The No Film School Podcast

If you’re a director who has become too attached to the temp score, you’re essentially falling in love with something you can’t have. While it may feel impossible to let go, it is possible. Let’s look at some ways you can break up with your temp score and move on. In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: Why you shouldn’t use temp scores from other movies Collaborating with composers early on The benefit of switching up scores in the edit How directors fall in love with what they see in the edit How the score is almost like a character within a scene The dangers of placeholders Getting attached to character names NAB - why you should go Blackmagic cameras - affordable, efficient, and high-quality The Blackmagic camera phone app on Apple and Android Shooting with cinema lenses versus still photo lenses Memorable Quotes “I’m getting feelings from that movie and it’s impacting my ability to engage with your movie.” [4:30] “If a director spends six months editing a movie, they get kind of attached to how it looks and how it sounds.” [15:12] “In post-production, familiarity can breed affection.” [16:57] “Placeholders are a thing to be conscious of and used strategically.” [29:41] Mentioned Every Frame a Painting - The Marvel Symphonic Universe The Art of the Score Podcast Here’s Everything You May Have Missed at NAB 2024 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Editing is more than just assembling footage. According to editor Sandra Granovsky, the whole editing process requires an interest and understanding of human nature. In today’s episode, No Film School’s GG Hawkins speaks with Sandra Torres Granovsky to discuss: How studying anthropology affected her approach to editing Following your inner voice while editing Surrendering to the rhythm of the actor and the perspective of the director Creating the first editor’s cut Making something out of nothing Sandra’s workstation setup What it was like to work with director Leah McKendrick Her new project with journalist-director Andrew Callaghan How text-based editing has improved the editing process Memorable Quotes “The way I approach all of it is with an understanding and curiosity of human nature.” [6:43] “Every decision I make in editing is based on instinct.” [8:56] “You have to become very creative, and you have to start creating something that’s not there.” [15:34] “There’s a lot of diplomacy involved in editing.” [16:22] “I do fifty percent of my editing not in front of the computer. It happens in my head.” [21:05] “You are writing in the edit. You’re just writing with images and sound.” [21:55] Mentioned: ALPHA Scrambled The Opening Act This Place Rules Channel 5 with Andrew Callaghan Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Is it ethical to encourage people to pursue a career in film when there are such high levels of unemployment in the industry? The Art Directors Guild certainly doesn’t think so which has led the union to pause their annual training program this year. In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: The ADG announcement to suspend the Production Design Initiative program Being cautious when admitting students to film school Why we think the ADG made a reasonable decision Why you should file for unemployment between jobs How LA and New York feel like smaller markets right now Seeing where you can fit into the system Accepting the opportunities that already exist The benefits of having multiple revenue streams as a filmmaker Memorable Quotes “Big production is back to work…but the volume isn’t there.” [13:08] “You need to be open to letting the industry tell you where it wants you to be for a while.” [15:25] “Knowing how to do a new thing is always beneficial.” [15:59] “If you can develop multiple revenue streams, it gives you power in negotiation.” [19:05] Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Prom Dates, written by D.J. Mausner and directed by Kim Nguyen, is a comedy that follows two best friends who are hell-bent on having the perfect senior prom, despite the fact they broke up with their dates only 24 hours before the big night. This raunchy comedy reminds us that while romantic love may be fleeting, true friendship can survive any adversity that comes its way. In today’s episode, No Film School’s GG Hawkins speaks with Kim Nguyen and D.J. Mausner to discuss: Writing the script in just 8 days How D.J. and Kim immediately clicked Celebrating the importance of friends in our lives Developing the dynamic between the two lead characters Harnessing the amazing energy from the cast Filming in an old high school in Syracuse How having a comedy background can improve your writing The joy of working with gifted talent A dramatic scene that required considerable emotional gear-shifting How D.J.’s writing experiment turned into a film Memorable Quotes “Directors are like tuning forks. You get so much energy all the time from everyone, whether or not you want it or welcome it. You distill all that energy and harness it.” [15:46] “Sketch teaches you to get in late and get out early. Stand-up teaches you to have an ear for the audience. Improv allows you to fill in the blanks.” [20:35] “Stay true to yourself. Your point of view is your superpower.” [30:29] “The thing you’re excited about, write it. You never know what’s going to happen.” [30:44] Mentioned: Prom Dates Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

What film festivals are worth submitting your projects to? Which festivals are legitimate and which ones are scams out for your money? Is it possible to find like-minded creatives to collaborate with, outside of places like L.A. and New York? In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman, and guest Amy Dotson discuss: Figuring out what you want to get out of a festival Reasons why small festivals are awesome Things to consider when vetting festivals What Amy learned interning at Pee-wee’s Playhouse Telling your unique story in only one paragraph Why you need to constantly update your bio Moving from New York City to Portland Thinking about cinematic storytelling in new ways Collaborations between local artists and big household names How the Portland Art Museum honors multi-faceted creatives Memorable Quotes “What are you going to the festival for? Is it about Hollywood connections or about sharing your film with an audience?” [3:54] “Being in the mix and connecting with people at a human level is incredibly valuable. You will find those relationships pay off in the long run.” [12:42] “Everybody is different and that’s okay. It’s not a one-size-fits-all model anymore.” [23:34] “The goal is to meet other like-minded humans that can help push your career and push you as a human forward.” [29:37] “There are stories to be told that are less project-centered and more people-centered.” [46:24] Mentioned How To Spend $10,000 on Film Festival Submissions… Portland Art Museum PAM CUT Sustainability Labs PAM CUT Tomorrow Theater Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

