Episódios
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If you’re a director who has become too attached to the temp score, you’re essentially falling in love with something you can’t have. While it may feel impossible to let go, it is possible. Let’s look at some ways you can break up with your temp score and move on.
In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:
Why you shouldn’t use temp scores from other movies
Collaborating with composers early on
The benefit of switching up scores in the edit
How directors fall in love with what they see in the edit
How the score is almost like a character within a scene
The dangers of placeholders
Getting attached to character names
NAB - why you should go
Blackmagic cameras - affordable, efficient, and high-quality
The Blackmagic camera phone app on Apple and Android
Shooting with cinema lenses versus still photo lenses
Memorable Quotes
“I’m getting feelings from that movie and it’s impacting my ability to engage with your movie.” [4:30]
“If a director spends six months editing a movie, they get kind of attached to how it looks and how it sounds.” [15:12]
“In post-production, familiarity can breed affection.” [16:57]
“Placeholders are a thing to be conscious of and used strategically.” [29:41]
Mentioned
Every Frame a Painting - The Marvel Symphonic Universe
The Art of the Score Podcast
Here’s Everything You May Have Missed at NAB 2024
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Editing is more than just assembling footage. According to editor Sandra Granovsky, the whole editing process requires an interest and understanding of human nature.
In today’s episode, No Film School’s GG Hawkins speaks with Sandra Torres Granovsky to discuss:
How studying anthropology affected her approach to editing
Following your inner voice while editing
Surrendering to the rhythm of the actor and the perspective of the director
Creating the first editor’s cut
Making something out of nothing
Sandra’s workstation setup
What it was like to work with director Leah McKendrick
Her new project with journalist-director Andrew Callaghan
How text-based editing has improved the editing process
Memorable Quotes
“The way I approach all of it is with an understanding and curiosity of human nature.” [6:43]
“Every decision I make in editing is based on instinct.” [8:56]
“You have to become very creative, and you have to start creating something that’s not there.” [15:34]
“There’s a lot of diplomacy involved in editing.” [16:22]
“I do fifty percent of my editing not in front of the computer. It happens in my head.” [21:05]
“You are writing in the edit. You’re just writing with images and sound.” [21:55]
Mentioned:
ALPHA
Scrambled
The Opening Act
This Place Rules
Channel 5 with Andrew Callaghan
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Is it ethical to encourage people to pursue a career in film when there are such high levels of unemployment in the industry? The Art Directors Guild certainly doesn’t think so which has led the union to pause their annual training program this year.
In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:
The ADG announcement to suspend the Production Design Initiative program
Being cautious when admitting students to film school
Why we think the ADG made a reasonable decision
Why you should file for unemployment between jobs
How LA and New York feel like smaller markets right now
Seeing where you can fit into the system
Accepting the opportunities that already exist
The benefits of having multiple revenue streams as a filmmaker
Memorable Quotes
“Big production is back to work…but the volume isn’t there.” [13:08]
“You need to be open to letting the industry tell you where it wants you to be for a while.” [15:25]
“Knowing how to do a new thing is always beneficial.” [15:59]
“If you can develop multiple revenue streams, it gives you power in negotiation.” [19:05]
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Prom Dates, written by D.J. Mausner and directed by Kim Nguyen, is a comedy that follows two best friends who are hell-bent on having the perfect senior prom, despite the fact they broke up with their dates only 24 hours before the big night. This raunchy comedy reminds us that while romantic love may be fleeting, true friendship can survive any adversity that comes its way.
