The No Film School Podcast

The Blacklist started as an annual list of the best, unproduced screenplays in Hollywood. Nowadays, it’s an awesome online platform that nurtures and empowers screenwriters from around the world, by helping them showcase their scripts and grow within the industry.In today’s episode, No Film School’s GG Hawkins, Jason Hellerman, and host of the Blacklisted podcast, Chris Hill, discuss: How the Blacklist got its start and what it looks like today The difference between the website and the annual list of scripts Getting multiple reports on a script Recurring themes of screenplays on the Blacklist What life is like after being on the list The importance of using action descriptions  Approaching your script with a journalistic curiosity How to avoid writing a purely factual story  The best way to approach writing a biopic Why you need to write a detailed outline Memorable Quotes “One of the best things about the Blacklist is that it intentionally gives you heat.” [15:44] “You're always pushing that rock up the hill, no matter what level you’re at. The rock isn’t lighter. Now it’s a bigger rock.” [21:05] “Hollywood isn’t just an IP delivering service. It’s where dreamers go to dream big ideas.” [48:30] MentionedThe Blacklist websiteListen to Blacklisted on AppleListen to Blacklisted on Spotify Follow Chris on XFollow Blacklisted Podcast on X 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

Ken Whittingham has directed shows we all know and love such as, The Office, 30 Rock, and Parks and Recreation. More recently, he has worked on the TV comedy, Abbot Elementary, which uses a mockumentary production style, similar to The Office. While Ken is an award-winning director with over 25 years of experience, he believes in the power of teamwork and respecting everyone on set regardless of their title.In today’s episode, No Film School’s GG Hawkins speaks with director Ken Whittingham and BraveMaker podcast host Priscilla Lam to discuss: Selling a script as a new PA How Ken became a television director  Learning how to clearly communicate with actors The balance between giving actors autonomy and giving them direction An awkward moment with Alec Baldwin on the set of 30 Rock Tone meetings - what are they and why are they important Treating the documentarian in The Office as if it were a separate character The power of subtlety in comedy How Ken and Priscilla met  Transitioning from TV into film Our favorite shows, movies, and hobbies Memorable Quotes “I still get nervous. Every Sunday night before I shoot Monday morning, I’m nervous.” [10:37] “You can’t get into this business, thinking about money. You have to go with your passion, and really believe in yourself.” [42:56] “Everybody’s job is important and nobody’s job is more important than the other. It’s a team effort.” [48:01] MentionedAbbott Elementary S2E21The Office S1E3Ken's InstagramPriscilla's InstagramBraveMaker on Instagram BraveMaker Film FestivalFind 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

As a beginning editor, working on low-budget projects is normal when you’re first starting. Once you get some experience under your belt, there comes a time when you have to start advocating for yourself so that you can get paid more. The “something is better than nothing mindset” can only serve you for so long, before you start to burn out. In today’s episode, No Film School’s GG Hawkins and editor Sofi Marshall discuss: Falling in love with editing in high school  What the indie film scene is like in New York How to editors can make themselves more visible and less excluded What it’s like to watch a Sundance premiere of a film you worked on Landing the editing role on I Saw the TV Glow What it was like to work on two different films at the same time Sofi’s favorite tools in Adobe Premiere Cutting the entire film remotely  Taking on too many low-budget projects at the start of her career Knowing when to ask for more pay Memorable Quotes “All of my films have come to me via a direct recommendation, just from people I have met.” [5:05] “There’s nothing like watching your movie during that first premiere. It’s such a dopamine rush and terrifying at the same time. It’s great.” [8:19] “No matter how much pre-planning you do, it’s always going to change in the edit.” [23:02] MentionedI Saw The TV GlowFind 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

Paramount and Skydance are merging. How does that impact the people already involved in those companies and what does it mean for the rest of us? How did House of Dragon pull off the epic Battle of Rook’s Rest, featuring multiple, fighting dragons? Let’s find out together!In today’s episode, No Film School’s GG Hawkins and Jason Hellerman discuss: What we know about the Paramount - Skydance merger Whether or not the merger will result in job losses An epic battle scene on season 2 of House of The Dragon What we love about this HBO series Creating flexibility in your shooting process The importance of scope and scale Including establishing shots into your script The types of oners we find frustrating Memorable Quotes “There will always be job losses with mergers because there will always be redundancies.” [7:50] “Whether you’re in TV or you’re in film, we do need to invest in brutality to make it feel real.” [15:38] “If you’re just letting your camera roll, no thank you. That is not scale. That is not scope. That is not impressive.” [23:12] MentionedMastering Scope and Scale in Screenwriting 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

On this special episode of the No Film School podcast, host GG Hawkins shares her experience of writing her first feature, 'I Really Love My Husband' on a small budget and arguably, an even smaller timeline. She discusses the constraints she faced, the collaborative writing process, and the challenges of receiving feedback. GG emphasizes the importance of pushing through the bad drafts to reach the good ones and highlights the value of constraints in spurring creativity. She also emphasizes the need for support from others and setting deadlines.Takeaways Constraints can spur creativity and lead to unique and specific storytelling. Writing doesn't have to be a lonely process; seek feedback and collaborate with others. Push through the bad drafts to reach the good ones; don't be discouraged by initial shortcomings. Setting deadlines and receiving feedback from trusted sources can help refine and improve the script. Video: https://vimeo.com/979992225?share=copySupport the film: gghawkins.com/backourfilmThis episode is Directed & Produced by Max Gibson Learn more about your ad choices. Visit megaphone.fm/adchoices

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] MentionedA Family AffairFind 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 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] MentionedLions of MesopotamiaFind 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

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