The No Film School Podcast

No Film School
  • 0.0 (0)
  • TV & FILM
  • EVERY TWO WEEKS
The No Film School Podcast Podcast

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.

  1. 19 SEPT

    Why Indie Film Distribution Is About To Go Punk Rock

    Filmmaking isn’t just about making a great film—it’s about getting that film seen. With traditional distribution models crumbling, independent filmmakers are finding new ways to connect directly with audiences. This episode explores how the indie film landscape is shifting, with filmmakers taking control of their own distribution, marketing, and audience-building strategies. Whether you’re a first-time filmmaker or a seasoned pro, this episode will inspire you to think outside the box and embrace a more grassroots approach to getting your work into the world. Jon Reiss is a filmmaker, author of the book Think Outside the Box Office, and a media strategist who runs 8 Above, a company that creates custom distribution strategies for indie films. He has consulted with filmmakers and organizations worldwide including The Gotham, IDA, and Film Independent, and has led workshops on distribution and marketing through his 8 Above Distribution Lab. Reiss is currently producing a documentary on robotic performance artist Mark Pauline, and is producing the second season of a podcast, Plantscendence, about people’s psychedelic experiences. He has recently launched a Substack focused on indie film distribution and marketing. Annamaria Sofillas, a development executive and producer, is the Director of Content at Kino Lorber’s MHz SVOD. She is the lead producer of the documentary "I'm “George Lucas": A Connor Ratliff Story, which premiered at Slamdance ’24 and received theatrical exhibition nationwide through Alamo Drafthouse Cinemas, with digital distribution by Grasshopper Film. Annamaria was instrumental in building NBCUniversal's Seeso and Gimlet Media's scripted division, where she led over 25 long-form television series and 30 stand-up specials, including the GLAAD Award-nominated Take My Wife and BAFTA Award-nominated Flowers. Scott Monahan, the filmmaker behind Anchorage, has been candid about his experience with self-distribution, highlighting the challenges and successes of taking control of a film’s release. Glen Reynolds, founder of Circus Road Films, is a producer rep and festival advocate who helps indie filmmakers navigate distribution and find the right partners to bring their projects to audiences. In this roundtable discussion, No Film School’s GG Hawkins speaks with Jon Reiss, Annamaria Sofillas, Scott Monahan, and Glen Reynolds to discuss: Why hybrid distribution is essential for indie filmmakers today How film festivals and events can help grow your audience Why setting clear release goals is crucial for your film’s success How building your audience starts long before your film's release Real-world examples of filmmakers using grassroots promotion and festival tours Why filmmakers are taking control of their own marketing and outreach strategies How indie filmmakers are embracing a punk rock mentality to bypass traditional distribution models Links: Learn more about Scott Monahan Learn more about Glen Reynolds Follow Annamaria Sofillas on Instagram Buy or rent I’m “George Lucas”: A Connor Ratliff Story on Amazon/Apple I'm "George Lucas": A Connor Ratliff Story Website Follow I’m “George Lucas” on Instagram Follow I’m “George Lucas” on Facebook Follow I’m “George Lucas” on X 8 Above with Jon Reiss Substack 8 Above 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

    1h 22m

  2. 18 SEPT

    Imagery, Fall Fest Sales & Director Niclas Larsson on His 'Mother, Couch!' Production Book

    Imagery plays a crucial role in filmmaking, shaping how a story visually unfolds. This element must be integrated into the scriptwriting process, rather than being left for production. With fall film festivals in full swing, indie filmmakers are not only focused on storytelling but also on the challenges of navigating the competitive market and selling their films. A strong visual narrative can make all the difference when it comes to standing out and securing distribution deals. Director Niclas Larsson’s feature film Mother, Couch! brings an intriguing mix of surrealism and family drama to the screen. Premiering at the 2023 Toronto International Film Festival, this film stars Ewan McGregor and explores the strange dynamic of a mother refusing to leave a couch in a furniture store. Its unique visual storytelling and offbeat premise are sure to leave an impression.   In today’s episode, No Film School’s GG Hawkins speaks with Jason Hellerman and Niclas Larsson to discuss: Why memorable imagery in scripts is key to creating impactful films The challenges of today’s film festival market and indie acquisitions Niclas Larsson’s unique creative process and his “Storm Book” How the physical layout of Mother, Couch! plays a critical role in the story's themes Why sticking to your gut and vision is essential in the post-production process   Memorable Quotes: "Imagery is something that should go hand in hand with filmmaking." [1:55]  "We're missing images right from the core. We're relying too much on cinematographers or directors to find them later." [5:08] "If you can master the short form, if you can really pay attention to every single second of what you're doing and the importance of every second." [24:23] "Everything we do in scene one to nine needs to be confused, it needs to resemble or picture, convey confusion and displacement." [30:12] "You make movies for other people—the real people. A singular vision is supposed to be criticized." [01:04:37] "The level of filmmaking has declined and is declining rapidly. And we need to stay strong, giving an adult audience bang for their buck, because that's our job." [01:04:56] Mentioned Jason Hellerman on IMDb Jason’s library of content on No Film School Learn more about Mother, Couch! on IMDb Niclas Larsson on IMDb Follow Niclas on Vimeo Follow Niclas Larsson on 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

