Episoder
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Filmmaking isn’t just about making a great film—it’s about getting that film seen. With traditional distribution models crumbling, independent filmmakers are finding new ways to connect directly with audiences. This episode explores how the indie film landscape is shifting, with filmmakers taking control of their own distribution, marketing, and audience-building strategies. Whether you’re a first-time filmmaker or a seasoned pro, this episode will inspire you to think outside the box and embrace a more grassroots approach to getting your work into the world.
Jon Reiss is a filmmaker, author of the book Think Outside the Box Office, and a media strategist who runs 8 Above, a company that creates custom distribution strategies for indie films. He has consulted with filmmakers and organizations worldwide including The Gotham, IDA, and Film Independent, and has led workshops on distribution and marketing through his 8 Above Distribution Lab. Reiss is currently producing a documentary on robotic performance artist Mark Pauline, and is producing the second season of a podcast, Plantscendence, about people’s psychedelic experiences. He has recently launched a Substack focused on indie film distribution and marketing.
Annamaria Sofillas, a development executive and producer, is the Director of Content at Kino Lorber’s MHz SVOD. She is the lead producer of the documentary "I'm “George Lucas": A Connor Ratliff Story, which premiered at Slamdance ’24 and received theatrical exhibition nationwide through Alamo Drafthouse Cinemas, with digital distribution by Grasshopper Film. Annamaria was instrumental in building NBCUniversal's Seeso and Gimlet Media's scripted division, where she led over 25 long-form television series and 30 stand-up specials, including the GLAAD Award-nominated Take My Wife and BAFTA Award-nominated Flowers.
Scott Monahan, the filmmaker behind Anchorage, has been candid about his experience with self-distribution, highlighting the challenges and successes of taking control of a film’s release.
Glen Reynolds, founder of Circus Road Films, is a producer rep and festival advocate who helps indie filmmakers navigate distribution and find the right partners to bring their projects to audiences.
In this roundtable discussion, No Film School’s GG Hawkins speaks with Jon Reiss, Annamaria Sofillas, Scott Monahan, and Glen Reynolds to discuss:
Why hybrid distribution is essential for indie filmmakers today
How film festivals and events can help grow your audience
Why setting clear release goals is crucial for your film’s success
How building your audience starts long before your film's release
Real-world examples of filmmakers using grassroots promotion and festival tours
Why filmmakers are taking control of their own marketing and outreach strategies
How indie filmmakers are embracing a punk rock mentality to bypass traditional distribution models
Links:
Learn more about Scott Monahan
Learn more about Glen Reynolds
Follow Annamaria Sofillas on Instagram
Buy or rent I’m “George Lucas”: A Connor Ratliff Story on Amazon/Apple
I'm "George Lucas": A Connor Ratliff Story Website
Follow I’m “George Lucas” on Instagram
Follow I’m “George Lucas” on Facebook
Follow I’m “George Lucas” on X
8 Above with Jon Reiss Substack
8 Above website
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Imagery plays a crucial role in filmmaking, shaping how a story visually unfolds. This element must be integrated into the scriptwriting process, rather than being left for production. With fall film festivals in full swing, indie filmmakers are not only focused on storytelling but also on the challenges of navigating the competitive market and selling their films. A strong visual narrative can make all the difference when it comes to standing out and securing distribution deals.
Director Niclas Larsson’s feature film Mother, Couch! brings an intriguing mix of surrealism and family drama to the screen. Premiering at the 2023 Toronto International Film Festival, this film stars Ewan McGregor and explores the strange dynamic of a mother refusing to leave a couch in a furniture store. Its unique visual storytelling and offbeat premise are sure to leave an impression.
