Explorez tous les épisodes du podcast The No Film School Podcast

Editor Jon Fine joins GG Hawkins to discuss shaping The Revisionist, a dialogue-driven drama directed by Alex Vlack and starring Alison Brie, André Holland, and Dustin Hoffman. Fine explains how the cast’s performances transformed the tone of the script, how music and abrupt sonic interruptions helped place viewers inside a writer’s creative process, and how restructuring the film made its shifting layers of fiction and reality clearer. He also shares his Premiere Pro workflow, his approach to testing editorial ideas, and why emerging filmmakers should learn by making their own projects. In this episode, No Film School's GG Hawkins and guest Jon Fine discuss... How Fine’s longtime creative partnership with director Alex Vlack led to The Revisionist Discovering unexpected humor and tragedy in the actors’ interpretations of the script Finding a consistent tone across four distinct central performances The creative advantages of having an editor and director work together in the same room Using Philip Klein’s score to evoke the interior world of Alison Brie’s writer character Interrupting music with hard cuts to create surprise, humor, and playfulness Organizing scenes, takes, transcripts, and searchable dialogue in Adobe Premiere Pro Building a fast first assembly that closely followed the original screenplay Restructuring the film to make the writer’s influence over the unfolding story more apparent Using producer, audience, and actor feedback throughout the iterative editing process Balancing the ensemble while keeping Alison Brie’s character as the story’s emotional anchor Finding usable moments within Dustin Hoffman’s improvisations Why limited locations, a small cast, and dialogue-heavy scenes can benefit independent filmmakers Auditioning editorial ideas quickly instead of becoming overly attached to one version Creating an editing environment with natural light, plants, instruments, and opportunities to step outside What traditional editors can learn from filmmakers cutting polished videos on their phones Why the most effective way to learn editing is to make films with friends Memorable Quotes: “I still think the best way to make a film is to be in the room with someone.” “We wanted it to feel like you were inside of the head of a writer. You’re in her mind.” “I’m really in favor of just auditioning ideas and trying things.” “I think the best way to learn is in practice.” Guests: Jon Fine Resources: The Revisionist on IMDb 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

Most filmmakers wait until after production to identify their audience and develop a distribution strategy. In this partner episode, GG Hawkins speaks with Greenlight Coverage founder Jack Zhang and Level 33 Entertainment Vice President Andreas Olavarria about evaluating a screenplay’s commercial potential before production begins. They explain how AI-assisted script coverage can support—not replace—human decision-making, what distributors look for when assessing independent films, and how the Greenlight List gives screenwriters a path toward $100,000 in equity financing and guaranteed distribution. In this episode, No Film School's GG Hawkins and guests Jack Zhang and Andreas Olavarria discuss... Why filmmakers should consider their target audience, key art, trailer, genre, and distribution strategy while developing the screenplay How Greenlight Coverage uses data science and AI-assisted analysis to evaluate screenplays How Jack developed the platform using data from thousands of films and hundreds of millions of audience data points Why AI script coverage should function as an initial evaluation tool rather than a replacement for human readers How the Greenlight List combines an algorithmic first pass with evaluation by experienced industry professionals What separates a well-written screenplay from a commercially viable independent film Why contained concepts can be more practical for independent filmmakers and investors How originality, plot construction, character development, theme, and audience positioning affect a project’s score Why low-budget horror still requires a specific audience and marketing strategy The built-in audiences for horror, thrillers, romance, and Hallmark- or Lifetime-style films How theatrical, TVOD, SVOD, and AVOD distribution windows affect independent film development Why filmmakers may need to hook viewers within the first five minutes on ad-supported streaming platforms How cast members, executive producers, and creators with established audiences can strengthen a film’s marketability How the Greenlight List offers its grand prize winner $100,000 in equity financing and guaranteed distribution through Level 33 Entertainment Why writers should use submission deadlines as concrete milestones for completing their screenplays Memorable Quotes: “I think it’s so important that filmmakers look at what the end product will be and how they’re going to connect that film, that story, with a target audience.” “It has to have a specific audience itch that you’re trying to scratch, or it’s just going to be one of the thousands of films produced out there sitting on the shelf, unfortunately.” “The film itself should hook the audience in whatever genre in the first five minutes.” “Don’t miss a deadline. Hit the submit button. Don’t miss the deadline.” Guests: Jack Zhang — Founder of Greenlight Coverage Andreas Olavarria — Vice President at Level 33 Entertainment Resources: The Greenlight List Greenlight Coverage Level 33 Entertainment 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

Wonder Dynamics co-founders Tye Sheridan and Nikola Todorovic join GG Hawkins to explain how their filmmaking backgrounds shaped the development of AI-powered production tools for artists. They trace the company’s evolution from an interactive storytelling startup to Autodesk Flow Studio, a tool designed to transfer live-action performances to CG characters while preserving creative control and compatibility with established VFX pipelines. The conversation covers Hollywood’s changing relationship with artificial intelligence, the potential for lower-cost sci-fi filmmaking, Autodesk’s acquisition of Wonder Dynamics, the continuing importance of marketing and distribution, and how emerging filmmakers can prepare for an AI-integrated industry. In this episode, No Film School's GG Hawkins and guests Tye Sheridan and Nikola Todorovic discuss... How Sheridan and Todorovic met while working on Last Days in the Desert and bonded over their interest in making independent science-fiction films Why the expense of CG and visual effects inspired them to pursue a lower-budget, “Blumhouse model” for sci-fi and animation Wonder Dynamics’ pivot from interactive narratives to AI tools focused on film production Why AI filmmaking technology should be developed by people who understand professional production and post-production workflows The differences between tools made for social media content and tools made for long-form narrative filmmaking Why editability, control, and compatibility with established VFX pipelines became central to Autodesk Flow Studio How Autodesk Flow Studio captures a performance from single-camera footage and transfers it to a CG character without a traditional motion-capture stage Why Sheridan and Todorovic do not believe an actor’s performance should be generated entirely through prompts Hollywood’s pushback against AI during the SAG-AFTRA and WGA strikes and the industry’s gradual shift toward discussing responsible use How filmmakers can evaluate AI tools according to their ethics, usefulness, and respect for artistic control The potential for AI to lower production costs and help independent filmmakers create ambitious sci-fi and VFX-heavy projects Why cheaper production does not eliminate the challenges of marketing, distribution, and audience discovery How short films, YouTube projects, commercials, and music videos can serve as testing grounds for new filmmaking technology The opportunity to create visually ambitious genre films that remain grounded in original ideas and character-driven storytelling What Autodesk’s acquisition of Wonder Dynamics provides in terms of 3D expertise, scale, resources, and integration How small production teams have used Autodesk Flow Studio to revive scripts they previously could not afford to produce Why future filmmakers may see AI as an ordinary part of every creative tool rather than a separate category Sheridan’s advice to practice whenever an opportunity appears and learn from every film set Todorovic’s advice to persistently seek mentors and approach experienced professionals with genuine curiosity Memorable Quotes: “For us, that became our core theme, is just building something for artists that leaves them in control.” “AI is like the Internet. You can’t just say AI is bad or AI is good. It means so many different things. It really depends on how you’re using it and whether or not you’re maintaining the integrity of the artist process.” “We’re kind of allowing distribution to everybody, we’re going to allow the production to everybody, but now it’s a matter of being discovered.” “Be stubborn, be persistent, and try to find the best mentor you can possibly think of, someone you admire, and then just bother them with emails for six months. You’d be surprised.” Guests: Tye Sheridan Nikola Todorovic Resources: Autodesk Flow Studio 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

Editor, director, and producer Whit Conway explains how the Hulu comedy Never Change! was assembled on an unusually compressed post-production schedule. He discusses cutting scenes while production was still underway, building an organized Adobe Premiere Pro workflow, using searchable transcripts to locate alternate performances, and collaborating with director and co-editor Marty Schousboe. Conway also shares how constant iteration shapes comedy, why editors cannot become precious about an early cut, and how aspiring comedy filmmakers can create the work they want to be hired to make. In this episode, No Film School's GG Hawkins and guest Whit Conway discuss... How Whit’s previous collaborations with director Marty Schousboe led to Never Change! Why the film’s budget and delivery schedule required editing to begin during production Completing an initial assembly within a week of production wrapping Applying lessons from the fast-paced editorial workflows of Saturday Night Live and Joe Pera Talks With You Organizing footage into scene sequences and line-by-line collections of every performance How front-loading editorial organization saves time when producers request alternate takes Treating the first cut as a strong starting point rather than a version that must be protected Adjusting individual jokes by only a few frames and testing different reaction shots Preserving previous versions of scenes without formally tracking every editorial change Recognizing when a joke needs more work versus when the filmmakers have simply watched it too many times Using Premiere Pro’s searchable speech-to-text transcripts to find improvised lines and specific takes Collaborating with directors who edit and directors who communicate their ideas conceptually Why strong directors know what they want while remaining open to better ideas from collaborators Managing creative disagreements, competing producer notes, and compressed deadlines How walks and time away from the edit room can help collaborators reset Why budget limitations ultimately determine when the filmmakers must put their pencils down Building a comedy-editing career by making long-form work, studying classic comedies, and creating projects with friends Treating unpaid personal projects as “extra credit” that can lead to new professional opportunities Memorable Quotes: “It is just my job to put the first version of the moment together as fast as I can and also be tickled by it.” “I think great directors do a couple of things. One, I think they know what they want. They know what the moment should be. Two, they are open and willing to see other versions of that moment.” “I think you don’t have to have all the answers all the time.” “People understand you and know you through the work that you have done, that they have seen you do.” Guests: Whit Conway Resources: Watch Never Change! on Hulu Whit Conway’s Website Adobe Premiere Speech to Text How These SNL Editors Cut an Emmy-Nominated Sketch With 60+ VFX Shots in 2 Days Cutting Comedy: Inside the Edit of Saturday Night Live’s 50th Anniversary Field Producing on Last Week Tonight & Tackling Vimeo’s EU/UK Problem 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

Producer and Joy Coalition founder Joy Gorman Wettels joins GG Hawkins to discuss the long, uncertain path of building a producing career, from developing Next to Normal and spending 17 years at Anonymous Content to betting on herself as an independent producer. She explains why she staffed Little House on the Prairie before it received a green light, how she develops projects designed to create cultural conversations, and why the industry’s shrinking infrastructure threatens the next generation of producers. Gorman Wettels also shares lessons from 13 Reasons Why, Home Before Dark, and The Bell Jar, emphasizing empathy, creative conviction, audience-building, and the importance of finding collaborators who will grow alongside you. In this episode, No Film School's GG Hawkins and guest Joy Gorman Wettels discuss... The challenge of balancing production schedules with family life How growing up around theater and the arts shaped Joy’s career Developing Next to Normal over the course of a decade Learning the creative and logistical sides of producing at Anonymous Content Launching Joy Coalition just before the industry strikes The financial risks independent producers take while developing and staffing projects Why Joy staffed Little House on the Prairie before the series was greenlit How the industry’s broken career pipeline limits mentorship and upward mobility The goals of Producers United and the need to compensate career producers fairly How instability affects studio executives as well as independent producers Choosing projects that can bridge cultural and generational divides The research, psychiatric support, and sensitivity practices behind 13 Reasons Why Creating stories that give young audiences “something to reach up to” Why emerging filmmakers should build their own audiences and distribution channels Finding long-term collaborators, remaining loyal, and celebrating friends’ successes Memorable Quotes: “All you could do is bank on the things that you believe in and love.” “Some of the best of us producers no longer have the infrastructure to bring up the next generation.” “Everything that I make pretty much comes down to taking young people more seriously than I feel we have historically.” “Hollywood’s a very, very, very long high school and college, and you find your people and you succeed together.” Guests: Joy Gorman Wettels Resources: Joy Coalition Joy Gorman Wettels on Instagram Producers United 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

