austin Film Festival Why AFF stands out as a community-driven festival Tips for networking, pitching, and finding creative collaborations at the festival Mihai Malaimare Jr.’s journey from film school to becoming Francis Ford Coppola’s go-to cinematographer How Mihai navigates the evolving landscape of VFX-heavy productions and maintains the balance between technology and artistry Building lasting professional relationships with directors and how to stay open to creative ideas on set Memorable Quotes: “[AFF] is one of the more welcoming festivals that I've ever been to, and it really is about community. And I think that's one of the things that we really pride ourselves on at the festival is making it feel really warm and really open.” (7:34) “It's a very rare opportunity for an aspiring and emerging storyteller to get in a room with someone who's an actual gatekeeper for Hollywood, to hear their perspective on what they're looking for and their advice to emerging voices, and to have the opportunity to speak with them, either one-on-one or in a group, and really pitch themselves.” (16:22) “I want any of our listeners who sort of skew on the shyer side to practice introducing themselves to somebody that they don't know.” (19:03) “My advice is watch everything. And I know that sounds trite, but it's so important to get outside your own taste bubble.” (25:34) “Make space for things that don't jump out at you. And you would be surprised how much you can love something that didn't really necessarily call to you.” (25:58) “It can be very stressful when you're not prepared, and you're used to productions that are really very carefully planned. If you move an inch, then it's a disaster.” (38:09) “I'm still trying to figure out why, but I'm more attracted to still photography than stills from other movies.” (52:18) Resources Mentioned: Austin Film Festival On Story podcast Mihai Malaimare Jr. on Instagram Mihai Malaimare Jr. on IMDb Mihai Malaimare Jr.’s website Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

The O-1 visa, also known as the "artist visa," is a crucial step for filmmakers and creative professionals aiming to establish their careers in the U.S. Designed for individuals with extraordinary ability in their fields, the application process can be daunting. This episode offers insights into what it takes to qualify, how to strengthen your application, and common challenges faced by those seeking an O-1. Whether you're in the middle of applying or just starting out, this episode provides a roadmap for navigating the process. Alabama Blonde is a casting director, costume designer, and performance coach originally from Australia. Now based in Los Angeles, she has navigated the O-1 visa process twice, ultimately securing a green card. Alabama’s multidisciplinary career spans various creative roles, giving her unique insights into the challenges of obtaining visas as an artist working across multiple fields. Julia Zanin de Paula is a Brazilian filmmaker, director, and editor currently based in New York. With a background in horror films, including her notable short Mother of Monsters, Julia has successfully transitioned from a student visa to an O-1 artist visa. She offers valuable advice on gathering press, awards, and recommendations to strengthen her application. Sneha Mendis is a producer and screenwriter from India, currently in New York, and in the midst of applying for her O-1 visa. With a background in production and development, Sneha shares her experience of building a case for the visa while working in various roles across film sets in the U.S. In today’s episode, No Film School’s GG Hawkins and Jason Hellerman speak with filmmakers Alabama Blonde, Julia Zanin de Paula, and Sneha Mendes to discuss: What qualifies as “extraordinary ability” and how to demonstrate it in your visa application The key documents and evidence required to strengthen your case, including press coverage, awards, and work offers The emotional challenges of navigating the visa process and finding support while applying Common misconceptions about the O-1 visa and why it’s not as "easy" as some think Financial considerations: the costs of legal fees, recommendations, and union approvals Memorable Quotes: “I think being extraordinary is having something that sets you apart from everyone who's doing the thing that you do.” (15:05) “You know what happens when you're a filmmaker and you are starting your career? You're couch surfing. You know, it's not always easy.” (24:10) “They can't say Julia will be extraordinary. They have to say Julia is extraordinary right now, and she will be extraordinary in the US.” (25:56) “You've got to be a little insane to do the O1 visa. You've got to be a little delusional. Because if you don't go all in, you're not going to get it.” (32:34) If you have a long-term project that the producer has never encountered your visa and has never gone through human resources with your kind of visa, they might not be down to do it.” (43:22) “It doesn't get easier once you get it. It's just a constant struggle to grow in your career.” (44:20) Mentioned: Follow Sneha Mendes on Instagram Sneha’s website Sneha on IMDb Follow Julia Zanin de Paula on Instagram Julia’s website Julia on IMDb Follow Alabama Blonde on Instagram Strike the Blonde Casting on Instagram Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

As AI continues to reshape creative industries, video editing is undergoing a major transformation. Tools like Eddie AI are making the editing process faster, more efficient, and more accessible to filmmakers. By acting as a storytelling partner, AI can quickly generate rough cuts, find key moments in footage, and even suggest alternative storylines, all while freeing up creatives to focus on the art of storytelling. This episode explores how AI is changing the landscape of post-production, addressing both the excitement and concerns about its growing role in filmmaking. Shamir Allibhai is the co-founder and CEO of Eddie AI, an innovative tool designed to assist filmmakers in streamlining the video editing process. With a background in documentary filmmaking and production work at the BBC, Shamir transitioned into tech to solve the workflow challenges he encountered in the field. His passion for storytelling drives his mission to use AI as a tool to empower creators, making the process of crafting stories more efficient and accessible to all. Jourdan Aldredge is the tech editor at No Film School, with years of experience covering filmmaking tools, techniques, and trends. A filmmaker and writer himself, Jourdan brings a unique perspective on how technology intersects with storytelling. In today’s episode, No Film School’s Gigi Hawkins speaks with Jourdan Aldredge and Shamir Allibhai to discuss: The evolution of video editing and how AI tools can help streamline the process How Eddie AI functions as a "storytelling partner" for filmmakers, not just an editing tool The iterative nature of filmmaking and how AI can aid in refining the story during production Addressing fears around AI in creative industries, including concerns about replacing human creativity How AI tools can save time and focus more energy on the craft of storytelling The future of AI in film and how it can democratize storytelling Memorable Quotes: “I have this aspiration that more people can tell better stories. And I want to help bring those untold stories out.” (5:04) “Hey, let's find the most important sound bites on these topics, let's start creating a rough cut, but also, hey, you also need 10 TikToks.” (16:58) “Imagine if production and post-production weren't the siloed steps. What if they could operate in tandem in a similar sense to an agile workflow?” (20:36) “I think with every technology we've observed, they've actually led to an increase in productivity or creativity.” (24:13) “I truly believe that a lot of these tools are like bicycles for the mind.” (36:03) Mentioned: Eddie AI Jourdan Aldredge's article about Eddie AI Follow Jourdan on LinkedIn Follow Shamir on X Shamir on IMDb Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

