The No Film School Podcast

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

Breaking story is not easy. When it does finally happen, you feel so good you can’t help but walk around with your chin up in the air and your chest puffed out! Sounds amazing, right! So what does it take to get there? Let’s find out! In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman, and director Kevin Taylor discuss: The satisfying moment that unlocks the whole story Exploring the story without being attached to structure What to do when you are stuck with a scene that isn’t working The question Kevin wanted to explore with his film, Last Resort Writing 8 screenplays during the pandemic How Kevin’s production experience helped him in his role as a feature director Allowing the magic to unfold in the frame Why Kevin wanted to edit his own feature Why mapping out your story beforehand is so important Memorable Quotes “It’s using overly aggressive language to make up for the fact that our job is making up stories and playing with costumes.” [1:02] “The best part about writing is breaking the story.” [16:28] “You cannot break the horse, by looking at the horse. You have to get on the horse to break the horse.” [19:50] “It’s building a muscle. Sitting down and being in that spot so the muse knows where to find you.” [28:39] “If you ask for help, you’ll get advice, but if you ask for advice, you will get help.” [52:56] Mentioned: Watch on YouTube Watch on Tubi Watch on Apple TV Watch on Prime Video Kevin’s Instagram Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [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

Damien and Natalie LeVeck are the masterminds behind the film, A Creature Was Stirring. The film is a holiday horror that explores topics such as secrets, guilt, and mental illness. We had the honor of interviewing each filmmaker separately in the past. Now, this married duo is back to discuss all things production, including planning, shooting, and distributing. In today’s episode, No Film School’s GG Hawkins speaks with director Damien LeVeck and producer Natalie LeVeck to discuss: Shooting a winter-themed film in the middle of a very hot summer Using expensive, concert style lasers in the film Surrounding yourself with a production team you trust Saying “no” while trying to find a middle ground Being married and working together - what is that like? The biggest on set challenge that ended up working out for the better How having editing experience can become a director’s super power Why you should make your own press kit and what to include in it Posting pictures before your film is purchased by a distributor What makes this horror film unique Memorable Quotes “You really need to know what hills you will die on. And what sacrifices are you willing to make.” [6:31] “Making any independent film is going to be harder than pretty much anything you ever do in your life.” [12:44] “Movies don’t want to be made.” [13:07] “You’re not directing to find it in the edit. You’re directing to get the edit you have in your mind.” [19:48] “The horror movie fans are some of the best fans out there.” [21:07] Mentioned: A Creature was Stirring Natalie's LinkedIn Natalie's on Instagram Damien’s Instagram Top Legal Mistakes Filmmakers Make and How To Avoid Them Piloting Real-Time Post-Collab on Damien LeVeck’s Holiday Horror Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Netflix delivered your Christmas gift early this year! For the first time ever, the platform just released all of its streaming data! This “data dump” is beneficial for many in the industry, and it seems we will be getting more of these gifts in the foreseeable future. In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman, Ryan Koo and writer Amanda Barnes discuss: The streaming data that was recently released by Netflix The metric Netflix used in ranking it’s shows and movies Observations we have been making since the data dump Using the data as a negotiation talking point for future films How to avoid chasing others and instead attract attention Borrowing lines and ideas from our favorite holiday movies How to respond when you receive shitty notes The blessings and curses of being a writer The concessions you make as an indie filmmaker Handling heavy themes by wrapping them in joy and humor Memorable Quotes “What it was like to not know how many people were watching my movie out in the world.” [2:45] “The one thing Netflix has never done is tell us who is watching what.” [7:26] “I want to know who’s watching my show, so I can get paid accordingly.” [7:56] “Oh shit, now I have to learn how to write a Christmas movie.” [51:01] “If you have a vision and you need it executed your way and only your way, you have to make it yourself. And you have to be okay with the fact that maybe no one will see it.” [57:34] Mentioned: The making of Ryan's film 'Amateur' Netflix Releases All Its Streaming Data for the First Time Ever Connect with Amanda on Instagram Watch ‘Just Like a Christmas Movie’ Watch 'The Holiday Shift' Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Ira Rosensweig is the director and editor of Share?, a science fiction thriller that was shot entirely from one fixed camera angle. This film will creep you out, but in a good way, as it prompts you to take an honest look at your relationship with social media. In today’s episode, No Film School’s GG Hawkins speaks with director and editor, Ira Rosensweig to discuss: The origin of the film and what Ira hopes to evoke in the audience How he accidentally fell in love with filmmaking during college Becoming a “full stack” filmmaker - writing, producing, directing, and editing Challenges in working with famous celebrities Being confident and honest regardless of the reactions of others Directing actors within a short frame of time Getting excited after receiving rejection All the challenges they faced during production and post production Not taking “no” for an answer Memorable Quotes “The most expensive lesson I learned as a filmmaker was directing something without knowing how to edit.” [4:45] “When you can figure out how to use technology to your advantage to tell a story in a different way, there’s nothing better.” [30:17] “When you strip certain things away and limit your pallet, it makes a much more interesting product.” [37:17] “Do what drives you and try to make what your passion is. Your passion is the thing that will get it made.” [41:14] Mentioned: Connect with Ira on Instagram Follow Share? on TikTok Watch the Share? trailer Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Wow! It’s wild to think that we have reached 700 episodes of the No Film School Podcast! We feel so honored to share filmmaking knowledge with passionate filmmakers, through these weekly conversations. In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: What we have learned over the last 7 years of this podcast Asking the questions we wish we had the answers to as beginners Why it’s important to be engaged in these type of conversations Having an independent film streaming platform - could it work? The important role marketing has on the success of indie films Working with the streaming platforms that already exist Film Markets - great place to connect with potential distributors Memorable Quotes “It’s okay not to know everything. You just have to take one step at a time.” [3:31] “Writing is like ironing a shirt. You’re going over and over the same area. Trying to make each individual thing perfect.” [7:07] “How come we don’t build an independent media streaming service, like Netflix for indie movies?” [13:09] “The platform is not coming to save you. You are the captain of that ship, and you’re steering it.” [25:27] Mentioned: An IndieCheck out this episode: Film Exec Unpacks The Post-Strike World Brooklyn 35mm Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

When we watch documentaries, we often don’t think about how these films can leave a lasting impact on the lives of the participants. Not only do the films affect their reputation, but they can affect their businesses, relationships, and mental health. In this unprecedented era of documentary filmmaking, it’s time we take a serious look at the effects these films have on the lives of the subjects. In today’s episode, No Film School’s GG Hawkins speaks with Jen Tiexiera, Susanne Reisenbichler, Matt Klug, and Josh Harding to discuss: How each of these filmmakers came to the world of documentary All the sacrifices involved in creating a documentary film Being clear about boundaries and expectations with the crew from the beginning DAWG’s Framework for values, ethics, and accountability in nonfiction filmmaking The depth of the connection between crew and actors Finding the participants who would be featured in the films Shifting the way things are done to improve lives of participants and the crew Establishing a consent calendar with the participants and what that looks like The first steps to creating a documentary film Memorable Quotes “When you’re bringing the people around you that you’re going to go into battle with, it’s extremely important that everything is out on the table.” [14:00] “We’re entering a new era of bringing the humanness back into filmmaking.” [19:52] “I want to document their life. I want to document what they’re doing…It’s about respecting their space. Respecting who they are.” [24:02] “Documentary is and always should be a really intense collaboration.” [44:03] Mentioned: Subject Follow Subject Film on IG Follow Susanne on IG Follow Jen on IG Chasin' Butterflies Chasin' Butterflies Record & Movie Follow Josh on IG Follow Matt on IG DAWG Framework Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Networking…do you have to do it? Yes. Is it awful? No. It doesn’t have to be. It’s actually much easier than you realize! In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: Networking - it doesn’t happen at networking events Pacing the amount of alcohol you drink while networking Some great go-to questions you can ask others Connecting with others outside the usual way we network Why you need to be able to have normal human chit chat The questions you should always have prepared answers for Why you should brag on your friends when networking Remembering people’s names - you need to improve this skill Memorable Quotes “Having a real conversation with people is networking.” [5:42] “Show up. Be a pleasure to talk to. And don’t be crazy. If you are crazy, try to hide it.” [9:07] “Treat it like a work event. That refers to attire. That refers to jokes. That refers to drinking. That refers to all of the things.” [11:31] “Bragging on your friends, even if you don’t think it’s going to pay your rent, it will in full later.” [22:20] “It pays off to remember people’s names. It really does.” [24:47] Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Samy Burch is the writer of May December, a story about a married couple who buckles under pressure when an actress arrives to do research for a film about their past. This complicated and sensitive story truly captivates the power of what is not being said. In today’s episode, No Film School’s GG Hawkins speaks with screenwriter Samy Burch to discuss: Spending time in audition rooms as the daughter of a casting director Making sure no actor got cut from this film How Samy was able to tackle such a complicated and sensitive story Writing in her apartment coat closet The hard work and luck involved in getting the screenplay picked up Protecting the confidence in your own voice. Presenting power dynamics in her writing Watching the film alone versus in a theater Memorable Quotes “My goal with writing is to write roles that actors think are interesting.” [9:51] “It’s so hard to be an actor. It really is.” [12:34] “Protect that confidence in your own voice because that’s the hardest part.” [24:39] “The tension exists in what’s not being said.” [29:34] Mentioned: May December Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

As an actor, will knowing the ins and outs of cinematography enhance your performance? What’s the best way to go about hiring your post-production team? How do you give honest feedback without ruining your reputation? In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: Warmup actors versus burnout actors - what’s the difference The red camera setting named after actor Giovanni Ribisi How directors can benefit from taking acting classes Why hiring people for production is easier than hiring for post The best way to evaluate the post team in interviews Paying a flat fee versus paying an hourly fee Why everyone needs to have a deal memo Sharing your honest opinion without offending the other person The magic moments that can happen in post Memorable Quotes “It is a lifelong process learning about our art.” [11:07] “I wish more actors had a better handle on editing.” [11:14] “Hiring people for production is fifty to a thousand times easier than hiring people for post.” [17:45] “Your recommendation is your reputation in this industry.” [28:34] “You should do deal memos on every project you do, for everything you do because it forces people to lay out expectations.” [35:00] “Post can be way more fun than set. You can give birth to your project again in a new way.” [42:20] Mentioned: New RED Firmware Brings In-Camera LUTs & Zone System Exposure Tool DP Robert D. Yeoman on Film vs Digital, Long-Term Director Relationships, and Sleep Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

What does it feel like to finally finish your first feature? It’s difficult to explain the mix of emotions running through you. To quote the director of Hungry Dog Blues, it kind of feels like “finishing a marathon or coming out of a psychedelic drug trip.” In today’s episode, No Film School’s GG Hawkins speaks with filmmakers Jason Abrams and Irina Gorovaia to discuss: The very unique experience of making your first film The magical sense of community on an indie set How the film was inspired by a true story Why people prefer to work on a project that already has momentum Launching a crowdfunding campaign right before the pandemic started How the proof of concept made a huge impact on their fundraising efforts Why frequently following up with investors is so important The practice of not taking things personally Why it’s a win if people hate your movie Understanding you have to wear a lot of hats on your first film Learning to enjoy every little part of the filmmaking process Memorable Quotes “It’s a very unique process to take something through, from nothing to something.” [4:52] “Everybody wants to be on a moving train. Nobody wants to shovel coal.” [12:16] “It’s not your job to say ‘no’ for other people.” [30:39] “Slow down. Take your time. Enjoy every little piece of it. Learn to enjoy every little piece of the filmmaking process.” [58:04] “You can create just for the sake of creating. Just because you have a story to tell. That’s allowed, too.” [61:57] Mentioned: Hungry Dog Blues Irina's Instagram Hungry Dog Blues Instagram Jason's Instagram Variations on a Theme (YouTube channel) Resources they used: Producing Film Budget Template Line Producer Tips Successful Crowdfunding Campaigns Entertainment Lawyer Help Filmmakers Creative Breaking the Fourth Wall The Art of Suspense Jumping from Short to Feature Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

It’s that time of year again. The time of year when we show the filmmakers in our lives how much we appreciate them, with practical gifts that will improve their filmmaking journey. In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: Pulling out a new set of pens for your new project - it’s so satisfying Using a notebook versus using your phone Reading “A Swim in a Pond in the Rain” while sitting in a sauna Understanding the joy and richness of teaching Why you need a podcast microphone even if you aren’t a podcaster Why a quarterly planner is better than a yearly planner The $70 light used on an $80 million movie Why having a nice notebook improves the quality of your work Memorable Quotes “It’s almost like I’m texting, when I’m writing.” [3:21] “Everyone trusts you if you write a note in a notebook…Everyone thinks you are serious with a notebook.” [5:06] “I’m not sure I see what you see in this, but the fact that you see it, makes me excited to go on the journey to try to see it.” [11:44] “Filmmakers should all have nice microphones.” [15:45] “My life and my specs changed drastically when I got Grammarly.” [20:22] Resources: PILOT Razor Point Fine Line Marker Stick Pens Leuchtturm 1917 notebook Drehgriffel Nr. 1 Muji Color Gel Pens Bull and Stash notepads Pilot Precise Pen George Saunders “A Swim in a Pond in the Rain” Sennheiser Profile Streaming Microphone Rode NT-USB mini Grammarly plans Poketo Quarterly Planner Aputure MC 30 Light Moleskine unlined notebook Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

To improve your filmmaking, you have to just go out there and shoot with whatever you have, even if all you have is an iPhone. This advice comes from prolific cinematographer Robert Yeoman, who is joining us on the podcast for a second time. In today’s episode, No Film School’s GG Hawkins speaks with DP Robert Yeoman and DP Ryan Thomas to discuss: When Robert first met Director Wes Anderson and what they discussed Why the director and cinematographer need to be on the same team Cultivating a family-like atmosphere with the cast and crew The vetting process for choosing the camera crew The best way to approach the challenges of complex shots What Robert does to stay healthy, sharp, and safe while filming Shooting on film versus shooting on digital cameras How film has evolved over the years Why knowing how to edit can help you be a better cinematographer Memorable Quotes “If you don’t like the script, you shouldn’t take the film.” [5:38] “The director is my best friend. I am there to serve the director as best I can.” [6:36] “I have this ability to not show that I’m nervous, even though inside I might be going nuts.” [19:05] “Go out and shoot stuff. It doesn’t matter if it’s your iPhone.” [42:09] Resources: Our first podcast interview with Yeoman More on the Netflix shorts Wes Anderson directed Ryan’s website Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

“As Hollywood changes post-strike, the only surefire way in the door is to have something great people are excited to make.” If you are a writer looking to break into the industry, you need to know how to write a great script that producers actually want to read. In today’s episode, No Film School’s Jason Hellerman speaks with acquisition executive and script consultant, Evan Littman, to discuss: The difference between large studios and indie markets How indie films are made Why you should not submit a short Castability - why you need to write roles for specific actors The reasons you need representation as a writer Why it’s a seller’s market right now if your script is ready and it’s a banger Having a basic understanding of production costs Log lines we don’t like Carving out your own little corner of Hollywood Memorable Quotes “Horror is a great, communal, theatrical experience.” [9:12] “I hope I’m not crushing anyone’s soul when I say, ‘nobody really cares about shorts.’” [13:09] “The strikes are over, but that doesn’t mean it got easier. It means it got harder.” [15:56] “Know how much your movie costs.” [27:16] “Do not wait for everyone else to tell you ‘yes.’” [40:04] Resources: Get Made Consulting How to Write a Logline Read Evan’s No Film School articles Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Have you considered submitting an application for a development program or a writer’s lab, but you don’t know where to start? You’re unsure what you should include in your application, and you don’t know what to expect if you do get accepted. In today’s episode, No Film School’s GG Hawkins speaks with the Director of Artist Programs at Tribeca Studios, Bryce Norbitz, to discuss: Artist development programs and how they help new filmmakers What Bryce focuses on when she first reads an application The benefit of applying to a program even if you don’t get accepted What the jury has to consider when deciding on a program winner The credibility that comes with being a program finalist What it looks like to work with a brand partnership on your film When you should avoid submitting your story to a lab or program What applicants should include in their submissions Attending small, community-driven