Emmy-nominated stunt coordinator and performer Victor Paguia joins No Film School’s GG Hawkins to explain how action sequences are designed around character, story, safety, and production realities. Drawing on more than two decades of experience—including his work on I Am Legend, Zombieland, and CBS’s FBI—Paguia discusses breaking into the stunt industry, developing distinct fighting styles for characters, creating ambitious television action on an eight-day prep schedule, and using previsualization to make sequences safer and more effective. He also shares practical advice for independent filmmakers staging action with limited time and resources. In this episode, No Film School's GG Hawkins and guest Victor Paguia discuss... How competitive diving prepared Paguia to perform under pressure Crashing the callback that led to his first stunt job on I Am Legend Why effective stunt work must serve the story rather than spectacle Finding the line between exciting action and physically unbelievable action Developing a shared movement language for zombies and other creatures Why fast zombies are more intimidating—and more enjoyable to perform Building action around the established strengths of a character Giving the agents on FBI distinct fighting styles based on personality and physicality Keeping fights, chases, and takedowns fresh across multiple seasons The differences between preparing action for a feature film and a network television series Choreographing and teaching fights to actors while filming on a tight schedule Why filmmakers should slow down instead of rushing on set How stunt doubles help actors learn choreography and improve their performances Using an iPhone to previs camera angles, movement, costumes, and choreography How smaller camera systems have expanded the possibilities for action photography Monitoring multi-camera stunt sequences when playback is unavailable Why micro-budget filmmakers should design action within their actual resources The driving, fighting, falling, and wire-work skills aspiring stunt performers should develop How collaboration between departments creates memorable action Memorable Quotes: “Telling the story of the movie is more important than performing the action.” “Slow is smooth, smooth is fast—and wear sunscreen.” “Stunt doubles aren't just there to perform the action instead of the actor. They're also there to help choreograph and teach and show.” “It's enticing to try to go for bigger than you can actually handle, but it may end up just looking bad or sort of amateur.” Guests: Victor Paguia Resources: Watch Victor Paguia’s Zombieland stunt Extraction 2 Director Sam Hargrave’s Advice on Oners, Stunts, and Emails 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

Madhouse Films co-founders Katherine Romans and Charlie Traisman join GG Hawkins to explain how they built an independent production company from the ground up. They discuss using short films as their version of film school, raising project financing through relationship-building, approaching investors as creative partners, and transitioning from shorts to feature films. The conversation also explores cold outreach, fiscal sponsorship, balancing artistic ambition with financial realities, building durable producing partnerships, and why filmmakers must treat their projects like small businesses. In this episode, No Film School's GG Hawkins and guests Katherine Romans and Charlie Traisman discuss... How Romans and Traisman’s longtime friendship developed into a creative and business partnership Using short films to establish Madhouse Films’ voice, values, and community of collaborators Why emerging producers should make projects before waiting for the perfect opportunity Raising a flexible pool of financing while simultaneously developing and producing films Identifying different investor profiles and understanding what each person wants from participating Approaching investors as creative partners rather than treating fundraising as a transaction Using fiscal sponsorship to accept tax-deductible donations for qualifying independent film projects Reframing fundraising and relationship-building as part of a filmmaker’s creative practice Why clear, direct financial asks are more effective than vague pitches Learning from rejection and using each “no” to improve the next approach How cold emails helped Madhouse build relationships with filmmakers they admired Transitioning from short-film fundraising to feature-film financing, revenue participation, and ROI conversations Giving filmmakers room to dream while establishing practical budget boundaries Deciding which creative priorities are worth protecting and where compromises can be made Maintaining trust, communication, and humor within a producing partnership Why directors should act as entrepreneurs and actively help their producers find financing Treating an independent film like a small business that must be continually pushed toward completion Developing Madhouse Films’ new film fund and expanding what audiences consider a Madhouse project Memorable Quotes: “The whole process of raising and relationship building is extraordinarily fluid and nonlinear.” “You don't want money from just anyone. You do want someone who's aligned with you because they're part of your team.” “Because someone says no does not mean you stop asking. You just have to understand how to ask better.” “If you're getting no's, it means you're putting yourself out there.” Guests: Katherine Romans Charlie Traisman Resources: Madhouse Films Madhouse Films on Instagram Madhouse Films Newsletter Fractured Atlas Fiscal Sponsorship 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

After an earlier feature project collapsed, filmmakers Amanda Drexton, Michael A. Drexton, and Samantha Westervelt decided to stop waiting for permission and make Sour Party with the people, locations, equipment, and lived experiences already available to them. They discuss financing and shooting the microbudget comedy, surviving festival rejection, finding a distributor, budgeting for post-production, and campaigning through Decentralized Pictures until Steven Soderbergh selected the film to receive his support and the “Steven Soderbergh Presents” credit. In this episode, No Film School's GG Hawkins and guests Amanda Drexton, Michael A. Drexton, and Samantha Westervelt discuss... Turning the collapse of a planned feature into the motivation to make Sour Party Expanding earlier short-film ideas into a female-led Los Angeles buddy comedy Writing around the actors, locations, equipment, and personal experiences they already had Financing the production with a small-business loan, credit cards, deferred rates, and community support Moving quickly from the first draft to production rather than waiting for outside permission Shooting an 80-minute feature over approximately 19 days with mostly 12-hour production days Navigating festival rejection before premiering at the Chattanooga Film Festival and winning its Audience Award Building relationships with filmmakers and festival supporters who helped champion the movie Choosing a smaller distributor that offered accessibility, communication, and flexibility Why a distribution agreement does not necessarily include a minimum guarantee or a marketing budget Applying for Steven Soderbergh’s Decentralized Pictures grant to secure prints and advertising support Spending months campaigning through the platform’s community-based voting process Pulling the film from its scheduled release after Soderbergh selected it and offered to present the movie Setting up a collection account to manage investors, deferred payments, points, residuals, and revenue distribution Planning for post-production costs, including music licensing, legal work, sound, color, deliverables, and distribution expenses Negotiating music licenses when the production could not afford the initial quoted prices Learning to consider production logistics while writing future projects The importance of collaborators whose different skills combine into a shared creative vision Why filmmakers should view their careers as a long game rather than measuring success by age Building the soundtrack around Samantha’s former band, Egg Drop Soup, and other local female artists How DCP Plus aims to offer independent filmmakers a more transparent distribution option Why audience reviews, word of mouth, and communal viewing remain important for microbudget films Memorable Quotes: “We’re not waiting for permission. So we just did it.” — 05:37 “My big advice is just do it. You’ll figure it out. You’re going to make mistakes. Just do it. And also, do not forget about post.” — 32:39 “The best negotiation tactic is to just actually not have the money.” — 33:27 “Your community is your superpower.” — 43:41 Guests: Amanda Drexton Michael A. Drexton Samantha Westervelt Resources: Sour Party on IMDb Sour Party is scheduled to be available July 24 on digital rental platforms, including Amazon, Apple, Fandango at Home, DirecTV, and DCP Plus. 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

No Film School’s Jo Light records live from Aspen Shorts Fest with Julia Aks and Steve Pinder, the co-writers and co-directors of Jane Austen’s Period Drama. The conversation covers how the short grew from a period-drama pun into an Oscar-nominated comedy, what it took to produce an ambitious period piece on a limited budget, and how the filmmakers navigated festivals, awards qualification, campaign strategy, and the career momentum that followed. In this episode, No Film School's GG Hawkins, Jo Light, and guests Julia Aks and Steve Pinder discuss... How Julia Aks and Steve Pinder first met through a USC student film and developed their creative partnership Turning a comedic pun into a short film with emotional depth and a clear central event Why successful short films often focus on a small moment instead of compressing a feature-sized story Budgeting the short, finding the right producer, and learning where production money shows up on screen Calling in community favors for period costumes, crew, and production support Working with Snow White the chicken and planning animal scenes safely Balancing Julia’s roles as actor, co-writer, co-director, and editor Building a festival strategy after early rejections and learning the importance of premiere status Why Aspen Shorts Fest became a key Oscar-qualifying opportunity for the film How live festival screenings shaped the filmmakers’ understanding of the comedy Handling polarizing reviews and why strong reactions can signal that a film took risks What happens after winning a qualifying award, from the long list to the short list to nomination The cost, strategy, and labor behind an Oscar campaign for a short film How Emma Thompson became the film’s “Executive Menstrual Advisor” Why live screenings became central to their campaign strategy The career impact of receiving an Oscar nomination, even without winning Developing the feature version of Jane Austen’s Period Drama and future musical comedy ideas Memorable Quotes: “When short films are very successful, I think they take a small moment or they take a small piece of humanity or a small observation about life, and then really maximize and explore that small thing.” “We never wanted to make a proof of concept that didn't stand on its own. We wanted to make a short film that was a short film.” “Everything makes sense, and also nothing makes sense.” “Be bold, be brave, make a zero or a 10. Don't make a five.” Guests: Julia Aks Steve Pinder Resources: Jane Austen’s Period Drama Jane Austen’s Period Drama on IMDb Aspen Shortsfest 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, GG Hawkins talks with writer, director, producer, assistant, and Not Your Daddy’s Films co-founder Vika Stubblebine about building a sustainable film career through assistant work, mentorship, community, and creative self-advocacy. Vika traces her path from acting and theater at UCLA to working in TV production at Sony, becoming a writers’ assistant, writing episodes of S.W.A.T., and helping build Not Your Daddy’s Films into a Los Angeles community for women and non-binary filmmakers. In this episode, No Film School's GG Hawkins and guest Vika Stubblebine discuss... How Vika moved from theater, acting, and playwriting into film and television Why assistant jobs can be one of the most valuable ways to learn the entertainment industry What Vika learned working in TV production at Sony How mentorship from bosses and showrunners helped her move toward writing The importance of telling people what you want to do in your career How Vika landed opportunities in writers’ rooms and on S.W.A.T. Why Not Your Daddy’s Films began as a grassroots screening event Building community for women and non-binary filmmakers in Los Angeles The role of accessible events, panels, workshops, and screenings in supporting emerging filmmakers Why being on set in any capacity can help actors, writers, directors, and producers understand the filmmaking ecosystem Memorable Quotes: “Tell everyone what you want, and you don’t need to be me, me, me, me, me. Talk about me all the time, but be comfortable being like, yeah, I want to be in a writer's room.” “You need to start believing that you're good enough because every single person in this world, it's not everybody, but people are going to tell you no, and you can't also tell yourself no.” “That was the spark that led us to creating Not Your Daddy's Films because we were looking for more community.” “I think that community, community, community is what indie film to me is all about. It's making at the very basic level, it's making cool shit with your friends.” Guests: Vika Stubblebine Resources: Not Your Daddy’s Films Not Your Daddy’s Films on Instagram The Daddy Dailies Podcast on Instagram Vika Stubblebine How Not Your Daddy’s Films is Redefining the Industry By Championing Women and Non-binary Filmmakers 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

