An Indie Film Exec Unpacks The Post-Strike World
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11/16/23 • 45 min
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“As Hollywood changes post-strike, the only surefire way in the door is to have something great people are excited to make.” If you are a writer looking to break into the industry, you need to know how to write a great script that producers actually want to read.
In today’s episode, No Film School’s Jason Hellerman speaks with acquisition executive and script consultant, Evan Littman, to discuss:
- The difference between large studios and indie markets
- How indie films are made
- Why you should not submit a short
- Castability - why you need to write roles for specific actors
- The reasons you need representation as a writer
- Why it’s a seller’s market right now if your script is ready and it’s a banger
- Having a basic understanding of production costs
- Log lines we don’t like
- Carving out your own little corner of Hollywood
Memorable Quotes
- “Horror is a great, communal, theatrical experience.” [9:12]
- “I hope I’m not crushing anyone’s soul when I say, ‘nobody really cares about shorts.’” [13:09]
- “The strikes are over, but that doesn’t mean it got easier. It means it got harder.” [15:56]
- “Know how much your movie costs.” [27:16]
- “Do not wait for everyone else to tell you ‘yes.’” [40:04]
Resources:
Read Evan’s No Film School articles
Find No Film School everywhere:
On the Web
https://www.facebook.com/nofilmschool
https://twitter.com/nofilmschool
YouTube
https://www.youtube.com/user/nofilmschool
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
“As Hollywood changes post-strike, the only surefire way in the door is to have something great people are excited to make.” If you are a writer looking to break into the industry, you need to know how to write a great script that producers actually want to read.
In today’s episode, No Film School’s Jason Hellerman speaks with acquisition executive and script consultant, Evan Littman, to discuss:
- The difference between large studios and indie markets
- How indie films are made
- Why you should not submit a short
- Castability - why you need to write roles for specific actors
- The reasons you need representation as a writer
- Why it’s a seller’s market right now if your script is ready and it’s a banger
- Having a basic understanding of production costs
- Log lines we don’t like
- Carving out your own little corner of Hollywood
Memorable Quotes
- “Horror is a great, communal, theatrical experience.” [9:12]
- “I hope I’m not crushing anyone’s soul when I say, ‘nobody really cares about shorts.’” [13:09]
- “The strikes are over, but that doesn’t mean it got easier. It means it got harder.” [15:56]
- “Know how much your movie costs.” [27:16]
- “Do not wait for everyone else to tell you ‘yes.’” [40:04]
Resources:
Read Evan’s No Film School articles
Find No Film School everywhere:
On the Web
https://www.facebook.com/nofilmschool
https://twitter.com/nofilmschool
YouTube
https://www.youtube.com/user/nofilmschool
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
Previous Episode
Demystifying Artist Labs and Programs with Tribeca Studios’ Bryce Norbitz
Have you considered submitting an application for a development program or a writer’s lab, but you don’t know where to start? You’re unsure what you should include in your application, and you don’t know what to expect if you do get accepted.
In today’s episode, No Film School’s GG Hawkins speaks with the Director of Artist Programs at Tribeca Studios, Bryce Norbitz, to discuss:
- Artist development programs and how they help new filmmakers
- What Bryce focuses on when she first reads an application
- The benefit of applying to a program even if you don’t get accepted
- What the jury has to consider when deciding on a program winner
- The credibility that comes with being a program finalist
- What it looks like to work with a brand partnership on your film
- When you should avoid submitting your story to a lab or program
- What applicants should include in their submissions
- Attending small, community-driven festivals in order to network
- Powerful reasons to attend film festivals as an emerging filmmaker
Memorable Quotes
- “Nobody goes into any brand funding without knowing what the brand’s goals are.” [27:35]
- “Knowing exactly what you are putting yourself up for will save you energy.” [32:13]
- “People need to feel more comfortable shouting themselves out.” [32:38]
- “Your career as a filmmaker will likely not be consistent. It will be ever changing.” [35:12]
- “My scene was cut, and I never acted again.” [39:06]
Resources:
Getting accepted into the Sundance Labs on the 5th attempt
Connect with Bryce: [email protected]
Find No Film School everywhere:
On the Web
https://www.facebook.com/nofilmschool
https://twitter.com/nofilmschool
YouTube
https://www.youtube.com/user/nofilmschool
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
Next Episode
‘Asteroid City’ DP Robert D. Yeoman on Film vs Digital, Long-Term Director Relationships, and Sleep
To improve your filmmaking, you have to just go out there and shoot with whatever you have, even if all you have is an iPhone. This advice comes from prolific cinematographer Robert Yeoman, who is joining us on the podcast for a second time.
In today’s episode, No Film School’s GG Hawkins speaks with DP Robert Yeoman and DP Ryan Thomas to discuss:
- When Robert first met Director Wes Anderson and what they discussed
- Why the director and cinematographer need to be on the same team
- Cultivating a family-like atmosphere with the cast and crew
- The vetting process for choosing the camera crew
- The best way to approach the challenges of complex shots
- What Robert does to stay healthy, sharp, and safe while filming
- Shooting on film versus shooting on digital cameras
- How film has evolved over the years
- Why knowing how to edit can help you be a better cinematographer
Memorable Quotes
- “If you don’t like the script, you shouldn’t take the film.” [5:38]
- “The director is my best friend. I am there to serve the director as best I can.” [6:36]
- “I have this ability to not show that I’m nervous, even though inside I might be going nuts.” [19:05]
- “Go out and shoot stuff. It doesn’t matter if it’s your iPhone.” [42:09]
Resources:
Our first podcast interview with Yeoman
More on the Netflix shorts Wes Anderson directed
Find No Film School everywhere:
On the Web
https://www.facebook.com/nofilmschool
https://twitter.com/nofilmschool
YouTube
https://www.youtube.com/user/nofilmschool
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
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