In today’s episode, No Film School’s GG Hawkins speaks with Kim Nguyen and D.J. Mausner to discuss:
Writing the script in just 8 days
How D.J. and Kim immediately clicked
Celebrating the importance of friends in our lives
Developing the dynamic between the two lead characters
Harnessing the amazing energy from the cast
Filming in an old high school in Syracuse
How having a comedy background can improve your writing
The joy of working with gifted talent
A dramatic scene that required considerable emotional gear-shifting
How D.J.’s writing experiment turned into a film
Memorable Quotes
“Directors are like tuning forks. You get so much energy all the time from everyone, whether or not you want it or welcome it. You distill all that energy and harness it.” [15:46]
“Sketch teaches you to get in late and get out early. Stand-up teaches you to have an ear for the audience. Improv allows you to fill in the blanks.” [20:35]
“Stay true to yourself. Your point of view is your superpower.” [30:29]
“The thing you’re excited about, write it. You never know what’s going to happen.” [30:44]
Mentioned:
Prom Dates
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What film festivals are worth submitting your projects to? Which festivals are legitimate and which ones are scams out for your money? Is it possible to find like-minded creatives to collaborate with, outside of places like L.A. and New York?
In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman, and guest Amy Dotson discuss:
Figuring out what you want to get out of a festival
Reasons why small festivals are awesome
Things to consider when vetting festivals
What Amy learned interning at Pee-wee’s Playhouse
Telling your unique story in only one paragraph
Why you need to constantly update your bio
Moving from New York City to Portland
Thinking about cinematic storytelling in new ways
Collaborations between local artists and big household names
How the Portland Art Museum honors multi-faceted creatives
Memorable Quotes
“What are you going to the festival for? Is it about Hollywood connections or about sharing your film with an audience?” [3:54]
“Being in the mix and connecting with people at a human level is incredibly valuable. You will find those relationships pay off in the long run.” [12:42]
“Everybody is different and that’s okay. It’s not a one-size-fits-all model anymore.” [23:34]
“The goal is to meet other like-minded humans that can help push your career and push you as a human forward.” [29:37]
“There are stories to be told that are less project-centered and more people-centered.” [46:24]
Mentioned
How To Spend $10,000 on Film Festival Submissions…
Portland Art Museum
PAM CUT Sustainability Labs
PAM CUT Tomorrow Theater
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“There’s never been a better time to make shorts or watch shorts,” says Mike Plante, the senior short film programmer at Sundance Film Festival. Mike, who has been at Sundance for over 20 years, shares his thoughts on the future of shorts and what his team looks for in the selection process.
In today’s episode, No Film School’s Ryan Koo speaks with Mike Plante to discuss:
Developing motion picture films at the drug store in the ‘90s
Why shorts are a great medium to learn and experiment
Working at festivals and movie theaters
Receiving over 12,000 short submissions in 2024
Disadvantages of creating long shorts
Differences in funding international shorts
Seeing many different types of voices, stories, and styles
Sundance shorts that later became features
What makes you a filmmaker
What Sundance looks for in a short
Memorable Quotes
“You’re always a filmmaker, but there will be months you’re not doing anything on your film.” [2:48]
“You may watch a thousand shorts and nothing is good. Then you just start to lose your mind.” [10:45]
“Your 30-minute short has to be better than three, 10-minute shorts.” [12:25]
“The internet is good for shorts because you can put it up. It doesn’t mean anyone will watch it.” [31:31]
Mentioned
Submission Dates for Sundance
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Long-time friends and colleagues, Christopher Ross and Sam McCurdy, are two of the cinematographers of FX’s mini-series, Shōgun. Filming this series was an incredible experience full of lessons in Japanese culture, lenses, and shooting with cranes.
In today’s episode, No Film School’s GG Hawkins and special guest, cinematographer Ryan Thomas, speak with DPs Christopher Ross and Sam McCurdy to discuss:
How Chris and Sam met
The type of friendships you hold onto in the industry
What it was like working with an international cast and crew on Shōgun
The singular perspectives that ran throughout the larger storyline
What it was like working with other DPs
The lenses they chose to use in this project
Letting the camera find special moments without much interference
What an ASC masterclass is
What gave the show its atmospheric texture
Bringing truth and honesty to every episode
Why making mistakes is so valuable
Memorable Quotes
“From the start of your career to the end of your career, you’re still on some form of learning curve.” [8:47]
“Being true to what you’re shooting and being true to the script and the story is the still most important tool we bring to any job.” [50:33]
“Be brave and stupid in equal measure. Get smarter every time you shoot.” [54:00]
“Don’t necessarily listen to everyone else. Go and figure it out yourself.” [55:01]
Mentioned:
Shōgun
Original 1980 Shogun series
ASC Masterclass
Connect with Ryan on IG
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Writing a screenplay is like following a cookie recipe, it’s closer to magic than science. You don’t have to follow screenwriting “rules” to create an amazing story. There’s something else you don’t have to do in your career. When serious problems arise in your personal life, you don’t have to keep working at your typical pace. It’s okay to ask for help and decrease your output.
