In this episode, GG Hawkins sits down with editor Celia Beasley to discuss her role in shaping Penelope, the new episodic series by the Duplass Brothers, now on Netflix. They explore the unique process of editing an episodic series that was shot like an indie film and edited entirely in the cloud. Celia shares her experiences of working outside major film hubs and the impact of community on her career. Through insightful conversations on editing, storytelling, and collaboration, Celia reveals her creative process and what it means to find success beyond New York and LA.

In this episode, No Film School’s GG Hawkins and Celia Beasley discuss:

• Transitioning from still photography to filmmaking and discovering editing as a storytelling tool
• Navigating the industry outside of major film hubs and the importance of a supportive community
• The unique challenges of editing Penelope, including cloud-based editing and handling extensive footage
• Using editing techniques to convey the protagonist's journey, especially in time-compressed scenes
• Advice for emerging filmmakers on trusting instincts, building collaborative relationships, and allowing a film to develop organically

Memorable Quotes:

• “Editing is not an afterthought. It’s the last chance for the film to be the best version of itself.” (46:44)
• “In the edit, I feel like I’m getting a giant bin of Legos, and it’s up to me to put the pieces together to make it all work.” (30:24)
• “It’s okay to ask questions, especially as an editor. I need to understand the vision, and I’m here to serve that.” (52:16)
• “People outside of New York and LA are in film for the love of it; we’re doing it because we’re passionate.” (12:32)

Resources:

• Celia Beasley’s Website: CeliaBeasley.com
• Celia on Instagram: @CeliaBeasley_Films
• Netflix Series Penelope: Watch on Netflix

Find No Film School everywhere:

• On the Web: No Film School
• Facebook: No Film School on Facebook
• Twitter: No Film School on Twitter
• YouTube: No Film School on YouTube
• Instagram: No Film School on Instagram

Send us an email with questions or feedback: [email protected]

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In this episode, host GG Hawkins hosts a roundtable discussion with microbudget filmmakers at the Austin Film Festival. They share their journeys of creating feature films under tight budgets and high personal stakes. Each filmmaker provides insight into the emotional, physical, and financial tolls of producing indie films while managing personal challenges. Despite the struggles, their stories are underscored by the resilience and camaraderie that helped them see their projects through.

The discussion touches on how these filmmakers greenlit their own projects, self-funded, and navigated logistical and emotional hurdles. From crafting stories inspired by personal traumas to relying on a supportive community to rally resources, the episode reveals what it truly takes to complete a microbudget film. The filmmakers open up about facing setbacks, from COVID shutdowns to creative crises, while pushing forward in pursuit of their vision.

In this episode, No Film School’s GG Hawkins speaks with indie filmmakers to discuss:

• The personal inspiration behind their microbudget films
• Emotional and physical tolls in the process of making a low-budget film
• Strategies for overcoming logistical challenges, from location scouting to equipment sourcing
• The importance of a supportive filmmaking community in DIY film production
• How each filmmaker dealt with setbacks and moments of doubt
• Key lessons from their experiences in indie filmmaking at AFF

Memorable Quotes:

• “If I was going to do this and fail, it would be good to have a support system around us.” (20:10)
• “Making the movie, getting picture lock… you’re only 60% there.” (44:13)
• “It’s like a constant vulnerability. It’s like cutting yourself open and letting your guts out every day.” (25:27)
• “I don’t know if I’ll do this again… It’s incredible, but the toll is so high.” (50:42)

Resources:

• Austin Film Festival
• GG Hawkins' Micro-Budget Filmmaking Newsletter: @LostinGraceland on Instagram

Find No Film School everywhere:

• On the Web: No Film School
• Facebook: No Film School on Facebook
• Twitter: No Film School on Twitter
• YouTube: No Film School on YouTube
• Instagram: No Film School on Instagram

Send us an email with questions or feedback: [email protected]

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Celebrating Halloween, this special episode dives into the indie horror-comedy Booger, an unconventional story that combines grief, body horror, and dark humor. Director Mary Dauterman, editor Kyle Moriarty, and lead actor Grace Glowicki share the creative and logistical challenges they faced bringing this unique film to life. From crafting a cat-human transformation story inspired by loss to the collaborative spirit on set, they reveal how to keep indie film projects grounded in vision, even on a tight budget.