festivals in order to network Powerful reasons to attend film festivals as an emerging filmmaker Memorable Quotes “Nobody goes into any brand funding without knowing what the brand’s goals are.” [27:35] “Knowing exactly what you are putting yourself up for will save you energy.” [32:13] “People need to feel more comfortable shouting themselves out.” [32:38] “Your career as a filmmaker will likely not be consistent. It will be ever changing.” [35:12] “My scene was cut, and I never acted again.” [39:06] Resources: Getting accepted into the Sundance Labs on the 5th attempt New Orleans Film Festival Blackstar Film Festival Connect with Bryce: [email protected] Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://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 most effective way filmmakers can explain what they do, to people who don’t understand the industry? How do you argue against the notion that “film is not a real industry?” What’s the best way to approach a film course, so you can get the most out of it? In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: Educating your family on what it takes to write a screenplay Navigating outsider opinions on the film industry Why we can still love filmmaking even if we aren't’ “Spielbergs” How to get the most out of any film course you take The most common defense mechanism of a filmmaker Embracing the knowledge that you will always be learning Why we can’t fathom the fact AI is writing screenplays Memorable Quotes “Many doors are not open in Hollywood, so you have to find a window to sneak through sometimes.” [4:16] “If they can’t find that passion, I would change the subject to something that’s way worse.” [17:40] “We deliberately erase the labor of the people who create the art we want to see, because we don’t like thinking about all the effort that went into it.” [19:00] “You paid to take this class. So just pretend you have something to learn.” [34:13] “The joy in a screenplay is witnessing another person’s humanity.” [41:12] Resources: 6 Ways to Make the Most of Any Film Course or Project. ‘TMNT: Mutant Mayhem’ Production Designer Yashar Kassai on the Future of Animation Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Yashar Kassai is the production designer of the Teenage Mutant Ninja Turtles: Mutant Mayhem. The team behind the film pushes the boundaries of animation by adding depth, complexity, and messiness to both the visuals and emotional tone of the film. Yashar describes the design of the film as bad. He says, “it’s like good-bad. It’s like dumb-good.” In today’s episode, No Film School’s GG Hawkins speaks with production designer Yashar Kassai to discuss: What it means to be a production designer in animation Defining the parameters of the world his team built How being a lame hero is refreshing in a world of ultra serious heroes Why they intentionally designed the whole film to be “imperfect” The value in destroying the film over and over again The power of shaping light to tell your story What Yashar hopes to see in the future of Western animation Feeling both terrified and impressed by the capabilities of A.I. How animation has room for more complexity Memorable Quotes “How do you tie together all the brilliant work that’s being put in front of you and make it into one cohesive thing on screen.” [8:40] “You can do anything you want to, no matter how crazy it is.” [09:09] “It’s really endearing to be lame as a teenager and not know who you are.” [14:09] “We thought we had it. We thought we really went for it, but we didn’t.” [18:24] Resources: Yashar's Instagram Yashar's website Teenage Mutant Ninja Turtles: Mutant Mayhem Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Should filmmakers include intentional intermissions on long films? How do you properly film on a set, so it doesn’t look like a set? Is it possible to shoot your entire project using an iPhone? In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: Movie theaters adding intermissions to a Scorsese film without permission The reason 3D movies in the 1950s used intermissions Filmmakers creating different formats for different viewing options Scenarios when filmmakers should plan for intermissions in their films What GG’s first sound stage experience was like How to make a set NOT look like a set Everything we love about Apple’s recent products How Apple shot their news event entirely on the iPhone 15 Memorable Quotes “Since the invention of television, every filmmaker has had to think in multiple formats.” [16:14] “Scorsese can do whatever the fuck he wants and if he says ‘no intermission,’ I will not drink liquid ahead of time.” [17:09] “There’s a way to shoot with limited resources to still think big.” [25:12] “A set wall will never look like a real wall no matter how hard you try.” [31:10] Resources: Learn to Shoot 35mm Killers of the Flower Moon An Apple event shot on the iPhone Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

