The No Film School Podcast

Networking…do you have to do it? Yes. Is it awful? No. It doesn’t have to be. It’s actually much easier than you realize!In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: Networking - it doesn’t happen at networking events Pacing the amount of alcohol you drink while networking Some great go-to questions you can ask others Connecting with others outside the usual way we network  Why you need to be able to have normal human chit chat  The questions you should always have prepared answers for Why you should brag on your friends when networking  Remembering people’s names - you need to improve this skill Memorable Quotes “Having a real conversation with people is networking.” [5:42] “Show up. Be a pleasure to talk to. And don’t be crazy. If you are crazy, try to hide it.” [9:07] “Treat it like a work event. That refers to attire. That refers to jokes. That refers to drinking. That refers to all of the things.” [11:31] “Bragging on your friends, even if you don’t think it’s going to pay your rent, it will in full later.” [22:20] “It pays off to remember people’s names. It really does.” [24:47] 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

Samy Burch is the writer of May December, a story about a married couple who buckles under pressure when an actress arrives to do research for a film about their past. This complicated and sensitive story truly captivates the power of what is not being said.In today’s episode, No Film School’s GG Hawkins speaks with screenwriter Samy Burch to discuss: Spending time in audition rooms as the daughter of a casting director Making sure no actor got cut from this film How Samy was able to tackle such a complicated and sensitive story  Writing in her apartment coat closet  The hard work and luck involved in getting the screenplay picked up  Protecting the confidence in your own voice. Presenting power dynamics in her writing Watching the film alone versus in a theater  Memorable Quotes “My goal with writing is to write roles that actors think are interesting.” [9:51] “It’s so hard to be an actor. It really is.” [12:34] “Protect that confidence in your own voice because that’s the hardest part.” [24:39] “The tension exists in what’s not being said.” [29:34] Mentioned:May DecemberFind 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 an actor, will knowing the ins and outs of cinematography enhance your performance? What’s the best way to go about hiring your post-production team? How do you give honest feedback without ruining your reputation?In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: Warmup actors versus burnout actors - what’s the difference The red camera setting named after actor Giovanni Ribisi How directors can benefit from taking acting classes Why hiring people for production is easier than hiring for post The best way to evaluate the post team in interviews Paying a flat fee versus paying an hourly fee Why everyone needs to have a deal memo Sharing your honest opinion without offending the other person The magic moments that can happen in post  Memorable Quotes “It is a lifelong process learning about our art.” [11:07] “I wish more actors had a better handle on editing.” [11:14] “Hiring people for production is fifty to a thousand times easier than hiring people for post.” [17:45] “Your recommendation is your reputation in this industry.” [28:34] “You should do deal memos on every project you do, for everything you do because it forces people to lay out expectations.” [35:00] “Post can be way more fun than set. You can give birth to your project again in a new way.” [42:20] Mentioned:New RED Firmware Brings In-Camera LUTs & Zone System Exposure Tool  DP Robert D. Yeoman on Film vs Digital, Long-Term Director Relationships, and Sleep  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 does it feel like to finally finish your first feature? It’s difficult to explain the mix of emotions running through you. To quote the director of Hungry Dog Blues, it kind of feels like “finishing a marathon or coming out of a psychedelic drug trip.”In today’s episode, No Film School’s GG Hawkins speaks with filmmakers Jason Abrams and Irina Gorovaia to discuss: The very unique experience of making your first film The magical sense of community on an indie set  How the film was inspired by a true story Why people prefer to work on a project that already has momentum Launching a crowdfunding campaign right before the pandemic started How the proof of concept made a huge impact on their fundraising efforts Why frequently following up with investors is so important The practice of not taking things personally Why it’s a win if people hate your movie  Understanding you have to wear a lot of hats on your first film  Learning to enjoy every little part of the filmmaking process Memorable Quotes “It’s a very unique process to take something through, from nothing to something.” [4:52] “Everybody wants to be on a moving train. Nobody wants to shovel coal.” [12:16] “It’s not your job to say ‘no’ for other people.” [30:39] “Slow down. Take your time. Enjoy every little piece of it. Learn to enjoy every little piece of the filmmaking process.” [58:04] “You can create just for the sake of creating. Just because you have a story to tell. That’s allowed, too.” [61:57] Mentioned:Hungry Dog BluesIrina's InstagramHungry Dog Blues InstagramJason's InstagramVariations on a Theme (YouTube channel)Resources they used:ProducingFilm Budget TemplateLine Producer TipsSuccessful Crowdfunding CampaignsEntertainment Lawyer Help FilmmakersCreativeBreaking the Fourth WallThe Art of SuspenseJumping from Short to FeatureFind 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

It’s that time of year again. The time of year when we show the filmmakers in our lives how much we appreciate them, with practical gifts that will improve their filmmaking journey. In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: Pulling out a new set of pens for your new project - it’s so satisfying Using a notebook versus using your phone Reading “A Swim in a Pond in the Rain” while sitting in a sauna  Understanding the joy and richness of teaching Why you need a podcast microphone even if you aren’t a podcaster Why a quarterly planner is better than a yearly planner The $70 light used on an $80 million movie Why having a nice notebook improves the quality of your work Memorable Quotes “It’s almost like I’m texting, when I’m writing.” [3:21] “Everyone trusts you if you write a note in a notebook…Everyone thinks you are serious with a notebook.” [5:06] “I’m not sure I see what you see in this, but the fact that you see it, makes me excited to go on the journey to try to see it.” [11:44] “Filmmakers should all have nice microphones.” [15:45] “My life and my specs changed drastically when I got Grammarly.” [20:22] Resources:PILOT Razor Point Fine Line Marker Stick Pens Leuchtturm 1917 notebookDrehgriffel Nr. 1Muji Color Gel PensBull and Stash notepadsPilot Precise PenGeorge Saunders “A Swim in a Pond in the Rain”Sennheiser Profile Streaming MicrophoneRode NT-USB miniGrammarly plansPoketo Quarterly Planner Aputure MC 30 Light Moleskine unlined notebookFind 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

To improve your filmmaking, you have to just go out there and shoot with whatever you have, even if all you have is an iPhone. This advice comes from prolific cinematographer Robert Yeoman, who is joining us on the podcast for a second time. In today’s episode, No Film School’s GG Hawkins speaks with DP Robert Yeoman and DP Ryan Thomas to discuss: When Robert first met Director Wes Anderson and what they discussed Why the director and cinematographer need to be on the same team Cultivating a family-like atmosphere with the cast and crew The vetting process for choosing the camera crew The best way to approach the challenges of complex shots What Robert does to stay healthy, sharp, and safe while filming Shooting on film versus shooting on digital cameras How film has evolved over the years  Why knowing how to edit can help you be a better cinematographer Memorable Quotes “If you don’t like the script, you shouldn’t take the film.” [5:38] “The director is my best friend. I am there to serve the director as best I can.” [6:36] “I have this ability to not show that I’m nervous, even though inside I might be going nuts.” [19:05] “Go out and shoot stuff. It doesn’t matter if it’s your iPhone.” [42:09] Resources:Our first podcast interview with YeomanMore on the Netflix shorts Wes Anderson directedRyan’s websiteFind 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 Hollywood changes post-strike, the only surefire way in the door is to have something great people are excited to make.” If you are a writer looking to break into the industry, you need to know how to write a great script that producers actually want to read.In today’s episode, No Film School’s Jason Hellerman speaks with acquisition executive and script consultant, Evan Littman, to discuss: The difference between large studios and indie markets  How indie films are made Why you should not submit a short Castability - why you need to write roles for specific actors  The reasons you need representation as a writer Why it’s a seller’s market right now if your script is ready and it’s a banger Having a basic understanding of production costs Log lines we don’t like Carving out your own little corner of Hollywood Memorable Quotes “Horror is a great, communal, theatrical experience.” [9:12] “I hope I’m not crushing anyone’s soul when I say, ‘nobody really cares about shorts.’” [13:09] “The strikes are over, but that doesn’t mean it got easier. It means it got harder.” [15:56] “Know how much your movie costs.” [27:16] “Do not wait for everyone else to tell you ‘yes.’” [40:04] Resources:Get Made ConsultingHow to Write a Logline Read Evan’s No Film School articlesFind 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

Have you considered submitting an application for a development program or a writer’s lab, but you don’t know where to start? You’re unsure what you should include in your application, and you don’t know what to expect if you do get accepted. In today’s episode, No Film School’s GG Hawkins speaks with the Director of Artist Programs at Tribeca Studios, Bryce Norbitz, to discuss: Artist development programs and how they help new filmmakers What Bryce focuses on when she first reads an application  The benefit of applying to a program even if you don’t get accepted What the jury has to consider when deciding on a program winner The credibility that comes with being a program finalist What it looks like to work with a brand partnership on your film When you should avoid submitting your story to a lab or program What applicants should include in their submissions Attending small, community-driven festivals in order to network Powerful reasons to attend film festivals as an emerging filmmaker Memorable Quotes “Nobody goes into any brand funding without knowing what the brand’s goals are.” [27:35] “Knowing exactly what you are putting yourself up for will save you energy.” [32:13] “People need to feel more comfortable shouting themselves out.” [32:38] “Your career as a filmmaker will likely not be consistent. It will be ever changing.” [35:12] “My scene was cut, and I never acted again.” [39:06] Resources:Getting accepted into the Sundance Labs on the 5th attemptNew Orleans Film Festival Blackstar Film FestivalConnect with Bryce: untoldstories@tribecafilm.comFind 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 most effective way filmmakers can explain what they do, to people who don’t understand the industry? How do you argue against the notion that “film is not a real industry?” What’s the best way to approach a film course, so you can get the most out of it?In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: Educating your family on what it takes to write a screenplay Navigating outsider opinions on the film industry Why we can still love filmmaking even if we aren't’ “Spielbergs” How to get the most out of any film course you take The most common defense mechanism of a filmmaker Embracing the knowledge that you will always be learning  Why we can’t fathom the fact AI is writing screenplays Memorable Quotes “Many doors are not open in Hollywood, so you have to find a window to sneak through sometimes.” [4:16] “If they can’t find that passion, I would change the subject to something that’s way worse.” [17:40] “We deliberately erase the labor of the people who create the art we want to see, because we don’t like thinking about all the effort that went into it.” [19:00] “You paid to take this class. So just pretend you have something to learn.” [34:13] “The joy in a screenplay is witnessing another person’s humanity.” [41:12] Resources:6 Ways to Make the Most of Any Film Course or Project.‘TMNT: Mutant Mayhem’ Production Designer Yashar Kassai on the Future of AnimationFind 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

Yashar Kassai is the production designer of the Teenage Mutant Ninja Turtles: Mutant Mayhem. The team behind the film pushes the boundaries of animation by adding depth, complexity, and messiness to both the visuals and emotional tone of the film. Yashar describes the design of the film as bad. He says, “it’s like good-bad. It’s like dumb-good.” In today’s episode, No Film School’s GG Hawkins speaks with production designer Yashar Kassai to discuss: What it means to be a production designer in animation Defining the parameters of the world his team built How being a lame hero is refreshing in a world of ultra serious heroes Why they intentionally designed the whole film to be “imperfect” The value in destroying the film over and over again  The power of shaping light to tell your story  What Yashar hopes to see in the future of Western animation Feeling both terrified and impressed by the capabilities of A.I. How animation has room for more complexity Memorable Quotes “How do you tie together all the brilliant work that’s being put in front of you and make it into one cohesive thing on screen.” [8:40] “You can do anything you want to, no matter how crazy it is.” [09:09] “It’s really endearing to be lame as a teenager and not know who you are.” [14:09] “We thought we had it. We thought we really went for it, but we didn’t.” [18:24] Resources:Yashar's Instagram Yashar's website Teenage Mutant Ninja Turtles: Mutant MayhemFind 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