The No Film School Podcast

What can we, as independent filmmakers, learn from movie franchises with big legacies? How is AI affecting the careers of writers and actors? What is the best way to properly insure film equipment in the event it gets stolen? In today’s episode, No Film School’s Charles Haine and GG Hawkins discuss: Box Office numbers for Indiana Jones and the Dial of Destiny The Blumhouse model versus the studio model The lack of spark and zest in legacy films Weird pacing in big studio movies that confuse us Lessons indie filmmakers can take from the Indiana Jones franchise The crazy TikTok “teenage filter” Using AI to alter acting performances in post production Why insuring your film gear is extremely important Whether or not your homeowners policy will cover your film gear Voluntary parting - is it considered theft or fraud Memorable Quotes “That 300 million dollar movie that you think is a safe bet, often isn’t.” [3:34] “Writers and actors are facing huge, catastrophic changes based on A.I.” [29:42] “Unity is everything here. Unity is the only thing we have to try and exert any power.” [31:39] Resources: Her Arts Lab in Italy Asteroid City 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 are the similarities and differences when it comes to working in film versus working in podcasting? What lessons can we take from filmmaking into the audio space, and vice versa? In today’s episode, No Film School’s GG Hawkins, Andrew Barbot, Joanna Hausmann, and Marcus Thorne Bagalà discuss: The inspiration behind this roundtable discussion Starting in TV and moving into podcasting Opportunities for experimenting and world building Hijacking listeners imaginations through podcasting The differences in casting for podcast shows versus tv shows The challenges involved in scripted podcasts Using sound design to avoid exposition Grounding your podcast in specificity Being much more aware of sound and audio People getting into the space that don’t understand it Memorable Quotes “Maybe I forgot about it because I just blacked it all out.” [11:49] “You have flexibility in audio that you don’t have in tv and film.” [19:19] “Is this something you want to spend hours of your week doing, not because an audience will like it, but because it will come naturally to you.” [39:54] Resources: You Feeling This Podcast trailer Andrew’s work Follow Andrew on Twitter Joanna’s work Follow Joanna on Instagram Marcus’ work Follow Marcus on Twitter 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

Immersive gaming, augmented reality, and new camera technology. We experienced all of this and more at the 2023 Cine Gear Expo and the 2023 Tribeca Festival. In today’s episode, No Film School’s GG Hawkins and Yaro Altunin discuss: The immersive gaming floor at Tribeca How important it is to lean into the format you are using to tell a story Using AI to craft art, not generate it The similarities of cameras at the Cine Gear Expo Explaining what an ND filter is Reading scripts on a tablet Why you need to properly slate every shot Where we get our clapper boards The movies we are excited to see this summer What scares us about streaming services Memorable Quotes “This really did feel like it was a storytelling setting with an escape room experience.” [3:17] “The gaming world is exploding as the filmmaking world is in a less than stable place.” [8:16] “You can go to any company and pick up any camera, and shoot an incredible movie with it.” [21:12] “It’s a pivotal moment that transforms a set into a scene.” [33:13] Resources: Tribeca Festival Cine Gear Expo The Pirate Queen: A Forgotten Legend Monstrorama In Search of Time 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 figure out your film’s story in the edit, when your story has no script at all? The skill of editing is absolutely critical to the filmmaking and storytelling process. In today’s episode, No Film School’s GG Hawkins and editors, Kelly Kendrick and Jamie Boyle discuss: Their experiences at the 2023 Tribeca Film Festival The similarities between the documentaries How to tell a story with multiple characters Balancing the dark moments and joyous moments by toggling between the characters The challenges in portraying well-intentioned, yet flawed characters What the collaborative process looked like during editing Receiving feedback and taking in the essence of the notes being given Integrating text and print into the documentaries Favorite editing tools and hacks Memorable Quotes “We didn’t want to try to tell people how to feel about the stories.” [19:18] “You kind of become a middle man and you don’t even know what’s been communicated to everybody.” [40:18] “I don’t think there really is an unhelpful note, it’s more so just getting to the seed of what they’re needing.” [43:27] “It’s so satisfying to make a scene shine before you’re sending it out to festivals or directors.” [52:19] Resources: Tribeca Film Festival Every Body Breaking the News 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

So you have written a tv show that you want to sell, but how do you do it? How do you get people to become intrigued and vested in your idea? How much should you practice your pitch, and can you use gimmicks in the pitch meeting to grab attention? In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman and the team behind the show, Chanshi discuss: Defining what an “If Come” is Realizing that the showrunner must have past experience on other other tv shows Answering the ‘why now’ and ‘why you’ in a pitch meeting How to not feel icky when selling an idea Evaluating agents and managers just like they evaluate you Using unique gimmicks and stunts when pitching Chanshi - a hilarious, heartfelt, yet dark tv show filmed in Israel Why they didn’t write the main character as ‘more likable’ Difficulty casting American actors in Israel What it was like having two directors on set for the show Memorable Quotes “Your excitement for the idea will be contagious.” [13:10] “When you’re selling anything, you’re not just looking to sell it. You’re looking to find the right partner.” [14:02] “You cannot practice your pitch enough.” [27:09] “We both hated writing. That’s what brought us together.” [51:25] “Finish on time or we’re going to shut your cameras off.” [60:00] Resources: Chanshi 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 Bentonville Film Festival (BFF) was founded in 2015 by Academy Award–winning actress Geena Davis. The mission of the festival is to influence mainstream media to increase diversity and the presence of underrepresented groups in their content. We were honored to speak to two filmmakers who presented projects at the 2023 festival. In this episode, No Film School’s GG Hawkins, director Meghan Ross, and filmmaker Sierra Urich discuss: Meghan’s project, Here to Make Friends, and its diverse cast and crew The difficulties Meghan had in filming her episodic proof in Texas, when abortion became illegal Sierra’s film, Joonam, that won ‘Best Documentary Feature’ at BFF What it was like to watch footage with actual subtitles, compared to the translation she received during filming Getting excellent feedback and guidance from a supervising editor Discovering the storyline in post production How the most uncomfortable scenes end up being the most meaningful Forgetting about the physical filming tools as much as possible What it was like to feature her film at Sundance 2023 Memorable Quotes “There’s a requirement for inclusivity in all the films that are featured at Bentonville.” [6:21] “Pay yourself first because if you don’t, you may never get paid.” [29:31] “When you’re dealing with real people with real personalities, you’re just along for the ride with them.” [36:48] Resources: Bentonville Film Festival Here to Make Friends Meghan’s website Joonam Sierra’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

In order to make your movie, you need money. So how do you get over that uncomfortable feeling of asking people to invest in your project? And once you have the financing, how do you get over the fact that your movie is not going to be appreciated by all audiences? In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman and producer Michael Mendelsohn discuss: The wonderful process of discovering classic movies Our parents sheltering us from watching certain scenes in famous movies The best way you can become good at packaging and pitching a project What it’s like to film underwater, deep in the Baltic Sea while a war is going on nearby Breaking into the industry at 17 years old People claiming titles without actually doing the work Taking stories of actual experiences and then putting them to screen The types of stories Michael typically leans towards Memorable Quotes “Stop doing impersonations of your favorite filmmakers and start figuring out what you have to say.” [4:10] “I’m shooting there and the neighboring countries are at war. Missiles flying over, submarines, helicopters, airplanes…while we were filming.” [26:54] “I have met several people that are back-biting, double-crossing, jerks who think they’re going to make it that way.” [39:04] “Being okay with not being okay with everyone, is something we need to lean into as storytellers.” [54:38] Resources: Ghost Ships I am Michael God is a Bullet Get Lost Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [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

