The No Film School Podcast – Details, episodes & analysis

As streaming reshapes the industry, pilot season is a thing of the past, leaving creatives to navigate constant demands and year-round pitching. How do filmmakers find balance when the lines between work and rest blur? And how can unexpected pivots lead to more meaningful projects? This episode explores staying resilient in a world without structure, featuring Max Lugavere's decade-long journey with Little Empty Boxes, a deeply personal documentary about his mother's battle with dementia that evolved in ways he never expected.   Max Lugavere is a filmmaker, health journalist, and New York Times bestselling author. After his mother’s diagnosis with Lewy body dementia, Max chronicled her experience in Little Empty Boxes. The film, which took over a decade to complete, shifted from an investigative piece to an intimate portrayal of love, loss, and resilience. In today’s episode, No Film School’s Gigi Hawkins speaks with Jason Hellerman, Max Lugavere and Chris Newhard to discuss: The death of pilot season and how streaming has transformed the TV landscape The endless cycle of pitching and the impact on writers’ lives Finding balance between personal life and an unpredictable film industry. How unexpected creative pivots can lead to more meaningful work. Max Lugavere’s personal journey documenting his mother’s battle with dementia in Little Empty Boxes Chris Newhard’s role in reshaping Little Empty Boxes through fresh eyes, helping it evolve into a deeply emotional and impactful documentary   Memorable Quotes: “The thing with pilot season not existing is interesting because you still have network TV, right? Network TV still generally functions the way it always has, except for it doesn't embrace the buying and research and development behind pilot season anymore.” [5:36] “The anxiety of pitching year-round is that you're also assuming these execs are reading year-round. They need a break too.” [9:03] “There were likely overlapping skills that I had learned as a short form content creator that could be applied to long form documentary filmmaking, but of course the amount of money and time and personnel required to create a feature length documentary… it's so different.” [26:28] “Being in front of the camera allowed me access to some moments that I think you probably wouldn't have been able to catch on film had I not actually had been there.” [41:04] “I just simply found that going with the emotion instead of trying to fight the tide was more beneficial for me.” [53:24] “He spent a lot of time and a lot of money trying to make this movie happen. And the first thing I did is I deleted it.” [55:42]   Mentioned: Max Lugavere on Instagram   Little Empty Boxes website   Max Lugavere’s website   The Genius Life podcast   Max Lugavere’s Books   Chris Newhard’s website   Chris Newhard on Instagram   Jason Hellerman on IMDb   Jason’s library of content on No Film School   Jason on Instagram   Jason on X   KYNO editing tool   Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

Selling a script can feel like a distant dream, but the process is very much alive. From using platforms like The Black List to writing query letters and building personal connections, breaking into the industry is challenging but not impossible. Plus, we explore the rise of the Panamanian film industry, how it has evolved, and what it takes to make a mark in a smaller but growing market.  Delfina Vidal is a Panamanian filmmaker known for her documentaries. She has contributed significantly to the growing Panamanian film industry, focusing on telling stories that resonate with local and international audiences. Arianne Benedetti is a producer and key figure in the Panamanian film scene. She is instrumental in the development of Panama’s cinematic landscape, working on projects that showcase the country’s cultural and artistic diversity. Maria Isabel Burnes is involved in promoting the Panamanian film industry, playing an essential role in nurturing emerging filmmakers and helping develop a vibrant film culture in Panama. In today’s episode, No Film School’s GG Hawkins speaks with Jason Hellerman and filmmakers from Panama Delfina Vidal, Arianne Benedetti and Maria Isabel Burnes to discuss: How to break into the industry by selling or optioning scripts The importance of getting your work out into the world and building a community around it The Substance, the film starring Demi Moore, Dennis Quaid and Margaret Qualley, written and directed by Coralie Fargeat What emerging filmmakers in Panama are doing to grow their film industry Strategies to create universal stories that can travel beyond local markets Why female filmmakers are thriving in Panama’s expanding film scene Memorable Quotes: "You have to get your story out into the world. You have to be willing to hear the sometimes harsh feedback that these websites deliver.” [05:25] "Don't stop writing, because maybe the main thing here is: one script can open a couple doors, two scripts can open more, three, you know, onward and upward, but you're gonna need scripts." [16:34] “It's not just about how great your script is, but how marketable it is. Who sees that they can make money from it? Is this some material that I can get something in return for?” [20:15] “It’s more common to be on an NFL roster than it is to be a working screenwriter in Hollywood.” [26:21” “When you're going to work with kids, make sure you have a lot of time before set so they can relate to you and feel very comfortable with you.” [59:02] “Always, always prepare for the worst. Prepare your coworkers for the worst. Prepare your actors for the worst. Prepare the location that you're working in for the worst.” [1:03:07] Mentioned: Jason Hellerman on IMDb Jason’s library of content on No Film School Jason on Instagram Jason on X Delfina Vidal on IMDb Arianne Benedetti on IMDb Maria Isabel Burnes on IMDb The Black List Stage 32 Roadmap Writers Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

TV is oversaturated. California is too expensive to film in. Many audiences are underserved. It’s time we indie filmmakers rebuild the film industry on our terms. Plus, we bid farewell to a beloved host of the No Film School podcast.  In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman, and guest Janek Ambros discuss: Not waiting on labs or studios to give you the green light The influx of people looking for jobs in the market Needing better streamer options for indie projects The benefits of serving an underserved audience Why the distribution process is vital Advice for people who think they are finished with their project The important reasons Charles insists on working in Davinci Resolve  Why Charles is leaving the No Film School podcast The origin of the short documentary film, Ukrainians in Exile Why Janek wanted to keep the movie so simple and so short Advice for documentary filmmakers Memorable Quotes: “We’re going to have this feral resurgence of indie filmmaking because we are so sick of the industry to figure it out.” [5:54] “Breakdowns lead to breakthroughs. We need to break through because the way it’s been working is not sustainable.” [6:35] “It should be a lot easier to shoot in California, it shouldn’t be so expensive.” [13:32] “Because of the way distribution works, distribution never feels finished.” [28:00] “People think I know all these celebrities, but I don’t. I just annoy every single publicist in Hollywood.” [1:03:07] “If you want to make a short doc, you can make a short doc. There’s no excuse for that.” [1:07:50] Links: Ukrainians in Exile: A Documentary Short Film  Follow Assembly Line Entertainment on IG  Follow Janek on X BlueCheck Ukraine  Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

Ricardo Martinez is a multi-hyphenate Editor, Writer, Director. He is known for his award-winning documentary, The Wall, which won the 2010 SF Latino Film Festival and screened on PBS. If we had to describe Ricardo’s work, we would say he is an expert at “finding the horror and beauty in the reality” of everyday life. In today’s episode, No Film School’s GG Hawkins speaks with filmmaker Ricardo Martinez to discuss: The LatinXorcists - a group made of latino screenwriters who love horror Why he was inspired to create the documentary film, The Wall Creating a horrifying video trailer for The Bloodstone  What we need to know within the first 5 pages of a script  What makes a good monster story Exploring the horror in our everyday human fears  Why Ricardo loves using Black Magic tools Color correction tips and tricks Our suggestions for some of the scariest movies Memorable Quotes “I think there’s beauty in horror as well.” [18:25] “Making sounds yourself is actually a lot of fun and a cheap way to boost up production costs.” [23:45] “Every good monster story is not about the monster. The monster means something, it represents something.” [31:49] “That dread is part of the joy of horror.” [32:48] “Horror can be so many different things. That’s the joy of horror. There’s such a wide spectrum of types of horror.” [41:12] Resources: About the LatinXorcists Citadel Scavenger Creators of Earth Seed to Strain Check out Ricardo's website The Bloodstone Comic The Handy Foundation The LatinXorcists website The LatinXorcists Instagram Ricardo's Instagram  The Bloodstone Instagram Burden of Dreams film  Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

Can you make a feature film using practical effects in a way that feels realistic and not “cheesy?” That’s what the team behind the film, Snatchers did. Snatchers is a horror-comedy film about a teen girl who wakes up nine months pregnant with an alien.  In today’s episode, No Film School’s GG Hawkins and Jason Hellerman speak with filmmakers Stephen Cedars and Benji Kleiman to discuss: Practical effects - what are they? Some of our favorite practical effects in film How practical effects can be more effective than cgi Scaring away a famous editor with the smell of farts Finding a balance between cgi and practical effects How Stephen and Benji approach writing sketches Transitioning into making feature films Memorable Quotes “Horror movies are trying to show you something you can’t fathom or haven’t seen before.” [9:34] “It’s really hard to be creative while also tamping down on your creativity.” [27:09] “There’s no greater killer of creativity than feeling insecure.” [38:14] “If you’re passionate and prepared, you can’t go wrong.” [43:48] Resources: Snatchers Trailer Speruchet Pan Tournegos Short  Benji & Stephen's website Stephen's Instagram Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

How do you handle post set blues? How do you properly adapt something you don’t have the rights for? What can we all learn from Taylor Swift’s recent movie?  In today’s episode, No Film School’s Charles Haine, GG Hawkins, and Jason Hellerman discuss: Shooting an indie film in panama - excitement, exhaustion, and mosquito bites All the work involved after wrapping  The importance of screen acting and what’s involved  Being blown away by the commitment and generosity of the cast and crew What we love about Taylor Swift’s newest film  Why film set people are the best Adapting without the rights - is it worth it Benefits to writing unlicensed biopics Memorable Quotes “This whole thing is greater than the sum of its parts.” [9:31] “We need better sound proofing between the theaters please.” [34:15] “You will lose to money. You will lose every time.” [50:52] Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

Can you make a big budget, sci-fi film that isn’t a franchise, or a sequel, or a reboot, and tackle it using an indie mindset? That’s what the team behind the film, The Creator did. The film, which tells a story about war between humanity and artificial intelligence, is currently in theaters.  In today’s episode, No Film School’s Charles Haine speaks with DP Oren Soffer to discuss: Being offered a co-dp position on the film How shooting on one lens made the VFX much easier to work with The differences in lenses over time that affect their consistency  Leaning into natural light as much as possible Wanting to maintain the creative energy of guerilla style filmmaking  How the project originally got the green light from the studio Working in a very trusting environment Looking at tons of references images the director pulled from Memorable Quotes “The visual effects approach was designed to fit the footage and not the opposite.” [6:53] “What do we need to add or subtract from that lighting to create a more curated lighting environment?” [22:04] “The filmmaking process itself felt really scrappy in the best way possible.” [36:39] Resources: The Creator  Oren’s website Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

Making a film is a laborious task that requires dedication, passion, discipline, and inspiration. Seeing the success of other filmmakers, who are more often than not in the same position as us, is not only motivational but can be a guiding light for those making their first film. In today’s episode, No Film School’s Yaroslav Altunin speak with multi-hyphenate creative Andrew Bowser to discuss:  How Andrew came up with the Onyx character Starting his career as a child actor before becoming a writer and director Questioning his original script after getting some harsh notes  Why having multi-hyphenate creatives work on the film was necessary Working with VFX and puppets and the challenges that came with it Discovering some continuity errors they didn’t catch in the final edit  Why Andrew likes a slower editing process  Not looking down on non traditional film platforms Memorable Quotes “It was this revelation. I felt like I had found something to pursue creatively.” [2:23] “I was led to writing and directing purely out of a want for more control.” [5:39] “On indies there's not a lot of time to explore.” [40:22] “Editing for me is such slicing and splicing.” [48:19] Resources: Onyx, The Fortuitous, and The Talisman of Souls Tickets to Onyx The Fortuitous and the Talisman of Souls https://www.fathomevents.com/events/Onyx-the-Fortuitous-and-the-Talisman-of-Souls/ Andrew’s YouTube Channel https://www.youtube.com/@BowserVids Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

Don’t be afraid to plant your flag early on. This advice comes from writer Chris Sparling, who is known for the 2010 film, Buried, starring Ryan Reynolds and the 2020 film Greenland, starring Gerard Butler. In today’s episode, No Film School’s Jason Hellerman speaks with writer and director Chris Sparling to discuss: The first time Jason and Chris met, 10 years earlier  How Chris starts the writing process Talking to reps to get an accurate idea of what scripts will be successful Why Chris writes specs and encourages other writers to do the same Breaking out of the box people put you in  Recognizing it’s not necessary to go after every single assignment How to manage your expectations when going out with a new spec Writer’s block - Is it real and how to overcome it Why it’s important to rehearse your pitch Memorable Quotes “If there’s a real fire in you, that’s the story you want to tell.” [6:10] “I’m constantly trying to pump out new material that shows another side to what I do.” [12:30] “You have to get out of your own way and power through it. [30:38] “Don’t be difficult, but also don’t undervalue yourself.” [42:52] Resources Buried Greenland  Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

Finally, the WGA strike has come to an end and writers are going to be elated about the new agreement. So what does this new agreement entail and how will it affect the future of Hollywood? In today’s episode, No Film School’s Charles Haine and Jason Hellerman discuss: The terms of the WGA contract Scheduled minimum raises for writers How feature writers will benefit  What literary material is and how it affects scripts written by A.I. Using A.I. with open disclosures Why writing may be one of the hardest roles in the entertainment industry Why we like minimum room sizes The potential for a spec boom Why original spec screenplays are coming back in fashion Advice for younger writers Memorable Quotes “We’re not saying A.I. is the devil.” [6:49] “Your biggest job as a screenwriter is making identifiable character motivations.” [9:24] “Characters stop acting like you expect them to act. And then it bothers you as an audience.” [11:08] “The job of the WGA is to protect its writers.” [13:31] Resources A Step-by-Step Guide to Mastering Your Spec Screenplay Find No Film School everywhere: On the Web https://nofilmschool.com/ Facebook  https://www.facebook.com/nofilmschool Twitter  https://twitter.com/nofilmschool YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Send us an email with questions or feedback: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices