Is There Anything Left in the Superhero Genre to Explore?
Play • 48 min

This week on The No Film School Podcast: Twitter gets testy about Master and Commander: The Far Side of the World... but Russell Crowe fights back. The Amazon series The Boys takes on the superhero genre (successfully) and we discuss how trying your hand at the genre is may not be the worst idea. Also: did Chinese producers rip off IP with the recent The Fault In Our Stars knockoff that conquered the 2020 box office.

In Tech News: can you make an artificial sun for a thousand bucks? And does it look any good? YouTuber DIY Perks has an answer. Additionally in Tech News: the new, upgraded WiFi 6.

*Note: Please excuse any minor issues in our audio.*

Please email us any questions at!

Learn more about your ad choices. Visit

The Cinematography Podcast
The Cinematography Podcast
The Cinematography Podcast
Sean Bobbitt, BSC, on Judas and the Black Messiah, working with director Shaka King, working with director Steve McQueen on Hunger and Shame
Sean Bobbitt thinks good cinematography is composed of a series of very carefully crafted and decided upon images. He began his career as a news camera shooter, but once he began to work on documentaries and features, Sean learned that each shot is not just coverage to edit together. After working in news and documentary for several years, Sean decided he wanted to transition into working on dramatic films, so he took a cinematography class with acclaimed cinematographer Billy Williams, and it changed his life. He knew he wanted to become a cinematographer. He soon got his first feature film job working on Wonderland, directed by Michael Winterbottom. Judas and the Black Messiah is a gripping biographical drama about FBI informant William O'Neal and Black Panther Chairman Fred Hampton. O'Neil is a small-time criminal who agrees to go undercover for the FBI and infiltrate the Chicago headquarters of the Black Panthers. O'Neal's tips directly result in Chairman Hampton's assassination in his bed by police in 1969. Sean found the script gripping and incredibly relevant to today's ongoing issues of racial inequality. He realized he knew little about the Black Panthers and this chapter of racial injustice in America, and he needed to help tell the story. After reading the script, Sean met with director Shaka King, who brought hundreds of stills of the Black Panthers and talked Sean through the screenplay. Together, Sean and King began to explore what they wanted to visually create. The photographs became the basis for the look and color palette of the film. All the color photos were Kodachrome or Ektachrome, so they had a slightly faded look. Sean wanted high contrasts with punchy primary colors and worked closely with the DIT to get the color grade for the look he wanted. Previously, Sean had worked on a few biopics with director Steve McQueen, such as 12 Years a Slave and Hunger. Sean finds McQueen a very unique artist and a fantastic collaborator. They've worked together for so long that they are very good at communicating on set. McQueen loves long takes, and really began exploring those with Hunger- the film features a 16 and a half minute take, based on the idealogical concept that if you simply hold the frame, the audience begins to project themselves into the action. If there's no cut, the audience can't be reminded it's a film and can't be let off the hook. Sean learned to compose very considered frames where the action happens. One of the main concepts of the movie Shame was that most New Yorkers live their lives in high rises in the air, and the characters in the film only came down for sordid reasons. Most of the takes in Shame are also very long and purposefully make the viewer feel uncomfortable. You can watch Judas and the Black Messiah in select theaters and streaming on HBO Max. Find out even more about this episode, with extensive show notes and links: Sponsored by Hot Rod Cameras: Website: Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz
54 min
And The Writer Is...with Ross Golan
And The Writer Is...with Ross Golan
Big Deal Music // Mega House Music
Ep. 118: Amy Allen
There are two stories you can tell as a songwriter: yours or someone else’s. Today’s guest not only tells the stories of some of the biggest artists in the world as a songwriter, but she also shares her story as an artist. By 10-years-old, she began writing songs for herself and learned five instruments. After graduating from Berklee College of Music, she founded New York indie upstart band, Amy & The Engine. In 2018, she wrote the multi-platinum hit “Back To You” by Selena Gomez and opened up the floodgates to collaborate with A-list talent, including Halsey (“Without Me”), Harry Styles (“Adore You”), Camila Cabello, Shawn Mendes, Sam Smith, and Marshmello. Forbes named her on the coveted “30 Under 30” list, while Variety dubbed her “Hitmaker of the Year.” Reclaiming her passion for performing in 2021, she introduces her sound as an artist on her full-length debut for Warner Records. All of her past experience has led her to this point, to creating a collection of personal and meaningful songs that make up her debut album. Her songs are lived-in tales, reminiscent of the American troubadours that have come before her - heroes like Tom Petty or Sheryl Crow, Carole King or John Prine or Bruce Springsteen. Heralded by her initial song releases and a debut album to follow, she tells her own story now. And The Writer Is… Amy Allen! Artwork: Michael Richey White   See for privacy and opt-out information.