The Tribeca Film Festival is celebrating its 22nd anniversary in New York City. It is a big part of the festival circuit and we at No Film School love everything about it. From how it got its start, to the great networking benefits to attending. In today’s episode, No Film School’s Charles Haine and GG Hawkins discuss: The history of the Tribeca Film Festival Differences between Tribeca and Sundance GG’s experience attending the 2023 festival Reconnecting with people at the festival The importance of taking time to attend film festivals Excited to watch the show Jury Duty Plus, we share a short conversation with director - writer, Ethan Berger. He describes the process of creating his feature film, The Line, which premiered at the 2023 Tribeca Film Festival. The film portrays the blind adherence to tradition told through the lens of a fictional college fraternity. The film is both cringey, yet fascinating to watch and is the perfect examination of what is wrong with the tradition that still exists on college campuses. Memorable Quotes “The vibe of Manhattan is just contagious.” [4:09] “The festivals are for staying in the mix.” [4:57] “It is a concentrated investment of your time that pays off, from a networking perspective.” [9:46] “You only want people to be in your movie, who want to be there.” [26:14] “All art is about provoking an emotional response from an audience, and it should feel intentional.” [35:55] Resources: Jury Duty The Line 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

Xavier Grobet is a cinematographer for movies and television shows. He is known for his work on films such as Focus and Nacho Libre and tv shows like The Watchmen and WeCrashed. Xavier is also the cinematographer for the Emmy-award-winning show, The White Lotus, which is available for streaming on HBO Max. In this episode, No Film School’s GG Hawkins and cinematographer Xavier Grobet discuss: Growing up surrounded by photography Different opportunities Xavier had when attending film school in Mexico City Starting his film career as a camera assistant Meeting director-producer Mike White on the set of Nacho Libre All the elements that make a fun and great working environment Creative differences between film and tv shows Controlling the look of the show How the gaffer and board operator hacked into the hotel server where they shot White Lotus How to pull off cross-shooting Sharing inspiring stories of others in the film industry who never gave up Memorable Quotes “I do love documentaries. I wish I had done more in my career.” [7:24] “It’s been an evolution from film language to tv language.” [16:53] “Usually I like having a LUT created from the beginning and just stick to it.” [25:11] “The best thing to do is to be as close as possible to your liking from the get-go.” [25:50] “Find your own and just pursue every possible opportunity that you have.” [41:43] Resources: How to make money as a cinematographer Listen to our interview with ‘Mami Wata’ Director and DP The White Lotus season 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

It can be quite tricky to pivot from one career path in the film industry to another path. What should you do when you start climbing one ladder and realize you want to jump onto another ladder? In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: Ladders - avoid getting on the wrong one Not wanting to be put into a box How having a gap in your resume is not a bad thing The best ladder to jump on if you don’t know which ladder to climb Building our identity on our craft How you should market yourself if you are a “multi-hyphenate” professional Why you should consider having multiple websites Plus, we share a short conversation with Eva Longoria, who is a great example of someone who has climbed different ladders in the industry. Eva is not only a talented actor, but she is also a producer and director. Eva offers words of advice for new filmmakers and she describes what it was like to direct her recent film, Flamin' Hot. The film is based on the inspiring true story of Richard Montañez, the Frito Lay janitor who channeled his Mexican American heritage and upbringing to turn the iconic Flamin’ Hot Cheetos into a snack that disrupted the food industry and became a global pop culture phenomenon. The film will be available for streaming on June 9. Memorable Quotes “The higher you climb, the easier it is to hop to other verticals.” [1:58] “There’s this intense pressure to build our identity on these external things.” [15:25] “There’s not a recipe. You just do it. You learn by doing.” [27:04] “If you have a device like that, you gotta set it up early. You gotta set up the rules of your world right at the top.” [36:44] Resources: Flamin’ Hot trailer Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Rob Savage is a multi-award winning director and writer who is known for his films such as Host, Dawn of the Deaf, and Dashcam. His recent film, The Boogeyman, is a classic horror movie based on a short story written by Stephen King. The Boogeyman will be in theaters on June 2, 2023. In this episode, No Film School’s GG Hawkins and director Rob Savage discuss: Rob’s intention for how we wanted the film to be perceived The themes of grief and poor communication throughout the film How the teenage character helped to bridge two opposite perspectives Rob’s process for crafting scare scenes Figuring out different modes of terror for different scenes Why you need to focus on one idea versus having too many options What the emptiness of the house represents Giving the actors the opportunity to move things around their set bedrooms What surprised him about making a studio film Memorable Quotes “We’ve got to act like we are making a classic horror movie. We’ve got to treat this deadly serious.” [10:15] “The creature really represents the dark unspoken within all of us.” [11:39] “I’m always looking for actors who are going to bring a bit of their own personality into the DNA of the movie.” [18:42] “The house is kind of an extension of how the characters are feeling.” [35:31] Resources: The Boogeyman is in theaters June 2 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

Will artificial Intelligence end our jobs and the world as we know it, or is its “intelligence” limited? While many of us feel nervous for the impact it may have on our careers, A.I. is also opening up new opportunities to those who want to break into the industry. In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: The A.I. marketing tool that is being used to gain attention Thinking about whether or not we would use A.I. for certain things Why we don't think A.I. will be able to make great films The terrifying, yet fascinating, new filter TikTok is rolling out How AI tools can help us democratize film making Knowing how to make the right decisions at the right times Plus, we have a short conversation with Joaquin del Paso and Lucy Pawlak, discussing what it was like to collaborate on the film, The Hole in the Fence. The film, which draws on actual events, dissects politics and privilege through a story that exposes the fault lines of contemporary Mexican society. The film is now available for streaming. Memorable Quotes “People who work in the A.I. industry keep talking about how it could potentially end the world.” [1:35] “The indie film aesthetic and indie film content was driven by available resources.” [21:22] “The biggest skill of a working professional is knowing when you have to make a decision.” [26:27] “Living in that gray area is scary, but sometimes it’s absolutely necessary.” [27:50] Resources: A.I. is about to make social media much more toxic The Hole in the Fence trailer (with English subtitles) Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Walé Oyéjidé is a director, writer, designer, photographer, musician, and lawyer who uses the power of storytelling to combat bias. His debut feature, Bravo, Burkina!, had its world premiere at the 2023 Sundance Film Festival. The film is about a Burkinabé boy who flees his village and migrates to Italy. When later disillusioned by heartbreak, and haunted by memories of home, he travels through time in hope of regaining all he has lost. In this episode, No Film School’s GG Hawkins and director Walé Oyéjidé, discuss: Not being rigid about the format you use to tell a story Thinking more about the voice of the filmmaker instead of the budget of the project Changing the bias people have towards refugees by casting them for his projects How naivety can help us make big leaps and take chances Giving your team time to work together before committing to a larger, more serious project Contributing deeply to the local communities he works with Why it takes decades to figure out your voice Appreciating all the rejections you get Memorable Quotes “Finding your voice from the beginning, that’s more precious than any particular tools.” [7:38] “We should not be shy about understanding why we are on this planet.” [17:09] “You’re doing yourself and the world a disservice by not being your best self.” [49:21] “It is better to be quiet than it is to be frivolous.” [52:14] Mentioned Resources: Bravo, Burkina! - Presented by Ethical Fashion Initiative & Ikiré Jones Stills from the film: https://drive.google.com/drive/folders/1Mjad6OiPQF8Bncp5QauS1JPPcdGicOdf Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

