The No Film School Podcast

Rod Blackhurst and Noah Lang are the dynamic duo behind the film Blood for Dust, starring Kit Harington, Scooty McNairy, and Josh Lucas. These filmmakers share why leading with honesty, openness, and enthusiasm is the key to building strong relationships and creating successful films. You don’t have to be cutthroat in this industry in order to achieve your filmmaking dreams. In today’s episode, No Film School’s GG Hawkins speaks with director Rod Blackhurst and producer Noah Lang to discuss:  How Rod and Noah began working together Why you should lead with honesty and enthusiasm Making movies with the same people over and over again Understanding what you have agency over in your career How Scoot McNairy and Kit Harington came onto the project How meeting David Gordon Green in 2012 eventually led to the making of Blood for Dust The power of self-awareness and being a kind filmmaker The vibe on set - having fun amid stress What it looks like to make an honest living in filmmaking  Memorable Quotes “You can meet someone on the internet and become homies.” [3:27] “You don’t need everyone to want to be on your team. You just need some of the right people.” [38:55] “Being a good person and doing good work matters. It does result in good things happening.” [43:02] “We’re rowing upstream, going against the grain. We’re out there believing in what we have. Wrestling with our choices, behaviors, actions, our own struggles, and darkness.” [50:44] Mentioned: Blood for Dust  Here Alone Connect with Rod on IG Connect with Noah on IG Witchcraft (Rod & Noah’s production company) 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

Nina Ognjanovic is the director of the film, Where the Road Leads, which won Best Narrative Feature at Slamdance 2023. Nina and her passionate team prove you can successfully market a foreign, indie film on a limited budget and still win at major festivals in the US and worldwide. In today’s episode, No Film School’s GG Hawkins speaks with Nina Ognjanovic, David Jovanovic, and Jana Bjelica to discuss:  Their experience traveling from Serbia to the United States for Slamdance Marketing the film using scrappy, creative methods Their approach to casting and shooting What it was like to act on multiple projects at the same time How they handled shooting in an isolated location without cell service Building trust with the cast, crew, and locals The Slamdance experience and the reaction of the audience The first shot of the film - finding a unique solution to a challenge Setting the production schedule based on the weather conditions  The magic they experienced during production Why you need to fail and experiment before doing a feature  Memorable Quotes “It’s hard, but when you love your job, everything is possible” [9:23] “I was freaking out day after day…my hair started falling off.” [21:35] “Manage your expectations. Don’t write something you know you can’t deliver.” [30:58] Mentioned: Where the Road Leads on TikTok  Where the Road Leads on Instagram  Pointless Films Production House 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

Were you hoping work would pick back up after last year’s strikes? Unfortunately, work is epically slow, and 2024 is a rough year for the film industry. But just because Hollywood is slowing down, doesn’t mean you have to. In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: The industry post-strike How higher interest rates are affecting streamers The unpredictability of a career in film Accepting the things out of your control Living with family or friends to lower expenses The unattainable “American Dream”  Staying creative during this slow year How famine years can have their benefits An example of finding career success outside of Hollywood Memorable Quotes “Work is epically slow and it’s terrifying.” [3:44] “If you don’t have three months of cash cushion in your bank account, do not feel bad.” [19:40] “I don’t think we need to build our identity on outside markers of financial success.” [28:21] “If you can’t be investing money, you can be investing your energy and creativity into your future career.” [32:52] 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

Sam Hargrave is an award winning stuntman and stunt coordinator, second unit director for films like Suicide Squad and Avengers:Endgame, and director of the film Extraction. His second feature film, Extraction 2, is available on Netflix, June 16.  In this episode, No Film School’s GG Hawkins and director Sam Hargrave discuss: The transition from stunt performing to directing What a “stunt vis” is and why it's important for efficiency and safety on set How directing a film is like being a switchboard operator Why filming Extraction 2 was more challenging than the first film Wanting to give the audience more the second time around The specifics to the casting process Operating the camera on the more dangerous scenes  Landing a helicopter onto a moving train Making others feel invested in your project Sam’s approach to emailing those he works with Memorable Quotes “I was young and flexible and really wanted to be Jackie Chan.” [4:06] “There’s so many questions that come the way of the director. It feels like you are a switchboard operator on methamphetamines.” [10:07] “Communication with other departments is one of the most important things in filmmaking.” [11:50] “Each movie…is its own unique puzzle. It’s a labyrinth that you and the crew have to work your way through.” [14:34] “When you can do something practically, always do it.” [23:12] Resources: Extraction 2 trailer 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