In today’s episode, No Film School’s GG Hawkins and Jason Hellerman discuss:
The number of “unfilmables” on the first page of the Challengers script
Not getting hung up on the idiosyncrasies of screenwriting
Hooking the reader in the first 10 pages with your confidence
Asking for specific support when things are rough in your personal life
Accidentally lighting a trash can on fire
Taking time to process life’s challenges
Using writing as a way to process loss and sadness
Cancelling meetings and relying on email
The benefits of a meditative practice
Memorable Quotes
“I know what the audience wants to know right now. I know what they need to know, but don’t even know they want to know.” [11:28]
“If your page one sucks, you’ve already lost them.” [12:26]
“If you’re trying to make Hollywood hits with multi-million dollar budgets, page one has to be great!” [15:50]
“You can still be creating, even when you’re in a depressed dark hole.” [28:45]
Mentioned:
Why Did the First Page of the 'Challengers' Screenplay Go Viral?
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Justin Kuritzkes is the screenwriter for the film, Challengers, starring Zendaya, Mike Faist, and Josh O’Connor. The story revolves around tennis pros who are caught in a love triangle. It’s not just about the game of tennis, but about the game of love and power. Let’s dive into Justin’s process of writing such a damn good movie!
In today’s episode, No Film School’s GG Hawkins speaks with writer Justin Kuritzkes to discuss:
How screenplays differ from other written mediums
Building up a story that would realistically exist in the real world
The inspiration behind the story
How writing the movie made tennis less enjoyable for him to watch
Deciding on the setting of the story
Surprising moments during the writing process
Writing in cars, hotel rooms, and airplanes when you are pressed for time
The questions he asked himself before writing the story
Collaborating with actors and getting their feedback
Feeling like you are watching the movie as you write the script
Memorable Quotes
“The thing about screenwriting is that it’s such a rigidly formalistic, medium.” [3:52]
“I started thinking about the movie and I started watching a lot of tennis. Quickly, I became an obsessive tennis fan. I almost didn’t want to write the movie.” [11:40]
“It’s like the big bang. Once the character is there, it’s sort of like “Now, there is light!’” [14:23]
“If you feel like you are watching the movie when you’re writing it, hopefully, other people will feel that way, too.” [24:37]
Mentioned:
CHALLENGERS
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The days of selling naked specs are over. It’s now the filmmaker's job to understand how to package their projects. While many were opposed to packaging in the past, there are effective ways to approach the process that will leave you feeling empowered.
In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:
The benefits and drawbacks of packaging
Why Hollywood is risk averse right now
Packaging through the eyes of a writer or director
Naked specs - what are they?
What the packaging process looks like
Writing specs that can realistically be created
Why AI will not eliminate the need for skilled creatives
Collaborating with others so they feel comfortable and seen
The problems of measuring stardom
Memorable Quotes
“Your script has to be perfect by the time you turn it in. Nobody wants to develop anything anymore.” [7:48]
“It’s the job of a filmmaker to bend reality as far as you possibly can.” [15:16]
“AI often gives people the heebie jeebies.” [24:15]
“Every measurement tool we have is gibberish.” [27:20]
Mentioned:
Movies & TV How To Survive Until 2025 For Filmmakers
Scriptnotes Podcast - Ep 639 Intrinsic Motivation
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We had the chance to speak to Grant Petty of Blackmagic Design at this year’s NAB conference. It was as much of a conversation about technology and innovation as it was a conversation about human nature.