If you have ever been treated like garbage by others with power positions, we can relate. How do you respond to that type of treatment? Do you “kill them with kindness” or do you yell right back at them? Is there a way that we can train those in the industry to start being more conscious and kind? In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman are joined by award-winning creator, Capella Fahoome to discuss: Loving the passion-driven film industry How Hollywood should be a place where we can collectively create and treat each other with mutuality Using technology to improve quality of life, not eliminate it Finding a balance between being kind and protecting yourself from exploitation Why email is not effective to use when communicating to those with power What things will look like if SAG decides to go on strike Why groups need to publicly demand things Talking about foreign films that have really moved us The benefits that come with watching foreign films Memorable Quotes “No one person can know everything. You have to have these relationships.” [3:56] “Hollywood is a collection, for all of us creatives to come and meet and collaborate in one place.” [5:21] “We can use A.I. for good. We don’t have to use it to eliminate people’s livelihood.” [9:03] “I hate the term soft skills…they are more important than the hard skills and calling them soft skills make them seem like towels.” [14:20] Resources: How to Be A Hollywood Assistant in Film and TV ‘Joyland’ Director Saim Sadiq Redefines What It Means To Be a Director Capella’s website Capella’s Instagram When Is Now 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

When it comes to following your dream of breaking into the entertainment industry, you have to hustle in order to make that dream a reality. The question is, when does all that hustling become toxic to your well-being? In this episode, No Film School’s GG Hawkins and writer Charla Lauriston discuss: How Charla manages living between LA and Vancouver Having this terrifying and weird desire to do stand up comedy Taking writing seriously versus not taking it seriously Having a sense of urgency when you dive into a new career in entertainment What she learned from making a terrible web series Why the pandemic felt like a gift Growing out of the constant, hustling lifestyle Why she decided to go back to social media after taking three years off Memorable Quotes “Our profession is very anxiety inducing.” [12:05] “If you have the creativeness in your soul and you don’t nurture it, you will go crazy.” [18:48] “It’s very very hard to put up boundaries because there is very little structure in the work that we do.” [37:54] “Where I am is enough. Where I am is okay.” [42:15] Resources: The Werking Writer School Charla’s Instagram The Werking Writer on Instagram Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

With the WGA being on its third week of strike, we can’t help but start to think about all the ways the industry is changing and what that looks like for us filmmakers. Will Hollywood still seek out our creative ideas, or will we be pushed to only making IP projects in order to market an existing idea? And how does this all affect brand new filmmakers who are struggling just to get their short films accepted into labs? In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: Making the most out of a difficult situation, with fun events for those on strike Keeping an eye out on the bargaining dates for DGA and SAG A story about a development executive who was willing to support GG’s stance on the WGA strike What bums us out about IP and the future of the industry Figuring out which IP’s you would like to make your own What labs are actually looking for when you apply How to know when your projects are ready for labs and festivals The benefits to developing projects in a group Building on yourself so you can keep getting better Memorable Quotes “Get out there and picket, because your future in Hollywood is dependent on it. Whether you are in the WGA or not.” [6:29] “I try to write things that I know I could potentially make.” [20:39] “If the story stands out…people will look past things that require budgets.” [36:28] “If your mom loves it, ask someone else.” [42:43] Resources: Why Is Hollywood Leaving Tarantino Behind? Which Paid Service Gives the Best Script Coverage? We Tested Three Popular Options 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

Laurel Parmet is a director and writer who has been nominated and awarded for her shorts, Kira Burning and Spring. Kara Durrett is a producer who works in both independent film and television, producing films such as Save Yourselves! and Topside. We were honored to speak to both of them about their recent film, The Starling Girl, which made its world premiere at the 2023 Sundance Film Festival. In this episode, No Film School’s GG Hawkins, director Laurel Parmet, and producer Kara Durrett discuss: The surreal, emotional feeling of premiering at Sundance What the film, The Starling Girl, is about Why Laurel believes going to film school was invaluable for her Getting fully financed and then losing it all when the pandemic started Pitching a film - how to do it and why it’s so amazing What the remote editing experience was like Plotting out each scene to encourage certain audience emotions Feeling fortunate from the positive response after premiering at Sundance The process of bringing a film to the screen How to maintain stamina on projects that take years to make What you need to do before deciding to become a producer Memorable Quotes “Eventually it all fell apart and we didn’t know how we were going to make the film, and it was pretty dark for me.” [19:33] “Everytime you pitch, you are honing in on what is the most important part of the story.” [24:46] “Make sure you realize you are running a marathon, not a sprint, because it’s a long road.” [34:38] “Pick the people you adore and then make something together.” [55:07] Mentioned Resources: The Starling Girl 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 Writer’s Guild of America went on strike on May 2, 2023. The strike is more than just writers putting down their pens and picking up their picket signs, to fight for their rights. This strike also symbolizes “the beginning of a bigger conversation about morality and labor practices” throughout corporate America. In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: Recent interactions with union members out on the picket lines Phil Rosenthal’s history with the WGA What screenwriting is now compared to what it used to be How detrimental the mini-rooms are Studios using loopholes to get out of paying rates they already agreed to Hollywood CEOs making millions every year while others are getting laid off Feeling encouraged by the solidarity between all the unions in the industry Not submitting to the Sundance labs in order to support WGA How the WGA strike is impacting more than just the television and film industry Memorable Quotes “I think it’s a little sad that I’ve worked on four shows, but have no production experience.” [2:14] “You gotta strike when things are unfair. No matter what your job is.” [4:11] “It’s not even a show business problem, it’s a corporate America problem.” [6:22] “United we bargain. Divided we beg.” [19:50] “Fifty grand is not enough to live in Los Angeles. It just isn’t.” [28:04] Resources: Phil Rosenthal’s website History of American Screenwriters and Their Guild PreWGA Solidarity on Substack Hollywood CEO Collect Billions… 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

Traci Hays is a DGA Award-nominated director, a production designer, and art director who has received numerous awards for the various shorts she has directed. Her feature directorial debut, Tangled, was named a “must-see movie” by The Hollywood Reporter. She recently directed Blood, Sweat and Cheer, her second feature, which is a dark love letter to Heathers, Mean Girls, The Breakfast Club, and Clueless. In this episode, No Film School’s GG Hawkins and director Traci Hays, discuss: Traci’s dream of becoming a pro soccer player before becoming a director Being rejected to film school Meeting incredible collaborators and established mentors in the industry All the lessons Traci learned as a production designer Adapting a book to a film for the movie, Tangled How a soccer team connection led to a directing opportunity Being surprised by the very thoughtful and meaningful notes from the producers Filming Blood, Sweat and Cheer in only 13 days Casting actors that were serious about the dance scenes Memorable Quotes “Having that background as a director feels like a superpower.” [12:29] “To be in the middle of it, the middle of the chaos, is sort of where I thrive.” [14:15] “On a lower budget fast moving train, what will kill your day more than anything else is company moves.” [33:15] “I even tried to learn the dance and let me tell you, I did not get very far.” [40:39] Mentioned Resources: Tangled Blood, Sweat and Cheer Traci’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