Heat is important to your film career. It means that you and your work are gaining attention and recognition, which can lead to more opportunities in the future. So how can you generate and navigate heat at an industry level? What contributes to “positive heat” or “negative heat?”  In today’s episode, No Film School’s GG Hawkins and Jason Hellerman speak with Chris Moore, Katie Marpe, and Dennis De Nobile to discuss:  How Chris, Katie, and Dennis entered the industry and how they met Why you need to promote yourself and your work The One Moore Hollywood Podcast and the topics they discuss The difference between “in the business heat” and “out of the business heat” Seeing big corporations gravitating toward original ideas How audiences decide whether they will watch a movie or not Getting feedback on your ideas Why your idea may be better suited for a different medium Good Will Hunting - Generating authentic heat with the script When you realize a script isn’t working  How your attitude and behavior affect the type of heat you generate Sensing tension of the cast and crew while watching a movie Memorable Quotes “It’s like surfing. The best thing to do in your career is to read what’s happening around you and take the wave where it’s taking you.” [4:22] “You have to be able to sell yourself and your ideas. You can’t just operate in a vacuum and expect somebody to discover you.” [16:12 ] “Go out and make something you think you would pay for.” [52:12] “What’s the commercial version of your weirdness?” [1:01:28] “Heat will come back to you. It will tell you if your shit is good. If you can’t generate any heat, that means your shit is not good.” [1:07:17] Mentioned: Follow Chris on IG Follow Dennis on IG  Follow Katie on IG  One Moore Hollywood Podcast on IG 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

How do you build a career as a cinematographer when the odds are against you? How do you create opportunities for yourself, when dealing with rejection, financial barriers, and prejudice? Is it possible to pursue your dream without conforming and becoming someone you are not?  In today’s episode, No Film School’s GG Hawkins speaks with cinematographers Bruce Cole and Alejandro Mejía to discuss:  Being drawn to visual art from a young age The people who encouraged and inspired their creative dreams Feeling motivated by rejection  Why New York is a great place to start a film career The importance of having mentors in your career journey Stigmas they experience in the industry as minorities Why we need to stop glamorizing film careers How to maintain balance during long, tedious projects Cultivating yourself and embracing who you are Having another creative form of expression outside of film Memorable Quotes “I want to do this. I want to travel the world and know the world with a camera.” [14:25] “New York is probably the best starter city for young filmmakers from all walks of life.” [40:09] “This is not a speed race. This is a marathon. We are long-distance runners.” [71:28] “We’re losing that artistry because we are so focused on being someone else.” [79:10] Mentioned: From Landing the Job to Boosting Morale: Sundance DP Roundtable Dives into Filters & More More about Bruce More about Alejandro 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

The small decisions that you make at the beginning of your project, can cause headaches later on. If you want to avoid tech issues in post, then you need to set up your project correctly from the start. Speaking of doing things right from the start, there is a right way and a wrong way to approach your interviews. How should you prepare for your next interview to make sure it doesn’t bomb? In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: Bombing interviews in Hollywood What not to do during an interview Going to interviews as a slightly fancier version of yourself  How to respond when someone doesn’t read your script Feeling guilty for not reading other people’s scripts Career errors we have learned from The helpless feeling you get when troubleshooting tech problems  Media management issues in post-production Sorting through the timeline and looking for weird shots Why it’s worth bringing on subject matter experts early Memorable Quotes “Over-researching is never a mistake when you are given an opportunity.” [2:09] “Everyone I know has made huge, catastrophic career mistakes and we’ve all kept going.” [9:00] “Setting up things right from the start makes your life so much easier.” [30:29] “God bless people in post-production. The most patient humans in the world.” [35:48] 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

Should you hire an intimacy coordinator for your next project? What exactly does an intimacy coordinator do? Does having this person on set ruin spontaneity? How can having more structure around intimate scenes, actually encourage freedom and creativity during the storytelling process?  In today’s episode, No Film School’s GG Hawkins speaks with Lisa Jacqueline Starrett, Jamie Monahan, and Renata Soares to discuss: The role of an intimacy coordinator What led Lisa, Jamie, and Renata to become intimacy coordinators Wanting to advocate for actors and their boundaries How detailed screenwriters should be when writing intimate scenes Knowing the intention behind sex scenes How to choreograph and rehearse intimate scenes Being hired as an “insurance policy” to protect production What it looks like to be actively pursuing a safe space Having a consent - forward mentality on set The types of conversations an intimacy coordinator should have with cast and crew How to redirect a situation that is not working Why art doesn’t require graphic nudity to be amazing How to become an intimacy coordinator Memorable Quotes “If you’re thinking of safety protocols for staged violence, why are we not doing the same for intimacy scenes?” [13:21] “I love thinking about art and intimacy in a way that can move storytelling forward.” [19:10] “The creative vision of the scene doesn’t come from the intimacy coordinator…we are there to facilitate the vision to become reality.” [30:04] “We are there to make everyone more comfortable in telling that story.” [56:26] 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 are still a legitimate filmmaker even if you don’t own any gear. Most filmmakers actually don’t own the gear they use and for good reason. And speaking of gear, what movies geared you toward the path of filmmaking?  In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: Buying gear or renting gear - which is better? When you should justify buying gear Realizing how much work it takes to create a movie The things that made us want to work in movies Having fun with genre Looking for books about the making of movies  The idea of being inserted into the story How to influence others who don’t enjoy movies Unpredictable twists that bail out the “bad guy” The balance between fantasy and reality in a film Memorable Quotes “Most professionals rent because gear has wear and tear and you outgrow it.” [5:10] “In the digital era, shit ages fast!” [11:13] “I cannot imagine a human with two lungs, two ears, two eyes, and a heart not loving Tokyo Drift.” [27:01] “I already knew I wanted to be a filmmaker before I read my first IMDb trivia page.” [18:32] Mentioned: Share Grid rental platform  Waking Ned Devine Clue Shirley Temple The Little Rascals  The Secret Garden The Royal Tenenbaums Being John Malkovich The Fast and the Furious: Tokyo Drift  Problemista 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

Who says making a movie requires expensive equipment, a large crew, and a script? Maybe creating a film can be a creative experiment between a couple of friends who are excited about the uncertainty of the journey that awaits. This was the realization Pete Ohs had when he recognized that the typical approach to filmmaking was not for him. In today’s episode, No Film School’s GG Hawkins speaks with Pete Ohs, Will Madden, Frank Mosley, and Charles Watson to discuss: Finding a location that is narratively inspiring and accessible Thinking about the edit while directing An extremely unique and collaborative way to develop characters Creating a score that is not traditional to other films Pete’s unique approach to creating movies How Pete keeps the budget so low and why it’s important Feeling excited by the challenge of the limited resources you have Why the uncertainty of this style of filmmaking is exciting and magical Their Slamdance Film Festival experience Other festivals and what they love about them Starting with what you have available  Memorable Quotes “Can I make a movie the way I did when I was fifteen?” [14:27] “It doesn’t have to cost so much money. Filmmaking can just be an activity. It can be just a hobby.” [16:19] “Every camera that’s new is good enough. You don’t need the newest camera.” [18:09] “There’s no reason you shouldn’t be making a movie. You can do it if you want to.” [22:26] “The things you think you need, you probably don’t.” [40:20] Mentioned: LOVE AND WORK teaser  Follow Pete on Instagram Follow Love and Work on Instagram Follow Frank on Instagram Follow Will on Instagram Follow Charles on Instagram Slamdance Film Festival  Film Fort in Idaho  Side Walk Film Festival in Alabama Overlook Film Fesitval American Film Festival in Poland 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

Getting your script into the hands of the right people is extremely difficult. What is a desperate screenwriter to do if they seek feedback on their screenplay? Are script coverage services helpful or just another cog profiting from an emerging filmmaker’s hope?  In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: Recalling memories from March 2020 when the world “shut down” Why we are surprised that Nikon bought RED The acquisition of BorrowLenses  The importance of the first 10 pages of your script  Why the opening scene of The Godfather is so powerful  The Gauntlet - a controversial script coverage service  What infuriates us about AI script coverage Why AI cannot evaluate creative screenwriting Hollywood, the hope machine Memorable Quotes “In those first ten pages you know, what is this movie and who is it for.” [14:55] “The idea of AI evaluating your script is fucking horseshit.” [26:08] “We keep engaging in this fantasy that AI can think. AI cannot fucking think.” [30:52] “That’s what Hollywood is. It’s a hope machine. You always have perpetual hope that tomorrow you can become famous.” [40:46] Mentioned: Lensrentals To Acquire BorrowLenses Heard of The New, Controversial Script Coverage Service The Gauntlet? Why All AI Script Coverage is a Scam  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

If you want to succeed with fantasy and make it a transformative experience, you have to create real characters. To convey realness, you have to go beyond the “good versus evil” narrative of traditional fantasy movies. You have to create duality. In today’s episode, No Film School’s GG Hawkins speaks with Director Juan Carlos Fresnadillo, to discuss: Why Juan Carlos became a filmmaker The complicated family dynamics in his film, Damsel Why he loves portraying duality in the characters Why you always have to have a plan, even if you don’t stick to it  How he prepares for production A happy accident that became one of his favorite shots The inspiration behind the violent fire in the movie Creating a proper fire simulation Why you have to chase your own voice Memorable Quotes “I thought ‘oh my god I have to make movies like this.’ ” [5:46] “I’m much more willing to show the grey zone, because I think that takes you into the reality.” [11:35] “You have to give space to happy accidents.” [16:26] Mentioned: Damsel  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

Regardless if you are new to filmmaking or you have years of experience, you must be strategic about managing your career in film. This includes setting goals, constantly building your portfolio, and knowing how to financially support yourself between paid projects. In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: At what point you should show your film to the cast Feeling connected to actors you have never met in real life The importance of writing down specific goals each year Making money in the short term while working on big projects  The power of sharing your goals with others How many scripts do successful screenwriters produce each year What your objective should be when taking general meetings How to ask if there is a development fund Narrative lessons from the show Survivor (season 46, episode 1) Memorable Quotes “The weirdest thing about post is you feel like you are spending time with these people.” [3:30] “You don’t have to be squeaky to be advocating for yourself.” [13:20] “Productions that handled chaos better were the ones with a more thorough plan.” [21:58] “It’s a conversation. It’s not a dance.” [42:39] Mentioned: Editors and Post-Sound Have a Crush on Each Other('s Work) 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 does it look like to advocate for yourself as a creator? Well, it starts with understanding your value and knowing where you can serve. Then, you have to develop the courage to articulate and offer your expertise. This is exactly what Shakina did to land the role of executive story editor on the NBC series, Quantum Leap. In today’s episode, No Film School’s GG Hawkins speaks with multihyphenate creator, Shakina, to discuss: How she got her start as a storyteller Why framing is just as important in theater as it is on TV How her experience as a trans person helps her write for Quantum Leap What it’s like to work with new cast members every week Why the coming out scene in “The Family Treasure” episode was so powerful Telling ground-breaking nuanced stories that are unprecedented  Making queer stories more comfortable and less “threatening” for audiences The fast-paced yet collaborative nature of writers' rooms Advocating for herself in various roles on set  Creating space for characters we don’t normally see on television Memorable Quotes “Just write something that will never get made.” [8:52] “You have to be in charge of how you see yourself and lean into the skills that bring you the most joy.” [35:47] “Space without resources and support is a trap.” [40:00] “Do something every day that pushes you toward your dream.” [41:02] Mentioned: Quantum Leap "The Family Treasure"   Difficult People 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

With the rise of AI, will Hollywood begin to neuter your voice? While AI isn’t creating anything original, the immediate convenience of this tool is already impacting our industry. Artificial intelligence is being applied to creative arts, so filmmakers need to understand how it can affect their careers.  In today’s episode, No Film School’s Jason Hellerman speaks with acquisition executive and script consultant, Evan Littman, to discuss: Why we should be concerned about text-to-video AI tools like Sora Why large studios have a better chance of going against generative AI models AI-generated screenplays and copyright laws Using AI to read and give feedback on scripts Examples of how unreliable AI can be Developing your voice as a screenwriter What newer writers need to understand about breaking into the industry Why 8/10 on a script isn’t good enough  Memorable Quotes “This is something a lot of people thought was coming, but it arrived faster than we anticipated.” [2:49] “A.I. is not making anything. It’s just recombining and generating an output based on what it already has.” [7:38] “A.I. at this point in time, can’t really generate anything good. What it makes is regurgitated slop.” [11:11] “You just really need one ‘yes’ to get a movie made. It doesn’t matter if you have a hundred ‘I like its.’ You really need one ‘I love it.’” [42:41] Mentioned: Get Made Consulting GG's survey 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

If you are at square one in your filmmaking journey, you are probably confused about where to start. You’re not sure how you are going to pay the bills, let alone finance your projects. You’re also worried about the state of the industry and wondering if you have a shot at success. Our guest, Ana Liza Muravina, believes that if you’re serious about filmmaking, “it’s your responsibility to understand what kind of business you’re getting into.” In today’s episode, No Film School’s GG Hawkins speaks with filmmaker Ana Liza Muravina to discuss: How the industry has transformed The decline of tv and film consumption What a period of consolidation means for filmmakers The power of attaching certain elements to your project Ensuring the project you are pitching is financially viable  Foreign Sales - what are they and how are they impacted by streaming services Becoming clear on the project you are making Finding patrons and supporters in your local area The importance of casting valuable actors Figuring out what you want out of your career Having a collaboration agreement and what it should look like Memorable Quotes “Streaming tv is going to look a lot like how cable used to look. It’s going to be expensive.” [9:24] “In our industry and in our society, success is tied to money.” [11:41] Money is not all concentrated in Los Angeles and New York. Money is wherever there are people who have made money.” [26:45] “Please make the thing that’s most interesting to you otherwise it’s not going to be interesting and it’s not going to sell.” [28:35] Mentioned: Ana Liza Muravina 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

There’s a very important lesson can we learn from films like 28 Days Later, which is not available in physical format or on streamer. It’s hard to believe a film starring award-winning talent like Cillian Murphy, who is nominated for an Oscar this year, is not commercially available to audiences. Let’s find out how you can make sure your movie doesn’t succumb to the same fate.  In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: Staying conscious about the ways our contracts are written Thinking about where projects will be in 100 years Automating residual systems - is it a good idea? Feeling disturbed and disappointed by the lack of physical media available Pros and cons of text-to-video tools like Sora AI How AI can be a useful tool if it is subordinate to creatives Jaywalking in front of self-driving vehicles  What is causing the current short story phenomenon Why you should be reading screenplays every week Memorable Quotes Thinking about your digital legacy is a really interesting thing to try to negotiate and navigate.” [9:15] “Don’t get too attached to the movie you made because it might just completely go away.” [12:30] “Your scripts should be entertaining. Your goal is to create a great read.” [43:48] “I’m against building statues of anybody that’s alive. It’s expensive to take down a statue.” [48:24] Mentioned: OpenAI’s Insanely Powerful Text-to-Video Model ‘Sora’ is Here  What are the Ramifications of the New 'Sora' OpenAI App on Hollywood? Here’s How Sora’s AI Video Could Actually be Good for Filmmakers Why Are Short Stories Hot In Hollywood Right Now?  Rest of World article 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

Weak Layers is Katie Burrell’s feature film, which she not only directed but co-wrote and acted in. The film invites us to truly understand ski culture, unlike many unrealistic ski movies of the past. With this film, Katie proves that a novice director can stay true to their vision while also leading with transparency, humility, and positivity along the way. In today’s episode, No Film School’s GG Hawkins, speaks with Katie Burrell to discuss: Feeling excited about theatrical releases in ski towns Creating such a niche film What Katie can’t stand about other ski movies The unique, diverse cast and what they brought to the film Directing in extreme climates Being honest about her lack of experience How she kept up morale on set Why they didn’t do any playback How they created an organic party vibe on set Memorable Quotes “I was militant about making sure that it felt like it was a Hollywood movie, something that could reach into the mainstream.” [6:34] “No pro skier would ever put their goggles on top of the helmet.” [10:49] “In all the auditions of the core cast, there was a uniqueness that came through in each of them.” [14:03] “I was having the best time, all of the time.” [31:26] “To be somebody’s scene partner and also their director, is a really tricky relationship dynamic.” [37:09] “Don’t be afraid to admit that you have no idea what you’re doing, because people will rally around you and want to support that kind of attitude.” [43:46] Mentioned: Weak Layers Follow Katie on IG  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

If you’re anything like us, we only watch the Super Bowl for the awesome commercials, but sadly this year’s ads leave much to be desired. While we are disappointed by the Super Bowl commercials, we are happily surprised by two major announcements in the filmmaking space. One announcement comes from The Academy Awards, and the other announcement comes from Kodak. In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: The lack of visuals and creativity in this year’s commercials Trusting your gut feeling The Academy Awards - they are introducing a new category  Why people don’t appreciate what a casting director does  Benefits to starting as a casting director Kodak’s new camera we have all been waiting for - for literally 8 years How this new camera is great for modern production sets Why per per-screen averages are more important than box office numbers Memorable Quotes “Celebrity gags. It’s not special anymore when literally everyone is doing it.” [7:11] “There was a moment in the internet where virality could occur organically, by people sharing things because of the joy of it.” [8:59] “Casting is truly an art and a science.” [15:55] “The only thing indie filmmakers care about is our per-screen ratio.” [29:14] Mentioned: Academy Awards Adding a "Casting" Category in 2026  First Footage From the Kodak Super 8 Camera Chrysler, Born of Fire 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

Every year at Sundance, we aim to speak with indie filmmaking teams who have collaborated on some of our favorite movies. Learning from these successful collaborations can help us in our own future projects. Let’s take a look at the collaboration between filmmakers Francesca Silvestri and Laura Chinn, and how their undeniable chemistry helped them in the production of the film, Suncoast.  In today’s episode, No Film School’s GG Hawkins, speaks with Francesca Silvestri and Laura Chinn to discuss: Feeling both nervous and excited for the wide release of the film Not having to sell the film at Sundance Never taking no for an answer What Laura and Francesca love about working together  Challenges with shooting in certain locations Tapping into the 2000s nostalgia without overdoing it Seeing younger casts at Sundance this year  Being at shocked at how many writers don’t write Trusting that feedback is constructive and helpful  Why self-development is so helpful for filmmakers  Memorable Quotes “There are so many that have come into my life, that I will never work with again after this experience.” [6:36] “The 2000s in my opinion were not inherently cool.” [10:54] “When they tell you it’s bad and they give you a bunch of notes, cry hard and then move on.” [17:28] “When you do write, you do get better at it. When you do listen to other people’s feedback, you get better at it.” [17:40] “Work on you man, because everything will get better. Everything will get easier. Writing, directing, producing, whatever it is.” [20:53] Mentioned: Suncoast - Streaming on Hulu, Feb 9, 2024 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