How do documentary films inform the way we approach narrative filmmaking? What does it mean to care for your mental health in an industry that thrives on constant creativity and long hours? How do documentary editors navigate the emotional toll of handling sensitive, often traumatic stories? In today’s episode, No Film School’s GG Hawkins speaks with editor Kait Plum to discuss: Doing a test scene before becoming the editor of Bad Shabbos The difference between editing doc and editing narrative Editing a film with many characters The benefits of doing test screenings for comedy Facing difficult footage when editing a documentary The importance of setting boundaries and taking breaks Using the term “participant” instead of “subject” in documentary filmmaking What it was like to work on the doc, Mediha Why networking and mentorship are crucial for aspiring editors Memorable Quotes “Working in documentary is so much work. Working in narrative was just fun because everything is there and you have a script.” [5:01] “We are looking at a lot of harrowing stuff on repeat and having to internalize that.” [30:55] “I know a lot of fellow documentary editors who deal with depression and anxiety on a regular basis.” [31:02] “The number one thing in the film industry is to network.” [42:56] Links: Bad Shabbos Mediha Follow Kait on IG Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

As streaming reshapes the industry, pilot season is a thing of the past, leaving creatives to navigate constant demands and year-round pitching. How do filmmakers find balance when the lines between work and rest blur? And how can unexpected pivots lead to more meaningful projects? This episode explores staying resilient in a world without structure, featuring Max Lugavere's decade-long journey with Little Empty Boxes, a deeply personal documentary about his mother's battle with dementia that evolved in ways he never expected. Max Lugavere is a filmmaker, health journalist, and New York Times bestselling author. After his mother’s diagnosis with Lewy body dementia, Max chronicled her experience in Little Empty Boxes. The film, which took over a decade to complete, shifted from an investigative piece to an intimate portrayal of love, loss, and resilience. In today’s episode, No Film School’s Gigi Hawkins speaks with Jason Hellerman, Max Lugavere and Chris Newhard to discuss: The death of pilot season and how streaming has transformed the TV landscape The endless cycle of pitching and the impact on writers’ lives Finding balance between personal life and an unpredictable film industry. How unexpected creative pivots can lead to more meaningful work. Max Lugavere’s personal journey documenting his mother’s battle with dementia in Little Empty Boxes Chris Newhard’s role in reshaping Little Empty Boxes through fresh eyes, helping it evolve into a deeply emotional and impactful documentary Memorable Quotes: “The thing with pilot season not existing is interesting because you still have network TV, right? Network TV still generally functions the way it always has, except for it doesn't embrace the buying and research and development behind pilot season anymore.” [5:36] “The anxiety of pitching year-round is that you're also assuming these execs are reading year-round. They need a break too.” [9:03] “There were likely overlapping skills that I had learned as a short form content creator that could be applied to long form documentary filmmaking, but of course the amount of money and time and personnel required to create a feature length documentary… it's so different.” [26:28] “Being in front of the camera allowed me access to some moments that I think you probably wouldn't have been able to catch on film had I not actually had been there.” [41:04] “I just simply found that going with the emotion instead of trying to fight the tide was more beneficial for me.” [53:24] “He spent a lot of time and a lot of money trying to make this movie happen. And the first thing I did is I deleted it.” [55:42] Mentioned: Max Lugavere on Instagram Little Empty Boxes website Max Lugavere’s website The Genius Life podcast Max Lugavere’s Books Chris Newhard’s website Chris Newhard on Instagram Jason Hellerman on IMDb Jason’s library of content on No Film School Jason on Instagram Jason on X KYNO editing tool Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Selling a script can feel like a distant dream, but the process is very much alive. From using platforms like The Black List to writing query letters and building personal connections, breaking into the industry is challenging but not impossible. Plus, we explore the rise of the Panamanian film industry, how it has evolved, and what it takes to make a mark in a smaller but growing market. Delfina Vidal is a Panamanian filmmaker known for her documentaries. She has contributed significantly to the growing Panamanian film industry, focusing on telling stories that resonate with local and international audiences. Arianne Benedetti is a producer and key figure in the Panamanian film scene. She is instrumental in the development of Panama’s cinematic landscape, working on projects that showcase the country’s cultural and artistic diversity. Maria Isabel Burnes is involved in promoting the Panamanian film industry, playing an essential role in nurturing emerging filmmakers and helping develop a vibrant film culture in Panama. In today’s episode, No Film School’s GG Hawkins speaks with Jason Hellerman and filmmakers from Panama Delfina Vidal, Arianne Benedetti and Maria Isabel Burnes to discuss: How to break into the industry by selling or optioning scripts The importance of getting your work out into the world and building a community around it The Substance, the film starring Demi Moore, Dennis Quaid and Margaret Qualley, written and directed by Coralie Fargeat What emerging filmmakers in Panama are doing to grow their film industry Strategies to create universal stories that can travel beyond local markets Why female filmmakers are thriving in Panama’s expanding film scene Memorable Quotes: "You have to get your story out into the world. You have to be willing to hear the sometimes harsh feedback that these websites deliver.” [05:25] "Don't stop writing, because maybe the main thing here is: one script can open a couple doors, two scripts can open more, three, you know, onward and upward, but you're gonna need scripts." [16:34] “It's not just about how great your script is, but how marketable it is. Who sees that they can make money from it? Is this some material that I can get something in return for?” [20:15] “It’s more common to be on an NFL roster than it is to be a working screenwriter in Hollywood.” [26:21” “When you're going to work with kids, make sure you have a lot of time before set so they can relate to you and feel very comfortable with you.” [59:02] “Always, always prepare for the worst. Prepare your coworkers for the worst. Prepare your actors for the worst. Prepare the location that you're working in for the worst.” [1:03:07] Mentioned: Jason Hellerman on IMDb Jason’s library of content on No Film School Jason on Instagram Jason on X Delfina Vidal on IMDb Arianne Benedetti on IMDb Maria Isabel Burnes on IMDb The Black List Stage 32 Roadmap Writers Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Filmmaking isn’t just about making a great film—it’s about getting that film seen. With traditional distribution models crumbling, independent filmmakers are finding new ways to connect directly with audiences. This episode explores how the indie film landscape is shifting, with filmmakers taking control of their own distribution, marketing, and audience-building strategies. Whether you’re a first-time filmmaker or a seasoned pro, this episode will inspire you to think outside the box and embrace a more grassroots approach to getting your work into the world. Jon Reiss is a filmmaker, author of the book Think Outside the Box Office, and a media strategist who runs 8 Above, a company that creates custom distribution strategies for indie films. He has consulted with filmmakers and organizations worldwide including The Gotham, IDA, and Film Independent, and has led workshops on distribution and marketing through his 8 Above Distribution Lab. Reiss is currently producing a documentary on robotic performance artist Mark Pauline, and is producing the second season of a podcast, Plantscendence, about people’s psychedelic experiences. He has recently launched a Substack focused on indie film distribution and marketing. Annamaria Sofillas, a development executive and producer, is the Director of Content at Kino Lorber’s MHz SVOD. She is the lead producer of the documentary "I'm “George Lucas": A Connor Ratliff Story, which premiered at Slamdance ’24 and received theatrical exhibition nationwide