The horror genre has not always been widely appreciated, yet it is one of the best genres to explore the challenges facing our world at large. “It is very easy to find the horror in reality,” whether it be the current ecological crisis or inequality facing female filmmakers. This genre offers an opportunity to bring awareness to important issues, in an enlightening and entertaining way. In today’s episode, No Film School’s GG Hawkins speaks with Director Elza Kephart to discuss: Her experience attending film school in the US as a Canadian filmmaker Funding a film with insurance money received from a burglary Getting paid as a director, for the first time, in her 40s How the Fantasia Film Festival helped her grow in confidence and connections The differences between the Canadian film industry and the US film industry Why you shouldn’t rely on the social justice angle for your film Recognizing gender inequality in the filmmaking industry Why it’s okay to be a filmmaker who is an introvert Specific tips to know if you found the right actor Memorable Quotes “This is a mature career. It takes decades to build to the point where you have a sustainable career.” [8:05] “No matter how strange an idea…if it’s coming from an unconscious, organic place, that’s the story you need to follow.” [21:56] “Expectations: Make a good film and don’t be an asshole.” [40:16] “If you cast good actors, you almost don’t have to do anything.” [51:34] Resources: Slaxx ‘Joyland’ Director Saim Sadiq Redefines What It Means To Be a Director Kelly Fremon Craig Shares With NFS How To Adapt Beloved Classics for Theaters The Confidence Code Hope for Film Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Is the best time to release your horror film during the month of October? Damien LeVeck certainly doesn’t think so. Damien is an award winning filmmaker known for his work in the horror genre. We can’t wait to see his most recent film, A Creature was Stirring. This “Christmas meets horror” movie will be released this December. In today’s episode, No Film School’s GG Hawkins speaks with filmmaker Damien LeVeck to discuss: One of the best horror scripts he has ever read Why he takes script submissions on his website Taking a good script and making it into a great script How a Minimum Guarantee (MG) deal works Using the cloud system provided by Black Magic Design A simple tech tip that all directors should know The challenge of writing, directing, producing, and editing your own movie Doing screenings in order to get honest feedback Memorable Quotes “You should be glad you did this, because it might be the only time in your life when you will take these kinds of risks.” [3:39] “If you cannot see the twist coming on the page, that’s a real feat.” [7:21] “If you know how to edit, you will be a much better director.” [18:24] Resources: A Creature was Stirring Top Legal Mistakes Filmmakers Make and How To Avoid Them Skubalon Entertainment Damien’s Instagram Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Ricardo Martinez is a multi-hyphenate Editor, Writer, Director. He is known for his award-winning documentary, The Wall, which won the 2010 SF Latino Film Festival and screened on PBS. If we had to describe Ricardo’s work, we would say he is an expert at “finding the horror and beauty in the reality” of everyday life. In today’s episode, No Film School’s GG Hawkins speaks with filmmaker Ricardo Martinez to discuss: The LatinXorcists - a group made of latino screenwriters who love horror Why he was inspired to create the documentary film, The Wall Creating a horrifying video trailer for The Bloodstone What we need to know within the first 5 pages of a script What makes a good monster story Exploring the horror in our everyday human fears Why Ricardo loves using Black Magic tools Color correction tips and tricks Our suggestions for some of the scariest movies Memorable Quotes “I think there’s beauty in horror as well.” [18:25] “Making sounds yourself is actually a lot of fun and a cheap way to boost up production costs.” [23:45] “Every good monster story is not about the monster. The monster means something, it represents something.” [31:49] “That dread is part of the joy of horror.” [32:48] “Horror can be so many different things. That’s the joy of horror. There’s such a wide spectrum of types of horror.” [41:12] Resources: About the LatinXorcists Citadel Scavenger Creators of Earth Seed to Strain Check out Ricardo's website The Bloodstone Comic The Handy Foundation The LatinXorcists website The LatinXorcists Instagram Ricardo's Instagram The Bloodstone Instagram Burden of Dreams film Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Can you make a feature film using practical effects in a way that feels realistic and not “cheesy?” That’s what the team behind the film, Snatchers did. Snatchers is a horror-comedy film about a teen girl who wakes up nine months pregnant with an alien. In today’s episode, No Film School’s GG Hawkins and Jason Hellerman speak with filmmakers Stephen Cedars and Benji Kleiman to discuss: Practical effects - what are they? Some of our favorite practical effects in film How practical effects can be more effective than cgi Scaring away a famous editor with the smell of farts Finding a balance between cgi and practical effects How Stephen and Benji approach writing sketches Transitioning into making feature films Memorable Quotes “Horror movies are trying to show you something you can’t fathom or haven’t seen before.” [9:34] “It’s really hard to be creative while also tamping down on your creativity.” [27:09] “There’s no greater killer of creativity than feeling insecure.” [38:14] “If you’re passionate and prepared, you can’t go wrong.” [43:48] Resources: Snatchers Trailer Speruchet Pan Tournegos Short Benji & Stephen's website Stephen's Instagram Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

