Podcasts about no film school

How do you make enough money to support yourself as an independent filmmaker? It's nearly impossible. So these scrappy filmmakers tried something new. Moviegoers at this year's edition of Fantastic Fest were in for a surprise when the credits of the horror world premiere Dolly rolled: several QR codes lingered on screen. If you liked the movie, you could tip the filmmakers directly, through Venmo, Cash App, Zelle, and Paypal (those links are live in case you support the idea): In addition to the tip jar, they also put themselves in the movie so they could also find a revenue stream as actors, and they've since added to their website a high-priced opportunity to be in the sequel to Dolly as one of the victims. On this episode of the No Film School Podcast, NFS Founder Ryan Koo discusses these innovations with writer-director Rod Blackhurst, producer Noah Lang, and producer Ross O'Connor. In this episode… Why the Dolly team added a “tip jar” at the end of their movie using QR codes How creating additional revenue streams as actors and content creators might be a new model for indie filmmakers The story behind casting wrestler Max the Impaler as Dolly Using 16mm film to enhance the grindhouse horror tone and the challenges of daily shipping undeveloped reels The VFX, SFX, and editing craft that made the gore and kills land effectively The DIY spirit that fueled every part of this low-budget horror's production Putting themselves in the film for potential SAG residuals Plans to build Dolly into a franchise and the playful spirit they bring to that The lesson that proper channels aren't always the best path—sometimes you just DM a star and see what happens Memorable Quotes: “Putting a tip jar in the credits—if not us, then who? If not now, then when?” (42:20) “We couldn't afford to license music, so we made our own band.” (42:30) “It's both the most pathetic thing ever and the greatest idea of all time.” (43:50) “We will be in every Dolly. That is 100% the plan.” (50:12) Guests: Rod Blackhurst Noah Lang Ross O'Connor Resources: Tip the Dolly filmmakers (No Film School post with QR codes) Fantastic Fest Amanda Knox (Netflix documentary by Rod Blackhurst) Here Alone (Rod & Noah's previous Tribeca Audience Award-winning film) Blood for Dust (Starring Kit Harington & Scoot McNairy) 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  

In this episode of the No Film School Podcast, host GG Hawkins sits down with writer-director Zoe Eisenberg to discuss her provocative and powerful debut feature Chaperone, which won the Grand Jury Prize for Best Breakout Feature at Slamdance. Set in Hawaii, the film explores a taboo relationship between a woman and a teenage boy and dives deep into themes of loneliness, desire, and moral ambiguity. GG and Zoe unpack the journey from novelist to filmmaker, the unique challenges of indie production on a remote island, and how a community-driven approach made the film possible. Plus, GG shares her own experiences pitching at the Gotham Project Market, with special guest and No Film School founder Ryan Koo reflecting on his own path from Gotham to Netflix. In this episode, No Film School's GG Hawkins, Jason Hellerman, and guests discuss... The inspiration behind Chaperone and what made the film's provocative premise resonate How Zoe transitioned from novelist to filmmaker without formal film school training The role of the Hawaii film community in supporting ultra-low-budget indie filmmaking Casting the leads, chemistry reads, and how Zoe found her actors on Instagram GG's experience at the Gotham Project Market and Ryan Koo's career post-Gotham Why AFM can be both a useful tool and a tough experience for emerging filmmakers Navigating rejection, finding investors locally, and the importance of perseverance How Chaperone finally found distribution and is preparing for a VOD release Memorable Quotes: "I laughed a lot, but then I became very fixated… what kind of woman would have said yes to that?" "Everyone wants to get in on a train that's already moving." "I'm not that special. If I want to watch or read it, then other women like myself will as well." "Protect the movie and protect the actors you believe in." Guests: Zoe Eisenberg Ryan Koo Resources: Chaperone on Letterboxd Zoe Eisenberg's novel Significant Others The Gotham Project Market 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

This episode of the No Film School Podcast takes a deep dive into the intersection of AI and creativity in filmmaking. Host GG Hawkins speaks with Matty Shimura from ElevenLabs about the upcoming Chroma Awards—an international competition that aims to spotlight ethical, intentional, and innovative uses of AI in film, music videos, and games. The conversation explores how AI is being used as a tool rather than a shortcut, the ethical complexities of its application in creative work, and how filmmakers can adapt and thrive using these new technologies. This is a sponsored podcast in partnership with ElevenLabs and the Chroma Awards. In this episode, No Film School's GG Hawkins and guest Matty Shimura discuss... The mission behind the Chroma Awards and what makes it unique in the AI creative space Why AI is not the death of creativity, but a tool for expanding it The distinction between “AI natives” and traditional filmmakers How the competition promotes transparency and ethical storytelling Ways AI can democratize filmmaking for underrepresented voices Real-world examples of powerful AI-driven projects like Electric Pink The rigorous and human-driven process behind making an AI film The fears surrounding job replacement and how to respond with curiosity and skill-building Opportunities for collaboration and community within the AI creative movement Memorable Quotes: “AI can never create taste or choice or voice. But it is a tool for honing your voice.” “Just because you can technically do anything, that doesn't mean you should.” “The people who are going to be best at using these tools are those ones who have had these decades of experience.” “I think directing is reacting.” Guests: Matty Shimura – ElevenLabs and Chroma Awards Resources: Chroma Awards ElevenLabs 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

In this episode of the No Film School Podcast, host GG Hawkins sits down with legendary screenwriter and director Shane Black, known for iconic films like Lethal Weapon, The Last Boy Scout, The Nice Guys, and Kiss Kiss Bang Bang. The two dive deep into Black's creative process, his latest project Play Dirty (an adaptation of Donald Westlake's Parker novels), and how his filmmaking journey and sobriety have shaped his vision. From staying true to source material while adding his unique voice, to building character-driven action scenes and navigating Hollywood with integrity and purpose, Shane shares invaluable insights for filmmakers at every stage. In this episode, No Film School's GG Hawkins and guest Shane Black discuss... What drew Shane to the Parker novels and how he approached adapting them The balance between honoring Westlake's tone and injecting Shane's signature wit How to structure complex stories while preserving ambiguity and character depth Creating blue-collar, competent anti-heroes as a more grounded alternative to spy thrillers The role of pre-visualization, animatics, and spontaneity on set How Shane leads a creative and collaborative environment with his cast and crew The power of post-production and the art of shaping the final story in the edit Building creative stamina and the importance of structure in a writer's day Advice for filmmakers entering a fear-based industry with confidence and authenticity The impact of sobriety and self-awareness on creativity and leadership Memorable Quotes: "Parker is a lot of things. Sentimental is not one of them." "You're comparing your insides with their outside. So they look great... So are they." "You don't die from a feeling.” "Be so good they can't ignore you." Guests: Shane Black 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

In this episode, GG Hawkins sits down with filmmaker and actor Benny Safdie to dig into his solo directorial feature The Smashing Machine — a biopic‑adjacent portrait of UFC legend Mark Kerr starring Dwayne Johnson and Emily Blunt. The conversation ranges from genesis stories and casting experiments to the heavy emotional labor behind staging domestic fights, and how Benny's dual identity as actor-director shapes his approach to truth in film. In this episode, No Film School's GG Hawkins and guest Benny Safdie discuss… How the film began as a handwritten letter and a vintage sweater, and the surprising miscommunication that delayed the project Benny's desire to make emotional scenes feel like “virtual reality,” pushing the boundary between fiction and lived experience His method of breaking big scenes (fights, domestic conflict) into overlapping sections for pacing, focus, and emotional veracity Working with first-time actors and real athletes: adapting dialogue, rehearsal during casting, and honoring spontaneity The role of the score (with Nala Sinefroo) as an “actor” in the film, and how Benny collaborates with musicians Editing while shooting, watching dailies, and carrying the film in his mind from set to cut Struggles in balancing creative work with personal life, and how photography serves as a solitary creative practice Advice for emerging directors: start with something you intimately understand before trying to overreach Memorable Quotes: “What you write is meaningless if it doesn't sound good coming out of the person's mouth.” “I want it to feel like you were really there… the sound has to be 360.” “You have to love what's there. You have to fall in love with it.” “I call it liposuction for the end — shrink wrapping the film.” Guests: Benny Safdie 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  

In this episode of the No Film School Podcast, host GG Hawkins sits down with Matt Enlow and Oren Kaplan, the prolific directing duo and co-hosts of the long-running Just Shoot It podcast. With nearly 500 episodes under their belt, Matt and Oren dive deep into the realities of sustaining creative careers, the value of community, and how accountability and consistency have fueled their podcast and filmmaking journeys. They share behind-the-scenes stories, including how they met, what keeps them motivated, and how they've adapted to the evolving industry landscape. Whether you're a working filmmaker or just starting out, this episode is packed with wisdom, humor, and hard truths. In this episode, No Film School's GG Hawkins and guests discuss... How Matt and Oren first met and launched Just Shoot It Why having a podcast creates built-in accountability and industry access The highs and lows of directing careers—and why consistency matters more than perfection Why they think proximity, community, and cross-pollination matter more than ever How becoming a parent helped them find focus and efficiency in their careers Social skills, small talk, and how to navigate networking as a filmmaker Why it's time to embrace multi-hyphenate creative lives—and stop waiting for the cavalry Memorable Quotes: “If you're not getting work, just make your own stuff... but the important part is you have to share it.” “We are not going back to the boom times. The cavalry isn't coming... and that's okay.” “You're taking people into your career—whether they know it or not.” “We're playing pro ball. This isn't the same sort of game our parents played.” Guests: Matt Enlow Oren Kaplan Resources: Just Shoot It Podcast I Really Love My Husband Tickets Scriptnotes Podcast Lessons from the Screenplay Every Frame a Painting 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  