through Alamo Drafthouse Cinemas, with digital distribution by Grasshopper Film. Annamaria was instrumental in building NBCUniversal's Seeso and Gimlet Media's scripted division, where she led over 25 long-form television series and 30 stand-up specials, including the GLAAD Award-nominated Take My Wife and BAFTA Award-nominated Flowers. Scott Monahan, the filmmaker behind Anchorage, has been candid about his experience with self-distribution, highlighting the challenges and successes of taking control of a film’s release. Glen Reynolds, founder of Circus Road Films, is a producer rep and festival advocate who helps indie filmmakers navigate distribution and find the right partners to bring their projects to audiences. In this roundtable discussion, No Film School’s GG Hawkins speaks with Jon Reiss, Annamaria Sofillas, Scott Monahan, and Glen Reynolds to discuss: Why hybrid distribution is essential for indie filmmakers today How film festivals and events can help grow your audience Why setting clear release goals is crucial for your film’s success How building your audience starts long before your film's release Real-world examples of filmmakers using grassroots promotion and festival tours Why filmmakers are taking control of their own marketing and outreach strategies How indie filmmakers are embracing a punk rock mentality to bypass traditional distribution models Links: Learn more about Scott Monahan Learn more about Glen Reynolds Follow Annamaria Sofillas on Instagram Buy or rent I’m “George Lucas”: A Connor Ratliff Story on Amazon/Apple I'm "George Lucas": A Connor Ratliff Story Website Follow I’m “George Lucas” on Instagram Follow I’m “George Lucas” on Facebook Follow I’m “George Lucas” on X 8 Above with Jon Reiss Substack 8 Above website Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Imagery plays a crucial role in filmmaking, shaping how a story visually unfolds. This element must be integrated into the scriptwriting process, rather than being left for production. With fall film festivals in full swing, indie filmmakers are not only focused on storytelling but also on the challenges of navigating the competitive market and selling their films. A strong visual narrative can make all the difference when it comes to standing out and securing distribution deals. Director Niclas Larsson’s feature film Mother, Couch! brings an intriguing mix of surrealism and family drama to the screen. Premiering at the 2023 Toronto International Film Festival, this film stars Ewan McGregor and explores the strange dynamic of a mother refusing to leave a couch in a furniture store. Its unique visual storytelling and offbeat premise are sure to leave an impression. In today’s episode, No Film School’s GG Hawkins speaks with Jason Hellerman and Niclas Larsson to discuss: Why memorable imagery in scripts is key to creating impactful films The challenges of today’s film festival market and indie acquisitions Niclas Larsson’s unique creative process and his “Storm Book” How the physical layout of Mother, Couch! plays a critical role in the story's themes Why sticking to your gut and vision is essential in the post-production process Memorable Quotes: "Imagery is something that should go hand in hand with filmmaking." [1:55] "We're missing images right from the core. We're relying too much on cinematographers or directors to find them later." [5:08] "If you can master the short form, if you can really pay attention to every single second of what you're doing and the importance of every second." [24:23] "Everything we do in scene one to nine needs to be confused, it needs to resemble or picture, convey confusion and displacement." [30:12] "You make movies for other people—the real people. A singular vision is supposed to be criticized." [01:04:37] "The level of filmmaking has declined and is declining rapidly. And we need to stay strong, giving an adult audience bang for their buck, because that's our job." [01:04:56] Mentioned Jason Hellerman on IMDb Jason’s library of content on No Film School Learn more about Mother, Couch! on IMDb Niclas Larsson on IMDb Follow Niclas on Vimeo Follow Niclas Larsson on Instagram Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Actor Saoirse Ronan recently revealed that she is halfway through writing a short film that she plans to direct— and it feels so relatable. It reminds us that creative struggles are universal, no matter who you are. But being halfway through is not a failure but a part of the journey. Tune in to know what to do to reach the finish line. In today’s episode, No Film School’s GG Hawkins, Jason Hellerman and guest Patrick Walsh discuss: Saoirse Ronan is halfway through writing a short film she plans to direct The relatable struggle of getting stuck halfway through a project Outlining and having a clear ending in mind to avoid getting stuck in the middle of a writing project Actors transitioning to directing and the unique perspective they bring The value of grants, labs, and workshops for filmmakers to get support and feedback The list of grants and labs that No Film School has launched on its website The recent positive performance of films at the box office Patrick’s journey into editing, starting from film studies Patrick’s experience of destination editing for the film The Uninvited Technical challenges and workflow of remote editing Memorable Quotes “I do think short films are coming back to Hollywood.” [03:03] “Don’t start writing something you don’t absolutely know how it ends. It’s not worth cranking out 100 final draft pages if you don’t know what happens in the last four.” [3:39] “Labs beget labs, just as festivals beget festivals.” [15:50] “These grants are that stepping stone that maybe you didn’t know you needed.” [15:03] “Seeing these movies do well has been a strong indicator that movies are back, and original ideas with strong genres and points of view have a viable place in the marketplace.” [21:49] “It’s been good to see Hollywood bounce back a little bit from the strikes and from the MPTP not paying writers and actors what they deserve.” [23:22] “Films aren’t finished. They’re abandoned.” [51:33] Links: Patrick Walsh Website Follow Patrick Walsh on IG Grants and Labs List Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of the No Film School podcast, GG Hawkins interviews Ryan Thomas, the cinematographer, and Dan Edwards, the colorist, of the film 'I Really Love My Husband'. They discuss the process of color grading and the importance of early collaboration and communication between the director, DP, and colorist. They emphasize the need for budgeting for color grading and creating a LUT (lookup table) before shooting to establish the desired look of the film. They also discuss the dangers of editing in log and the importance of developing a shared vision and trust between the creative team. In this conversation, Dan, GG Hawkins, and Ryan discuss the importance of color grading in filmmaking and how it can enhance the storytelling process. They talk about the role of color in creating a specific mood and atmosphere, as well as the challenges and considerations when working with different skin tones. They also touch on the importance of communication and collaboration between the director, DP, and colorist, and the use of visual references to convey desired looks. The conversation concludes with advice for emerging filmmakers interested in color grading. Takeaways Early collaboration and communication between the director, DP, and colorist is crucial for achieving the desired look of the film. Budgeting for color grading is important to ensure that there is enough time and resources for the process. Creating a LUT before shooting can help establish the look of the film and avoid surprises in the final grade. Editing in log can limit creativity and make it difficult to achieve the desired look of the film. Developing a shared vision and trust between the creative team is essential for a successful color grading process. Color grading plays a crucial role in enhancing the storytelling process by creating a specific mood and atmosphere. Working with different skin tones requires careful consideration and communication to achieve the desired look. Collaboration and communication between the director, DP, and colorist are essential for a successful color grading session. Visual references can be used to convey desired looks and facilitate effective communication. Investing in a comfortable and well-equipped color grading environment can enhance the client's experience and trust in the process. For emerging filmmakers interested in color grading, it is recommended to seek out reliable learning resources and invest in a calibrated display for accurate color representation. Learn more about your ad choices. Visit megaphone.fm/adchoices