How do you handle post set blues? How do you properly adapt something you don’t have the rights for? What can we all learn from Taylor Swift’s recent movie? In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: Shooting an indie film in panama - excitement, exhaustion, and mosquito bites All the work involved after wrapping The importance of screen acting and what’s involved Being blown away by the commitment and generosity of the cast and crew What we love about Taylor Swift’s newest film Why film set people are the best Adapting without the rights - is it worth it Benefits to writing unlicensed biopics Memorable Quotes “This whole thing is greater than the sum of its parts.” [9:31] “We need better sound proofing between the theaters please.” [34:15] “You will lose to money. You will lose every time.” [50:52] Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Can you make a big budget, sci-fi film that isn’t a franchise, or a sequel, or a reboot, and tackle it using an indie mindset? That’s what the team behind the film, The Creator did. The film, which tells a story about war between humanity and artificial intelligence, is currently in theaters. In today’s episode, No Film School’s Charles Haine speaks with DP Oren Soffer to discuss: Being offered a co-dp position on the film How shooting on one lens made the VFX much easier to work with The differences in lenses over time that affect their consistency Leaning into natural light as much as possible Wanting to maintain the creative energy of guerilla style filmmaking How the project originally got the green light from the studio Working in a very trusting environment Looking at tons of references images the director pulled from Memorable Quotes “The visual effects approach was designed to fit the footage and not the opposite.” [6:53] “What do we need to add or subtract from that lighting to create a more curated lighting environment?” [22:04] “The filmmaking process itself felt really scrappy in the best way possible.” [36:39] Resources: The Creator Oren’s website Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Making a film is a laborious task that requires dedication, passion, discipline, and inspiration. Seeing the success of other filmmakers, who are more often than not in the same position as us, is not only motivational but can be a guiding light for those making their first film. In today’s episode, No Film School’s Yaroslav Altunin speak with multi-hyphenate creative Andrew Bowser to discuss: How Andrew came up with the Onyx character Starting his career as a child actor before becoming a writer and director Questioning his original script after getting some harsh notes Why having multi-hyphenate creatives work on the film was necessary Working with VFX and puppets and the challenges that came with it Discovering some continuity errors they didn’t catch in the final edit Why Andrew likes a slower editing process Not looking down on non traditional film platforms Memorable Quotes “It was this revelation. I felt like I had found something to pursue creatively.” [2:23] “I was led to writing and directing purely out of a want for more control.” [5:39] “On indies there's not a lot of time to explore.” [40:22] “Editing for me is such slicing and splicing.” [48:19] Resources: Onyx, The Fortuitous, and The Talisman of Souls Tickets to Onyx The Fortuitous and the Talisman of Souls https://www.fathomevents.com/events/Onyx-the-Fortuitous-and-the-Talisman-of-Souls/ Andrew’s YouTube Channel https://www.youtube.com/@BowserVids Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Don’t be afraid to plant your flag early on. This advice comes from writer Chris Sparling, who is known for the 2010 film, Buried, starring Ryan Reynolds and the 2020 film Greenland, starring Gerard Butler. In today’s episode, No Film School’s Jason Hellerman speaks with writer and director Chris Sparling to discuss: The first time Jason and Chris met, 10 years earlier How Chris starts the writing process Talking to reps to get an accurate idea of what scripts will be successful Why Chris writes specs and encourages other writers to do the same Breaking out of the box people put you in Recognizing it’s not necessary to go after every single assignment How to manage your expectations when going out with a new spec Writer’s block - Is it real and how to overcome it Why it’s important to rehearse your pitch Memorable Quotes “If there’s a real fire in you, that’s the story you want to tell.” [6:10] “I’m constantly trying to pump out new material that shows another side to what I do.” [12:30] “You have to get out of your own way and power through it. [30:38] “Don’t be difficult, but also don’t undervalue yourself.” [42:52] Resources Buried Greenland Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Finally, the WGA strike has come to an end and writers are going to be elated about the new agreement. So what does this new agreement entail and how will it affect the future of Hollywood? In today’s episode, No Film School’s Charles Haine and Jason Hellerman discuss: The terms of the WGA contract Scheduled minimum raises for writers How feature writers will benefit What literary material is and how it affects scripts written by A.I. Using A.I. with open disclosures Why writing may be one of the hardest roles in the entertainment industry Why we like minimum room sizes The potential for a spec boom Why original spec screenplays are coming back in fashion Advice for younger writers Memorable Quotes “We’re not saying A.I. is the devil.” [6:49] “Your biggest job as a screenwriter is making identifiable character motivations.” [9:24] “Characters stop acting like you expect them to act. And then it bothers you as an audience.” [11:08] “The job of the WGA is to protect its writers.” [13:31] Resources A Step-by-Step Guide to Mastering Your Spec Screenplay Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

The Midnight Shorts section of the Sundance Film Festival is known for creative, weird, and visually innovative horror. The 2023 lineup features short films with dark, weird, cringey stories that were created with love and intention. In today’s episode, No Film School’s GG Hawkins speaks with the filmmakers behind these shorts to discuss: What each short film is about and what the stories were inspired by Digging into our own fears about love, our bodies, the world falling around us Taking specific topics and situations and making it relatable to the general audience The biggest cuts that had to get made Removing redundant scenes that embody similar meaning How the motion of the camera translates meaning into the final cut What it’s like to work with live animals on set The biggest technical challenges Divulging set secrets Filming in random people’s apartments in NYC Memorable Quotes “Wanting to tell a story about fear and desire and the places that those intersect.” [5:14] “Every word, every sentence is scrutinized on that level.” [18:50] “I can’t stand anything redundant at all.” [19:50] Resources Pipes Follow Pipes on IG Alien0089 Follow Alien0089 on IG Unborn Biru Follow Per-Josef on IG Claudio’s Song Connect with Andreas online A Folded Ocean Follow Ben on IG Power Signal Follow Oscar on IG In the Flesh Connect with Daphne online Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Are you ready for the WGA strike to end? We sure are! After almost half a year, the WGA and AMPTP have announced they have agreed on terms. In today’s episode, No Film School’s Charles Haine and Jason Hellerman discuss: WGA writers enjoying meals for free due to the generosity of a certain actor What a reboot of The Office would mean for writers The role of unions in the film industry Why labor movements in Hollywood are not going away The reason film companies fled New York City in the early 1900s Arbitrary rules of script writing and why we don’t agree with them Why you need to write many different scripts Memorable Quotes “The union is not about getting people rich. The union, if it does its job right, will get some people rich. But it's making sure that everybody that’s working can at least afford to eat and have shelter.” [7:15] “The film industry being in Hollywood is at least, partially about labor history.” [12:55] “People want screenwriting to be so formulaic and so rule-driven.” [17:35] “You’re not gonna find your voice in the first script you write.” [29:55] Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Jake Van Wagoner is a director, producer, and actor known for his work on Impractical Jokers and the film Christmas Time. His recent film, Aliens Abducted My Parents and Now I Feel Kinda Left Out, is a family friendly sci-fi feature that premiered at the 2023 Sundance Film Festival. In today’s episode, No Film School’s GG Hawkins speaks with director Jake Van Wagoner to discuss: Getting funding for the film from a family friend The unique title to the movie Making a film the whole family could enjoy Building the production team from many great connections How directing is like being a father Guiding the child actors in some challenging scenes Shooting a 93 page script in only 15 days Using children from his family to act as little aliens The process of attaching Will Forte to the movie Lessons he learned from his first feature, Christmas Time Memorable Quotes “We shot a movie in 15 days which is bananas.” [12:43] “Will Forte is the sweetest man on earth…he’s the LAST sweetest man on earth.” [16:10] “That’s probably my most embarrassing moment in the movie as a director.” [19:48] “In the end, we are just making a movie. It’s not the end of the world.” [23:55] Resources Aliens Abducted My Parents and Now I Feel Kinda Left Out Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices