The No Film School Podcast No Film School

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]




Mentioned
A Family Affair


Find No Film School everywhere:
On the Web
https://nofilmschool.com/

Facebook 
https://www.facebook.com/nofilmschool

Twitter 
https://twitter.com/nofilmschool

YouTube 
https://www.youtube.com/user/nofilmschool

Instagram
https://www.instagram.com/nofilmschool

Send 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]



Mentioned
Lions of Mesopotamia


Find No Film School everywhere:
On the Web
https://nofilmschool.com/

Facebook 
https://www.facebook.com/nofilmschool

Twitter 
https://twitter.com/nofilmschool

YouTube 
https://www.youtube.com/user/nofilmschool

Instagram
https://www.instagram.com/nofilmschool

Send 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]



Mentioned
A House Is Not a Disco
Fire Island
  

Find No Film School everywhere:
On the Web
https://nofilmschool.com/

Facebook 
https://www.facebook.com/nofilmschool

Twitter 
https://twitter.com/nofilmschool

YouTube 
https://www.youtube.com/user/nofilmschool

Instagram
https://www.instagram.com/nofilmschool

Send 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]


Mentioned
PIG
A Quiet Place: Day One   


Find No Film School everywhere:
On the Web
https://nofilmschool.com/

Facebook 
https://www.facebook.com/nofilmschool

Twitter 
https://twitter.com/nofilmschool

YouTube 
https://www.youtube.com/user/nofilmschool

Instagram
https://www.instagram.com/nofilmschool

Send 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]



Mentioned
ESTA fraud & theft prevention

“New Film Market” American Film Convention Hopes To Take Root This Fall

This American Life Podcast - Good Guys episode

Ren Faire
Learn more about your ad choices. Visit megaphone.fm/adchoices

Becoming an editor is more than just learning software and improving your skills. You must listen intently, speak up for yourself, and seek guidance and feedback from others with more experience.

In today’s episode, No Film School’s Grant Vance speaks with editors J. Kathleen Gibson, Joaquin Elizondo, Shelly Westerman, and Payton Koch to discuss:

Their journeys to become editors

All the things Shelly taught Payton as his mentor

Starting as an assistant editor and learning from others

Putting yourself out there and communicating what your goals are 

Paying it forward - helping their assistant editors grow and succeed

Working across different genres

Having over 50 hours of footage for a 30-minute show

Responding positively to notes you disagree with

Why you need to be a good listener if you want to be an editor



Memorable Quotes

“Part of what interests me is to be challenged and stretched and do something I haven’t done before.” [18:05]

“A lot of editing is feeling. You have to be empathetic and go with your gut.” [20:38]

“If people know what you want to do and what you’re interested in, most likely they are going to give you an opportunity.” [36:18]

“Be completely tuned into the world. Listen. Pay attention. Bring all that to your projects.” [38:42]



Mentioned
The Morning Show

Griselda  

Only Murders in the Building


Find No Film School everywhere:

On the Web
https://nofilmschool.com/

Facebook 
https://www.facebook.com/nofilmschool

Twitter 
https://twitter.com/nofilmschool

YouTube 
https://www.youtube.com/user/nofilmschool

Instagram
https://www.instagram.com/nofilmschool

Send us an email with questions or feedback: podcast@nofilmschool.com!
Learn more about your ad choices. Visit megaphone.fm/adchoices