The world of filmmaking is full of challenges, from industry rejection to personal setbacks. Yet, for many independent filmmakers, these obstacles become opportunities for growth and perseverance. This episode explores how passion, persistence, and a refusal to give up can turn seemingly insurmountable odds into career-defining moments. Whether you're an aspiring filmmaker or a seasoned professional, the story of how Nadine Crocker made her mark in the industry is sure to inspire. Nadine is a filmmaker, actor, and mental health advocate whose latest feature, “Continue,” is based on her own struggles with depression and suicide. The award-winning drama tells the story of a woman who, after a failed suicide attempt, is taken to a mental institution where she finds unexpected friendships, love, and a new purpose. Release by Lionsgate during Suicide Awareness Month, the film has garnered critical acclaim for its raw portrayal of mental health struggles. Nadine not only wrote, directed, and produced “Continue,” but also stars in it, bringing an intensely personal narrative to life. After years of being typecast and facing rejection, she took control of her career. In today’s episode, No Film School’s GG Hawkins speaks with Nadine Crocker to discuss: Being dropped by her reps shortly after having her son—and how it led her to make “Continue” independently. Breaking free from being typecast and proving herself as a writer, director, and producer. Balancing waitressing and raising a newborn while working on her first feature film. Securing financing through personal savings and a small group of supportive investors. Deciding to stop waiting for permission and create her own opportunities. How “Continue” became a movement for mental health awareness through her nonprofit, Continue On. Memorable Quotes: “I did hear like all the time that I was too pretty to play the best friend and I wasn't famous enough to be the lead.” [6:01] “I'm done asking for permission. I'm making this movie and I don't care what I have to do or how much work or how many years it takes.” [9:16] “I invested my life savings into this movie, like everything we had, and went back to waitressing so that I could keep the lights on.” [11:30] "Imagine being dropped in the middle of the ocean with nothing but a hard drive, and you gotta keep it over your head and tread motherfucking water until someone comes." [21:09] Links: Continue IMDb Follow Nadine Crocker on Instagram Continue the Film on Instagram Learn more about her nonprofit Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

What happens when you make two micro-budget films back-to-back? For filmmakers Henry Loevner and Steven Kanter, it sparks what they’ve dubbed the “micro-budget chain reaction,” inspiring others in their community to pick up cameras and start shooting. As the industry consolidates and traditional distribution becomes harder to navigate, indie filmmakers are finding new ways to create and share their work, embracing folk filmmaking and using platforms like YouTube to bypass traditional barriers. Peak Season, the duo's second feature, serves as a perfect example of this movement. In today’s episode, No Film School’s GG Hawkins speaks with filmmakers Henry Loevner and Steven Kanter to discuss: What the "micro-budget chain reaction" means and how it inspired others to follow in their footsteps The challenges of making two micro-budget films back-to-back The impact of friends and community on the rise of indie filmmaking Their experience shooting Peak Season in Wyoming with a small crew How the landscape of indie film distribution is changing and why many filmmakers are turning to YouTube The importance of flexibility and improvisation in low-budget filmmaking How Peak Season found its audience and landed a theatrical release Why Henry and Steven are ready to transition to a studio film after their micro-budget projects Memorable Quotes: "It's contagious for better or worse... we're making something, and we're not waiting for permission." [5:40] “Despite all the doom and gloom about the industry in general and how hard it is to make a living, there's never been an easier time to go out and make your film.” [6:43] “If you just put your movie on YouTube, you can get it out there immediately, which is amazing.” [8:19] “If you've written a script and it's going to take $10 million to make this movie and you don't have $10 million, then write a new script.” [51:33] “The only way to do it is you have to just write something small that you can manage. Write something that's set in a single location.” [51:56] Mentioned Peak Season on IMDb Follow Henry Loevner on IG Follow Steven Kanter on Instagram Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