    1h 15m

  3. 13 SEPT

    We’re All Halfway Through Writing a Short Film That We Will Direct

    Actor Saoirse Ronan recently revealed that she is halfway through writing a short film that she plans to direct— and it feels so relatable. It reminds us that creative struggles are universal, no matter who you are. But being halfway through is not a failure but a part of the journey. Tune in to know what to do to reach the finish line. In today’s episode, No Film School’s GG Hawkins, Jason Hellerman and guest Patrick Walsh discuss: Saoirse Ronan is halfway through writing a short film she plans to direct  The relatable struggle of getting stuck halfway through a project Outlining and having a clear ending in mind to avoid getting stuck in the middle of a writing project Actors transitioning to directing and the unique perspective they bring The value of grants, labs, and workshops for filmmakers to get support and feedback The list of grants and labs that No Film School has launched on its website The recent positive performance of films at the box office Patrick’s journey into editing, starting from film studies Patrick’s experience of destination editing for the film The Uninvited Technical challenges and workflow of remote editing Memorable Quotes “I do think short films are coming back to Hollywood.” [03:03]  “Don’t start writing something you don’t absolutely know how it ends. It’s not worth cranking out 100 final draft pages if you don’t know what happens in the last four.” [3:39]   “Labs beget labs, just as festivals beget festivals.” [15:50] “These grants are that stepping stone that maybe you didn’t know you needed.” [15:03] “Seeing these movies do well has been a strong indicator that movies are back, and original ideas with strong genres and points of view have a viable place in the marketplace.” [21:49]  “It’s been good to see Hollywood bounce back a little bit from the strikes and from the MPTP not paying writers and actors what they deserve.” [23:22]  “Films aren’t finished. They’re abandoned.” [51:33] Links: Patrick Walsh Website  Follow Patrick Walsh on IG Grants and Labs List   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

    1h 13m

  4. 12 SEPT

    Why A LUT Will Save Your Movie (Kinda)

    In this episode of the No Film School podcast, GG Hawkins interviews Ryan Thomas, the cinematographer, and Dan Edwards, the colorist, of the film 'I Really Love My Husband'. They discuss the process of color grading and the importance of early collaboration and communication between the director, DP, and colorist. They emphasize the need for budgeting for color grading and creating a LUT (lookup table) before shooting to establish the desired look of the film. They also discuss the dangers of editing in log and the importance of developing a shared vision and trust between the creative team. In this conversation, Dan, GG Hawkins, and Ryan discuss the importance of color grading in filmmaking and how it can enhance the storytelling process. They talk about the role of color in creating a specific mood and atmosphere, as well as the challenges and considerations when working with different skin tones. They also touch on the importance of communication and collaboration between the director, DP, and colorist, and the use of visual references to convey desired looks. The conversation concludes with advice for emerging filmmakers interested in color grading. Takeaways Early collaboration and communication between the director, DP, and colorist is crucial for achieving the desired look of the film. Budgeting for color grading is important to ensure that there is enough time and resources for the process. Creating a LUT before shooting can help establish the look of the film and avoid surprises in the final grade. Editing in log can limit creativity and make it difficult to achieve the desired look of the film. Developing a shared vision and trust between the creative team is essential for a successful color grading process. Color grading plays a crucial role in enhancing the storytelling process by creating a specific mood and atmosphere. Working with different skin tones requires careful consideration and communication to achieve the desired look. Collaboration and communication between the director, DP, and colorist are essential for a successful color grading session. Visual references can be used to convey desired looks and facilitate effective communication. Investing in a comfortable and well-equipped color grading environment can enhance the client's experience and trust in the process. For emerging filmmakers interested in color grading, it is recommended to seek out reliable learning resources and invest in a calibrated display for accurate color representation. Learn more about your ad choices. Visit megaphone.fm/adchoices

    48 min

  5. 9 SEPT

    How ‘Continue’ Director Nadine Crocker Turned Rejection Into Two Lionsgate Features

    The world of filmmaking is full of challenges, from industry rejection to personal setbacks. Yet, for many independent filmmakers, these obstacles become opportunities for growth and perseverance. This episode explores how passion, persistence, and a refusal to give up can turn seemingly insurmountable odds into career-defining moments. Whether you're an aspiring filmmaker or a seasoned professional, the story of how Nadine Crocker made her mark in the industry is sure to inspire. Nadine is a filmmaker, actor, and mental health advocate whose latest feature, “Continue,” is based on her own struggles with depression and suicide. The award-winning drama tells the story of a woman who, after a failed suicide attempt, is taken to a mental institution where she finds unexpected friendships, love, and a new purpose. Release by Lionsgate during Suicide Awareness Month, the film has garnered critical acclaim for its raw portrayal of mental health struggles. Nadine not only wrote, directed, and produced “Continue,”  but also stars in it, bringing an intensely personal narrative to life. After years of being typecast and facing rejection, she took control of her career. In today’s episode, No Film School’s GG Hawkins speaks with Nadine Crocker to discuss: Being dropped by her reps shortly after having her son—and how it led her to make “Continue” independently. Breaking free from being typecast and proving herself as a writer, director, and producer. Balancing waitressing and raising a newborn while working on her first feature film. Securing financing through personal savings and a small group of supportive investors. Deciding to stop waiting for permission and create her own opportunities. How “Continue” became a movement for mental health awareness through her nonprofit, Continue On. Memorable Quotes: “I did hear like all the time that I was too pretty to play the best friend and I wasn't famous enough to be the lead.” [6:01] “I'm done asking for permission. I'm making this movie and I don't care what I have to do or how much work or how many years it takes.” [9:16] “I invested my life savings into this movie, like everything we had, and went back to waitressing so that I could keep the lights on.” [11:30] "Imagine being dropped in the middle of the ocean with nothing but a hard drive, and you gotta keep it over your head and tread motherfucking water until someone comes." [21:09] Links: Continue IMDb Follow Nadine Crocker on Instagram Continue the Film on Instagram Learn more about her nonprofit   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

    1h 6m

  6. 7 SEPT

    Back-To-Back Microbudgets, Folk Filmmaking & the Micro-Budget Chain Reaction Feat. ‘Peak Season’ Directors

    What happens when you make two micro-budget films back-to-back? For filmmakers Henry Loevner and Steven Kanter, it sparks what they’ve dubbed the “micro-budget chain reaction,” inspiring others in their community to pick up cameras and start shooting. As the industry consolidates and traditional distribution becomes harder to navigate, indie filmmakers are finding new ways to create and share their work, embracing folk filmmaking and using platforms like YouTube to bypass traditional barriers. Peak Season, the duo's second feature, serves as a perfect example of this movement.   In today’s episode, No Film School’s GG Hawkins speaks with filmmakers Henry Loevner and Steven Kanter to discuss: What the "micro-budget chain reaction" means and how it inspired others to follow in their footsteps The challenges of making two micro-budget films back-to-back The impact of friends and community on the rise of indie filmmaking Their experience shooting Peak Season in Wyoming with a small crew How the landscape of indie film distribution is changing and why many filmmakers are turning to YouTube The importance of flexibility and improvisation in low-budget filmmaking How Peak Season found its audience and landed a theatrical release Why Henry and Steven are ready to transition to a studio film after their micro-budget projects   Memorable Quotes: "It's contagious for better or worse... we're making something, and we're not waiting for permission." [5:40] “Despite all the doom and gloom about the industry in general and how hard it is to make a living, there's never been an easier time to go out and make your film.” [6:43] “If you just put your movie on YouTube, you can get it out there immediately, which is amazing.” [8:19] “If you've written a script and it's going to take $10 million to make this movie and you don't have $10 million, then write a new script.” [51:33] “The only way to do it is you have to just write something small that you can manage. Write something that's set in a single location.” [51:56]   Mentioned Peak Season on IMDb Follow Henry Loevner on IG Follow Steven Kanter on 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

    1h 4m

  7. 30 AUG

    Why Producer Ken Kao (Cuckoo, The Nice Guys, Mid90s) Wants More Mid-Budget Films

    How can you break into the film industry? Especially if you're not in Hollywood or you come from a different profession, like law. Is thick skin essential? Can you balance business with creativity? Producer Ken Kao, co-founder of Waypoint Entertainment, shares insights on these topics, some of his experiences, and recent projects. Ken’s latest feature, CUCKOO, written and directed by Tilman Singer, stars Hunter Schafer, Dan Stevens, and Jessica Henwick and premiered at the 2024 Berlin International Film Festival. With a diverse portfolio spanning films like Academy Award-winning THE FAVORITE and THE NICE GUYS, featuring Ryan Gosling and Russell Crowe, Ken's expertise and vision have shaped the landscape of modern cinema. In today’s episode, No Film School’s GG Hawkins speaks with Ken Kao, co-founder of Waypoint Entertainment and producer of some of the most anticipated films of 2024, to discuss: How Ken started in the industry, moving from lawyer to producer without film school Advice for emerging filmmakers and indie producers The Waypoint x Neon partnership and the opportunity in mid-budget films How he selects projects, being a genre-agnostic producer How Waypoint stays nimble and adaptive in the ever-changing industry What every producer or aspiring producer should be consuming and Ken’s media diet beyond movies Living in Hawaii and maintaining distance from Hollywood His latest feature, "CUCKOO," by Tilman Singer, starring Hunter Schafer, Dan Stevens, and Jessica Henwick Waypoint’s involvement in the release of “Longlegs,” directed by Osgood Perkins and starring Nicolas Cage and Maika Monroe Other projects currently in development   Memorable quotes: “You never know what's gonna happen when you start making a film” [12:02] “We're all just trying to make good movies that touch people and that we can be proud of” [20:05] “I think the vast majority, especially this younger generation of people, if you're gonna get them off their sofas, getting to put their phone down, take 10 to 20 minutes to drive to a theater park and get it and sit there and give up two hours of their time, you need to give them some kind of authentic experience. I think what's good is subjective, but I think their ability to sniff the BS is high.” [21:55] “As difficult as the film business right now is, I think as a creator, and I'm not just speaking for myself, I'm just speaking for aspiring creators, people that are creating already, in some ways it's as strong as the time has ever.” [41:00] “A good number of people know when actors are choosing movies to make a buck. And when they really love the material and they're putting themselves in that role, in that movie.” [46:07] “Trust your taste, trust what you're trying to say to people, and trust your instincts.” [47:33]   Links: Follow Ken Kao on LinkedIn Ken Kao on IMDb 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

    57 min

  8. 23 AUG

    Crafting Tension: ‘Spermworld’ & ‘How To Blow Up a Pipeline’ Editor Explains

    As an editor, should you specialize in documentary film or narrative film? Who says you can’t do both? Editor Daniel Garber proves it’s possible, sharing his unique approach to editing some of his most recent projects. He dives into the nuances of pacing, note-taking, and the art of knowing when not to cut. In today’s episode, No Film School’s GG Hawkins speaks with editor Daniel Garber to discuss: Getting his first editing credit and learning from other established editors Working with director Lance Oppenheim on multiple films Keeping your expenses low as a filmmaker How tension emerges from the performances and the pacing of the edit Differences between doc and fiction The unexpected moments that happen after a scene has wrapped A very efficient note-taking process  Working on small indie films compared to large productions  The power of face-to-face interactions  Memorable Quotes “I go back and forth between documentary and fiction. I get a lot out of that.” [15:05] With most documentaries, you have way more footage. You’re preparing yourself for a marathon rather than a sprint.” [17:28] “Making a decision not to cut is a huge part of editing.” [21:30] “The social aspect of editing is the most rewarding part.” [35:42] Links: Check out Daniel's website Follow Daniel on IG Daniel Garber on IMDb  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

    45 min
See All (818)

Hosts & Guests

About

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.

Information

  • Creator
    No Film School
  • Years Active
    2016 - 2024
  • Episodes
    818
  • Rating
    Explicit
  • Copyright
    © All rights reserved
  • Show Website
    The No Film School Podcast

You Might Also Like

To listen to explicit episodes, sign in.

Stay up to date with this show

Sign in or sign up to follow shows, save episodes and get the latest updates.
Select a country or region

Africa, Middle East, and India

Asia Pacific

Europe

Latin America and the Caribbean

The United States and Canada