The No Film School Podcast

No Film School
The No Film School 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. 1 DAY AGO

    How Real Is STAY IN LA? Plus Sundance DPs on Landing Jobs & Getting Shots

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

    1h 10m

  2. 21 MAR

    Filmmaker’s Guide to SXSW: Tips, Takeaways & Tough Lessons

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

    1h 11m

  3. 13 MAR

    Blueprints for Making Films Outside of the System

    In this episode, GG Hawkins and Jason Hellerman present a roundtable discussion with independent filmmakers Daniel Talbott, Sav Rogers, and Mikko Mäkelä. These three creatives share their unique journeys in the film industry, highlighting the importance of queer cinema, mentorship, and community. They discuss the challenges of gatekeeping, the power of DIY filmmaking, and the need for filmmakers to take control of their own greenlighting process. From premiering at Sundance and Tribeca to navigating the ever-changing landscape of independent film distribution, this episode offers a deep dive into the resilience and creativity required to make films outside the traditional Hollywood system. In this episode, No Film School’s GG Hawkins, Jason Hellerman, Daniel Talbott, Sav Rogers, and Mikko Mäkelä discuss: [00:07] GG Hawkins and Jason Hellerman introduce the episode, recorded ahead of South by Southwest [00:41] Introducing the roundtable guests: Daniel Talbott, Sav Rogers, and Mikko Mäkelä [01:06] The unique journeys of each filmmaker and their impact on queer cinema [01:30] Challenges in the independent film landscape, including gatekeeping and DIY filmmaking [02:24] The importance of self-greenlighting and not waiting for permission [03:12] Balancing artistic expression with the business side of filmmaking [10:44] The role of mentorship and community in helping emerging queer filmmakers [15:14] Strategies for inspiring industry gatekeepers to invest in queer stories [22:21] Navigating meetings with executives and dealing with industry fears [26:40] How the collapse of the streaming acquisition model affects independent filmmakers [28:17] The importance of finding ways to share resources and build a film community [31:42] Embracing both DIY filmmaking and larger-scale projects in tandem [33:13] How a filmmaker’s unique voice is their most valuable asset [34:11] Moments when the filmmakers had to greenlight themselves [41:57] The experience of sharing personal work with an audience [47:10] How independent queer films resonate with unexpected audiences [52:14] The power of queer filmmakers supporting one another [53:38] How audiences can better support independent queer cinema [56:02] What’s next for Daniel, Sav, and Mikko Memorable Quotes: "The ability to go out and shoot your own work is the way to prove that people are interested, to prove that things are important." "Don't ask for permission. Make it, go do it, find the audience, bring them in, prove everybody wrong." "We are as complicated and human as anyone else on this planet. Get to know our stories and be uncomfortable with it." "For queer cinema to stay authentic and radical, it will, by necessity, most often be made in a DIY spirit." Guests Daniel Talbott Sav Rogers Mikko Mäkelä Find Out More: Watch Chasing, Chasing Amy by Sav Rogers: Available on streaming platforms and through libraries on Kanopy Transgender Film Center Explore Mikko Mäkelä’s work: www.mikkomakayla.com Follow Daniel Talbott on Instagram: @DanielCameronTalbott More from No Film School: Visit NoFilmSchool.com for industry news, interviews, and filmmaking resources. Have a question or topic suggestion? Email us: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

    1h 12m

  4. 6 MAR

    Crafting Connection: The Editors Behind 'Daughters'

    In this episode, we dive into the editing process behind Daughters, the heart-wrenching and beautifully crafted documentary that follows four young girls preparing for a father-daughter dance with their incarcerated fathers. Editors Troy Lewis and Adelina Bichis take us inside their process, from shaping the raw footage to balancing the film’s emotional weight and ensuring the story was told ethically and collaboratively. Daughters premiered at Sundance, is shortlisted for the Academy Awards, and is now streaming on Netflix. If you haven't seen it yet, this conversation will give you a whole new appreciation for the craftsmanship behind the film. In this episode, No Film Schools’s GG Hawkins, Troy Lewis, and Adelina Bichis discuss: [00:08] Listener emails about breaking into Hollywood and finding confidence as a filmmaker [01:59] Introduction to Daughters and its powerful impact [02:57] The unique editing process, with Troy shaping the early cuts and Adelina refining the final version [08:47] How they structured the massive amount of footage into a cohesive story [16:45] Using index cards, beat sheets, and writing techniques in documentary editing [19:02] The challenges of weaving together multiple character arcs [30:37] Ethics in documentary filmmaking and ensuring psychological safety for subjects [35:42] The portrayal of masculinity and fatherhood in Daughters [38:34] Editing tools and techniques that helped shape the final cut [50:17] Advice for aspiring editors and documentary filmmakers Memorable Quotes “The girls were so strong, everything was so moving… I thought, ‘This is a film I want to be part of.’” “We wanted to keep interviews to a minimum and really focus on verité scenes, almost as narrative film scenes.” “It was important for the film to view them as fathers first and foremost.” “We had to make sure that every part shown in the film had its place there, that it truly belonged.” Guests Troy Lewis Adelina Bichis Resources Watch the Daughters trailer 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

    1h 2m

  5. 3 MAR

    Amazon Captures Bond and a Producer on Producing

    In this special episode of No Film School, GG Hawkins and Jason Hellerman dive into the Amazon acquisition of James Bond, what it means for the future of the franchise, and whether Bond spin-offs are inevitable. They also discuss IP fatigue and how streamers are expanding globally to combat it. Then, filmmaker Elle Roth-Brunet joins the show to talk about her unconventional journey into producing, demystifying indie film financing, and why tough conversations are essential in production. In this episode, No Film School’s GG Hawkins, Jason Hellerman, and Elle Roth-Brunet discuss: The history of James Bond’s ownership and what Amazon’s billion-dollar deal changes The risk of oversaturation—is Bond headed toward Marvel/Star Wars territory? The global market shift that keeps franchise fatigue at bay How Bond’s new freedom could lure filmmakers like Christopher Nolan Elle Roth-Brunet’s journey from marketing to film producing The reality of indie film financing—debt vs. equity vs. deficit financing The importance of clear producer roles in today’s industry Guests: Elle Roth-Brunet – Producer of I Really Love My Husband and indie film advocate. Memorable Quotes: “James Bond movies are always events. But if you keep pouring water into the gin bottle, at some point, it’s just water.” (04:51) “Filmmaking is 95% business and 5% creative. If you don’t understand the business, you’re not in control of your own movie.” (56:39) “The biggest lesson I learned? Hard conversations lead to breakthroughs. If you avoid them, you stall progress.” (22:45) “Boat Day was the most stressful day in theory—and then ended up being the easiest. The day we didn’t stress over? That was the hardest.” (26:33) Resources: Every James Bond Film, Ranked 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

    1h 7m

  6. 27 FEB

    How ‘The Substance’ Editor Trimmed the Fat of the Hit Body Horror Flick

    In this episode of No Film School, GG Hawkins sits down with Jérôme Eltabet, the editor of the Oscar-nominated body horror film The Substance. Jérôme shares his journey from assistant director to editor, detailing his work with director Coralie Fargeat to bring The Substance to life. He breaks down the editing challenges, the importance of sound design, and why cutting a horror film is all about creating an immersive experience. In this episode, No Film School’s GG Hawkins and Jérôme Eltabet discuss: How Jérôme transitioned from assistant director to editor What it was like editing 300+ hours of footage for The Substance How sound design and score shaped the film’s tension The massive changes from the first cut to the final version How the film’s themes influenced its pacing and cutting style The collaborative dynamic between Jérôme and director Coralie Fargeat Memorable Quotes: “I do remember I gave a call to Coralie to say, ‘Oh, this movie is going to be very long.’ And she told me, ‘Shh, don’t tell anyone! We’ll talk about this later in the edit room.’” (8:38) “We had maybe 150 different versions of some sequences because Coralie needs to have the kind of goosebumps to like it. It’s not something you can explain—she just has to feel it.” (10:29) “Coralie didn’t want any realistic sounds. Everything had to be slightly off. The world needed to feel unnatural, unsettling—like something was always wrong.” (13:14) “The first rough cut was three and a half hours. Coralie wanted a perfect edit, a perfect sound design, so we fought to get the movie as tight as possible without losing its impact.” (32:10) “As an editor, you are the first audience. You have to trust your instincts, because six months later, after watching the same footage over and over, you’ll start doubting yourself.” (37:47) Guest: Jérôme Eltabet – Editor of The Substance, known for his precise, immersive approach to editing horror and psychological thrillers. Resources: The Substance – Ending Explained The Substance – Lookbook Read & Download The Substance Screenplay 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

    49 min

  7. 21 FEB

    This 30 Min Oner Short Played Sundance & Slamdance

    In this episode of No Film School, GG Hawkins sits down with Erin Brown Thomas, the director of Chasers, a 30-minute single-take short that played both Sundance and Slamdance 2025. Erin shares how she navigated festival promotion, the complexities of grassroots outreach, and why personalized marketing is critical for indie filmmakers. She also dives into the deeper themes of Chasers, which explores red flags in dating and the hustle culture of the entertainment industry. In this episode, No Film School’s GG Hawkins and Erin Brown Thomas discuss: How Chasers came to life and why Erin chose the oner format Her experience at Sundance and prepping for Slamdance in Los Angeles Why festival outreach feels like producing another film How she balances multiple roles in the industry while keeping her projects moving The financial realities of indie filmmaking and how to fundraise creatively Why personalized outreach is critical for making industry connections Memorable Quotes: “I spent most of my time at Sundance doing grassroots promotion for Chasers, but certain opportunities were just also really, really fun. We did a lot of panels. The panels in particular were like my favorite thing. We did a flash mob on Main Street—that was so much fun.” (2:50) “You’re really looking at like a full-time job as if you're making a whole other movie when you have an opportunity to play on this larger scale.” (3:16) “Every email you write, you want it to be bespoke. You want it to be personal. Everything needs to be done with grace and intention, walking that fine balance of being really confident that you're in the right place but also being, you know, grateful.” (4:08) “It’s always so much easier to stand up for yourself when somebody else who loves you is in the room. And by putting a film like this out into the open, I’m having those discussions with people who care about me.” (21:16) Guest: Erin Brown Thomas – Director of Chasers, festival programmer, and multi-hyphenate filmmaker passionate about lifting up other creatives. Resources: Chasers Film – Official Linktree Extraction 2 Director Sam Hargrave on Oners, Stunts, and Filmmaking All No Film School Articles on Oners Erin Brown Thomas 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

    39 min

  8. 13 FEB

    Why This ‘Last Showgirl’ Producer Thinks Indie Cinema Still Has Legs

    In this episode of No Film School, host GG Hawkins sits down with Robert Schwartzman, producer of The Last Showgirl and co-founder of Utopia, to discuss the evolving landscape of independent cinema. As a filmmaker, distributor, and problem solver, Robert shares insights on how indie filmmakers can take control of their distribution, why the industry is shifting toward self-releasing, and what’s next for Utopia. In this episode, No Film School’s Jason Hellerman and Robert Schwartzman discuss: The evolving landscape of indie film distribution and the role of technology in direct-to-audience releases How Utopia is working to eliminate middlemen and empower filmmakers The importance of theatrical releases for indie films, despite industry shifts The inspiration behind The Last Showgirl and why Las Vegas was the perfect setting How finding creative solutions—from locations to costumes—can elevate a low-budget film Why international filmmakers have a competitive edge in today’s market Memorable Quotes: “I think filmmakers need to also get hip to the idea of like, oh, there's all these places I can sell my film, but I still need to reach them. Like no one's gonna just give me an audience, I need to find them.” (18:35) “The playing field is so level right now, that's what's so exciting about it. Like it's anyone's game. People just have to be willing to play it.” (20:55) “There will come a time when a movie is self-released using these new technologies and it will be nominated for something significant… That’s when people are really going to come around to it.” (22:50) “You’re not going to get everything you want in filmmaking. The key is knowing what you absolutely need and what you can live without.” (51:07) “If you shoot a movie quickly, the opportunity cost for people goes down.” (55:01) Guest: Robert Schwartzman – Producer of The Last Showgirl, co-founder of Utopia, and filmmaker known for Dreamland and The Unicorn. Resources: The Last Showgirl Official Trailer Utopia Distribution AltaVod – Self-Distribute Your Film PowerFlix – Aggregation Services for Indie 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

    1h 6m
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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 - 2025
  • Episodes
    851
  • Rating
    Explicit
  • Copyright
    © All rights reserved
  • Show Website
    The No Film School Podcast

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