The No Film School Podcast

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

Recorded live from the Sundance Film Festival, GG Hawkins hosts a roundtable conversation with four short film directors premiering work at the festival: Kelly McCormack (How Brief), Anna Baumgarten (Balloon Animals), Ana Alpízar (Norheimsund), and Anooya Swamy (Pankaja). The filmmakers discuss the origins of their films, navigating production across Cuba, India, Canada, and the U.S., working within (and outside of) film school structures, and the deeply personal themes of grief, mother-daughter relationships, disappearance, and survival that unexpectedly connect their work. In this episode, No Film School’s GG Hawkins and guests discuss… Shooting narrative shorts on location in Havana, Bangalore, Vancouver, and Los Angeles Returning to Cuba to film Norheimsund after seeking asylum in the United States How Pankaja draws from growing up in the slums of Bangalore and confronting personal memory Making a $6,500 microbudget short inside a real grocery store overnight Building a short film over eight years and resisting the “proof of concept” mindset Working within NYU’s film school structure versus creating outside institutional systems Casting mother-daughter dynamics rooted in real-life relationships Designing color theory, texture, cement, and dirt as emotional language Shooting inside real police stations and navigating bureaucracy while telling stories about it Grief as a “big soup of emotions” and balancing melancholy with comedy Collaborating with ride-or-die creative partners Advice for emerging filmmakers about not compromising and trusting instinct Memorable Quotes: “Dreaming doesn’t cost a thing.” “Choosing oblivion.” “We often live really simple lives in complicated worlds.” “You are allowed not to compromise.” Guests: Kelly McCormack – Director, How Brief Anna Baumgarten – Writer/Director, Balloon Animals Ana Alpízar – Director, Norheimsund Anooya Swamy – Writer/Director, Pankaja Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, GG Hawkins speaks with Madison Jones and Lindsay Grossman, co-founders of The Love List, along with filmmaker Shelby Blake Bartelstein, about what makes a romance script stand out in today’s marketplace. They discuss the origins of The Love List, the evolving appetite for romance across film and television, how to craft undeniable chemistry on the page, and why specificity, vulnerability, and the grand gesture are essential tools for writers hoping to sell in the genre. In this episode, No Film School's GG Hawkins and guests discuss... The “meet cute” origin story behind The Love List and how a shared love of YA romance sparked a professional movement How The Love List curates the best unproduced romance pilots and screenplays each year Why romance remains commercially viable—and why the industry is rediscovering its power The importance of writing what you love instead of chasing market trends How to balance high-concept hooks with emotional authenticity Crafting chemistry on the page through small, specific moments Why vulnerability is the core engine of all great storytelling The art of the grand gesture in romantic storytelling Why television romance (including slow burns and enemies-to-lovers arcs) can be just as powerful as film How executives identify “soul” in a script—and why that’s what ultimately sells Memorable Quotes: “Write what you want to watch. To me, that is the most crucial piece of advice.” “What part of you is this healing?” “You can tell when there’s not a soul in it.” “It’s not about knowing whether or not they’re going to end up together. It’s about how they get there.” Guests: Madison Jones Lindsay Grossman Shelby Blake Bartelstein Resources: The Love List on Instagram - @TheLoveList26 “Change the Prophecy” Short Film Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Recorded live at Sundance, this episode features a wide-ranging roundtable on the current state of independent film exhibition. Host GG Hawkins speaks with festival programmers, exhibitors, and platform founders about what’s broken in the exhibition ecosystem, what’s actually working better than people realize, and how community-driven models—from art houses to new distribution tools—are reshaping how films are discovered, shown, and sustained beyond the festival circuit. In this episode, No Film School's GG Hawkins and guests discuss… Why art house cinemas and film festivals remain vital community hubs The realities of audience-building beyond “market festivals” and multiplexes How filmmakers can rethink distribution, touring, and self-exhibition New tools and platforms helping filmmakers navigate submissions and discovery The rise of alternative distribution models, including physical media reimagined Why shorts, community producers, and collaboration matter more than ever How filmmakers and exhibitors can work together more effectively What a sustainable film community could look like in 2026 Memorable Quotes: “Art house cinemas and independent exhibitors and film festivals are thriving because they build community.” “Making movies is like having a baby… then you’ve got to raise it.” “There is such an opportunity on both sides for filmmakers and exhibitors to learn how to work together.” “Independent film is rooted in community and curation.” Guests: Ash Cook – Programmer, Sundance Film Festival; Festival Director, San Francisco Jewish Film Festival; Founder & CEO, Video.Storage Tony Gapastone – Founder & Executive Director, Bravemaker Lela Meadow-Conner – Interim Executive Director, Art House Convergence; Co-founder, The Popcorn List Tyler Knohl – Co-founder, Hiike; Assistant Director, Boston Sci-Fi Film Festival Brynne Norquist – Co-founder & CEO, Hiike Aidan Dick – COO, Video.Storage; Programmer, Frameline Film Festival Resources: Bravemaker – https://bravemaker.org Art House Convergence – https://arthouseconvergence.org The Popcorn List – https://thepopcornlist.com Hiike – https://hiike.com/ Video.Storage – https://www.videostoreage.com Frameline Film Festival – https://www.frameline.org Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, we dive into the logistics, strategy, and evolving experience of getting into and attending SXSW. GG Hawkins is joined by No Film School Founder Ryan Koo and a panel of SXSW insiders: Claudette Godfrey, Peter Hall, and Francis Román, who share their personal journeys into programming and illuminate the processes behind one of the most significant festivals in the world. Whether you’re hoping to submit, attend, or just understand the inner workings, this conversation offers clarity on what to expect from the 2026 edition and beyond. In this episode, No Film School's GG Hawkins, Ryan Koo, and guests discuss... The different paths each SXSW programmer took to join the festival team Why SXSW values first-time filmmakers and how they approach the programming process Practical ways to attend SXSW (volunteering, student discounts, single tickets) Major changes to SXSW 2026, including venue shifts, badge updates, and a new festival layout How to best prepare your submission, including rough cut etiquette and the importance of strong film stills Common myths about festival programming—debunked Why meaningful networking and personal connection at SXSW can shape careers What types of films SXSW is most excited about—and what they’re seeing too much of Memorable Quotes: "If a film can make you laugh in your home alone at 2 a.m. and you've worked a 20-hour day, then it's hilarious." "If you're submitting unfinished, you should have a title card at the very beginning that says exactly where you're at." "We're looking for that director's vision, the fingerprint on it." "You should come to South By, and if you can’t, go to whatever local film festival is going on in your area." Guests: Claudette Godfrey Peter Hall Francis Román Resources: SXSW Volunteer Info Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode recorded live at the Sundance Film Festival, No Film School founder Ryan Koo sits down with Julien and Justen Turner—real-life brothers and co-creators of FreeLance, an indie TV pilot that debuted in the festival’s Episodic Pilot Showcase. The Turner Brothers walk through their journey of building a creative career outside of New York or LA, self-funding their show in Columbus, Ohio, and pulling off a high-production-value pilot in just four days. They talk about their process, influences, and how their authentic, relatable characters came to life through personal experience and community-driven production. In this episode, No Film School’s Ryan Koo and guests discuss… The origin of the episodic pilot category at Sundance and its importance for indie creators How the Turner Brothers’ musical upbringing led to an early love of filmmaking Their decision to self-fund FreeLance instead of attending Sundance in 2023 Turning real-life freelance filmmaking experiences (like wedding videography chaos) into episodic comedy Casting comedians, athletes, and non-actors from social media and commercial work Building a 150-page show bible and planning a multi-season vision The four-day shoot that captured 41 minutes of content, including an improvised scene in a thrifted basement How making content in Ohio allowed the show to break traditional industry molds Advice for filmmakers: choose a date, build your team, and just shoot The surreal moment of getting the Sundance acceptance call (via their mom!) Memorable Quotes: “We kind of realized that the only people we were waiting on was ourselves.” “The more specific we were, the more universal it was.” “We shot a 41-minute pilot in four days.” “This is getting done, and it’s going to be done like this.” Guests: Julien Turner Justen Turner Resources: Dreadhead Films on Instagram dreadheadfilms.com Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode of the No Film School Podcast is recorded live from the final Sundance Film Festival in Park City, 2026. GG Hawkins and Ryan Koo are joined by No Film School writer Jo Light and special guest Teddy Kim to share insights and lessons from Sundance. Together, they reflect on what it takes to find true creative collaborators at festivals, how the indie landscape continues to shift, and why human connection still matters more than ever in a rapidly changing industry. The episode includes a game of "Red Flag, Green Flag" and wraps with an interview between Ryan Koo and writer-director Stephanie Ahn, whose feature Bedford Park took 16 years to make and is now premiering at Sundance. In this episode you'll hear... How to make the most of Sundance even if you're not actively pitching a project Why networking at film festivals is more about vibe than résumé The evolving role of indie production companies balancing studio and independent films Which films are getting buzz at Sundance 2026 and what the acquisition market looks like How filmmakers are using episodic pilots and private screenings to get attention The pros and cons of “networking dinners” and late-night parties like Tao A playful, practical game of "Red Flag, Green Flag" to decode festival behavior GG’s and Jo’s favorite short and episodic pilots—and what makes them feel fresh A deep-dive interview with Bedford Park director Stephanie Ahn about perseverance, editing your own movie, and telling emotionally resonant stories Memorable Quotes: “In filmmaking, they often say you better give 10 years of your life… I exceeded that, and Stephanie exceeded that.” “You have to be very clear about what your intentions are and what the story is going to be. If you maintain an integrity with that, people come.” “It’s not a matter of whether there is a big headline acquisition… but can a bunch of other movies get acquired for $3 million and have a healthy minimum guarantee?” “I wanted to make a film that hopefully an audience would actually feel something—genuinely feel something.” Guests: Jo Light Teddy Kim Stephanie Ahn Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode recorded live from the final Sundance Film Festival in Park City, Utah, GG Hawkins is joined by No Film School’s Ryan Koo and Jo Light to commemorate the end of an era. The trio dives into personal memories, the legacy of Robert Redford, and what the future may hold for the festival as it prepares to relocate to Boulder, Colorado. They reflect on how Sundance has supported filmmakers through its labs, how festival culture shapes careers, and the emotional highs and lows of navigating the indie film landscape. GG also shares behind-the-scenes insights from her recent event at Sundance focused on women in the business of film, while offering a candid look at what it really takes to get a film into a top-tier festival. In this episode, No Film School's GG Hawkins, Ryan Koo, and Jo Light discuss... What makes Sundance in Park City so special—and why it's bittersweet to say goodbye The importance of Sundance's labs and the legacy of Robert Redford The emotional impact of community and connection during film festivals GG’s first Sundance as a filmmaker with a feature and her reflections on that journey Advice for filmmakers on submission strategy and post-production polish What types of films stand out at Sundance today: high-concept, star-driven, or uniquely personal Highlights from GG’s industry dinner focused on women in the business of film Thoughts and hopes for the new Sundance location in Boulder, Colorado Memorable Quotes: “The old rules don’t apply and the new rules haven’t been written.” “If it’s not ready, don’t submit yet. Unless Willem Dafoe is in your movie.” “You’re already 99.9% past the obstacles just by making a movie.” “Robert Redford used his power to help others.” Guests: Ryan Koo Jo Light Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

January is often perceived as a slow month in Hollywood, but in reality it’s one of the most strategic windows of the year for filmmakers. On this episode, GG Hawkins and guests Ana Liza Muravina and John Lamm unpack how the industry “wakes up” in early 2026, what that means for creative careers, and how artists can structure their time, their projects, and their expectations to thrive amid shifting economic and ecosystem forces. From understanding industry seasonality, permission structures, and macro trends in distribution to practical strategies for developing and releasing work, this conversation offers both mindset shifts and concrete guidance for filmmakers navigating careers in the current landscape. In this episode, No Film School’s GG Hawkins and guests Ana Liza Muravina and John Lamm discuss: Breaking down the idea of a “Hollywood shutdown” and why January becomes a key moment of restart, planning, and opportunity. How to contextually plan your writing year and align creative output with industry cycles (inspired by ideas from Final Draft’s annual planning guide). Why building structure as an independent artist (even without external deadlines) empowers your career and creative focus. “Permission structures” in the industry — what they are, how they shape opportunity, and how filmmakers can navigate or build them. The importance of community, cohorts, and trusted feedback systems for career sustainability and perspective. How macroeconomic forces, consolidation in the streaming market, and attention economy shifts are reshaping how films get financed, distributed, and found. Practical project strategies — from refining scripts based on audience/readers to building a tailored outreach atlas for producers and executives. The value of aligning ambition with realistic pathways — creating work you can make now while aiming for larger goals down the line. Inspiring perspectives on why now may be an era of opportunity for scrappy independent filmmaking. Memorable Quotes: “Most filmmakers think January is slow, but quietly it’s one of the most strategic months of the year.” “It’s one of those weird things … every now and then when I zoom like 10,000 feet back … it’s not necessarily indictment on your art.” “You see it … LA is the concentration of us. It’s artists who are so good at what they do just waiting for someone to give them permission to do what they do well… And the answer generally is unless you decide to stride and do it yourself, no one gives you permission.” “Don’t get too bogged down in the how, the strategy … let’s make movies, y’all. Let’s just do it.” Guests: Ana Liza Muravina John Lamm Resources Mentioned: The Current: Less Chaos, More Momentum (On the Circuit) How to Plan Your Entire Screenwriting Year: A Month-by-Month Guide (Final Draft) Video: Preparing for the Creator Economy Apocalypse (with Chris Gethard) Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Charles Haine sits down with documentary co-directors Geneva Peschka and Anna Andersen to discuss their latest project The Solace of Sisterhood, which recently premiered at Tribeca. The conversation dives deep into the ethics of documentary filmmaking, how they found and built trust with their subjects—the Caramel Curves, a New Orleans-based all-female motorcycle club—and how they navigated a successful festival run. From storytelling intention to set culture, the team shares their collaborative journey in bringing vulnerability, softness, and strength to the screen. In this episode, No Film School's Charles Haine and guests discuss... How Geneva and Anna met and began their creative partnership Their journey developing The Solace of Sisterhood and pitching it to Fujifilm Building trust and a safe space for documentary subjects How bringing in co-founder True’s daughter, Skye, as a camera operator deepened the film The evolving importance of ethical statements in festival submissions Shifting set culture to prioritize respect, connection, and vulnerability Working with the Fujifilm GFX100 and achieving a cinematic, soft visual tone The emotional highs and logistical challenges of their festival journey, including premiering at Tribeca Memorable Quotes: "It starts for us on set—how people come together and how we approach one another and hold space for each other." "Documentary inherently asks so much out of our participants... it’s a job you have to do with integrity and with ethics." "You’re changing who’s telling the story... you’re letting them know they are a part of their narrative, as they should be." "Filmmaking can be very lonely... but we are each other's strengths." Guests: Geneva Peschka Anna Andersen Resources: The Solace of Sisterhood – Tribeca 2024 Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

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

This episode of the No Film School Podcast features two conversations. First, host GG Hawkins reunites with filmmaker Pete Ohs, who returns to share the unique distribution experiment he’s launching with four films releasing throughout 2026. He reflects on his “table of bubbles” filmmaking philosophy and his desire to find joy instead of stress in the release process. Later, GG is joined by composer Hollie Buhagiar, whose original score for GG’s debut feature I Really Love My Husband is now out. They break down their collaborative process in detail, from early cue drafts to the film’s final emotional moments, revealing how bird calls, pitch-shifted vocals, and “surf rock” found their way into the film’s DNA. In this episode, No Film School's GG Hawkins and guests discuss... Pete Ohs’ philosophy of “table of bubbles” and how it’s guiding his 2026 film distribution approach Why Pete is using a different distribution strategy for each of his four new films What feels broken about indie film distribution today — and how to approach it differently Hollie Buhagiar’s journey into composing and her intuitive, emotion-driven scoring method The evolution of the score for I Really Love My Husband, including early drafts and final cues How creative freedom, happy accidents, and imperfect instruments brought the film to life The importance of developing a shared language between director and composer Memorable Quotes: "The films are a table made of bubbles. They cannot support anything." "The biggest result is just — is this fun?" "What's a convincing note?” "With great power comes great responsibility — even for the piano." Guests: Pete Ohs Hollie Buhagiar Resources: Pete's original pod interview Score for I Really Love My Husband on Spotify Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, the tables are turned as No Film School host GG Hawkins becomes the interviewee, speaking with No Film School founder Ryan Koo about the journey of releasing her micro-budget feature I Really Love My Husband. The episode dives into the emotional, logistical, and marketing challenges of putting an independent film into the world after festival premieres and securing distribution. GG shares the lessons she’s learned, the unexpected hurdles she’s faced, and the importance of personal PR, audience-building, and staying true to your creative voice—especially when your movie doesn’t follow traditional paths or genres. In this episode, No Film School’s Ryan Koo and GG Hawkins discuss... The overwhelming and technical process of delivering a film to distributors and platforms How to strategically approach festival and release PR, including budgeting and outreach The importance of having a “community producer” to build your audience from day one Lessons learned from critical feedback, press rejections, and audience reactions How to navigate marketing when your film doesn’t fit neatly into genre boxes The value of making work that represents your voice—even if it’s not a commercial hit What filmmakers should always be working on while waiting for the "yes" from the industry Memorable Quotes: "I would rather make something that makes people feel things one way or the other versus sort of like a lukewarm back." "The only way to know how to make a movie is to make a movie... and then make another." "Greenlight yourself. That is the most important thing any of us can be doing." "It is not the time to pinch pennies... this is the time to spend it.” Resources: How to Write a Movie that Shoots in Three Months You’re Picture Locked. Now What? (Plus Dir. Ruben Fleischer!) Filmmaker’s Guide to SXSW: Tips, Takeaways, Tough Lessons Watch I Really Love My Husband: Apple Amazon Google Play and more Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Host GG Hawkins sits down with filmmaker Charlie Polinger to unpack the making of his debut feature, The Plague. Polinger discusses his transition from theater to film, the personal childhood memories that shaped the story, and how embracing chaos—rather than controlling it—became central to his directing process. From casting an electrifying ensemble of young actors to shaping dread through sound design and editing, the conversation explores how specificity, vulnerability, and trust can turn a coming-of-age story into psychological horror. In this episode, No Film School's GG Hawkins and guest discuss… Transitioning from theater directing to feature filmmaking Drawing from childhood memory to create visceral, psychological horror Why a boys’ water polo camp became the perfect contained setting Casting and directing a large ensemble of young actors Letting location do the storytelling heavy lifting Embracing chaos on set instead of fighting it Building anxiety through sound design and post-production rhythm Hands-on collaboration in the edit and score development Advice for emerging filmmakers on making work consistently Memorable Quotes: “I just wanted to create a really kind of visceral, subjective, psychological experience of being a 12-year-old boy.” “There’s strategy built into the cruelty and the violence and getting away with it—and that felt really ripe cinematically. “The space is sort of like a character in this film.” “The more I put out into the world, the more that the world gave back.” Guest: Charlie Polinger Resources: The Plague EP by Lexi Tannenholtz on Cannes first-timers: A First-Timer’s Guide to the Cannes Film Festival Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, host Charles Haine sits down with cinematographer Oren Soffer to dive deep into the groundbreaking and much-discussed visual style of The Creator. As the co-DP alongside Greig Fraser, Soffer shares how they achieved the film’s unique aesthetic using a prosumer Sony FX3 camera, a single vintage lens, and a minimalist, indie-inspired production model. This discussion covers everything from lighting choices and VFX collaboration to gear workflows and lens testing, offering an in-depth look at how one of the year's most visually striking sci-fi films was crafted. In this episode, No Film School's Charles Haine and guest Oren Soffer discuss... How Oren Soffer became co-DP on The Creator alongside Greig Fraser The decision to shoot 95% of the film on one vintage 75mm Kowa anamorphic lens Using the Sony FX3 with an Atomos Ninja for ProRes RAW capture The benefits of designing visual effects around photography rather than the reverse Lighting choices inspired by naturalism and a small-footprint, indie ethos The influence of films like Baraka and Rogue One on the visual approach Operating with a nimble crew and custom-built gimbal rigs Remote collaboration between Soffer, Fraser, and director Gareth Edwards The impact of location shooting across Southeast Asia Memorable Quotes: "We shot 95 percent of the movie on a single focal length, which is the Kowa Cine Prominar... you're baking the look into the image." "The way to make visual effects feel more real is to let the photography lead." "We wanted to shoot this big movie as if it’s this tiny road movie." "It was an indie film with a 90-day shoot schedule and a full stunt team... but the filmmaking process itself felt really scrappy in the best way possible." Guest: Oren Soffer Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Allan Ungar started directing features at just 23 and has since evolved into a filmmaker known for his action-comedy chops and ability to elicit career-best performances from his actors. In this episode, he sits down with No Film School host, GG Hawkins, to discuss how his approach has matured from rigid control to meaningful collaboration, why psychological insight is essential for directors, and how to create an environment where actors can thrive. From early experiments with camcorders to directing viral hits and the critically acclaimed Bandit and London Calling, Ungar shares a masterclass in the art and strategy of long-term career building in film. In this episode, No Film School's GG Hawkins and guest Allan Ungar discuss... Why understanding actor psychology is key to strong performances How Ungar transitioned from controlling sets to creating collaborative environments Techniques to push actors without breaking trust The evolution of Ungar’s directing style across films like Bandit and London Calling Building a career in chapters and managing “hurry up and wait” downtime Why creating your own opportunities is essential in today’s film landscape The importance of casting actors who can improvise and bring ideas How to know when a joke or moment fits the tone of a scene Advice for emerging filmmakers navigating their first projects Memorable Quotes: "Directing is more than just a creative outlet. You have to be good with people." "To be a filmmaker that's in control, you have to let go of control." "I leave no stone unturned. If I don't feel like I have it, I will push until we have it." "You have to figure out how to greenlight yourself." Guest: Allan Ungar 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

Screenwriter and showrunner Rebecca Sonnenshine joins the No Film School Podcast to unpack her career and creative process behind hit adaptations including The Boys and The Housemaid. She shares how she got her start, how she discovered her voice in genre, and the intense pitch process behind landing The Housemaid. Rebecca also offers practical advice for writing contained stories, building a compelling script from source material, and creating work that audiences actually want to watch. She shares how she got her start, how she discovered her voice in genre, and the intense pitch process behind landing The Housemaid. Rebecca also offers practical advice for writing contained stories, building a compelling script from source material, and creating work that audiences actually want to watch. In this episode, No Film School's GG Hawkins and guest Rebecca Sonnenshine discuss... How Rebecca’s early jobs and script coverage experience helped her become a screenwriter Why she embraced genre writing and how her perspective as a woman informs her work The pitch process for adapting The Housemaid, and how she knew it was the right fit How she avoids voiceover and instead finds cinematic ways to externalize internal character thoughts The importance of blocking and movement when writing contained, single-location stories Her writing habits: page goals, scene sketching, talking out dialogue, and more What filmmakers can learn from writing bottle episodes or adapting material Why thinking about your audience is key to writing something people actually want to watch Memorable Quotes: "I read something and it either clicks or it doesn’t." "Pitching… takes a long time. You need all the twists and turns… but not more than 28 minutes." "I don’t love voiceover. So I had to find a device in which we could get some of their thoughts out." "Blocking is everything. If you’re not thinking about blocking while you’re writing, then you’re doing your project a disservice." Guests: Rebecca Sonnenshine Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, No Film School founder Ryan Koo and host GG Hawkins, along with producer and guest Ana Liza Muravina, dig into the ramifications of the news that Netflix is bidding (or may be outbid by Paramount) to acquire Warner Brothers — and what this massive consolidation could mean for the future of theatrical film, streaming, and the livelihoods of filmmakers. In this episode, No Film School's Ryan Koo, GG Hawkins, and guest Ana Liza Muravina discuss... How theatrical attendance has been in decline for decades, long before COVID — from the post–World War II boom through the arrival of television, home video, and streaming. Why the recent surge in acquisitions and mergers (from Comcast/Universal, Disney/Fox, Amazon/MGM, to the potential Netflix–Warner deal) spells trouble for market competition in both production and distribution. What consolidation means for filmmakers trying to get projects financed and sold — fewer buyers, fewer distribution windows, and diminished bidding wars that once supported indie and mid‑budget films. The potential financial upside for studios and executives (like David Zaslav), contrasted with the limited upside — or none — for writers, directors, actors, and other creative laborers. The possible benefits of global streaming platforms: ability to reach worldwide audiences, support for diverse or niche stories (e.g., a basketball movie about a young Black player), and access for filmmakers outside traditional Hollywood systems. How now more than ever filmmakers might need to pivot: embrace scrappy, independent means of production/distribution, build creative communities, and consider alternate funding — rather than relying on traditional studio financing and residual structures. That this may be a painful but necessary transition: the collapse of one ecosystem could open space for a new kind of filmmaking — more distinct voices, counterculture, experimentation, and potentially a new model for how films get made and distributed. Memorable Quotes: “I pitched my Netflix movie 80 times — I got 79 no’s and I got one yes.” “In a world where all the ways in which my piece of content can be exploited … are concentrated, it forces you to think about what are the other sources.” “You hit pause, you hibernate for a minute … and you don’t feel like that’s the end of the freaking world.” “This is the math all of us are doing all the time … If you follow one person benefiting to the tune of a billion dollars … from the sale of a company … it tells you exactly why so many people had to leave L.A…” Guests: Ana Liza Muravina Resources: Ana Liza's Previous No Film School Appearance 'Prince of Broadway' Director Sean Baker on No-Budget Filmmaking, Improvisation, and Long Release Cycles Find No Film School everywhere: On the Web: No Film School (https://nofilmschool.com/) Facebook: No Film School on Facebook (https://www.facebook.com/nofilmschool) Twitter: No Film School on Twitter (https://twitter.com/nofilmschool) YouTube: No Film School on YouTube (https://www.youtube.com/user/nofilmschool) Instagram: No Film School on 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

EP871: Authenticity as Craft – DP Gayle Ye on Filmmaking Beyond Labels In this episode, cinematographer Gayle Ye joins host GG Hawkins for an intimate and wide-ranging conversation about artistry, identity, and what it means to lead with authenticity as a DP. Gayle, who recently won a Canadian Screen Award for Paying For It and Late Bloomer, breaks down their creative process, from building visual language to managing crew dynamics. As the youngest and first queer, gender-fluid person of color to win a Daytime Emmy for lighting design, Gayle shares how they use their voice and position to advocate for meaningful change in the industry—on set and beyond. In this episode, No Film School's GG Hawkins and guest Gayle Ye discuss... Gayle's path from shooting webcam videos in high school to winning a Daytime Emmy How their background in editing informs their cinematography Visual strategies and “cinematography pillars” used in Paying For It Shooting intimacy scenes with care and collaboration Why being a “Dream Manager” is a key part of being a DP The role of mentorship, advocacy, and representation in Gayle’s career Building visual tone in dramedy series Late Bloomer Advice for underrepresented filmmakers breaking into the industry Memorable Quotes: “I preferred to be on set for 14 hours than in a dark room for eight.” “I'm not here to just show up and throw all my cool shot ideas. I really need to immerse myself in the story.” “If I made it, then it’s an Asian and queer film. It doesn’t matter what the content is.” “A DP is also a Dream Manager—negotiating between vision and budget.” Guests: Gayle Ye Resources: BIPOC TV & Film Canadian Film Centre Scriptation GoodNotes Artemis Pro Sunseeker App Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

GG Hawkins speaks with directors Jessica Dimmock and Zackary Canepari about their haunting and thought-provoking HBO documentary Thoughts & Prayers. The film offers a chillingly observational look at the normalization of school shootings in America—not by focusing on the tragedies themselves, but by examining the surreal, billion-dollar industry of “school safety” that's risen in their aftermath. Through restrained cinematography and a surprisingly dark sense of humor, Dimmock and Canepari capture how everyday life continues against the backdrop of unimaginable trauma, and how children are often more articulate than adults about the realities they face. In this episode, No Film School's GG Hawkins and guests discuss... How the project evolved from a photo series to a full-length documentary The cultural and industrial normalization of school shootings in America Why the film avoids graphic depictions of violence and instead focuses on the systems around it The use of stillness, humor, and wide shots as storytelling tools Casting nontraditional “characters” in a documentary format The emotional challenges of working with children on such a sensitive topic Co-directing as creative collaborators and partners The gear and post-production tools that made the film possible Why the title Thoughts & Prayers was chosen and how satire plays into it Memorable Quotes: "In the middle of learning your ABCs, you pause to practice for mass death, and then you go back to learning... that's the chilling part." "Cut this more like a scene in a Christopher Guest film than in an important documentary.” "None of the adults ever say anything about guns... it's always the kids." "We're not going to practice our way out of this." Guests: Jessica Dimmock Zackary Canepari Resources: Thoughts & Prayers on HBO 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