Mary Dauterman is a director and writer making her feature debut with Booger, a horror-comedy that blends humor and body horror to explore themes of grief. With a background in illustration and advertising, Mary brings a unique visual style to her work, making her voice distinct in the indie film scene.

Kyle Moriarty is an editor known for his collaborative approach to indie projects, often working closely with directors to capture unique tones and pacing. His work on Booger helped shape the film’s unsettling, humorous edge, bringing out the full impact of its horror-comedy fusion.

Grace Glowicki is an actor and filmmaker acclaimed for her physical, transformative performances. In Booger, she brings the role to life through meticulous body language, channeling both horror and humor in the character’s journey of transformation.

In today’s episode, No Film School’s GG Hawkins speaks with Mary Dauterman, Kyle Moriarty, and Grace Glowicki to discuss:

• The inspiration behind Booger, blending dark themes with horror and humor
• How the 2020 lockdown shaped the film’s themes of grief and loneliness
• Mary Dauterman’s transition from shorts to her debut feature film and what that entailed
• The creative approach to body horror, from prosthetics to unique camera techniques
• How editor Kyle Moriarty’s previous collaboration with Mary Dauterman influenced the edit’s tone and pacing
• Grace Glowicki’s physical preparation for the role, embodying the character’s transformation
• Managing DIY effects on a low budget

Memorable Quotes:

• “Writing it during lockdown and writing it being like super isolated, these themes of grief and loneliness started creeping in.” (04:18)
• “I decided to storyboard the entire film all the way through, which was crazy, but I'm really glad I did it because I think I could pay attention to certain things like: how does the film feel visually?” (12:12)
• “Our specialty lenses were called a lens baby, which is kind of like a lens with an accordion and you can push it all around and the focus falls and it looks really unsettling.” (14:06)
• “The biggest challenge was we were shooting like July into August and turns out prosthetics melt.” (24:48)
• “It's a little bit like the more seriously we take her cat behavior and transformation and just all that grossness… the funnier it is.” (30:52)
• “I was getting these poster designs that I was like, what? No. I'm going to do this myself. So I went a little nuts.” (46:20)

Resources:

Booger on IMDb

Follow Mary Dauterman on Instagram

Mary Dauterman on IMDb

Mary Dauterman’s website

Kyle Moriarty on IMDb

Kyle Moriarty’s website

Grace Glowicki on IMDb

Find No Film School everywhere:

On the Web

https://nofilmschool.com/

Facebook

https://www.facebook.com/nofilmschool

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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: [email protected]

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What does it take to go from indie filmmaking on a shoestring budget to working with legends like Sam Raimi? Andrew Kightlinger’s journey from Madagascar to Hollywood shows how personal experiences shape a filmmaker’s voice. Filmmakers Adam Schindler and Brian Netto share how they moved from microbudget horror films to collaborating with one of the industry’s icons. This episode explores the highs and lows of filmmaking, from preparation and improvisation to building trust on set.

Andrew Kightlinger grew up surrounded by the vibrant landscapes of Madagascar, which ignited his passion for filmmaking. Now directing in Hollywood, his films, like Lost on a Mountain in Maine, showcase his ability to merge personal experiences with visually captivating storytelling. Lost on a Mountain in Maine releases on November 1.

