The No Film School Podcast

You love film just as much as you love music, so which career do you pursue? This is a difficult decision to make when you feel pulled in both directions. Well, who says you have to choose one or the other? Maybe you can combine your passions together and make something extra special.In today’s episode, No Film School’s GG Hawkins and Jason Hellerman speak with singer-songwriter, Grace Potter to discuss: Ending a film major in order to pursue a fast-moving, music career How being in a music studio is like doing post production for a film The difference of pacing in film versus music Writing a set list as if it were a mini movie Why watching other people hate your work is a good thing Collaborating with director Catherine Fordham Eating spaghetti for breakfast everyday Making Ridley Scott the best cup of coffee  Not being allowed to watch television growing up Writing alone versus collaborating with others Memorable Quotes “There’s more permission and more patience with music fans than with film and tv, which is weird and unfair.” [7:54] “I don’t think there is a time for ‘no.’ There’s no time for ‘no’ when you’re in an inventive space.” [15:24] “You find out so much more about yourself when you stop trying to cover up your intentions.” [21:56] “It’s not about taking yourself and putting yourself into someone else’s world. It’s about finding where you fit, in a world that everyone’s creating together.” [47:56] “No means yes.” [55:16] Resources:Song "Mother Road"Find No Film School everywhere:On the 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

Vuk Lungulov-Klotz is a transgender filmmaker, cinematographer, and director of short films such as Still Liam and River Fork. Vuk’s feature film, Mutt, premiered at the 2023 Sundance Film Festival. The film’s leading actor, Lio Mehiel, won the Special Jury Acting Award at the festival. The film is set to release in theaters across the United States starting August 18. In this episode, No Film School’s GG Hawkins speaks with director Vuk Lungulov-Klotz and actor Lio Mehiel to discuss:  Why Vuk included a few jokes early on in the story The frustrating process of finding actors  How Lio immediately related to the script  Bonding at a summer camping festival before shooting the film All the difficulties of shooting a film in NYC The process of finding locations and what they should have done differently Coordinating ADR sessions during edit The surreal feeling they felt at the world premiere Feeling stressed and anxious by people hyping up the movie The difference between screening a film in the US versus Europe Working alone as an actor versus working with an agency Memorable Quotes “It was the perfect vehicle to showcase the portrait of a trans man today.” [3:55] “If you can’t laugh about something, then we’re really screwed.” [6:48] “I have never read such a beautiful slice of life that represents this experience.” [10:00] “Anytime you can get practice in front of the camera, do it.” [39:58] “By the end of the film, I could hear the theater crying.” [46:12] Resources:Mutt More No Film School coverage on MUTTIn the SummersFind 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 is the difference between editing a film versus editing television episodes? How do you efficiently cut while shooting and what are the benefits to doing so? How should you react when the director or producer gives you feedback that you may disagree with? In today’s episode, No Film School’s GG Hawkins speaks with editor, Joanna Naugle, to discuss:  Why Joanna fell in love with editing and how she got started in her career Why she loves working in tv with multiple editors The different mindset between editing a feature versus editing tv episodes  Using temp design and soundwork for the film, Molli and Max in the Future The only editing software she ever uses The workflow at her post house and the flexibility it offers her and the other editors The benefits to cutting while shooting Setting the scene for a beautiful doughnut montage in The Bear Being open-minded to try other ideas and bringing in other collaborators Editors growing too attached to their footage Memorable Quotes “It’s a way to talk about very human things in a very extraordinary, extraterrestrial way.” [12:56] “Every single shot was a VFX shot in that movie.” [14:08] “What’s the note behind the note?” [28:45] “You owe it to the people you are working with, especially if they are the director or producer, to at least try their idea.” [29:19] “I try not to be too precious with that first cut…I don’t think you should spend too much time obsessing over all the little details.” [32:18] Resources:Joanna's websiteSenior Post on InstagramThe BearMolli and Max in the FutureFind 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