Filmmaker Joe Burke and actor-writer-producer Oliver Cooper join No Film School to discuss the making and release of Burt, a black-and-white micro-budget feature inspired by real-life musician Burt Berger. The conversation covers how Burke and Cooper built a narrative film around a non-actor, shot the movie in seven days for $7,000, used a tiny crew to preserve authenticity, and pursued a self-distribution strategy through Filmhub after the film gained momentum on the festival circuit. In this episode, No Film School's GG Hawkins, Joe Burke, and Oliver Cooper discuss... How Joe Burke and Oliver Cooper first met Burt Berger and realized he could be the center of a feature film Why Burt became a narrative film instead of a documentary Working with non-actors and blending fiction with real-life details Shooting a black-and-white feature in seven days with a three-person crew Why the team avoided a traditional production model How they kept the production legal and professional while still working with almost no money The role of cinematographer Daniel Kenji Levin and the stripped-down camera package Raising finishing funds after the film was already cut Winning festival awards, including Best Comedy at Cinequest Getting press coverage through persistent DIY outreach Why the filmmakers chose self-distribution with Filmhub Building a release strategy around digital ads, TikTok reviewers, podcasts, local press, and community organizations Setting an “off-ramp” date to avoid burnout during the release process Advice for filmmakers deciding whether to make a short film or a micro-budget feature Memorable Quotes: “It’s a father-son grounded comedy with a bit of a thrilling twist inspired by a real-life friend of ours, Burt Berger, who’s not an actor.” “I love his spirit and the world needs to know who he is.” “I’m so tired of waiting for permission.” “We knew the smaller footprint we had, the more authentic we could do that.” Guests: Joe Burke Oliver Cooper Resources: Burt The Movie 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

GG Hawkins speaks with production designer Vivian Gray about building the visual world of Obsession, from Southern Gothic references and texture-heavy interiors to practical blood gags and micro-budget problem-solving. They discuss what a production designer actually does, how Gray collaborated with the director, cinematographer, costume designer, and art team, and why color, texture, aging, and window treatments can make a major difference on an indie horror film. In this episode, No Film School's GG Hawkins and guest Vivian Gray discuss... What a production designer does and how the role shapes the visual world of a film How Vivian Gray landed the job on Obsession through a recommendation and visual pitch deck Building the film’s Southern Gothic and Midwestern Gothic-inspired visual language Why production designers should come onto a project as early as possible Collaborating with cinematography, costumes, props, set decoration, lighting, and graphic design How a small indie crew used hands-on collaboration to make the film’s world feel cohesive Designing horror environments through texture, color, maximalism, and unease Practical lessons from blood gags, aging props, window treatments, and set dressing The highest-impact production design choices for micro-budget filmmakers Vivian’s advice for aspiring production designers Memorable Quotes: “My job basically is I'm in charge of the visual design of the film and the visual world.” “Because they have nothing to shoot until there's something to shoot, right?” “Everything has to have a texture.” “I think it is color and texture. It's going to make the biggest impacts in your film, from my experience.” Guests: Vivian Gray Resources: Obsession on IMDb Universal Studios Prop House & Drapery The Hand Prop Room 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

No Film School’s GG Hawkins speaks with Kanopy’s Aaron Spears and Matt Lewis about curation, film discovery, and how independent films find audiences in a streaming landscape shaped by algorithms. The conversation covers Kanopy’s library- and university-based model, the importance of human-led programming, how poster art and social media influence discovery, and why theatrical and festival experiences still matter for the long-term life of a film. In this episode, No Film School'se GG Hawkins and guests Aaron Spears and Matt Lewis discuss... What Kanopy is and how it differs from subscription-based streamers like Netflix Why Kanopy’s free, ad-free model through libraries and universities matters for film access Aaron’s path from film programming and art house theaters to Kanopy’s content programming team Matt’s background in entertainment marketing and how he brings that experience to Kanopy How Kanopy’s programming team curates new titles each week Why human taste, context, and browsing still matter in an algorithm-driven media landscape How poster art, title design, and trailers shape audience expectations What filmmakers should consider when creating key art for their films How Kanopy uses social media clips and themed collections to help audiences discover films Why niche programming, rock docs, horror, and repertory-style collections can build loyal audiences How universities use Kanopy for coursework and casual film discovery The continued importance of festivals, theatrical screenings, and communal moviegoing Why libraries may be one of the most important access points for independent cinema Upcoming Kanopy titles and programming, including I Really Love My Husband, Fright Fest, and The Napa Boys Advice for emerging filmmakers interested in curation, marketing, and film culture Memorable Quotes: “The big headline is, it's free. And also no ads.” “I really feel like browsing itself, this is probably the librarian in my head too, like browsing itself should be a pleasure.” “I think if you can represent that with a poster, that really helps too.” “Do your best to watch one movie a day.” Guests: Aaron Spears Matt Lewis Resources: Kanopy 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

GG Hawkins speaks with BAFTA-winning director Marc Munden about directing the new Netflix adaptation of Lord of the Flies, written by Jack Thorne. Munden discusses revisiting William Golding’s novel, shaping the series’ visual language, filming on a remote island in Malaysia, working with 36 young actors, and how limitations around child actors’ schedules helped inspire the show’s hallucinatory nighttime look. In this episode, No Film School's GG Hawkins and guest Marc Munden discuss... Why Munden was initially conflicted about adapting Lord of the Flies again How Jack Thorne structured the four-part series around Piggy, Jack, Simon, and Ralph Using the rainforest as an alien, living ecosystem that mirrors the boys’ collapsing society How production restrictions led Munden to develop an infrared-inspired visual approach for nighttime scenes Rehearsing for five weeks with 36 child actors before shooting Directing young performers toward natural behavior instead of “performing” How Munden uses analog production books filled with references, sketches, script pages, and notes Why post-production became a continuation of discovery, including iPhone footage and evolving portrait sequences Munden’s advice for emerging filmmakers: make films, learn to write, be kind, and keep learning from others Memorable Quotes: “I thought, well, who needs another Lord of the Flies?” “I wanted to just characterize the rainforest as something which is alien, that has a strange beauty to it.” “I think filmmaking is the mixture of extreme joy and small defeats.” “I would say, shoot your own film.” Guests: Marc Munden 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

GG Hawkins continues No Film School’s 2026 distribution experiment with filmmaker Pete Ohs, focusing on the release of Erupcja, his Warsaw-shot microbudget feature starring Charli XCX, Lena Góra, Will Madden, and Jeremy O. Harris. Pete breaks down how the movie was made, how its TIFF premiere led to a deal with One Two Special, and what he learned from theatrical touring, Q&As, VOD timing, marketing assets, fan edits, and the emotional sustainability of releasing independent films. In this episode, No Film School's GG Hawkins and guest Pete Ohs discuss... Making Erupcja in Warsaw, Poland, with Charli XCX and a small, experimental production model How SAG’s Global Rule One affected the budget of an international indie production Premiering at TIFF and navigating sales conversations with CAA and multiple distributors Why Pete chose One Two Special based on alignment, communication, and “vibes” Building a release around Q&As, theatrical events, and in-person audience engagement Creating playful marketing assets, including a zine, a voicemail phone line, and fan-edit materials Releasing trailer stems and encouraging remix culture around the film How theatrical box office expectations were framed for a movie made under $100,000 The limits of relying on actors or stars to carry indie film promotion Why filmmakers should treat Q&As as another form of storytelling The idea of “regional filmmaking” and creating meaningful local releases Finishing and releasing projects as part of sustaining a long-term filmmaking practice Memorable Quotes: “We went to Poland in August of 2024 for two weeks with half of an outline and shot the movie in order.” “If the numbers were better or the percentages were better, but the vibe was worse. I would have been suffering.” “The work doesn't end.” “Treat it as practice for storytelling.” Guests: Pete Ohs Resources: Erupcja on IMDb No Film School: How a Film Score Actually Gets Made (Step by Step) & Pete Ohs’ Distribution Experiment of 2026 No Film School: Pete Ohs' 2026 Distribution Experiment #1: 'OBEX' No Film School: Pete Ohs Rethinks How We Make Movies 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

No Film School’s GG Hawkins talks with filmmaker Shane Brady and producer Emily Zercher-Brady about turning a devastating real-life hack into the revenge comedy-horror feature Hacked: A Double Entendre of Rage Fueled Karma. The conversation covers the couple’s filmmaking origin stories, how losing $20,000 sparked the movie’s premise, why they pushed forward after their budget was cut in half, what it took to shoot between Los Angeles and Florida during the SAG strike, and how they approached building a collaborative low-budget set. In this episode, No Film School's GG Hawkins, Shane Brady, and Emily Zercher-Brady discuss... How Shane’s early love of horror movies, theater, magic, and performance led him into filmmaking Emily’s background in performance, leadership, and problem-solving as the foundation for producing How Shane and Emily began working together through Camp Hollywood short films with young actors The real-life hack that drained $20,000 from their savings and became the emotional starting point for Hacked Calling the FBI, dealing with law enforcement limitations, and channeling frustration into a revenge story Why they decided to keep going after the movie’s budget was cut in half just weeks before filming How Christopher Nolan’s Oppenheimer production story inspired them to get scrappy Navigating the SAG interim agreement process while Emily was pregnant Splitting production between Funko Studios in Los Angeles and locations in Tampa, Florida Creating a “socialism set” where cast and crew were treated as equal creative collaborators Working French hours, offering hot meals, and protecting crew morale on a low-budget shoot Building festival relationships that helped lead to their distributor, Scatena & Rosner How they are thinking about audience outreach, VOD, and asking viewers to support independent filmmakers Memorable Quotes: “The absolute number one thing I want in my life is to be remembered, and when I’m gone and in the dirt, people can put on a film or a TV show or a recording of a play or something.” “Make it work and nobody can know that anything is going wrong.” “We have the money to film the thing.” “Everyone is equal playing fields and cast and crew, like you all mean everything and are a special piece of the puzzle.” “Everything that you work towards and someone just goes click.” Guests: Shane Brady Emily Zercher Resources: Hacked: A Double Entendre of Rage Fueled Karma on IMDb Where to watch Hacked: A Double Entendre of Rage Fueled Karma 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

No Film School’s GG Hawkins speaks with writer-director Hasan Hadi and producer Leah Chen Baker about the development, financing, production, and release journey behind The President’s Cake. The conversation traces the film from NYU and COVID-era writing sessions through the Sundance Labs, the challenge of building an aggressively independent financing plan, shooting on location in Iraq with non-professional actors, and the impact of winning both the Caméra d’Or and the Audience Award at Cannes. In this episode, No Film School's GG Hawkins, Hasan Hadi, and Leah Chen Baker discuss... How Hasan and Leah’s collaboration began at NYU and grew through shorts, writing check-ins, and shared creative sensibilities Why film school was essential for Hasan as a filmmaker coming from a country with limited cinema infrastructure Developing The President’s Cake before applying to the Sundance Labs How the Sundance Screenwriting, Directing, Producers Lab, and Catalyst Forum helped build confidence around the project Leading with the film’s “risky” elements: a first feature, non-professional actors, no rehearsals, a period setting, and shooting in Iraq Building a financing plan through micro grants, institutional support, small stakeholders, and equity partners Why filming in Iraq was non-negotiable for the story’s authenticity Creating an international crew while ensuring every department included Iraqi local crew The realities of shooting with limited infrastructure and a long production schedule What changed after the film won at Cannes How Iraqi and international audiences have responded to the film The importance of setting an end point for one project so the next one can begin Memorable Quotes: “But for me as a filmmaker who came from country that has almost no infrastructure in cinema. So my first film set when I was in film school almost, film school was necessary for me.” “There were a lot of do not do's on our pitch for our first feature.” “Even the failure sometimes was considered progress. It's not a success, it's a progress.” “Stories have DNAs and roots and they have, you know, fingerprints and this story has a very strong fingerprints that is in Iraq.” Guests: Hasan Hadi Leah Chen Baker Resources: The President’s Cake on IMDb 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

