The No Film School Podcast No Film School

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]




Mentioned
Oscar-Winning Screenwriter Eric Roth Takes You on a Tour of His Writing Process 


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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]



Mentioned
Here's What Happens When You Win the Nicholl Fellowship in Screenwriting

Is This the Tool Filmmakers Need to Find Their Audience?

Short: Tall Dark and Handsome

Short: The Orgy

Short: YES, DADDY

Follow Sam on IG

Follow Madison on IG




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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

 
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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:
ALPHA

Scrambled

The Opening Act 

This Place Rules 

Channel 5 with Andrew Callaghan



Find No Film School everywhere:

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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:
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Send us an email with questions or feedback: podcast@nofilmschool.com!
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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 Dates


Find No Film School everywhere:

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