“Blissful ignorance of the system hurts more people in the long run.” If you are an emerging filmmaker who is not aware of the legalities involved in filmmaking, you should really consider hiring a lawyer. You may think you can’t afford a lawyer, but what you really cannot afford to do is remain in your ignorance. In today’s episode, No Film School’s GG Hawkins speaks with lawyer/indie film producer, Natalie LeVeck, to discuss:  Becoming a full-time entertainment lawyer and a part-time indie film producer The difference between manager, agent and a lawyer Different types of lawyers and their roles Why not having a lawyer is one of the worst things you can do Why you should find a manager before finding a lawyer Keeping quiet about your ideas so no one steals them The most important deal of the entire film Paying the writer a percentage versus a flat fee  All the things you need to save in your Chain of Title file Getting your SAG deposit back What you need to do when you first get the Distributor contract  Talent contracts and the clauses to include Thinking about what’s important and not important to you  Talking to your attorney’s prior clients Memorable Quotes “If you are lucky enough to land a deal with a studio, you absolutely must have a lawyer helping you.” [12:17] “You can’t copyright an idea.” [18:49] “If you’re an indie producer and you read something you like, I would grab those rights as soon as humanly possible.” [22:12] “The entertainment law world is so small that people do care about their reputation.” [47:13] “The more we are informed, the more we can bring to the table.” [53:53] Resources:A Creature was Stirring - in theaters Nov 2023Connect with Natalie on LinkedInConnect with Natalie on InstagramFind 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

Alex Familian is the editor for the horror film, Appendage, which follows the story of a young fashion designer who struggles with anxiety and self-doubt. The main character’s feelings eventually manifest into a gross, ferocious growth which sprouts from her body and yells mean, demeaning phrases at her.In today’s episode, No Film School’s GG Hawkins and Yaro Altunin speak with Editor Alex Familian discuss:  How the current WGA and SAG strikes are impacting his work in post-production What we love about improv Maintain work-life balance when your spouse is also a filmmaker The differences between the feature version and short version of the film  Practical versus virtual effects The crazy, speaking mechanism puppeteers created for the “appendage” character Differences between an online editor and offline editor What it was like to edit while the film was still being shot Why we prefer macbooks over desktops Alex’s go-to effects he uses during editing Memorable Quotes “I’m basically putting together a cut of the film with 25% of the movie missing.” [3:58] “It taught me how to be okay with failing.” [7:15] “Whole movie was cut and finished on a Macbook Pro.” [31:34] “People made editing software difficult on purpose so that other people wouldn’t know how to use it.” [36:08] Resources:Appendage (Full Short)Connect with Alex on InstagramCheck out Alex's websiteAppendage (Full Version) releases October 2023How Can Cinematography Techniques Help Your VFX?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

Elaine McMillion Sheldon is a director and writer known for documentaries, such as the Netflix Original Documentaries, Heroin(e) and Recovery Boys. Her latest film, King Coal, premiered at the 2023 Sundance Film Festival. This “part fable, part documentary” is about the complex, coal culture in Central Appalachia.In this episode, No Film School’s GG Hawkins speaks with Emmy-winning filmmakers, Elaine McMillion Sheldon and Curren Sheldon to discuss:  The inception of the film and how it became a hybrid style What the lens vetting process was like Not using any artificial light The reason behind focusing on the young characters in the film  Why it’s important to have bad ideas Pushing through moments of vulnerability Where Elaine got inspiration from  Working with a breath artist to create all the crazy sounds in the film All the wonderful support they received from labs and grants  Why you need to have a long-term version Memorable Quotes “How do we make this feel almost like a dream, almost like an imagined future?” [7:51] “This film required a level of failure and vulnerability that made me insecure at moments. But ultimately made me grow as a filmmaker.” [14:09] “Having a long view of your career is so healthy otherwise you’re gonna get burnt out and depressed.” [31:20] “Most of this industry lives in a bubble, on a coast.” [42:08] Resources:King Coal trailerKing Coal official websiteKing Coal on InstagramHere is the upcoming 2023 theatrical:August 11th - DCTV- New York City, NY (weeklong)August 18th - Aperture Cinema - Winston-Salem, NC (weeklong)August 25th - Laemmle Glendale - Los Angeles, CA (weeklong)August 28th -Harris Theater - Pittsburgh, PA (Select shows during the week)August 31- Floralee Theater - Charleston, WV (Select shows)September 1st - The Nightlight - Akron, OH (weeklong)September 1st- Zoetropolis Cinema - Lancaster, PA (two-week run)September 1st - Central Cinema - Knoxville, TN (weeklong)September 4th - The Woodward Theater - Cincinnati, OH (one night)September 8th - Wexner Center of the Arts - Columbus, OH (one night)September 9th - Museum of the Moving Image- Queens, NY (one night)September 15th- Raleigh Playhouse- Beckley, WV (one night)September 21st - The Lyric Theater- Blacksburg, VA (one night)September 22nd - The Granada Theater- Bluefield, WV (one night)Find No Film School everywhere:On the 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