“There’s never been a better time to make shorts or watch shorts,” says Mike Plante, the senior short film programmer at Sundance Film Festival. Mike, who has been at Sundance for over 20 years, shares his thoughts on the future of shorts and what his team looks for in the selection process. In today’s episode, No Film School’s Ryan Koo speaks with Mike Plante to discuss: Developing motion picture films at the drug store in the ‘90s Why shorts are a great medium to learn and experiment Working at festivals and movie theaters Receiving over 12,000 short submissions in 2024 Disadvantages of creating long shorts Differences in funding international shorts Seeing many different types of voices, stories, and styles Sundance shorts that later became features What makes you a filmmaker What Sundance looks for in a short Memorable Quotes “You’re always a filmmaker, but there will be months you’re not doing anything on your film.” [2:48] “You may watch a thousand shorts and nothing is good. Then you just start to lose your mind.” [10:45] “Your 30-minute short has to be better than three, 10-minute shorts.” [12:25] “The internet is good for shorts because you can put it up. It doesn’t mean anyone will watch it.” [31:31] Mentioned Submission Dates for Sundance Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Long-time friends and colleagues, Christopher Ross and Sam McCurdy, are two of the cinematographers of FX’s mini-series, Shōgun. Filming this series was an incredible experience full of lessons in Japanese culture, lenses, and shooting with cranes. In today’s episode, No Film School’s GG Hawkins and special guest, cinematographer Ryan Thomas, speak with DPs Christopher Ross and Sam McCurdy to discuss: How Chris and Sam met The type of friendships you hold onto in the industry What it was like working with an international cast and crew on Shōgun The singular perspectives that ran throughout the larger storyline What it was like working with other DPs The lenses they chose to use in this project Letting the camera find special moments without much interference What an ASC masterclass is What gave the show its atmospheric texture Bringing truth and honesty to every episode Why making mistakes is so valuable Memorable Quotes “From the start of your career to the end of your career, you’re still on some form of learning curve.” [8:47] “Being true to what you’re shooting and being true to the script and the story is the still most important tool we bring to any job.” [50:33] “Be brave and stupid in equal measure. Get smarter every time you shoot.” [54:00] “Don’t necessarily listen to everyone else. Go and figure it out yourself.” [55:01] Mentioned: Shōgun Original 1980 Shogun series ASC Masterclass Connect with Ryan on IG Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Writing a screenplay is like following a cookie recipe, it’s closer to magic than science. You don’t have to follow screenwriting “rules” to create an amazing story. There’s something else you don’t have to do in your career. When serious problems arise in your personal life, you don’t have to keep working at your typical pace. It’s okay to ask for help and decrease your output. In today’s episode, No Film School’s GG Hawkins and Jason Hellerman discuss: The number of “unfilmables” on the first page of the Challengers script Not getting hung up on the idiosyncrasies of screenwriting Hooking the reader in the first 10 pages with your confidence Asking for specific support when things are rough in your personal life Accidentally lighting a trash can on fire Taking time to process life’s challenges Using writing as a way to process loss and sadness Cancelling meetings and relying on email The benefits of a meditative practice Memorable Quotes “I know what the audience wants to know right now. I know what they need to know, but don’t even know they want to know.” [11:28] “If your page one sucks, you’ve already lost them.” [12:26] “If you’re trying to make Hollywood hits with multi-million dollar budgets, page one has to be great!” [15:50] “You can still be creating, even when you’re in a depressed dark hole.” [28:45] Mentioned: Why Did the First Page of the 'Challengers' Screenplay Go Viral? Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Justin Kuritzkes is the screenwriter for the film, Challengers, starring Zendaya, Mike Faist, and Josh O’Connor. The story revolves around tennis pros who are caught in a love triangle. It’s not just about the game of tennis, but about the game of love and power. Let’s dive into Justin’s process of writing such a damn good movie! In today’s episode, No Film School’s GG Hawkins speaks with writer Justin Kuritzkes to discuss: How screenplays differ from other written mediums Building up a story that would realistically exist in the real world The inspiration behind the story How writing the movie made tennis less enjoyable for him to watch Deciding on the setting of the story Surprising moments during the writing process Writing in cars, hotel rooms, and airplanes when you are pressed for time The questions he asked himself before writing the story Collaborating with actors and getting their feedback Feeling like you are watching the movie as you write the script Memorable Quotes “The thing about screenwriting is that it’s such a rigidly formalistic, medium.” [3:52] “I started thinking about the movie and I started watching a lot of tennis. Quickly, I became an obsessive tennis fan. I almost didn’t want to write the movie.” [11:40] “It’s like the big bang. Once the character is there, it’s sort of like “Now, there is light!’” [14:23] “If you feel like you are watching the movie when you’re writing it, hopefully, other people will feel that way, too.” [24:37] Mentioned: CHALLENGERS Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

The days of selling naked specs are over. It’s now the filmmaker's job to understand how to package their projects. While many were opposed to packaging in the past, there are effective ways to approach the process that will leave you feeling empowered. In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: The benefits and drawbacks of packaging Why Hollywood is risk averse right now Packaging through the eyes of a writer or director Naked specs - what are they? What the packaging process looks like Writing specs that can realistically be created Why AI will not eliminate the need for skilled creatives Collaborating with others so they feel comfortable and seen The problems of measuring stardom Memorable Quotes “Your script has to be perfect by the time you turn it in. Nobody wants to develop anything anymore.” [7:48] “It’s the job of a filmmaker to bend reality as far as you possibly can.” [15:16] “AI often gives people the heebie jeebies.” [24:15] “Every measurement tool we have is gibberish.” [27:20] Mentioned: Movies & TV How To Survive Until 2025 For Filmmakers Scriptnotes Podcast - Ep 639 Intrinsic Motivation Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

