In order to make your movie, you need money. So how do you get over that uncomfortable feeling of asking people to invest in your project? And once you have the financing, how do you get over the fact that your movie is not going to be appreciated by all audiences?

In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman and producer Michael Mendelsohn discuss: 

The wonderful process of discovering classic movies 

Our parents sheltering us from watching certain scenes in famous movies

The best way you can become good at packaging and pitching a project

What it’s like to film underwater, deep in the Baltic Sea while a war is going on nearby

Breaking into the industry at 17 years old

People claiming titles without actually doing the work

Taking stories of actual experiences and then putting them to screen 

The types of stories Michael typically leans towards



Memorable Quotes

“Stop doing impersonations of your favorite filmmakers and start figuring out what you have to say.” [4:10]

“I’m shooting there and the neighboring countries are at war. Missiles flying over, submarines, helicopters, airplanes…while we were filming.” [26:54]

“I have met several people that are back-biting, double-crossing, jerks who think they’re going to make it that way.” [39:04]

“Being okay with not being okay with everyone, is something we need to lean into as storytellers.” [54:38]



Resources:  
Ghost Ships

I am Michael

God is a Bullet

Get Lost



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Big Movies Require Big Risks - 'God is a Bullet’ Producer and Financier Talks Filmmaking

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.

TV & Film

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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Film Fests: The Merits and Scams; Plus, Film Communities Outside of the Bubbles with Amy Dotson

“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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How To Get a Short Film Into Sundance – and Turn It Into a Feature

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



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‘Shōgun’ DPs on Lenses, Looks & How ‘The Descent’ Brought Them Together

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?


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Writing the Unfilmable & Managing Your Career When SH*T Hits the Fan

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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Big Movies Require Big Risks - 'God is a Bullet’ Producer and Financier Talks Filmmaking

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