1 hr 18 min
Script Apart
Script Apart
Script Apart
Ma Rainey's Black Bottom with Ruben Santiago-Hudson
Today we’re launching a very special Script Apart awards season mini-series! Yes, it’s that time of year again: the Oscars and Baftas are around the corner, and to celebrate, over the next couple of weeks, we’ll be chatting to writers behind some of the most astounding movies of the last 12 months – all of which would make worthy winners if you ask us. First up we have Ruben Santiago-Hudson – writer of the superb Netflix drama, Ma Rainey’s Black Bottom. Adapted from a play by the legendary August Wilson, Ruben’s screenplay transported audiences to a swelteringly hot 1920s Chicago, where across one eventful afternoon, blues pioneer Ma Rainey is scheduled to record new material. Things don’t go quite to plan, however, and as the temperature rises, so do tensions between Ma – played by Viola Davis – and ambitious but emotionally wounded young trumpet player, Levee (the late, great Chadwick Boseman in his final performance). We spoke to Ruben to hear how he brought these two beautifully complex characters to life, delving into his close friendship with August Wilson, some curious differences between his early drafts and the final film, and the importance of acknowledging onscreen that the real-life Ma was a woman whose sexuality was fluid and whose generosity of spirit was strong. This is a spoiler discussion as you might have guessed, so if you haven’t already, you may want to check out Ma Rainey’s Black Bottom, available now on Netflix, before listening. Support for this episode comes from Arc Studio – the beautifully-designed screenwriting programme whose intuitive interface and host of innovative features helps you get the most out of your writing time – and Coverfly, who curate the best screenwriting talent-discovery programs into one place and connect emerging screenwriters with industry professionals who can bring their ideas to screen.* *Script Apart is a podcast about the first-draft secrets behind great movies. Each episode, the screenwriter behind a beloved film shares with us their initial screenplay for that movie. We then talk through what changed, what didn’t and why on its journey to the big screen. All proceeds go to Black Minds Matter UK, the NHS Charities Covid-19 Appeal and the Film and TV Charity. Script Apart is hosted by Al Horner and produced by Kamil Dymek, with music from Stefan Bindley-Taylor. You can follow Script Apart on Twitter and Instagram. You can also email us on
49 min
Stan Prokopenko, Marshall Vandruff and Studio71
A Few of Our Favorite Books
It’s the last episode of the season! Before Stan and Marshall go on break they share with you some of their favorite books that they recommend reading. Some of them are art related, business, marketing, fiction, and self help books. If you’re interested in picking up any of these check out the full list of books below.  Answer the Survey - If you have trouble with the shortlink - Call and Ask Your Art Questions: 1-858-609-9453 Show Links (some contain affiliate links): Marshall’s Books - Previous Draftsmen Episodes About Books: How to Learn Perspective – Draftsmen S1E26 - How to Learn Anatomy – Draftsmen S1E10 - Art and Fear – Draftsmen S2E24 - The War of Art – Draftsmen S2E16 - Building Art Communities, Picture Clarity, and Finding Art Mentors – Draftsmen S1E13 - Art Collection books: Omphalos - Kim Jung Gi - “Art of” Books: The Tarzan Chronicles - The Art of Pixar - The Art of Up - The Mandalorian - Art & Imagery - Norman Rockwell - Behind the Camera - The Man who Inspired Disney – Heinrich Kley ORIGINAL Sketchbook Tour - Adopting Art Parents to Develop Your Style – Draftsmen S1E05 - Art Instruction Alla Prima II by Richard Schmid - Alla Prima II by Richard Schmid Color and Light by James Gurney - Imaginative Realism by James Gurney - Drawing Manual by Glenn Vilppu - Self Help The Miracle Morning by Hal Elrod - The One Thing by Gary Keller - Man’s Search for Meaning by Viktor E. Frankl - The Talent Code by Daniel Coyle - The 4-Hour Workweek by Timothy Ferriss - I Will Teach You to be Rich by Ramit Sethi - Linchpin by Seth Godin - The Practice by Seth Godin - Tribes by Seth Godin - Purple Cow by Seth Godin - Zero to One by Peter Thiel - The E Myth by Michael Gerber - Gary Vaynerchuk - Fiction Off To Be The Wizard by Scott Meyer - Ready Player One by Ernest Cline - The Martian by Andy Weir - Learn to Draw - Marshall Vandruff - Stan Prokopenko - Learn more about your ad choices. Visit
1 hr 46 min
More episodes
Clear search
Close search
Google apps
Main menu