The No Film School Podcast

In today’s episode, we discuss storytelling in both the show and video game adaptation of The Last of Us.Also, we talk about Warner Bros suing South Park and how it speaks to the frustrations creatives are experiencing in the industry. In today’s episode, No Film School’s Charles Haine, Jason Hellerman and GG Hawkins discuss: The things we wanted to see in a flashback episode of The Last of Us Expecting to see more sophisticated and interesting video game adaptations in the future Good actors versus bad actors in regards to legal contracts The after effects of a change in studio ownership How frustrating Hollywood is for a lot of creatives Why development is still so important Memorable Quotes “The more you do this filmmaking thing, the more empathy you have with people struggling with these challenges.” [11:50] “The problem with all flashbacks is we know what happens after.” [16:33] “Create a writing profession where breaking in doesn’t cost you ten years of your life and you get paid no money.” [37:10] Resources:The Last of Us ShowThe Last of Us GameSouth Park lawsuitFind 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/nofilmschoolGet your questions answered on the podcast by emailing editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

Today’s guest is award winning editor, Mikkel E.G. Nielsen. Mikkel is an editor and director known for films such as Sound of Metal, Beasts of No Nation, and most recently, The Banshees of Inisherin. Mikkel shares what he appreciates most about being a film editor.In this episode, we discuss… What Mikkel appreciates the most from his time in film school in Denmark Realizing you can treat material in many different ways Remaining as objective and open as possible, especially in the initial stages of the process Loving and honoring the collaborative process of editing a film  Why “less is more” sometimes How finding balance and simplicity lends to a more powerful film Helping the director make the best possible version of their intention Memorable Quotes “Editing has always been about experimenting and trying to see if there’s new ways to do certain things and to treat material in different ways.” [5:12] “On a first pass you never ever touch anything from the script.” [15:15] “There are so many things that are possible with so little material.” [18:14] “We have a tendency in editing especially, to make things complicated.” [35:17] “The film is not my baby. I’m helping someone and I always see it like that.” [41:43] Resources:Aqua Music Video: https://www.youtube.com/watch?v=WQPS5J9_GNwWalter Murch https://nofilmschool.com/podcast-legendary-walter-murch-editingAlison O’Daniel and the Tuba Thieves https://nofilmschool.com/the-tuba-thieves2023 Sundance Post Round Table https://nofilmschool.com/editors-and-post-sound-have-crush-each-others-workFind 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/nofilmschoolGet your questions answered on the podcast by emailing editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

In today’s episode, we discuss whether or not editors should be allowed to digitally manipulate performances. Also, we talk about the changes RED is making and what cameras they will no longer offer. In this episode, we talk about… Milkshake ducking and why we are afraid of it Protecting the performance element of an actor’s work What editors need to consider before making artificial changes to an actor’s performance A recent announcement from RED that has left many camera owners disappointed Our experiences shooting on RED cameras How to approach working with non-actors Memorable Quotes “The thing that AI is very good at doing is changing a facial expression.” [7:04] “We’re living in this world of contrived filters and I don’t want us to move too much further into that….we need to protect the humanity.” [9:15] “We’re watching civilizational standards shift.” [10:35] MentionedRED Camera Announcement Keanu Reeves Warns Us About the Dangers of AI Editing ActorsET Audition TapeFind 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/nofilmschoolGet your questions answered on the podcast by emailing editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

