The No Film School Podcast

What can we, as independent filmmakers, learn from movie franchises with big legacies? How is AI affecting the careers of writers and actors? What is the best way to properly insure film equipment in the event it gets stolen?In today’s episode, No Film School’s Charles Haine and GG Hawkins discuss: Box Office numbers for Indiana Jones and the Dial of Destiny The Blumhouse model versus the studio model  The lack of spark and zest in legacy films Weird pacing in big studio movies that confuse us  Lessons indie filmmakers can take from the Indiana Jones franchise The crazy TikTok “teenage filter” Using AI to alter acting performances in post production Why insuring your film gear is extremely important Whether or not your homeowners policy will cover your film gear  Voluntary parting - is it considered theft or fraud  Memorable Quotes “That 300 million dollar movie that you think is a safe bet, often isn’t.” [3:34] “Writers and actors are facing huge, catastrophic changes based on A.I.” [29:42] “Unity is everything here. Unity is the only thing we have to try and exert any power.” [31:39] Resources:Her Arts Lab in ItalyAsteroid CityFind 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 are the similarities and differences when it comes to working in film versus working in podcasting? What lessons can we take from filmmaking into the audio space, and vice versa? In today’s episode, No Film School’s GG Hawkins, Andrew Barbot, Joanna Hausmann, and Marcus Thorne Bagalà discuss: The inspiration behind this roundtable discussion Starting in TV and moving into podcasting Opportunities for experimenting and world building Hijacking listeners imaginations through podcasting  The differences in casting for podcast shows versus tv shows  The challenges involved in scripted podcasts Using sound design to avoid exposition Grounding your podcast in specificity  Being much more aware of sound and audio People getting into the space that don’t understand it Memorable Quotes “Maybe I forgot about it because I just blacked it all out.” [11:49] “You have flexibility in audio that you don’t have in tv and film.” [19:19] “Is this something you want to spend hours of your week doing, not because an audience will like it, but because it will come naturally to you.” [39:54] Resources:You Feeling This Podcast trailerAndrew’s workFollow Andrew on TwitterJoanna’s workFollow Joanna on InstagramMarcus’ workFollow Marcus on TwitterFind 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

Immersive gaming, augmented reality, and new camera technology. We experienced all of this and more at the 2023 Cine Gear Expo and the 2023 Tribeca Festival. In today’s episode, No Film School’s GG Hawkins and Yaro Altunin discuss:  The immersive gaming floor at Tribeca How important it is to lean into the format you are using to tell a story Using AI to craft art, not generate it The similarities of cameras at the Cine Gear Expo Explaining what an ND filter is  Reading scripts on a tablet  Why you need to properly slate every shot  Where we get our clapper boards The movies we are excited to see this summer  What scares us about streaming services  Memorable Quotes “This really did feel like it was a storytelling setting with an escape room experience.” [3:17] “The gaming world is exploding as the filmmaking world is in a less than stable place.” [8:16] “You can go to any company and pick up any camera, and shoot an incredible movie with it.” [21:12] “It’s a pivotal moment that transforms a set into a scene.” [33:13] Resources:Tribeca FestivalCine Gear ExpoThe Pirate Queen: A Forgotten LegendMonstroramaIn Search of TimeFind 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 do you figure out your film’s story in the edit, when your story has no script at all? The skill of editing is absolutely critical to the filmmaking and storytelling process. In today’s episode, No Film School’s GG Hawkins and editors, Kelly Kendrick and Jamie Boyle discuss: Their experiences at the 2023 Tribeca Film Festival The similarities between the documentaries How to tell a story with multiple characters  Balancing the dark moments and joyous moments by toggling between the characters The challenges in portraying well-intentioned, yet flawed characters What the collaborative process looked like during editing  Receiving feedback and taking in the essence of the notes being given Integrating text and print into the documentaries  Favorite editing tools and hacks Memorable Quotes “We didn’t want to try to tell people how to feel about the stories.” [19:18] “You kind of become a middle man and you don’t even know what’s been communicated to everybody.” [40:18] “I don’t think there really is an unhelpful note, it’s more so just getting to the seed of what they’re needing.” [43:27] “It’s so satisfying to make a scene shine before you’re sending it out to festivals or directors.” [52:19] Resources:Tribeca Film FestivalEvery BodyBreaking the NewsFind 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

So you have written a tv show that you want to sell, but how do you do it? How do you get people to become intrigued and vested in your idea? How much should you practice your pitch, and can you use gimmicks in the pitch meeting to grab attention? In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman and the team behind the show, Chanshi discuss: Defining what an “If Come” is  Realizing that the showrunner must have past experience on other other tv shows  Answering the ‘why now’ and ‘why you’ in a pitch meeting How to not feel icky when selling an idea  Evaluating agents and managers just like they evaluate you Using unique gimmicks and stunts when pitching Chanshi - a hilarious, heartfelt, yet dark tv show filmed in Israel Why they didn’t write the main character as ‘more likable’ Difficulty casting American actors in Israel  What it was like having two directors on set for the show Memorable Quotes “Your excitement for the idea will be contagious.” [13:10] “When you’re selling anything, you’re not just looking to sell it. You’re looking to find the right partner.” [14:02] “You cannot practice your pitch enough.” [27:09] “We both hated writing. That’s what brought us together.” [51:25] “Finish on time or we’re going to shut your cameras off.” [60:00] Resources:Chanshi 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

The Bentonville Film Festival (BFF) was founded in 2015 by Academy Award–winning actress Geena Davis. The mission of the festival is to influence mainstream media to increase diversity and the presence of underrepresented groups in their content. We were honored to speak to two filmmakers who presented projects at the 2023 festival. In this episode, No Film School’s GG Hawkins, director Meghan Ross, and filmmaker Sierra Urich discuss: Meghan’s project, Here to Make Friends, and its diverse cast and crew The difficulties Meghan had in filming her episodic proof in Texas, when abortion became illegal Sierra’s film, Joonam, that won ‘Best Documentary Feature’ at BFF What it was like to watch footage with actual subtitles, compared to the translation she received during filming Getting excellent feedback and guidance from a supervising editor  Discovering the storyline in post production  How the most uncomfortable scenes end up being the most meaningful  Forgetting about the physical filming tools as much as possible What it was like to feature her film at Sundance 2023 Memorable Quotes “There’s a requirement for inclusivity in all the films that are featured at Bentonville.” [6:21] “Pay yourself first because if you don’t, you may never get paid.” [29:31] “When you’re dealing with real people with real personalities, you’re just along for the ride with them.” [36:48] Resources:Bentonville Film FestivalHere to Make FriendsMeghan’s websiteJoonamSierra’s websiteFind 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 order to make your movie, you need money. So how do you get over that uncomfortable feeling of asking people to invest in your project? And once you have the financing, how do you get over the fact that your movie is not going to be appreciated by all audiences?In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman and producer Michael Mendelsohn discuss:  The wonderful process of discovering classic movies  Our parents sheltering us from watching certain scenes in famous movies The best way you can become good at packaging and pitching a project What it’s like to film underwater, deep in the Baltic Sea while a war is going on nearby Breaking into the industry at 17 years old People claiming titles without actually doing the work Taking stories of actual experiences and then putting them to screen  The types of stories Michael typically leans towards Memorable Quotes “Stop doing impersonations of your favorite filmmakers and start figuring out what you have to say.” [4:10] “I’m shooting there and the neighboring countries are at war. Missiles flying over, submarines, helicopters, airplanes…while we were filming.” [26:54] “I have met several people that are back-biting, double-crossing, jerks who think they’re going to make it that way.” [39:04] “Being okay with not being okay with everyone, is something we need to lean into as storytellers.” [54:38] Resources:  Ghost ShipsI am MichaelGod is a BulletGet LostFind 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

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 trailerFind 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

The Tribeca Film Festival is celebrating its 22nd anniversary in New York City. It is a big part of the festival circuit and we at No Film School love everything about it. From how it got its start, to the great networking benefits to attending.In today’s episode, No Film School’s Charles Haine and GG Hawkins discuss: The history of the Tribeca Film Festival Differences between Tribeca and Sundance GG’s experience attending the 2023 festival Reconnecting with people at the festival The importance of taking time to attend film festivals Excited to watch the show Jury Duty  Plus, we share a short conversation with director - writer, Ethan Berger. He describes the process of creating his feature film, The Line, which premiered at the 2023 Tribeca Film Festival. The film portrays the blind adherence to tradition told through the lens of a fictional college fraternity. The film is both cringey, yet fascinating to watch and is the perfect examination of what is wrong with the tradition that still exists on college campuses. Memorable Quotes “The vibe of Manhattan is just contagious.” [4:09] “The festivals are for staying in the mix.” [4:57] “It is a concentrated investment of your time that pays off, from a networking perspective.” [9:46] “You only want people to be in your movie, who want to be there.” [26:14] “All art is about provoking an emotional response from an audience, and it should feel intentional.” [35:55] Resources:Jury DutyThe LineFind 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

Xavier Grobet is a cinematographer for movies and television shows. He is known for his work on films such as Focus and Nacho Libre and tv shows like The Watchmen and WeCrashed. Xavier is also the cinematographer for the Emmy-award-winning show, The White Lotus, which is available for streaming on HBO Max.In this episode, No Film School’s GG Hawkins and cinematographer Xavier Grobet discuss: Growing up surrounded by photography  Different opportunities Xavier had when attending film school in Mexico City Starting his film career as a camera assistant Meeting director-producer Mike White on the set of Nacho Libre All the elements that make a fun and great working environment Creative differences between film and tv shows Controlling the look of the show How the gaffer and board operator hacked into the hotel server where they shot White Lotus How to pull off cross-shooting  Sharing inspiring stories of others in the film industry who never gave up Memorable Quotes “I do love documentaries. I wish I had done more in my career.” [7:24] “It’s been an evolution from film language to tv language.” [16:53] “Usually I like having a LUT created from the beginning and just stick to it.” [25:11] “The best thing to do is to be as close as possible to your liking from the get-go.” [25:50] “Find your own and just pursue every possible opportunity that you have.” [41:43] Resources:How to make money as a cinematographerListen to our interview with ‘Mami Wata’ Director and DPThe White Lotus season 2 trailerFind 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