How can you break into the film industry? Especially if you're not in Hollywood or you come from a different profession, like law. Is thick skin essential? Can you balance business with creativity? Producer Ken Kao, co-founder of Waypoint Entertainment, shares insights on these topics, some of his experiences, and recent projects. Ken’s latest feature, CUCKOO, written and directed by Tilman Singer, stars Hunter Schafer, Dan Stevens, and Jessica Henwick and premiered at the 2024 Berlin International Film Festival. With a diverse portfolio spanning films like Academy Award-winning THE FAVORITE and THE NICE GUYS, featuring Ryan Gosling and Russell Crowe, Ken's expertise and vision have shaped the landscape of modern cinema. In today’s episode, No Film School’s GG Hawkins speaks with Ken Kao, co-founder of Waypoint Entertainment and producer of some of the most anticipated films of 2024, to discuss: How Ken started in the industry, moving from lawyer to producer without film school Advice for emerging filmmakers and indie producers The Waypoint x Neon partnership and the opportunity in mid-budget films How he selects projects, being a genre-agnostic producer How Waypoint stays nimble and adaptive in the ever-changing industry What every producer or aspiring producer should be consuming and Ken’s media diet beyond movies Living in Hawaii and maintaining distance from Hollywood His latest feature, "CUCKOO," by Tilman Singer, starring Hunter Schafer, Dan Stevens, and Jessica Henwick Waypoint’s involvement in the release of “Longlegs,” directed by Osgood Perkins and starring Nicolas Cage and Maika Monroe Other projects currently in development Memorable quotes: “You never know what's gonna happen when you start making a film” [12:02] “We're all just trying to make good movies that touch people and that we can be proud of” [20:05] “I think the vast majority, especially this younger generation of people, if you're gonna get them off their sofas, getting to put their phone down, take 10 to 20 minutes to drive to a theater park and get it and sit there and give up two hours of their time, you need to give them some kind of authentic experience. I think what's good is subjective, but I think their ability to sniff the BS is high.” [21:55] “As difficult as the film business right now is, I think as a creator, and I'm not just speaking for myself, I'm just speaking for aspiring creators, people that are creating already, in some ways it's as strong as the time has ever.” [41:00] “A good number of people know when actors are choosing movies to make a buck. And when they really love the material and they're putting themselves in that role, in that movie.” [46:07] “Trust your taste, trust what you're trying to say to people, and trust your instincts.” [47:33] Links: Follow Ken Kao on LinkedIn Ken Kao on IMDb Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

As an editor, should you specialize in documentary film or narrative film? Who says you can’t do both? Editor Daniel Garber proves it’s possible, sharing his unique approach to editing some of his most recent projects. He dives into the nuances of pacing, note-taking, and the art of knowing when not to cut. In today’s episode, No Film School’s GG Hawkins speaks with editor Daniel Garber to discuss: Getting his first editing credit and learning from other established editors Working with director Lance Oppenheim on multiple films Keeping your expenses low as a filmmaker How tension emerges from the performances and the pacing of the edit Differences between doc and fiction The unexpected moments that happen after a scene has wrapped A very efficient note-taking process Working on small indie films compared to large productions The power of face-to-face interactions Memorable Quotes “I go back and forth between documentary and fiction. I get a lot out of that.” [15:05] With most documentaries, you have way more footage. You’re preparing yourself for a marathon rather than a sprint.” [17:28] “Making a decision not to cut is a huge part of editing.” [21:30] “The social aspect of editing is the most rewarding part.” [35:42] Links: Check out Daniel's website Follow Daniel on IG Daniel Garber on IMDb Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

TV is oversaturated. California is too expensive to film in. Many audiences are underserved. It’s time we indie filmmakers rebuild the film industry on our terms. Plus, we bid farewell to a beloved host of the No Film School podcast. In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman, and guest Janek Ambros discuss: Not waiting on labs or studios to give you the green light The influx of people looking for jobs in the market Needing better streamer options for indie projects The benefits of serving an underserved audience Why the distribution process is vital Advice for people who think they are finished with their project The important reasons Charles insists on working in Davinci Resolve Why Charles is leaving the No Film School podcast The origin of the short documentary film, Ukrainians in Exile Why Janek wanted to keep the movie so simple and so short Advice for documentary filmmakers Memorable Quotes: “We’re going to have this feral resurgence of indie filmmaking because we are so sick of the industry to figure it out.” [5:54] “Breakdowns lead to breakthroughs. We need to break through because the way it’s been working is not sustainable.” [6:35] “It should be a lot easier to shoot in California, it shouldn’t be so expensive.” [13:32] “Because of the way distribution works, distribution never feels finished.” [28:00] “People think I know all these celebrities, but I don’t. I just annoy every single publicist in Hollywood.” [1:03:07] “If you want to make a short doc, you can make a short doc. There’s no excuse for that.” [1:07:50] Links: Ukrainians in Exile: A Documentary Short Film Follow Assembly Line Entertainment on IG Follow Janek on X BlueCheck Ukraine Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

If you were a teen in the early 2000s, the film Dìdi will likely evoke a strong sense of nostalgia. Dìdi, which is said to embrace “the cringier side of adolescence,” premiered at the 2024 Sundance Film Festival where it won the Audience Award for the best U.S. Dramatic film. In today’s episode, No Film School’s GG Hawkins speaks with Sean Wang and Arielle Zakowski to discuss: The invaluable experience gained working in advertising Why the advertising world is a great start for new filmmakers Feeling emotion through the computer screens in the film Our silly AOL Instant Messenger user names from the early 2000s Empowering the young actors and giving them the space to play How to help actors stop overthinking when they are stuck in their heads Getting the director’s cut finished in time to submit to Sundance Being pregnant during post-production The power of making small, very personal films Memorable Quotes “We always wanted to make sure you could feel the person behind the computer.” [15:49] “Any idea is a good idea. If you try it and it doesn’t work, then we can recalibrate.” [18:47] “Maintaining any sense of objectivity in the edit is kind of the hardest part.” [31:31] “The thing you think is just the thing you do for fun that no one will care about, that’s the thing that will help you find your voice.” [33:43] “Make the things that feel very small and pure and have those build on top of each other.” [35:45] Mentioned: Follow Arielle on IG Follow Sean on IG Dìdi trailer Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Producers are involved in every step of creating a film, from development to post-production. The role of a producer is not only to keep everyone on the same page but also to remove barriers so the cast and crew can focus on the creative elements needed to create a fantastic film. In today’s episode, No Film School’s GG Hawkins speaks with Executive Producer Emmy Yu to discuss: The top two most popular No Film School articles this week The reasons why having a pitch deck is important Acting in movies as a child and falling in love with film Adapting the video game, Borderlands, to the big screen Working with actors like Cate Blanchett, Kevin Hart, and Jack Black The challenge of adapting video game characters Facilitating communication and openness with different departments Why you need to bring VFX into the process as early as possible Post-production and building the tone of the film in the edit The importance of having mentors in your life Memorable Quotes “At every single phase of getting a movie made, you have to find different ways to convey what it's going to feel like.” [9:46] “A producer’s job is to clear the runway for the director so that the director can just focus on making the movie.” [36:05] “Visual effects needs to be brought on as early as possible.” [42:08] “There are a lot of ways forward. Don’t get discouraged because what you’re doing might not look like what somebody else is doing.” [49:13] Mentioned Borderlands trailer Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

