The No Film School Podcast

Епизоди

• They Started in the Red — Then Made a Movie: The Story of 'Hacked' 04.06.2026 43мин

  No Film School’s GG Hawkins talks with filmmaker Shane Brady and producer Emily Zercher-Brady about turning a devastating real-life hack into the revenge comedy-horror feature Hacked: A Double Entendre of Rage Fueled Karma. The conversation covers the couple’s filmmaking origin stories, how losing $20,000 sparked the movie’s premise, why they pushed forward after their budget was cut in half, what it took to shoot between Los Angeles and Florida during the SAG strike, and how they approached building a collaborative low-budget set. In this episode, No Film School's GG Hawkins, Shane Brady, and Emily Zercher-Brady discuss... How Shane’s early love of horror movies, theater, magic, and performance led him into filmmaking Emily’s background in performance, leadership, and problem-solving as the foundation for producing How Shane and Emily began working together through Camp Hollywood short films with young actors The real-life hack that drained $20,000 from their savings and became the emotional starting point for Hacked Calling the FBI, dealing with law enforcement limitations, and channeling frustration into a revenge story Why they decided to keep going after the movie’s budget was cut in half just weeks before filming How Christopher Nolan’s Oppenheimer production story inspired them to get scrappy Navigating the SAG interim agreement process while Emily was pregnant Splitting production between Funko Studios in Los Angeles and locations in Tampa, Florida Creating a “socialism set” where cast and crew were treated as equal creative collaborators Working French hours, offering hot meals, and protecting crew morale on a low-budget shoot Building festival relationships that helped lead to their distributor, Scatena & Rosner How they are thinking about audience outreach, VOD, and asking viewers to support independent filmmakers Memorable Quotes: “The absolute number one thing I want in my life is to be remembered, and when I’m gone and in the dirt, people can put on a film or a TV show or a recording of a play or something.” “Make it work and nobody can know that anything is going wrong.” “We have the money to film the thing.” “Everyone is equal playing fields and cast and crew, like you all mean everything and are a special piece of the puzzle.” “Everything that you work towards and someone just goes click.” Guests: Shane Brady Emily Zercher Resources: Hacked: A Double Entendre of Rage Fueled Karma on IMDb Where to watch Hacked: A Double Entendre of Rage Fueled Karma 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
• They Said This Movie Did Everything You’re Not Supposed To—Then The President’s Cake Won Cannes 21.05.2026 50мин

  No Film School’s GG Hawkins speaks with writer-director Hasan Hadi and producer Leah Chen Baker about the development, financing, production, and release journey behind The President’s Cake. The conversation traces the film from NYU and COVID-era writing sessions through the Sundance Labs, the challenge of building an aggressively independent financing plan, shooting on location in Iraq with non-professional actors, and the impact of winning both the Caméra d’Or and the Audience Award at Cannes. In this episode, No Film School's GG Hawkins, Hasan Hadi, and Leah Chen Baker discuss... How Hasan and Leah’s collaboration began at NYU and grew through shorts, writing check-ins, and shared creative sensibilities Why film school was essential for Hasan as a filmmaker coming from a country with limited cinema infrastructure Developing The President’s Cake before applying to the Sundance Labs How the Sundance Screenwriting, Directing, Producers Lab, and Catalyst Forum helped build confidence around the project Leading with the film’s “risky” elements: a first feature, non-professional actors, no rehearsals, a period setting, and shooting in Iraq Building a financing plan through micro grants, institutional support, small stakeholders, and equity partners Why filming in Iraq was non-negotiable for the story’s authenticity Creating an international crew while ensuring every department included Iraqi local crew The realities of shooting with limited infrastructure and a long production schedule What changed after the film won at Cannes How Iraqi and international audiences have responded to the film The importance of setting an end point for one project so the next one can begin Memorable Quotes: “But for me as a filmmaker who came from country that has almost no infrastructure in cinema. So my first film set when I was in film school almost, film school was necessary for me.” “There were a lot of do not do's on our pitch for our first feature.” “Even the failure sometimes was considered progress. It's not a success, it's a progress.” “Stories have DNAs and roots and they have, you know, fingerprints and this story has a very strong fingerprints that is in Iraq.” Guests: Hasan Hadi Leah Chen Baker Resources: The President’s Cake 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
• Insights Into Blackmagic Design's Latest Cameras and Products Introduced at NAB 2026 15.05.2026 27мин

  Jourdan Aldredge speaks with Blackmagic Design’s Simon Westland at NAB 2026 about the company’s latest camera, live production, mobile filmmaking, DaVinci Resolve, Blackmagic Cloud, and AI workflow updates. They discuss how Blackmagic’s new products serve both high-end live production and independent filmmakers, why hands-on trade show demos matter, and how filmmakers can think about camera choices as they grow their craft. In this episode, No Film School's Jourdan Aldredge and guest Simon Westland discuss... Blackmagic Design’s NAB 2026 product announcements and why the company released news before the show The value of hands-on product demos, workshops, and planning ahead for NAB Blackmagic’s URSA Cine 12K live production workflow, including 100G connectivity, 2110, 440fps, and 16 stops of dynamic range Why cinematic images are becoming more important in live production, sports, YouTube content, and live events How the Blackmagic Camera app is becoming an entry point for iPhone and Android filmmakers Using mobile phones in professional workflows with HDMI or SDI output, genlock, zoom demands, and focus demands Apple Watch control for Blackmagic Camera on iOS How Blackmagic’s products connect across cameras, ATEM switchers, DaVinci Resolve, and Blackmagic Cloud Why beginner filmmakers should focus on learning craft, exposure, lighting, and storytelling instead of searching for the “perfect” camera DaVinci Resolve’s new photo editing tools and how shared looks can help match stills and video How brands, agencies, and social media teams can use Resolve for color consistency across moving and still images Blackmagic’s view on AI tools, including transcription, media search, object search, and workflow acceleration The difference between workflow AI and generative AI replacement tools The future of Blackmagic Pocket Cinema Cameras and why the company still sees them as important for independent filmmakers Memorable Quotes: “That really is what it's all about. You want to have that hands-on interaction.” “I would say, look, that camera app is an amazing entry point, but really just try it.” “It’s about the content. It’s about storytelling.” “Competition is a healthy thing. It’s healthy for everybody.” Guests: Simon Westland Resources: Blackmagic Design Blackmagic Camera App DaVinci Resolve NAB Show 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
• How Specificity Makes Better Films: ‘Mile End Kicks’ and ‘I Like Movies’ Director Chandler Levack Explains 14.05.2026 41мин

  GG Hawkins talks with writer-director Chandler Levack about making I Like Movies, Mile End Kicks, and Roommates, and how Levack protects a specific filmmaking voice while moving between indie features and studio comedy. They discuss the realities of Canadian film financing, directing with limited time and bigger resources, building cinematic worlds through research and memory, and why filmmakers have to keep making work instead of treating one movie as their only chance. In this episode, No Film School's GG Hawkins and guest Chandler Levack discuss... How I Like Movies helped open doors for Mile End Kicks Why Mile End Kicks had to be shot in Montreal’s Mile End neighborhood The overlap of finishing one film while prepping and shooting another What changed when Levack moved from indie filmmaking to a studio comedy How music journalism shaped Levack’s directing and world building Why specificity in props, costumes, locations, and character details matters Navigating male-dominated creative spaces as a woman filmmaker The value and complications of film criticism Building a body of work through collaboration, experimentation, and persistence Memorable Quotes: “For me, I mean I'm obsessed with specificity.” “I think for me once I realized that filmmaking is just talking about treating fake people like they're real…” “It's weird. It's the only job where you're failing in public…” “The greatest thing you can do as a filmmaker is just exist and keep making stuff good and bad and having a body of work is like the most important thing…” Guests: Chandler Levack 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
• Inside Premiere’s Color Mode: Adobe’s Biggest Color Grading Overhaul in a Decade 08.05.2026 44мин

  No Film School’s Jourdan Aldridge sits down with Adobe’s Jason Druss at NAB 2026 to discuss Adobe Premiere’s new Color Mode, a three-year effort to rethink color grading for video editors. The conversation covers why Adobe rebuilt its color pipeline, how Color Mode differs from Lumetri and traditional pro-color tools, and what editors can expect from operations, styles, modules, film emulation, AI object masks, and upcoming beta features. Jason also shares his path from film school and color grading at NFL Films to product marketing at Blackmagic, Frame.io, and Adobe. In this episode, No Film School's Jourdan Aldridge and guest Jason Druss discuss... Adobe’s major NAB 2026 focus: the public beta launch of Color Mode in Premiere Why Adobe built Color Mode as a pro-color system designed specifically for video editors The limitations of Lumetri and the challenges of round-tripping to dedicated color tools How Alexis Van Hurkman helped lead the creation of a new color grading workflow inside Premiere The role of private beta feedback from hundreds of working editors Jason Druss’s career path through film school, wedding filmmaking, Blackmagic, NFL Films, WarnerMedia, Frame.io, and Adobe How Frame.io Drive connects with Premiere workflows and Adobe’s NAB demo process The design philosophy behind Color Mode’s simplified interface and shallow learning curve New Color Mode concepts including operations, styles, modules, clip groups, and sequence-level grading Film color, contrast kit, range controls, and customizable film emulation tools Why Adobe sees Color Mode as a new approach to creativity without unnecessary complexity Upcoming beta features including HSL qualifiers, skin tone lines, auto color, auto balance, vignette modules, and more film stocks Memorable Quotes: “What we're really trying to do is evolve and change the video editor's relationship with color and effects.” “For more than 10 years now, video editors have had two, like, really bad choices when it comes to color grading.” “We wanted to make the first color grading system ever actually built from the ground up and designed for video editors.” “Color mode rewards curiosity. It encourages experimentation. It's actually fun to use.” Guest: Jason Druss 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
• 'Modern Whore': How a Creative Crush Turned Into a Sean Baker-Backed Film 07.05.2026 43мин

