Эпизоды
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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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Пропущенные эпизоды?
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You don’t have to have high-end tech or complicated processes to create your film. You just need an open mind and a passion for the story you are telling, as we’ll learn from this week’s episode from the DP and editor of A House Is Not a Disco.
In today’s episode, No Film School’s GG Hawkins speaks with cinematographer Eric Schleicher and editor Blake Pruitt to discuss:
How Eric and Blake landed on this film
Why the sound designer had to create sound effects
Having everything outlined and organized in a Google Doc
What gave the film a kaleidoscopic structure
Asking for consent to film party scenes
Keeping the operating team small during production
Matchframing - what it is and why it’s so helpful in the edit
Challenges during the shoot and the edit
The beauty of not having a production company fund the film
Making the space to do projects you’re interested in
Memorable Quotes
“I’m not one to kill myself for a job. Even a dream project, I don’t want to work more than 8 hours a day on this.” [10:24]
“It's more PBS doc than this high-end streamer doc that is out there right now.” [16:22]
“You got an idea? Grab your camera. Shoot what you need.” [39:27]
“Be open to unexpected things happening, but also have boundaries.” [45:47]
Mentioned
A House Is Not a Disco
Fire Island
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Michael Sarnoski is the director and co-writer of A Quiet Place: Day One, the franchise's third film. The film follows Sam who is trapped in New York City during the early stages of an alien invasion. Michael shares that he was attracted to this film because of the opportunity to explore interesting character dynamics.
In today’s episode, No Film School’s GG Hawkins speaks with Michael Sarnoski to discuss:
Bringing aspects of his feature film Pig to his current film, A Quiet Place: Day One
How the aliens in the film are a vehicle for exploring character dynamics
Michael’s journey as a filmmaker
Giving yourself permission to write something you care about
Figuring out what a “silent New York” would sound like
Balancing VFX and practical effects
Creating a respectful yet constructive environment on set
Michael’s approach to hiring and knowing who to collaborate with
Memorable Quotes
“You just have to find one person that gets your idea and wants to see it happen.” [8:01]
“You have to be constantly focused and moving things forward and not waiting for someone else to step in.” [11:13]
“Write a really inexpensive feature you can shoot with the resources you have, and go do it. You’ll learn a ton.” [32:39]
Mentioned
PIG
A Quiet Place: Day One
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What’s the best approach to sharing your resume on LinkedIn? Is it okay to negotiate when you rent gear? What’s the difference between hard comedy and hard “R” comedy? How do you shoot a documentary and make it feel like a movie?
In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman, and guests Lance Oppenheim and Nate Hurtsellers discuss:
A platform that prevents fraud and theft of production equipment
The American Film Market - it’s moving to Vegas!
Having multiple resumes and tailoring them to specific roles
Negotiating gear rentals
Hard comedy - what it is and what it’s not
Lance Oppenheimer’s documentary film, Ren Faire
Letting the film organically find its language and style
The benefits of shooting with a small crew
Feeling all over the place and wanting more control while shooting
Nate’s secret to successfully operating handheld cameras
Why you don’t need a sophisticated setup to be a DP
Memorable Quotes
“Rental companies never want their stuff sitting on a shelf. If it can be working, they want it working.” [19:15]
“Everything in the film industry is a negotiation. Always.” [21:50]
“The design reveals itself the longer you spend working on it.” [56:46
“Sometimes what perfect is, changes based on what’s in front of us.” [64:11]
Mentioned
ESTA fraud & theft prevention
“New Film Market” American Film Convention Hopes To Take Root This Fall
This American Life Podcast - Good Guys episode
Ren Faire
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Becoming an editor is more than just learning software and improving your skills. You must listen intently, speak up for yourself, and seek guidance and feedback from others with more experience.
In today’s episode, No Film School’s Grant Vance speaks with editors J. Kathleen Gibson, Joaquin Elizondo, Shelly Westerman, and Payton Koch to discuss:
Their journeys to become editors
All the things Shelly taught Payton as his mentor
Starting as an assistant editor and learning from others
Putting yourself out there and communicating what your goals are
Paying it forward - helping their assistant editors grow and succeed
Working across different genres
Having over 50 hours of footage for a 30-minute show
Responding positively to notes you disagree with
Why you need to be a good listener if you want to be an editor
Memorable Quotes
“Part of what interests me is to be challenged and stretched and do something I haven’t done before.” [18:05]
“A lot of editing is feeling. You have to be empathetic and go with your gut.” [20:38]
“If people know what you want to do and what you’re interested in, most likely they are going to give you an opportunity.” [36:18]
“Be completely tuned into the world. Listen. Pay attention. Bring all that to your projects.” [38:42]
Mentioned
The Morning Show
Griselda
Only Murders in the Building
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Jeff Nichols is the director of the film, The Bikeriders, a story about a 1960s motorcycle club that turns into a menacing gang, known as the Vandals. The film is adapted from Danny Lyon’s book of the same title. The complex nature of The Bikeriders, leaves us asking, “Why are we attracted to dangerous things?”