On this bonus episode of the No Film School podcast, host GG Hawkins is joined by members of the team behind the movie she wrote and directed, 'I Really Love My Husband'. Cinematographer Ryan Thomas and Actors Madison Lanesey and Travis Quinton Young share their own fears and how they overcame them during the filmmaking process. The conversation highlights the importance of embracing fear, taking risks, and having unwavering confidence in the outcome. Takeaways - Making movies can be scary, but it's important to embrace fear and take risks. - Having unwavering confidence in the outcome can help overcome fear and challenges. - Collaboration and support from a team of trusted individuals can make the filmmaking process less daunting. - Embracing fear and using it as a tool can lead to personal and artistic growth. - The satisfaction of seeing the final product and knowing that the hard work paid off is worth the challenges faced during the filmmaking process. Video: https://vimeo.com/979992225?share=copy Support the film: gghawkins.com/backourfilm This episode is Directed & Produced by Max Gibson Learn more about your ad choices. Visit megaphone.fm/adchoices

“Remain curious. Approach projects not with a notion of what kind of product you want to create in the market, but rather, what do you want to learn.” This advice, which comes from the directors of the documentary War Game, embodies the theme of today’s episode. - It’s okay to create unconventional films about unconventional topics. In today’s episode, No Film School’s GG Hawkins, Jason Hellerman, and directors Jesse Moss & Tony Gerber discuss: Robert Downey Jr’s surprising return to Marvel The culture of Comic-Con and past experiences at the convention Experimental films - what are they Why we love experimental filmmaking Why Jesse and Tony love working together as co-directors The challenges of filming a real-life political simulation Having 50 people connected to microphones at once Letting go of control and ego Building trust and capturing human moments with documentary subjects Surrounding yourself with people who have different opinions Memorable Quotes “How can I challenge the conventions of normal cinema to stick out?” [15:54] “This was a hell of a film to collaborate on. This was a real challenging undertaking.” [23:39] “You want your camera operators to be listening to dialogue because you want them to function like storytellers.” [29:06] “You don’t just want to work with people who make you feel safe and comfortable. You want people who are going to push you a little bit.” [37:43] Mentioned: What are the Best Experimental Films of All Time? War Game trailer War Game website Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

The Blacklist started as an annual list of the best, unproduced screenplays in Hollywood. Nowadays, it’s an awesome online platform that nurtures and empowers screenwriters from around the world, by helping them showcase their scripts and grow within the industry. In today’s episode, No Film School’s GG Hawkins, Jason Hellerman, and host of the Blacklisted podcast, Chris Hill, discuss: How the Blacklist got its start and what it looks like today The difference between the website and the annual list of scripts Getting multiple reports on a script Recurring themes of screenplays on the Blacklist What life is like after being on the list The importance of using action descriptions Approaching your script with a journalistic curiosity How to avoid writing a purely factual story The best way to approach writing a biopic Why you need to write a detailed outline Memorable Quotes “One of the best things about the Blacklist is that it intentionally gives you heat.” [15:44] “You're always pushing that rock up the hill, no matter what level you’re at. The rock isn’t lighter. Now it’s a bigger rock.” [21:05] “Hollywood isn’t just an IP delivering service. It’s where dreamers go to dream big ideas.” [48:30] Mentioned The Blacklist website Listen to Blacklisted on Apple Listen to Blacklisted on Spotify Follow Chris on X Follow Blacklisted Podcast on X Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Ken Whittingham has directed shows we all know and love such as, The Office, 30 Rock, and Parks and Recreation. More recently, he has worked on the TV comedy, Abbot Elementary, which uses a mockumentary production style, similar to The Office. While Ken is an award-winning director with over 25 years of experience, he believes in the power of teamwork and respecting everyone on set regardless of their title. In today’s episode, No Film School’s GG Hawkins speaks with director Ken Whittingham and BraveMaker podcast host Priscilla Lam to discuss: Selling a script as a new PA How Ken became a television director Learning how to clearly communicate with actors The balance between giving actors autonomy and giving them direction An awkward moment with Alec Baldwin on the set of 30 Rock Tone meetings - what are they and why are they important Treating the documentarian in The Office as if it were a separate character The power of subtlety in comedy How Ken and Priscilla met Transitioning from TV into film Our favorite shows, movies, and hobbies Memorable Quotes “I still get nervous. Every Sunday night before I shoot Monday morning, I’m nervous.” [10:37] “You can’t get into this business, thinking about money. You have to go with your passion, and really believe in yourself.” [42:56] “Everybody’s job is important and nobody’s job is more important than the other. It’s a team effort.” [48:01] Mentioned Abbott Elementary S2E21 The Office S1E3 Ken's Instagram Priscilla's Instagram BraveMaker on Instagram BraveMaker Film Festival Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

As a beginning editor, working on low-budget projects is normal when you’re first starting. Once you get some experience under your belt, there comes a time when you have to start advocating for yourself so that you can get paid more. The “something is better than nothing mindset” can only serve you for so long, before you start to burn out. In today’s episode, No Film School’s GG Hawkins and editor Sofi Marshall discuss: Falling in love with editing in high school What the indie film scene is like in New York How to editors can make themselves more visible and less excluded What it’s like to watch a Sundance premiere of a film you worked on Landing the editing role on I Saw the TV Glow What it was like to work on two different films at the same time Sofi’s favorite tools in Adobe Premiere Cutting the entire film remotely Taking on too many low-budget projects at the start of her career Knowing when to ask for more pay Memorable Quotes “All of my films have come to me via a direct recommendation, just from people I have met.” [5:05] “There’s nothing like watching your movie during that first premiere. It’s such a dopamine rush and terrifying at the same time. It’s great.” [8:19] “No matter how much pre-planning you do, it’s always going to change in the edit.” [23:02] Mentioned I Saw The TV Glow Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Paramount and Skydance are merging. How does that impact the people already involved in those companies and what does it mean for the rest of us? How did House of Dragon pull off the epic Battle of Rook’s Rest, featuring multiple, fighting dragons? Let’s find out together! In today’s episode, No Film School’s GG Hawkins and Jason Hellerman discuss: What we know about the Paramount - Skydance merger Whether or not the merger will result in job losses An epic battle scene on season 2 of House of The Dragon What we love about this HBO series Creating flexibility in your shooting process The importance of scope and scale Including establishing shots into your script The types of oners we find frustrating Memorable Quotes “There will always be job losses with mergers because there will always be redundancies.” [7:50] “Whether you’re in TV or you’re in film, we do need to invest in brutality to make it feel real.” [15:38] “If you’re just letting your camera roll, no thank you. That is not scale. That is not scope. That is not impressive.” [23:12] Mentioned Mastering Scope and Scale in Screenwriting Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

On this special episode of the No Film School podcast, host GG Hawkins shares her experience of writing her first feature, 'I Really Love My Husband' on a small budget and arguably, an even smaller timeline. She discusses the constraints she faced, the collaborative writing process, and the challenges of receiving feedback. GG emphasizes the importance of pushing through the bad drafts to reach the good ones and highlights the value of constraints in spurring creativity. She also emphasizes the need for support from others and setting deadlines. Takeaways Constraints can spur creativity and lead to unique and specific storytelling. Writing doesn't have to be a lonely process; seek feedback and collaborate with others. Push through the bad drafts to reach the good ones; don't be discouraged by initial shortcomings. Setting deadlines and receiving feedback from trusted sources can help refine and improve the script. Video: https://vimeo.com/979992225?share=copy Support the film: gghawkins.com/backourfilm This episode is Directed & Produced by Max Gibson Learn more about your ad choices. Visit megaphone.fm/adchoices

At what point should you get paid for the work you do to develop a project? What types of conversations should you be having with your agent? How can you show up confidently for potential projects, even though you’re feeling utterly afraid? In today’s episode, No Film School’s GG Hawkins, Jason Hellerman, and guest Carrie Solomon discuss: Smart ways to save money as a filmmaker How to build rapport with your reps and make sure you’re on the same page The truth about doing development work and how you should approach being paid An important question you must ask yourself when writing a spec When Carrie realized she needed to scale up the story for A Family Affair Getting in the habit of reading scripts Why she quit working as a PA on Ingrid Goes West Being thrown into the world of studio writing How doing improv helped Carrie have less fear when going into meetings Embracing failure and welcoming fear The most intimidating part about writing A Family Affair The difference between likeability and lovability in characters Memorable Quotes “It's hard to get money out of Hollywood right now. You’re squeezing water from a stone.” [19:59] “The only way to make money in this business is if someone loves your idea so much.” [22:35] “I try to read as many scripts as I possibly can. I’m usually not picking up a book, I’m picking up a screenplay.” [29:00] “From a very young age, I was a storyteller. And by that, I mean as a child, I was a big fat liar.” [37:54] “Everyone has their own terrible little journey with finally getting their fingers on the keyboard.” [50:50] Mentioned A Family Affair Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

While documentary editor Lucas Harger loves “being lost in a sea of footage” when he first starts a project, his approach to editing is intentional and specific. From his initial meeting with the director to establishing the context of characters and theme, this editor knows what it takes to transform raw footage into powerful stories. In today’s episode, No Film School’s GG Hawkins speaks with editor Lucas Harger to discuss: Falling in love with the community aspect of making a movie Becoming the editor of the documentary, Lions of Mesopotamia The conversation he had with the director at the start of the collaboration The sacredness of the first watch of the footage Why he doesn’t throw anything away during the early stages of editing Customizing your space so you can easily get into the zone The importance of establishing context - it helps you decide what footage is necessary Difficulties in sourcing and sorting through archival footage Getting the film on the timeline as quickly as possible How working for free has brought him amazing opportunities Three factors Lucas considers when taking on a new project Memorable Quotes “Documentary is the editor’s medium. It’s like the editor’s playground.” [6:03] “You have to interview the collaborator you’re going to work with just as much as they’re interviewing you. ” [9:22] “I don’t believe in good shots or bad shots, just appropriate shots. You just pick the most appropriate thing in the moment.” [12:58] “What are the stories that bring to light the most about the time period, the culture, and this person?” [20:44] “Consume as much as you can, even if you don’t think it’s directly related to the craft or industry.” [34:07] Mentioned Lions of Mesopotamia Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

You don’t have to have high-end tech or complicated processes to create your film. You just need an open mind and a passion for the story you are telling, as we’ll learn from this week’s episode from the DP and editor of A House Is Not a Disco. In today’s episode, No Film School’s GG Hawkins speaks with cinematographer Eric Schleicher and editor Blake Pruitt to discuss: How Eric and Blake landed on this film Why the sound designer had to create sound effects Having everything outlined and organized in a Google Doc What gave the film a kaleidoscopic structure Asking for consent to film party scenes Keeping the operating team small during production Matchframing - what it is and why it’s so helpful in the edit Challenges during the shoot and the edit The beauty of not having a production company fund the film Making the space to do projects you’re interested in Memorable Quotes “I’m not one to kill myself for a job. Even a dream project, I don’t want to work more than 8 hours a day on this.” [10:24] “It's more PBS doc than this high-end streamer doc that is out there right now.” [16:22] “You got an idea? Grab your camera. Shoot what you need.” [39:27] “Be open to unexpected things happening, but also have boundaries.” [45:47] Mentioned A House Is Not a Disco Fire Island Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Michael Sarnoski is the director and co-writer of A Quiet Place: Day One, the franchise's third film. The film follows Sam who is trapped in New York City during the early stages of an alien invasion. Michael shares that he was attracted to this film because of the opportunity to explore interesting character dynamics. In today’s episode, No Film School’s GG Hawkins speaks with Michael Sarnoski to discuss: Bringing aspects of his feature film Pig to his current film, A Quiet Place: Day One How the aliens in the film are a vehicle for exploring character dynamics Michael’s journey as a filmmaker Giving yourself permission to write something you care about Figuring out what a “silent New York” would sound like Balancing VFX and practical effects Creating a respectful yet constructive environment on set Michael’s approach to hiring and knowing who to collaborate with Memorable Quotes “You just have to find one person that gets your idea and wants to see it happen.” [8:01] “You have to be constantly focused and moving things forward and not waiting for someone else to step in.” [11:13] “Write a really inexpensive feature you can shoot with the resources you have, and go do it. You’ll learn a ton.” [32:39] Mentioned PIG A Quiet Place: Day One Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

