The No Film School Podcast

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

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