Is the best time to release your horror film during the month of October? Damien LeVeck certainly doesn’t think so. Damien is an award winning filmmaker known for his work in the horror genre. We can’t wait to see his most recent film, A Creature was Stirring. This “Christmas meets horror” movie will be released this December. 

In today’s episode, No Film School’s GG Hawkins speaks with filmmaker Damien LeVeck to discuss:

One of the best horror scripts he has ever read

Why he takes script submissions on his website

Taking a good script and making it into a great script

How a Minimum Guarantee (MG) deal works

Using the cloud system provided by Black Magic Design

A simple tech tip that all directors should know

The challenge of writing, directing, producing, and editing your own movie

Doing screenings in order to get honest feedback 


Memorable Quotes

“You should be glad you did this, because it might be the only time in your life when you will take these kinds of risks.” [3:39]

“If you cannot see the twist coming on the page, that’s a real feat.” [7:21]

“If you know how to edit, you will be a much better director.” [18:24]


Resources:

A Creature was Stirring 

Top Legal Mistakes Filmmakers Make and How To Avoid Them

Skubalon Entertainment

Damien’s Instagram



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Piloting Real-Time Post-Collab on Damien LeVeck’s Holiday Horror

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

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



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How To Cut Like an Anthropologist from 'Scrambled’ & ‘Alpha’ Editor Sandra Granovsky

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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https://www.instagram.com/nofilmschool

Send us an email with questions or feedback: podcast@nofilmschool.com!
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The Pause in Pipeline Programs & What It Means for You

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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‘Prom Dates’ Writer & Director on Reviving the Teen Sex Comedy

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  


Find No Film School everywhere:
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https://www.instagram.com/nofilmschool

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


Find No Film School everywhere:

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Send us an email with questions or feedback: podcast@nofilmschool.com!
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Piloting Real-Time Post-Collab on Damien LeVeck’s Holiday Horror

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