The No Film School Podcast

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] MentionedA House Is Not a DiscoFire Island  Find No Film School everywhere:On the Webhttps://nofilmschool.com/Facebook https://www.facebook.com/nofilmschoolTwitter https://twitter.com/nofilmschoolYouTube https://www.youtube.com/user/nofilmschoolInstagramhttps://www.instagram.com/nofilmschoolSend us an email with questions or feedback: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

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] MentionedPIGA Quiet Place: Day One   Find No Film School everywhere:On the Webhttps://nofilmschool.com/Facebook https://www.facebook.com/nofilmschoolTwitter https://twitter.com/nofilmschoolYouTube https://www.youtube.com/user/nofilmschoolInstagramhttps://www.instagram.com/nofilmschoolSend us an email with questions or feedback: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

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] MentionedESTA fraud & theft prevention“New Film Market” American Film Convention Hopes To Take Root This FallThis American Life Podcast - Good Guys episodeRen Faire Learn more about your ad choices. Visit megaphone.fm/adchoices

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] MentionedThe Morning ShowGriselda   Only Murders in the BuildingFind No Film School everywhere:On the Webhttps://nofilmschool.com/Facebook https://www.facebook.com/nofilmschoolTwitter https://twitter.com/nofilmschoolYouTube https://www.youtube.com/user/nofilmschool Instagramhttps://www.instagram.com/nofilmschoolSend us an email with questions or feedback: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

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] MentionedThe Bikeriders (trailer)The Bikeriders (book)  Find No Film School everywhere:On the Webhttps://nofilmschool.com/Facebook https://www.facebook.com/nofilmschoolTwitter https://twitter.com/nofilmschoolYouTube https://www.youtube.com/user/nofilmschoolInstagramhttps://www.instagram.com/nofilmschoolSend us an email with questions or feedback: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

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] MentionedGen VThe Curse  Find No Film School everywhere:On the Webhttps://nofilmschool.com/Facebook https://www.facebook.com/nofilmschoolTwitter https://twitter.com/nofilmschoolYouTube https://www.youtube.com/user/nofilmschool Instagramhttps://www.instagram.com/nofilmschoolSend us an email with questions or feedback: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

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] MentionedWhat is a Logline? Find No Film School everywhere:On the Webhttps://nofilmschool.com/Facebook https://www.facebook.com/nofilmschoolTwitter https://twitter.com/nofilmschoolYouTube https://www.youtube.com/user/nofilmschoolInstagramhttps://www.instagram.com/nofilmschoolSend us an email with questions or feedback: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

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] MentionedOscar-Winning Screenwriter Eric Roth Takes You on a Tour of His Writing Process Find No Film School everywhere:On the Webhttps://nofilmschool.com/Facebook https://www.facebook.com/nofilmschoolTwitter https://twitter.com/nofilmschoolYouTube https://www.youtube.com/user/nofilmschoolInstagramhttps://www.instagram.com/nofilmschoolSend us an email with questions or feedback: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

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] MentionedHere's What Happens When You Win the Nicholl Fellowship in ScreenwritingIs This the Tool Filmmakers Need to Find Their Audience?Short: Tall Dark and HandsomeShort: The OrgyShort: YES, DADDYFollow Sam on IGFollow Madison on IGFind No Film School everywhere:On the Webhttps://nofilmschool.com/Facebook https://www.facebook.com/nofilmschoolTwitter https://twitter.com/nofilmschoolYouTube https://www.youtube.com/user/nofilmschoolInstagramhttps://www.instagram.com/nofilmschoolSend us an email with questions or feedback: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

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 Find No Film School everywhere:On the Webhttps://nofilmschool.com/Facebook https://www.facebook.com/nofilmschoolTwitter https://twitter.com/nofilmschoolYouTube https://www.youtube.com/user/nofilmschoolInstagramhttps://www.instagram.com/nofilmschoolSend us an email with questions or feedback: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices