The No Film School Podcast

TV is oversaturated. California is too expensive to film in. Many audiences are underserved. It’s time we indie filmmakers rebuild the film industry on our terms. Plus, we bid farewell to a beloved host of the No Film School podcast. In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman, and guest Janek Ambros discuss: Not waiting on labs or studios to give you the green light The influx of people looking for jobs in the market Needing better streamer options for indie projects The benefits of serving an underserved audience Why the distribution process is vital Advice for people who think they are finished with their project The important reasons Charles insists on working in Davinci Resolve  Why Charles is leaving the No Film School podcast The origin of the short documentary film, Ukrainians in Exile Why Janek wanted to keep the movie so simple and so short Advice for documentary filmmakers Memorable Quotes: “We’re going to have this feral resurgence of indie filmmaking because we are so sick of the industry to figure it out.” [5:54] “Breakdowns lead to breakthroughs. We need to break through because the way it’s been working is not sustainable.” [6:35] “It should be a lot easier to shoot in California, it shouldn’t be so expensive.” [13:32] “Because of the way distribution works, distribution never feels finished.” [28:00] “People think I know all these celebrities, but I don’t. I just annoy every single publicist in Hollywood.” [1:03:07] “If you want to make a short doc, you can make a short doc. There’s no excuse for that.” [1:07:50] Links:Ukrainians in Exile: A Documentary Short Film Follow Assembly Line Entertainment on IG Follow Janek on XBlueCheck Ukraine 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

If you were a teen in the early 2000s, the film Dìdi will likely evoke a strong sense of nostalgia. Dìdi, which is said to embrace “the cringier side of adolescence,” premiered at the 2024 Sundance Film Festival where it won the Audience Award for the best U.S. Dramatic film. In today’s episode, No Film School’s GG Hawkins speaks with Sean Wang and Arielle Zakowski to discuss: The invaluable experience gained working in advertising  Why the advertising world is a great start for new filmmakers Feeling emotion through the computer screens in the film Our silly AOL Instant Messenger user names from the early 2000s Empowering the young actors and giving them the space to play How to help actors stop overthinking when they are stuck in their heads Getting the director’s cut finished in time to submit to Sundance Being pregnant during post-production  The power of making small, very personal films Memorable Quotes “We always wanted to make sure you could feel the person behind the computer.” [15:49] “Any idea is a good idea. If you try it and it doesn’t work, then we can recalibrate.” [18:47] “Maintaining any sense of objectivity in the edit is kind of the hardest part.” [31:31] “The thing you think is just the thing you do for fun that no one will care about, that’s the thing that will help you find your voice.” [33:43] “Make the things that feel very small and pure and have those build on top of each other.” [35:45] Mentioned:Follow Arielle on IG Follow Sean on IG Dìdi 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

Producers are involved in every step of creating a film, from development to post-production. The role of a producer is not only to keep everyone on the same page but also to remove barriers so the cast and crew can focus on the creative elements needed to create a fantastic film.In today’s episode, No Film School’s GG Hawkins speaks with Executive Producer Emmy Yu to discuss: The top two most popular No Film School articles this week The reasons why having a pitch deck is important Acting in movies as a child and falling in love with film Adapting the video game, Borderlands, to the big screen Working with actors like Cate Blanchett, Kevin Hart, and Jack Black The challenge of adapting video game characters Facilitating communication and openness with different departments Why you need to bring VFX into the process as early as possible Post-production and building the tone of the film in the edit The importance of having mentors in your life Memorable Quotes “At every single phase of getting a movie made, you have to find different ways to convey what it's going to feel like.” [9:46] “A producer’s job is to clear the runway for the director so that the director can just focus on making the movie.” [36:05] “Visual effects needs to be brought on as early as possible.” [42:08] “There are a lot of ways forward. Don’t get discouraged because what you’re doing might not look like what somebody else is doing.” [49:13] MentionedBorderlands trailer 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

On this bonus episode of the No Film School podcast, host GG Hawkins is joined by members of the team behind the movie she wrote and directed, 'I Really Love My Husband'. Cinematographer Ryan Thomas and Actors Madison Lanesey and Travis Quinton Young share their own fears and how they overcame them during the filmmaking process. The conversation highlights the importance of embracing fear, taking risks, and having unwavering confidence in the outcome.Takeaways- Making movies can be scary, but it's important to embrace fear and take risks.- Having unwavering confidence in the outcome can help overcome fear and challenges.- Collaboration and support from a team of trusted individuals can make the filmmaking process less daunting.- Embracing fear and using it as a tool can lead to personal and artistic growth.- The satisfaction of seeing the final product and knowing that the hard work paid off is worth the challenges faced during the filmmaking process.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

“Remain curious. Approach projects not with a notion of what kind of product you want to create in the market, but rather, what do you want to learn.” This advice, which comes from the directors of the documentary War Game, embodies the theme of today’s episode. - It’s okay to create unconventional films about unconventional topics.In today’s episode, No Film School’s GG Hawkins, Jason Hellerman, and directors Jesse Moss & Tony Gerber discuss: Robert Downey Jr’s surprising return to Marvel The culture of Comic-Con and past experiences at the convention Experimental films - what are they Why we love experimental filmmaking  Why Jesse and Tony love working together as co-directors The challenges of filming a real-life political simulation Having 50 people connected to microphones at once Letting go of control and ego Building trust and capturing human moments with documentary subjects Surrounding yourself with people who have different opinions  Memorable Quotes “How can I challenge the conventions of normal cinema to stick out?” [15:54] “This was a hell of a film to collaborate on. This was a real challenging undertaking.” [23:39] “You want your camera operators to be listening to dialogue because you want them to function like storytellers.” [29:06] “You don’t just want to work with people who make you feel safe and comfortable. You want people who are going to push you a little bit.” [37:43] Mentioned:What are the Best Experimental Films of All Time?War Game trailerWar Game website 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

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