No Film School's GG Hawkins checks into Netflix's brand new animated comedy, Haunted Hotel, and gets a behind-the-scenes look at what it takes to create an adult animation from the ground up. She's joined by series creator and showrunner Matt Roller (Rick and Morty), art director Robbie Erwin, and writer Avital Ash for a roundtable conversation that spans the show's long development journey, the complexities of world-building in animation, and the creative collaboration required to bring this spooky-yet-heartfelt family comedy to life. From storytelling tone to visual language and production logistics, this episode is a crash course in what makes adult animation work—and how this team made sure Haunted Hotel stood out in a crowded field. In this episode, No Film School's GG Hawkins and guests discuss... How Haunted Hotel evolved from a pitch to a Netflix series Why Matt Roller leaned into horror instead of sci-fi—and what makes horror more emotionally resonant How Robbie Erwin's theme park design background helped shape the show's tactile visual world The writer's room philosophy that prioritized kindness, creativity, and unique perspectives Why visual design and writing had to be deeply integrated for successful world-building How the team balanced comedy, horror, and emotional depth across the season The decision to make the show TV-14 instead of TV-MA—and how that opened it up to more viewers The team's favorite ghost characters Memorable Quotes: “I think in this type of TV show, you set out to build a world where you could tell 100 stories.” “The comedy pilot part is the baseline… then it's the other stuff.” “I think the thing I'm proudest about is that I got to work on it—it's one of the most proud I've been of all the work I've done.” “With horror, everything matters… and I think that's how family works too.” Guests: Matt Roller Robbie Erwin Avital Ash Resources: Haunted Hotel is now streaming on Netflix I Really Love My Husband Tickets: https://linktr.ee/ireallylovemyhusband 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  

Matt and Oren reveal their backstory in this collab with G.G. Hawkins and No Film School. https://nofilmschool.com/u/lostingraceland And you won't want to miss what it was like before smartphones , back when there was a barrier to entry to making video or film. It was totally different from today. Or was it? OK today, almost anyone can use a smartphone and AI to create some amazing content.And that's just the opportunity. It may be easier, but it has less value. Meaning most anyone can't make a living as a filmmaker. Or can you?Maybe you can master the multiple tentacles of connections you need to have in order to have visibility to opportunities that level up you career in a meaningful way. And maybe you can build community and know how to warm people up to who you are in a matter of seconds. And that's what this episode is about. Because today it's even more critical to get the attention of people ypu need to hear you out, when they see thousands just like you every day.---Help our Patreon! https://www.patreon.com/JustShootItPodJoin Matt & Oren at the Just Shoot It mixer! You don't even have to shower come!Free tickets! Wednesday, October 8 · 7 - 10pm PDTLawless Brewing Co.5275 Craner Avenue Los Angeles, CA 91601RSVP and info at https://events.justshootitpod.com or https://www.eventbrite.com/e/just-shoot-it-october-meetup-tickets-1665676596539 Hosted on Acast. See acast.com/privacy for more information.

In this episode, No Film School's GG Hawkins, and guests Erin Sullivan and Johnny Han take listeners behind the curtain of The Penguin, exploring how a VFX team builds a gritty, immersive Gotham — from early concept to final composite. The conversation covers creative philosophy, technical workflow, tool choices, collaboration across departments, and the emotional stakes of creating visuals that feel both bold and invisible. In this episode, No Film School's GG Hawkins and guests Erin Sullivan and Johnny Han discuss… What their roles were on The Penguin, how they broke into VFX, and how their backgrounds shaped their approach The bridge role of a visual effects editor, and how VFX editors work with directors, editors, and artists How they developed the visual “language” of Gotham: referencing The Batman, leaning into New York elements, and creating a distinct but consistent style Their Adobe‑based workflow: using Premiere Pro, After Effects, Dynamic Link, project collection, mockups, and how small elements evolved into full assets On‑set and script‑stage involvement: how they break down scenes with all departments (stunts, production design, camera) Maintaining creative vitality: absorbing inspiration, staying curious, and making small work even when not on paid projects Practical advice for aspiring VFX practitioners: making work regularly, being patient with timelines, embracing iteration Memorable Quotes: “I was the visual effects editor on the Penguin. … The visual effects editor is the link between editorial and VFX.” “We would amass this huge library of just New York stuff … trash in a sidewalk, a mailbox, a bus stop … weird.” “There's only one rule in photography to take good pictures … you might … get one good picture. So what do you do? You just shoot lots of rolls of pictures, right?” Guests: Erin Sullivan Johnny Han Find No Film School everywhere: On the Web: No Film School (https://nofilmschool.com/) Facebook: No Film School on Facebook (https://www.facebook.com/nofilmschool) Twitter: No Film School on Twitter (https://twitter.com/nofilmschool) YouTube: No Film School on YouTube (https://www.youtube.com/user/nofilmschool) Instagram: No Film School on Instagram (https://www.instagram.com/nofilmschool)

In this episode, Ryan Koo and Jourdan Aldredge explore what makes the 20th edition of Fantastic Fest so crucial for genre and indie filmmakers. They discuss the festival's unique energy, audience connection, and events, spotlight standout films like Shelby Oaks, Sisu: Road to Revenge, Black Phone 2, Luger, Vicious, Primate, Whistle, Coyotes, and others. The conversation culminates in a new initiative—Fantastic Pitches—marking a shift in the fest's ecosystem from exhibiting work to helping get new projects made. In this episode, No Film School's Ryan Koo and Jordan Aldridge discuss: How Fantastic Fest blends genre film exhibition with audience experience, making film festivals more fun, accessible, and communal. The importance of seeing what genre filmmakers are doing with limited resources—especially horror, fantasy, action—and how those constraints often spawn creative solutions. Highlights of films at Fantastic Fest 2025: Shelby Oaks (Chris Stuckmann's debut), Sisu: Road to Revenge, Black Phone 2, Vicious, Primate, Whistle, Coyotes, The Piano Accident, and Luger among others, with a look at what makes them stand out visually, tonally, and in terms of audience response. The exciting new Fantastic Pitches competition: structure, reward (including a $100,000 funding prize, guaranteed premiere, distribution, post‑production support), what it means for early‑stage projects, and how such programs shift festivals from merely showing films toward incubating them. Practical advice for filmmakers: how to attend Fantastic Fest (buy early, badge types, use online ticket systems), pro tips for navigating ticket demand, the importance of authenticity in genre work, and why festivals like Fantastic that lean into live audience momentum are more important now than ever. Memorable Quotes: “It is the 20th year of the Fantastic Fest … Fantastic Fest equals FunTastic Fest.” “If you come from an authentic place of loving horror movies … I think the audience will always connect with it.” “It's really a vital experience now more than ever, especially for genre films, which play so well theatrically.” “Fantastic Pitches was fantastic. The pitches really were fantastic … for the first time when this event happened for the first time.” Resources: Fantastic Fest 2025 — Full Film Guide & Lineup Sisu: Road to Revenge Black Phone 2 Vicious Coyotes The Piano Accident Luger Shelby Oaks Primate Whistle 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  

GG Hawkins sits down with Carmen Emmi (director, writer) and Erik Vogt-Nilsen (editor) of Plainclothes, a striking debut feature that blends the aching vulnerability of first love with the sharp tension of queer identity under surveillance. Set in 1997 and laced with nostalgic Hi8 footage, the film isn't just a period piece — it's a raw, intimate time capsule of self-discovery, repression, and resilience. This episode dives deep into the emotional and creative process behind the film, from Sundance dreams to strawberry farm editing sessions and how true collaboration can unlock something extraordinary. In this episode, No Film School's GG Hawkins and guests discuss… The genesis and central themes of Plainclothes, including first love/obsession, policing emotions, identity, nostalgia, and honesty in queer storytelling Why the 1990s setting — especially 1997 — was chosen, both for personal reasons and as a tool for emotional resonance How Carmen and Erik came together creatively, even though Erik joined after principal photography, and how they structured their collaboration (the “Editing Intentions” document, visits, tone setting, etc.) The editorial process: charting out passes, refining scenes, balancing structure vs. emotional truth, and maintaining rawness from the editor's cut through to the final version Test screenings: what kinds of feedback matter, figuring out clarity vs. ambiguity in the narrative, audience confusion around timelines, and how those screenings shaped the final cut On‑set dynamics: director's approaches, setting tone (no yelling unless dire), using music on set, capturing wordless moments, incubating trust and structure among cast and crew Filmmaking tools & creative choices: use of Hi8 footage to express internal states like anxiety; letting instinct and experimentation guide sequences; integrating personal memory and sensory detail into the cinematic style Advice for emerging filmmakers: avoid perfectionism, work with collaborators or friends you trust, give ideas a chance in editing, accept that not everything needs to be precious, learn from every project Memorable Quotes: “It was really, every creative decision I made was like, it was all stemmed from like, what does it feel like to police your feelings?” “One rule. And that was no yelling on set unless like someone's life was in danger…” “We had a lot of love for the story … there was so much levity and play in the edit room … even though we were dealing with very serious kind of themes…” “Give every idea a try … you don't have to spend too much time on it, if it's not working. But … that yes and‑kind of mentality … unlocks stuff you would never think of.” Guests: Carmen Emmi Erik Vogt-Nilsen Resources: Plainclothes Official Trailer I Really Love My Husband Screenings 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  