In today’s episode, No Film School’s Jason Hellerman speaks with director Jeff Nichols to discuss:
Feeling inspired by a photographic documentary book
Deliberately changing the film’s structure from the first hour to the second hour
The importance of character point of view
Why the film style felt appropriate for this story
Casting and location scouting - two of the most important parts of the process
Using photos from the book for location inspiration
Feeling drawn to dangerous characters
Why he doesn’t block scenes or rehearse with actors
Using a documentary-style editing structure
When Jeff realized this story needed to be a movie
Memorable Quotes
“It was by design that the first hour would have one feeling, and the second hour would have another.” [7:58]
“These actors are so damn good. I just get to sit back and watch. Sometimes I forget to yell cut.” [16:14]
“I was trying to build the script on the page to feel like it had been collected and put together like a documentary.” [22:45]
Mentioned
The Bikeriders (trailer)
The Bikeriders (book)
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Maura Corey is the picture editor of Gen V, a satire about young adult superheroes. Walter Schulz is the visual effects supervisor behind The Curse, a story about a cursed couple who are part of a reality show. These two creatives share how they got their start, their work process, and what it takes to build a successful career in film.
In today’s episode, No Film School’s Grant Vance speaks with editor Maura Corey and visual effects supervisor Walter Schulz to discuss:
Their relationships with other departments
The benefits of working in both production and post-production
Maintaining the tone and feel of The Boys while editing Gen V
Why there is a comeback for practical effects in TV
The unique, collaborative nature of working on The Curse
A.I. - will it affect editing and VFX
The reason visual effects have improved in television in the past 10 years
The importance of advocating for yourself and telling others your goals
The unique paths they took and opportunities that came their way
Memorable Quotes
“You’d be surprised how much VFX are actually in comedy.” [13:54]
“Visual language is such a strong medium to illustrate an emotional journey.” [21:31]
“Don’t hate any tools….that one tool you hate is going to save you in those two months you are out of work.” [25:41]
“The only way you’re going to be able to move ahead in this business is to tell people what you want to do.” [40:07]
“Don’t be afraid to walk out of your comfort zone. That will change your life.” [47:25]
Mentioned
Gen V
The Curse
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Just how important are character introductions in film? What are the most important steps you need to take before sending out your script? How do you pay for healthcare as a freelance filmmaker?
In today’s episode, No Film School’s Charles Haine and Jason Hellerman discuss:
Why writers need to improve their character introductions
Examples of movie intros we love
Copyright - should you copyright your script before sending it out
Why you should join a writer’s group
Asking for honest, constructive feedback from your network
The importance of log lines
Why most production companies don’t offer health insurance
Exploring public healthcare exchanges
Memorable Quotes
“There’s a million reasons to put a screenplay down after a couple of pages. The reason to keep reading is because you’re interested in the characters.” [10:00]
“Your first twenty pages are about developing a relationship with the reader and having them trust you and be confident in you. Typos break that ability to have that trust.” [24:14]
“The most important people to you in your career are people one step down and one step up the ladder from you.” [40:10]
“The problem with union benefits is the volume of work you have to do to keep them.” [48:57]
Mentioned
What is a Logline?
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There's no better feeling than completing a project you’ve been working on for, what feels like, forever. On one hand, you’re relieved but you're also anxious to figure out what to work on next. How do you decide what your new project will be, and what is the most efficient strategy for getting started on it?
In today’s episode, No Film School’s GG Hawkins and Jason Hellerman discuss:
The first questions you need to ask yourself before deciding on your next project
Doing market research and getting feedback on your initial ideas
Narrowing down on your ideas
Writing with specific actors and directors in mind
Developing relationships and keeping track of your interactions
The draft-writing process
Setting parameters for the people who will read your first drafts
Being selective about who will receive your final spec
Why you should give yourself time off
Memorable Quotes
“I do not start writing anything unless I can picture the actors in it.” [10:09]
“I do not start writing until I’m one-hundred percent sure how that idea ends. What’s the ending of the story?” [13:26]
“The best part about this cycle is you’re always cultivating, and you’re always getting better at it.” [33:57]
“I need to live life to come up with ideas. I need to do things to come up with ideas.” [35:32]
Mentioned
Oscar-Winning Screenwriter Eric Roth Takes You on a Tour of His Writing Process
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In life, we can’t please everyone. There will be people who “get us” and others who simply don’t. It’s the same when you’re a filmmaker. Your work won’t vibe with everyone who sees it, and that’s totally okay! It’s time to face your fears, give it your all, and create those projects that reveal your darkest instincts.
In today’s episode, No Film School’s GG Hawkins speaks with Sam Baron and Madison Lanesy to discuss:
What it’s like to receive polarized reactions
Feeling terrified to share projects with personal subject matter
Career lessons from Ice Age and Mrs.Doubtfire
Having a YouTube video go viral at 17 years old
The story behind the name of Sam’s short, The Orgy
Turning in films as book reports in middle school
The beauty and freedom of improv acting
Sam’s process of submitting shorts
Pushing past fear and discomfort
Working with a team that believes in your project
Making personal sacrifices while working on projects
Memorable Quotes
“Working on any project takes so much from you…so you better make sure it’s a worthwhile project you really care about.” [18:51]
“You need to take the temperature of the audience, but you also need to take the temperature of yourself. If you just do one or the other, you’re going to get out of balance.” [32:00]
“I accidentally proved a concept by being true to my deep, creative nature.” [52:41]
“Get to know yourself as a filmmaker. You are the only you.” [76:42]
Mentioned
Here's What Happens When You Win the Nicholl Fellowship in Screenwriting
Is This the Tool Filmmakers Need to Find Their Audience?
Short: Tall Dark and Handsome
Short: The Orgy
Short: YES, DADDY
Follow Sam on IG
Follow Madison on IG
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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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