In today’s episode, No Film School’s Jourdan Aldredge speaks with Blackmagic CEO Grant Petty to discuss:
Developing the URSA Cine with a post-production mindset
Zero-cost options from Blackmagic for beginners
Why Grant doesn’t like to compete with others
PYXIS camera and its features
Creating products that lend to an efficient post-production workflow
Exciting new changes and updates to DaVinci Resolve 19
Grant’s opinion on AI and the future of editing
The moment he fell in love with color correction
Feeling lonely and misunderstood
Why you have to be a ruthless, yet empathetic product engineer
Memorable Quotes
“Business people are some of the stupidest people in the world.” [22:25]
“A lot of this technology is just shit. It’s not very reliable.” [29:11]
“If it gets too smart, it’s just another species to kill. Humans are fantastic at killing everything. We just gotta go hunting computers.” [30:45]
“With creativity comes great loneliness.” [47:58]
“You got to be simultaneously ruthless and simultaneously full of empathy.” [50:00]
Mentioned:
A First-Hand Look at the New Blackmagic URSA Cine 12K at NAB 2024
Check out Jourdan's article
Blackmagic URSA Cine
Blackmagic PYXIS
DaVinci Resolve 19
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Erick Sasso is a multi-hyphenate creative and the editor of the film, Maxine's Baby: The Tyler Perry Story, which documents the life of Tyler Perry. Erick compares the making of documentaries to the making of a meal. You need to use the right ingredients…not too much, not too little. And everyone at the table has to enjoy it.
In today’s episode, No Film School’s GG Hawkins speaks with filmmaker Erick Sasso to discuss:
Making music videos with his friends in high school
Realizing you can reverse engineer in the edit
The importance of charging adequately for your services
How he landed the editing job on Maxine’s Baby
What it looks like to fall in love with the subject
Navigating topics such as abuse and childhood trauma
What it was like seeing emotional reactions from the audience
Important lessons he has learned about being a filmmaker
Setting up projects in Adobe Premiere
Overcoming tech fears and looking forward to new updates
Why editors make the best directors
Focusing on development and learning from others
Memorable Quotes
“Usually you are not charging enough. Usually, you are charging way less than industry standard.” [12:38]
“When you edit a lot, it’s really creepy when you meet people.” [32:59]
“You may think you are a hard worker until you meet someone who is doing 10x your output.” [35:09]
“You need to become a pro at uncertainty.” [60:24]
Mentioned:
Maxine’s Baby: The Tyler Perry Story
Erick's website
Connect with Erick on IG
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Rod Blackhurst and Noah Lang are the dynamic duo behind the film Blood for Dust, starring Kit Harington, Scooty McNairy, and Josh Lucas. These filmmakers share why leading with honesty, openness, and enthusiasm is the key to building strong relationships and creating successful films. You don’t have to be cutthroat in this industry in order to achieve your filmmaking dreams.
In today’s episode, No Film School’s GG Hawkins speaks with director Rod Blackhurst and producer Noah Lang to discuss:
How Rod and Noah began working together
Why you should lead with honesty and enthusiasm
Making movies with the same people over and over again
Understanding what you have agency over in your career
How Scoot McNairy and Kit Harington came onto the project
How meeting David Gordon Green in 2012 eventually led to the making of Blood for Dust
The power of self-awareness and being a kind filmmaker
The vibe on set - having fun amid stress
What it looks like to make an honest living in filmmaking
Memorable Quotes
“You can meet someone on the internet and become homies.” [3:27]
“You don’t need everyone to want to be on your team. You just need some of the right people.” [38:55]
“Being a good person and doing good work matters. It does result in good things happening.” [43:02]
“We’re rowing upstream, going against the grain. We’re out there believing in what we have. Wrestling with our choices, behaviors, actions, our own struggles, and darkness.” [50:44]
Mentioned:
Blood for Dust
Here Alone
Connect with Rod on IG
Connect with Noah on IG
Witchcraft (Rod & Noah’s production company)
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Nina Ognjanovic is the director of the film, Where the Road Leads, which won Best Narrative Feature at Slamdance 2023. Nina and her passionate team prove you can successfully market a foreign, indie film on a limited budget and still win at major festivals in the US and worldwide.