Are the best movie stars only the older ones? What’s the difference between celebrities of the past compared to today’s stars? What are some effective strategies you can use to navigate a troubled production? In today’s episode, No Film School’s Charles Haine, Jason Hellerman, GG Hawkins, and Yaro Altunin discuss: Flaws from NRG’s recent study on who the biggest movie stars are Getting fatigued from frequently released franchise movies Why direct access to newer movie stars makes them more relatable and less mysterious The old ‘four quadrant’ movie model Micro-targeting different types of audiences Why Heaven’s Gate is not a horrible movie Reasons to hire slowly and fire quickly Figuring out how your team prefers to receive feedback Sharing takeaways from a successful short film production Being the ‘glue guy’ who rallies everyone together Memorable Quotes “Some people are famous enough to be known even in the Amazon rainforest.” [12:30] “The demographics of the world are so much more complicated.” [23:23] “No matter how you problem-solve on projects big or small, you have to keep morale up.” [30:59] “Most troubled productions are personality conflicts.” [33:15] Mentioned Resources: Are Old Movie Stars the Only Actors that Matter? Heaven’s Gate Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Kelly Fremon Craig is a writer and director who has earned awards and nominations for her first feature, The Edge of Seventeen. Her second feature, Are You There God? It's Me, Margaret, is based on the very famous Judy Blume novel of the same name. A main theme of this film is what it’s like to undergo the complicated process of puberty, which is ironically similar to Craig’s experience with the screenwriting process. In this episode, No Film School’s GG Hawkins and director Kelly Fremon Craig, discuss: How this film brought a sense of relief from embarrassment Why the worst place to create from is a place of self-consciousness Accepting the complicated emotions that arise during the writing process Trying to render the truth of an experience Letting kid actors give their authentic reactions on camera Giving actors the freedom to play and create on set How she decided to shoot a very specific scene in the film Figuring out how to shoot more intimate moments without crossing the line Why directors need to get different versions of a shot Watching all the different takes and pulling out the nuggets What Kelly hopes this film will inspire viewers to do Memorable Quotes “I felt such a crushing pressure not to screw it up.” [5:44] “I love creating a set, an atmosphere on set, where everybody feels safe to try even their wildest ideas.” [16:54] “I like that ‘fly on the wall’ style of shooting where you feel like you’re eavesdropping.” [24:12] “Every single different version is a different tool in your toolbelt.” [26:54] “It’s treasure hunting on set. You’re just looking for little diamonds.” [29:04] Mentioned Resources: Are You There God? It’s Me, Margaret The Edge of Seventeen Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

How can a truly independent film find success at the large film festivals? How does one manage to get well-known actors to star in your film? The answer is simple, yet takes effort. You need to get in the mix! In today’s episode, No Film School’s Charles Haine and GG Hawkins discuss: The truth about getting an indie feature made Golden elevator films versus free-range films Big actors starring in small, independent films Hustling your network and constantly building connections Thinking strategically about certain relationships you have in the industry Learning how to accept “no” and still maintain a professional relationship Steps an emerging producer should follow to grow their career Rolling Calls - what are they? Memorable Quotes “Everybody that gets into Sundance knows each other.” [4:27] “There are a lot of people who want to appear to be a filmmaker.” [26:06] “I hate to say it, but it depends upon how big your bank account is.”[27:20] “Rolling calls is an art and a science.” [35:33] Mentioned Resources: Mynette Louie on Mastodon Filmmaker Magazine article Episode with Matt Smuckler How to Get a World-Famous Actor in your Short Film SKYWATCH (a Sci-Fi Short 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

Stephen Williams is a producer, director, and writer who has worked on popular TV shows such as Lost, Undercovers, and Watchmen. He recently directed, Chevalier, a film based on the true story of one of France’s most important composers. Chevalier is about the journey of understanding oneself better, through the trials and tribulations that life sends one’s way. In this episode, No Film School’s GG Hawkins and director Stephen Williams, discuss: Growing up in Jamaica and skipping class to go to the movie theater Starting as a PA in a production house in Toronto, Canada Moving to Hawaii to produce and direct episodes of Lost Comparing the role of producer to the role of director A scene in Chevalier, that was like a rap battle, but with violins Selecting collaborators behind the camera with the same care you cast the performers An example of how his collaborators saved him from making a mistake Thinking about the impact his career has on his family How to tell a narrative story about a real person Identifying and connecting to the journey of the main character You can watch Chevalier in theaters on April 21, 2023. Memorable Quotes “Literally on a Friday I was pushing a broom as a PA, and on a Monday, I was a director at this company.” [9:00] “I just didn’t find anything that really warranted me stopping what I was doing, until I read Chevalier.” [19:25] “I want everyone to feel free…completely free to bring all of themselves to the table.” [28:18] “My working life is really important to me, but it pales in comparison to my family life.” [34:52] “Not everything has to be factually true…It just has to be essentially true.” [42:44] Mentioned Resources: Chevalier trailer More of Stephen’s work 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 Day 2 of NAB 2023, and Tech Editor Yaroslav Altunin and NAB host Raafi Rivero sit down to share more details about the conference. Joining the episode are special guests, Haeleigh Royall and Indeana Underhill of Cinematography for Actors, and producer Ian McClellan of Coco Butter Family. We all agree the one word that comes to mind when describing NAB 2023 is “innovation.” In today’s episode, we discuss: Recognizing the need for imagination with the rise of virtual production Seeing NAB from the perspective of a newbie Speaking to Stefan Karle from DoPchoice about their accessible gear How OWC is accommodating workflow solutions Being impressed by Sennheiser’s wireless microphone Meeting the CEO of the companies that you love at NAB The issues we had filming NAB on Day 1 Collaborating with people that aren’t in your same physical location Filmic’s 106 bit color reader Lexar’s amazing new memory card The benefits to automatic transcription now offered by Adobe Premiere Pro Being inspired by every booth we visited Memorable Quotes “For virtual production, you have to be even more imaginative. You have to be able to sink yourself deeper into a world.” [9:31] “The cloud is so integrated into these products…before it was kind of a whisper and now it’s more of a shout.” [11:26] “Green screen doesn’t exist anymore. It doesn’t have to.” [15:53] “They could start editing a clip that you’re not done shooting, and they can be in different parts of the world.” [38:32] “Everyone is innovating in their direction of interest, and there’s still infinite potential.” [45:23] Mentioned Resources: Lexar DoP Choice OWC Sennheiser Lemo Connectors Filmic Lexar’s Professional CFexpress Type B Card GOLD Series Adobe Premiere Pro Pixotope No Film School Coverage of NAB 2023 Connect With the Guests & Hosts: Cinematography for Actors Coco Butter Family Ian’s Instagram Yaro’s Instagram Raafi’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