Editor Taylor Mason returns to the No Film School Podcast to discuss her leap from indie features to her first studio film, HIM, directed by Justin Tipping. Host GG Hawkins explores how Mason's editing shaped the emotional tone, visual storytelling, and layered character dynamics of the surreal football drama. They also dive into how working on larger-scale projects differs from the indie scene, the importance of creative collaboration, and how editing can profoundly impact narrative clarity and emotional resonance. In this episode, No Film School's GG Hawkins and guest Taylor Mason discuss... The transition from indie films like Birth/Rebirth to her first studio feature Building a post-production team and navigating leadership as a young editor How editing techniques, like temp comps and montage, shaped HIM's unique tone Balancing bombastic visuals with nuanced performances and story arcs Using audience feedback and experimentation to refine the final cut Maintaining perspective and boundaries during a 10-month post-production cycle The surrealism and political commentary in HIM, with references like Holy Mountain and Enter the Void Advice for aspiring editors on building careers with intentional collaboration Memorable Quotes: "We tried to insert these flash frames... quick cuts of this melted skeleton... to help track where he is emotionally, physically." "This film required me to be bigger and much louder and much more visible... and be like loud and proud and bombastic." "My whole career has kind of been built and sculpted along with people that I first learned the craft with." "It's hard for me to do my best on something that doesn't excite me... I feel like I'm doing that film a disservice if I take it." Guests: Taylor Mason on IMDb Resources: Our last pod with Taylor I Really Love My Husband Screenings 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  

https://tslworkshops.circle.com What does it take to make a celebrity-free, micro-budget feature and premiere at one of the most competitive festivals in the world? Filmmaker and No Film School host GG Hawkins joins Jeff to share how she turned a family house in Panama, a tiny team, and a three-month timeline into I Really Love My Husband, a breakout SXSW premiere with no celebrity attachments. They break down every stage of the journey: Writing a script around what you already have Casting for chemistry Financing in waves while production is underway Festival strategy and PR on a shoestring Why specificity and “weirdness” can be your biggest assets Whether you're a filmmaker planning your first feature or just curious how indie films actually get made, this episode pulls back the curtain on what it really takes to crack SXSW. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, GG Hawkins is joined by Shelby Schultz, Director of Programming at LOOK Cinemas. Shelby shares her insights into the complex and often misunderstood world of theatrical exhibition, from how she discovers films to what drives the decision-making process behind booking movies in theaters. Drawing from her extensive background in distribution, financing, and development, Shelby explains how indie filmmakers can better position their projects for theatrical success, the importance of knowing your audience, and the evolving role of movie theaters in the digital age. In this episode, No Film School's GG Hawkins and guest Shelby Schultz discuss... How Shelby's background in film led her to become a theater programmer The process LOOK Cinemas uses to discover and book films Why strong marketing and audience engagement matter more than ever for indie films The importance of trailer placement and timing when planning a theatrical run The metrics used to evaluate a film's success in theaters How filmmakers can effectively pitch their projects to theater chains Seasonal trends in theatrical programming and when indie films have the best shot How audience behavior has shifted post-COVID and why theaters are still thriving The critical role local support plays in theatrical success Memorable Quotes: "Quality doesn't always get people to the theater... so we have to find ways to work together with our filmmaker partners." "I don't necessarily need comps. I just want to know that you know who your audience is and how to reach them." "Success can just look like having one sold out show in your hometown." "Don't be afraid to reach out to your local theater. We want to represent you." Resources: LOOK Cinemas Film Independent Spirit Awards 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  

In this episode, GG Hawkins speaks with writer-director-producer Nora Fiffer about her debut feature Another Happy Day, and how she achieved a rare feat in indie filmmaking: shooting on strict eight‑hour days while providing on‑set childcare. The two explore how this family-friendly approach—driven by Fiffer's own journey into motherhood—shaped every stage of production, from scheduling and budgeting to set morale and creative decision-making. In this episode, No Film School's GG Hawkins, and guest Nora Fiffer discuss… The personal impetus behind Another Happy Day—how motherhood inspired the story and production values Creating a collaborative, theater-informed mindset that fueled preparation and efficiency Concrete strategies for implementing eight‑hour shooting days and on‑set childcare as non-negotiables in budget and schedule How fewer setups, lean shot lists, and actor preparation maximized time and morale Using fixed creative constraints as generative tools—not limitations Securing talent like Lauren Lapkus, Carrie Coon, and Marilyn Dodds Frank through personalized writing and deep connections Pitching the film to investors with equity and inclusion baked into its DNA (childcare prominently featured, even in opening credits) The importance of making such practices visible to normalize them across the industry Lessons learned in post-production—how the same efficiency and clarity from production didn't automatically carry over How Fiffer plans to carry this ethos forward in future projects Memorable Quotes “What the priority was emerging to shoot eight‑hour days, in addition to providing childcare, this now impacted how we were going to shoot it even before we got to production.” “By prioritizing childcare and the eight‑hour days in the budget… that was untouched.” “Everyone came with fresh ideas.” “I planned every moment, every beat… I knew the script, the story, the characters and the edit in my head so well.” Guests: Nora Fiffer — Writer, director, producer, actor of Another Happy Day Resources: Nora Fiffer, Another Happy Day I Really Love My Husband Instagram Find No Film School everywhere: On the Web: No Film School (https://nofilmschool.com/) Facebook: No Film School on Facebook (https://www.facebook.com/nofilmschool) Twitter: No Film School on Twitter (https://twitter.com/nofilmschool) YouTube: No Film School on YouTube (https://www.youtube.com/user/nofilmschool) Instagram: No Film School on Instagram (https://www.instagram.com/nofilmschool)

In this episode of the No Film School Podcast, GG Hawkins sits down with filmmaker Macon Blair to discuss his journey from scrappy DIY filmmaking in Virginia to directing the 2025 reimagining of the cult classic The Toxic Avenger. The film hits theaters today, and Blair shares how he balanced homage and originality, kept the humor grounded in absurdity, and tackled the long production process. He also reflects on his start in the industry, the value of creative community, and what it really means to stick it out in an unpredictable industry. In this episode, No Film School's GG Hawkins and guest Macon Blair discuss... Macon's early days making VHS films with friends and how that creative community shaped his career The years-long journey from writing spec scripts to directing Sundance winner I Don't Feel at Home in This World Anymore How Macon was approached to write The Toxic Avenger and how it evolved into his directorial role Reimagining a cult classic while staying true to its outrageous tone and aesthetic How comedy and absurdity play into horror and action, and the challenge of balancing tone The production process in Bulgaria and collaborating with an international crew Designing the film's gritty, stylized world—from production design to costumes and camera movement Lessons from the editing room and how to let audience feedback shape the final cut Macon's advice for emerging filmmakers about perseverance, collaboration, and flexibility Memorable Quotes: “I just wanted to do something with movies... if it's writing, great. If it's acting, great. If it's driving a truck, great.” “We would just pitch things back and forth, and if a line or a reaction would get a laugh from enough people, then it would be like, alright, put it in the movie.” “You have to be flexible enough or open enough to kind of be like, oh, I didn't construct things the correct way. And I kind of owe it to you for you to not be confused.” “Preparation versus flexibility—having everything prepared to the nth degree, and being prepared to totally drop it if you need to.” Guests: Macon Blair Resources: Macon Blair on I Don't Feel at Home in This World Anymore (No Film School interview) Get tickets to The Toxic Avenger (Look Cinemas) Follow GG Hawkins's feature I Really Love My Husband 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  

No Film School delves into the high-pressure, fast-paced world of sketch comedy editing on Saturday Night Live's historic 50th Anniversary special. The episode features returning guest Ryan Spears—four-time Emmy nominee and Film Unit editor at SNL—joined by longtime collaborators Daniel Garcia and Paul Del Gesso. Together, they share insider stories on crafting memorable montages, rediscovering archival gems, navigating the evolution from analog to digital workflows, and ultimately earning their first-ever team nomination for the anniversary special. In this episode, No Film School's GG Hawkins, and guests discuss… How the SNL editorial team collaborated on the 50th Anniversary special, blending archival material and creative reels into a unified piece. The rediscovery of forgotten gems—like Tom Hanks's softball clip—and deciding what made the final cut. Technical and generational shifts in editing: from film and DIY workflows to 4K raw editing, searchable transcripts, advanced VFX, and speedy turnaround. Adapting to new creative tools, such as APM's sound‑alike search and 3D animation techniques like the Cheeto character. Balancing fast cuts with breathing room—tailoring pacing to fit the tone, whether it's surreal whimsy or a more paced parody like White Lotus. Managing chaos: keeping cool under pressure during live edits, system failures, and last-minute creative changes. Advice for aspiring SNL editors: start as assistant editors, build a strong reel (even outside comedy), check your ego at the door, and learn the collaborative workflow. Memorable Quotes “It really was just this kind of like hot, like this sort of like melting pot of ideas…” “Tom Hanks is playing softball with these kids… he's playing the real version of Tom Hanks… super competitive.” “We've jumped to 4K and we're editing raw… now you're transcribing your sequences too… What a game changer.” “Every joke to the frame pretty much.” “It's a learned craft… some people could do it and some people can.” Guests Ryan Spears is a Film Unit editor at SNL and four time Emmy nominee for work including “I'm Just Pete”, “Mario Kart”, and “Murder Show”. He's also cut for the shows “The Amber Ruffin Show”, “Teenage Euthanasia”, the film “Citizen Weiner” and the Hulu standup “Matteo Lane: The Al Dente Special”. He's currently a commercial editor based in New York at The Den Editorial. Daniel Garcia – Daniel Garcia has been a video editor at SNL for 10 years.  His work on the show includes editing weekly promos, pretapes such as PDD's “Hard Seltzer”, and the Emmy winning digital series Creating SNL. Paul Del Gesso is a Film Unit Editor at SNL, where he was previously Emmy nominated for "Bowen's Straight." Additionally, Paul is a writer and producer, and is Head of Production at Warrior Queen Inc. Resources I Really Love My Husband on Instagram: @iReallyLovemyhusbandmovie 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: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of the No Film School Podcast, GG Hawkins sits down with Oscar-winning editor Paul Rogers, best known for his work on Everything Everywhere All at Once. Paul opens up about his journey from Alabama to Hollywood, founding the post-production company Parallax, and how personal experiences—like fatherhood and burnout—reshaped his approach to creativity and work. The conversation dives deep into balancing artistic passion with sustainable working habits, challenging the toxic grind culture in filmmaking, and embracing a more holistic view of success in the industry. In this episode, No Film School's GG Hawkins, Jason Hellerman, and guest Paul Rogers discuss... The origins of Paul's career and his path to editing How Parallax was founded and its evolving mission The “one for me, one for them” model—redefining it for sustainability How COVID redefined Paul's understanding of work-life balance Setting boundaries in the film industry and learning to say no The creative benefits of rest and “collecting experiences” How fame after winning an Oscar impacted his workflow Memorable Quotes: "Surviving wasn't thriving... and I really wanted to thrive." "You can get to flow state through burnout, or through joy. Joy is just harder." "You're going to start regurgitating the same ideas creatively over and over again." "Have life outside of filmmaking… be collectors, not recyclers.” Guests: Paul Rogers Resources: Parallax Everything Everywhere All at Once BLKNWS: Terms and Conditions (upcoming) 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

