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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
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Erick Sasso is a multi-hyphenate creative and the editor of the film, Maxine's Baby: The Tyler Perry Story, which documents the life of Tyler Perry. Erick compares the making of documentaries to the making of a meal. You need to use the right ingredients…not too much, not too little. And everyone at the table has to enjoy it.
In today’s episode, No Film School’s GG Hawkins speaks with filmmaker Erick Sasso to discuss:
Making music videos with his friends in high school
Realizing you can reverse engineer in the edit
The importance of charging adequately for your services
How he landed the editing job on Maxine’s Baby
What it looks like to fall in love with the subject
Navigating topics such as abuse and childhood trauma
What it was like seeing emotional reactions from the audience
Important lessons he has learned about being a filmmaker
Setting up projects in Adobe Premiere
Overcoming tech fears and looking forward to new updates
Why editors make the best directors
Focusing on development and learning from others
Memorable Quotes
“Usually you are not charging enough. Usually, you are charging way less than industry standard.” [12:38]
“When you edit a lot, it’s really creepy when you meet people.” [32:59]
“You may think you are a hard worker until you meet someone who is doing 10x your output.” [35:09]
“You need to become a pro at uncertainty.” [60:24]
Mentioned:
Maxine’s Baby: The Tyler Perry Story
Erick's website
Connect with Erick on IG
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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)
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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
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Send us an email with questions or feedback: [email protected]!
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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]
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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
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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
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Send us an email with questions or feedback: [email protected]!
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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
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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]
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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]
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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
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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
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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
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Send us an email with questions or feedback: [email protected]!
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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
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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)
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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
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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
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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:
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https://nofilmschool.com/
Facebook
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https://twitter.com/nofilmschool
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https://www.youtube.com/user/nofilmschool
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https://www.instagram.com/nofilmschool
Send us an email with questions or feedback: [email protected]!
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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:
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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]!
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
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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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