  Director Nicole Bazuin joins No Film School’s GG Hawkins to discuss the decade-long creative collaboration behind Modern Whore, a hybrid documentary based on Andrea Werhun’s memoir about her experiences in sex work. Bazuin explains how the project grew from a music video friendship into a book, short films, and a feature, while breaking down the film’s mix of interviews, stylized reenactments, storybook-inspired visuals, and post-production discoveries. The conversation also covers self-editing a feature, storyboarding an entire film, bringing Sean Baker on as an executive producer, and making work from the stories already in a filmmaker’s orbit. In this episode, No Film School's GG Hawkins and guest Nicole Bazuin discuss... Shooting Modern Whore on the Alexa Mini and editing the film in Adobe Premiere Pro How Bazuin and Andrea Werhun met while making a Super 8 music video for Broken Bricks Turning a “creative crush” into a decade-long collaboration across a memoir, short films, and a feature Why the film uses a hybrid documentary format with firsthand storytelling, staged scenes, and stylized reenactments Adapting Andrea Werhun’s vignette-style memoir into a cohesive feature structure Protecting authorship and agency when telling stories about sex work Building a visual language through hand-drawn storyboards, color, and “storybook come to life” compositions The nine-to-ten-month edit process and the value of test screenings with anonymous feedback cards How Sean Baker came aboard as an executive producer after working with Andrea Werhun on Anora Why filmmakers should look at the relationships, stories, and access already present in their lives Memorable Quotes: “Sometimes you have to step in and fill a role.” “I think right from the get go, our work has been multimedia.” “I do think the adage is true that you write the film once when you're writing the script. You rewrite it again when you're shooting it and you write it a third time in the editing process.” “Feel free to make it your own.” Guest: Nicole Bazuin Resources: Modern Whore 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
• How to Build Trust with Documentary Subjects Before You Roll — Live from Aspen Shortsfest 30.04.2026 30мин

  Jo Light interviews documentary and commercial director Brendan Young live from Aspen Shortsfest about his short documentary The Meloneers, which follows the Rocky Ford High School wrestling program in rural Colorado. They discuss how Brendan found the story through a newspaper article, why he spent extensive time in the community before filming, how he balanced planned interviews with vérité moments, and how commercial work helps fund and shape his documentary practice. The episode also covers documentary ethics, collaboration with subjects, building trust before rolling, and Brendan’s advice for first-time documentary filmmakers. In this episode, No Film School's Jo Light and guest Brendan Young discuss... Finding a rural Colorado story through a Denver Post article about Rocky Ford wrestling Why Brendan visited Rocky Ford repeatedly without a camera before filming Treating documentary subjects as collaborators, not just subjects How The Meloneers explores wrestling, family legacy, fatherhood, and small-town change Balancing core interviews, planned scenes, and vérité moments Shooting with a small documentary crew and keeping a minimal footprint Using commercial work to support short documentary projects Partnerships with Futuristic Films, Voyager, Project Play, and executive producer Lindsey Hagan Why the process of documentary filmmaking matters as much as the finished film Brendan’s upcoming documentary about a violin once played by a German Nazi soldier Memorable Quotes: “I view the people in my films in these stories as collaborators.” — Brendan Young, 03:44 “It’s not just building trust, but like having buy-in from these people, making sure that we’re telling this story together and in a way that they want it told is really, really important to me.” — Brendan Young, 04:05 “I think when you can find it, it makes a specific story more universal and that's a more impactful film.” — Brendan Young, 08:05 “Commercial sets were kind of my film school.” — Brendan Young, 21:49 Guests: Brendan Young Resources: The Meloneers on IMDb Brendan Young’s Website Brendan Young at Futuristic Films Voyager Project Play Aspen Shortsfest Futuristic Films 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
• Shooting in Real Time with “The Pitt” DP Johanna Coelho 23.04.2026 44мин

  In this episode of the No Film School Podcast, GG Hawkins speaks with cinematographer Johanna Coelho about building the immersive visual language behind The Pitt. Coelho breaks down how she approached the show’s real-time structure, 360-degree hospital set, handheld camera movement, lens choices, and complex multi-camera choreography to create an ER that feels immediate, intimate, and emotionally raw. She also reflects on her path from France to Los Angeles, becoming one of the youngest DPs to shoot network television, and the collaborative mindset required to lead ambitious productions without losing sight of story or performance. In this episode, No Film School's GG Hawkins and guest Johanna Coelho discuss... How Johanna Coelho got started in cinematography and built her career from France to Los Angeles What it means to shoot The Pitt in real time across a single ER shift How handheld filmmaking, long takes, and transition-based blocking shape the show’s immersive style Why Coelho chose the Alexa Mini LF, prime lenses, and a zoom setup to maintain intimacy and flexibility How the team lit a 360-degree hospital set with white walls while protecting skin tones and realism The collaboration between cinematography, production design, lighting, grip, and actors to execute complex choreography How season two pushed the show’s visual perspective and emotional immersion even further The difference between handheld, Steadicam, and Zero-G rigs when designing movement for a scene How Coelho thinks about burnout, leadership, and keeping a calm set during high-pressure television production Why trusting your eye and communicating your vision are essential for emerging cinematographers Memorable Quotes: “I don't have to make a choice. I can just live all of it behind the lens.” “We have to give that same feeling visually for the audience.” “Our master shot is not a wide shot where you see everything.” “Trust yourself. Don't let everyone tell you what to do.” Guests: Johanna Coelho Resources: Johanna Coelho's website 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
• A Path to Profitability in an Industry Built on Fear? 17.04.2026 1ч 10мин

  GG Hawkins speaks with Kino co-founders Brit MacRae and Daril Fannin about the broken handoff between post-production and release, and how insecure screeners, fragmented feedback workflows, and fear-based distribution norms undermine independent film. They break down Kino’s evolution from an interactive streaming idea into a secure post-to-delivery platform, explain how they built a film fund around de-risked sub-$2 million features, and use Undertone as a case study for aligning budgets, creative ambition, and profitability. In this episode, No Film School's GG Hawkins and guests Brit MacRae and Daril Fannin discuss... Why the current post-production and release pipeline is still built around insecure links, scattered notes, and outdated habits How piracy, leaks, and weak screener security can hurt filmmakers, investors, and distribution momentum The original idea behind Kino and how it pivoted from interactive streaming to a B2B platform for secure screeners, dailies, cuts, approvals, focus groups, and final delivery Why discoverability is one of the biggest problems in independent film, and why indie projects are competing with TikTok and other forms of passive entertainment How fear-based thinking shapes decisions around marketing, exposure, festivals, and distribution What “LVOD” means to Kino and how the company tried to create a window that adds marketing value without cannibalizing TVOD Why MacRae and Fannin believe filmmakers need to think like business builders, not just artists, when raising money How Kino structured its film fund around contained, creatively aligned stories with budgets under $2 million and meaningful de-risking through incentives and exchange rates Why Undertone made sense as a fund project: one location, a contained story, and a production model that matched the script’s scale How equity participation and aligned incentives can help cast, crew, and investors move in the same direction Why iteration, early feedback, and collaborative review should play a larger role in filmmaking, much like they do in tech and animation What kinds of projects Kino is pursuing next, including a Band of Brothers documentary and more genre-focused features Memorable Quotes: “Something’s not working and we’re going to dig into it.” “Fear makes you stupid.” “Coming to the table with great art is table stakes.” “It’s not about the project, it’s about the people you’re surrounding yourself with.” Guests: Brit MacRae Daril Fannin Resources: Kino 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
• Reimagining Post: AI-Powered Rough Cuts Editing Overnight (Partner Episode) 14.04.2026 39мин

  In this sponsored episode, GG Hawkins speaks with Eddie AI co-founder and CEO Shamir Allibhai about Eddie AI’s latest release, Eddie v3, which launched on April 14, 2026 ahead of NAB Show 2026. Their conversation explores the new Night Shift workflow, designed to process footage overnight by sorting interviews from B-roll, syncing multicam interviews, logging media, and building a rough cut ready for Adobe Premiere Pro, DaVinci Resolve, or Final Cut Pro by morning. They also discuss Eddie’s expanding role as an AI assistant editor for professional workflows, including docu-style rough cuts with B-roll placement, and the broader questions filmmakers face around creative control, sustainability, curiosity, and the future of storytelling in an AI-assisted post-production landscape. In this episode, No Film School's GG Hawkins and guest Shamir Allibhai discuss... Eddie AI’s new Night Shift feature and how it aims to build a structured rough cut overnight Why the company positions Eddie AI as an assistant editor rather than a replacement for Premiere, Resolve, or Final Cut Pro How AI can help with multicam syncing, A-roll and B-roll organization, logging, and assembly edits The difference between AI tools that generate synthetic media and tools built to work from a filmmaker’s real footage Why editing still depends on human taste, timing, emotional judgment, and story instinct How AI tools may help filmmakers handle paid client work more efficiently while protecting time for passion projects The tension between fear and curiosity as filmmakers adapt to new technology How creative professionals can think about money, sustainability, and long-term career support without sidelining the art Why Allibhai sees storytelling as a fundamentally human act, even in a future shaped by AI What filmmakers should watch for around security, ownership, and platform terms when using AI tools Memorable Quotes: “We’re not trying to be another timeline editor, like Premiere, Resolve, FCP.” “When we think about it from the consumer’s perspective, they just care about great stories.” “This is the root of a lot of the fear because we have struggled so hard just to be able to be here.” “In 10,000 years, we will still be sitting around a campfire or somewhere and telling each other stories.” Guests: Shamir Allibhai Resources: The AI Doc Breakdown: Filmmaking in the Age of Uncertainty How to Scale Video Editing With an AI Storytelling Partner Eddie AI The Eddie AI team will be demoing Eddie v3 at NAB 2026 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
• From Evil Dead Rise to The Mummy: Lee Cronin on Evolving Horror 11.04.2026 52мин

  Writer-director Lee Cronin joins No Film School to discuss how he approached reimagining The Mummy through the lens of family trauma, mystery, and body horror. In conversation with GG Hawkins, Cronin breaks down the emotional architecture behind effective horror, the challenge of staging fear in broad daylight, and the way Irish storytelling, personal experience, and practical effects continue to shape his work. He also reflects on building a long-term creative partnership, collaborating with horror powerhouses like Jason Blum and James Wan, and the discipline required to keep refining a film all the way through the edit. In this episode, No Film School's GG Hawkins and guest Lee Cronin discuss... How Cronin infused The Mummy with mystery, family drama, and horror Why broad daylight can make horror feel even more unsettling The emotional groundwork required to make gore and shock land with audiences How themes from The Hole in the Ground evolved into The Mummy Why character is always the engine of fear in Cronin’s films How Cronin thinks about the “contract” he makes with audiences from the earliest story stage The practical and creative lessons he learned from years of making corporate videos and commercials What it was like collaborating with Jack Reynor, Jason Blum, and James Wan How shooting in Ireland and Spain helped shape the scale and texture of the film Advice for emerging filmmakers on collaborators, restraint, and cutting what does not work Memorable Quotes: “Writing is not hard at all. Knowing what to write is incredibly difficult.” “Nothing is more exciting to me than watching something I’ve created with an audience and hearing them vocalize, scream, drop the popcorn, whatever it might be.” “If something doesn’t work, don’t leave it there.” “Never be afraid.” Guests: Lee Cronin Resources: Lee Cronin’s The Mummy on IMDb Vote for No Film School’s Webby-nominated explainer video 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
• How to Edit for a Screen Life Film: Insights from the Team Behind Mercy 09.04.2026 37мин

  GG Hawkins speaks with editors Lam T. Nguyen and Austin Keeling about building the visual language of Mercy, a hybrid screen life thriller directed by Timur Bekmambetov. They break down how editorial shaped not just pacing and performance, but also the film’s digital camera moves, interface design, screen choreography, and collaboration with VFX. The conversation also expands into how texting, phones, and screen-based storytelling can work in contemporary filmmaking, and why the core principles of editing still matter even inside a highly technical workflow. In this episode, No Film School's GG Hawkins and guests discuss... How Lam T. Nguyen and Austin Keeling first came together on Mercy What defines the film’s hybrid “screen life” visual language How the team used early previs to explore a more immersive 3D screen experience Why the Apple Vision Pro became an early point of reference for the film’s digital courtroom design How editorial functioned as editing, design, animation, and virtual cinematography all at once The Premiere Pro workflow they used to manage complex multi-layered timelines Why the team kept the process technically simple with adjustment layers, transform effects, and blur How they decided where the audience should look when multiple story elements were happening at once What the handoff to VFX looked like and why the editorial version had to be nearly final Their thoughts on how texting and phones can be made cinematic in modern films How Mercy balanced futuristic technology with interfaces that still feel recognizable to audiences Why collaboration, adaptability, and saying yes to unexpected opportunities helped shape their careers Memorable Quotes: “We had four weeks to build the previs and all they wanted was in traditional screen life formats.” “The best way to do is simplify it, right?” “The fundamentals still apply as an editor for this film.” “It’s all just using the tools that are available and kind of like using them to your advantage.” Guests: Lam T. Nguyen Austin Keeling Resources: Vote for No Film School’s Webby-nominated explainer video Tickets: Beacon Film Society screening — May 7, New York 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
• How a $30K Animated Indie Scored a Theatrical Run — Then Landed on HBO 03.04.2026 1ч 5мин

  In this episode, GG Hawkins speaks with animator and director Julian Glander about making his microbudget animated feature Boys Go to Jupiter for just $30,000, premiering it at Tribeca, building momentum through a 50-festival run, and eventually landing theatrical distribution and a streaming home on HBO Max. Glander breaks down the realities of producing an animated feature outside the studio system, from teaching himself new tools in Blender to embracing the scrappy story behind the film, negotiating festival fees, navigating distribution conversations, and figuring out what comes next after a breakout first feature. In this episode, No Film School's GG Hawkins and guest Julian Glander discuss... How Glander and producer Payson made Boys Go to Jupiter with a tiny team and a $30,000 budget Why Blender and open-source communities made an indie animated feature possible What surprised Glander most about audience reactions to the film’s scrappy origins The reality check of premiering at Tribeca without an instant splashy acquisition How a long festival run helped the film build momentum and recoup its budget through screening fees and prizes Why showing up in person for festival screenings and Q&As can make a lasting impact How Cartuna helped shape the film’s theatrical rollout The role of PR, timing, and critical response in helping the film break out theatrically What it means to let go of control during distribution while still protecting the work How Glander is thinking about a second feature and resisting the pressure of “heat” Memorable Quotes: “You really do have to be delusional and not know what’s going to happen.” “I was embarrassed by how scrappy it was but it turned out to be like the thing that brings people in and the thing that makes them love it.” “If you don’t ask for it, you don’t get it.” “Most things are Googleable.” Guests: Julian Glander on IMDb Julian Glander on Instagram Resources: Boys Go to Jupiter on IMDb I Really Love My Husband Screening and QA 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
• The AI Doc Breakdown — Filmmaking in the Age of Uncertainty 27.03.2026 1ч