What’s the best approach to sharing your resume on LinkedIn? Is it okay to negotiate when you rent gear? What’s the difference between hard comedy and hard “R” comedy? How do you shoot a documentary and make it feel like a movie? In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman, and guests Lance Oppenheim and Nate Hurtsellers discuss: A platform that prevents fraud and theft of production equipment The American Film Market - it’s moving to Vegas! Having multiple resumes and tailoring them to specific roles Negotiating gear rentals Hard comedy - what it is and what it’s not Lance Oppenheimer’s documentary film, Ren Faire Letting the film organically find its language and style The benefits of shooting with a small crew Feeling all over the place and wanting more control while shooting Nate’s secret to successfully operating handheld cameras Why you don’t need a sophisticated setup to be a DP Memorable Quotes “Rental companies never want their stuff sitting on a shelf. If it can be working, they want it working.” [19:15] “Everything in the film industry is a negotiation. Always.” [21:50] “The design reveals itself the longer you spend working on it.” [56:46 “Sometimes what perfect is, changes based on what’s in front of us.” [64:11] Mentioned ESTA fraud & theft prevention “New Film Market” American Film Convention Hopes To Take Root This Fall This American Life Podcast - Good Guys episode Ren Faire Learn more about your ad choices. Visit megaphone.fm/adchoices

Becoming an editor is more than just learning software and improving your skills. You must listen intently, speak up for yourself, and seek guidance and feedback from others with more experience. In today’s episode, No Film School’s Grant Vance speaks with editors J. Kathleen Gibson, Joaquin Elizondo, Shelly Westerman, and Payton Koch to discuss: Their journeys to become editors All the things Shelly taught Payton as his mentor Starting as an assistant editor and learning from others Putting yourself out there and communicating what your goals are Paying it forward - helping their assistant editors grow and succeed Working across different genres Having over 50 hours of footage for a 30-minute show Responding positively to notes you disagree with Why you need to be a good listener if you want to be an editor Memorable Quotes “Part of what interests me is to be challenged and stretched and do something I haven’t done before.” [18:05] “A lot of editing is feeling. You have to be empathetic and go with your gut.” [20:38] “If people know what you want to do and what you’re interested in, most likely they are going to give you an opportunity.” [36:18] “Be completely tuned into the world. Listen. Pay attention. Bring all that to your projects.” [38:42] Mentioned The Morning Show Griselda Only Murders in the Building Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Jeff Nichols is the director of the film, The Bikeriders, a story about a 1960s motorcycle club that turns into a menacing gang, known as the Vandals. The film is adapted from Danny Lyon’s book of the same title. The complex nature of The Bikeriders, leaves us asking, “Why are we attracted to dangerous things?” In today’s episode, No Film School’s Jason Hellerman speaks with director Jeff Nichols to discuss: Feeling inspired by a photographic documentary book Deliberately changing the film’s structure from the first hour to the second hour The importance of character point of view Why the film style felt appropriate for this story Casting and location scouting - two of the most important parts of the process Using photos from the book for location inspiration Feeling drawn to dangerous characters Why he doesn’t block scenes or rehearse with actors Using a documentary-style editing structure When Jeff realized this story needed to be a movie Memorable Quotes “It was by design that the first hour would have one feeling, and the second hour would have another.” [7:58] “These actors are so damn good. I just get to sit back and watch. Sometimes I forget to yell cut.” [16:14] “I was trying to build the script on the page to feel like it had been collected and put together like a documentary.” [22:45] Mentioned The Bikeriders (trailer) The Bikeriders (book) Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Maura Corey is the picture editor of Gen V, a satire about young adult superheroes. Walter Schulz is the visual effects supervisor behind The Curse, a story about a cursed couple who are part of a reality show. These two creatives share how they got their start, their work process, and what it takes to build a successful career in film. In today’s episode, No Film School’s Grant Vance speaks with editor Maura Corey and visual effects supervisor Walter Schulz to discuss: Their relationships with other departments The benefits of working in both production and post-production Maintaining the tone and feel of The Boys while editing Gen V Why there is a comeback for practical effects in TV The unique, collaborative nature of working on The Curse A.I. - will it affect editing and VFX The reason visual effects have improved in television in the past 10 years The importance of advocating for yourself and telling others your goals The unique paths they took and opportunities that came their way Memorable Quotes “You’d be surprised how much VFX are actually in comedy.” [13:54] “Visual language is such a strong medium to illustrate an emotional journey.” [21:31] “Don’t hate any tools….that one tool you hate is going to save you in those two months you are out of work.” [25:41] “The only way you’re going to be able to move ahead in this business is to tell people what you want to do.” [40:07] “Don’t be afraid to walk out of your comfort zone. That will change your life.” [47:25] Mentioned Gen V The Curse Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Just how important are character introductions in film? What are the most important steps you need to take before sending out your script? How do you pay for healthcare as a freelance filmmaker? In today’s episode, No Film School’s Charles Haine and Jason Hellerman discuss: Why writers need to improve their character introductions Examples of movie intros we love Copyright - should you copyright your script before sending it out Why you should join a writer’s group Asking for honest, constructive feedback from your network The importance of log lines Why most production companies don’t offer health insurance Exploring public healthcare exchanges Memorable Quotes “There’s a million reasons to put a screenplay down after a couple of pages. The reason to keep reading is because you’re interested in the characters.” [10:00] “Your first twenty pages are about developing a relationship with the reader and having them trust you and be confident in you. Typos break that ability to have that trust.” [24:14] “The most important people to you in your career are people one step down and one step up the ladder from you.” [40:10] “The problem with union benefits is the volume of work you have to do to keep them.” [48:57] Mentioned What is a Logline? Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

There's no better feeling than completing a project you’ve been working on for, what feels like, forever. On one hand, you’re relieved but you're also anxious to figure out what to work on next. How do you decide what your new project will be, and what is the most efficient strategy for getting started on it? In today’s episode, No Film School’s GG Hawkins and Jason Hellerman discuss: The first questions you need to ask yourself before deciding on your next project Doing market research and getting feedback on your initial ideas Narrowing down on your ideas Writing with specific actors and directors in mind Developing relationships and keeping track of your interactions The draft-writing process Setting parameters for the people who will read your first drafts Being selective about who will receive your final spec Why you should give yourself time off Memorable Quotes “I do not start writing anything unless I can picture the actors in it.” [10:09] “I do not start writing until I’m one-hundred percent sure how that idea ends. What’s the ending of the story?” [13:26] “The best part about this cycle is you’re always cultivating, and you’re always getting better at it.” [33:57] “I need to live life to come up with ideas. I need to do things to come up with ideas.” [35:32] Mentioned Oscar-Winning Screenwriter Eric Roth Takes You on a Tour of His Writing Process Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices