The No Film School Podcast No Film School
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- TV & Film
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A podcast about how to build a career in filmmaking. No Film School shares the latest opportunities and trends for anyone working in film and TV. We break news on cameras, lighting, and apps. We interview leaders in screenwriting, directing, cinematography, editing, and producing. And we answer your questions! We are dedicated to sharing knowledge with filmmakers around the globe, “no film school” required.
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Film Fests: The Merits and Scams; Plus, Film Communities Outside of the Bubbles with Amy Dotson
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]
Mentioned
How To Spend $10,000 on Film Festival Submissions…
Portland Art Museum
PAM CUT Sustainability Labs
PAM CUT Tomorrow Theater
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How To Get a Short Film Into Sundance – and Turn It Into a Feature
“There’s never been a better time to make shorts or watch shorts,” says Mike Plante, the senior short film programmer at Sundance Film Festival. Mike, who has been at Sundance for over 20 years, shares his thoughts on the future of shorts and what his team looks for in the selection process.
In today’s episode, No Film School’s Ryan Koo speaks with Mike Plante to discuss:
Developing motion picture films at the drug store in the ‘90s
Why shorts are a great medium to learn and experiment
Working at festivals and movie theaters
Receiving over 12,000 short submissions in 2024
Disadvantages of creating long shorts
Differences in funding international shorts
Seeing many different types of voices, stories, and styles
Sundance shorts that later became features
What makes you a filmmaker
What Sundance looks for in a short
Memorable Quotes
“You’re always a filmmaker, but there will be months you’re not doing anything on your film.” [2:48]
“You may watch a thousand shorts and nothing is good. Then you just start to lose your mind.” [10:45]
“Your 30-minute short has to be better than three, 10-minute shorts.” [12:25]
“The internet is good for shorts because you can put it up. It doesn’t mean anyone will watch it.” [31:31]
Mentioned
Submission Dates for Sundance
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‘Shōgun’ DPs on Lenses, Looks & How ‘The Descent’ Brought Them Together
Long-time friends and colleagues, Christopher Ross and Sam McCurdy, are two of the cinematographers of FX’s mini-series, Shōgun. Filming this series was an incredible experience full of lessons in Japanese culture, lenses, and shooting with cranes.
In today’s episode, No Film School’s GG Hawkins and special guest, cinematographer Ryan Thomas, speak with DPs Christopher Ross and Sam McCurdy to discuss:
How Chris and Sam met
The type of friendships you hold onto in the industry
What it was like working with an international cast and crew on Shōgun
The singular perspectives that ran throughout the larger storyline
What it was like working with other DPs
The lenses they chose to use in this project
Letting the camera find special moments without much interference
What an ASC masterclass is
What gave the show its atmospheric texture
Bringing truth and honesty to every episode
Why making mistakes is so valuable
Memorable Quotes
“From the start of your career to the end of your career, you’re still on some form of learning curve.” [8:47]
“Being true to what you’re shooting and being true to the script and the story is the still most important tool we bring to any job.” [50:33]
“Be brave and stupid in equal measure. Get smarter every time you shoot.” [54:00]
“Don’t necessarily listen to everyone else. Go and figure it out yourself.” [55:01]
Mentioned:
Shōgun
Original 1980 Shogun series
ASC Masterclass
Connect with Ryan on IG
Find No Film School everywhere:
On the Web
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Facebook
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Send us an email with questions or feedback: podcast@nofilmschool.com!
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Writing the Unfilmable & Managing Your Career When SH*T Hits the Fan
Writing a screenplay is like following a cookie recipe, it’s closer to magic than science. You don’t have to follow screenwriting “rules” to create an amazing story. There’s something else you don’t have to do in your career. When serious problems arise in your personal life, you don’t have to keep working at your typical pace. It’s okay to ask for help and decrease your output.
In today’s episode, No Film School’s GG Hawkins and Jason Hellerman discuss:
The number of “unfilmables” on the first page of the Challengers script
Not getting hung up on the idiosyncrasies of screenwriting
Hooking the reader in the first 10 pages with your confidence
Asking for specific support when things are rough in your personal life
Accidentally lighting a trash can on fire
Taking time to process life’s challenges
Using writing as a way to process loss and sadness
Cancelling meetings and relying on email
The benefits of a meditative practice
Memorable Quotes
“I know what the audience wants to know right now. I know what they need to know, but don’t even know they want to know.” [11:28]
“If your page one sucks, you’ve already lost them.” [12:26]
“If you’re trying to make Hollywood hits with multi-million dollar budgets, page one has to be great!” [15:50]
“You can still be creating, even when you’re in a depressed dark hole.” [28:45]
Mentioned:
Why Did the First Page of the 'Challengers' Screenplay Go Viral?
Find No Film School everywhere:
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Send us an email with questions or feedback: podcast@nofilmschool.com!
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How ‘Challengers’ Screenwriter Justin Kuritzkes Aces Character, Tension and Stakes
Justin Kuritzkes is the screenwriter for the film, Challengers, starring Zendaya, Mike Faist, and Josh O’Connor. The story revolves around tennis pros who are caught in a love triangle. It’s not just about the game of tennis, but about the game of love and power. Let’s dive into Justin’s process of writing such a damn good movie!
In today’s episode, No Film School’s GG Hawkins speaks with writer Justin Kuritzkes to discuss:
How screenplays differ from other written mediums
Building up a story that would realistically exist in the real world
The inspiration behind the story
How writing the movie made tennis less enjoyable for him to watch
Deciding on the setting of the story
Surprising moments during the writing process
Writing in cars, hotel rooms, and airplanes when you are pressed for time
The questions he asked himself before writing the story
Collaborating with actors and getting their feedback
Feeling like you are watching the movie as you write the script
Memorable Quotes
“The thing about screenwriting is that it’s such a rigidly formalistic, medium.” [3:52]
“I started thinking about the movie and I started watching a lot of tennis. Quickly, I became an obsessive tennis fan. I almost didn’t want to write the movie.” [11:40]
“It’s like the big bang. Once the character is there, it’s sort of like “Now, there is light!’” [14:23]
“If you feel like you are watching the movie when you’re writing it, hopefully, other people will feel that way, too.” [24:37]
Mentioned:
CHALLENGERS
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Packaging and the Death of Naked Specs
The days of selling naked specs are over. It’s now the filmmaker's job to understand how to package their projects. While many were opposed to packaging in the past, there are effective ways to approach the process that will leave you feeling empowered.
In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss:
The benefits and drawbacks of packaging
Why Hollywood is risk averse right now
Packaging through the eyes of a writer or director
Naked specs - what are they?
What the packaging process looks like
Writing specs that can realistically be created
Why AI will not eliminate the need for skilled creatives
Collaborating with others so they feel comfortable and seen
The problems of measuring stardom
Memorable Quotes
“Your script has to be perfect by the time you turn it in. Nobody wants to develop anything anymore.” [7:48]
“It’s the job of a filmmaker to bend reality as far as you possibly can.” [15:16]
“AI often gives people the heebie jeebies.” [24:15]
“Every measurement tool we have is gibberish.” [27:20]
Mentioned:
Movies & TV How To Survive Until 2025 For Filmmakers
Scriptnotes Podcast - Ep 639 Intrinsic Motivation
Find No Film School everywhere:
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Send us an email with questions or feedback: podcast@nofilmschool.com!
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