Hours before their Sundance premieres, we spoke with the writing fellows of Women Write Now, Hartbeat’s annual comedic screenwriting fellowship for Black women in partnership with the Sundance Institute. In addition to having the three writing fellows on, we were also joined by Hartbeat’s Head of Film, Candice Wilson-Cherry, who takes us through how the program is designed to directly address the lack of BIPOC women in leadership positions like showrunners and in writers' rooms. We also were joined by Hey Boo director Logan Browning who you might know from The Perfection and Dear White People. And in addition to diving into the art of comedy, we also dig into the art of directing for comedy. All of these shorts are directed by actors — the other two being Tika Sumpter and Nicole Byer.In this episode, we discuss… How the Women Write Now program is filling a void in the writing space  Their process for finding writiers and directors for the program The development process of each of the shorts  Fitting the script into only 10 pages Having to adjust things for the budgets Finding mentors who would guide fellows in nurturing yet realistic ways Doing table reads versus chemistry reads Letting go of control by trusting actors Hitting deadlines so you don’t hold up production Memorable Quotes “It’s really important that all of our films, tv shows, and formats are all reflective of the world.” [3:28] “That was really nice, sort of discovering a different layer and different element to the story.” [9:56] “They have helped me walk into a door that was closed.” [14:03] “Make sure your actors get to be free and play.” [22:28] “Write, write, write. You only become good, by just doing it.” [34:32] “If you feel like you are a writer to your core, don’t be afraid to say it and don’t be afraid to tell people.” [41:03] Mentioned:https://womenwritenow.com/The Real Hartbeat on InstagramCandice Wilson Cherry (Producer of the films)Logan Browning (Hey Boo director)Danielle Solomon (Hey Boo writer)Mayanna Berrin (Power Dynamics writer)Kiana Butler (Night Off writer)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/nofilmschoolGet your questions answered on the podcast by emailing editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

Continuing our Sundance coverage in episode 608 of the No Film School podcast, we sat down with editors and sound teams from films premiering at the festival. In addition to unpacking post production — the final and critical phase of filmmaking — we uncovered possibly the biggest work crushes in the film industry. In this conversation, you’ll hear from:  Emmy-winning editor, Taylor Mason - Editor for the psychological horror film Birth/Rebirth which premiered in the Midnight section on say one of Sundance. Mason’s previous work includes the Netflix mini-series Dahmer – Monster: The Jeffrey Dahmer Story, and Pose, as well as the variety show A Black Lady Sketch Show, for which Taylor and her team of editors became the first all-Black team to win a Primetime Emmy Award for Outstanding Picture Editing. Jon Philpot - Editor for the mockumentary film Theater Camp. Jon previously worked on beloved comedy series like Hacks, Search Party, Broad City, and Awkwafina is Nora From Queens, and At Home With Amy Sedaris.  Mike James Gallagher and Anthony Vanchure - Part of the sound team on Onyx the Fortuitous and the Talisman, the pair also recently worked on the biopic Weird: The Al Yankovic Story, as well as Selena Gomez: My Mind & Me and their collaboration on the documentary Lucy and Desi earned the pair an Emmy nomination. In this episode, we discuss… Breaking story as an editor The emotions of door sounds Temp sound and editors hoping to impress the sound designers and vice-versa Figuring out the most interesting way to keep people engaged The great thing about low budget projects  Balancing the tone of a more dramatic story with moments of levity The great combination of laughter and fear How sound design can affect people psychologically  Why it's so fun for editors and sound designers to collaborate Memorable Quotes “Is this a scene? Is this supposed to be entertaining? What does this have to do with anything?” [16:14] “I wanna do a great job. I wanna do that on every project I work on. You don’t just want to half ass it.” [21:38] “The idea of mixing comedy and horror together is phenomenal.” [31:00] “I love working with editors that take sound seriously.” [41:35] Mentioned:Taylor Mason InstagramJon Philpot InstagramMike James Gallagher Instagram, website and sound design deconstructionsAnthony Vanchure 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/nofilmschoolGet your questions answered on the podcast by emailing editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, we talk about considering the advice of others, while still being the architect of your own destiny. Also, we chat about maintaining healthy relationships with collaborators and the importance of clear communication.In this episode, we talk about… Our experiences with agencies and the important lessons we learned Discussing the myths of management Trusting your instincts and following your “why” Why you need reps that truly believe in you and what you are doing Not working with the same people on all your projects Breaking out of the box people put you in  Avoiding relationship rifts and how to handle it when it happens Memorable Quotes “People in that business burn out fast. They burn bright and they burn fast and they burn bridges.” [7:28] “You gotta do some internal housekeeping and soul searching.” [9:30] “You are there to evaluate them as much as they are there to evaluate you.” [15:22] “When we present ourselves with too many cerebral options, we get lost.” [24:37] Mentioned:Start With WhyFind 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/nofilmschoolGet your questions answered on the podcast by emailing editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

Today’s guest is director, Jason Woliner. Jason is the director of Borat 2, Nathan For You, and the latest rule breaking show, Paul T. Goldman. We chat about pushing forward on your ideas, even when receiving constant rejection. In this episode, we talk about… How comedy has evolved to include real people in real life situations People thinking Paul’s story is completely fake and that he is just an actor Allowing Paul to make decisions and follow his lead Finally selling the show after getting over a hundred rejections The role timing plays in getting projects made Marveling at the decisions Paul’s mind made in writing the script  Memorable Quotes “I feel like there’s been this shift where real life is just crazier and funnier than anything that is just purely written.” [3:28] “The richness of life is so much weirder, funnier, more interesting than most written content.” [4:31] “Yes, it’s unpolished and it sounds different, but it’s a real person expressing their version of their life.” [15:34] “Most of my career has been spent trying and failing to get things made.” [23:22] Mentioned:Paul T. GoldmanFind 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/nofilmschoolGet your questions answered on the podcast by emailing editor@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

In today’s episode, we host a roundtable discussion with cinematographers of four different Sundance films. We chat about problem solving on set, collaborating with directors, creative lighting solutions, protecting your energy for the stories you love, and finding the silver lining in the less than ideal projects. In this episode, we talk about… Four different Sundance films and what they are about How these DP’s booked their jobs Using a single camera versus two cameras Implementing unique lighting techniques  Having longer takes with minimal camera movement  Working as a gaffer versus working as a DP Finding the community you love and holding onto it Recognizing the opportunity cost when you take a film just to shoot something  Memorable Quotes “I feel like I have a connection to all these films because I’ve lived in New York, I have multigenerational family drama, I didn’t join a satanic cult, but I did go to theater camp.” [3:37] “An intense amount of prep and being as prepared as possible with a detailed shot list, floor plans and photo boards.” [24:23] “There is so much value in working on sets in other roles.” [43:13] “You kill yourself for a movie and you don’t want to kill yourself for a bad one.” [46:08] Mentioned:Nate Hurtsellers - Theater CampNate Hurtsellers InstagramDan Adlerstein - Onyx the Fortuitous and the Talisman of SoulsDan Adlerstein InstagramScott Miller - A Little PrayerScott Miller InstagramZach Kuperstein - Power SignalZach Kuperstein 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/nofilmschoolGet your questions answered on the podcast by emailing editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices

On today’s episode, No Film School founder Ryan Koo, writer Alyssa Miller, and podcast co-host GG Hawkins discuss their favorite aspects of Sundance 2023. They discuss the most impactful films they watched, the nature of networking at the festival, and the exciting film acquisitions that occurred. In this episode, we talk about… Sundance films that we loved Mutual exhaustion and excitement everyone experienced at Sundance Understanding the currency of human emotion How, without Sundance, it would be difficult for certain films to be made Why you don't need a full scale production to make a brilliant film Having to navigate relationships in the industry with a guard up  The value in making connections in such a concentrated amount of time Multiple $20 million acquisitions for independent filmmakers Memorable Quotes “Diversity in emotion. The entirety of the human experience is found in this slate.” [1:32] “The currency of human emotion…will probably be one of the hardest things for A.I. to define.” [10:20] “Wow! Movies are so alive and well. Independent film is so alive and well.” [29:21] “You really bond when you’re freezing.” [30:26] “You are your own business as a filmmaker, and you have to be making these connections.” [37:50] 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/nofilmschoolGet your questions answered on the podcast by emailing editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices

Recently we were honored to interview the director of Sundance film, The Tuba Thieves, Alison O’Daniel. She shares what it was like to create a film that focused primarily on sound oversight. The Tuba Thieves not only challenges the rules of filmmaking, but it revolutionizes the way we do captioning.Full transcript available here. In this episode, we talk about: A film 11 years in the making. Slow burn by design…  The future of captioning and O'Daniel's How to Caption resource Breaking the rules of filmmaking Finding the champions of your project—both with labs and grants, and without ‘em Patient, piecemeal filmmaking No Film School's coverage of Sundance 2023 is brought to you by Adobe.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/nofilmschoolGet your questions answered on the podcast by emailing editor@nofilmschool.com!  Learn more about your ad choices. Visit megaphone.fm/adchoices