In today’s episode, No Film School’s GG Hawkins speaks with Jason Hellerman and Niclas Larsson to discuss:
Why memorable imagery in scripts is key to creating impactful films
The challenges of today’s film festival market and indie acquisitions
Niclas Larsson’s unique creative process and his “Storm Book”
How the physical layout of Mother, Couch! plays a critical role in the story's themes
Why sticking to your gut and vision is essential in the post-production process
Memorable Quotes:
"Imagery is something that should go hand in hand with filmmaking." [1:55]
"We're missing images right from the core. We're relying too much on cinematographers or directors to find them later." [5:08]
"If you can master the short form, if you can really pay attention to every single second of what you're doing and the importance of every second." [24:23]
"Everything we do in scene one to nine needs to be confused, it needs to resemble or picture, convey confusion and displacement." [30:12]
"You make movies for other people—the real people. A singular vision is supposed to be criticized." [01:04:37]
"The level of filmmaking has declined and is declining rapidly. And we need to stay strong, giving an adult audience bang for their buck, because that's our job." [01:04:56]
Mentioned
Jason Hellerman on IMDb
Jason’s library of content on No Film School
Learn more about Mother, Couch! on IMDb
Niclas Larsson on IMDb
Follow Niclas on Vimeo
Follow Niclas Larsson on Instagram
Find No Film School everywhere:
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https://www.youtube.com/user/nofilmschool
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https://www.instagram.com/nofilmschool
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Actor Saoirse Ronan recently revealed that she is halfway through writing a short film that she plans to direct— and it feels so relatable. It reminds us that creative struggles are universal, no matter who you are. But being halfway through is not a failure but a part of the journey. Tune in to know what to do to reach the finish line.
In today’s episode, No Film School’s GG Hawkins, Jason Hellerman and guest Patrick Walsh discuss:
Saoirse Ronan is halfway through writing a short film she plans to direct
The relatable struggle of getting stuck halfway through a project
Outlining and having a clear ending in mind to avoid getting stuck in the middle of a writing project
Actors transitioning to directing and the unique perspective they bring
The value of grants, labs, and workshops for filmmakers to get support and feedback
The list of grants and labs that No Film School has launched on its website
The recent positive performance of films at the box office
Patrick’s journey into editing, starting from film studies
Patrick’s experience of destination editing for the film The Uninvited
Technical challenges and workflow of remote editing
Memorable Quotes
“I do think short films are coming back to Hollywood.” [03:03]
“Don’t start writing something you don’t absolutely know how it ends. It’s not worth cranking out 100 final draft pages if you don’t know what happens in the last four.” [3:39]
“Labs beget labs, just as festivals beget festivals.” [15:50]
“These grants are that stepping stone that maybe you didn’t know you needed.” [15:03]
“Seeing these movies do well has been a strong indicator that movies are back, and original ideas with strong genres and points of view have a viable place in the marketplace.” [21:49]
“It’s been good to see Hollywood bounce back a little bit from the strikes and from the MPTP not paying writers and actors what they deserve.” [23:22]
“Films aren’t finished. They’re abandoned.” [51:33]
Links:
Patrick Walsh Website
Follow Patrick Walsh on IG
Grants and Labs List
Find No Film School everywhere:
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https://www.youtube.com/user/nofilmschool
Instagram
https://www.instagram.com/nofilmschool
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In this episode of the No Film School podcast, GG Hawkins interviews Ryan Thomas, the cinematographer, and Dan Edwards, the colorist, of the film 'I Really Love My Husband'. They discuss the process of color grading and the importance of early collaboration and communication between the director, DP, and colorist. They emphasize the need for budgeting for color grading and creating a LUT (lookup table) before shooting to establish the desired look of the film. They also discuss the dangers of editing in log and the importance of developing a shared vision and trust between the creative team. In this conversation, Dan, GG Hawkins, and Ryan discuss the importance of color grading in filmmaking and how it can enhance the storytelling process. They talk about the role of color in creating a specific mood and atmosphere, as well as the challenges and considerations when working with different skin tones. They also touch on the importance of communication and collaboration between the director, DP, and colorist, and the use of visual references to convey desired looks. The conversation concludes with advice for emerging filmmakers interested in color grading.
Takeaways
Early collaboration and communication between the director, DP, and colorist is crucial for achieving the desired look of the film.
Budgeting for color grading is important to ensure that there is enough time and resources for the process.
Creating a LUT before shooting can help establish the look of the film and avoid surprises in the final grade.
Editing in log can limit creativity and make it difficult to achieve the desired look of the film.
Developing a shared vision and trust between the creative team is essential for a successful color grading process. Color grading plays a crucial role in enhancing the storytelling process by creating a specific mood and atmosphere.
Working with different skin tones requires careful consideration and communication to achieve the desired look.
Collaboration and communication between the director, DP, and colorist are essential for a successful color grading session.
Visual references can be used to convey desired looks and facilitate effective communication.
Investing in a comfortable and well-equipped color grading environment can enhance the client's experience and trust in the process.
For emerging filmmakers interested in color grading, it is recommended to seek out reliable learning resources and invest in a calibrated display for accurate color representation.
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The world of filmmaking is full of challenges, from industry rejection to personal setbacks. Yet, for many independent filmmakers, these obstacles become opportunities for growth and perseverance. This episode explores how passion, persistence, and a refusal to give up can turn seemingly insurmountable odds into career-defining moments. Whether you're an aspiring filmmaker or a seasoned professional, the story of how Nadine Crocker made her mark in the industry is sure to inspire.
Nadine is a filmmaker, actor, and mental health advocate whose latest feature, “Continue,” is based on her own struggles with depression and suicide. The award-winning drama tells the story of a woman who, after a failed suicide attempt, is taken to a mental institution where she finds unexpected friendships, love, and a new purpose. Release by Lionsgate during Suicide Awareness Month, the film has garnered critical acclaim for its raw portrayal of mental health struggles. Nadine not only wrote, directed, and produced “Continue,” but also stars in it, bringing an intensely personal narrative to life. After years of being typecast and facing rejection, she took control of her career.
In today’s episode, No Film School’s GG Hawkins speaks with Nadine Crocker to discuss:
Being dropped by her reps shortly after having her son—and how it led her to make “Continue” independently.
Breaking free from being typecast and proving herself as a writer, director, and producer.
Balancing waitressing and raising a newborn while working on her first feature film.
Securing financing through personal savings and a small group of supportive investors.
Deciding to stop waiting for permission and create her own opportunities.
How “Continue” became a movement for mental health awareness through her nonprofit, Continue On.
Memorable Quotes:
“I did hear like all the time that I was too pretty to play the best friend and I wasn't famous enough to be the lead.” [6:01]
“I'm done asking for permission. I'm making this movie and I don't care what I have to do or how much work or how many years it takes.” [9:16]
“I invested my life savings into this movie, like everything we had, and went back to waitressing so that I could keep the lights on.” [11:30]
"Imagine being dropped in the middle of the ocean with nothing but a hard drive, and you gotta keep it over your head and tread motherfucking water until someone comes." [21:09]
Links:
Continue IMDb
Follow Nadine Crocker on Instagram
Continue the Film on Instagram
Learn more about her nonprofit
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Facebook
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https://www.instagram.com/nofilmschool
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What happens when you make two micro-budget films back-to-back? For filmmakers Henry Loevner and Steven Kanter, it sparks what they’ve dubbed the “micro-budget chain reaction,” inspiring others in their community to pick up cameras and start shooting. As the industry consolidates and traditional distribution becomes harder to navigate, indie filmmakers are finding new ways to create and share their work, embracing folk filmmaking and using platforms like YouTube to bypass traditional barriers. Peak Season, the duo's second feature, serves as a perfect example of this movement.
In today’s episode, No Film School’s GG Hawkins speaks with filmmakers Henry Loevner and Steven Kanter to discuss:
What the "micro-budget chain reaction" means and how it inspired others to follow in their footsteps
The challenges of making two micro-budget films back-to-back
The impact of friends and community on the rise of indie filmmaking
Their experience shooting Peak Season in Wyoming with a small crew
How the landscape of indie film distribution is changing and why many filmmakers are turning to YouTube
The importance of flexibility and improvisation in low-budget filmmaking
How Peak Season found its audience and landed a theatrical release
Why Henry and Steven are ready to transition to a studio film after their micro-budget projects
Memorable Quotes:
"It's contagious for better or worse... we're making something, and we're not waiting for permission." [5:40]
“Despite all the doom and gloom about the industry in general and how hard it is to make a living, there's never been an easier time to go out and make your film.” [6:43]
“If you just put your movie on YouTube, you can get it out there immediately, which is amazing.” [8:19]
“If you've written a script and it's going to take $10 million to make this movie and you don't have $10 million, then write a new script.” [51:33]
“The only way to do it is you have to just write something small that you can manage. Write something that's set in a single location.” [51:56]
Mentioned
Peak Season on IMDb
Follow Henry Loevner on IG
Follow Steven Kanter on Instagram
Find No Film School everywhere:
On the Web
https://nofilmschool.com/
Facebook
https://www.facebook.com/nofilmschool
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https://www.youtube.com/user/nofilmschool
Instagram
https://www.instagram.com/nofilmschool
Send us an email with questions or feedback: [email protected]!
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How can you break into the film industry? Especially if you're not in Hollywood or you come from a different profession, like law. Is thick skin essential? Can you balance business with creativity? Producer Ken Kao, co-founder of Waypoint Entertainment, shares insights on these topics, some of his experiences, and recent projects.
Ken’s latest feature, CUCKOO, written and directed by Tilman Singer, stars Hunter Schafer, Dan Stevens, and Jessica Henwick and premiered at the 2024 Berlin International Film Festival. With a diverse portfolio spanning films like Academy Award-winning THE FAVORITE and THE NICE GUYS, featuring Ryan Gosling and Russell Crowe, Ken's expertise and vision have shaped the landscape of modern cinema.
In today’s episode, No Film School’s GG Hawkins speaks with Ken Kao, co-founder of Waypoint Entertainment and producer of some of the most anticipated films of 2024, to discuss:
How Ken started in the industry, moving from lawyer to producer without film school
Advice for emerging filmmakers and indie producers
The Waypoint x Neon partnership and the opportunity in mid-budget films
How he selects projects, being a genre-agnostic producer
How Waypoint stays nimble and adaptive in the ever-changing industry
What every producer or aspiring producer should be consuming and Ken’s media diet beyond movies
Living in Hawaii and maintaining distance from Hollywood
His latest feature, "CUCKOO," by Tilman Singer, starring Hunter Schafer, Dan Stevens, and Jessica Henwick
Waypoint’s involvement in the release of “Longlegs,” directed by Osgood Perkins and starring Nicolas Cage and Maika Monroe
Other projects currently in development
Memorable quotes:
“You never know what's gonna happen when you start making a film” [12:02]
“We're all just trying to make good movies that touch people and that we can be proud of” [20:05]
“I think the vast majority, especially this younger generation of people, if you're gonna get them off their sofas, getting to put their phone down, take 10 to 20 minutes to drive to a theater park and get it and sit there and give up two hours of their time, you need to give them some kind of authentic experience. I think what's good is subjective, but I think their ability to sniff the BS is high.” [21:55]
“As difficult as the film business right now is, I think as a creator, and I'm not just speaking for myself, I'm just speaking for aspiring creators, people that are creating already, in some ways it's as strong as the time has ever.” [41:00]
“A good number of people know when actors are choosing movies to make a buck. And when they really love the material and they're putting themselves in that role, in that movie.” [46:07]
“Trust your taste, trust what you're trying to say to people, and trust your instincts.” [47:33]
Links:
Follow Ken Kao on LinkedIn
Ken Kao on IMDb
Find No Film School everywhere:
On the Web
https://nofilmschool.com/
Facebook
https://www.facebook.com/nofilmschool
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https://www.youtube.com/user/nofilmschool
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https://www.instagram.com/nofilmschool
Send us an email with questions or feedback: [email protected]!
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As an editor, should you specialize in documentary film or narrative film? Who says you can’t do both? Editor Daniel Garber proves it’s possible, sharing his unique approach to editing some of his most recent projects. He dives into the nuances of pacing, note-taking, and the art of knowing when not to cut.
In today’s episode, No Film School’s GG Hawkins speaks with editor Daniel Garber to discuss:
Getting his first editing credit and learning from other established editors
Working with director Lance Oppenheim on multiple films
Keeping your expenses low as a filmmaker
How tension emerges from the performances and the pacing of the edit
Differences between doc and fiction
The unexpected moments that happen after a scene has wrapped
A very efficient note-taking process
Working on small indie films compared to large productions
The power of face-to-face interactions
Memorable Quotes
“I go back and forth between documentary and fiction. I get a lot out of that.” [15:05]
With most documentaries, you have way more footage. You’re preparing yourself for a marathon rather than a sprint.” [17:28]
“Making a decision not to cut is a huge part of editing.” [21:30]
“The social aspect of editing is the most rewarding part.” [35:42]
Links:
Check out Daniel's website
Follow Daniel on IG
Daniel Garber on IMDb
Find No Film School everywhere:
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https://nofilmschool.com/
Facebook
https://www.facebook.com/nofilmschool
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YouTube
https://www.youtube.com/user/nofilmschool
Instagram
https://www.instagram.com/nofilmschool
Send us an email with questions or feedback: [email protected]!
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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:
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https://nofilmschool.com/
Facebook
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https://www.youtube.com/user/nofilmschool
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https://www.instagram.com/nofilmschool
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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
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https://www.instagram.com/nofilmschool
Send us an email with questions or feedback: [email protected]!