Tech Editor Yaroslav Altunin and NAB host Raafi Rivero sit down to discuss Day 1 of NAB 2023. So what does the most prominent tech trade show have to offer this year? How about some of the hottest pieces of kit? The duo also chat about Blackmagic Design CEO Granty Petty, filming on Fujifilm cameras with Frame.io, and what makes the community of this trade show such an essential part of the broadcast and cinematic medium. In today’s episode, we discuss: The incredibly intense and exciting experience of going to NAB The history of NAB and who the conference is for A truly innovative product Creamsource developed themselves Camcorders - would we ever use one again Being confused by some of Canon’s newest lenses How cine zooms are catching up to prime lenses Unique ways people have been using Fuji’s Cine Box Lens New features being added to Davinci Resolve studio post production software Black Magic Design - They are building both products and a community Applying cloud-based technologies to shows like The Lord of the Rings: The Rings of Power Tools that get out of your way and help you be a better creative Memorable Quotes “This is a mirrorless camera I can throw in my backpack.” [10:28] “Am I crazy or is it the same lens just on opposite ends of the spectrum?” [14:25] “Get a 12K…It’s a dope camera. Go get one right now.” [33:08] “The cloud is matter of fact. The cloud is the state of the art.” [40:31] “A needle in the haystack problem has been solved by A.I.” [46:59] Mentioned Resources: DaVinci Resolve Lexar More on the Fujifilm Cine Box Lens Creamsource LNX No Film School Coverage of NAB 2023 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

“Your sword is sharpened by all the people around you.” If you can let go of control and allow space for playfulness and creativity on set, you will create a great movie. Also, you will become a better filmmaker in the process. In this episode, No Film School’s GG Hawkins and director of Renfield, Chris McKay, discuss: Imitating adult filmmaking techniques as a kid How the stunt coordinator helped to accomplish a complex fight scene in the movie What is important to consider when selecting your team of collaborators How everyone on set is more focused when employing practical effects Maintaining engagement at all times on set Giving people room to make mistakes and treating them with love and kindness Why he knew Nicholas Hoult and Nicolas Cage would be the right actors for this film Being open to listening - it makes you a better filmmaker Make sure to watch Renfield, in theaters April 14. Memorable Quotes “Action fatigue is real…it’s a real thing.” [15:53] “I like to shoot in the extremes, lens wise.” [22:23] “I want people to find things. I want people to discover things. I want them to make it their own.” [24:46] “Don’t be afraid to go big. Don’t be afraid to be expressive. Don’t be afraid to try things.” [32:14] Mentioned Resources: Renfield The Weather Man Kiss of Death It Could Happen to You 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 are some ways can you support the writer’s union if they end up going on strike? What should you do when you find yourself resenting the project you are working on? What did Ray Romano learn from his directorial debut, Somewhere in Queens? In today’s episode, No Film School’s Charles Haine, Jason Hellerman, GG Hawkins, and Yaro Altunin discuss: Why solidarity and support for the WGA is important Shows being bought out with no residuals How the rest of the industry benefits from writers strikes Television show production during a strike Advice for new writers that are not part of the WGA What you should do if you are falling out of love with your current project The power of being part of a writers group Plus, we have a short conversation with Ray Romano, discussing what it was like to direct his first ever film, Somewhere in Queens, in theaters April 21. Memorable Quotes “Solidarity and support for the writers guild is important because they strike, and it ends up benefiting everybody.” [9:29] “The writers need public opinion on their side as they continue to negotiate for better pay.” [19:16] “Every new stage should let you fall in love with it again.” [37:22] “You have to rely on discipline. You have to keep showing up.” [38:25] “It’s okay to hate your project for a little while.” [43:40] “Fear is okay. Don’t let it stop you.” [64:53] Mentioned Resources: WGA Contract 2023 Scriptnotes Podcast - Strike Authorization Vote Details on Ray Romano’s new film Somewhere in Queens 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

A film is like a baby, and everyone involved is a parent. How do you keep all the parents happy, calm, and on the same page? In this episode, No Film School’s GG Hawkins and director of Joyland, Saim Sadiq, discuss: The universality of the film and seeing oneself in the characters Why the Cannes Film Festival was the best place for the film to premiere People needing time to process the film after watching it Keeping only the necessary people on set Not overloading the actors with too much information Feeling excited about problems that would arise Why it’s so important to have empathy on set from the very beginning Earning respect on set with a unique directing style Memorable Quotes “There is that one thing, their desire of being visible, that joins them all together.” [17:33] “It is not a scene I would rehearse, ever, because there is improv involved in it.” [21:52] “There’s a lightbulb that goes on. Once that goes on, you need to stop talking immediately.” [27:06] “I was so ready, that even the idea that some problem would happen, was exciting.” [31:43] Mentioned Resources: Joyland Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

In terms of diversity and inclusion, is Hollywood actually making big strides or is the industry regressing? As a writer, are you allowing yourself to be unique and original, or do you rely only on mimicking what has already been done? In today’s episode, No Film School’s GG Hawkins, Jason Hellerman, and Yaro Altunin discuss: The latest findings from the UCLA Hollywood Diversity Report Why we need to dig deeper into the data How the inclusion aspect of Hollywood feels like someone is just checking a box Why diversifying cast and crew will make the industry more money Telling specific yet universal stories that can still be loved by many Our thoughts on how to affect change in Hollywood Commiting to the bit by going all in Having confidence in your own unique voice and perspective Memorable Quotes “The numbers are so bad that we’re failing at a rate that would, in many other industries, send up alarm bells.” [5:22] “Hollywood is both commerce and art. Diversifying sort of satisfies the best of both worlds.” [8:14] “Originality is focused on you having something to say.” [32:37] Mentioned Resources: Did Diverse Movies Save the Box Office? Overused Jokes in Film and TV Dialogue You Should Avoid 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

