A podcast about how to build a career in filmmaking. No Film School shares the latest opportunities and trends for anyone working in film and TV. We break news on cameras, lighting, and apps. We interview leaders in screenwriting, directing, cinematography, editing, and producing. And we answer your questions! We are dedicated to sharing knowledge with filmmakers around the globe, “no film school” required.
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The Editing Process Behind Dialogue-Driven Drama The Revisionist
Thursday, August 6, 2026 • Duration 30:40
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
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From Script to $100k Equity Financing: Navigating The Greenlight List (Partner Episode)
Friday, July 31, 2026 • Duration 39:03
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
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The Filmmakers at Wonder Dynamics Building AI for Filmmakers
Thursday, July 30, 2026 • Duration 45:06
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
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How This Comedy Was Edited Before Production Wrapped
Monday, July 27, 2026 • Duration 37:48
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
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The Long Game of Producing: Joy Gorman's Career Lessons
Saturday, July 25, 2026 • Duration 47:32
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
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Inside the Craft of Action With Emmy-Nominated Stunt Coordinator Victor Paguia
Sunday, July 19, 2026 • Duration 39:40
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
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The Art of Asking for Money for Indie Films feat. Madhouse Films
Thursday, July 16, 2026 • Duration 53:42
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
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How Microbudget ‘Sour Party’ Became a Steven Soderbergh Presents
Saturday, July 11, 2026 • Duration 49:12
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.
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Secrets to an Oscar Short Film Campaign with Julia Aks and Steve Pinder
Monday, July 6, 2026 • Duration 53:03
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
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The Assistant Route: Networking, Mentorship, and Building a Film Career & Community
Friday, June 26, 2026 • Duration 54:40
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
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