While most of us are focused on the current WGA and SAG strikes, the DGA has some internal issues it is working on fixing. Currently, DGA members who have to take time off to care for their newborn children, are being penalized for it. These members are working to get the DGA to change their policies in order to have a more equitable and just industry. In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman and director Jessica Dimmock discuss: The reason Jessica started the DGA Parenthood Penalty campaign The changes the DGA is making to their contracts Why you should be active in your guild  Realizing the DGA wasn’t asking their members for feedback  Recent strike updates  How creatives take big risks just like the studios do Pressure testing your script by anonymously submitting for feedback  Finding out how much money your film will cost to make Supporting films with big marketing budgets Memorable Quotes “What’s astounding to me, is that these battles had to be fought in 2017 and not 1977.” [6:33] “Unions and guilds set their policy based on the will of their membership.” [15:59] “It shouldn’t be surprising that people have children…People are going to have families.” [21:38] “The first thing you should be doing is writing 6 more feature scripts.” [42:44] Resources:Connect with Jessica on IGDGA Parenthood Penalty CampaignWhat Lessons Should Hollywood Learn From Barbenheimer?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

How does one balance their wellbeing while also working 16 hours a day? How do you sift through 300 hours of documentary film footage in an efficient manner? What type of people skills and character traits are necessary if you are thinking of becoming an editor?In today’s episode, No Film School’s GG Hawkins, Yaro Altunin and Editor Meredith Rathiel Perrydiscuss: The film, Plan C, and what it was like to create such a timely documentary Working remotely from a 28 acre farm in Washington Why Meredith was excited to work on this particular documentary Feeling retraumatized over and over again when editing documentaries  What is was like to manage 300 hours of footage Cool tricks for keyboard shortcuts Why ripple deleting is so satisfying Helping directors through the birthing process of their films What really makes you a good editor Remembering to be excited about the things that are working Memorable Quotes “You’ve been working 16 hour days for a month and you’re like ‘what am I doing with my life, I am so tired.’” [16:02] “With docs you are shaping the story whereas a narrative has a script.” [29:18] “I am a really visual screenwriter. I can see what I’m writing.” [30:40] Resources:Plan CFind 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

Topics discussed include the significance of the SAG strike, negotiation strategies for fair pay, the impact of AI in the industry, boycotting subscription services, supporting picket lines, seeking waivers for indie filmmakers, and avoiding working for AMPTP companies. Memorable quotes and advice for new filmmakers are also highlighted.

So you’re a beginner filmmaker who isn’t sure what path to take. Do you focus on commercials, television, documentaries, or feature films? Well, who says you have to pick just one lane and stick to it? In today’s episode, No Film School’s GG Hawkins and director Natalia Leite discuss:  Natalia’s path to writing and directing Why she is so grateful she started her career in documentaries  Creating an environment where people feel comfortable to break script Being belittled on set of her first feature film and standing up for herself Why she doesn’t like to physically rehearse the script  What is was like to prepare actors for sexual assault scenes in her second feature How vulnerable it is to be an actor  The benefits of approaching different formats as a director How she likes to shotlist the edit Allowing yourself the learning curve in your film career Memorable Quotes “I just love that mish-mash of stuff of how to blur the lines of what’s real and what’s not.” [8:39] “I love working with actors and I always try to connect with them on a deep, vulnerable level.” [15:40] “There’s so much to be had in collaborating and fulfilling someone else’s vision.” [32:46] Resources:Natalia’s InstagramFind 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