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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
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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
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“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:
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Facebook
https://www.facebook.com/nofilmschool
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https://www.instagram.com/nofilmschool
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The Blacklist started as an annual list of the best, unproduced screenplays in Hollywood. Nowadays, it’s an awesome online platform that nurtures and empowers screenwriters from around the world, by helping them showcase their scripts and grow within the industry.
In today’s episode, No Film School’s GG Hawkins, Jason Hellerman, and host of the Blacklisted podcast, Chris Hill, discuss:
How the Blacklist got its start and what it looks like today
The difference between the website and the annual list of scripts
Getting multiple reports on a script
Recurring themes of screenplays on the Blacklist
What life is like after being on the list
The importance of using action descriptions
Approaching your script with a journalistic curiosity
How to avoid writing a purely factual story
The best way to approach writing a biopic
Why you need to write a detailed outline
Memorable Quotes
“One of the best things about the Blacklist is that it intentionally gives you heat.” [15:44]
“You're always pushing that rock up the hill, no matter what level you’re at. The rock isn’t lighter. Now it’s a bigger rock.” [21:05]
“Hollywood isn’t just an IP delivering service. It’s where dreamers go to dream big ideas.” [48:30]
Mentioned
The Blacklist website
Listen to Blacklisted on Apple
Listen to Blacklisted on Spotify
Follow Chris on X
Follow Blacklisted Podcast on X
Find No Film School everywhere:
On the Web
https://nofilmschool.com/
Facebook
https://www.facebook.com/nofilmschool
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https://twitter.com/nofilmschool
YouTube
https://www.youtube.com/user/nofilmschool
Instagram
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Ken Whittingham has directed shows we all know and love such as, The Office, 30 Rock, and Parks and Recreation. More recently, he has worked on the TV comedy, Abbot Elementary, which uses a mockumentary production style, similar to The Office. While Ken is an award-winning director with over 25 years of experience, he believes in the power of teamwork and respecting everyone on set regardless of their title.
In today’s episode, No Film School’s GG Hawkins speaks with director Ken Whittingham and BraveMaker podcast host Priscilla Lam to discuss:
Selling a script as a new PA
How Ken became a television director
Learning how to clearly communicate with actors
The balance between giving actors autonomy and giving them direction
An awkward moment with Alec Baldwin on the set of 30 Rock
Tone meetings - what are they and why are they important
Treating the documentarian in The Office as if it were a separate character
The power of subtlety in comedy
How Ken and Priscilla met
Transitioning from TV into film
Our favorite shows, movies, and hobbies
Memorable Quotes
“I still get nervous. Every Sunday night before I shoot Monday morning, I’m nervous.” [10:37]
“You can’t get into this business, thinking about money. You have to go with your passion, and really believe in yourself.” [42:56]
“Everybody’s job is important and nobody’s job is more important than the other. It’s a team effort.” [48:01]
Mentioned
Abbott Elementary S2E21
The Office S1E3
Ken's Instagram
Priscilla's Instagram
BraveMaker on Instagram
BraveMaker Film Festival
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https://www.instagram.com/nofilmschool
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As a beginning editor, working on low-budget projects is normal when you’re first starting. Once you get some experience under your belt, there comes a time when you have to start advocating for yourself so that you can get paid more. The “something is better than nothing mindset” can only serve you for so long, before you start to burn out.
In today’s episode, No Film School’s GG Hawkins and editor Sofi Marshall discuss:
Falling in love with editing in high school
What the indie film scene is like in New York
How to editors can make themselves more visible and less excluded
What it’s like to watch a Sundance premiere of a film you worked on
Landing the editing role on I Saw the TV Glow
What it was like to work on two different films at the same time
Sofi’s favorite tools in Adobe Premiere
Cutting the entire film remotely
Taking on too many low-budget projects at the start of her career
Knowing when to ask for more pay
Memorable Quotes
“All of my films have come to me via a direct recommendation, just from people I have met.” [5:05]
“There’s nothing like watching your movie during that first premiere. It’s such a dopamine rush and terrifying at the same time. It’s great.” [8:19]
“No matter how much pre-planning you do, it’s always going to change in the edit.” [23:02]
Mentioned
I Saw The TV Glow
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https://www.instagram.com/nofilmschool
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Paramount and Skydance are merging. How does that impact the people already involved in those companies and what does it mean for the rest of us? How did House of Dragon pull off the epic Battle of Rook’s Rest, featuring multiple, fighting dragons? Let’s find out together!
In today’s episode, No Film School’s GG Hawkins and Jason Hellerman discuss:
What we know about the Paramount - Skydance merger
Whether or not the merger will result in job losses
An epic battle scene on season 2 of House of The Dragon
What we love about this HBO series
Creating flexibility in your shooting process
The importance of scope and scale
Including establishing shots into your script
The types of oners we find frustrating
Memorable Quotes
“There will always be job losses with mergers because there will always be redundancies.” [7:50]
“Whether you’re in TV or you’re in film, we do need to invest in brutality to make it feel real.” [15:38]
“If you’re just letting your camera roll, no thank you. That is not scale. That is not scope. That is not impressive.” [23:12]
Mentioned
Mastering Scope and Scale in Screenwriting
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On this special episode of the No Film School podcast, host GG Hawkins shares her experience of writing her first feature, 'I Really Love My Husband' on a small budget and arguably, an even smaller timeline. She discusses the constraints she faced, the collaborative writing process, and the challenges of receiving feedback. GG emphasizes the importance of pushing through the bad drafts to reach the good ones and highlights the value of constraints in spurring creativity. She also emphasizes the need for support from others and setting deadlines.TakeawaysConstraints can spur creativity and lead to unique and specific storytelling.Writing doesn't have to be a lonely process; seek feedback and collaborate with others.Push through the bad drafts to reach the good ones; don't be discouraged by initial shortcomings.Setting deadlines and receiving feedback from trusted sources can help refine and improve the script.Video: https://vimeo.com/979992225?share=copySupport the film: gghawkins.com/backourfilmThis episode is Directed & Produced by Max GibsonLearn more about your ad choices. Visit megaphone.fm/adchoices
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At what point should you get paid for the work you do to develop a project? What types of conversations should you be having with your agent? How can you show up confidently for potential projects, even though you’re feeling utterly afraid?
In today’s episode, No Film School’s GG Hawkins, Jason Hellerman, and guest Carrie Solomon discuss:
Smart ways to save money as a filmmaker
How to build rapport with your reps and make sure you’re on the same page
The truth about doing development work and how you should approach being paid
An important question you must ask yourself when writing a spec
When Carrie realized she needed to scale up the story for A Family Affair
Getting in the habit of reading scripts
Why she quit working as a PA on Ingrid Goes West
Being thrown into the world of studio writing
How doing improv helped Carrie have less fear when going into meetings
Embracing failure and welcoming fear
The most intimidating part about writing A Family Affair
The difference between likeability and lovability in characters
Memorable Quotes
“It's hard to get money out of Hollywood right now. You’re squeezing water from a stone.” [19:59]
“The only way to make money in this business is if someone loves your idea so much.” [22:35]
“I try to read as many scripts as I possibly can. I’m usually not picking up a book, I’m picking up a screenplay.” [29:00]
“From a very young age, I was a storyteller. And by that, I mean as a child, I was a big fat liar.” [37:54]
“Everyone has their own terrible little journey with finally getting their fingers on the keyboard.” [50:50]
Mentioned
A Family Affair
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While documentary editor Lucas Harger loves “being lost in a sea of footage” when he first starts a project, his approach to editing is intentional and specific. From his initial meeting with the director to establishing the context of characters and theme, this editor knows what it takes to transform raw footage into powerful stories.
In today’s episode, No Film School’s GG Hawkins speaks with editor Lucas Harger to discuss:
Falling in love with the community aspect of making a movie
Becoming the editor of the documentary, Lions of Mesopotamia
The conversation he had with the director at the start of the collaboration
The sacredness of the first watch of the footage
Why he doesn’t throw anything away during the early stages of editing
Customizing your space so you can easily get into the zone
The importance of establishing context - it helps you decide what footage is necessary
Difficulties in sourcing and sorting through archival footage
Getting the film on the timeline as quickly as possible
How working for free has brought him amazing opportunities
Three factors Lucas considers when taking on a new project
Memorable Quotes
“Documentary is the editor’s medium. It’s like the editor’s playground.” [6:03]
“You have to interview the collaborator you’re going to work with just as much as they’re interviewing you. ” [9:22]
“I don’t believe in good shots or bad shots, just appropriate shots. You just pick the most appropriate thing in the moment.” [12:58]
“What are the stories that bring to light the most about the time period, the culture, and this person?” [20:44]
“Consume as much as you can, even if you don’t think it’s directly related to the craft or industry.” [34:07]
Mentioned
Lions of Mesopotamia
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