Jourdan Aldredge speaks with Blackmagic Design’s Simon Westland at NAB 2026 about the company’s latest camera, live production, mobile filmmaking, DaVinci Resolve, Blackmagic Cloud, and AI workflow updates. They discuss how Blackmagic’s new products serve both high-end live production and independent filmmakers, why hands-on trade show demos matter, and how filmmakers can think about camera choices as they grow their craft. In this episode, No Film School's Jourdan Aldredge and guest Simon Westland discuss... Blackmagic Design’s NAB 2026 product announcements and why the company released news before the show The value of hands-on product demos, workshops, and planning ahead for NAB Blackmagic’s URSA Cine 12K live production workflow, including 100G connectivity, 2110, 440fps, and 16 stops of dynamic range Why cinematic images are becoming more important in live production, sports, YouTube content, and live events How the Blackmagic Camera app is becoming an entry point for iPhone and Android filmmakers Using mobile phones in professional workflows with HDMI or SDI output, genlock, zoom demands, and focus demands Apple Watch control for Blackmagic Camera on iOS How Blackmagic’s products connect across cameras, ATEM switchers, DaVinci Resolve, and Blackmagic Cloud Why beginner filmmakers should focus on learning craft, exposure, lighting, and storytelling instead of searching for the “perfect” camera DaVinci Resolve’s new photo editing tools and how shared looks can help match stills and video How brands, agencies, and social media teams can use Resolve for color consistency across moving and still images Blackmagic’s view on AI tools, including transcription, media search, object search, and workflow acceleration The difference between workflow AI and generative AI replacement tools The future of Blackmagic Pocket Cinema Cameras and why the company still sees them as important for independent filmmakers Memorable Quotes: “That really is what it's all about. You want to have that hands-on interaction.” “I would say, look, that camera app is an amazing entry point, but really just try it.” “It’s about the content. It’s about storytelling.” “Competition is a healthy thing. It’s healthy for everybody.” Guests: Simon Westland Resources: Blackmagic Design Blackmagic Camera App DaVinci Resolve NAB Show 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

GG Hawkins talks with writer-director Chandler Levack about making I Like Movies, Mile End Kicks, and Roommates, and how Levack protects a specific filmmaking voice while moving between indie features and studio comedy. They discuss the realities of Canadian film financing, directing with limited time and bigger resources, building cinematic worlds through research and memory, and why filmmakers have to keep making work instead of treating one movie as their only chance. In this episode, No Film School's GG Hawkins and guest Chandler Levack discuss... How I Like Movies helped open doors for Mile End Kicks Why Mile End Kicks had to be shot in Montreal’s Mile End neighborhood The overlap of finishing one film while prepping and shooting another What changed when Levack moved from indie filmmaking to a studio comedy How music journalism shaped Levack’s directing and world building Why specificity in props, costumes, locations, and character details matters Navigating male-dominated creative spaces as a woman filmmaker The value and complications of film criticism Building a body of work through collaboration, experimentation, and persistence Memorable Quotes: “For me, I mean I'm obsessed with specificity.” “I think for me once I realized that filmmaking is just talking about treating fake people like they're real…” “It's weird. It's the only job where you're failing in public…” “The greatest thing you can do as a filmmaker is just exist and keep making stuff good and bad and having a body of work is like the most important thing…” Guests: Chandler Levack 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

No Film School’s Jourdan Aldridge sits down with Adobe’s Jason Druss at NAB 2026 to discuss Adobe Premiere’s new Color Mode, a three-year effort to rethink color grading for video editors. The conversation covers why Adobe rebuilt its color pipeline, how Color Mode differs from Lumetri and traditional pro-color tools, and what editors can expect from operations, styles, modules, film emulation, AI object masks, and upcoming beta features. Jason also shares his path from film school and color grading at NFL Films to product marketing at Blackmagic, Frame.io, and Adobe. In this episode, No Film School's Jourdan Aldridge and guest Jason Druss discuss... Adobe’s major NAB 2026 focus: the public beta launch of Color Mode in Premiere Why Adobe built Color Mode as a pro-color system designed specifically for video editors The limitations of Lumetri and the challenges of round-tripping to dedicated color tools How Alexis Van Hurkman helped lead the creation of a new color grading workflow inside Premiere The role of private beta feedback from hundreds of working editors Jason Druss’s career path through film school, wedding filmmaking, Blackmagic, NFL Films, WarnerMedia, Frame.io, and Adobe How Frame.io Drive connects with Premiere workflows and Adobe’s NAB demo process The design philosophy behind Color Mode’s simplified interface and shallow learning curve New Color Mode concepts including operations, styles, modules, clip groups, and sequence-level grading Film color, contrast kit, range controls, and customizable film emulation tools Why Adobe sees Color Mode as a new approach to creativity without unnecessary complexity Upcoming beta features including HSL qualifiers, skin tone lines, auto color, auto balance, vignette modules, and more film stocks Memorable Quotes: “What we're really trying to do is evolve and change the video editor's relationship with color and effects.” “For more than 10 years now, video editors have had two, like, really bad choices when it comes to color grading.” “We wanted to make the first color grading system ever actually built from the ground up and designed for video editors.” “Color mode rewards curiosity. It encourages experimentation. It's actually fun to use.” Guest: Jason Druss 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

Director Nicole Bazuin joins No Film School’s GG Hawkins to discuss the decade-long creative collaboration behind Modern Whore, a hybrid documentary based on Andrea Werhun’s memoir about her experiences in sex work. Bazuin explains how the project grew from a music video friendship into a book, short films, and a feature, while breaking down the film’s mix of interviews, stylized reenactments, storybook-inspired visuals, and post-production discoveries. The conversation also covers self-editing a feature, storyboarding an entire film, bringing Sean Baker on as an executive producer, and making work from the stories already in a filmmaker’s orbit. In this episode, No Film School's GG Hawkins and guest Nicole Bazuin discuss... Shooting Modern Whore on the Alexa Mini and editing the film in Adobe Premiere Pro How Bazuin and Andrea Werhun met while making a Super 8 music video for Broken Bricks Turning a “creative crush” into a decade-long collaboration across a memoir, short films, and a feature Why the film uses a hybrid documentary format with firsthand storytelling, staged scenes, and stylized reenactments Adapting Andrea Werhun’s vignette-style memoir into a cohesive feature structure Protecting authorship and agency when telling stories about sex work Building a visual language through hand-drawn storyboards, color, and “storybook come to life” compositions The nine-to-ten-month edit process and the value of test screenings with anonymous feedback cards How Sean Baker came aboard as an executive producer after working with Andrea Werhun on Anora Why filmmakers should look at the relationships, stories, and access already present in their lives Memorable Quotes: “Sometimes you have to step in and fill a role.” “I think right from the get go, our work has been multimedia.” “I do think the adage is true that you write the film once when you're writing the script. You rewrite it again when you're shooting it and you write it a third time in the editing process.” “Feel free to make it your own.” Guest: Nicole Bazuin Resources: Modern Whore on IMDb 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

Jo Light interviews documentary and commercial director Brendan Young live from Aspen Shortsfest about his short documentary The Meloneers, which follows the Rocky Ford High School wrestling program in rural Colorado. They discuss how Brendan found the story through a newspaper article, why he spent extensive time in the community before filming, how he balanced planned interviews with vérité moments, and how commercial work helps fund and shape his documentary practice. The episode also covers documentary ethics, collaboration with subjects, building trust before rolling, and Brendan’s advice for first-time documentary filmmakers. In this episode, No Film School's Jo Light and guest Brendan Young discuss... Finding a rural Colorado story through a Denver Post article about Rocky Ford wrestling Why Brendan visited Rocky Ford repeatedly without a camera before filming Treating documentary subjects as collaborators, not just subjects How The Meloneers explores wrestling, family legacy, fatherhood, and small-town change Balancing core interviews, planned scenes, and vérité moments Shooting with a small documentary crew and keeping a minimal footprint Using commercial work to support short documentary projects Partnerships with Futuristic Films, Voyager, Project Play, and executive producer Lindsey Hagan Why the process of documentary filmmaking matters as much as the finished film Brendan’s upcoming documentary about a violin once played by a German Nazi soldier Memorable Quotes: “I view the people in my films in these stories as collaborators.” — Brendan Young, 03:44 “It’s not just building trust, but like having buy-in from these people, making sure that we’re telling this story together and in a way that they want it told is really, really important to me.” — Brendan Young, 04:05 “I think when you can find it, it makes a specific story more universal and that's a more impactful film.” — Brendan Young, 08:05 “Commercial sets were kind of my film school.” — Brendan Young, 21:49 Guests: Brendan Young Resources: The Meloneers on IMDb Brendan Young’s Website Brendan Young at Futuristic Films Voyager Project Play Aspen Shortsfest Futuristic Films 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 speaks with cinematographer Johanna Coelho about building the immersive visual language behind The Pitt. Coelho breaks down how she approached the show’s real-time structure, 360-degree hospital set, handheld camera movement, lens choices, and complex multi-camera choreography to create an ER that feels immediate, intimate, and emotionally raw. She also reflects on her path from France to Los Angeles, becoming one of the youngest DPs to shoot network television, and the collaborative mindset required to lead ambitious productions without losing sight of story or performance. In this episode, No Film School's GG Hawkins and guest Johanna Coelho discuss... How Johanna Coelho got started in cinematography and built her career from France to Los Angeles What it means to shoot The Pitt in real time across a single ER shift How handheld filmmaking, long takes, and transition-based blocking shape the show’s immersive style Why Coelho chose the Alexa Mini LF, prime lenses, and a zoom setup to maintain intimacy and flexibility How the team lit a 360-degree hospital set with white walls while protecting skin tones and realism The collaboration between cinematography, production design, lighting, grip, and actors to execute complex choreography How season two pushed the show’s visual perspective and emotional immersion even further The difference between handheld, Steadicam, and Zero-G rigs when designing movement for a scene How Coelho thinks about burnout, leadership, and keeping a calm set during high-pressure television production Why trusting your eye and communicating your vision are essential for emerging cinematographers Memorable Quotes: “I don't have to make a choice. I can just live all of it behind the lens.” “We have to give that same feeling visually for the audience.” “Our master shot is not a wide shot where you see everything.” “Trust yourself. Don't let everyone tell you what to do.” Guests: Johanna Coelho Resources: Johanna Coelho's website 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