In today’s episode, No Film School’s GG Hawkins speaks with Nina Ognjanovic, David Jovanovic, and Jana Bjelica to discuss:
Their experience traveling from Serbia to the United States for Slamdance
Marketing the film using scrappy, creative methods
Their approach to casting and shooting
What it was like to act on multiple projects at the same time
How they handled shooting in an isolated location without cell service
Building trust with the cast, crew, and locals
The Slamdance experience and the reaction of the audience
The first shot of the film - finding a unique solution to a challenge
Setting the production schedule based on the weather conditions
The magic they experienced during production
Why you need to fail and experiment before doing a feature
Memorable Quotes
“It’s hard, but when you love your job, everything is possible” [9:23]
“I was freaking out day after day…my hair started falling off.” [21:35]
“Manage your expectations. Don’t write something you know you can’t deliver.” [30:58]
Mentioned:
Where the Road Leads on TikTok
Where the Road Leads on Instagram
Pointless Films Production House
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Were you hoping work would pick back up after last year’s strikes? Unfortunately, work is epically slow, and 2024 is a rough year for the film industry. But just because Hollywood is slowing down, doesn’t mean you have to.
In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:
The industry post-strike
How higher interest rates are affecting streamers
The unpredictability of a career in film
Accepting the things out of your control
Living with family or friends to lower expenses
The unattainable “American Dream”
Staying creative during this slow year
How famine years can have their benefits
An example of finding career success outside of Hollywood
Memorable Quotes
“Work is epically slow and it’s terrifying.” [3:44]
“If you don’t have three months of cash cushion in your bank account, do not feel bad.” [19:40]
“I don’t think we need to build our identity on outside markers of financial success.” [28:21]
“If you can’t be investing money, you can be investing your energy and creativity into your future career.” [32:52]
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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
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Heat is important to your film career. It means that you and your work are gaining attention and recognition, which can lead to more opportunities in the future. So how can you generate and navigate heat at an industry level? What contributes to “positive heat” or “negative heat?”
In today’s episode, No Film School’s GG Hawkins and Jason Hellerman speak with Chris Moore, Katie Marpe, and Dennis De Nobile to discuss:
How Chris, Katie, and Dennis entered the industry and how they met
Why you need to promote yourself and your work
The One Moore Hollywood Podcast and the topics they discuss
The difference between “in the business heat” and “out of the business heat”
Seeing big corporations gravitating toward original ideas
How audiences decide whether they will watch a movie or not
Getting feedback on your ideas
Why your idea may be better suited for a different medium
Good Will Hunting - Generating authentic heat with the script
When you realize a script isn’t working
How your attitude and behavior affect the type of heat you generate
Sensing tension of the cast and crew while watching a movie
Memorable Quotes
“It’s like surfing. The best thing to do in your career is to read what’s happening around you and take the wave where it’s taking you.” [4:22]
“You have to be able to sell yourself and your ideas. You can’t just operate in a vacuum and expect somebody to discover you.” [16:12 ]
“Go out and make something you think you would pay for.” [52:12]
“What’s the commercial version of your weirdness?” [1:01:28]
“Heat will come back to you. It will tell you if your shit is good. If you can’t generate any heat, that means your shit is not good.” [1:07:17]
Mentioned:
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One Moore Hollywood Podcast on IG
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How do you build a career as a cinematographer when the odds are against you? How do you create opportunities for yourself, when dealing with rejection, financial barriers, and prejudice? Is it possible to pursue your dream without conforming and becoming someone you are not?
In today’s episode, No Film School’s GG Hawkins speaks with cinematographers Bruce Cole and Alejandro Mejía to discuss:
Being drawn to visual art from a young age
The people who encouraged and inspired their creative dreams
Feeling motivated by rejection
Why New York is a great place to start a film career
The importance of having mentors in your career journey
Stigmas they experience in the industry as minorities
Why we need to stop glamorizing film careers
How to maintain balance during long, tedious projects
Cultivating yourself and embracing who you are
Having another creative form of expression outside of film
Memorable Quotes
“I want to do this. I want to travel the world and know the world with a camera.” [14:25]
“New York is probably the best starter city for young filmmakers from all walks of life.” [40:09]
“This is not a speed race. This is a marathon. We are long-distance runners.” [71:28]
“We’re losing that artistry because we are so focused on being someone else.” [79:10]
Mentioned:
From Landing the Job to Boosting Morale: Sundance DP Roundtable Dives into Filters & More
More about Bruce
More about Alejandro
Find No Film School everywhere:
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https://nofilmschool.com/
Facebook
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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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The small decisions that you make at the beginning of your project, can cause headaches later on. If you want to avoid tech issues in post, then you need to set up your project correctly from the start. Speaking of doing things right from the start, there is a right way and a wrong way to approach your interviews. How should you prepare for your next interview to make sure it doesn’t bomb?
In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:
Bombing interviews in Hollywood
What not to do during an interview
Going to interviews as a slightly fancier version of yourself
How to respond when someone doesn’t read your script
Feeling guilty for not reading other people’s scripts
Career errors we have learned from
The helpless feeling you get when troubleshooting tech problems
Media management issues in post-production
Sorting through the timeline and looking for weird shots
Why it’s worth bringing on subject matter experts early
Memorable Quotes
“Over-researching is never a mistake when you are given an opportunity.” [2:09]
“Everyone I know has made huge, catastrophic career mistakes and we’ve all kept going.” [9:00]
“Setting up things right from the start makes your life so much easier.” [30:29]
“God bless people in post-production. The most patient humans in the world.” [35:48]
Find No Film School everywhere:
On the Web
https://nofilmschool.com/
Facebook
https://www.facebook.com/nofilmschool
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YouTube
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Instagram
https://www.instagram.com/nofilmschool
Send us an email with questions or feedback: [email protected]!
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Should you hire an intimacy coordinator for your next project? What exactly does an intimacy coordinator do? Does having this person on set ruin spontaneity? How can having more structure around intimate scenes, actually encourage freedom and creativity during the storytelling process?
In today’s episode, No Film School’s GG Hawkins speaks with Lisa Jacqueline Starrett, Jamie Monahan, and Renata Soares to discuss:
The role of an intimacy coordinator
What led Lisa, Jamie, and Renata to become intimacy coordinators
Wanting to advocate for actors and their boundaries
How detailed screenwriters should be when writing intimate scenes
Knowing the intention behind sex scenes
How to choreograph and rehearse intimate scenes
Being hired as an “insurance policy” to protect production
What it looks like to be actively pursuing a safe space
Having a consent - forward mentality on set
The types of conversations an intimacy coordinator should have with cast and crew
How to redirect a situation that is not working
Why art doesn’t require graphic nudity to be amazing
How to become an intimacy coordinator
Memorable Quotes
“If you’re thinking of safety protocols for staged violence, why are we not doing the same for intimacy scenes?” [13:21]
“I love thinking about art and intimacy in a way that can move storytelling forward.” [19:10]
“The creative vision of the scene doesn’t come from the intimacy coordinator…we are there to facilitate the vision to become reality.” [30:04]
“We are there to make everyone more comfortable in telling that story.” [56:26]
Find No Film School everywhere:
On the Web
https://nofilmschool.com/
Facebook
https://www.facebook.com/nofilmschool
Twitter
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YouTube
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Instagram
https://www.instagram.com/nofilmschool
Send us an email with questions or feedback: [email protected]!
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