We had the chance to speak to Grant Petty of Blackmagic Design at this year’s NAB conference. It was as much of a conversation about technology and innovation as it was a conversation about human nature. In today’s episode, No Film School’s Jourdan Aldredge speaks with Blackmagic CEO Grant Petty to discuss: Developing the URSA Cine with a post-production mindset Zero-cost options from Blackmagic for beginners Why Grant doesn’t like to compete with others PYXIS camera and its features Creating products that lend to an efficient post-production workflow Exciting new changes and updates to DaVinci Resolve 19 Grant’s opinion on AI and the future of editing The moment he fell in love with color correction Feeling lonely and misunderstood Why you have to be a ruthless, yet empathetic product engineer Memorable Quotes “Business people are some of the stupidest people in the world.” [22:25] “A lot of this technology is just shit. It’s not very reliable.” [29:11] “If it gets too smart, it’s just another species to kill. Humans are fantastic at killing everything. We just gotta go hunting computers.” [30:45] “With creativity comes great loneliness.” [47:58] “You got to be simultaneously ruthless and simultaneously full of empathy.” [50:00] Mentioned: A First-Hand Look at the New Blackmagic URSA Cine 12K at NAB 2024 Check out Jourdan's article Blackmagic URSA Cine Blackmagic PYXIS DaVinci Resolve 19 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Erick Sasso is a multi-hyphenate creative and the editor of the film, Maxine's Baby: The Tyler Perry Story, which documents the life of Tyler Perry. Erick compares the making of documentaries to the making of a meal. You need to use the right ingredients…not too much, not too little. And everyone at the table has to enjoy it. In today’s episode, No Film School’s GG Hawkins speaks with filmmaker Erick Sasso to discuss: Making music videos with his friends in high school Realizing you can reverse engineer in the edit The importance of charging adequately for your services How he landed the editing job on Maxine’s Baby What it looks like to fall in love with the subject Navigating topics such as abuse and childhood trauma What it was like seeing emotional reactions from the audience Important lessons he has learned about being a filmmaker Setting up projects in Adobe Premiere Overcoming tech fears and looking forward to new updates Why editors make the best directors Focusing on development and learning from others Memorable Quotes “Usually you are not charging enough. Usually, you are charging way less than industry standard.” [12:38] “When you edit a lot, it’s really creepy when you meet people.” [32:59] “You may think you are a hard worker until you meet someone who is doing 10x your output.” [35:09] “You need to become a pro at uncertainty.” [60:24] Mentioned: Maxine’s Baby: The Tyler Perry Story Erick's website Connect with Erick on IG Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Rod Blackhurst and Noah Lang are the dynamic duo behind the film Blood for Dust, starring Kit Harington, Scooty McNairy, and Josh Lucas. These filmmakers share why leading with honesty, openness, and enthusiasm is the key to building strong relationships and creating successful films. You don’t have to be cutthroat in this industry in order to achieve your filmmaking dreams. In today’s episode, No Film School’s GG Hawkins speaks with director Rod Blackhurst and producer Noah Lang to discuss: How Rod and Noah began working together Why you should lead with honesty and enthusiasm Making movies with the same people over and over again Understanding what you have agency over in your career How Scoot McNairy and Kit Harington came onto the project How meeting David Gordon Green in 2012 eventually led to the making of Blood for Dust The power of self-awareness and being a kind filmmaker The vibe on set - having fun amid stress What it looks like to make an honest living in filmmaking Memorable Quotes “You can meet someone on the internet and become homies.” [3:27] “You don’t need everyone to want to be on your team. You just need some of the right people.” [38:55] “Being a good person and doing good work matters. It does result in good things happening.” [43:02] “We’re rowing upstream, going against the grain. We’re out there believing in what we have. Wrestling with our choices, behaviors, actions, our own struggles, and darkness.” [50:44] Mentioned: Blood for Dust Here Alone Connect with Rod on IG Connect with Noah on IG Witchcraft (Rod & Noah’s production company) Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Nina Ognjanovic is the director of the film, Where the Road Leads, which won Best Narrative Feature at Slamdance 2023. Nina and her passionate team prove you can successfully market a foreign, indie film on a limited budget and still win at major festivals in the US and worldwide. In today’s episode, No Film School’s GG Hawkins speaks with Nina Ognjanovic, David Jovanovic, and Jana Bjelica to discuss: Their experience traveling from Serbia to the United States for Slamdance Marketing the film using scrappy, creative methods Their approach to casting and shooting What it was like to act on multiple projects at the same time How they handled shooting in an isolated location without cell service Building trust with the cast, crew, and locals The Slamdance experience and the reaction of the audience The first shot of the film - finding a unique solution to a challenge Setting the production schedule based on the weather conditions The magic they experienced during production Why you need to fail and experiment before doing a feature Memorable Quotes “It’s hard, but when you love your job, everything is possible” [9:23] “I was freaking out day after day…my hair started falling off.” [21:35] “Manage your expectations. Don’t write something you know you can’t deliver.” [30:58] Mentioned: Where the Road Leads on TikTok Where the Road Leads on Instagram Pointless Films Production House Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Were you hoping work would pick back up after last year’s strikes? Unfortunately, work is epically slow, and 2024 is a rough year for the film industry. But just because Hollywood is slowing down, doesn’t mean you have to. In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: The industry post-strike How higher interest rates are affecting streamers The unpredictability of a career in film Accepting the things out of your control Living with family or friends to lower expenses The unattainable “American Dream” Staying creative during this slow year How famine years can have their benefits An example of finding career success outside of Hollywood Memorable Quotes “Work is epically slow and it’s terrifying.” [3:44] “If you don’t have three months of cash cushion in your bank account, do not feel bad.” [19:40] “I don’t think we need to build our identity on outside markers of financial success.” [28:21] “If you can’t be investing money, you can be investing your energy and creativity into your future career.” [32:52] Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Sam Hargrave is an award winning stuntman and stunt coordinator, second unit director for films like Suicide Squad and Avengers:Endgame, and director of the film Extraction. His second feature film, Extraction 2, is available on Netflix, June 16. In this episode, No Film School’s GG Hawkins and director Sam Hargrave discuss: The transition from stunt performing to directing What a “stunt vis” is and why it's important for efficiency and safety on set How directing a film is like being a switchboard operator Why filming Extraction 2 was more challenging than the first film Wanting to give the audience more the second time around The specifics to the casting process Operating the camera on the more dangerous scenes Landing a helicopter onto a moving train Making others feel invested in your project Sam’s approach to emailing those he works with Memorable Quotes “I was young and flexible and really wanted to be Jackie Chan.” [4:06] “There’s so many questions that come the way of the director. It feels like you are a switchboard operator on methamphetamines.” [10:07] “Communication with other departments is one of the most important things in filmmaking.” [11:50] “Each movie…is its own unique puzzle. It’s a labyrinth that you and the crew have to work your way through.” [14:34] “When you can do something practically, always do it.” [23:12] Resources: Extraction 2 trailer Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Heat is important to your film career. It means that you and your work are gaining attention and recognition, which can lead to more opportunities in the future. So how can you generate and navigate heat at an industry level? What contributes to “positive heat” or “negative heat?” In today’s episode, No Film School’s GG Hawkins and Jason Hellerman speak with Chris Moore, Katie Marpe, and Dennis De Nobile to discuss: How Chris, Katie, and Dennis entered the industry and how they met Why you need to promote yourself and your work The One Moore Hollywood Podcast and the topics they discuss The difference between “in the business heat” and “out of the business heat” Seeing big corporations gravitating toward original ideas How audiences decide whether they will watch a movie or not Getting feedback on your ideas Why your idea may be better suited for a different medium Good Will Hunting - Generating authentic heat with the script When you realize a script isn’t working How your attitude and behavior affect the type of heat you generate Sensing tension of the cast and crew while watching a movie Memorable Quotes “It’s like surfing. The best thing to do in your career is to read what’s happening around you and take the wave where it’s taking you.” [4:22] “You have to be able to sell yourself and your ideas. You can’t just operate in a vacuum and expect somebody to discover you.” [16:12 ] “Go out and make something you think you would pay for.” [52:12] “What’s the commercial version of your weirdness?” [1:01:28] “Heat will come back to you. It will tell you if your shit is good. If you can’t generate any heat, that means your shit is not good.” [1:07:17] Mentioned: Follow Chris on IG Follow Dennis on IG Follow Katie on IG One Moore Hollywood Podcast on IG Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

How do you build a career as a cinematographer when the odds are against you? How do you create opportunities for yourself, when dealing with rejection, financial barriers, and prejudice? Is it possible to pursue your dream without conforming and becoming someone you are not? In today’s episode, No Film School’s GG Hawkins speaks with cinematographers Bruce Cole and Alejandro Mejía to discuss: Being drawn to visual art from a young age The people who encouraged and inspired their creative dreams Feeling motivated by rejection Why New York is a great place to start a film career The importance of having mentors in your career journey Stigmas they experience in the industry as minorities Why we need to stop glamorizing film careers How to maintain balance during long, tedious projects Cultivating yourself and embracing who you are Having another creative form of expression outside of film Memorable Quotes “I want to do this. I want to travel the world and know the world with a camera.” [14:25] “New York is probably the best starter city for young filmmakers from all walks of life.” [40:09] “This is not a speed race. This is a marathon. We are long-distance runners.” [71:28] “We’re losing that artistry because we are so focused on being someone else.” [79:10] Mentioned: From Landing the Job to Boosting Morale: Sundance DP Roundtable Dives into Filters & More More about Bruce More about Alejandro Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

The small decisions that you make at the beginning of your project, can cause headaches later on. If you want to avoid tech issues in post, then you need to set up your project correctly from the start. Speaking of doing things right from the start, there is a right way and a wrong way to approach your interviews. How should you prepare for your next interview to make sure it doesn’t bomb? In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: Bombing interviews in Hollywood What not to do during an interview Going to interviews as a slightly fancier version of yourself How to respond when someone doesn’t read your script Feeling guilty for not reading other people’s scripts Career errors we have learned from The helpless feeling you get when troubleshooting tech problems Media management issues in post-production Sorting through the timeline and looking for weird shots Why it’s worth bringing on subject matter experts early Memorable Quotes “Over-researching is never a mistake when you are given an opportunity.” [2:09] “Everyone I know has made huge, catastrophic career mistakes and we’ve all kept going.” [9:00] “Setting up things right from the start makes your life so much easier.” [30:29] “God bless people in post-production. The most patient humans in the world.” [35:48] Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Should you hire an intimacy coordinator for your next project? What exactly does an intimacy coordinator do? Does having this person on set ruin spontaneity? How can having more structure around intimate scenes, actually encourage freedom and creativity during the storytelling process? In today’s episode, No Film School’s GG Hawkins speaks with Lisa Jacqueline Starrett, Jamie Monahan, and Renata Soares to discuss: The role of an intimacy coordinator What led Lisa, Jamie, and Renata to become intimacy coordinators Wanting to advocate for actors and their boundaries How detailed screenwriters should be when writing intimate scenes Knowing the intention behind sex scenes How to choreograph and rehearse intimate scenes Being hired as an “insurance policy” to protect production What it looks like to be actively pursuing a safe space Having a consent - forward mentality on set The types of conversations an intimacy coordinator should have with cast and crew How to redirect a situation that is not working Why art doesn’t require graphic nudity to be amazing How to become an intimacy coordinator Memorable Quotes “If you’re thinking of safety protocols for staged violence, why are we not doing the same for intimacy scenes?” [13:21] “I love thinking about art and intimacy in a way that can move storytelling forward.” [19:10] “The creative vision of the scene doesn’t come from the intimacy coordinator…we are there to facilitate the vision to become reality.” [30:04] “We are there to make everyone more comfortable in telling that story.” [56:26] Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

