The No Film School Podcast

What unintended shifts to the industry are coming from the current strike? Why is the iPhone 15 the perfect phone for filmmakers? What should you do when one of your lead actors quits right before production? In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: The role of a Production Assistant (PA) Grinning and bearing your job and feeling burnout later Why most organizations should unionize The iPhone 15 - it’s a total gamechanger for filmmakers Losing a lead actor for a film less than two weeks before filming Shifting away from people pleasing Why it is so beneficial to work with casting directors early in your career No longer feeling bad for asking for help What’s in our on set binders Memorable Quotes “This is such an important structure for supporting people who don’t necessarily have the resources to advocate for themselves.” [7:13] “We often think about Hollywood as just film and television, but there’s so many more things shooting everywhere, all the time.” [8:13] “It’s still hard work and a grind, but can it be hard work and a grind where you can afford your fucking rent!” [11:05] “It is a wild time that a camera this good is going to be walking around in everybody’s pocket all the time.” [22:08] “I’m shifting away from people pleasing mode. Shifting away from party host mode, to focusing on the end product. Focusing on the story we are telling, and letting that be the only ego.” [27:20] 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 moving quickly, you don’t rise to the occasion. But you fall to your ability. If you do the work to get there, you will create great stuff. In today’s episode, No Film School’s GG Hawkins and Yaro Altunin speak with SNL editors, Chris Salerno and Ryan Spears to discuss: How Chris and Ryan started working at SNL Common traits for people who succeed in their line of work Realizing quickly that certain things are done for a reason What is was like editing the Mario Kart sketch The biggest challenges they faced in editing the trailer Telling jokes in the most efficient manner Learning to trust your initial instincts Advice for emerging sketch editors Working with mixed frame rates Favorite sketch moments of all time Memorable Quotes “You really have to adapt, just keep moving, and trust your instincts.” [10:35] “You have to learn to trust what your initial instinct to the footage is, because sometimes you don’t have time to have a second instinct.” [26:34] “It’s really just finding what the intention of the piece is at its heart.” [34:25] Resources: Connect with Ryan on IG Ryan's website Connect with Chris on IG Chris's website SNL Mario Kart Trailer (Edit Time lapse) HBO Mario Kart Trailer - SNL “SNL’s” Emmy-nominated “HBO Mario Kart Trailer” sketch edited with Adobe Premiere Pro and After Effects 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 important lessons can we learn from the current WGA strike? Is there a possibility that writers can make deals with individual studios versus the AMPTP? How do you maintain morale and set the tone for each day on set? In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: Why trying to split up your opponents is a good strategy How low stock numbers may incentivize executives to end the strike Why trying to split up your opponents is a good strategy Getting sufficient sleep and having good food on set Taking time off and planning non-film related activities Why you need to invest in hiring a fixer during production The best way to set the tone for each day of shooting Our experiences working on a quiet set How to handle the hard days on set Memorable Quotes “Experienced negotiators like to negotiate on as many terms as possible and try to exhaust their opponents.” [6:27] “When we start to shoot that scene, it should become a quiet set by accident.” [32:22] “The nice thing about set is that it never feels like you are alone trying to solve anything.” [38:14] “Don’t overcommit to what you put on the page.” [42:36] 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

Curt Lobb is a Canadian editor known for his work in TV series and films, like The Kid Detective, I Used to Be Funny, and Tales from the Territories. He recently edited the film, BlackBerry, the story of the meteoric rise and catastrophic demise of the world's first smartphone. This doc-style film, which released May 2023, perfectly captures the chaos of business. In today’s episode, No Film School’s GG Hawkins speaks with editor Curt Lobb to discuss: Starting his career in the industry as an assistant camera operator How he got his first paid editing jobs What it was like being an assistant editor on The Dirties Giving a frantic feeling to the film, BlackBerry, in the edit Curt’s approach to editing a scene Meshing different emotions like humor and anxiety Using your own instincts in the edit before getting the director’s feedback What is was like editing in an old train station Special shortcut keys he loves to use in editing Going into a project with respect for the story you are telling Knowing the right time for a joke or not Memorable Quotes “The editing side of things was always the most exciting for me.” [5:12] “I didn’t really turn anything down for a long time.” [10:12] “Instead of having to pick the best take of something. I’m comparing what's already there in the assembly.” [21:29] Resources: BlackBerry The Dirties 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

Where are things at with the current WGA and SAG strikes? How do these strikes affect the way we think about work-life balance? How can you make sure all your ducks are in a row, when preparing to shoot a low-budget, indie film? In today’s episode, No Film School’s GG Hawkins and Jason discuss: What took place between the WGA and AMPTP in a recent meeting The incredibly difficult role of being a showrunner Paying feature writers on a weekly basis Shooting an ultra, low budget, indie film in small island in Panama The No Film School Production Checklist for Directors Why chemistry is so underrated when it comes to casting Storyboarding more transitions between different scenes Benefits to filming rehearsals on an iPhone Being nickel and dimed on the softwares you need as a filmmaker Memorable Quotes “We need to remember how important it is to have a sustainable life when you are doing any job.” [6:04] “We don’t like wondering where our food is going to come from.” [7:58] “I’m treating it like it’s my life grad school thesis. My No Film School thesis.” [14:59] “You can really only learn by doing.” [39:37] 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 feature film, Anchorage, is a true indie film that was shot in 5 days and created on a self-funded, budget of only $54,000. The film, which was originally planned to be a short, has gone on to receive 11 awards and 10 nominations across 17 festivals. The film’s team has been independently producing a theatrical tour, across the US and in the UK. In today’s episode, No Film School’s GG Hawkins speaks with Scott Monahan, Dakota Loesch, Erin Naifeh, and Spencer Showalter to discuss: Getting coverage in big publications like The Guardian Developing a short into a feature using the same budget Selling family heirlooms in order to finance the film The process of shooting in the high desert for five days Letting actors move around and do what they wanted to do Putting your crew together based on personality not talent or budget Learning how to do an assembly cut before bringing on the editor Cutting and editing depending on what feels right to the story Playing at Music Box Theater alongside Oppenheimer and Asteroid City The 3 most powerful words you can say as a director Memorable Quotes “The movie changed from a short to a feature, but the budget was the same.” [7:40] “We had structure but we also had freedom to improvise and be organic.” [9:35] “Sometimes it’s more important what other people bring to your project than what you are bringing to your project.” [35:07] “We’re not good will hunting, we are bad will hunting.” [41:37] Resources: Anchorage | Official Trailer Anchorage IG/FB/X: @anchoragemovie Anchorage | Deeper Into Movies Screening (FREE) YES, Manchester | September 6th 7:30pm https://dice.fm/event/gax26-anchorage-qa-6th-sep-yes-the-pink-room-manchester-tickets?lng=en-US Anchorage | Deeper Into Movies Screening (FREE) TT Liquor, London | September 9th 3:30pm https://dice.fm/event/l5d6r-anchorage-qa-9th-sep-tt-liquor-store-london-tickets?lng=en-US Anchorage | Curzon Q&A Screening September 12th Curzon Hoxton 6:40pm https://www.curzon.com/ticketing/seats/HOX1-12139/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Making a micro-budget film in a short span of time may feel like an impossible task. What would you say if we told you that these limitations actually make the filmmaking process easier? How is it possible to have more freedom when you are dealing with more restrictions? In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman speak with filmmakers Matt Hirschhorn and Eric Cohen to discuss: The origin of Wine Club and how Matt and Eric reverse engineered the film How the limitations and parameters of shooting a micro-budget film is liberating Staying calm in the face of a literal storm during a rain out in California Cultivating a ‘no assholes’ policy during filming Having the entire film edited by the Second AC who had no prior editing experience Why they are considering self distribution Their trick for shooting very quickly Not knowing how the cast would work together before filming Attending film school in North America as an immigrant Memorable Quotes “You can get the best out of you, when you know what you can’t do.” [8:17] “Instead of overthinking and suffocating the story, it’s letting the story evolve and become what it wants to be.” [10:17] “This kid ended up editing the entire movie.” [15:19] “Getting that double coverage in one set up was so critical. It let us capture so much, so quickly.” [26:31] Resources: How to Write a Screenplay in 10 Weeks Follow Wine Club movie 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

Laura Moss and Brendan J. O’Brien are the writers behind the film, Birth/Rebirth, which premiered at the 2023 Sundance Film Festival. The film was inspired by Mary Shelley's novel Frankenstein, but with a focus on the madness and monstrosity of motherhood. In this episode, No Film School’s GG Hawkins speaks with writers Laura Moss and Brendan J O’Brien to discuss: How Laura and Brendan met and their very unique relationship One of the best pieces of advice Laura ever received on scriptwriting Finally getting accepted into the Sundance Labs on the 5th attempt Advice for anyone who applies to Sundance Labs and gets rejected The amazing experience working with the production company The biggest challenge they had in post-production Using natural sounds like ultrasounds and fetal heartbeats Weaving in sound design and score in a complicated scene What it was like working with a six-year-old actor for a horror film Casting Judy Reyes as one of the stars Memorable Quotes “We got to know each other. We fell in love. We got married. We got divorced. And then we started really writing together in earnest.” [5:14] “One rejection does not mean you are punted.” [14:03] “The thing you think is going to be the easiest, turns out to be the hardest thing in the movie.” [29:56] “We both have had so much rejection behind us and so much rejection in front of us.” [46:35] Resources: Birth/Rebirth Follow Laura and Brendan 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

Emerging filmmakers have heard the following advice over and over again. “There’s no excuse not to start filming. You can make a movie on your iPhone.” Well, shooting a film on your iPhone is more complicated than it sounds, especially when you have such a short deadline. In this episode, No Film School’s GG Hawkins speaks with director Meghan Ross and editor Lauren Paige Sanders to discuss: Working with Adobe to create a short film, on an iPhone, in only 30 days Realizing they would have to be really flexible for the project How editing moved faster by syncing footage early on in Adobe Premiere Filming on three different iPhones Trusting the editor’s vision and storytelling abilities Working with an aggressive post timeline Why Meghan decided to star in the film herself Why it's important to have an AD One of Lauren’s favorite things she has ever edited Using hot keys for everything you do in editing Adobe’s goal behind this short film Memorable Quotes “Working with an iphone instead of camera footage sounds easier, but it can be more challenging.” [6:25] “I like to be challenged in terms of editing. I like when stuff isn’t just laid out there for me and I have to figure it out.” [23:47] “Go with what you know, but feel free to explore outside of that.” [36:36] “You’re sharing this work on stage with this team of people. You are sharing the failures and you’re sharing the wins.” [38:32] Resources: Meghan’s website Lauren’s website The Making Of The Making Of an Austin Short Film masterpiece 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

Alex Buono is a director, producer, cinematographer, and executive producer who is known for his work on television shows such as Saturday Night Live, Documentary Now! and Russian Doll. He is currently working as the Directing Producer on a tv series, Based on a True Story, which is now available for streaming. In this episode, No Film School’s GG Hawkins speaks with Director Producer Alex Buono to discuss: Working at SNL soon after graduating film school How his time at SNL forced him to develop dexterity in his work Figuring out how to create different styles for each episode of Documentary Now! Bending genres and finding tone for the show, Based on a True Story Getting certain shots out of your system Being influenced by Brian De Palma and the Cohen Brothers Good exercises for young filmmakers to try out Being a Directing Producer - it’s not for everyone How directing and producing is like being a project manager Being the copilot that helps bring someone else’s vision to life Memorable Quotes “There was no time to worry about it. There was no time to overthink things. You just had to go and do it.” [5:07] “Find ways to tell a really gripping documentary, but in a really silly way.” [15:44] “If you grow up as a cinephile and as a film nerd, there’s just certain types of shots you are just desperate to do.” [19:01] “For most directors it is a real managerial job. You have to enjoy that and really want that role.” [37:40] Resources: Russian Doll Documentary Now! Based on a True Story Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

You love film just as much as you love music, so which career do you pursue? This is a difficult decision to make when you feel pulled in both directions. Well, who says you have to choose one or the other? Maybe you can combine your passions together and make something extra special. In today’s episode, No Film School’s GG Hawkins and Jason Hellerman speak with singer-songwriter, Grace Potter to discuss: Ending a film major in order to pursue a fast-moving, music career How being in a music studio is like doing post production for a film The difference of pacing in film versus music Writing a set list as if it were a mini movie Why watching other people hate your work is a good thing Collaborating with director Catherine Fordham Eating spaghetti for breakfast everyday Making Ridley Scott the best cup of coffee Not being allowed to watch television growing up Writing alone versus collaborating with others Memorable Quotes “There’s more permission and more patience with music fans than with film and tv, which is weird and unfair.” [7:54] “I don’t think there is a time for ‘no.’ There’s no time for ‘no’ when you’re in an inventive space.” [15:24] “You find out so much more about yourself when you stop trying to cover up your intentions.” [21:56] “It’s not about taking yourself and putting yourself into someone else’s world. It’s about finding where you fit, in a world that everyone’s creating together.” [47:56] “No means yes.” [55:16] Resources: Song "Mother Road" 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

Vuk Lungulov-Klotz is a transgender filmmaker, cinematographer, and director of short films such as Still Liam and River Fork. Vuk’s feature film, Mutt, premiered at the 2023 Sundance Film Festival. The film’s leading actor, Lio Mehiel, won the Special Jury Acting Award at the festival. The film is set to release in theaters across the United States starting August 18. In this episode, No Film School’s GG Hawkins speaks with director Vuk Lungulov-Klotz and actor Lio Mehiel to discuss: Why Vuk included a few jokes early on in the story The frustrating process of finding actors How Lio immediately related to the script Bonding at a summer camping festival before shooting the film All the difficulties of shooting a film in NYC The process of finding locations and what they should have done differently Coordinating ADR sessions during edit The surreal feeling they felt at the world premiere Feeling stressed and anxious by people hyping up the movie The difference between screening a film in the US versus Europe Working alone as an actor versus working with an agency Memorable Quotes “It was the perfect vehicle to showcase the portrait of a trans man today.” [3:55] “If you can’t laugh about something, then we’re really screwed.” [6:48] “I have never read such a beautiful slice of life that represents this experience.” [10:00] “Anytime you can get practice in front of the camera, do it.” [39:58] “By the end of the film, I could hear the theater crying.” [46:12] Resources: Mutt More No Film School coverage on MUTT In the Summers 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 is the difference between editing a film versus editing television episodes? How do you efficiently cut while shooting and what are the benefits to doing so? How should you react when the director or producer gives you feedback that you may disagree with? In today’s episode, No Film School’s GG Hawkins speaks with editor, Joanna Naugle, to discuss: Why Joanna fell in love with editing and how she got started in her career Why she loves working in tv with multiple editors The different mindset between editing a feature versus editing tv episodes Using temp design and soundwork for the film, Molli and Max in the Future The only editing software she ever uses The workflow at her post house and the flexibility it offers her and the other editors The benefits to cutting while shooting Setting the scene for a beautiful doughnut montage in The Bear Being open-minded to try other ideas and bringing in other collaborators Editors growing too attached to their footage Memorable Quotes “It’s a way to talk about very human things in a very extraordinary, extraterrestrial way.” [12:56] “Every single shot was a VFX shot in that movie.” [14:08] “What’s the note behind the note?” [28:45] “You owe it to the people you are working with, especially if they are the director or producer, to at least try their idea.” [29:19] “I try not to be too precious with that first cut…I don’t think you should spend too much time obsessing over all the little details.” [32:18] Resources: Joanna's website Senior Post on Instagram The Bear Molli and Max in the Future 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

“Blissful ignorance of the system hurts more people in the long run.” If you are an emerging filmmaker who is not aware of the legalities involved in filmmaking, you should really consider hiring a lawyer. You may think you can’t afford a lawyer, but what you really cannot afford to do is remain in your ignorance. In today’s episode, No Film School’s GG Hawkins speaks with lawyer/indie film producer, Natalie LeVeck, to discuss: Becoming a full-time entertainment lawyer and a part-time indie film producer The difference between manager, agent and a lawyer Different types of lawyers and their roles Why not having a lawyer is one of the worst things you can do Why you should find a manager before finding a lawyer Keeping quiet about your ideas so no one steals them The most important deal of the entire film Paying the writer a percentage versus a flat fee All the things you need to save in your Chain of Title file Getting your SAG deposit back What you need to do when you first get the Distributor contract Talent contracts and the clauses to include Thinking about what’s important and not important to you Talking to your attorney’s prior clients Memorable Quotes “If you are lucky enough to land a deal with a studio, you absolutely must have a lawyer helping you.” [12:17] “You can’t copyright an idea.” [18:49] “If you’re an indie producer and you read something you like, I would grab those rights as soon as humanly possible.” [22:12] “The entertainment law world is so small that people do care about their reputation.” [47:13] “The more we are informed, the more we can bring to the table.” [53:53] Resources: A Creature was Stirring - in theaters Nov 2023 Connect with Natalie on LinkedIn Connect with Natalie on Instagram 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

Alex Familian is the editor for the horror film, Appendage, which follows the story of a young fashion designer who struggles with anxiety and self-doubt. The main character’s feelings eventually manifest into a gross, ferocious growth which sprouts from her body and yells mean, demeaning phrases at her. In today’s episode, No Film School’s GG Hawkins and Yaro Altunin speak with Editor Alex Familian discuss: How the current WGA and SAG strikes are impacting his work in post-production What we love about improv Maintain work-life balance when your spouse is also a filmmaker The differences between the feature version and short version of the film Practical versus virtual effects The crazy, speaking mechanism puppeteers created for the “appendage” character Differences between an online editor and offline editor What it was like to edit while the film was still being shot Why we prefer macbooks over desktops Alex’s go-to effects he uses during editing Memorable Quotes “I’m basically putting together a cut of the film with 25% of the movie missing.” [3:58] “It taught me how to be okay with failing.” [7:15] “Whole movie was cut and finished on a Macbook Pro.” [31:34] “People made editing software difficult on purpose so that other people wouldn’t know how to use it.” [36:08] Resources: Appendage (Full Short) Connect with Alex on Instagram Check out Alex's website Appendage (Full Version) releases October 2023 How Can Cinematography Techniques Help Your VFX? 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

Elaine McMillion Sheldon is a director and writer known for documentaries, such as the Netflix Original Documentaries, Heroin(e) and Recovery Boys. Her latest film, King Coal, premiered at the 2023 Sundance Film Festival. This “part fable, part documentary” is about the complex, coal culture in Central Appalachia. In this episode, No Film School’s GG Hawkins speaks with Emmy-winning filmmakers, Elaine McMillion Sheldon and Curren Sheldon to discuss: The inception of the film and how it became a hybrid style What the lens vetting process was like Not using any artificial light The reason behind focusing on the young characters in the film Why it’s important to have bad ideas Pushing through moments of vulnerability Where Elaine got inspiration from Working with a breath artist to create all the crazy sounds in the film All the wonderful support they received from labs and grants Why you need to have a long-term version Memorable Quotes “How do we make this feel almost like a dream, almost like an imagined future?” [7:51] “This film required a level of failure and vulnerability that made me insecure at moments. But ultimately made me grow as a filmmaker.” [14:09] “Having a long view of your career is so healthy otherwise you’re gonna get burnt out and depressed.” [31:20] “Most of this industry lives in a bubble, on a coast.” [42:08] Resources: King Coal trailer King Coal official website King Coal on Instagram Here is the upcoming 2023 theatrical: August 11th - DCTV- New York City, NY (weeklong) August 18th - Aperture Cinema - Winston-Salem, NC (weeklong) August 25th - Laemmle Glendale - Los Angeles, CA (weeklong) August 28th -Harris Theater - Pittsburgh, PA (Select shows during the week) August 31- Floralee Theater - Charleston, WV (Select shows) September 1st - The Nightlight - Akron, OH (weeklong) September 1st- Zoetropolis Cinema - Lancaster, PA (two-week run) September 1st - Central Cinema - Knoxville, TN (weeklong) September 4th - The Woodward Theater - Cincinnati, OH (one night) September 8th - Wexner Center of the Arts - Columbus, OH (one night) September 9th - Museum of the Moving Image- Queens, NY (one night) September 15th- Raleigh Playhouse- Beckley, WV (one night) September 21st - The Lyric Theater- Blacksburg, VA (one night) September 22nd - The Granada Theater- Bluefield, WV (one night) Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: [email protected]! Learn more about your ad choices. Visit megaphone.fm/adchoices

While most of us are focused on the current WGA and SAG strikes, the DGA has some internal issues it is working on fixing. Currently, DGA members who have to take time off to care for their newborn children, are being penalized for it. These members are working to get the DGA to change their policies in order to have a more equitable and just industry. In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman and director Jessica Dimmock discuss: The reason Jessica started the DGA Parenthood Penalty campaign The changes the DGA is making to their contracts Why you should be active in your guild Realizing the DGA wasn’t asking their members for feedback Recent strike updates How creatives take big risks just like the studios do Pressure testing your script by anonymously submitting for feedback Finding out how much money your film will cost to make Supporting films with big marketing budgets Memorable Quotes “What’s astounding to me, is that these battles had to be fought in 2017 and not 1977.” [6:33] “Unions and guilds set their policy based on the will of their membership.” [15:59] “It shouldn’t be surprising that people have children…People are going to have families.” [21:38] “The first thing you should be doing is writing 6 more feature scripts.” [42:44] Resources: Connect with Jessica on IG DGA Parenthood Penalty Campaign What Lessons Should Hollywood Learn From Barbenheimer? 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 does one balance their wellbeing while also working 16 hours a day? How do you sift through 300 hours of documentary film footage in an efficient manner? What type of people skills and character traits are necessary if you are thinking of becoming an editor? In today’s episode, No Film School’s GG Hawkins, Yaro Altunin and Editor Meredith Rathiel Perry discuss: The film, Plan C, and what it was like to create such a timely documentary Working remotely from a 28 acre farm in Washington Why Meredith was excited to work on this particular documentary Feeling retraumatized over and over again when editing documentaries What is was like to manage 300 hours of footage Cool tricks for keyboard shortcuts Why ripple deleting is so satisfying Helping directors through the birthing process of their films What really makes you a good editor Remembering to be excited about the things that are working Memorable Quotes “You’ve been working 16 hour days for a month and you’re like ‘what am I doing with my life, I am so tired.’” [16:02] “With docs you are shaping the story whereas a narrative has a script.” [29:18] “I am a really visual screenwriter. I can see what I’m writing.” [30:40] Resources: Plan C 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 of June 13, SAG joined the writers union and is now on strike. This is the first time, since 1960, that the WGA and SAG have been on strike against the AMPTP. So what is the strike about, why isn’t the DGA also on strike, and can we simultaneously support the strike while also continuing to work in film? In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: Minimum Basic Agreement (MBA) - why it’s so important Why arguing only about AI is not effective for the strike Our thoughts on the DGA not striking Knocking over food delivery robots in Los Angeles Writers coming out and discussing how poor the pay is Why you should not do cosplay at Comic Con this year Why boycotting subscription services won’t actually help Physically supporting people on the picket line Why indie filmmakers should seek waivers from unions Our theories on how long the SAG strike will last Why new filmmakers should be excited this is going on right now How you can avoid working for an AMPTP company Memorable Quotes “What you want to be negotiating on is as many fronts you can possibly, emotionally sustain. Because that is how you actually win these battles.” [4:19] “It’s very rare you win battles by picking a single subject.” [4:27] “We will see this golden, indie surge afterwards. We are going to see a lot of amazing films coming out of this. ” [39:15] “This industry isn’t done. We care about the future of the industry and we want to set it up properly to thrive way into the future.” [42:53] Resources: Read the SAG Deal and See the Basic Needs the AMPTP Rejected SAG-AFTRA Strike Rules for Creators and Indie Producers Strong Asian Lead - Artist Directory Strong Asian Lead - Free Asian American movies to watch 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’re a beginner filmmaker who isn’t sure what path to take. Do you focus on commercials, television, documentaries, or feature films? Well, who says you have to pick just one lane and stick to it? In today’s episode, No Film School’s GG Hawkins and director Natalia Leite discuss: Natalia’s path to writing and directing Why she is so grateful she started her career in documentaries Creating an environment where people feel comfortable to break script Being belittled on set of her first feature film and standing up for herself Why she doesn’t like to physically rehearse the script What is was like to prepare actors for sexual assault scenes in her second feature How vulnerable it is to be an actor The benefits of approaching different formats as a director How she likes to shotlist the edit Allowing yourself the learning curve in your film career Memorable Quotes “I just love that mish-mash of stuff of how to blur the lines of what’s real and what’s not.” [8:39] “I love working with actors and I always try to connect with them on a deep, vulnerable level.” [15:40] “There’s so much to be had in collaborating and fulfilling someone else’s vision.” [32:46] Resources: Natalia’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

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