Kabir Akhtar is an Emmy award winner who has worked on a long list of TV shows, such as Crazy Ex-Girlfriend, Never Have I Ever, and The Sex Lives of College Girls. This accomplished director-editor-producer has directed 45 episodes of TV as of today. In this episode, No Film School’s GG Hawkins and Director-Editor, Kabir Akhtar, discuss: Why Kabir still uses a printed script Moving to Los Angeles and hearing “no” after “no” Why post is the most important part of the process Understanding editing before you start directing Directing episodes in an existing show versus directing a pilot The different “languages” you have be able to speak as a director Editing scenes you directed yourself Embracing the creative instincts from others on set The right way to step into your leadership role as a director Believing in yourself despite the opinions of others Memorable Quotes “It’s not really who you know, it’s ultimately who knows you.” [8:29] “No one is going to the movies to read a script. No one is going to the movies to watch raw footage.” [14:08] “Fundamentally editing is dark arts. It’s just doing a magic trick all day long.” [20:43] “It’s better to swing and miss than not swing at all.” [33:06] “I was completely convinced that it would happen and that it would absolutely never happen.” [56:20] Mentioned Resources: Connect with Kabir on Instagram More about Kabir 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 tell others how much money you make? Should you pay for your own productions? How should you be properly allocating your money? In today’s episode, No Film School’s Charles Haine, Jason Hellerman, GG Hawkins, and Yaro Altunin discuss: The weird social taboo of not talking about money Publishing everyone’s day rates out in the open Advocating for yourself and valuing your work How having a mentor can change the trajectory of your career Why profit sharing is tricky Different ways to invest your money for the future How working in this industry is a long game marathon When you should pay for your own passion projects How community building is so important for your career and finances Memorable Quotes “It should be illegal for people to ask you what you’re currently making, because it is irrelevant to what they are currently offering.” [4:35] “The side hustles are what bridged the gap and paid the rent for me.” [32:45] “You never know what curveball Hollywood is going to throw at you.” [36:13] “Spend longer casting than you think you need to.” [43:10] “Coffee is fancy and delicious.” [49:48] Mentioned Resources: How Much Money Do You Need to Survive in Los Angeles 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 ever thought about drawing inspiration for your characters, from your own family? How do you accomplish that in a way that protects them while also being true to the story? In this episode, No Film School’s GG Hawkins and director of Wildflower, Matt Smukler, discuss: Taking a documentary piece and turning it into a narrative feature Being as authentic as possible while not losing his family in the process Knowing immediately who would be casted as the main character Leaning on the screenwriter and main actress to help him tell a young girl’s story Not wanting the audience to recognize his director’s hand Using a feature editor versus a commercial editor The things he wish he knew before making a feature film How a game of tennis helped him find a producer Having his teenage daughter write songs for the film Memorable Quotes “I got really really lucky. I had all my first choices in this movie.” [15:05] “I do feel like, as a family unit, they are all individually these wildflowers who can exist with very little in terms of human intervention in some ways.” [16:13] “I did want this to feel like it was just happening in sort of real time, in front of us.” [20:02] “I’d rather be in business with someone who's got the hustle than a bunch of credits.” [33:33] “Figure out a story that’s got a beginning, middle, and end that you love and just go do it.” [44:20] Mentioned Resources: Wildflower is Now Available for Streaming Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

What does “work-life balance” mean to you? How do you come up with new ideas for projects? Can you believe Tarantino is working on his final film of all time? In today’s episode, No Film School’s Charles Haine, Jason Hellerman, GG Hawkins, and Yaro Altunin discuss: Freelance Brain - what it is and how to deal with it How the fear of missing out on opportunities leads us to never taking breaks The unique yet effective things we do in order to generate new ideas Having discipline when it comes to setting boundaries with yourself What we know about Quentin Tarantino’s final film, The Movie Critic Why it’s hard for us to believe Tarantino will only make 10 movies in his career DJI’s exciting new camera system, the Ronin 4D Flex Why the next frontier for technology needs to be affordability Memorable Quotes “I’m trying to survive and thrive in a culture that I didn’t dictate or build.” [8:39] “You can do better work when you’re present and healthy and not anxious and stressed.” [15:53] “Creativity really thrives within boundaries.” [36:07] “Why get a stabilizer when you can get a chicken?” [47:09] Mentioned Resources: Dolly Parton’s “5 to 9” video FREE Screenplay Beat Sheet Tarantino’s Final Film, The Movie Critic Stabilization Power of Chicken Heads DJI Ronin 4D Flex “Green Theme” by Baroness Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, No Film School’s GG Hawkins speaks with director C.J. Obasi and Cinematographer Lílis Soares about the film, Mami Wata. They explain their shared vision in creating a film about people of color. They also share how they dealt with challenges like filming the ocean at night and losing almost three weeks of shooting time. Mami Wata premiered at the 2023 Sundance Film Festival where it won the World Cinema Dramatic Special Jury Award for Cinematography. In this episode we talk about: Their intention to shoot a black and white film from day one Wanting to show the value and beauty of people of color in this film Being ghosted by the equipment provider on the first day of shooting Filming for 24 days instead of 6 weeks Not wanting too many shades of gray Treating the ocean as another character How Africans see themselves and portray themselves in film Leveraging an empathetic gaze versus a sympathetic gaze Why being patient is key to being in this industry Memorable Quotes “It’s a story of sisterhood. It’s a story of mortality versus spirituality. It’s also a story about what it means to be African.” [3:43] “The eyes of the ocean are everywhere.” [26:41] “I wanted to do something deeper…something that had more meaning.” [34:34] “It’s like trying to figure out a jigsaw. When you find that one jigsaw, all the pieces make sense.” [35:38] Resources: Find CJ on Instagram Find Lílis on Instagram Mami Wata Movie Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

In today’s episode, No Film School’s Charles Haine, Jason Hellerman, GG Hawkins, and Yaro Altunin discuss the diversity of films at the 2023 Academy Awards. They also chat about the return of comedy, and the difficulties in receiving criticism. In this episode we talk about: The winner of Best Picture - Everything Everywhere All at Once Movies we loved that were not nominated How we are hoping for the return of theatrical comedy The hilarious and viral trailer for upcoming film, No Hard Feelings A recent interview of Seth Rogen talking about getting negative feedback What you need to consider when brainstorming and writing Sharing critical reviews we have received and our reactions Holding ourselves back due to criticisms Giving notes that align with the writer’s intention Memorable Quotes “It felt like a year where truly anything could be made and that’s the kind of Hollywood I want to live in.” [5:17] “Google search results started to suck this year.” [6:34] “I think there should be more weird ass rules.” [14:17] “It’s a bummer when somebody’s light can be snuffed out so early.” [37:28] “I also think you just accept that it hurts.” [42:24] Mentioned Resources: Check out the 2023 Academy Award winners Everything Everywhere All at Once No Hard Feelings Seth Rogen’s thoughts on negative reviews Learn more about your ad choices. Visit megaphone.fm/adchoices

In wake of the 'Everything Everywhere All At Once' Oscar sweep last night, we're republishing No Film School's 2+ hours of geeking out on the film. (Re-Run) Everyone once in a while a movie comes out that blows our collective hearts and minds. "Everything Everywhere All at Once" is that movie, and these are the people who made it. We're blessed to have an extra-special episode this week featuring Daniels (Writer/Director team behind the film) as well as their frequent collaborators Larkin Seiple (DoP) and Paul Rogers (Editor) to talk about EVERYTHING that went into crafting this modern classic. See the movie, then listen to this as a companion piece! Everyone once in a while a movie comes out that blows our collective hearts and minds. "Everything Everywhere All at Once" is that movie, and these are the people who made it. We're blessed to have an extra-special episode this week featuring The Daniels (Writer/Director team behind the film) as well as their frequent collaborators Larkin Seiple (DoP) and Paul Rogers (Editor) to talk about EVERYTHING that went into crafting this modern classic. See the movie, then listen to this as a companion piece! link to the film: https://a24films.com/films/everything-everywhere-all-at-once Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, No Film School’s GG Hawkins speaks with director Erica Tremblay and Co-Writer Miciana Alise about the film, Fancy Dance. They discuss what their writing collaboration looked like, as well as challenges they faced during filming. The film premiered at Sundance 2023 and will premiere at SXSW on March 10. Topics discussed: Tackling prevalent problems in indigenous communities How Erica and Miciana met and what it was like writing the script together Applying storytelling into different genres, platforms, and formats Sharing breakthrough moments in complicated scenes Realizing that one still does directing in post production Successfully pulling off a big set piece using ingenuity and networking Having the right people behind the scenes, who really wanted to support the project Learning how to be a more considerate writer Memorable Quotes “We hope it can shine a little light on some of the struggles that Indian country has, with outside forces coming in and trying to tell us how we should be living on our sovereign land.” [5:12] “It makes it a little less painful that you’re not just alone in these deep, dark, scary pages.” [12:29] “There’s this symbiotic relationship of ideas and talent and knowledge that’s passing through two people, ending up on the page.” [12:43] “The biggest thing was learning what the characters didn’t need to say….Just letting them breathe in that uncomfortable moment.” [14:56] “Just be ferocious. You cannot hang your ego on any one scene. You can’t be precious about it.” [22:12] Resources: Fancy Dance Find Miciana on Instagram Find Erica on Instagram Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