Gary King is a filmmaker who transitioned from a career in psychology and human resources to independent cinema, building a body of work that balances heart, hustle, and deeply human storytelling.In the spirit of Taoist unpredictability, Gary's story unfolds not as a straight line, but as a rich weave of intuition, risk, and creative alignment. He didn't attend film school—not out of rebellion, but because he didn't know it existed as a real path. Yet, what he lacked in formal education, he made up for in lived experience, teaching himself the craft by actually making films. From his first feature "New York Lately" to a haunting indie gem titled "Among Us," his journey is a testament to following that subtle inner pull, even when it defies logic or convention.What stood out most was Gary's devotion to character.He didn't chase Hollywood formulas or pre-packaged three-act structures. Instead, he sculpted stories that breathe. Stories that fail and rise again. He spoke of actors, not as tools to carry his vision, but as living beings whose rhythms dictate the energy of a scene. “The first take might be gold for one actor, but the sixth take is where another actor finds their truth,” he said. That kind of awareness doesn't come from reading screenwriting manuals. It comes from presence.It's no surprise that Gary gravitated toward stories with strong female leads. His commitment to representation isn't a gimmick—it's a reflection of his own lived dynamics. He and his wife uprooted their lives together, and it was her faith in him that seeded the beginning of his filmmaking path. When he pitched the idea of becoming a director, her response wasn't fear—it was, “Okay, how do we make this happen?”Every film Gary makes becomes his personal film school. No gatekeeping. No pedigree. Just the camera, the actor, the breath of a moment, and the sacred chaos of the edit room.One of the most beautiful sentiments he shared was how universal pain is the bridge to empathy. “You can tell a story about a Broadway dancer who never makes it, and someone who's never danced a day in their life will see themselves in that struggle.”And while his films may not be backed by million-dollar budgets or high-concept gimmicks, they pulse with something far rarer: authenticity. A humility that says, “I'm still learning.” A clarity that says, “This is who I am.” And perhaps most importantly, a humor that says, “Yes, I returned a porno tape to Blockbuster by accident, and no, I don't regret it.”Become a supporter of this podcast: https://www.spreaker.com/podcast/bulletproof-screenwriting-podcast--2881148/support.

This episode of the No Film School Podcast welcomes back Charles Haine, who hosts a compelling conversation with filmmaker Aditya Kripalani and lead actors Nawazuddin Siddiqui and Chitrangada Satarupa. The group discusses their latest film I'm Not an Actor, a cross-continental drama that was shot simultaneously in Mumbai and Frankfurt, using FaceTime as a primary storytelling and production tool. The film follows a virtual connection between a struggling actor and a melancholic retired banker, played by two of India's most compelling talents. They unpack the technological challenges, emotional resonance, and deeply collaborative process behind the movie, from remote acting and directing to editing via FaceTime itself. In this episode, No Film School's Charles Haine and guests discuss... The challenges of filming across two continents using FaceTime How real-life technological constraints enhanced the storytelling Rewriting and reshooting the ending based on audience feedback Using location to reflect character psychology The importance of creating seamless digital intimacy on screen How Apple products unintentionally became integral to the production Remote post-production workflows and their growing normalcy The influence of Richard Linklater and conversational cinema Memorable Quotes: "Technology disappeared. That was the best thing." "I thought, okay, this is my life. This is how you connect. This is the world actually, where I have to survive." "I edited this film on FaceTime... the post-production also happened remotely, just like the film." "It had to feel like a vlog... that's how we were very specific. It has to look like someone's doing a vlog." Guests: Aditya Kripalani Nawazuddin Siddiqui Chitrangada Satarupa 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  

In this episode of the No Film School Podcast, GG Hawkins sits down with powerhouse writing and showrunning duo Nick Stoller and Francesca Delbanco. The married couple behind hit shows like Friends from College and Platonic discuss the nuances of building a creative career, collaborating with your spouse, and navigating the demands of leading a TV series. They reflect on how their individual writing journeys led them to a shared path, how they approach leadership and tone in a writer's room, and what makes Platonic so personal and relatable. Plus, GG and Jason dive into practical festival PR tips and how to plan for distribution after your film is finished. In this episode, No Film School's GG Hawkins and guests Nick Stoller & Francesca Delbanco discuss... How Nick and Francesca transitioned from individual careers to a collaborative creative partnership The inspiration and evolution behind Platonic, now in its second season on Apple TV+ Balancing marriage, parenthood, and co-showrunning duties What makes a second season creatively different—and sometimes harder—than a first The dynamics of a writer's room and the importance of hiring the right voices How to sustain a long-term creative career by following your passions Tactical PR strategies for filmmakers hitting the festival circuit Budgeting for buyer vs. non-buyer film festivals and why it matters Memorable Quotes: "I always say TV and movies are hard to make. There's no reason that you shouldn't try to make it fun." "We both worry about 100 percent of the process together at all times." "Your voice is really all you have as a writer. So make it as specific to you as you possibly can." "When you run out of ideas, that's when the best ideas come.” Guests: Nicholas Stoller Francesca Delbanco Resources: I Really Love My Husband – Instagram I Really Love My Husband Screening w/ In-Person Q&A 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  

In this special episode of the No Film School Podcast, GG Hawkins sits down with filmmaker duo Talia Shea Levin and Kara Grace Miller to discuss the journey behind their short film Make Me a Pizza—a provocative, hilarious, and genre-blurring short that's become a viral sensation. Fresh off a big win at the Fantasia Festival's Frontières 'Short to Feature' competition, Levin and Miller open up about their pitch experience, the creation of their film, the strategic path to building an audience, and what it really takes to turn a short into a feature in today's film industry. In this episode, No Film School's GG Hawkins and guests discuss... How Make Me a Pizza evolved from a bit into a film that resonated with audiences and trolls alike The strategy behind their pitch at Fantasia's Frontières market—and how they clinched the win How building a dedicated fanbase (even with age restrictions on YouTube) became key to their success The value of showing up in person to festivals and pitching events Why going viral with a controversial short can be a career launchpad, not a setback Using limitations (like budget and film stock) as creative tools The importance of community over water bottle tours and industry gatekeeping What's next after winning the pitch competition—and how they're navigating the post-Festival whirlwind Memorable Quotes: “We have gotten so much love from the weirdos and the perverts, who we are lucky to call our fans.” “We are starting a cult, and we might get to make a feature film.” “If you got the Uber money, spend the Uber money.” “I didn't dream of posting on Instagram... but you have to get your art to its audience.” Guests: Talia Shea Levin Kara Grace Miller Resources: Make Me a Pizza Instagram: @ThePizzaMovie Talia's Instagram: @taliashea23 Kara's Instagram: @karagmiller Frontières Market: https://frontieresmarket.com/ 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  

In this episode, GG Hawkins and Jason Hellerman sit down with filmmaker and producer Matthew Scheffler, whose unique path through the industry includes five seasons field producing for Last Week Tonight with John Oliver and producing shows like Random Acts of Flyness and Black Twitter: A People's History. Matthew shares his journey from faking his way into the industry to directing his own Victorian horror short The Traveler, while raising three kids and navigating the shifting landscape of indie filmmaking. The episode also revisits the growing frustration Vimeo users in the UK and EU face due to regulatory changes, sparking a larger conversation on platform responsibility and the future of video hosting for filmmakers. In this episode, No Film School's GG Hawkins, Jason Hellerman, and guest Matthew Scheffler discuss... How Matthew went from commercials in Boston to producing Emmy-winning segments for Last Week Tonight The real challenges of transitioning from production roles into directing How working in production sharpened his creative instincts The long road to making The Traveler, a Victorian horror short shot on Staten Island Why Vimeo has become inaccessible in the UK/EU and what it means for indie filmmakers A listener's UK-based perspective on the loss of Staff Picks and public search Vimeo's official response to the criticism and the broader implications of global tech regulation Memorable Quotes: "You kind of lie within the parameters...lying about a location where you live. I agree with you—chances are if I had said I was moving, they would have just given it to my friend who already lives there." "I've never been on a production where the budget matched the creative. Ever." "You just have to decide what you need to cut out—because when you have kids especially, you can't really cut them out." "Filmmakers built Vimeo. They shouldn't forget that." Guests: Matthew Scheffler Resources: The Traveler Instagram: @thetraveler_film Matthew's Instagram: @ironschef2021 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  

This episode of the No Film School Podcast features GG Hawkins in conversation with writer-director Sophie Brooks, whose new film Oh, Hi! hits theaters nationwide on July 25, 2025. The film, starring Molly Gordon and Logan Lerman, explores the chaotic, vulnerable, and often hilariously painful world of romantic relationships. Sophie shares her journey of getting from her debut feature The Boy Downstairs to Oh, Hi!, a second feature that took nearly a decade to realize. They discuss the struggles of indie filmmaking, casting chemistry, writing complex characters, and what it truly means to create art that reflects personal truths. In this episode, No Film School's GG Hawkins and guest Sophie Brooks discuss... Why it took nine years to make a second feature How writing with an actor in mind (Molly Gordon) shaped the character of Iris The challenges and unexpected benefits of filming during/post-COVID How Sophie and her DP crafted a romantic, evolving visual style Writing unlikable yet deeply relatable characters Securing financing when nothing seems to go right The mental toll and unexpected joys of the post-production process Memorable Quotes: "I try really hard as a filmmaker. I try really hard with my friends...but I just want something. Is that so bad?" "You can feel so confident...but it's scary when you haven't done a part of the job in a long time." "There's a big difference between compromising and settling." "I didn't believe the movie was happening until I was on set." Guest: Sophie Brooks Resources: Sophie Brooks on her first film ‘I Really Love My Husband' Previews and Director Q&As ‘I Really Love My Husband' Screenings 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  

In this episode, GG Hawkins and Jason Hellerman dig into the behind-the-scenes business of micro-budget filmmaking. They tackle a fan-submitted Ask No Film School question about run-and-gun filmmaking risks, E&O insurance, and securing distribution when shooting without proper permits. Then, GG interviews writer/director Anna Baumgarten and producer Danny Mooney, the creative duo behind the indie feature Disfluency, a powerful micro-budget drama executive produced by Jim Cummings. The episode offers a treasure trove of insights into how to bring a short film to life as a feature, fundraise strategically, and navigate distribution on your own terms. In this episode, No Film School's GG Hawkins, Jason Hellerman, and guests discuss... The real risks of guerrilla filmmaking and when E&O insurance matters How micro-budget filmmakers should approach risk management and legal protections Why shooting permits—even if they're free—can save you massive headaches later How Anna and Danny turned the short Disfluency into a feature with no initial investors Why having a “moving train” production plan helps raise money faster The importance of audience-building and crowdfunding in early development How Jim Cummings and the Short to Feature Lab helped launch Disfluency Navigating distribution and negotiating for your film's future Memorable Quotes: "You need to kind of think about: How much did your movie cost? What kind of lawsuits can come in? Does it work for you?" – 08:09 "Motivation does not create action. Action creates motivation." – 41:44 "You have to be building the plane and flying it at the same time." – 46:50 "Make something you love, because you're going to be working on this all the way through the end." – 01:01:03 Guests: Anna Baumgarten Danny Mooney Resources: More Jim Cummings on No Film School Showtimes For I Really Love My Husband w/ In-Person Q&A ‘I Really Love My Husband' on Instagram Where to Watch Disfluency 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  

John Hamburg joins GG Hawkins to discuss crafting iconic, rewatchable comedies—from cult hits like Safe Men to mainstream favorites such as Meet the Parents, Zoolander, I Love You, Man, and the upcoming new Meet the Parents installment. Hamburg shares his creative journey, balancing absurd premises with emotional truth, breaking into the industry, and directing the finale of Apple TV's Stick. He also dives into working with comedic legends, developing enduring characters, and orchestrating large-scale scenes with precision and heart. In this episode, No Film School's GG Hawkins and guest John Hamburg discuss... How John's breakthrough began with an NYU short at Sundance, leading to his first film Safe Men His process for deciding to leave NYU early and navigate a career in features vs. film school What drew him to direct the final episodes of Stick on Apple TV Plus and working with Owen Wilson The particular direction and strategy involved in managing huge crowds and authentic golf interactions on a TV-scale production The building blocks of quotable comedy: committing to emotionally real characters, clear scene goals, and grounded set pieces Collaborating with actors like Ben Stiller, Robert De Niro, Philip Seymour Hoffman, Paul Rudd, and Alec Baldwin—balancing scripted freshness and improvisation Behind‑the‑scenes look at tough moments like reworking the poker table speech in Along Came Polly Hamburg's ringmaster philosophy: creating a safe, creative set for spontaneity while keeping an eye on structure and story Memorable Quotes: “I think if the characters are grounded in an emotional reality… that's maybe what makes them stand the test of time.” (27:05) “Directing is such an incredible job, but it can be very lonely at times because you're the only one that knows really.” (43:57) “Sometimes directing is also sort of like being okay with letting something formulate and happen on its own organically.” (44:42) Guests: John Hamburg (IMDb) Resources: Square Peg Social on FilmFreeway I Really Love My Husband w/ In-Person Q&A I Really Love My Husband on Instagram Find No Film School everywhere: On the Web: No Film School (https://nofilmschool.com/) Facebook: No Film School on Facebook (https://www.facebook.com/nofilmschool) Twitter: No Film School on Twitter (https://twitter.com/nofilmschool) YouTube: No Film School on YouTube (https://www.youtube.com/user/nofilmschool) Instagram: No Film School on Instagram (https://www.instagram.com/nofilmschool)

In this episode, GG Hawkins sits down with director Steven Feinartz and editor Derek Boonstra, two members of the team behind 'Are We Good?', an intimate documentary following comedian Marc Maron as he navigates grief, healing, and finding humor in the darkest moments. Together, they share how the project came to life, how they came together, the challenges of balancing comedy and vulnerability, and the ethical and emotional complexities of telling someone else's deeply personal story. The conversation explores the collaborative dynamic between director and editor, unexpected discoveries in the cutting room, and the powerful reactions the film has sparked in audiences. It's an honest, behind-the-scenes look at crafting a documentary that's as funny as it is profound. In this episode, No Film School's GG Hawkins and guests Steven and Derek discuss… The inspiration and origin of Are We Good? Navigating the balance between humor and grief How editorial choices shaped the emotional arc of the film Their creative collaboration and building trust in the edit room Ethical considerations when working with such personal material Surprising audience reactions and what they've learned from them Advice for filmmakers on telling vulnerable, authentic stories Guests: Steven Feinartz Derek Boonstra Resources: Are We Good? on IMDb Details on 'I Really Love My Husband' showtimes & tickets: https://www.instagram.com/ireallylovemyhusbandmovie/ 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  

In this episode of the No Film School Podcast, GG Hawkins presents two riveting conversations that push boundaries and challenge cultural taboos. First, she interviews Michael Taylor Jackson, writer, director, and star of the radically inventive film Orange Underground (Bajo Naranja), a satirical, punk-infused narrative born out of the Argentine quarantine. Then, she speaks with Kate Downey, creator and host of the podcast CRAMPED, which explores the hidden pain and social invisibility surrounding menstruation. Together, these conversations highlight how bold, personal storytelling can become an act of protest and empowerment. In this episode, No Film School's GG Hawkins and guests discuss... How Orange Underground merges satire, street art, and protest cinema to confront U.S. neocolonialism The creative process of blending real-life social media storytelling with scripted filmmaking How Argentina's unique film funding system and underground economy supported an international indie film Kate Downey's journey from theater to podcasting, and how CRAMPED sheds light on the mystery of period pain Why menstruation remains a cultural and cinematic taboo, and how media can normalize it through better representation The power of representation in shaping societal understanding of women's health and lived experiences Memorable Quotes: “We were able to develop a virtual community because we couldn't obviously live together.” “When half the population experiences something regularly, shouldn't they be reflected honestly in our storytelling?” “There is no word other than an ignorant word to describe ourselves.” “Is there any more common experience that has not been hit to death, right?” Guests: Michael Taylor Jackson Kate Downey Resources: Bajo Naranja on Instagram CRAMPED: Why Doesn't Media Talk About Period Pain? 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  

In this episode, GG Hawkins sits down with Emmy and ACE Eddie-nominated editor Isaac Hagy, whose emotionally charged and visually inventive work includes Waves, Atlanta, Mr. and Mrs. Smith, and The Friend. Known for his moody and immersive editing style, Hagy shares how he found his voice as an editor, the unconventional path that led him to Atlanta, and the creative and technical strategies that shape his work. He also dives into his Adobe Premiere workflow, the importance of collaboration, and how intuition—and his pit bull Blue—help fuel his storytelling. In this episode, No Film School's GG Hawkins and guest Isaac Hagy discuss... How Hagy's religious upbringing led to his first foray into filmmaking The unorthodox path from critical studies major to documentary editor Jumping from music videos to the groundbreaking series Atlanta Why Hagy chooses Premiere Pro and how he builds intuitive workflows Collaborating remotely and the magic of edit dogs like Blue The creative process behind The Friend and working with indie auteurs The importance of collaboration, mentorship, and finding your crew Memorable Quotes: "My dog carries so much emotional baggage. Yeah, he's an essential part of the editing room." "I try to think like... what is the conventional way of cutting this? And then maybe what is an interesting outside-the-box way of cutting it?" "You're not going to come crashing through the back door by doing something very conventional." "Premiere works the way my brain works... I don't think about editing when I'm editing in Premiere." Guest: Isaac Hagy Resources: The Friend (2024) Montana Story (2021) Clapping for the Wrong Reasons Sirens 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

In this episode, GG Hawkins sits down with Derick Rhodes, VP of Community at Vimeo, to dive into how Vimeo continues to be a crucial hub for independent filmmakers. Derick reveals the behind-the-scenes process of how Vimeo Staff Picks are curated, the platform's renewed focus on supporting creators, and the company's evolving role in global film culture. From new streaming options to global partnerships and grassroots community support, this conversation paints a comprehensive picture of where Vimeo is heading and why it remains vital for indie creatives. In this episode, No Film School's GG Hawkins and guest Derick Rhodes discuss... The origin story of Derick's involvement with Vimeo and his background in indie filmmaking How Vimeo balances creator tools with community-building and high-level business solutions The human-led process behind Staff Picks and how to get noticed Vimeo's new global partnerships and outreach efforts in places like Brazil and Japan The newly launched streaming and monetization tools for filmmakers A candid look at Derick's own micro-budget filmmaking journey Advice on how to get involved with the Vimeo creator community and maximize the platform Memorable Quotes: “We don't staff pick using algorithms… it's all a team of people at the company that are obsessed with short films.” “Making shorts is taking yourself to film school, especially when you're doing it in a low-stakes way.” “Nobody is coming to pick you out of the crowd and take you to the path of like, you're going to be a film director now.” “We want to be an open playground and have people do work that's just playful and inspiring and try weird stuff.” Guests: Derick Rhodes - VP of Community, Vimeo Resources: Vimeo Staff Picks Moomin by Zach Dorn Yes, Daddy Podcast episode: Why Indie Film Distribution Is About To Go Punk Rock 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  

In this episode, GG Hawkins speaks with writer-director Alessandra Lacorazza about her award-winning film In the Summers, which took home both the U.S. Grand Jury Prize and Best Director at the 2024 Sundance Film Festival. Lacorazza shares the deeply personal roots of the film, the tumultuous road to production, and the pressures of staying true to a creative vision in the face of industry challenges. The conversation dives into casting across timelines, editorial discovery, and the intense final days before Sundance. It's an intimate and inspiring look at how a deeply personal, quietly powerful film almost didn't get made—and why it ultimately resonated so profoundly. In this episode, No Film School's GG Hawkins and guest Alessandra Lacorazza discuss... The semi-autobiographical inspiration behind In the Summers Creating emotionally complex characters and tender portrayals of masculinity Casting multiple actors for the same role across time The chaotic production process and financial uncertainty before filming How Alessandra balanced creative integrity with commercial pressures Editing discoveries, including changing the film's ending after test screenings What it was like to win at Sundance—while sick and alone The unexpected emotional reach of the film across different demographics Advice for emerging filmmakers on trusting collaborators and staying clear on your vision Memorable Quotes: “I just knew I couldn't make this film with that suggestion... I'd rather not make it because it won't be good.” “Making the film was harder than having a baby.” “There's no real villain, and you just leave the audience to make up their own mind.” “If you don't [know your story], you're going to get lost in the maze, and then your editing process is going to be a lot more complicated.” Guest: Alessandra Lacorazza Resources: In the Summers is now available to stream on Hulu. 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

From a Craigslist Canon to Cinematic Dreams: The Story of B.P. In this episode of Visual Intonation, we sit down with B.P., a Pasadena-born cinematographer and founder of BEARVISION Photography & Design. What began with a humble Canon T3i purchased off Craigslist turned into a multi-city journey through the lens—one that has taken him from Indiana arts festivals to feature films and high-profile collaborations with brands like Amazon, HOORAE, and Buzzfeed. B.P. shares how his early days in photography laid the groundwork for a career behind the camera that now spans narrative films, music videos, and branded content.No Film School, Just Vision Though he earned a degree in Computer Science, B.P. never saw ones and zeros—he saw frames, ratios, and light. With no formal training in film, he instead learned by doing, building BEARVISION into a platform that champions opportunity, creativity, and truth. His story is proof that passion, grit, and a good eye can take you just as far as a diploma. From being reposted by Saweetie to becoming an Associate Member of the Society of Camera Operators, B.P. recounts the moments that helped him level up—on set, and in life.A Production Day, The BEARVISION Way For B.P., a shoot doesn't start when the camera rolls—it starts weeks before with pre-production plans, call sheets, and crew coordination. Whether it's a music video in DTLA or a psychological thriller with an Emmy-winning director, he treats each set like family: honest communication, shared breakfast, and a stretch before action. He opens up about the gear he swears by, including his BPM Quarter filters and trusty production monitor, and why even a Cardellini Clamp deserves more love.Advice from the Trenches If you're a young filmmaker wondering where to begin, B.P. offers this: be opportunistic. Don't wait for a title or paycheck to prove your worth. He built his calling card on a passion project—Just Friends—that earned nothing upfront but opened every door that followed. Tune in to hear how BEARVISION became more than a brand—it became a movement, a team, and a testament to betting on yourself.Website: www.bearvisionpnd.comInstagram: www.instagram.com/bpedwardsdopLinkedin: https://www.linkedin.com/in/bpedwards/Support the showVisual Intonation Website: https://www.visualintonations.com/Visual Intonation Instagram: https://www.instagram.com/visualintonation/Vante Gregory's Website: vantegregory.comVante Gregory's Instagram: https://www.instagram.com/directedbyvante/ To support me on Patreon (thank you): patreon.com/visualintonations Tiktok: www.tiktok.com/@visualintonation Tiktok: www.tiktok.com/@directedbyvante

This week on the No Film School Podcast, GG Hawkins sits down with Pete Docter, Chief Creative Officer at Pixar Animation Studios and the visionary behind films like Monsters, Inc., Up, Inside Out, and Soul. The conversation dives deep into the creative process behind Pixar's latest original feature Elio, and how Pixar's iterative storytelling model has evolved over the years. Pete shares actionable insights on how filmmakers—whether working at a major studio or independently—can embrace change, vulnerability, and creative discovery to build resonant stories. In this episode, No Film School's GG Hawkins and guest Pete Docter discuss... How Pete Docter chose Pixar over Disney and The Simpsons early in his career The iterative story process at Pixar and how it has shaped Elio The importance of balancing imaginative worlds with relatable emotional storytelling How Pixar greenlights projects by betting on people rather than ideas The evolving leadership strategies that support creativity and collaboration Why vulnerability is key to character empathy and story resonance How emerging filmmakers can use these Pixar principles in their own work Memorable Quotes: "Go to a small place where one person has a huge effect." "Every idea is good until you have to tell it to somebody else." "At some point, it is more about tenacity than talent." "Don't try to make and analyze at the same time." Guests: Pete Docter Resources: Pixar's Elio 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

Filmmakers Peter Hall and Paul Gandersman join No Film School's GG Hawkins to discuss their chilling feature debut Man Finds Tape, premiering in the “Escape from Tribeca” section at the 2025 Tribeca Festival. The Texas-based writer-director duo explores their found-footage horror hybrid, rooted in documentary realism and intimate character drama. They dive deep into the film's decade-long evolution, DIY production tactics, narrative experimentation, and the collaborative scrappiness that made their micro-budget creature feature resonate on a grand scale. In this episode, No Film School's GG Hawkins and guests discuss: How a shelved podcast idea evolved into a Tribeca-premiering feature film Using documentary experience to inform a found-footage horror aesthetic Why keeping a tight creative circle allowed for fast, agile production decisions Shooting scenes with GoPros and iPhones for final edits—and why it works Casting actors willing to dive into a highly iterative, experimental process Crafting practical and VFX-driven creature moments that elevate low-budget horror Editing techniques that treat the narrative as a real documentary-in-progress How found footage can stay emotionally grounded and narratively justified Memorable Quotes: "There cannot be a point at which the audience says, why are they still filming?" "We were willing to let it sound like shit in parts, and it ended up not having to." "We threw out a lot of the lavs and just used on-camera MiniDV audio. It felt 10 times more real." "What we make is not Peter's voice or my voice—it's a third voice." Guests: Peter S. Hall Paul Gandersman Resources: Man Finds Tape at Tribeca XYZ Films Boards Tribeca Horror Feature Man Finds Tape 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

In this episode, GG Hawkins is joined by writer-director duo (and real-life couple) David Joseph Craig and Brian Crano to discuss their new film I Don't Understand You, a genre-bending dark comedy starring Nick Kroll and Andrew Rannells. The film follows a couple on a babymoon in Italy that spirals into chaos and violence. Craig and Crano share their process of fictionalizing their own adoption journey, balancing collaboration as married filmmakers, and navigating international co-productions. They also dive into the mechanics of shooting stunts, working with passionate collaborators, and sustaining a creative life while parenting. In this episode, No Film School's GG Hawkins and guests David Joseph Craig and Brian Crano discuss... How personal experiences shaped the emotionally charged and comedic tone of I Don't Understand You Transitioning from individual careers in acting and theater to collaborative filmmaking Tips for making international co-productions smoother, especially in Italy The logistics and artistry of filming stunts that are both shocking and funny Balancing parenting and directing, and how being a parent reshapes storytelling instincts Hiring passionate collaborators to elevate areas where you may feel less confident Why directors should consider editing or DP paths for a more sustainable career Memorable Quotes: "My films are like my ex-wives — I'm glad they exist and I never want to see them again." "We just decided early that on set, we would shoot everything and figure it out after." "Directing is like being eaten by crows — no one wants all of you, but everyone wants three bites." "Hire the people who are most passionate about the job you're most insecure about." Guests: David Joseph Craig on IMDb David's Instagram Brian Crano on IMDb Brian's Instagram Resources: I Don't Understand You — In theaters June 6 - Get Ticket Now I Don't Understand You Trailer I Don't Understand You on Instagram Articles on stunts and filmmaking at No Film School 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  

In this episode of the No Film School Podcast, GG Hawkins welcomes back filmmaker Janek Ambros to dive deep into the wild origin and evolution of his second feature film, Mondo Hollywoodland. The conversation spans everything from a life-changing phone call with Francis Ford Coppola to the chaotic, experimental production process of an iPhone-shot psychedelic satire. Ambros shares how a rogue spirit, a skeleton crew, and the mantra "just make something" powered his creative journey. He also discusses the challenges of distribution, finding a cult audience, and why the edit room is his happy place. In this episode, No Film School's GG Hawkins and guest Janek Ambros discuss... How Francis Ford Coppola inspired the DIY ethos behind Mondo Hollywoodland Why the film is more of a spiritual successor than a direct sequel to the 1967 cult doc Mondo Hollywood The experimental, no-crew production process using an iPhone and real locations Casting friends and local oddballs to match the film's bizarre, countercultural tone How the film's editing and narrator shape its chaotic narrative Navigating COVID-era distribution and marketing challenges Ambros's dual approach to career-building: make art, but also think commercially Why learning to produce is essential for emerging filmmakers Memorable Quotes: "You should just make a movie with your iPhone with your friends if you don't have money." "We didn't have a cinematographer. We have a camera op. That's really it." "It was just totally the freest form of filmmaking." "Editing is definitely my favorite part of filmmaking. Everything else is a necessary evil just to edit." Guests: Janek Ambros Resources: More from NFS x Janek Screening Tickets – June 8, 6 p.m. at Lumineer Music Hall, Beverly Hills Mondo Hollywoodland on Letterboxd Assembly Line Entertainment on Instagram: @assemblylineent,  Mondo Hollywoodland on Instagram: @mondohollywoodland Janek on Twitter: @janekambros88 Assembly Line Entertainment on Twitter: @assemblylineent 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  

This episode of the No Film School Podcast is a deep dive into the often opaque world of film finance, distribution, and foreign pre-sales. GG Hawkins hosts the episode and is joined by filmmakers Stephen Cedars and Benji Kleiman, as well as special guest Mike Chapman from Bluefinch Films. Together, they explore what it takes to get a film made and sold in today's unpredictable global market. From debunking myths about foreign pre-sales to discussing how to attract investors and get your film noticed at festivals, this is an essential listen for indie filmmakers navigating the post-production and sales process. In this episode, No Film School's GG Hawkins and guests discuss... The harsh realities of the current acquisitions and distribution market Why understanding distribution from the beginning helps you fund your movie The value (and limitations) of foreign pre-sales and cast attachments What sales agents look for in a pitch, and how to present a compelling deck Why comps in pitch decks can be misleading or counterproductive Navigating film festivals and markets like Cannes, Berlin, and Toronto effectively Practical tips for raising money without burning out or making costly mistakes Memorable Quotes: “Nobody knows anything in the film industry.” “Every birth is a miracle. Editors are midwives. We could really keep this metaphor going.” “You've got to be bold. If it just feels like a lower-budget version of something the studio's making, they'll just watch the studio version.” “If it is a good film, it will find a way to cut through.” Guests: Mike Chapman (Bluefinch Films) Stephen Cedars Benji Kleiman Resources: Blue Finch Film Releasing The Wolfpack Deadstream Hundreds of Beavers 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

On this episode of the No Film School Podcast, GG Hawkins is reporting live from the 2025 Cannes Film Festival alongside a vibrant panel of first-time attendees. Filmmakers Stephen Cedars and Benji Kleiman, and producer Lexi Tannenholtz reflect on the chaos, surprises, and serendipity of navigating Cannes for the first time. From deciphering the market to running into unexpected industry contacts, they explore the overwhelming yet exhilarating world of one of the most prestigious film festivals in the world. This episode is packed with practical advice for emerging filmmakers hoping to make the most of a trip to Cannes. In this episode, No Film School's GG Hawkins and guests discuss... What it means to “have a movie” at Cannes and the nuances between screening, sales, and market presence How the Cannes Film Festival is actually multiple events in one—red carpets, markets, pavilions, and more The unique experience of The Marché du Film and what it teaches about global film distribution Serendipitous encounters and the power of just showing up prepared and open to connection The social dynamics of the festival and why dressing the part can be as important as showing up Tips for navigating Cannes for first-timers—from parties to planning to staying present The balance between networking and being respectful in professional interactions Memorable Quotes: "I feel like I've learned more in the last six days than I have in the last six years." "Prepare yourself for good luck.” "Don't try to get an apple tree on day one of planting the seed." "The festival is a celebration of art, but the market is all business." Guests: Stephen Cedars Benji Kleiman Lexi Tannenholtz Resources: Goodside: Affordable housing for filmmakers at major festivals 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

Dean Fleischer Camp, the Oscar-nominated filmmaker behind Marcel the Shell with Shoes On, joins GG Hawkins on this episode of the No Film School Podcast to discuss his journey from indie auteur to directing Disney's live-action Lilo & Stitch. Camp delves into the emotional and technical challenges of maintaining character integrity, scaling up production, and bringing heart and authenticity to a beloved IP. From personal anecdotes about his early filmmaking days to deep dives into character animation and working with child actors, this episode is a must-listen for aspiring filmmakers and animation fans alike. In this episode, No Film School's GG Hawkins and guest Dean Fleischer Camp discuss... How Dean's background in editing and indie filmmaking shaped his directorial approach The creative transition from Marcel the Shell to Lilo & Stitch Capturing the emotional depth and soul of Stitch in a live-action format The importance of involving original creators in adaptations Directing child actors and creating real interactions with animated characters The casting and character development of Nani, Lilo's sister Practical advice for emerging filmmakers navigating their first projects Memorable Quotes: “Even the most exacting director... gets like 30% of what they set out to get exactly in their mind's eye.” “You can feed the animated Stitch through the live-action machine... but if you don't put any care into it, it actually has the opposite effect.” “Don't wait for permission to make something... That's an order.” Guest: Dean Fleischer Camp Mentioned in this episode: Experience Camps 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  

Hello Houston? We have a podcast! We are back this week to talk Ron Howard's Apollo 13. But, we did not undertake this mission alone. Journalist, critic, all around awesome person Jo Light joins us (from No Film School, Final Draft, and more). We take a look back at the 1990s, NASA, whitey, and much, much more as Apollo 13 docks on the analysis table. Join us now for our conversation!  

In this episode of the No Film School Podcast, GG Hawkins and Jason Hellerman tackle breaking news, unpacking President Trump's proposed 100% tariff on foreign-made films and what it could mean for the future of Hollywood. Then, GG takes us to the heart of indie filmmaking with a vibrant live conversation from Cinema Columbus, where filmmakers Michael Polk, Sam Dunning, and Kelsey Lea Jones share war stories, festival lessons, and the power of regional cinema in a shifting industry. In this episode, No Film School's GG Hawkins, Jason Hellerman, and guests discuss... The implications of Trump's proposed 100% tariff on foreign film and TV productions How international tax incentives affect where Hollywood makes movies The economic and cultural risks of isolating American film audiences The live indie filmmaking experience from Cinema Columbus The production and festival journeys of “Canoe Dig It” and “Say As I Say” Creative strategies for self-distribution and building regional audiences How unexpected moments during indie shoots add authenticity and charm Memorable Quotes: "You don't need to jail artists to silence them. You just make their work impossible to afford." "Let's solve this problem with a real solution and not just with bluster." "If you can't give indie filmmakers money, the most valuable other thing you can do is to rate and review our movies." "We just don't want it to disappear… even if we don't make a dime." Guests: Michael Polk Sam Dunning Kelsey Lea Jones Resources: Canoe Dig it? Say As I Say No Film School: What Do Studio Heads Have to Say About The Hollywood Tariffs? 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  

Luke Barnett is an actor, writer, and filmmaker. On the acting front, Luke recently wrapped season 5 of AppleTV+'s critically acclaimed sci-fi drama FOR ALL MANKIND, where he recurs as suit supervisor Mike Shaw (we also spoke with the creators of this series back in Episode 363.) This year, his short film THE CROSSING OVER EXPRESS, which he wrote, directed, and starred in, went viral on X (formerly Twitter) and is now being developed as a feature. Luke's short, The Crossing Over Express, got nearly 2 million views in 30 days, for a personal gut-wrenching story (shot in just 1 day with a skeleton crew). Here's what else happened: -6 managers / agents reached out to rep him -100s of fans reached out about the emotional core -Countless industry pros re-shared the post -Featured in Variety, Deadline, No Film School, etc. -Currently developing a pitch for a full feature version If you haven't seen it yet, here's a link to Luke's Profile and the Short is pinned at the top: https://x.com/LukeBarnett In this interview, we talk about his breakthrough with FUNNY OR DIE, creating viral content, the success of THE CROSSING OVER EXPRESS, the importance of proactivity and positivity, the reality of film festival politics, and much more. As a special note, this was part of our new LIVE interview series in partnership with Buzztown, a community for serious screenwriters, where students also participated in this interview. You can learn more or join the waitlist here: https://www.scriptmastermind.com/buzztown62993179 Want more? Steal my first book, INK BY THE BARREL - SECRETS FROM PROLIFIC WRITERS right now for free. Simply head over to www.brockswinson.com to get your free digital download and audiobook. If you find value in the book, please share it with a friend as we're giving away 100,000 copies this year. It's based on over 400 interviews here at Creative Principles. Enjoy! If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts? It only takes about 60 seconds and it really helps convince some of the hard-to-get guests to sit down and have a chat (simply scroll to the bottom of your iTunes Podcast app and click “Write Review"). Enjoy the show!

In this episode, GG Hawkins of No Film School sits down with Ben Roberts, Chief Executive of the British Film Institute (BFI), for a powerful conversation on the cultural and creative necessity of film preservation. As the BFI celebrates the 90th anniversary of its National Archive and launches its new BFI America initiative, Roberts shares deep insights into the archival process, global collaboration, and the evolving role of film as both art and artifact. From rediscovering rare prints to the vital importance of archiving even digital work, this episode offers an inspiring call to action for filmmakers and cinephiles alike. In this episode, No Film School's GG Hawkins and guest Ben Roberts discuss... Why film preservation matters more than ever in the digital age The significance of BFI's National Archive turning 90 Rare film prints like Jaws and Mildred Pierce hidden in BFI's vaults How the BFI selects films for restoration and the stories behind those choices The launch of BFI America and its goals for international collaboration Practical advice for emerging filmmakers attending international markets like Cannes or Berlin Why preserving your own creative process is as important as the work itself Memorable Quotes: "The archive is full of treasures." "Just make stuff, practice, practice, practice, without feeling like this is going to be your big break." "Keep everything. Keep your emails, keep notes... One day when you're the greatest filmmaker on the planet, we will want it all." "You've got to think about the global industry and the global culture, because to get stuff made, there are so many ways to collaborate internationally." Resources: BFI Player Classics BFI.org.uk Sight & Sound Magazine 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  Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of the No Film School Podcast, GG Hawkins hosts a conversation with filmmakers Annapurna Sriram ("Fucktoys") and Alex Burunova ("Satisfaction"). Fresh from their South by Southwest premieres, they open up about the challenges and triumphs of making their first feature films independently. From the loneliness of directing to finding creative collaborators, the trio shares the real, raw experience of being “in the thick of it” during production and beyond. In this episode, No Film School's GG Hawkins and guests discuss... Why making a first feature feels like living on an island — literally and metaphorically The emotional rollercoaster of independent filmmaking and the power of perseverance The origins of "Fucktoys" and "Satisfaction," and how personal experiences inspired the films Casting without “named talent” and the importance of authentic performances How microbudget hacks, from thrift store shopping to strategic returns, kept productions alive The importance of finding your “spiritual warriors” (aka collaborators who get it) How to carry the lessons of your first feature into your next project Memorable Quotes: “If you can see all the heartbreak ahead, I don't know that anybody would climb the mountain.” “You're not the first person to deal with a catastrophe — every person deals with it.” “Be a scout. Be a badass. Discover undiscovered talent.” “The gap in the teeth leads to the heart. It's all a map.” Guests: Annapurna Sriram (Director, Writer, Lead Actor of Fucktoys) Alex Burunova (Director, Writer of Satisfaction) Resources: Fucktoys on Instagram: @fucktoysthemovie Satisfaction on Instagram: @satisfactionfilm I Really Love My Husband on Instagram: @ireallylovemyhusbandmovie 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

Director Mimi Cave joins No Film School's GG Hawkins and guest co-host Madison Lanesey for a candid conversation about her path from dance to directing, maintaining artistic vision in the studio system, and fostering a grounded and collaborative atmosphere on set. Mimi opens up about the emotional rollercoaster of filmmaking, the practical steps she takes to craft immersive visual tones, and how she cultivates trust with her actors and crew. The episode offers a rare glimpse into the behind-the-scenes processes of her features Fresh and Holland, along with valuable insights for emerging filmmakers. In this episode, No Film School's GG Hawkins, guest co-host Madison Lanesey, and guest Mimi Cave discuss... Mimi's creative origins in dance and how it led her into filmmaking The challenges and strategies of transitioning from indie to studio features Post-feature emotional “off-boarding” and how to manage the crash Establishing a calm and collaborative environment on set How she works with actors and tailors her directing approach to each personality Maintaining creative control within the studio system The importance of curiosity, asking questions, and embracing not knowing Building strong collaborative relationships with DPs, editors, and producers Memorable Quotes: "You get addicted to that... being needed all day is really amazing." "Take everything two days at a time... Anything after that's going to change anyways." "I walked into the set and I was like, you could hear a pin drop... it was so peaceful." "Some of the best filmmakers ever are some of the most unique, nerdy, freaky, out there people." Guest: Mimi Cave Resources: Fresh – Available on Hulu Holland – Available on Amazon Prime Video 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 

Writer-director Christopher Landon joins No Film School's GG Hawkins to discuss his newest film Drop, a sharp, suspenseful thriller starring Meghann Fahy. Known for genre-bending films like Happy Death Day, Freaky, and We Have a Ghost, Landon dives deep into his evolution as a filmmaker, how he overcame early failures, the importance of authenticity in storytelling, and the meticulous craft behind building tension. Landon also opens up about creating a supportive environment on set, casting with intuition, and how trusting his gut has shaped his career. In this episode, No Film School's GG Hawkins and guest Christopher Landon discuss: How Christopher Landon's love of horror movies began as a kid Early career failures and how they became pivotal learning moments Writing and selling Disturbia and joining the Paranormal Activity franchise The "feel-good horror" tone he discovered with Happy Death Day How Drop evolved from script to final film Shooting in sequence to elevate performances The importance of a supportive, no-asshole policy set How trusting his gut guides casting, shooting, and script decisions Advice for emerging filmmakers working within the studio system Memorable Quotes: "Failure is the greatest teacher." "If it ain't on the page, it ain't on the stage." "Casting is the one thing where I tune everybody out. I have to know it in my marrow." "Hollywood is seductive — don't chase the shiny things." Guest: Christopher Landon Resources: The 7 Best Plot Twists of All Time 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

What don't they tell you? They you gotta take a break! In this episode, No Film School's GG Hawkins and Jason Hellerman sit down with editor Max Goldblatt, who cut the heartfelt and hilarious indie road trip film Sacramento. Directed by Michael Angarano and starring Michael Cera, Kristen Stewart, and Maya Erskine, the film made waves at Tribeca and has since garnered a devoted following. Max shares how he got into editing, his long-time collaboration with Angarano, and offers invaluable insight into the nuanced craft of post-production—especially on a tight budget and timeline. In this episode, No Film School's GG Hawkins, Jason Hellerman, and guest Max Goldblatt discuss... How Max and director Michael Angarano formed their creative bond through music The challenges and victories of licensing a Rolling Stones song for an indie film Editorial techniques like split compositions and how they elevate performance Why taking breaks during the edit can lead to better storytelling Max's unconventional path into editing and the moment he almost walked away from filmmaking The balance between instinct and structure when cutting complex character scenes Memorable Quotes: “Michael kind of broke the cardinal rule of putting a song in the script.” “Sometimes there's just this alchemy when you choose something maybe almost at random.” “I was about to quit trying to pursue film period before I was connected with Mike Angarano.” “Sometimes it takes feedback or questions that people have about characters, and you realize that the answer was there all along.” Guests: Max Goldblatt Resources: Sacramento on IMDb Michael Angarano's first film, Avenues Robert Schwartzman's film The Argument Jason Hellerman's article on "Man on a Mission" stories 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

Gary King is a filmmaker who transitioned from a career in psychology and human resources to independent cinema, building a body of work that balances heart, hustle, and deeply human storytelling.In the spirit of Taoist unpredictability, Gary's story unfolds not as a straight line, but as a rich weave of intuition, risk, and creative alignment. He didn't attend film school—not out of rebellion, but because he didn't know it existed as a real path. Yet, what he lacked in formal education, he made up for in lived experience, teaching himself the craft by actually making films. From his first feature "New York Lately" to a haunting indie gem titled "Among Us," his journey is a testament to following that subtle inner pull, even when it defies logic or convention.What stood out most was Gary's devotion to character.He didn't chase Hollywood formulas or pre-packaged three-act structures. Instead, he sculpted stories that breathe. Stories that fail and rise again. He spoke of actors, not as tools to carry his vision, but as living beings whose rhythms dictate the energy of a scene. “The first take might be gold for one actor, but the sixth take is where another actor finds their truth,” he said. That kind of awareness doesn't come from reading screenwriting manuals. It comes from presence.It's no surprise that Gary gravitated toward stories with strong female leads. His commitment to representation isn't a gimmick—it's a reflection of his own lived dynamics. He and his wife uprooted their lives together, and it was her faith in him that seeded the beginning of his filmmaking path. When he pitched the idea of becoming a director, her response wasn't fear—it was, “Okay, how do we make this happen?”Every film Gary makes becomes his personal film school. No gatekeeping. No pedigree. Just the camera, the actor, the breath of a moment, and the sacred chaos of the edit room.One of the most beautiful sentiments he shared was how universal pain is the bridge to empathy. “You can tell a story about a Broadway dancer who never makes it, and someone who's never danced a day in their life will see themselves in that struggle.”And while his films may not be backed by million-dollar budgets or high-concept gimmicks, they pulse with something far rarer: authenticity. A humility that says, “I'm still learning.” A clarity that says, “This is who I am.” And perhaps most importantly, a humor that says, “Yes, I returned a porno tape to Blockbuster by accident, and no, I don't regret it.”Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

In this episode, GG Hawkins and Jason Hellerman tackle the timely question of whether production in Los Angeles is truly back, despite rising costs and the lure of tax incentives elsewhere. They also host a special Sundance DP Roundtable, featuring cinematographers from some of the festival's most talked-about films. These filmmakers share the stories of how they landed their gigs, the creative and technical choices behind their work, and how shooting on location posed unique challenges and opportunities. From the reality of Stay in LA initiatives to working with first-time directors and navigating quick turnarounds or even war-related production pivots, this episode is a deep dive into the craft and chaos of cinematography today. In this episode, No Film School's GG Hawkins, Jason Hellerman, and guests discuss... The current state of film production in Los Angeles and whether it's really “back” Tax incentives drawing productions to places like Ireland, Canada, and Texas The emotional and practical toll of filming far from home Behind-the-scenes challenges of indie productions and festival films How DPs landed their Sundance jobs and their strategies for collaboration with directors Favorite gear, lenses, and technical decisions from Sundance cinematographers Working with non-actors, shooting in unpredictable locations, and reacting in real time Tools, workflows, and prep habits DPs rely on when heading into production Guests: Adolpho Veloso – DP of Train Dreams Mia Cioffi Henry – DP of Sorry, Baby Ethan Palmer – DP of Plainclothes Christopher Aoun – DP of All That's Left of You Memorable Quotes: "I always say prepping like that is like studying for an exam, and then it's like not an open book test.” "You either are not going to sleep because you're working long hours, or because you're anxious because you're not working." "Some of the best stuff that's come my way has been very low budget." Resources: California's “Stay in LA” push for local production The new hubs becoming “Hollywood” around the world 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 

No Film School founder and director Ryan Koo flips the script in this special episode, interviewing regular podcast host GG Hawkins about the world premiere of her feature film I Really Love My Husband at the 2025 SXSW Film Festival. GG shares her whirlwind experience of showcasing her first feature, from managing the chaos of festival logistics and marketing, to the overwhelming response from audiences and peers alike. This episode offers a candid, behind-the-scenes look at what it's really like to premiere at a major festival, how to prepare, and what filmmakers can learn to maximize their presence. In this episode, No Film School's Ryan Koo and GG Hawkins discuss... GG's emotional and logistical journey leading up to the world premiere of her film How SXSW's ticketing and badge system works—and how to prep for packed screenings Tips for marketing your film and working with PR ahead of a major festival The importance of pacing, wardrobe strategy, and managing energy during festival week Lessons learned from networking, screenings, and audience feedback A broader look at SXSW as a convergence of film, tech, and immersive media Memorable Quotes: "One of the best things you can do for yourself is have your family come to the second and third screening." (05:49) "If you make a movie and nobody sees it, what's the point?" (08:32) "Don't get a perm before your premiere." (17:01) "I didn't know I would be in sort of like a therapy support situation, which is awesome that the movie resonated with folks that way." (24:00) "This is the truest form for what it'll be in the long game—people who don't know me are going to sit back and watch and not know what's going to happen." (28:45) Resources: The Cameras Behind the Films of SXSW 2025 How to Shoot Your Feature in Three Months or Less Everything You Need to Know About Editing and Post-Production 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