  In this episode, No Film School host GG Hawkins speaks with director Charlie Tyrell and editors Davis Coombe and Daysha Broadway about The AI Doc: Or How I Became an Apocaloptimist. The conversation explores how the team shaped an essay-driven documentary around AI, parenting, authorship, and uncertainty, while also breaking down the collaborative editorial process, the ethics of making a film in real time about a rapidly changing subject, and the analog craft choices that gave the project its tactile visual identity. In this episode, No Film School's GG Hawkins and guests discuss... How The AI Doc: Or How I Became an Apocaloptimist uses a filmmaker’s journey into impending parenthood as a narrative device for exploring AI anxiety and optimism Why the team chose an essay-documentary structure while still grounding the film in Daniel Roher’s on-camera perspective The challenges of shaping a documentary whose subject kept changing during production as AI news evolved in real time How Charlie Tyrell, Davis Coombe, and Daysha Broadway each found their way into filmmaking and documentary storytelling The creative and ethical complications of having a co-director also function as a subject within the film How the filmmakers balanced accessibility, complexity, and emotional honesty while making a movie about a massive technological shift The editorial collaboration behind the film, including remote workflows, shared creative decision-making, and leaving ego at the door Why the team intentionally avoided using AI in the film’s creative workflow How Premiere Pro Productions, transcription tools, Blender, After Effects, Dragonframe, stop-motion builds, and practical effects supported the film’s handmade aesthetic Where the guests currently land on the spectrum between AI optimism and AI anxiety as working filmmakers and editors Why the guests believe the biggest question is not just what AI can do, but how people choose to use it Memorable Quotes: “It actively wrestles with it in real time, both thematically and in the way that it was made.” “Everyone kind of just left their ego at the door and showed up to do the work.” “Filmmaking only brings suffering.” “I don't feel like AI is the big bad. To me, the people are the big bad.” Guests: Charlie Tyrell Davis Coombe Daysha Broadway Resources: The AI Doc: Or How I Became an Apocaloptimist Synopsis: From the Academy Award-winning filmmakers behind Everything Everywhere All at Once and Navalny, a father-to-be tries to figure out what is happening with all this AI insanity. The AI Doc: Or How I Became an Apocaloptimist is a hand-made, eye-opening documentary about the most powerful technology humanity has ever created and what’s at stake if we get it wrong. For resources and ways to join the apocaloptimist community, visit theaidocgetinvolved.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
• Pete Ohs' 2026 Distribution Experiment #1: 'OBEX' 26.03.2026 34мин

  GG Hawkins speaks with filmmaker Pete Ohs for the first installment in a quarterly 2026 series tracking how he releases four films over the course of the year. Using OBEX as the case study, Ohs breaks down the film’s microbudget production, Sundance 2025 premiere, U.S. acquisition by Oscilloscope, and the realities of theatrical rollout for independent films. Their conversation explores how booking works, what filmmaker participation in Q&As can actually do for a release, and where creative energy, audience-building, and sustainability meet during distribution. In this episode, No Film School's GG Hawkins and guest Pete Ohs discuss... How OBEX was made with Albert Birney in and around his Baltimore home Why the film’s Sundance 2025 premiere led to a U.S. deal with Oscilloscope What sales agents, distributors, and theater bookers each do in an indie release Why January became the strategic release window for OBEX How theatrical runs expand based on performance, per-screen averages, and momentum Which Q&A appearances felt worthwhile in New York, San Francisco, Los Angeles, and Baltimore What the marketing campaign looked like, including social assets created with Continue Agency How Ohs thinks about audience response, Letterboxd reviews, and the digital release Why preserving energy during release may matter as much as inventing new promotional ideas What Ohs is testing next as Erupcja begins its release Memorable Quotes: “The walk from here to the bathroom is also recovering time.” “They said he couldn't do period pieces on a budget.” “I just love that it's proof that somebody watched it.” “There are limits to the time and the energy, and that you can have all these ideas, but they're just ideas until you kind of do them.” Guests: Pete Ohs Resources: Pete Ohs’ quarterly 2026 distribution experiment series Previous Pete Ohs interviews on No Film School 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
• SXSW 2026 Was Where Film and AI Met as Frenemies 19.03.2026 56мин

  Ryan Koo and Jourdan Aldredge report from Austin during the 2026 SXSW Film & TV Festival, reflecting on how the event felt different after the convention center overhaul and how the festival’s film and tech worlds collided more directly than ever. They discuss the growing tension between filmmakers and artificial intelligence, the value of human intuition in directing and storytelling, standout panels and screenings, and what Ryan learned while serving on the narrative shorts jury. The episode also highlights how SXSW continues to champion bold filmmaking, practical craft insights, and the importance of in-person creative community at a moment when AI is reshaping the industry. In this episode, No Film School's Ryan Koo and Jourdan Aldredge discuss... How SXSW 2026 felt different on the ground after the festival’s reorganization across downtown Austin Why AI became one of the defining themes of this year’s SXSW conversations, panels, and screenings Ryan’s takeaway from Steven Spielberg’s SXSW appearance and his emphasis on intuition in filmmaking The documentary The AI Doc and how it framed AI through both filmmaking and fears about the future The tension between slick AI-generated imagery and the value of human-made, lived-in artistic choices Ryan’s experience serving as a narrative shorts juror and what he learned from watching all 19 shorts in competition Why short films need to stand on their own instead of only functioning as proof-of-concept features How filmmakers today are reaching an incredibly high level of craft across directing, cinematography, and performance The narrative shorts that stood out to Ryan, including Supper and Souvenir, which won the jury honors Jourdan’s spotlight on Mantis Stream (Like and Subscribe) and why inventive midnight filmmaking still feels vital Boots Riley’s I Love Boosters as a bold opening-night film and a perfect example of SXSW’s creative identity What they learned from SXSW panels on documentary storytelling, virtual production, immersive audio, and emerging filmmaking tools Why film festivals and in-person artistic gatherings feel even more essential in an increasingly virtual world Memorable Quotes: “The human hand of it is the point of art.” “I’d as soon eat nails, then use AI in my films.” “Go to festivals, make friends, make art, mess up.” Resources: No Film School SXSW coverage 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
• The Horror in What You Don’t See—How Sound and Rhythm Build Suspense in 'Undertone' 14.03.2026 39мин

  In this episode, No Film School host GG Hawkins speaks with editor Sonny Atkins about shaping fear through sound, rhythm, and restraint in the horror feature Undertone. Atkins breaks down how the film’s audio-first concept influenced everything from the script to the cut, why long pauses and musical timing can heighten dread, and how a deeply personal story about grief and caregiving evolved through the editorial process. He also shares practical insights into working scrappy on a low-budget feature, using Premiere Pro’s Productions workflow, speech-to-text, temp sound design, and test screenings to refine both story and suspense. In this episode, No Film School's GG Hawkins and guest Sonny Atkins discuss... How Undertone began as an audio-driven concept and why that immediately stood out in the script Why sound design became central to the edit, not just an atmospheric layer The challenge of building horror around what the audience hears instead of what they see How Ian Tuason’s personal experience with caregiving and grief shaped the emotional core of the film Discovering story solutions in post, including the addition of a saved voicemail from the protagonist’s mother Creating distinct sonic and visual worlds between the downstairs living space and the mother’s upstairs room What it took to make a low-budget Canadian horror feature feel polished and cinematic Why Atkins cut his first assembly extremely short, then built the film back up from its essential skeleton How rhythm, blank space, and even drum rudiments became part of the team’s language for suspense Using Premiere Pro’s Productions workflow to keep a feature edit organized and responsive How speech-to-text helped manage ADR, offscreen dialogue, and hundreds of audio files Why editors should mock up sound ideas early for test screenings instead of waiting for the final sound team How Frame.io helped organize notes with timecode-based feedback Why humor can be an important release valve inside horror Career advice on longevity, mentorship, process, and closing the gap between taste and ability Memorable Quotes: “Because in this film, sound isn't just part of the atmosphere, it's the engine of the story.” “A lot of it's about rhythm and where to leave blank space, and that kind of stuff.” “The people who make it in this business are the people who don't quit. It's a longevity game.” “If your focus is really just not about making the work really good and working a lot, you can sort of inoculate yourself against having your heart broken over and over again.” Guests: Sonny Atkins (IMDb) Resources: Undertone on IMDb The Gap by Ira Glass Taylor Mason on editing Him for No Film School 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
• Director Amy Wang Reveals the Job That Keeps Filmmakers Working After Film School 12.03.2026 45мин

  Writer-director Amy Wang joins the No Film School podcast to discuss her debut feature, Slanted, and the long road from film school to theatrical release. In conversation with GG Hawkins, Wang reflects on leaving Australia for AFI, building a creative community in Los Angeles, learning to write as a practical path to survival in the industry, and what happened after Slanted premiered at SXSW 2025, won the Grand Jury Prize, and eventually landed distribution ahead of its 2026 theatrical release. In this episode, No Film School's GG Hawkins and guest Amy Wang discuss... How Fight Club inspired Wang to pursue filmmaking as a teenager in Sydney Why she left Australia for AFI and what it was like arriving in Los Angeles as an international student The real value of film school, especially for community-building and dedicated creative time Why learning to write became the key to sustaining a filmmaking career after graduation How a Black List script helped open doors in Hollywood The emotional and personal origins of Slanted Why body horror and comedy became the right form for exploring race, identity, and belonging How Slanted went from a logline to a financed feature What production and post looked like on a tight timeline before SXSW What it felt like to premiere at SXSW, hear audience reactions, and unexpectedly win the Grand Jury Prize The reality of selling an indie film in today’s market, even after major festival recognition What Wang learned from working with Bleecker Street on the theatrical release Details about her next feature, Crescendo, set in the world of competitive piano Memorable Quotes: “If you don't come from money, if you don't have a famous uncle and you don't want to work at Starbucks for the next three to four years after you graduate, you need to learn how to write.” (12:48) “You can't let the highs be too high and you can't let the lows be too low.” (16:31) “It doesn't matter what I do, it doesn't matter who I am, how I speak, my personality is like, what my thoughts or how intelligent I am, people will always see my face first.” (19:08) “As long as you keep going, as long as you keep learning and changing and growing, I think you don't need to be the best throughout your life to be able to have a career in this industry.” (40:56) Guests: Amy Wang Resources: Slanted official film page Applying for Your O-1 Visa to Work in Film and TV 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
• The Best Distillation of Filmmaking: An A24 Edit Case Study 06.03.2026 38мин