In today’s episode, No Film School’s Charles Haine, Jason Hellerman, and GG Hawkins discuss their concerns over the insidious ways big data is affecting hollywood. They also unpack the benefits and disadvantages to entering screenwriting contests. We discuss: The scary way big data is now being used in the industry How commerce is pushing back on creativity The best way to approach screenwriting contests Our worries about screenwriting contests and who actually benefits from them Feeding into the “hope machine” in order to get into the industry An anecdote about Triangle of Sadness Why there are no rules to convey your message when it comes to screenwriting Memorable Quotes “It is interesting to think about the data that’s being tracked on what you watch and where it can go…Is this something they are selling to people?” [6:40] “In an industry that’s already shrinking…putting A.I. behind it is a little worrisome.” [8:15] “The safest bet is not the best story.” [9:25] “There are things other than the checkboxes that make a movie what it is.” [12:52] “As a writer, as a director, you can use whatever you want to get your point across.” [42:20] Resources: I am Worried About Big Data and Hollywood Triangle of Sadness Denver the Guilty Dog Free Screenwriting E-book Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

If you bring your full self to a festival, to a film, to any project, whilst helping others shine in the process, you will find your place in this industry. In this episode, GG Hawkins speaks with director, Ella Glendining about her feature film, Is There Anybody Out There? She also speaks with cinematographers Lauretta Prevost and Laura Valladao on recent Sundance films they worked on. We discuss: Being a vehicle for communicating your passion Feeling self conscious about filming oneself everyday for a documentary film The surreal experience of having a film premiere at Sundance Accessibility, open captioning and inclusive viewing experiences at the festival Prioritizing everyone’s comfort in the making of a film Figuring out how to shoot and edit a purely black and white film Limiting air flow on set during Covid Experiences working with nonactors How emerging filmmakers should approach attending film festivals Memorable Quotes “I think anybody who’s ever felt other or left out or discriminated against, hopefully will be able to take something very powerful from the film.” [11:23] “I didn’t really notice I was making a feature until I was in the editing suite.” [19:10] “You must, must, must stick to your gut. Like if you absolutely know something is right, then it is.” [22:46] “Texture is so important in black in white because you don’t have color information to help you understand the space and the depth.” [33:14] “It’s the first time I’ve really felt like an adult here…I feel like a grown up.” [38:56] Resources: Find Ella on Instagram Find Laura on Instagram Laura’s website Find Lauretta on Instagram Lauretta’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 Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

In today’s episode, we discuss storytelling in both the show and video game adaptation of The Last of Us. Also, we talk about Warner Bros suing South Park and how it speaks to the frustrations creatives are experiencing in the industry. In today’s episode, No Film School’s Charles Haine, Jason Hellerman and GG Hawkins discuss: The things we wanted to see in a flashback episode of The Last of Us Expecting to see more sophisticated and interesting video game adaptations in the future Good actors versus bad actors in regards to legal contracts The after effects of a change in studio ownership How frustrating Hollywood is for a lot of creatives Why development is still so important Memorable Quotes “The more you do this filmmaking thing, the more empathy you have with people struggling with these challenges.” [11:50] “The problem with all flashbacks is we know what happens after.” [16:33] “Create a writing profession where breaking in doesn’t cost you ten years of your life and you get paid no money.” [37:10] Resources: The Last of Us Show The Last of Us Game South Park lawsuit Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Today’s guest is award winning editor, Mikkel E.G. Nielsen. Mikkel is an editor and director known for films such as Sound of Metal, Beasts of No Nation, and most recently, The Banshees of Inisherin. Mikkel shares what he appreciates most about being a film editor. In this episode, we discuss… What Mikkel appreciates the most from his time in film school in Denmark Realizing you can treat material in many different ways Remaining as objective and open as possible, especially in the initial stages of the process Loving and honoring the collaborative process of editing a film Why “less is more” sometimes How finding balance and simplicity lends to a more powerful film Helping the director make the best possible version of their intention Memorable Quotes “Editing has always been about experimenting and trying to see if there’s new ways to do certain things and to treat material in different ways.” [5:12] “On a first pass you never ever touch anything from the script.” [15:15] “There are so many things that are possible with so little material.” [18:14] “We have a tendency in editing especially, to make things complicated.” [35:17] “The film is not my baby. I’m helping someone and I always see it like that.” [41:43] Resources: Aqua Music Video: https://www.youtube.com/watch?v=WQPS5J9_GNw Walter Murch https://nofilmschool.com/podcast-legendary-walter-murch-editing Alison O’Daniel and the Tuba Thieves https://nofilmschool.com/the-tuba-thieves 2023 Sundance Post Round Table https://nofilmschool.com/editors-and-post-sound-have-crush-each-others-work Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