Adam Schindler and Brian Netto began their filmmaking journey with microbudget horror, mastering the craft of tension and suspense. Their latest film, Don’t Move, produced by Sam Raimi, is set to release on October 25, 2024 on Netflix, proving that powerful stories don’t require massive budgets

In today’s episode, No Film School’s Jason Hellerman and GG Hawkins speak with Andrew Kightlinger, Adam Schindler, and Brian Netto to discuss:

• Andrew Kightlinger’s journey from Madagascar to Hollywood
• How his upbringing influenced Lost on a Mountain in Maine
• The need for preparation and improvisation with tight budgets
• Schindler and Netto’s move from micro budget films to working with Sam Raimi on Don’t Move
• Creating real-time horror with minimal voiceover and non-linear techniques
• The role of trust and collaboration in elevating a project

Memorable Quotes:

• “The big lesson I learned in that movie was who not to work with, and I won't go into more detail than that, but I think that's a very important lesson in a collaborative field like ours.” (12:03)
• “I believe that filmmaking is preparation. Like bar none, that's what your job as a director is to do. So prepare because it's gonna be chaos when you start shooting.” (18:02)
•  “I knew what I wanted the film to be. And then I also storyboarded the whole movie just with stick figures. I just had an iPad and I drew out all the really complicated stuff to the best of my ability.” (20:06)
• “He's the consummate collaborator, like… horror icon, but also like one of the best script to screen notes… he lives up to all of it.” (45:22)
• “We became directors together. Our passion for film began together. We founded together. I think the things that we enjoy are slightly different. We like the same movies, but we also have different tastes.” (55:17)
• “I think the filmmaking part of it is the fun part and the easy part. It's all the other things that you have to juggle and have the temperament for and the stomach for and the patience for and all those sorts of things.” (1:04:26)

Resources:

Follow Andrew Kightlinger on Instagram

Andrew on IMDb

Lost on a Mountain in Maine on IMDb

Adam Schindler on IMDb

Follow Adam on Instagram

Brian Netto on IMDb

Follow Brian on Instagram

Don’t Move on IMDB

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: [email protected]

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In filmmaking, finding the right actor can make all the difference, and for Hallie Meyers-Shyer, Michael Keaton was the only choice for the lead role in Goodrich. This episode delves into the creative journey of writing and directing a deeply personal film, navigating the challenges of independent production, and discovering the heart of the story during editing. It also explores how persistence, vision, and collaboration are essential in bringing a project to life.

Hallie Meyers-Shyer is a writer and director known for her heartfelt and character-driven stories. Following in the footsteps of her legendary filmmaking parents, Nancy Meyers and Charles Shyer, Hallie made her directorial debut with Home Again in 2017. Her latest film, Goodrich, is a personal story inspired by her family dynamics, with a lead role written specifically for Michael Keaton. Hallie is passionate about crafting films that blend humor and emotion, creating stories that resonate on a deeply human level.

In today’s episode, No Film School’s GG Hawkins and Jason Hellerman speak with Hallie Meyers-Shyer to discuss:

• Insights from the LA Director’s Lab, a workshop that offers directors a space to practice their craft and experiment with creative risks
• Why Michael Keaton was the perfect fit for Goodrich and how she wrote the role with him in mind
• The personal inspiration behind the story, rooted in Hallie’s experiences with her own family
• How to keep pushing forward with a film project, even when financing falls through
• The importance of outlining in the writing process and how it provides freedom in creativity
• Hallie’s experience working with a tight-knit team and storyboarding the entire film
• The emotional discoveries that shaped the film during editing and how the film revealed itself as more than just a comedy

Memorable Quotes:

• “I work hard to fully flesh out each character and make them not just servicing the thing that you want to get across in that scene and make them people with a lot of layers and things.” (15:06)
• “I kind of always felt this was going to be an independent movie, even though it sort of would have been a studio movie probably 30 years ago.” (18:24)
• “I had Pinterest boards for costumes. I had Pinterest boards for every location. I also had a really long time to work on this movie, so I had about six years of images pulled.” (26:27)
• “I love editing. I just love it. It's one of my favorite parts, if not my favorite part.” (36:02)
• “Something I noticed about Michael Keaton in the editing room (…) is he brings the first scene of the movie into the last scene of the movie.” (37:15)
• “I know many super talented writers who can do multiple projects at once. I admire it. I cannot do it. I am so fully immersed in what I'm writing.” (46:27)
• “I think it's so important for human stories, personal stories about people and emotions and whatever your life story is, get it out there, keep at it, be your biggest champion, make it happen.” (51:52)

Resources:

Follow Hallie Meyers-Shyer on Instagram

Hallie on IMDb

Goodrich on IMDb

Hollywood Camera Works trainings

Find No Film School everywhere:

On the Web

https://nofilmschool.com/

Facebook

https://www.facebook.com/nofilmschool

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YouTube

 https://www.youtube.com/user/nofilmschool

Instagram

https://www.instagram.com/nofilmschool

Send us an email with questions or feedback: [email protected]

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The Austin Film Festival (AFF) stands out for its unique focus on writers and emerging filmmakers, providing a space for attendees to connect with industry professionals and discover creative collaborations. With its welcoming atmosphere, AFF offers an ideal environment for networking, learning, and exploring new opportunities. The conversation also delves into the career of cinematographer Mihai Malaimare Jr., who shares his journey from film school to working with legendary director Francis Ford Coppola, offering insights into his approach to cinematography and navigating the evolving role of technology in film.

Andy Volk is the Senior Film Programmer at Austin Film Festival. He selects films from around the world and helps shape the festival’s diverse lineup.

Emily Lock is the Conference Director at Austin Film Festival. She organizes panels and events focused on screenwriting and filmmaking.

Mihai Malaimare Jr. is a cinematographer known for Megalopolis and Jojo Rabbit. He began working with Francis Ford Coppola shortly after film school and is recognized for his innovative approach to both film and digital cinematography. Mihai has worked on several acclaimed films, blending artistry with evolving technology.

In today’s episode, No Film School’s GG Hawkins and Ryan Koo speak with Andy Volk, Emily Lock, and Mihai Malaimare Jr. to discuss:

• How to make the most of your time at the Austin Film Festival
• Why AFF stands out as a community-driven festival
• Tips for networking, pitching, and finding creative collaborations at the festival
• Mihai Malaimare Jr.’s journey from film school to becoming Francis Ford Coppola’s go-to cinematographer
• How Mihai navigates the evolving landscape of VFX-heavy productions and maintains the balance between technology and artistry
• Building lasting professional relationships with directors and how to stay open to creative ideas on set

Memorable Quotes:

• “[AFF] is one of the more welcoming festivals that I've ever been to, and it really is about community. And I think that's one of the things that we really pride ourselves on at the festival is making it feel really warm and really open.” (7:34)
• “It's a very rare opportunity for an aspiring and emerging storyteller to get in a room with someone who's an actual gatekeeper for Hollywood, to hear their perspective on what they're looking for and their advice to emerging voices, and to have the opportunity to speak with them, either one-on-one or in a group, and really pitch themselves.” (16:22)
• “I want any of our listeners who sort of skew on the shyer side to practice introducing themselves to somebody that they don't know.” (19:03)
• “My advice is watch everything. And I know that sounds trite, but it's so important to get outside your own taste bubble.” (25:34)
• “Make space for things that don't jump out at you. And you would be surprised how much you can love something that didn't really necessarily call to you.” (25:58)
• “It can be very stressful when you're not prepared, and you're used to productions that are really very carefully planned. If you move an inch, then it's a disaster.” (38:09)
• “I'm still trying to figure out why, but I'm more attracted to still photography than stills from other movies.” (52:18)

Resources Mentioned:

Austin Film Festival

On Story podcast

Mihai Malaimare Jr. on Instagram 

Mihai Malaimare Jr. on IMDb

Mihai Malaimare Jr.’s website

Find No Film School everywhere:

On the Web

https://nofilmschool.com/

Facebook 

https://www.facebook.com/nofilmschool

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https://twitter.com/nofilmschool

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https://www.youtube.com/user/nofilmschool

Instagram

https://www.instagram.com/nofilmschool

Send us an email with questions or feedback: [email protected]!

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The O-1 visa, also known as the "artist visa," is a crucial step for filmmakers and creative professionals aiming to establish their careers in the U.S. Designed for individuals with extraordinary ability in their fields, the application process can be daunting. This episode offers insights into what it takes to qualify, how to strengthen your application, and common challenges faced by those seeking an O-1. Whether you're in the middle of applying or just starting out, this episode provides a roadmap for navigating the process.

Alabama Blonde is a casting director, costume designer, and performance coach originally from Australia. Now based in Los Angeles, she has navigated the O-1 visa process twice, ultimately securing a green card. Alabama’s multidisciplinary career spans various creative roles, giving her unique insights into the challenges of obtaining visas as an artist working across multiple fields.

Julia Zanin de Paula is a Brazilian filmmaker, director, and editor currently based in New York. With a background in horror films, including her notable short Mother of Monsters, Julia has successfully transitioned from a student visa to an O-1 artist visa. She offers valuable advice on gathering press, awards, and recommendations to strengthen her application.

Sneha Mendis is a producer and screenwriter from India, currently in New York, and in the midst of applying for her O-1 visa. With a background in production and development, Sneha shares her experience of building a case for the visa while working in various roles across film sets in the U.S.

In today’s episode, No Film School’s GG Hawkins and Jason Hellerman speak with filmmakers Alabama Blonde, Julia Zanin de Paula, and Sneha Mendes to discuss:

• What qualifies as “extraordinary ability” and how to demonstrate it in your visa application
• The key documents and evidence required to strengthen your case, including press coverage, awards, and work offers
• The emotional challenges of navigating the visa process and finding support while applying
• Common misconceptions about the O-1 visa and why it’s not as "easy" as some think
• Financial considerations: the costs of legal fees, recommendations, and union approvals

Memorable Quotes:

• “I think being extraordinary is having something that sets you apart from everyone who's doing the thing that you do.” (15:05)
• “You know what happens when you're a filmmaker and you are starting your career? You're couch surfing. You know, it's not always easy.” (24:10)
• “They can't say Julia will be extraordinary. They have to say Julia is extraordinary right now, and she will be extraordinary in the US.” (25:56)
• “You've got to be a little insane to do the O1 visa. You've got to be a little delusional. Because if you don't go all in, you're not going to get it.” (32:34)
• If you have a long-term project that the producer has never encountered your visa and has never gone through human resources with your kind of visa, they might not be down to do it.” (43:22)
• “It doesn't get easier once you get it. It's just a constant struggle to grow in your career.” (44:20)

Mentioned:

Follow Sneha Mendes on Instagram

Sneha’s website

Sneha on IMDb

Follow Julia Zanin de Paula on Instagram

Julia’s website

Julia on IMDb

Follow Alabama Blonde on Instagram

Strike the Blonde Casting on Instagram

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: [email protected]!

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As AI continues to reshape creative industries, video editing is undergoing a major transformation. Tools like Eddie AI are making the editing process faster, more efficient, and more accessible to filmmakers. By acting as a storytelling partner, AI can quickly generate rough cuts, find key moments in footage, and even suggest alternative storylines, all while freeing up creatives to focus on the art of storytelling. This episode explores how AI is changing the landscape of post-production, addressing both the excitement and concerns about its growing role in filmmaking.

Shamir Allibhai is the co-founder and CEO of Eddie AI, an innovative tool designed to assist filmmakers in streamlining the video editing process. With a background in documentary filmmaking and production work at the BBC, Shamir transitioned into tech to solve the workflow challenges he encountered in the field. His passion for storytelling drives his mission to use AI as a tool to empower creators, making the process of crafting stories more efficient and accessible to all. 

Jourdan Aldredge is the tech editor at No Film School, with years of experience covering filmmaking tools, techniques, and trends. A filmmaker and writer himself, Jourdan brings a unique perspective on how technology intersects with storytelling.

In today’s episode, No Film School’s Gigi Hawkins speaks with Jourdan Aldredge and Shamir Allibhai to discuss:

• The evolution of video editing and how AI tools can help streamline the process
• How Eddie AI functions as a "storytelling partner" for filmmakers, not just an editing tool
• The iterative nature of filmmaking and how AI can aid in refining the story during production
• Addressing fears around AI in creative industries, including concerns about replacing human creativity
• How AI tools can save time and focus more energy on the craft of storytelling
• The future of AI in film and how it can democratize storytelling

Memorable Quotes:

• “I have this aspiration that more people can tell better stories. And I want to help bring those untold stories out.” (5:04)
• “Hey, let's find the most important sound bites on these topics, let's start creating a rough cut, but also, hey, you also need 10 TikToks.” (16:58)
• “Imagine if production and post-production weren't the siloed steps. What if they could operate in tandem in a similar sense to an agile workflow?” (20:36)
• “I think with every technology we've observed, they've actually led to an increase in productivity or creativity.” (24:13)
• “I truly believe that a lot of these tools are like bicycles for the mind.” (36:03)

Mentioned:

Eddie AI

Jourdan Aldredge's article about Eddie AI

Follow Jourdan on LinkedIn

Follow Shamir on X

Shamir on IMDb

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: [email protected]!

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How do documentary films inform the way we approach narrative filmmaking? What does it mean to care for your mental health in an industry that thrives on constant creativity and long hours? How do documentary editors navigate the emotional toll of handling sensitive, often traumatic stories?

In today’s episode, No Film School’s GG Hawkins speaks with editor Kait Plum to discuss:

• Doing a test scene before becoming the editor of Bad Shabbos
• The difference between editing doc and editing narrative
• Editing a film with many characters 
• The benefits of doing test screenings for comedy 
• Facing difficult footage when editing a documentary 
• The importance of setting boundaries and taking breaks
• Using the term “participant” instead of “subject” in documentary filmmaking
• What it was like to work on the doc, Mediha
• Why networking and mentorship are crucial for aspiring editors

Memorable Quotes

• “Working in documentary is so much work. Working in narrative was just fun because everything is there and you have a script.” [5:01]
• “We are looking at a lot of harrowing stuff on repeat and having to internalize that.” [30:55]
• “I know a lot of fellow documentary editors who deal with depression and anxiety on a regular basis.” [31:02]
• “The number one thing in the film industry is to network.” [42:56]

Links:

Bad Shabbos

Mediha 

Follow Kait 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: [email protected]!

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As streaming reshapes the industry, pilot season is a thing of the past, leaving creatives to navigate constant demands and year-round pitching. How do filmmakers find balance when the lines between work and rest blur? And how can unexpected pivots lead to more meaningful projects? This episode explores staying resilient in a world without structure, featuring Max Lugavere's decade-long journey with Little Empty Boxes, a deeply personal documentary about his mother's battle with dementia that evolved in ways he never expected.

Max Lugavere is a filmmaker, health journalist, and New York Times bestselling author. After his mother’s diagnosis with Lewy body dementia, Max chronicled her experience in Little Empty Boxes. The film, which took over a decade to complete, shifted from an investigative piece to an intimate portrayal of love, loss, and resilience.

In today’s episode, No Film School’s Gigi Hawkins speaks with Jason Hellerman, Max Lugavere and Chris Newhard to discuss:

• The death of pilot season and how streaming has transformed the TV landscape
• The endless cycle of pitching and the impact on writers’ lives
• Finding balance between personal life and an unpredictable film industry.
• How unexpected creative pivots can lead to more meaningful work.
• Max Lugavere’s personal journey documenting his mother’s battle with dementia in Little Empty Boxes
• Chris Newhard’s role in reshaping Little Empty Boxes through fresh eyes, helping it evolve into a deeply emotional and impactful documentary

Memorable Quotes:

• “The thing with pilot season not existing is interesting because you still have network TV, right? Network TV still generally functions the way it always has, except for it doesn't embrace the buying and research and development behind pilot season anymore.” [5:36]
• “The anxiety of pitching year-round is that you're also assuming these execs are reading year-round. They need a break too.” [9:03]
• “There were likely overlapping skills that I had learned as a short form content creator that could be applied to long form documentary filmmaking, but of course the amount of money and time and personnel required to create a feature length documentary… it's so different.” [26:28]
• “Being in front of the camera allowed me access to some moments that I think you probably wouldn't have been able to catch on film had I not actually had been there.” [41:04]
• “I just simply found that going with the emotion instead of trying to fight the tide was more beneficial for me.” [53:24]
• “He spent a lot of time and a lot of money trying to make this movie happen. And the first thing I did is I deleted it.” [55:42]

Mentioned:

Max Lugavere on Instagram

Little Empty Boxes website

Max Lugavere’s website

The Genius Life podcast

Max Lugavere’s Books

Chris Newhard’s website

Chris Newhard on Instagram

Jason Hellerman on IMDb

Jason’s library of content on No Film School

Jason on Instagram

Jason on X

KYNO editing tool

Find No Film School everywhere:

On the Web

https://nofilmschool.com/

Facebook 

https://www.facebook.com/nofilmschool

Twitter 

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YouTube 

https://www.youtube.com/user/nofilmschool

Instagram

https://www.instagram.com/nofilmschool

Send us an email with questions or feedback: [email protected]!

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Selling a script can feel like a distant dream, but the process is very much alive. From using platforms like The Black List to writing query letters and building personal connections, breaking into the industry is challenging but not impossible.

Plus, we explore the rise of the Panamanian film industry, how it has evolved, and what it takes to make a mark in a smaller but growing market. 

Delfina Vidal is a Panamanian filmmaker known for her documentaries. She has contributed significantly to the growing Panamanian film industry, focusing on telling stories that resonate with local and international audiences.

Arianne Benedetti is a producer and key figure in the Panamanian film scene. She is instrumental in the development of Panama’s cinematic landscape, working on projects that showcase the country’s cultural and artistic diversity.

Maria Isabel Burnes is involved in promoting the Panamanian film industry, playing an essential role in nurturing emerging filmmakers and helping develop a vibrant film culture in Panama.

In today’s episode, No Film School’s GG Hawkins speaks with Jason Hellerman and filmmakers from Panama Delfina Vidal, Arianne Benedetti and Maria Isabel Burnes to discuss:

• How to break into the industry by selling or optioning scripts
• The importance of getting your work out into the world and building a community around it
• The Substance, the film starring Demi Moore, Dennis Quaid and Margaret Qualley, written and directed by Coralie Fargeat
• What emerging filmmakers in Panama are doing to grow their film industry
• Strategies to create universal stories that can travel beyond local markets
• Why female filmmakers are thriving in Panama’s expanding film scene

Memorable Quotes:

• "You have to get your story out into the world. You have to be willing to hear the sometimes harsh feedback that these websites deliver.” [05:25]
• "Don't stop writing, because maybe the main thing here is: one script can open a couple doors, two scripts can open more, three, you know, onward and upward, but you're gonna need scripts." [16:34]
• “It's not just about how great your script is, but how marketable it is. Who sees that they can make money from it? Is this some material that I can get something in return for?” [20:15]
• “It’s more common to be on an NFL roster than it is to be a working screenwriter in Hollywood.” [26:21”
• “When you're going to work with kids, make sure you have a lot of time before set so they can relate to you and feel very comfortable with you.” [59:02]
• “Always, always prepare for the worst. Prepare your coworkers for the worst. Prepare your actors for the worst. Prepare the location that you're working in for the worst.” [1:03:07]

Mentioned:

Jason Hellerman on IMDb

Jason’s library of content on No Film School

Jason on Instagram

Jason on X

Delfina Vidal on IMDb

Arianne Benedetti on IMDb

Maria Isabel Burnes on IMDb

The Black List

Stage 32

Roadmap Writers

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