You are still a legitimate filmmaker even if you don’t own any gear. Most filmmakers actually don’t own the gear they use and for good reason. And speaking of gear, what movies geared you toward the path of filmmaking? In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: Buying gear or renting gear - which is better? When you should justify buying gear Realizing how much work it takes to create a movie The things that made us want to work in movies Having fun with genre Looking for books about the making of movies The idea of being inserted into the story How to influence others who don’t enjoy movies Unpredictable twists that bail out the “bad guy” The balance between fantasy and reality in a film Memorable Quotes “Most professionals rent because gear has wear and tear and you outgrow it.” [5:10] “In the digital era, shit ages fast!” [11:13] “I cannot imagine a human with two lungs, two ears, two eyes, and a heart not loving Tokyo Drift.” [27:01] “I already knew I wanted to be a filmmaker before I read my first IMDb trivia page.” [18:32] Mentioned: Share Grid rental platform Waking Ned Devine Clue Shirley Temple The Little Rascals The Secret Garden The Royal Tenenbaums Being John Malkovich The Fast and the Furious: Tokyo Drift Problemista Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Who says making a movie requires expensive equipment, a large crew, and a script? Maybe creating a film can be a creative experiment between a couple of friends who are excited about the uncertainty of the journey that awaits. This was the realization Pete Ohs had when he recognized that the typical approach to filmmaking was not for him. In today’s episode, No Film School’s GG Hawkins speaks with Pete Ohs, Will Madden, Frank Mosley, and Charles Watson to discuss: Finding a location that is narratively inspiring and accessible Thinking about the edit while directing An extremely unique and collaborative way to develop characters Creating a score that is not traditional to other films Pete’s unique approach to creating movies How Pete keeps the budget so low and why it’s important Feeling excited by the challenge of the limited resources you have Why the uncertainty of this style of filmmaking is exciting and magical Their Slamdance Film Festival experience Other festivals and what they love about them Starting with what you have available Memorable Quotes “Can I make a movie the way I did when I was fifteen?” [14:27] “It doesn’t have to cost so much money. Filmmaking can just be an activity. It can be just a hobby.” [16:19] “Every camera that’s new is good enough. You don’t need the newest camera.” [18:09] “There’s no reason you shouldn’t be making a movie. You can do it if you want to.” [22:26] “The things you think you need, you probably don’t.” [40:20] Mentioned: LOVE AND WORK teaser Follow Pete on Instagram Follow Love and Work on Instagram Follow Frank on Instagram Follow Will on Instagram Follow Charles on Instagram Slamdance Film Festival Film Fort in Idaho Side Walk Film Festival in Alabama Overlook Film Fesitval American Film Festival in Poland Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Getting your script into the hands of the right people is extremely difficult. What is a desperate screenwriter to do if they seek feedback on their screenplay? Are script coverage services helpful or just another cog profiting from an emerging filmmaker’s hope? In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: Recalling memories from March 2020 when the world “shut down” Why we are surprised that Nikon bought RED The acquisition of BorrowLenses The importance of the first 10 pages of your script Why the opening scene of The Godfather is so powerful The Gauntlet - a controversial script coverage service What infuriates us about AI script coverage Why AI cannot evaluate creative screenwriting Hollywood, the hope machine Memorable Quotes “In those first ten pages you know, what is this movie and who is it for.” [14:55] “The idea of AI evaluating your script is fucking horseshit.” [26:08] “We keep engaging in this fantasy that AI can think. AI cannot fucking think.” [30:52] “That’s what Hollywood is. It’s a hope machine. You always have perpetual hope that tomorrow you can become famous.” [40:46] Mentioned: Lensrentals To Acquire BorrowLenses Heard of The New, Controversial Script Coverage Service The Gauntlet? Why All AI Script Coverage is a Scam Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

If you want to succeed with fantasy and make it a transformative experience, you have to create real characters. To convey realness, you have to go beyond the “good versus evil” narrative of traditional fantasy movies. You have to create duality. In today’s episode, No Film School’s GG Hawkins speaks with Director Juan Carlos Fresnadillo, to discuss: Why Juan Carlos became a filmmaker The complicated family dynamics in his film, Damsel Why he loves portraying duality in the characters Why you always have to have a plan, even if you don’t stick to it How he prepares for production A happy accident that became one of his favorite shots The inspiration behind the violent fire in the movie Creating a proper fire simulation Why you have to chase your own voice Memorable Quotes “I thought ‘oh my god I have to make movies like this.’ ” [5:46] “I’m much more willing to show the grey zone, because I think that takes you into the reality.” [11:35] “You have to give space to happy accidents.” [16:26] Mentioned: Damsel Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Regardless if you are new to filmmaking or you have years of experience, you must be strategic about managing your career in film. This includes setting goals, constantly building your portfolio, and knowing how to financially support yourself between paid projects. In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: At what point you should show your film to the cast Feeling connected to actors you have never met in real life The importance of writing down specific goals each year Making money in the short term while working on big projects The power of sharing your goals with others How many scripts do successful screenwriters produce each year What your objective should be when taking general meetings How to ask if there is a development fund Narrative lessons from the show Survivor (season 46, episode 1) Memorable Quotes “The weirdest thing about post is you feel like you are spending time with these people.” [3:30] “You don’t have to be squeaky to be advocating for yourself.” [13:20] “Productions that handled chaos better were the ones with a more thorough plan.” [21:58] “It’s a conversation. It’s not a dance.” [42:39] Mentioned: Editors and Post-Sound Have a Crush on Each Other('s Work) Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

What does it look like to advocate for yourself as a creator? Well, it starts with understanding your value and knowing where you can serve. Then, you have to develop the courage to articulate and offer your expertise. This is exactly what Shakina did to land the role of executive story editor on the NBC series, Quantum Leap. In today’s episode, No Film School’s GG Hawkins speaks with multihyphenate creator, Shakina, to discuss: How she got her start as a storyteller Why framing is just as important in theater as it is on TV How her experience as a trans person helps her write for Quantum Leap What it’s like to work with new cast members every week Why the coming out scene in “The Family Treasure” episode was so powerful Telling ground-breaking nuanced stories that are unprecedented Making queer stories more comfortable and less “threatening” for audiences The fast-paced yet collaborative nature of writers' rooms Advocating for herself in various roles on set Creating space for characters we don’t normally see on television Memorable Quotes “Just write something that will never get made.” [8:52] “You have to be in charge of how you see yourself and lean into the skills that bring you the most joy.” [35:47] “Space without resources and support is a trap.” [40:00] “Do something every day that pushes you toward your dream.” [41:02] Mentioned: Quantum Leap "The Family Treasure" Difficult People Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

With the rise of AI, will Hollywood begin to neuter your voice? While AI isn’t creating anything original, the immediate convenience of this tool is already impacting our industry. Artificial intelligence is being applied to creative arts, so filmmakers need to understand how it can affect their careers. In today’s episode, No Film School’s Jason Hellerman speaks with acquisition executive and script consultant, Evan Littman, to discuss: Why we should be concerned about text-to-video AI tools like Sora Why large studios have a better chance of going against generative AI models AI-generated screenplays and copyright laws Using AI to read and give feedback on scripts Examples of how unreliable AI can be Developing your voice as a screenwriter What newer writers need to understand about breaking into the industry Why 8/10 on a script isn’t good enough Memorable Quotes “This is something a lot of people thought was coming, but it arrived faster than we anticipated.” [2:49] “A.I. is not making anything. It’s just recombining and generating an output based on what it already has.” [7:38] “A.I. at this point in time, can’t really generate anything good. What it makes is regurgitated slop.” [11:11] “You just really need one ‘yes’ to get a movie made. It doesn’t matter if you have a hundred ‘I like its.’ You really need one ‘I love it.’” [42:41] Mentioned: Get Made Consulting GG's survey Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

If you are at square one in your filmmaking journey, you are probably confused about where to start. You’re not sure how you are going to pay the bills, let alone finance your projects. You’re also worried about the state of the industry and wondering if you have a shot at success. Our guest, Ana Liza Muravina, believes that if you’re serious about filmmaking, “it’s your responsibility to understand what kind of business you’re getting into.” In today’s episode, No Film School’s GG Hawkins speaks with filmmaker Ana Liza Muravina to discuss: How the industry has transformed The decline of tv and film consumption What a period of consolidation means for filmmakers The power of attaching certain elements to your project Ensuring the project you are pitching is financially viable Foreign Sales - what are they and how are they impacted by streaming services Becoming clear on the project you are making Finding patrons and supporters in your local area The importance of casting valuable actors Figuring out what you want out of your career Having a collaboration agreement and what it should look like Memorable Quotes “Streaming tv is going to look a lot like how cable used to look. It’s going to be expensive.” [9:24] “In our industry and in our society, success is tied to money.” [11:41] Money is not all concentrated in Los Angeles and New York. Money is wherever there are people who have made money.” [26:45] “Please make the thing that’s most interesting to you otherwise it’s not going to be interesting and it’s not going to sell.” [28:35] Mentioned: Ana Liza Muravina Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

There’s a very important lesson can we learn from films like 28 Days Later, which is not available in physical format or on streamer. It’s hard to believe a film starring award-winning talent like Cillian Murphy, who is nominated for an Oscar this year, is not commercially available to audiences. Let’s find out how you can make sure your movie doesn’t succumb to the same fate. In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: Staying conscious about the ways our contracts are written Thinking about where projects will be in 100 years Automating residual systems - is it a good idea? Feeling disturbed and disappointed by the lack of physical media available Pros and cons of text-to-video tools like Sora AI How AI can be a useful tool if it is subordinate to creatives Jaywalking in front of self-driving vehicles What is causing the current short story phenomenon Why you should be reading screenplays every week Memorable Quotes Thinking about your digital legacy is a really interesting thing to try to negotiate and navigate.” [9:15] “Don’t get too attached to the movie you made because it might just completely go away.” [12:30] “Your scripts should be entertaining. Your goal is to create a great read.” [43:48] “I’m against building statues of anybody that’s alive. It’s expensive to take down a statue.” [48:24] Mentioned: OpenAI’s Insanely Powerful Text-to-Video Model ‘Sora’ is Here What are the Ramifications of the New 'Sora' OpenAI App on Hollywood? Here’s How Sora’s AI Video Could Actually be Good for Filmmakers Why Are Short Stories Hot In Hollywood Right Now? Rest of World article Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Weak Layers is Katie Burrell’s feature film, which she not only directed but co-wrote and acted in. The film invites us to truly understand ski culture, unlike many unrealistic ski movies of the past. With this film, Katie proves that a novice director can stay true to their vision while also leading with transparency, humility, and positivity along the way. In today’s episode, No Film School’s GG Hawkins, speaks with Katie Burrell to discuss: Feeling excited about theatrical releases in ski towns Creating such a niche film What Katie can’t stand about other ski movies The unique, diverse cast and what they brought to the film Directing in extreme climates Being honest about her lack of experience How she kept up morale on set Why they didn’t do any playback How they created an organic party vibe on set Memorable Quotes “I was militant about making sure that it felt like it was a Hollywood movie, something that could reach into the mainstream.” [6:34] “No pro skier would ever put their goggles on top of the helmet.” [10:49] “In all the auditions of the core cast, there was a uniqueness that came through in each of them.” [14:03] “I was having the best time, all of the time.” [31:26] “To be somebody’s scene partner and also their director, is a really tricky relationship dynamic.” [37:09] “Don’t be afraid to admit that you have no idea what you’re doing, because people will rally around you and want to support that kind of attitude.” [43:46] Mentioned: Weak Layers Follow Katie on IG Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

If you’re anything like us, we only watch the Super Bowl for the awesome commercials, but sadly this year’s ads leave much to be desired. While we are disappointed by the Super Bowl commercials, we are happily surprised by two major announcements in the filmmaking space. One announcement comes from The Academy Awards, and the other announcement comes from Kodak. In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: The lack of visuals and creativity in this year’s commercials Trusting your gut feeling The Academy Awards - they are introducing a new category Why people don’t appreciate what a casting director does Benefits to starting as a casting director Kodak’s new camera we have all been waiting for - for literally 8 years How this new camera is great for modern production sets Why per per-screen averages are more important than box office numbers Memorable Quotes “Celebrity gags. It’s not special anymore when literally everyone is doing it.” [7:11] “There was a moment in the internet where virality could occur organically, by people sharing things because of the joy of it.” [8:59] “Casting is truly an art and a science.” [15:55] “The only thing indie filmmakers care about is our per-screen ratio.” [29:14] Mentioned: Academy Awards Adding a "Casting" Category in 2026 First Footage From the Kodak Super 8 Camera Chrysler, Born of Fire Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Every year at Sundance, we aim to speak with indie filmmaking teams who have collaborated on some of our favorite movies. Learning from these successful collaborations can help us in our own future projects. Let’s take a look at the collaboration between filmmakers Francesca Silvestri and Laura Chinn, and how their undeniable chemistry helped them in the production of the film, Suncoast. In today’s episode, No Film School’s GG Hawkins, speaks with Francesca Silvestri and Laura Chinn to discuss: Feeling both nervous and excited for the wide release of the film Not having to sell the film at Sundance Never taking no for an answer What Laura and Francesca love about working together Challenges with shooting in certain locations Tapping into the 2000s nostalgia without overdoing it Seeing younger casts at Sundance this year Being at shocked at how many writers don’t write Trusting that feedback is constructive and helpful Why self-development is so helpful for filmmakers Memorable Quotes “There are so many that have come into my life, that I will never work with again after this experience.” [6:36] “The 2000s in my opinion were not inherently cool.” [10:54] “When they tell you it’s bad and they give you a bunch of notes, cry hard and then move on.” [17:28] “When you do write, you do get better at it. When you do listen to other people’s feedback, you get better at it.” [17:40] “Work on you man, because everything will get better. Everything will get easier. Writing, directing, producing, whatever it is.” [20:53] Mentioned: Suncoast - Streaming on Hulu, Feb 9, 2024 Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Matthew Vaughn, known for films like Snatch, Kick-Ass, and the Kingsman franchise, didn’t actually think he would become a director when he started working in film. Vaughn first became a producer and then transitioned to directing - and are we glad he did! His recent film, Argylle, is a star-packed, action-comedy that you don’t want to miss! In today’s episode, No Film School’s GG Hawkins, Jason Hellerman and Director Matthew Vaughn discuss: What we love about the actors in Argylle How all the twists in the film serve as nice story beats Secretly copying and reading scripts as an intern What is was like working with Guy Ritchie The moment Matthew decided to try directing Why the script is so important to the whole production process Work weeks: 6 days versus 5 days The scariest moment of making a film Building an industry based off a film How important the title is to a film’s branding Memorable Quotes “I chose to be a producer because I was told you don’t have to have any qualifications, apart from the art of bullshitting.” [13:24] “I realized from that point, I would never ever make a movie that I didn’t love and believe in the screenplay.” [18:12] “Indecision is death. Bad decisions can be fixed. No decision can’t be.” [25:38] “If you do get a day off, just sleep.” [28:11] Mentioned: Argylle View the $71 Million Budget for the M. Night Shyamalan Movie 'The Village' Intimacy Workshop for Film, TV, and Theater Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

How do we deal with losing someone we love? Is it even possible to move on? These questions are explored in Handling the Undead, a film that meditates on topics such as grief and loss and the impossible wish of wanting the past to become the present. Handling the Undead, which is based on the best-selling Norwegian novel of the same name, premiered at the 2024 Sundance Film Festival. In today’s episode, No Film School’s GG Hawkins, speaks with Director Thea Hvistendahl to discuss: Thea’s feelings and thoughts post-premiere Having the sound and images tell the story as opposed to dialogue Her approach to directing and staging actors Using a mix of real people, prosthetics, VFX, and dolls Finding the balance between looking dead but not like zombies The challenges in shooting the final scene How Thea became a filmmaker Financing the feature and shooting in multiple countries Getting the balance right between the different stories within the film Feeling anxious during the screening process Trusting her gut feelings in the editing process Having a much needed celebration when the film was finally finished Memorable Quotes “For the human brain, it’s more unsettling the more realistic it is… I wanted it to be as realistic as possible.” [16:15] “The finale was the hardest part to solve, but it worked in the end.” [20:21] “It really pains me to do stuff that doesn’t feel right, but sometimes I try it.” [27:29] “It dragged out a very long time, so it wasn’t like a cathartic moment…It was a very slow finishing process.” [30:07] “It’s always better to make something…rather than wait and hold back.” [31:16] Mentioned: Handling the Undead Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Let’s say you’re an indie filmmaker and Nicole Kidman asks you to direct her tv show. You say “hell yeah” right? Well, that wasn’t Lulu Wang’s first response when she was approached to direct the Amazon Prime limited series, Expats. In today’s episode, No Film School’s GG Hawkins, speaks with Director Lulu Wang to discuss: Why Lulu originally rejected Nicole Kidman’s proposal to direct the show How she protected her creative vision in a high production, studio project Exploring and dissecting privilege throughout the show Where they always start when planning each episode Changing the visual language in each episode Episode 5 - It premiered as a standalone film at TIFF The different perspectives represented in the writer’s room The benefits to shooting on location Recording real life sounds while location scouting Starting a production company to support other filmmakers Why emerging filmmakers shouldn’t follow industry trends Memorable Quotes “I initially said no. I passed on it, because it just felt so typical Hollywood.” [3:35] “Beauty is very subjective. It has to function within the context of the story.” [7:47] “The context through which you meet someone, colors the way that you see them.” [12:04] “I always see it as such a blessing if someone tells me that I’m wrong, or that I can do things better.” [14:06] “If you follow the trend, you’re always going to be a step behind.” [27:56] Mentioned: Follow Lulu on IG EXPATS The Farewell Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Are the Oscars the leading edge of culture, or are they trailing behind? While some of this year's nominations happily surprised us, other nominations have left us wondering if the academy is just voting for what’s familiar. Also, what’s up with big films skipping a theatrical release and going straight to streaming? In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: Favorite films and biggest takeaways from Sundance 2024 Upcoming No Film School episodes highlighting Sundance filmmakers Jason breaking up a fight in the AMC lobby Our opinions on the 2024 Academy Award nominations How the Oscars are staying internationally relevant Comedy versus drama An actor who sold his Oscar to pay for healthcare The dark history behind the Oscars - why they were created Why Doug Liman is boycotting the premiere of his film Road House Why filmmakers have to be conscious of audience activation Memorable Quotes “One of my favorite things about the Oscars is when they bring attention to a movie that wouldn’t get it otherwise.” [13:23] “Drama trumps comedy in awards, always. Which I think is bullshit.” [19:00] “It’s not misogyny, but snobbery.” [27:44] “All of the craft awards are never the best, it’s the most. It’s never the best edited movie, it’s the most edited movie.” [34:02] “If we all stay silent and continue to let these big corporate overlords make these decisions…we are going to lose that communal experience.” [42:50] Mentioned: The 2024 Academy Awards Nominations How Does Oscar Voting Work? 'Road House' Director Doug Liman Boycotts SXSW Over Amazon Exiling His Movie to Streaming Brooklyn 35mm Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Not all documentary filmmakers planned to be in the documentary space. Some didn’t even know they would be in the film industry to begin with. This is what we talked about in our round table discussion at Sundance, with a group of documentary film directors. Each of these award-winning directors have decades of experience in filmmaking. In today’s episode, No Film School’s GG Hawkins, speaks with documentary directors Alex Stapleton, Jeff Zimbalist, Michael John Warren, and Tony Gerber to discuss: Their current projects What it’s like to finally turn the camera on yourself as a director How to find yourself and who you really want to be Their unique paths to becoming documentary filmmakers Earning more money and having more creative autonomy Holding onto your projects even if it doesn’t sell right away Why you should avoid industry chatter Finding the overlap between your hobby and filmmaking Figuring out where to start - production or post A good story is more important than high-tech tools Memorable Quotes “Documentaries were a way to insert myself into the heart of certain communities around the world.” [17:30] “I did not go to film school. I didn’t even finish college.” [19:18] “It’s okay to not know where you’re going. Sometimes following your gut and not having a master plan is fruitful, and builds wisdom.” [25:44] “My mother always told me, don’t work in the film business. It’s full of criminals.” [26:08] “I don’t think about what the audience wants. I think about what the audience doesn’t yet know that they need.” [47:47] The only thing that matters is story and learning how to tell a good story. The tools are just tools.” [51:16] “Think about the story. Pick a side of the industry you want to be in. And be so good they can’t say no.” [51:39] Mentioned: Alex Stapleton God Save Texas - The Price of Oil Episode Jeff Zimbalist Skywalkers: A Love Story Michael John Warren Lolla: The Story of Lollapalooza Tony Gerber War Game Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Jazmin Jones and Olivia McKayla Ross are the creative minds behind the documentary, Seeking Mavis Beacon. The feature, which premiered at Sundance 2024, investigates the disappearance and reexamines the legacy of one of the most influential Black women in technology. The documentary also explores topics like ethics, consent, and having a healthy relationship with technology. In today’s episode, No Film School’s GG Hawkins speaks with Director Jazmin Jones and Associate Producer Olivia McKayla Ross, to discuss: How Jazmin and Olivia met and started working together The benefit of not having a film career before making the project Why the investigation itself was the priority over the film How they built the digital world of the film Consent - how it became part of the narrative Community organizing versus filmmaking How street photography taught Jazmin about the importance of consent The power of using search engines How they created a safe, beautiful space in their headquarters Asking for what you need and what you want Why you should follow your instincts The magical experience of seeing other people react to the film Memorable Quotes “More than using the language of the film industry, we were using the language of collective organizing.” [7:15] “In community organizing, you’re thinking of the long-term impacts of the things you are doing.” [13:20] “The longer it takes you to ask for the thing you suspect you might need, the more it costs you.” [27:25] “Having a room of people laugh at my dad’s dad jokes is like the best thing in the world.” [30:16] Mentioned: Seeking Mavis Beacon Follow Jazmin on IG Follow Olivia on IG Unpacking the Ethical Minefield of Docs with the Team Behind ‘Subject’ Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

At No Film School, we enjoy diving into both the hard skills and soft skills required to be successful in this industry. For example, we enjoy the technical talk of cinematography. We also like diving into things like leadership skills, collaboration decisions, and how to hire or fire. These are some of the things we discuss with a roundtable of cinematographers whose films premiered at Sundance and Slamdance this year. In today’s episode, No Film School’s GG Hawkins, speaks with cinematographers Bruce Francis Cole, Alejandro Mejia, and Sean Mattison to discuss: How all three DP’s got connected to their respective projects Thinking of the setting as a “character” in the story Working with light and figuring out tone The benefits of using multiple cameras Allowing your team the freedom to express themselves The importance of picking your team Cutting off stressful energy before it spreads to the rest of the crew How they decide what projects to work on Choosing personality over technical ability Memorable Quotes “We chose the lenses that had the character built into them.” [24:51] “What elements can we bring into it visually that will bring the audience into this world?” [26:53] “If you can pick your team you truly trust in, you can easily allow everyone to do their job.” [33:32] “We’re sensitive people. We work in a creative field.” [48:17] “It’s a very New York thing that I learned when I moved there. People either like you or not.” [48:39] Mentioned Suncoast Connect with Bruce on IG In the Summers Connect with Alejandro on IG Petro Connect with Sean on IG Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Molly Manning Walker is the Writer-Director of How to Have Sex. The story follows three British teen girls who find themselves navigating the complexities of sex, consent, and self-discovery while on holiday in Greece. The film has won awards across various film festivals, including British Independent Film Awards, Cannes Film Festival, Athens International Film Festival, and others. It premiered at Sundance 2024 in the Spotlight film section. In today’s episode, No Film School’s GG Hawkins, speaks with Molly Manning Walker to discuss: The inspiration behind the film Realizing her own friendships as a teen were quite harsh Unexpected reactions from the audience Exploring the glorification of party culture The process of choosing a cinematographer Director vs DP - The POV of the set changes Why some scenes were heavily scripted and others improvised Navigating a group of high energy teen actors The benefit of doing experimental takes Bringing in an intimacy coordinator so the cast felt protected How Molly created a safe environment for both cast and crew Memorable Quotes “How I see a film set has always been through a lens. Through holding a camera.” [7:16] “It was definitely difficult navigating six really high energy young people.” [11:47] “Watch your film on mute and see if it still makes sense.” [24:13] “The more time you put into something, you eventually break through.” [25:34] Mentioned How to Have Sex Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

This year No Film School hosted an alumni party at Sundance, and it was amazing to see the community come together in person. The connections made at the party truly embody the ethos behind No Film School - accessibility, humility, and vulnerability. In today’s episode, No Film School’s GG Hawkins, Ryan Koo, and Jo Light discuss: The amazing energy in the room at the No Film School Alumni Party Seeing the community expand into more film groups across the country Why we love the commitment of filmmakers who continue to create stories Resources for filmmakers outside of Los Angeles and New York More films we enjoyed at the festival Not having specific festival goals and letting opportunities happen naturally Some of our magical festival moments Advice we would give to our younger selves Memorable Quotes “Let’s try to be vulnerable and human, and recognize we are here because we want to make things.” [5:39] “Stop Hedging. Grab some friends. Just do it. Plant your flag.” [9:14] “Going into a dark theater. Turning your damn phone off. And totally giving yourself over to something that no one else in the world has seen before.” [13:12] “It felt great to come here without a specific expectation, and then be pleasantly surprised.” [20:46] “Sundance. I’m never not coming to this. I want to be here every year.” [22:43] Mentioned: Krazy House War Game Dìdi I Saw the TV Glow A Real Pain Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Amrou Al-Kadhi is the Writer-Director of Layla, a story that explores the conflict between desire and identity. The film stars actor Bilal Hasna who plays Layla, a London drag queen, and actor Louis Greatorex, who plays Max, the love interest. The film premiered at the 2024 Sundance Film Festival. In today’s episode, No Film School’s GG Hawkins, speaks with Amrou Al-Kadhi, Bilal Hasna, and Louis Greatorex to discuss: The six year process of making the film What it’s like to watch the film multiple times at Sundance Unexpected reactions of the audience How making shorts helped Amrou learn to work on a set The benefits of working with a director who has acting experience Why the best actors hold back in some scenes The reason Amrou encourages actors to play against the lines Why directors should budget for extra rehearsal time The casting process and chemistry read Memorable Quotes “Feeling the audience be shocked was quite fun.” [7:58] “Shorts are more like poems, whereas films are more like novels.” [9:05] “It’s really hard to get actors to lie on screen.” [14:37] “It’s a family you are building. You are not doing it on your own. It can be really hard, so you need to have people around you, you really trust.” [28:30] Mentioned Layla Amrou Al-Kadhi on IG Bilal Hasna on IG Louis Greatorex on IG Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

It’s that time of year again! The time of year we get to meet emerging filmmakers and watch their creative, original, risk-taking films at the Sundance Film Festival. Not only are we networking and enjoying amazing films, but we are bringing some fun surprises to the festival this year. In today’s episode, No Film School’s GG Hawkins, Ryan Koo, and Jo Light discuss: Why the Sundance volunteers are so important to the spirit of the festival Running into people we haven’t seen in over a decade Hosting a No Film School party at Sundance this year An online giveaway for No Film School listeners Films we love and films we have mixed feelings about Being unexpectedly moved by a beautiful zombie film An unconventional pairing that gives a fresh perspective on love Stories that encourage us to bring more originality to our work Being independent from what’s considered “commercially viable” Why you need to watch the documentary lineup at Sundance Memorable Quotes “This is what I come to Sundance for…This is an original idea that is audacious and creative. It’s something I have never seen before.” [20:00] “We are not here to be critics. We are not here to give films grades. We are here to be inspired as filmmakers.” [21:00] “What we come here to see is risk taking.” [32:12] “We’re all in this community together. We are all trying to get movies made. It’s harder than ever.” [35:21] Mentioned Online Giveaway: Enter to Win Freaky Tales - Directed by: Anna Boden & Ryan Fleck How to Have Sex - Directed by: Molly Manning Walker Layla - Directed by: Amrou Al-Kadhi Handling the Undead - Directed by: Thea Hvistendahl Love Me - Directed by: Sam & Andy Zuchero Your Monster - Directed by: Caroline Lindy Seeking Mavis Beacon - Directed by: Jazmin Jones Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Not all award-winning filmmakers planned for a career in film when they were younger. Director Gabriela Cowperthwaite found her love of film in her thirties, and has since directed films such as Blackfish, Our Friend, and many others. She recently directed I.S.S., a high-stakes thriller set in the International Space Station, which will be released in theaters on Jan 19. In today’s episode, No Film School’s GG Hawkins speaks with Director Gabriela Cowperthwaite to discuss: Unexpectedly starting a career in filmmaking Wanting to effect change through films Working for free and doing whatever job she could A very humbling experience early on in Gabriela’s career The differences between documentary filmmaking and narrative filmmaking Surviving the lows during production The importance of having interests outside of filmmaking Establishing the world and dynamic between the characters in the film I.S.S Bringing characters to life who do not fit into a stereotype Filmmaking - it’s not more glamorous than other jobs Memorable Quotes “You really have to put in the work. You really have to collaborate.” [12:14] “There’s this cool adventurous feeling you have when you’re doing it, because every single day could be a question mark.” [15:55] “The highs are very high, and the lows are very low.” [16:42] “It seems like it’s greater than the sum of its parts, but it’s not. It’s just the parts.” [36:36] “Just remember, it’s one foot in front of the other.” [37:51] Mentioned I.S.S. trailer Unpacking the Ethical Minefield of Docs with the Team Behind ‘Subject’ Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