In today’s episode, we discuss whether or not editors should be allowed to digitally manipulate performances. Also, we talk about the changes RED is making and what cameras they will no longer offer. In this episode, we talk about… Milkshake ducking and why we are afraid of it Protecting the performance element of an actor’s work What editors need to consider before making artificial changes to an actor’s performance A recent announcement from RED that has left many camera owners disappointed Our experiences shooting on RED cameras How to approach working with non-actors Memorable Quotes “The thing that AI is very good at doing is changing a facial expression.” [7:04] “We’re living in this world of contrived filters and I don’t want us to move too much further into that….we need to protect the humanity.” [9:15] “We’re watching civilizational standards shift.” [10:35] Mentioned RED Camera Announcement Keanu Reeves Warns Us About the Dangers of AI Editing Actors ET Audition Tape Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Hours before their Sundance premieres, we spoke with the writing fellows of Women Write Now, Hartbeat’s annual comedic screenwriting fellowship for Black women in partnership with the Sundance Institute. In addition to having the three writing fellows on, we were also joined by Hartbeat’s Head of Film, Candice Wilson-Cherry, who takes us through how the program is designed to directly address the lack of BIPOC women in leadership positions like showrunners and in writers' rooms. We also were joined by Hey Boo director Logan Browning who you might know from The Perfection and Dear White People. And in addition to diving into the art of comedy, we also dig into the art of directing for comedy. All of these shorts are directed by actors — the other two being Tika Sumpter and Nicole Byer. In this episode, we discuss… How the Women Write Now program is filling a void in the writing space Their process for finding writiers and directors for the program The development process of each of the shorts Fitting the script into only 10 pages Having to adjust things for the budgets Finding mentors who would guide fellows in nurturing yet realistic ways Doing table reads versus chemistry reads Letting go of control by trusting actors Hitting deadlines so you don’t hold up production Memorable Quotes “It’s really important that all of our films, tv shows, and formats are all reflective of the world.” [3:28] “That was really nice, sort of discovering a different layer and different element to the story.” [9:56] “They have helped me walk into a door that was closed.” [14:03] “Make sure your actors get to be free and play.” [22:28] “Write, write, write. You only become good, by just doing it.” [34:32] “If you feel like you are a writer to your core, don’t be afraid to say it and don’t be afraid to tell people.” [41:03] Mentioned: https://womenwritenow.com/ The Real Hartbeat on Instagram Candice Wilson Cherry (Producer of the films) Logan Browning (Hey Boo director) Danielle Solomon (Hey Boo writer) Mayanna Berrin (Power Dynamics writer) Kiana Butler (Night Off writer) Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Continuing our Sundance coverage in episode 608 of the No Film School podcast, we sat down with editors and sound teams from films premiering at the festival. In addition to unpacking post production — the final and critical phase of filmmaking — we uncovered possibly the biggest work crushes in the film industry. In this conversation, you’ll hear from: Emmy-winning editor, Taylor Mason - Editor for the psychological horror film Birth/Rebirth which premiered in the Midnight section on say one of Sundance. Mason’s previous work includes the Netflix mini-series Dahmer – Monster: The Jeffrey Dahmer Story, and Pose, as well as the variety show A Black Lady Sketch Show, for which Taylor and her team of editors became the first all-Black team to win a Primetime Emmy Award for Outstanding Picture Editing. Jon Philpot - Editor for the mockumentary film Theater Camp. Jon previously worked on beloved comedy series like Hacks, Search Party, Broad City, and Awkwafina is Nora From Queens, and At Home With Amy Sedaris. Mike James Gallagher and Anthony Vanchure - Part of the sound team on Onyx the Fortuitous and the Talisman, the pair also recently worked on the biopic Weird: The Al Yankovic Story, as well as Selena Gomez: My Mind & Me and their collaboration on the documentary Lucy and Desi earned the pair an Emmy nomination. In this episode, we discuss… Breaking story as an editor The emotions of door sounds Temp sound and editors hoping to impress the sound designers and vice-versa Figuring out the most interesting way to keep people engaged The great thing about low budget projects Balancing the tone of a more dramatic story with moments of levity The great combination of laughter and fear How sound design can affect people psychologically Why it's so fun for editors and sound designers to collaborate Memorable Quotes “Is this a scene? Is this supposed to be entertaining? What does this have to do with anything?” [16:14] “I wanna do a great job. I wanna do that on every project I work on. You don’t just want to half ass it.” [21:38] “The idea of mixing comedy and horror together is phenomenal.” [31:00] “I love working with editors that take sound seriously.” [41:35] Mentioned: Taylor Mason Instagram Jon Philpot Instagram Mike James Gallagher Instagram, website and sound design deconstructions Anthony Vanchure Instagram Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, we talk about considering the advice of others, while still being the architect of your own destiny. Also, we chat about maintaining healthy relationships with collaborators and the importance of clear communication. In this episode, we talk about… Our experiences with agencies and the important lessons we learned Discussing the myths of management Trusting your instincts and following your “why” Why you need reps that truly believe in you and what you are doing Not working with the same people on all your projects Breaking out of the box people put you in Avoiding relationship rifts and how to handle it when it happens Memorable Quotes “People in that business burn out fast. They burn bright and they burn fast and they burn bridges.” [7:28] “You gotta do some internal housekeeping and soul searching.” [9:30] “You are there to evaluate them as much as they are there to evaluate you.” [15:22] “When we present ourselves with too many cerebral options, we get lost.” [24:37] Mentioned: Start With Why Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Today’s guest is director, Jason Woliner. Jason is the director of Borat 2, Nathan For You, and the latest rule breaking show, Paul T. Goldman. We chat about pushing forward on your ideas, even when receiving constant rejection. In this episode, we talk about… How comedy has evolved to include real people in real life situations People thinking Paul’s story is completely fake and that he is just an actor Allowing Paul to make decisions and follow his lead Finally selling the show after getting over a hundred rejections The role timing plays in getting projects made Marveling at the decisions Paul’s mind made in writing the script Memorable Quotes “I feel like there’s been this shift where real life is just crazier and funnier than anything that is just purely written.” [3:28] “The richness of life is so much weirder, funnier, more interesting than most written content.” [4:31] “Yes, it’s unpolished and it sounds different, but it’s a real person expressing their version of their life.” [15:34] “Most of my career has been spent trying and failing to get things made.” [23:22] Mentioned: Paul T. Goldman Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

In today’s episode, we host a roundtable discussion with cinematographers of four different Sundance films. We chat about problem solving on set, collaborating with directors, creative lighting solutions, protecting your energy for the stories you love, and finding the silver lining in the less than ideal projects. In this episode, we talk about… Four different Sundance films and what they are about How these DP’s booked their jobs Using a single camera versus two cameras Implementing unique lighting techniques Having longer takes with minimal camera movement Working as a gaffer versus working as a DP Finding the community you love and holding onto it Recognizing the opportunity cost when you take a film just to shoot something Memorable Quotes “I feel like I have a connection to all these films because I’ve lived in New York, I have multigenerational family drama, I didn’t join a satanic cult, but I did go to theater camp.” [3:37] “An intense amount of prep and being as prepared as possible with a detailed shot list, floor plans and photo boards.” [24:23] “There is so much value in working on sets in other roles.” [43:13] “You kill yourself for a movie and you don’t want to kill yourself for a bad one.” [46:08] Mentioned: Nate Hurtsellers - Theater Camp Nate Hurtsellers Instagram Dan Adlerstein - Onyx the Fortuitous and the Talisman of Souls Dan Adlerstein Instagram Scott Miller - A Little Prayer Scott Miller Instagram Zach Kuperstein - Power Signal Zach Kuperstein Instagram Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

On today’s episode, No Film School founder Ryan Koo, writer Alyssa Miller, and podcast co-host GG Hawkins discuss their favorite aspects of Sundance 2023. They discuss the most impactful films they watched, the nature of networking at the festival, and the exciting film acquisitions that occurred. In this episode, we talk about… Sundance films that we loved Mutual exhaustion and excitement everyone experienced at Sundance Understanding the currency of human emotion How, without Sundance, it would be difficult for certain films to be made Why you don't need a full scale production to make a brilliant film Having to navigate relationships in the industry with a guard up The value in making connections in such a concentrated amount of time Multiple $20 million acquisitions for independent filmmakers Memorable Quotes “Diversity in emotion. The entirety of the human experience is found in this slate.” [1:32] “The currency of human emotion…will probably be one of the hardest things for A.I. to define.” [10:20] “Wow! Movies are so alive and well. Independent film is so alive and well.” [29:21] “You really bond when you’re freezing.” [30:26] “You are your own business as a filmmaker, and you have to be making these connections.” [37:50] Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

Recently we were honored to interview the director of Sundance film, The Tuba Thieves, Alison O’Daniel. She shares what it was like to create a film that focused primarily on sound oversight. The Tuba Thieves not only challenges the rules of filmmaking, but it revolutionizes the way we do captioning. Full transcript available here. In this episode, we talk about: A film 11 years in the making. Slow burn by design… The future of captioning and O'Daniel's How to Caption resource Breaking the rules of filmmaking Finding the champions of your project—both with labs and grants, and without ‘em Patient, piecemeal filmmaking No Film School's coverage of Sundance 2023 is brought to you by Adobe. Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices