The No Film School Podcast

Maura Corey is the picture editor of Gen V, a satire about young adult superheroes. Walter Schulz is the visual effects supervisor behind The Curse, a story about a cursed couple who are part of a reality show. These two creatives share how they got their start, their work process, and what it takes to build a successful career in film.In today’s episode, No Film School’s Grant Vance speaks with editor Maura Corey and visual effects supervisor Walter Schulz to discuss: Their relationships with other departments The benefits of working in both production and post-production Maintaining the tone and feel of The Boys while editing Gen V Why there is a comeback for practical effects in TV  The unique, collaborative nature of working on The Curse A.I. - will it affect editing and VFX The reason visual effects have improved in television in the past 10 years The importance of advocating for yourself and telling others your goals The unique paths they took and opportunities that came their way  Memorable Quotes “You’d be surprised how much VFX are actually in comedy.” [13:54] “Visual language is such a strong medium to illustrate an emotional journey.” [21:31] “Don’t hate any tools….that one tool you hate is going to save you in those two months you are out of work.” [25:41] “The only way you’re going to be able to move ahead in this business is to tell people what you want to do.” [40:07] “Don’t be afraid to walk out of your comfort zone. That will change your life.” [47:25] MentionedGen VThe Curse  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

Just how important are character introductions in film? What are the most important steps you need to take before sending out your script? How do you pay for healthcare as a freelance filmmaker? In today’s episode, No Film School’s Charles Haine and Jason Hellerman discuss: Why writers need to improve their character introductions Examples of movie intros we love Copyright - should you copyright your script before sending it out Why you should join a writer’s group  Asking for honest, constructive feedback from your network The importance of log lines Why most production companies don’t offer health insurance  Exploring public healthcare exchanges Memorable Quotes “There’s a million reasons to put a screenplay down after a couple of pages. The reason to keep reading is because you’re interested in the characters.” [10:00] “Your first twenty pages are about developing a relationship with the reader and having them trust you and be confident in you. Typos break that ability to have that trust.” [24:14] “The most important people to you in your career are people one step down and one step up the ladder from you.” [40:10] “The problem with union benefits is the volume of work you have to do to keep them.” [48:57] MentionedWhat is a Logline? 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

There's no better feeling than completing a project you’ve been working on for, what feels like, forever. On one hand, you’re relieved but you're also anxious to figure out what to work on next. How do you decide what your new project will be, and what is the most efficient strategy for getting started on it?In today’s episode, No Film School’s GG Hawkins and Jason Hellerman discuss: The first questions you need to ask yourself before deciding on your next project Doing market research and getting feedback on your initial ideas Narrowing down on your ideas Writing with specific actors and directors in mind Developing relationships and keeping track of your interactions The draft-writing process Setting parameters for the people who will read your first drafts Being selective about who will receive your final spec Why you should give yourself time off Memorable Quotes “I do not start writing anything unless I can picture the actors in it.” [10:09] “I do not start writing until I’m one-hundred percent sure how that idea ends. What’s the ending of the story?” [13:26] “The best part about this cycle is you’re always cultivating, and you’re always getting better at it.” [33:57] “I need to live life to come up with ideas. I need to do things to come up with ideas.” [35:32] MentionedOscar-Winning Screenwriter Eric Roth Takes You on a Tour of His Writing Process 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

In life, we can’t please everyone. There will be people who “get us” and others who simply don’t. It’s the same when you’re a filmmaker. Your work won’t vibe with everyone who sees it, and that’s totally okay! It’s time to face your fears, give it your all, and create those projects that reveal your darkest instincts. In today’s episode, No Film School’s GG Hawkins speaks with Sam Baron and Madison Lanesy to discuss:  What it’s like to receive polarized reactions  Feeling terrified to share projects with personal subject matter Career lessons from Ice Age and Mrs.Doubtfire  Having a YouTube video go viral at 17 years old The story behind the name of Sam’s short, The Orgy Turning in films as book reports in middle school The beauty and freedom of improv acting Sam’s process of submitting shorts Pushing past fear and discomfort Working with a team that believes in your project Making personal sacrifices while working on projects  Memorable Quotes “Working on any project takes so much from you…so you better make sure it’s a worthwhile project you really care about.” [18:51] “You need to take the temperature of the audience, but you also need to take the temperature of yourself. If you just do one or the other, you’re going to get out of balance.” [32:00] “I accidentally proved a concept by being true to my deep, creative nature.” [52:41] “Get to know yourself as a filmmaker. You are the only you.” [76:42] MentionedHere's What Happens When You Win the Nicholl Fellowship in ScreenwritingIs This the Tool Filmmakers Need to Find Their Audience?Short: Tall Dark and HandsomeShort: The OrgyShort: YES, DADDYFollow Sam on IGFollow Madison on IGFind 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’re a director who has become too attached to the temp score, you’re essentially falling in love with something you can’t have. While it may feel impossible to let go, it is possible. Let’s look at some ways you can break up with your temp score and move on. In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: Why you shouldn’t use temp scores from other movies Collaborating with composers early on The benefit of switching up scores in the edit How directors fall in love with what they see in the edit  How the score is almost like a character within a scene The dangers of placeholders Getting attached to character names NAB - why you should go Blackmagic cameras - affordable, efficient, and high-quality The Blackmagic camera phone app on Apple and Android Shooting with cinema lenses versus still photo lenses Memorable Quotes “I’m getting feelings from that movie and it’s impacting my ability to engage with your movie.” [4:30] “If a director spends six months editing a movie, they get kind of attached to how it looks and how it sounds.” [15:12] “In post-production, familiarity can breed affection.” [16:57] “Placeholders are a thing to be conscious of and used strategically.” [29:41] Mentioned Every Frame a Painting - The Marvel Symphonic Universe The Art of the Score Podcast Here’s Everything You May Have Missed at NAB 2024 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

Editing is more than just assembling footage. According to editor Sandra Granovsky, the whole editing process requires an interest and understanding of human nature. In today’s episode, No Film School’s GG Hawkins speaks with Sandra Torres Granovsky to discuss:  How studying anthropology affected her approach to editing Following your inner voice while editing Surrendering to the rhythm of the actor and the perspective of the director  Creating the first editor’s cut Making something out of nothing Sandra’s workstation setup What it was like to work with director Leah McKendrick Her new project with journalist-director Andrew Callaghan How text-based editing has improved the editing process Memorable Quotes “The way I approach all of it is with an understanding and curiosity of human nature.” [6:43] “Every decision I make in editing is based on instinct.” [8:56] “You have to become very creative, and you have to start creating something that’s not there.” [15:34] “There’s a lot of diplomacy involved in editing.” [16:22] “I do fifty percent of my editing not in front of the computer. It happens in my head.” [21:05] “You are writing in the edit. You’re just writing with images and sound.” [21:55] Mentioned:ALPHAScrambledThe Opening Act This Place Rules Channel 5 with Andrew CallaghanFind 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

Is it ethical to encourage people to pursue a career in film when there are such high levels of unemployment in the industry? The Art Directors Guild certainly doesn’t think so which has led the union to pause their annual training program this year.In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: The ADG announcement to suspend the Production Design Initiative program Being cautious when admitting students to film school Why we think the ADG made a reasonable decision  Why you should file for unemployment between jobs How LA and New York feel like smaller markets right now Seeing where you can fit into the system Accepting the opportunities that already exist The benefits of having multiple revenue streams as a filmmaker Memorable Quotes “Big production is back to work…but the volume isn’t there.” [13:08] “You need to be open to letting the industry tell you where it wants you to be for a while.” [15:25] “Knowing how to do a new thing is always beneficial.” [15:59] “If you can develop multiple revenue streams, it gives you power in negotiation.” [19:05] 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

Prom Dates, written by D.J. Mausner and directed by Kim Nguyen, is a comedy that follows two best friends who are hell-bent on having the perfect senior prom, despite the fact they broke up with their dates only 24 hours before the big night. This raunchy comedy reminds us that while romantic love may be fleeting, true friendship can survive any adversity that comes its way.In today’s episode, No Film School’s GG Hawkins speaks with Kim Nguyen and D.J. Mausner to discuss:  Writing the script in just 8 days  How D.J. and Kim immediately clicked Celebrating the importance of friends in our lives Developing the dynamic between the two lead characters Harnessing the amazing energy from the cast Filming in an old high school in Syracuse How having a comedy background can improve your writing The joy of working with gifted talent A dramatic scene that required considerable emotional gear-shifting How D.J.’s writing experiment turned into a film Memorable Quotes “Directors are like tuning forks. You get so much energy all the time from everyone, whether or not you want it or welcome it. You distill all that energy and harness it.” [15:46] “Sketch teaches you to get in late and get out early. Stand-up teaches you to have an ear for the audience. Improv allows you to fill in the blanks.” [20:35] “Stay true to yourself. Your point of view is your superpower.” [30:29] “The thing you’re excited about, write it. You never know what’s going to happen.” [30:44] Mentioned:Prom DatesFind 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 film festivals are worth submitting your projects to? Which festivals are legitimate and which ones are scams out for your money? Is it possible to find like-minded creatives to collaborate with, outside of places like L.A. and New York? In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman, and guest Amy Dotson discuss: Figuring out what you want to get out of a festival Reasons why small festivals are awesome Things to consider when vetting festivals  What Amy learned interning at Pee-wee’s Playhouse Telling your unique story in only one paragraph Why you need to constantly update your bio Moving from New York City to Portland Thinking about cinematic storytelling in new ways Collaborations between local artists and big household names How the Portland Art Museum honors multi-faceted creatives Memorable Quotes “What are you going to the festival for? Is it about Hollywood connections or about sharing your film with an audience?” [3:54] “Being in the mix and connecting with people at a human level is incredibly valuable. You will find those relationships pay off in the long run.” [12:42] “Everybody is different and that’s okay. It’s not a one-size-fits-all model anymore.” [23:34] “The goal is to meet other like-minded humans that can help push your career and push you as a human forward.” [29:37] “There are stories to be told that are less project-centered and more people-centered.” [46:24] MentionedHow To Spend $10,000 on Film Festival Submissions…Portland Art MuseumPAM CUT Sustainability LabsPAM CUT Tomorrow Theater  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

Joining the conversation is Mike Plante, the Senior Short Film Programmer at Sundance, boasting over 20 years of experience in the industry. He discusses the surge in short film popularity and shares key insights into what Sundance looks for during the selection process. Mike emphasizes the value of shorts for experimentation and creative storytelling. He also delves into the transition from short films to features, recounting notable successes and offering advice on avoiding common pitfalls for aspiring filmmakers.