  In this episode, GG Hawkins speaks with editor Harrison Atkins about shaping A24’s How to Make a Killing with director John Patton Ford. Atkins breaks down his path into editing, his holistic “total filmmaker” approach to storytelling, and the editorial challenges of balancing dark comedy, violence, voiceover, and audience empathy around a morally compromised protagonist. The conversation also explores the realities of studio post-production, from long edit timelines and test screenings to cutting in Adobe Premiere’s Productions workflow while collaborating with a London-based post team more accustomed to Avid. In this episode, No Film School's GG Hawkins and guest Harrison Atkins discuss... How Harrison Atkins found his way into editing through directing and making his own films Why he thinks of editing as a holistic, dramaturgical part of filmmaking rather than a purely technical role Reuniting with director John Patton Ford after Emily the Criminal What drew him to the multi-tonal mix of crime, satire, dark comedy, and violence in How to Make a Killing How voiceover created both opportunity and endless editorial possibilities in the cut The difference between an indie sprint like Emily the Criminal and the extended timeline of a studio feature How test screenings and audience response helped refine comedy, pacing, and emotional momentum Why the first reel was crucial to getting audiences aligned with a charismatic but morally gray lead The editorial challenge of shaping an underdog around Glenn Powell’s natural confidence and charm How Premiere’s Productions workflow supported a collaborative feature edit with multiple people working simultaneously What it was like cutting the film in London with assistant editors adapting from an Avid-heavy post environment How temporary VFX comps in After Effects and Photoshop helped solve story and joke-building problems inside the edit Harrison’s philosophy of leadership, collaboration, intuition, and staying present as both an editor and director His advice to emerging filmmakers: fail boldly, work small if necessary, and keep making things instead of waiting for permission Memorable Quotes: “I never really considered myself an editor. I still kind of weirdly don't.” (01:19) “The calendar is really a myth.” (06:59) “The difference between a joke that lands and one that doesn't is often microscopic.” (13:30) “Perfection is the enemy of good.” (33:50) Guests: Harrison Atkins Resources: How to Make a Killing Emily the Criminal Total Filmmaker by Jerry Lewis 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
• What These DPs Used Instead of Stills to Land Their Sundance Films 26.02.2026 57мин

  Recorded live at the 2026 Sundance Film Festival in Park City, this annual Director of Photography Roundtable features No Film School’s GG Hawkins in conversation with cinematographers Lidia Nikonova, Sam Levy, and Maria Herrera. The group discusses their unconventional paths into cinematography—from orchestras and photojournalism to weddings and radio DJing—how they landed their Sundance projects, and why connection, rhythm, and trust matter more than flashy lookbooks. They also break down the tools they used to communicate vision, navigate long dialogue scenes, and adapt to technical and emotional challenges on set. In this episode, No Film School's GG Hawkins and guests discuss… Shooting at the 2026 Sundance Film Festival and hosting at the BraveMaker house Maria Herrera’s transition from music to cinematography and operating handheld for emotionally intense performances Sam Levy’s mentorship under Harris Savides and how that shaped his approach to narrative filmmaking Lidia Nikonova’s journey from photojournalism and the Canon EOS 5D Mark II to AFI and shooting narrative features How each DP landed their Sundance projects through relationships, cold emails, and creative chemistry When to bring visual references to a director meeting—and when to just listen Using tools like Figma to build collaborative lookbooks and visual worlds Why dialogue rhythm and musicality influence cinematography choices Shooting on 35mm with an Arricam ST versus digital on the ARRI Alexa 35 Working with vintage Super Baltar lenses (famously used on The Godfather) for a modern crime thriller Referencing L'Argent by Robert Bresson for insert shots and cinematic economy How to approach 10+ page dialogue scenes without losing visual intention The value of shooting weddings and low-budget projects to build craft and confidence Advice for emerging cinematographers: show up early, trust your vision, and get your reps in Memorable Quotes: “This child will never play a musical instrument ever in her life.” “If you have good dialogues, it's like, okay, here's something.” “Just connect with her.” “Show up at least one hour early… and do not use your phone on set.” Guests: Lidia Nikonova Sam Levy Maria Herrera 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