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

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

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

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

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

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

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

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

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

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

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

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

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

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

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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

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

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

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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com! 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: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

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