GG Hawkins speaks with Kino co-founders Brit MacRae and Daril Fannin about the broken handoff between post-production and release, and how insecure screeners, fragmented feedback workflows, and fear-based distribution norms undermine independent film. They break down Kino’s evolution from an interactive streaming idea into a secure post-to-delivery platform, explain how they built a film fund around de-risked sub-$2 million features, and use Undertone as a case study for aligning budgets, creative ambition, and profitability. In this episode, No Film School's GG Hawkins and guests Brit MacRae and Daril Fannin discuss... Why the current post-production and release pipeline is still built around insecure links, scattered notes, and outdated habits How piracy, leaks, and weak screener security can hurt filmmakers, investors, and distribution momentum The original idea behind Kino and how it pivoted from interactive streaming to a B2B platform for secure screeners, dailies, cuts, approvals, focus groups, and final delivery Why discoverability is one of the biggest problems in independent film, and why indie projects are competing with TikTok and other forms of passive entertainment How fear-based thinking shapes decisions around marketing, exposure, festivals, and distribution What “LVOD” means to Kino and how the company tried to create a window that adds marketing value without cannibalizing TVOD Why MacRae and Fannin believe filmmakers need to think like business builders, not just artists, when raising money How Kino structured its film fund around contained, creatively aligned stories with budgets under $2 million and meaningful de-risking through incentives and exchange rates Why Undertone made sense as a fund project: one location, a contained story, and a production model that matched the script’s scale How equity participation and aligned incentives can help cast, crew, and investors move in the same direction Why iteration, early feedback, and collaborative review should play a larger role in filmmaking, much like they do in tech and animation What kinds of projects Kino is pursuing next, including a Band of Brothers documentary and more genre-focused features Memorable Quotes: “Something’s not working and we’re going to dig into it.” “Fear makes you stupid.” “Coming to the table with great art is table stakes.” “It’s not about the project, it’s about the people you’re surrounding yourself with.” Guests: Brit MacRae Daril Fannin Resources: Kino 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 sponsored episode, GG Hawkins speaks with Eddie AI co-founder and CEO Shamir Allibhai about Eddie AI’s latest release, Eddie v3, which launched on April 14, 2026 ahead of NAB Show 2026. Their conversation explores the new Night Shift workflow, designed to process footage overnight by sorting interviews from B-roll, syncing multicam interviews, logging media, and building a rough cut ready for Adobe Premiere Pro, DaVinci Resolve, or Final Cut Pro by morning. They also discuss Eddie’s expanding role as an AI assistant editor for professional workflows, including docu-style rough cuts with B-roll placement, and the broader questions filmmakers face around creative control, sustainability, curiosity, and the future of storytelling in an AI-assisted post-production landscape. In this episode, No Film School's GG Hawkins and guest Shamir Allibhai discuss... Eddie AI’s new Night Shift feature and how it aims to build a structured rough cut overnight Why the company positions Eddie AI as an assistant editor rather than a replacement for Premiere, Resolve, or Final Cut Pro How AI can help with multicam syncing, A-roll and B-roll organization, logging, and assembly edits The difference between AI tools that generate synthetic media and tools built to work from a filmmaker’s real footage Why editing still depends on human taste, timing, emotional judgment, and story instinct How AI tools may help filmmakers handle paid client work more efficiently while protecting time for passion projects The tension between fear and curiosity as filmmakers adapt to new technology How creative professionals can think about money, sustainability, and long-term career support without sidelining the art Why Allibhai sees storytelling as a fundamentally human act, even in a future shaped by AI What filmmakers should watch for around security, ownership, and platform terms when using AI tools Memorable Quotes: “We’re not trying to be another timeline editor, like Premiere, Resolve, FCP.” “When we think about it from the consumer’s perspective, they just care about great stories.” “This is the root of a lot of the fear because we have struggled so hard just to be able to be here.” “In 10,000 years, we will still be sitting around a campfire or somewhere and telling each other stories.” Guests: Shamir Allibhai Resources: The AI Doc Breakdown: Filmmaking in the Age of Uncertainty How to Scale Video Editing With an AI Storytelling Partner Eddie AI The Eddie AI team will be demoing Eddie v3 at NAB 2026 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

Writer-director Lee Cronin joins No Film School to discuss how he approached reimagining The Mummy through the lens of family trauma, mystery, and body horror. In conversation with GG Hawkins, Cronin breaks down the emotional architecture behind effective horror, the challenge of staging fear in broad daylight, and the way Irish storytelling, personal experience, and practical effects continue to shape his work. He also reflects on building a long-term creative partnership, collaborating with horror powerhouses like Jason Blum and James Wan, and the discipline required to keep refining a film all the way through the edit. In this episode, No Film School's GG Hawkins and guest Lee Cronin discuss... How Cronin infused The Mummy with mystery, family drama, and horror Why broad daylight can make horror feel even more unsettling The emotional groundwork required to make gore and shock land with audiences How themes from The Hole in the Ground evolved into The Mummy Why character is always the engine of fear in Cronin’s films How Cronin thinks about the “contract” he makes with audiences from the earliest story stage The practical and creative lessons he learned from years of making corporate videos and commercials What it was like collaborating with Jack Reynor, Jason Blum, and James Wan How shooting in Ireland and Spain helped shape the scale and texture of the film Advice for emerging filmmakers on collaborators, restraint, and cutting what does not work Memorable Quotes: “Writing is not hard at all. Knowing what to write is incredibly difficult.” “Nothing is more exciting to me than watching something I’ve created with an audience and hearing them vocalize, scream, drop the popcorn, whatever it might be.” “If something doesn’t work, don’t leave it there.” “Never be afraid.” Guests: Lee Cronin Resources: Lee Cronin’s The Mummy on IMDb Vote for No Film School’s Webby-nominated explainer 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 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

GG Hawkins speaks with editors Lam T. Nguyen and Austin Keeling about building the visual language of Mercy, a hybrid screen life thriller directed by Timur Bekmambetov. They break down how editorial shaped not just pacing and performance, but also the film’s digital camera moves, interface design, screen choreography, and collaboration with VFX. The conversation also expands into how texting, phones, and screen-based storytelling can work in contemporary filmmaking, and why the core principles of editing still matter even inside a highly technical workflow. In this episode, No Film School's GG Hawkins and guests discuss... How Lam T. Nguyen and Austin Keeling first came together on Mercy What defines the film’s hybrid “screen life” visual language How the team used early previs to explore a more immersive 3D screen experience Why the Apple Vision Pro became an early point of reference for the film’s digital courtroom design How editorial functioned as editing, design, animation, and virtual cinematography all at once The Premiere Pro workflow they used to manage complex multi-layered timelines Why the team kept the process technically simple with adjustment layers, transform effects, and blur How they decided where the audience should look when multiple story elements were happening at once What the handoff to VFX looked like and why the editorial version had to be nearly final Their thoughts on how texting and phones can be made cinematic in modern films How Mercy balanced futuristic technology with interfaces that still feel recognizable to audiences Why collaboration, adaptability, and saying yes to unexpected opportunities helped shape their careers Memorable Quotes: “We had four weeks to build the previs and all they wanted was in traditional screen life formats.” “The best way to do is simplify it, right?” “The fundamentals still apply as an editor for this film.” “It’s all just using the tools that are available and kind of like using them to your advantage.” Guests: Lam T. Nguyen Austin Keeling Resources: Vote for No Film School’s Webby-nominated explainer video Tickets: Beacon Film Society screening — May 7, New York 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, GG Hawkins speaks with animator and director Julian Glander about making his microbudget animated feature Boys Go to Jupiter for just $30,000, premiering it at Tribeca, building momentum through a 50-festival run, and eventually landing theatrical distribution and a streaming home on HBO Max. Glander breaks down the realities of producing an animated feature outside the studio system, from teaching himself new tools in Blender to embracing the scrappy story behind the film, negotiating festival fees, navigating distribution conversations, and figuring out what comes next after a breakout first feature. In this episode, No Film School's GG Hawkins and guest Julian Glander discuss... How Glander and producer Payson made Boys Go to Jupiter with a tiny team and a $30,000 budget Why Blender and open-source communities made an indie animated feature possible What surprised Glander most about audience reactions to the film’s scrappy origins The reality check of premiering at Tribeca without an instant splashy acquisition How a long festival run helped the film build momentum and recoup its budget through screening fees and prizes Why showing up in person for festival screenings and Q&As can make a lasting impact How Cartuna helped shape the film’s theatrical rollout The role of PR, timing, and critical response in helping the film break out theatrically What it means to let go of control during distribution while still protecting the work How Glander is thinking about a second feature and resisting the pressure of “heat” Memorable Quotes: “You really do have to be delusional and not know what’s going to happen.” “I was embarrassed by how scrappy it was but it turned out to be like the thing that brings people in and the thing that makes them love it.” “If you don’t ask for it, you don’t get it.” “Most things are Googleable.” Guests: Julian Glander on IMDb Julian Glander on Instagram Resources: Boys Go to Jupiter on IMDb I Really Love My Husband Screening and QA 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, No Film School host GG Hawkins speaks with director Charlie Tyrell and editors Davis Coombe and Daysha Broadway about The AI Doc: Or How I Became an Apocaloptimist. The conversation explores how the team shaped an essay-driven documentary around AI, parenting, authorship, and uncertainty, while also breaking down the collaborative editorial process, the ethics of making a film in real time about a rapidly changing subject, and the analog craft choices that gave the project its tactile visual identity. In this episode, No Film School's GG Hawkins and guests discuss... How The AI Doc: Or How I Became an Apocaloptimist uses a filmmaker’s journey into impending parenthood as a narrative device for exploring AI anxiety and optimism Why the team chose an essay-documentary structure while still grounding the film in Daniel Roher’s on-camera perspective The challenges of shaping a documentary whose subject kept changing during production as AI news evolved in real time How Charlie Tyrell, Davis Coombe, and Daysha Broadway each found their way into filmmaking and documentary storytelling The creative and ethical complications of having a co-director also function as a subject within the film How the filmmakers balanced accessibility, complexity, and emotional honesty while making a movie about a massive technological shift The editorial collaboration behind the film, including remote workflows, shared creative decision-making, and leaving ego at the door Why the team intentionally avoided using AI in the film’s creative workflow How Premiere Pro Productions, transcription tools, Blender, After Effects, Dragonframe, stop-motion builds, and practical effects supported the film’s handmade aesthetic Where the guests currently land on the spectrum between AI optimism and AI anxiety as working filmmakers and editors Why the guests believe the biggest question is not just what AI can do, but how people choose to use it Memorable Quotes: “It actively wrestles with it in real time, both thematically and in the way that it was made.” “Everyone kind of just left their ego at the door and showed up to do the work.” “Filmmaking only brings suffering.” “I don't feel like AI is the big bad. To me, the people are the big bad.” Guests: Charlie Tyrell Davis Coombe Daysha Broadway Resources: The AI Doc: Or How I Became an Apocaloptimist Synopsis: From the Academy Award-winning filmmakers behind Everything Everywhere All at Once and Navalny, a father-to-be tries to figure out what is happening with all this AI insanity. The AI Doc: Or How I Became an Apocaloptimist is a hand-made, eye-opening documentary about the most powerful technology humanity has ever created and what’s at stake if we get it wrong. For resources and ways to join the apocaloptimist community, visit theaidocgetinvolved.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 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

GG Hawkins speaks with filmmaker Pete Ohs for the first installment in a quarterly 2026 series tracking how he releases four films over the course of the year. Using OBEX as the case study, Ohs breaks down the film’s microbudget production, Sundance 2025 premiere, U.S. acquisition by Oscilloscope, and the realities of theatrical rollout for independent films. Their conversation explores how booking works, what filmmaker participation in Q&As can actually do for a release, and where creative energy, audience-building, and sustainability meet during distribution. In this episode, No Film School's GG Hawkins and guest Pete Ohs discuss... How OBEX was made with Albert Birney in and around his Baltimore home Why the film’s Sundance 2025 premiere led to a U.S. deal with Oscilloscope What sales agents, distributors, and theater bookers each do in an indie release Why January became the strategic release window for OBEX How theatrical runs expand based on performance, per-screen averages, and momentum Which Q&A appearances felt worthwhile in New York, San Francisco, Los Angeles, and Baltimore What the marketing campaign looked like, including social assets created with Continue Agency How Ohs thinks about audience response, Letterboxd reviews, and the digital release Why preserving energy during release may matter as much as inventing new promotional ideas What Ohs is testing next as Erupcja begins its release Memorable Quotes: “The walk from here to the bathroom is also recovering time.” “They said he couldn't do period pieces on a budget.” “I just love that it's proof that somebody watched it.” “There are limits to the time and the energy, and that you can have all these ideas, but they're just ideas until you kind of do them.” Guests: Pete Ohs Resources: Pete Ohs’ quarterly 2026 distribution experiment series Previous Pete Ohs interviews on 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 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Ryan Koo and Jourdan Aldredge report from Austin during the 2026 SXSW Film & TV Festival, reflecting on how the event felt different after the convention center overhaul and how the festival’s film and tech worlds collided more directly than ever. They discuss the growing tension between filmmakers and artificial intelligence, the value of human intuition in directing and storytelling, standout panels and screenings, and what Ryan learned while serving on the narrative shorts jury. The episode also highlights how SXSW continues to champion bold filmmaking, practical craft insights, and the importance of in-person creative community at a moment when AI is reshaping the industry. In this episode, No Film School's Ryan Koo and Jourdan Aldredge discuss... How SXSW 2026 felt different on the ground after the festival’s reorganization across downtown Austin Why AI became one of the defining themes of this year’s SXSW conversations, panels, and screenings Ryan’s takeaway from Steven Spielberg’s SXSW appearance and his emphasis on intuition in filmmaking The documentary The AI Doc and how it framed AI through both filmmaking and fears about the future The tension between slick AI-generated imagery and the value of human-made, lived-in artistic choices Ryan’s experience serving as a narrative shorts juror and what he learned from watching all 19 shorts in competition Why short films need to stand on their own instead of only functioning as proof-of-concept features How filmmakers today are reaching an incredibly high level of craft across directing, cinematography, and performance The narrative shorts that stood out to Ryan, including Supper and Souvenir, which won the jury honors Jourdan’s spotlight on Mantis Stream (Like and Subscribe) and why inventive midnight filmmaking still feels vital Boots Riley’s I Love Boosters as a bold opening-night film and a perfect example of SXSW’s creative identity What they learned from SXSW panels on documentary storytelling, virtual production, immersive audio, and emerging filmmaking tools Why film festivals and in-person artistic gatherings feel even more essential in an increasingly virtual world Memorable Quotes: “The human hand of it is the point of art.” “I’d as soon eat nails, then use AI in my films.” “Go to festivals, make friends, make art, mess up.” Resources: No Film School SXSW coverage 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, No Film School host GG Hawkins speaks with editor Sonny Atkins about shaping fear through sound, rhythm, and restraint in the horror feature Undertone. Atkins breaks down how the film’s audio-first concept influenced everything from the script to the cut, why long pauses and musical timing can heighten dread, and how a deeply personal story about grief and caregiving evolved through the editorial process. He also shares practical insights into working scrappy on a low-budget feature, using Premiere Pro’s Productions workflow, speech-to-text, temp sound design, and test screenings to refine both story and suspense. In this episode, No Film School's GG Hawkins and guest Sonny Atkins discuss... How Undertone began as an audio-driven concept and why that immediately stood out in the script Why sound design became central to the edit, not just an atmospheric layer The challenge of building horror around what the audience hears instead of what they see How Ian Tuason’s personal experience with caregiving and grief shaped the emotional core of the film Discovering story solutions in post, including the addition of a saved voicemail from the protagonist’s mother Creating distinct sonic and visual worlds between the downstairs living space and the mother’s upstairs room What it took to make a low-budget Canadian horror feature feel polished and cinematic Why Atkins cut his first assembly extremely short, then built the film back up from its essential skeleton How rhythm, blank space, and even drum rudiments became part of the team’s language for suspense Using Premiere Pro’s Productions workflow to keep a feature edit organized and responsive How speech-to-text helped manage ADR, offscreen dialogue, and hundreds of audio files Why editors should mock up sound ideas early for test screenings instead of waiting for the final sound team How Frame.io helped organize notes with timecode-based feedback Why humor can be an important release valve inside horror Career advice on longevity, mentorship, process, and closing the gap between taste and ability Memorable Quotes: “Because in this film, sound isn't just part of the atmosphere, it's the engine of the story.” “A lot of it's about rhythm and where to leave blank space, and that kind of stuff.” “The people who make it in this business are the people who don't quit. It's a longevity game.” “If your focus is really just not about making the work really good and working a lot, you can sort of inoculate yourself against having your heart broken over and over again.” Guests: Sonny Atkins (IMDb) Resources: Undertone on IMDb The Gap by Ira Glass Taylor Mason on editing Him for 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 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Writer-director Amy Wang joins the No Film School podcast to discuss her debut feature, Slanted, and the long road from film school to theatrical release. In conversation with GG Hawkins, Wang reflects on leaving Australia for AFI, building a creative community in Los Angeles, learning to write as a practical path to survival in the industry, and what happened after Slanted premiered at SXSW 2025, won the Grand Jury Prize, and eventually landed distribution ahead of its 2026 theatrical release. In this episode, No Film School's GG Hawkins and guest Amy Wang discuss... How Fight Club inspired Wang to pursue filmmaking as a teenager in Sydney Why she left Australia for AFI and what it was like arriving in Los Angeles as an international student The real value of film school, especially for community-building and dedicated creative time Why learning to write became the key to sustaining a filmmaking career after graduation How a Black List script helped open doors in Hollywood The emotional and personal origins of Slanted Why body horror and comedy became the right form for exploring race, identity, and belonging How Slanted went from a logline to a financed feature What production and post looked like on a tight timeline before SXSW What it felt like to premiere at SXSW, hear audience reactions, and unexpectedly win the Grand Jury Prize The reality of selling an indie film in today’s market, even after major festival recognition What Wang learned from working with Bleecker Street on the theatrical release Details about her next feature, Crescendo, set in the world of competitive piano Memorable Quotes: “If you don't come from money, if you don't have a famous uncle and you don't want to work at Starbucks for the next three to four years after you graduate, you need to learn how to write.” (12:48) “You can't let the highs be too high and you can't let the lows be too low.” (16:31) “It doesn't matter what I do, it doesn't matter who I am, how I speak, my personality is like, what my thoughts or how intelligent I am, people will always see my face first.” (19:08) “As long as you keep going, as long as you keep learning and changing and growing, I think you don't need to be the best throughout your life to be able to have a career in this industry.” (40:56) Guests: Amy Wang Resources: Slanted official film page Applying for Your O-1 Visa to Work in Film and TV 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, GG Hawkins speaks with editor Harrison Atkins about shaping A24’s How to Make a Killing with director John Patton Ford. Atkins breaks down his path into editing, his holistic “total filmmaker” approach to storytelling, and the editorial challenges of balancing dark comedy, violence, voiceover, and audience empathy around a morally compromised protagonist. The conversation also explores the realities of studio post-production, from long edit timelines and test screenings to cutting in Adobe Premiere’s Productions workflow while collaborating with a London-based post team more accustomed to Avid. In this episode, No Film School's GG Hawkins and guest Harrison Atkins discuss... How Harrison Atkins found his way into editing through directing and making his own films Why he thinks of editing as a holistic, dramaturgical part of filmmaking rather than a purely technical role Reuniting with director John Patton Ford after Emily the Criminal What drew him to the multi-tonal mix of crime, satire, dark comedy, and violence in How to Make a Killing How voiceover created both opportunity and endless editorial possibilities in the cut The difference between an indie sprint like Emily the Criminal and the extended timeline of a studio feature How test screenings and audience response helped refine comedy, pacing, and emotional momentum Why the first reel was crucial to getting audiences aligned with a charismatic but morally gray lead The editorial challenge of shaping an underdog around Glenn Powell’s natural confidence and charm How Premiere’s Productions workflow supported a collaborative feature edit with multiple people working simultaneously What it was like cutting the film in London with assistant editors adapting from an Avid-heavy post environment How temporary VFX comps in After Effects and Photoshop helped solve story and joke-building problems inside the edit Harrison’s philosophy of leadership, collaboration, intuition, and staying present as both an editor and director His advice to emerging filmmakers: fail boldly, work small if necessary, and keep making things instead of waiting for permission Memorable Quotes: “I never really considered myself an editor. I still kind of weirdly don't.” (01:19) “The calendar is really a myth.” (06:59) “The difference between a joke that lands and one that doesn't is often microscopic.” (13:30) “Perfection is the enemy of good.” (33:50) Guests: Harrison Atkins Resources: How to Make a Killing Emily the Criminal Total Filmmaker by Jerry Lewis 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

Recorded live at the 2026 Sundance Film Festival in Park City, this annual Director of Photography Roundtable features No Film School’s GG Hawkins in conversation with cinematographers Lidia Nikonova, Sam Levy, and Maria Herrera. The group discusses their unconventional paths into cinematography—from orchestras and photojournalism to weddings and radio DJing—how they landed their Sundance projects, and why connection, rhythm, and trust matter more than flashy lookbooks. They also break down the tools they used to communicate vision, navigate long dialogue scenes, and adapt to technical and emotional challenges on set. In this episode, No Film School's GG Hawkins and guests discuss… Shooting at the 2026 Sundance Film Festival and hosting at the BraveMaker house Maria Herrera’s transition from music to cinematography and operating handheld for emotionally intense performances Sam Levy’s mentorship under Harris Savides and how that shaped his approach to narrative filmmaking Lidia Nikonova’s journey from photojournalism and the Canon EOS 5D Mark II to AFI and shooting narrative features How each DP landed their Sundance projects through relationships, cold emails, and creative chemistry When to bring visual references to a director meeting—and when to just listen Using tools like Figma to build collaborative lookbooks and visual worlds Why dialogue rhythm and musicality influence cinematography choices Shooting on 35mm with an Arricam ST versus digital on the ARRI Alexa 35 Working with vintage Super Baltar lenses (famously used on The Godfather) for a modern crime thriller Referencing L'Argent by Robert Bresson for insert shots and cinematic economy How to approach 10+ page dialogue scenes without losing visual intention The value of shooting weddings and low-budget projects to build craft and confidence Advice for emerging cinematographers: show up early, trust your vision, and get your reps in Memorable Quotes: “This child will never play a musical instrument ever in her life.” “If you have good dialogues, it's like, okay, here's something.” “Just connect with her.” “Show up at least one hour early… and do not use your phone on set.” Guests: Lidia Nikonova Sam Levy Maria Herrera 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

Producer Zainab Azizi joins GG Hawkins to break down her journey from agency mailroom to President of Raimi Productions and producing studio features like Send Help. Azizi shares how she develops original ideas, packages talent, protects projects through shifting studio mandates, and leads with a collaborative producing style. She also discusses mentoring female producers, balancing creative and financial realities in modern filmmaking, and why theatrical success for original films still matters. In this episode, No Film School's GG Hawkins and guest Zainab Azizi discuss... How Send Help evolved from a logline in 2019 to a theatrical release Moving the project from Columbia Pictures to 20th and navigating studio mandate shifts Why Sam Raimi was essential to directing the film—and how storyboards helped secure studio confidence Packaging as a producer: attaching directors and actors through agency relationships Casting Rachel McAdams and Dylan O’Brien and building chemistry into the film’s core dynamic The tension between “social media value” and creative talent in casting decisions What Azizi learned in the WME mailroom and how agencies really function behind the scenes Different types of producers (creative, line, financing, studio producers) and protecting the “PGA” credit Her collaborative leadership style and the “three solutions for every problem” rule Mentorship, promoting female producers, and fostering more women-led sets Why theatrical releases for original films still matter in 2026 Developing a Seshu Hayakawa biopic and why his story feels urgent today The importance of sacrifice, networking, and embracing rejection early in your career Memorable Quotes: “My job is to find three solutions for every problem.” “Rejection is just redirection. We celebrate rejections.” “If it scares you, it means you’re headed the right direction.” “You have to put yourself out there.” Guests: Zainab Azizi – President of Raimi Productions and producer of Send Help Resources: LaBelle Foundation (for adopting Cactus the foster puppy) Producers Guild of America (PGA) Producers United 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

Recorded live from the Sundance Film Festival, GG Hawkins hosts a roundtable conversation with four short film directors premiering work at the festival: Kelly McCormack (How Brief), Anna Baumgarten (Balloon Animals), Ana Alpízar (Norheimsund), and Anooya Swamy (Pankaja). The filmmakers discuss the origins of their films, navigating production across Cuba, India, Canada, and the U.S., working within (and outside of) film school structures, and the deeply personal themes of grief, mother-daughter relationships, disappearance, and survival that unexpectedly connect their work. In this episode, No Film School’s GG Hawkins and guests discuss… Shooting narrative shorts on location in Havana, Bangalore, Vancouver, and Los Angeles Returning to Cuba to film Norheimsund after seeking asylum in the United States How Pankaja draws from growing up in the slums of Bangalore and confronting personal memory Making a $6,500 microbudget short inside a real grocery store overnight Building a short film over eight years and resisting the “proof of concept” mindset Working within NYU’s film school structure versus creating outside institutional systems Casting mother-daughter dynamics rooted in real-life relationships Designing color theory, texture, cement, and dirt as emotional language Shooting inside real police stations and navigating bureaucracy while telling stories about it Grief as a “big soup of emotions” and balancing melancholy with comedy Collaborating with ride-or-die creative partners Advice for emerging filmmakers about not compromising and trusting instinct Memorable Quotes: “Dreaming doesn’t cost a thing.” “Choosing oblivion.” “We often live really simple lives in complicated worlds.” “You are allowed not to compromise.” Guests: Kelly McCormack – Director, How Brief Anna Baumgarten – Writer/Director, Balloon Animals Ana Alpízar – Director, Norheimsund Anooya Swamy – Writer/Director, Pankaja 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, GG Hawkins speaks with Madison Jones and Lindsay Grossman, co-founders of The Love List, along with filmmaker Shelby Blake Bartelstein, about what makes a romance script stand out in today’s marketplace. They discuss the origins of The Love List, the evolving appetite for romance across film and television, how to craft undeniable chemistry on the page, and why specificity, vulnerability, and the grand gesture are essential tools for writers hoping to sell in the genre. In this episode, No Film School's GG Hawkins and guests discuss... The “meet cute” origin story behind The Love List and how a shared love of YA romance sparked a professional movement How The Love List curates the best unproduced romance pilots and screenplays each year Why romance remains commercially viable—and why the industry is rediscovering its power The importance of writing what you love instead of chasing market trends How to balance high-concept hooks with emotional authenticity Crafting chemistry on the page through small, specific moments Why vulnerability is the core engine of all great storytelling The art of the grand gesture in romantic storytelling Why television romance (including slow burns and enemies-to-lovers arcs) can be just as powerful as film How executives identify “soul” in a script—and why that’s what ultimately sells Memorable Quotes: “Write what you want to watch. To me, that is the most crucial piece of advice.” “What part of you is this healing?” “You can tell when there’s not a soul in it.” “It’s not about knowing whether or not they’re going to end up together. It’s about how they get there.” Guests: Madison Jones Lindsay Grossman Shelby Blake Bartelstein Resources: Deadline - The 2026 Love List The Love List on Instagram - @TheLoveList26 “Change the Prophecy” Short Film 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

Recorded live at Sundance, this episode features a wide-ranging roundtable on the current state of independent film exhibition. Host GG Hawkins speaks with festival programmers, exhibitors, and platform founders about what’s broken in the exhibition ecosystem, what’s actually working better than people realize, and how community-driven models—from art houses to new distribution tools—are reshaping how films are discovered, shown, and sustained beyond the festival circuit. In this episode, No Film School's GG Hawkins and guests discuss… Why art house cinemas and film festivals remain vital community hubs The realities of audience-building beyond “market festivals” and multiplexes How filmmakers can rethink distribution, touring, and self-exhibition New tools and platforms helping filmmakers navigate submissions and discovery The rise of alternative distribution models, including physical media reimagined Why shorts, community producers, and collaboration matter more than ever How filmmakers and exhibitors can work together more effectively What a sustainable film community could look like in 2026 Memorable Quotes: “Art house cinemas and independent exhibitors and film festivals are thriving because they build community.” “Making movies is like having a baby… then you’ve got to raise it.” “There is such an opportunity on both sides for filmmakers and exhibitors to learn how to work together.” “Independent film is rooted in community and curation.” Guests: Ash Cook – Programmer, Sundance Film Festival; Festival Director, San Francisco Jewish Film Festival; Founder & CEO, Video.Storage Tony Gapastone – Founder & Executive Director, Bravemaker Lela Meadow-Conner – Interim Executive Director, Art House Convergence; Co-founder, The Popcorn List Tyler Knohl – Co-founder, Hiike; Assistant Director, Boston Sci-Fi Film Festival Brynne Norquist – Co-founder & CEO, Hiike Aidan Dick – COO, Video.Storage; Programmer, Frameline Film Festival Resources: Bravemaker – https://bravemaker.org Art House Convergence – https://arthouseconvergence.org The Popcorn List – https://thepopcornlist.com Hiike – https://hiike.com/ Video.Storage – https://www.videostoreage.com Frameline Film Festival – https://www.frameline.org 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, we dive into the logistics, strategy, and evolving experience of getting into and attending SXSW. GG Hawkins is joined by No Film School Founder Ryan Koo and a panel of SXSW insiders: Claudette Godfrey, Peter Hall, and Francis Román, who share their personal journeys into programming and illuminate the processes behind one of the most significant festivals in the world. Whether you’re hoping to submit, attend, or just understand the inner workings, this conversation offers clarity on what to expect from the 2026 edition and beyond. In this episode, No Film School's GG Hawkins, Ryan Koo, and guests discuss... The different paths each SXSW programmer took to join the festival team Why SXSW values first-time filmmakers and how they approach the programming process Practical ways to attend SXSW (volunteering, student discounts, single tickets) Major changes to SXSW 2026, including venue shifts, badge updates, and a new festival layout How to best prepare your submission, including rough cut etiquette and the importance of strong film stills Common myths about festival programming—debunked Why meaningful networking and personal connection at SXSW can shape careers What types of films SXSW is most excited about—and what they’re seeing too much of Memorable Quotes: "If a film can make you laugh in your home alone at 2 a.m. and you've worked a 20-hour day, then it's hilarious." "If you're submitting unfinished, you should have a title card at the very beginning that says exactly where you're at." "We're looking for that director's vision, the fingerprint on it." "You should come to South By, and if you can’t, go to whatever local film festival is going on in your area." Guests: Claudette Godfrey Peter Hall Francis Román Resources: SXSW Volunteer Info 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 recorded live at the Sundance Film Festival, No Film School founder Ryan Koo sits down with Julien and Justen Turner—real-life brothers and co-creators of FreeLance, an indie TV pilot that debuted in the festival’s Episodic Pilot Showcase. The Turner Brothers walk through their journey of building a creative career outside of New York or LA, self-funding their show in Columbus, Ohio, and pulling off a high-production-value pilot in just four days. They talk about their process, influences, and how their authentic, relatable characters came to life through personal experience and community-driven production. In this episode, No Film School’s Ryan Koo and guests discuss… The origin of the episodic pilot category at Sundance and its importance for indie creators How the Turner Brothers’ musical upbringing led to an early love of filmmaking Their decision to self-fund FreeLance instead of attending Sundance in 2023 Turning real-life freelance filmmaking experiences (like wedding videography chaos) into episodic comedy Casting comedians, athletes, and non-actors from social media and commercial work Building a 150-page show bible and planning a multi-season vision The four-day shoot that captured 41 minutes of content, including an improvised scene in a thrifted basement How making content in Ohio allowed the show to break traditional industry molds Advice for filmmakers: choose a date, build your team, and just shoot The surreal moment of getting the Sundance acceptance call (via their mom!) Memorable Quotes: “We kind of realized that the only people we were waiting on was ourselves.” “The more specific we were, the more universal it was.” “We shot a 41-minute pilot in four days.” “This is getting done, and it’s going to be done like this.” Guests: Julien Turner Justen Turner Resources: Dreadhead Films on Instagram dreadheadfilms.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 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode of the No Film School Podcast is recorded live from the final Sundance Film Festival in Park City, 2026. GG Hawkins and Ryan Koo are joined by No Film School writer Jo Light and special guest Teddy Kim to share insights and lessons from Sundance. Together, they reflect on what it takes to find true creative collaborators at festivals, how the indie landscape continues to shift, and why human connection still matters more than ever in a rapidly changing industry. The episode includes a game of "Red Flag, Green Flag" and wraps with an interview between Ryan Koo and writer-director Stephanie Ahn, whose feature Bedford Park won the U.S. Dramatic Special Jury Award for Debut Feature at Sundance 2026. In this episode you'll hear... How to make the most of Sundance even if you're not actively pitching a project Why networking at film festivals is more about vibe than résumé The evolving role of indie production companies balancing studio and independent films Which films are getting buzz at Sundance 2026 and what the acquisition market looks like How filmmakers are using episodic pilots and private screenings to get attention The pros and cons of “networking dinners” and late-night parties like Tao A playful, practical game of "Red Flag, Green Flag" to decode festival behavior GG’s and Jo’s favorite short and episodic pilots—and what makes them feel fresh A deep-dive interview with Bedford Park director Stephanie Ahn about perseverance, editing your own movie, and telling emotionally resonant stories Memorable Quotes: “In filmmaking, they often say you better give 10 years of your life… I exceeded that, and Stephanie exceeded that.” “You have to be very clear about what your intentions are and what the story is going to be. If you maintain an integrity with that, people come.” “It’s not a matter of whether there is a big headline acquisition… but can a bunch of other movies get acquired for $3 million and have a healthy minimum guarantee?” “I wanted to make a film that hopefully an audience would actually feel something—genuinely feel something.” Resources: Sundance 2026 Award Winners Guests: Jo Light Teddy Kim Stephanie Ahn Resources Mentioned: 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 recorded live from the final Sundance Film Festival in Park City, Utah, GG Hawkins is joined by No Film School’s Ryan Koo and Jo Light to commemorate the end of an era. The trio dives into personal memories, the legacy of Robert Redford, and what the future may hold for the festival as it prepares to relocate to Boulder, Colorado. They reflect on how Sundance has supported filmmakers through its labs, how festival culture shapes careers, and the emotional highs and lows of navigating the indie film landscape. GG also shares behind-the-scenes insights from her recent event at Sundance focused on women in the business of film, while offering a candid look at what it really takes to get a film into a top-tier festival. In this episode, No Film School's GG Hawkins, Ryan Koo, and Jo Light discuss... What makes Sundance in Park City so special—and why it's bittersweet to say goodbye The importance of Sundance's labs and the legacy of Robert Redford The emotional impact of community and connection during film festivals GG’s first Sundance as a filmmaker with a feature and her reflections on that journey Advice for filmmakers on submission strategy and post-production polish What types of films stand out at Sundance today: high-concept, star-driven, or uniquely personal Highlights from GG’s industry dinner focused on women in the business of film Thoughts and hopes for the new Sundance location in Boulder, Colorado Memorable Quotes: “The old rules don’t apply and the new rules haven’t been written.” “If it’s not ready, don’t submit yet. Unless Willem Dafoe is in your movie.” “You’re already 99.9% past the obstacles just by making a movie.” “Robert Redford used his power to help others.” Guests: Ryan Koo Jo Light 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

January is often perceived as a slow month in Hollywood, but in reality it’s one of the most strategic windows of the year for filmmakers. On this episode, GG Hawkins and guests Ana Liza Muravina and John Lamm unpack how the industry “wakes up” in early 2026, what that means for creative careers, and how artists can structure their time, their projects, and their expectations to thrive amid shifting economic and ecosystem forces. From understanding industry seasonality, permission structures, and macro trends in distribution to practical strategies for developing and releasing work, this conversation offers both mindset shifts and concrete guidance for filmmakers navigating careers in the current landscape. In this episode, No Film School’s GG Hawkins and guests Ana Liza Muravina and John Lamm discuss: Breaking down the idea of a “Hollywood shutdown” and why January becomes a key moment of restart, planning, and opportunity. How to contextually plan your writing year and align creative output with industry cycles (inspired by ideas from Final Draft’s annual planning guide). Why building structure as an independent artist (even without external deadlines) empowers your career and creative focus. “Permission structures” in the industry — what they are, how they shape opportunity, and how filmmakers can navigate or build them. The importance of community, cohorts, and trusted feedback systems for career sustainability and perspective. How macroeconomic forces, consolidation in the streaming market, and attention economy shifts are reshaping how films get financed, distributed, and found. Practical project strategies — from refining scripts based on audience/readers to building a tailored outreach atlas for producers and executives. The value of aligning ambition with realistic pathways — creating work you can make now while aiming for larger goals down the line. Inspiring perspectives on why now may be an era of opportunity for scrappy independent filmmaking. Memorable Quotes: “Most filmmakers think January is slow, but quietly it’s one of the most strategic months of the year.” “It’s one of those weird things … every now and then when I zoom like 10,000 feet back … it’s not necessarily indictment on your art.” “You see it … LA is the concentration of us. It’s artists who are so good at what they do just waiting for someone to give them permission to do what they do well… And the answer generally is unless you decide to stride and do it yourself, no one gives you permission.” “Don’t get too bogged down in the how, the strategy … let’s make movies, y’all. Let’s just do it.” Guests: Ana Liza Muravina John Lamm Resources Mentioned: The Current: Less Chaos, More Momentum (On the Circuit) How to Plan Your Entire Screenwriting Year: A Month-by-Month Guide (Final Draft) Video: Preparing for the Creator Economy Apocalypse (with Chris Gethard) 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, Charles Haine sits down with documentary co-directors Geneva Peschka and Anna Andersen to discuss their latest project The Solace of Sisterhood, which recently premiered at Tribeca. The conversation dives deep into the ethics of documentary filmmaking, how they found and built trust with their subjects—the Caramel Curves, a New Orleans-based all-female motorcycle club—and how they navigated a successful festival run. From storytelling intention to set culture, the team shares their collaborative journey in bringing vulnerability, softness, and strength to the screen. In this episode, No Film School's Charles Haine and guests discuss... How Geneva and Anna met and began their creative partnership Their journey developing The Solace of Sisterhood and pitching it to Fujifilm Building trust and a safe space for documentary subjects How bringing in co-founder True’s daughter, Skye, as a camera operator deepened the film The evolving importance of ethical statements in festival submissions Shifting set culture to prioritize respect, connection, and vulnerability Working with the Fujifilm GFX100 and achieving a cinematic, soft visual tone The emotional highs and logistical challenges of their festival journey, including premiering at Tribeca Memorable Quotes: "It starts for us on set—how people come together and how we approach one another and hold space for each other." "Documentary inherently asks so much out of our participants... it’s a job you have to do with integrity and with ethics." "You’re changing who’s telling the story... you’re letting them know they are a part of their narrative, as they should be." "Filmmaking can be very lonely... but we are each other's strengths." Guests: Geneva Peschka Anna Andersen Resources: The Solace of Sisterhood – Tribeca 2024 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

This episode of the No Film School Podcast dives deep into the power and necessity of physical spaces in modern film culture. Host GG Hawkins sits down with Maggie Mackay, Executive Director and board member of Vidiots—a beloved LA video store-turned-nonprofit cultural institution. They explore the origins and revival of Vidiots, what it takes to build a sustainable, audience-centered film space in a digital world, and why community, curation, and accessibility matter more than ever. It’s a moving, behind-the-scenes look at how passion, resilience, and radical thinking can reshape the future of cinema spaces. In this episode, No Film School's GG Hawkins and guest Maggie Mackay discuss... The emotional and communal value of physical film spaces How Maggie revived Vidiots through radical reimagining and persistence The challenges of creating a nonprofit, sustainable film hub Why the video store experience is still relevant to new generations How partnerships and collaboration helped save and relaunch Vidiots Building an audience-first, equitable business model Creating spaces where younger and older generations can discover film together Memorable Quotes: "Holy shit, what are we letting disappear on us?" "You can deep dive in ways in a video store that you can't in any other way." "Seeing kids grow up in the video store… it's the highlight of my career." "Think about doing the risky, crazy thing… and call us if you want to figure out how to make it happen." Guests: Maggie Mackay (IMDb) Resources: Indie Empire Use code GG25 for 25% off the Micro Budget Mindset course with GG Hawkins 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

This episode of the No Film School Podcast features two conversations. First, host GG Hawkins reunites with filmmaker Pete Ohs, who returns to share the unique distribution experiment he’s launching with four films releasing throughout 2026. He reflects on his “table of bubbles” filmmaking philosophy and his desire to find joy instead of stress in the release process. Later, GG is joined by composer Hollie Buhagiar, whose original score for GG’s debut feature I Really Love My Husband is now out. They break down their collaborative process in detail, from early cue drafts to the film’s final emotional moments, revealing how bird calls, pitch-shifted vocals, and “surf rock” found their way into the film’s DNA. In this episode, No Film School's GG Hawkins and guests discuss... Pete Ohs’ philosophy of “table of bubbles” and how it’s guiding his 2026 film distribution approach Why Pete is using a different distribution strategy for each of his four new films What feels broken about indie film distribution today — and how to approach it differently Hollie Buhagiar’s journey into composing and her intuitive, emotion-driven scoring method The evolution of the score for I Really Love My Husband, including early drafts and final cues How creative freedom, happy accidents, and imperfect instruments brought the film to life The importance of developing a shared language between director and composer Memorable Quotes: "The films are a table made of bubbles. They cannot support anything." "The biggest result is just — is this fun?" "What's a convincing note?” "With great power comes great responsibility — even for the piano." Guests: Pete Ohs Hollie Buhagiar Resources: Pete's original pod interview Score for I Really Love My Husband on Spotify 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, the tables are turned as No Film School host GG Hawkins becomes the interviewee, speaking with No Film School founder Ryan Koo about the journey of releasing her micro-budget feature I Really Love My Husband. The episode dives into the emotional, logistical, and marketing challenges of putting an independent film into the world after festival premieres and securing distribution. GG shares the lessons she’s learned, the unexpected hurdles she’s faced, and the importance of personal PR, audience-building, and staying true to your creative voice—especially when your movie doesn’t follow traditional paths or genres. In this episode, No Film School’s Ryan Koo and GG Hawkins discuss... The overwhelming and technical process of delivering a film to distributors and platforms How to strategically approach festival and release PR, including budgeting and outreach The importance of having a “community producer” to build your audience from day one Lessons learned from critical feedback, press rejections, and audience reactions How to navigate marketing when your film doesn’t fit neatly into genre boxes The value of making work that represents your voice—even if it’s not a commercial hit What filmmakers should always be working on while waiting for the "yes" from the industry Memorable Quotes: "I would rather make something that makes people feel things one way or the other versus sort of like a lukewarm back." "The only way to know how to make a movie is to make a movie... and then make another." "Greenlight yourself. That is the most important thing any of us can be doing." "It is not the time to pinch pennies... this is the time to spend it.” Resources: How to Write a Movie that Shoots in Three Months You’re Picture Locked. Now What? (Plus Dir. Ruben Fleischer!) Filmmaker’s Guide to SXSW: Tips, Takeaways, Tough Lessons Watch I Really Love My Husband: Apple Amazon Google Play and more 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

Host GG Hawkins sits down with filmmaker Charlie Polinger to unpack the making of his debut feature, The Plague. Polinger discusses his transition from theater to film, the personal childhood memories that shaped the story, and how embracing chaos—rather than controlling it—became central to his directing process. From casting an electrifying ensemble of young actors to shaping dread through sound design and editing, the conversation explores how specificity, vulnerability, and trust can turn a coming-of-age story into psychological horror. In this episode, No Film School's GG Hawkins and guest discuss… Transitioning from theater directing to feature filmmaking Drawing from childhood memory to create visceral, psychological horror Why a boys’ water polo camp became the perfect contained setting Casting and directing a large ensemble of young actors Letting location do the storytelling heavy lifting Embracing chaos on set instead of fighting it Building anxiety through sound design and post-production rhythm Hands-on collaboration in the edit and score development Advice for emerging filmmakers on making work consistently Memorable Quotes: “I just wanted to create a really kind of visceral, subjective, psychological experience of being a 12-year-old boy.” “There’s strategy built into the cruelty and the violence and getting away with it—and that felt really ripe cinematically. “The space is sort of like a character in this film.” “The more I put out into the world, the more that the world gave back.” Guest: Charlie Polinger Resources: The Plague EP by Lexi Tannenholtz on Cannes first-timers: A First-Timer’s Guide to the Cannes Film Festival 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, host Charles Haine sits down with cinematographer Oren Soffer to dive deep into the groundbreaking and much-discussed visual style of The Creator. As the co-DP alongside Greig Fraser, Soffer shares how they achieved the film’s unique aesthetic using a prosumer Sony FX3 camera, a single vintage lens, and a minimalist, indie-inspired production model. This discussion covers everything from lighting choices and VFX collaboration to gear workflows and lens testing, offering an in-depth look at how one of the year's most visually striking sci-fi films was crafted. In this episode, No Film School's Charles Haine and guest Oren Soffer discuss... How Oren Soffer became co-DP on The Creator alongside Greig Fraser The decision to shoot 95% of the film on one vintage 75mm Kowa anamorphic lens Using the Sony FX3 with an Atomos Ninja for ProRes RAW capture The benefits of designing visual effects around photography rather than the reverse Lighting choices inspired by naturalism and a small-footprint, indie ethos The influence of films like Baraka and Rogue One on the visual approach Operating with a nimble crew and custom-built gimbal rigs Remote collaboration between Soffer, Fraser, and director Gareth Edwards The impact of location shooting across Southeast Asia Memorable Quotes: "We shot 95 percent of the movie on a single focal length, which is the Kowa Cine Prominar... you're baking the look into the image." "The way to make visual effects feel more real is to let the photography lead." "We wanted to shoot this big movie as if it’s this tiny road movie." "It was an indie film with a 90-day shoot schedule and a full stunt team... but the filmmaking process itself felt really scrappy in the best way possible." Guest: Oren Soffer 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