Molly Manning Walker is the Writer-Director of How to Have Sex. The story follows three British teen girls who find themselves navigating the complexities of sex, consent, and self-discovery while on holiday in Greece. The film has won awards across various film festivals, including British Independent Film Awards, Cannes Film Festival, Athens International Film Festival, and others. It premiered at Sundance 2024 in the Spotlight film section.

In today’s episode, No Film School’s GG Hawkins, speaks with Molly Manning Walker to discuss:

The inspiration behind the film

Realizing her own friendships as a teen were quite harsh

Unexpected reactions from the audience

Exploring the glorification of party culture

The process of choosing a cinematographer

Director vs DP - The POV of the set changes 

Why some scenes were heavily scripted and others improvised

Navigating a group of high energy teen actors

The benefit of doing experimental takes

Bringing in an intimacy coordinator so the cast felt protected

How Molly created a safe environment for both cast and crew



Memorable Quotes

“How I see a film set has always been through a lens. Through holding a camera.” [7:16]

“It was definitely difficult navigating six really high energy young people.” [11:47]

“Watch your film on mute and see if it still makes sense.” [24:13]

“The more time you put into something, you eventually break through.” [25:34]



Mentioned
How to Have Sex 

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When Sundance Is the End of Your Festival Run: ‘How To Have Sex’ Director Molly Manning Walker

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

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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How ‘Challengers’ Screenwriter Justin Kuritzkes Aces Character, Tension and Stakes

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



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Packaging and the Death of Naked Specs

We had the chance to speak to Grant Petty of Blackmagic Design at this year’s NAB conference. It was as much of a conversation about technology and innovation as it was a conversation about human nature. 

In today’s episode, No Film School’s Jourdan Aldredge speaks with Blackmagic CEO Grant Petty to discuss: 

Developing the URSA Cine with a post-production mindset

Zero-cost options from Blackmagic for beginners

Why Grant doesn’t like to compete with others

PYXIS camera and its features

Creating products that lend to an efficient post-production workflow

Exciting new changes and updates to DaVinci Resolve 19

Grant’s opinion on AI and the future of editing 

The moment he fell in love with color correction

Feeling lonely and misunderstood

Why you have to be a ruthless, yet empathetic product engineer



Memorable Quotes

“Business people are some of the stupidest people in the world.” [22:25]

“A lot of this technology is just shit. It’s not very reliable.” [29:11]

“If it gets too smart, it’s just another species to kill. Humans are fantastic at killing everything. We just gotta go hunting computers.” [30:45]

“With creativity comes great loneliness.” [47:58]

“You got to be simultaneously ruthless and simultaneously full of empathy.” [50:00]


Mentioned:
A First-Hand Look at the New Blackmagic URSA Cine 12K at NAB 2024 

Check out Jourdan's article 

Blackmagic URSA Cine

Blackmagic PYXIS

DaVinci Resolve 19   




Find No Film School everywhere:
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When Sundance Is the End of Your Festival Run: ‘How To Have Sex’ Director Molly Manning Walker

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