It’s a given that there will be a series of both highs and lows when you work in film. While the lows can feel brutal, it’s important to remember that they don’t last forever. More often than not, these low moments end up becoming powerful lessons that make us stronger filmmakers in the long run. In today’s episode, No Film School’s GG Hawkins and Jason Hellerman discuss: Some of our lowest moments as filmmakers Being at rock bottom and crawling your way back up Recognizing when you need rest as an exhausted filmmaker Finding hobbies outside of film and television Having people who will help you bounce back Building strength to sustain yourself on set How to build meaningful relationships outside of social media Networking - Don’t always make it transactional Memorable Quotes “All of a sudden, I couldn’t breathe and my hands went numb.” [2:22] “It felt like I was valued and then was immediately devalued, not only as a writer but as a person.” [7:25] “You learn from having to hit the ground so many times, that you gotta keep getting back up.” [30:31] “Get off of social media. Get out into the real world. Network in person.” [34:58] Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

If you want to network, grow, and succeed as a filmmaker, you have to learn to get comfortable talking about your work. Luckily there are programs, like the Moonshot Initiative, which help emerging filmmakers successfully pitch their projects without feeling confused or afraid. In today’s episode, No Film School’s GG Hawkins speaks with nonprofit founders, Tracy Sayre and Katrina Medoff, to discuss: How the Moonshot Initiative helps advance the careers of underrepresented voices Working with people in all stages of their career Offering a safe space for program participants to ask questions The pilot accelerator program that helps filmmakers pitch tv show ideas How Tracy and Katrina know when they have found an excellent script The mentality you need going into a pitch meeting Writing the pitch before writing the script Why you have to be comfortable talking about your work Memorable Quotes “Never be afraid to ask questions. You can’t walk into every room and assume you know the answer.” [12:45] “Our audience had ideas, but they didn’t have the connections.” [17:15] “People hearing pitches want you to succeed.” [23:46] Mentioned: Moonshot Initiative on IG The Moonshot Initiative Website Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

If you are a beginner filmmaker who is afraid to receive feedback on your work, you may find you are operating within a bubble. Feedback is such a critical part of the process of becoming a better storyteller. We invite you to get out of that bubble and practice asking for and receiving feedback like a professional. In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: Crafting and curating your public persona The standard number of pages your script should be Wasting time arguing on social media The power of admitting what you don’t know Why you should ask for feedback early in your career How to ask for feedback and how to receive it Why you should never feel bad about asking people for feedback Having practice feedback sessions with your friends The overall importance of etiquette as a filmmaker Memorable Quotes “The 136-pagers were always gibberish, with no exception.” [7:52] “We all just need a slice of humble pie, especially in the beginning of our screenwriter careers.” [12:16] “If you are a filmmaker, you are building a community of peers.” [30:53] “Sometimes the note you think is dumb, is right.” [43:27] “The internet is not always right. It is just a place where people are allowed to say anything.” [47:56] Mentioned: How a Script Doctor Found His Own Voice How to Critique a Screenplay (While Not Being a Dick) Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Lately, we keep hearing the advice to grab an iPhone and just start shooting a movie. Well, that’s exactly what the team behind The Mountain Murder Tapes did. Not only was filming very simple, but they kept post-production really scrappy and distributed their project on TikTok! In today’s episode, No Film School’s GG Hawkins speaks with Jacob Seltzer, Benjy Steinberg, and Spencer Levin to discuss: The inspiration behind the project - “Blair Witch meets Ski Mountain” Why the actors were the cinematographers The natural progression of events from different character perspectives Having a digestible number of POVs in the project Using improvised versions over the scripted versions Their very low-tech process of filming and editing Using a hook in each episode versus a cliffhanger Why a project like this is so accessible for scrappy filmmakers Memorable Quotes “We were in touch with the creepy nature of nature.” [3:35] “We wanted to get back to the roots of our indie filmmaking and get scrappy.” [4:19] “It was an experiment in cinematography as much as storytelling.” [5:15] “So many shots were stolen. We upped the production value of the project by going into places we probably shouldn’t be.” [14:17] “Within the first second, you have to hook the audience.” [22:56] Mentioned: The Mountain Murder Tapes on TikTok Follow Benjy on IG Follow Spencer on TikTok Follow Jacob on IG #ChadGetsTheAxe Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Are you planning on making any new year's resolutions for 2024? Maybe you want to integrate more positive practices into your life? Are there any habits that are hurting you, that you want to work on reducing? In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: Prioritizing your health by getting adequate sleep Paying attention to the people we surround ourselves with Being in the present moment and not over analyzing your projects The benefits of reading for pleasure Reading film news in paper format versus digital format Why you should get a treadmill desk Reasons you should always be writing or developing scripts Giving a “thumbs down” instead of the middle finger Memorable Quotes “Good people are the fucking best. They are the best.” [4:10] “The only thing you have ultimate control over is writing. You can always write.” [18:55] “Live your life and figure out what makes you happy.” [22:30] “I need to stop getting so angry at motherfuckers who drive in the bike lane.” [22:40] Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

If you are a micro budget filmmaker, you may think your lack of money is holding you back from having the tools or resources you need. Instead of approaching your project from this limited mindset, we want to challenge you to view your “limitations” as an opportunity, not an obstacle. In today’s episode, No Film School’s GG Hawkins speaks with director and podcast producer, Jeffrey Crane Graham to discuss: The beauty of podcasting and providing helpful tools to listeners Why Jeff advocates table reads throughout development of a project Exploring topics like grief, fear, and shame in his film, Always Lola How other people will feel seen through what you’re making Tips and tricks to stay within your micro budget How to get talented people invested in your low budget film Simple, affordable, and effective production tools Why directors shouldn’t cut their own material Balance - does it exist for creatives? Memorable Quotes “You need to bring on a lot of different perspectives and voices, even if they aren’t necessarily your method or craft.” [4:25] “Because filmmaking is so hard, you have to will your way through it.” [10:09] “We were running around like highschool kids making a movie, but with really nice equipment.” [21:34] “It’s really fun to see what people do without much money.” [31:20] “People will be so excited to watch you chase your dream. People still want to believe in the power of independent filmmaking.” [34:34] Mentioned: Always, Lola Jeff's Instagram The Screenwriting Life Podcast Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices