The No Film School Podcast

Inside the Craft of Action With Emmy-Nominated Stunt Coordinator Victor Paguia 19.07.2026 39min

Emmy-nominated stunt coordinator and performer Victor Paguia joins No Film School’s GG Hawkins to explain how action sequences are designed around character, story, safety, and production realities. Drawing on more than two decades of experience—including his work on I Am Legend, Zombieland, and CBS’s FBI—Paguia discusses breaking into the stunt industry, developing distinct fighting styles for characters, creating ambitious television action on an eight-day prep schedule, and using previsualization to make sequences safer and more effective. He also shares practical advice for independent filmmakers staging action with limited time and resources. In this episode, No Film School's GG Hawkins and guest Victor Paguia discuss... How competitive diving prepared Paguia to perform under pressure Crashing the callback that led to his first stunt job on I Am Legend Why effective stunt work must serve the story rather than spectacle Finding the line between exciting action and physically unbelievable action Developing a shared movement language for zombies and other creatures Why fast zombies are more intimidating—and more enjoyable to perform Building action around the established strengths of a character Giving the agents on FBI distinct fighting styles based on personality and physicality Keeping fights, chases, and takedowns fresh across multiple seasons The differences between preparing action for a feature film and a network television series Choreographing and teaching fights to actors while filming on a tight schedule Why filmmakers should slow down instead of rushing on set How stunt doubles help actors learn choreography and improve their performances Using an iPhone to previs camera angles, movement, costumes, and choreography How smaller camera systems have expanded the possibilities for action photography Monitoring multi-camera stunt sequences when playback is unavailable Why micro-budget filmmakers should design action within their actual resources The driving, fighting, falling, and wire-work skills aspiring stunt performers should develop How collaboration between departments creates memorable action Memorable Quotes: “Telling the story of the movie is more important than performing the action.” “Slow is smooth, smooth is fast—and wear sunscreen.” “Stunt doubles aren't just there to perform the action instead of the actor. They're also there to help choreograph and teach and show.” “It's enticing to try to go for bigger than you can actually handle, but it may end up just looking bad or sort of amateur.” Guests: Victor Paguia Resources: Watch Victor Paguia’s Zombieland stunt Extraction 2 Director Sam Hargrave’s Advice on Oners, Stunts, and Emails 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 Art of Asking for Money for Indie Films feat. Madhouse Films 16.07.2026 53min

Madhouse Films co-founders Katherine Romans and Charlie Traisman join GG Hawkins to explain how they built an independent production company from the ground up. They discuss using short films as their version of film school, raising project financing through relationship-building, approaching investors as creative partners, and transitioning from shorts to feature films. The conversation also explores cold outreach, fiscal sponsorship, balancing artistic ambition with financial realities, building durable producing partnerships, and why filmmakers must treat their projects like small businesses. In this episode, No Film School's GG Hawkins and guests Katherine Romans and Charlie Traisman discuss... How Romans and Traisman’s longtime friendship developed into a creative and business partnership Using short films to establish Madhouse Films’ voice, values, and community of collaborators Why emerging producers should make projects before waiting for the perfect opportunity Raising a flexible pool of financing while simultaneously developing and producing films Identifying different investor profiles and understanding what each person wants from participating Approaching investors as creative partners rather than treating fundraising as a transaction Using fiscal sponsorship to accept tax-deductible donations for qualifying independent film projects Reframing fundraising and relationship-building as part of a filmmaker’s creative practice Why clear, direct financial asks are more effective than vague pitches Learning from rejection and using each “no” to improve the next approach How cold emails helped Madhouse build relationships with filmmakers they admired Transitioning from short-film fundraising to feature-film financing, revenue participation, and ROI conversations Giving filmmakers room to dream while establishing practical budget boundaries Deciding which creative priorities are worth protecting and where compromises can be made Maintaining trust, communication, and humor within a producing partnership Why directors should act as entrepreneurs and actively help their producers find financing Treating an independent film like a small business that must be continually pushed toward completion Developing Madhouse Films’ new film fund and expanding what audiences consider a Madhouse project Memorable Quotes: “The whole process of raising and relationship building is extraordinarily fluid and nonlinear.” “You don't want money from just anyone. You do want someone who's aligned with you because they're part of your team.” “Because someone says no does not mean you stop asking. You just have to understand how to ask better.” “If you're getting no's, it means you're putting yourself out there.” Guests: Katherine Romans Charlie Traisman Resources: Madhouse Films Madhouse Films on Instagram Madhouse Films Newsletter Fractured Atlas Fiscal Sponsorship 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 Microbudget ‘Sour Party’ Became a Steven Soderbergh Presents 11.07.2026 49min

After an earlier feature project collapsed, filmmakers Amanda Drexton, Michael A. Drexton, and Samantha Westervelt decided to stop waiting for permission and make Sour Party with the people, locations, equipment, and lived experiences already available to them. They discuss financing and shooting the microbudget comedy, surviving festival rejection, finding a distributor, budgeting for post-production, and campaigning through Decentralized Pictures until Steven Soderbergh selected the film to receive his support and the “Steven Soderbergh Presents” credit. In this episode, No Film School's GG Hawkins and guests Amanda Drexton, Michael A. Drexton, and Samantha Westervelt discuss... Turning the collapse of a planned feature into the motivation to make Sour Party Expanding earlier short-film ideas into a female-led Los Angeles buddy comedy Writing around the actors, locations, equipment, and personal experiences they already had Financing the production with a small-business loan, credit cards, deferred rates, and community support Moving quickly from the first draft to production rather than waiting for outside permission Shooting an 80-minute feature over approximately 19 days with mostly 12-hour production days Navigating festival rejection before premiering at the Chattanooga Film Festival and winning its Audience Award Building relationships with filmmakers and festival supporters who helped champion the movie Choosing a smaller distributor that offered accessibility, communication, and flexibility Why a distribution agreement does not necessarily include a minimum guarantee or a marketing budget Applying for Steven Soderbergh’s Decentralized Pictures grant to secure prints and advertising support Spending months campaigning through the platform’s community-based voting process Pulling the film from its scheduled release after Soderbergh selected it and offered to present the movie Setting up a collection account to manage investors, deferred payments, points, residuals, and revenue distribution Planning for post-production costs, including music licensing, legal work, sound, color, deliverables, and distribution expenses Negotiating music licenses when the production could not afford the initial quoted prices Learning to consider production logistics while writing future projects The importance of collaborators whose different skills combine into a shared creative vision Why filmmakers should view their careers as a long game rather than measuring success by age Building the soundtrack around Samantha’s former band, Egg Drop Soup, and other local female artists How DCP Plus aims to offer independent filmmakers a more transparent distribution option Why audience reviews, word of mouth, and communal viewing remain important for microbudget films Memorable Quotes: “We’re not waiting for permission. So we just did it.” — 05:37 “My big advice is just do it. You’ll figure it out. You’re going to make mistakes. Just do it. And also, do not forget about post.” — 32:39 “The best negotiation tactic is to just actually not have the money.” — 33:27 “Your community is your superpower.” — 43:41 Guests: Amanda Drexton Michael A. Drexton Samantha Westervelt Resources: Sour Party on IMDb Sour Party is scheduled to be available July 24 on digital rental platforms, including Amazon, Apple, Fandango at Home, DirecTV, and DCP Plus. 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

Secrets to an Oscar Short Film Campaign with Julia Aks and Steve Pinder 06.07.2026 53min

No Film School’s Jo Light records live from Aspen Shorts Fest with Julia Aks and Steve Pinder, the co-writers and co-directors of Jane Austen’s Period Drama. The conversation covers how the short grew from a period-drama pun into an Oscar-nominated comedy, what it took to produce an ambitious period piece on a limited budget, and how the filmmakers navigated festivals, awards qualification, campaign strategy, and the career momentum that followed. In this episode, No Film School's GG Hawkins, Jo Light, and guests Julia Aks and Steve Pinder discuss... How Julia Aks and Steve Pinder first met through a USC student film and developed their creative partnership Turning a comedic pun into a short film with emotional depth and a clear central event Why successful short films often focus on a small moment instead of compressing a feature-sized story Budgeting the short, finding the right producer, and learning where production money shows up on screen Calling in community favors for period costumes, crew, and production support Working with Snow White the chicken and planning animal scenes safely Balancing Julia’s roles as actor, co-writer, co-director, and editor Building a festival strategy after early rejections and learning the importance of premiere status Why Aspen Shorts Fest became a key Oscar-qualifying opportunity for the film How live festival screenings shaped the filmmakers’ understanding of the comedy Handling polarizing reviews and why strong reactions can signal that a film took risks What happens after winning a qualifying award, from the long list to the short list to nomination The cost, strategy, and labor behind an Oscar campaign for a short film How Emma Thompson became the film’s “Executive Menstrual Advisor” Why live screenings became central to their campaign strategy The career impact of receiving an Oscar nomination, even without winning Developing the feature version of Jane Austen’s Period Drama and future musical comedy ideas Memorable Quotes: “When short films are very successful, I think they take a small moment or they take a small piece of humanity or a small observation about life, and then really maximize and explore that small thing.” “We never wanted to make a proof of concept that didn't stand on its own. We wanted to make a short film that was a short film.” “Everything makes sense, and also nothing makes sense.” “Be bold, be brave, make a zero or a 10. Don't make a five.” Guests: Julia Aks Steve Pinder Resources: Jane Austen’s Period Drama Jane Austen’s Period Drama on IMDb Aspen Shortsfest 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 Assistant Route: Networking, Mentorship, and Building a Film Career & Community 26.06.2026 54min

In this episode, GG Hawkins talks with writer, director, producer, assistant, and Not Your Daddy’s Films co-founder Vika Stubblebine about building a sustainable film career through assistant work, mentorship, community, and creative self-advocacy. Vika traces her path from acting and theater at UCLA to working in TV production at Sony, becoming a writers’ assistant, writing episodes of S.W.A.T., and helping build Not Your Daddy’s Films into a Los Angeles community for women and non-binary filmmakers. In this episode, No Film School's GG Hawkins and guest Vika Stubblebine discuss... How Vika moved from theater, acting, and playwriting into film and television Why assistant jobs can be one of the most valuable ways to learn the entertainment industry What Vika learned working in TV production at Sony How mentorship from bosses and showrunners helped her move toward writing The importance of telling people what you want to do in your career How Vika landed opportunities in writers’ rooms and on S.W.A.T. Why Not Your Daddy’s Films began as a grassroots screening event Building community for women and non-binary filmmakers in Los Angeles The role of accessible events, panels, workshops, and screenings in supporting emerging filmmakers Why being on set in any capacity can help actors, writers, directors, and producers understand the filmmaking ecosystem Memorable Quotes: “Tell everyone what you want, and you don’t need to be me, me, me, me, me. Talk about me all the time, but be comfortable being like, yeah, I want to be in a writer's room.” “You need to start believing that you're good enough because every single person in this world, it's not everybody, but people are going to tell you no, and you can't also tell yourself no.” “That was the spark that led us to creating Not Your Daddy's Films because we were looking for more community.” “I think that community, community, community is what indie film to me is all about. It's making at the very basic level, it's making cool shit with your friends.” Guests: Vika Stubblebine Resources: Not Your Daddy’s Films Not Your Daddy’s Films on Instagram The Daddy Dailies Podcast on Instagram Vika Stubblebine How Not Your Daddy’s Films is Redefining the Industry By Championing Women and Non-binary Filmmakers 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 $7K, 7-Day Movie Built Around One Extraordinary Person Became a Festival Hit 25.06.2026 47min

Filmmaker Joe Burke and actor-writer-producer Oliver Cooper join No Film School to discuss the making and release of Burt, a black-and-white micro-budget feature inspired by real-life musician Burt Berger. The conversation covers how Burke and Cooper built a narrative film around a non-actor, shot the movie in seven days for $7,000, used a tiny crew to preserve authenticity, and pursued a self-distribution strategy through Filmhub after the film gained momentum on the festival circuit. In this episode, No Film School's GG Hawkins, Joe Burke, and Oliver Cooper discuss... How Joe Burke and Oliver Cooper first met Burt Berger and realized he could be the center of a feature film Why Burt became a narrative film instead of a documentary Working with non-actors and blending fiction with real-life details Shooting a black-and-white feature in seven days with a three-person crew Why the team avoided a traditional production model How they kept the production legal and professional while still working with almost no money The role of cinematographer Daniel Kenji Levin and the stripped-down camera package Raising finishing funds after the film was already cut Winning festival awards, including Best Comedy at Cinequest Getting press coverage through persistent DIY outreach Why the filmmakers chose self-distribution with Filmhub Building a release strategy around digital ads, TikTok reviewers, podcasts, local press, and community organizations Setting an “off-ramp” date to avoid burnout during the release process Advice for filmmakers deciding whether to make a short film or a micro-budget feature Memorable Quotes: “It’s a father-son grounded comedy with a bit of a thrilling twist inspired by a real-life friend of ours, Burt Berger, who’s not an actor.” “I love his spirit and the world needs to know who he is.” “I’m so tired of waiting for permission.” “We knew the smaller footprint we had, the more authentic we could do that.” Guests: Joe Burke Oliver Cooper Resources: Burt The Movie 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

Designing Indie Horror: The Production Design of 'Obsession' 24.06.2026 42min

GG Hawkins speaks with production designer Vivian Gray about building the visual world of Obsession, from Southern Gothic references and texture-heavy interiors to practical blood gags and micro-budget problem-solving. They discuss what a production designer actually does, how Gray collaborated with the director, cinematographer, costume designer, and art team, and why color, texture, aging, and window treatments can make a major difference on an indie horror film. In this episode, No Film School's GG Hawkins and guest Vivian Gray discuss... What a production designer does and how the role shapes the visual world of a film How Vivian Gray landed the job on Obsession through a recommendation and visual pitch deck Building the film’s Southern Gothic and Midwestern Gothic-inspired visual language Why production designers should come onto a project as early as possible Collaborating with cinematography, costumes, props, set decoration, lighting, and graphic design How a small indie crew used hands-on collaboration to make the film’s world feel cohesive Designing horror environments through texture, color, maximalism, and unease Practical lessons from blood gags, aging props, window treatments, and set dressing The highest-impact production design choices for micro-budget filmmakers Vivian’s advice for aspiring production designers Memorable Quotes: “My job basically is I'm in charge of the visual design of the film and the visual world.” “Because they have nothing to shoot until there's something to shoot, right?” “Everything has to have a texture.” “I think it is color and texture. It's going to make the biggest impacts in your film, from my experience.” Guests: Vivian Gray Resources: Obsession on IMDb Universal Studios Prop House & Drapery The Hand Prop Room 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 Art of Curation: Inside Kanopy’s Approach to Film Discovery 19.06.2026 45min

No Film School’s GG Hawkins speaks with Kanopy’s Aaron Spears and Matt Lewis about curation, film discovery, and how independent films find audiences in a streaming landscape shaped by algorithms. The conversation covers Kanopy’s library- and university-based model, the importance of human-led programming, how poster art and social media influence discovery, and why theatrical and festival experiences still matter for the long-term life of a film. In this episode, No Film School'se GG Hawkins and guests Aaron Spears and Matt Lewis discuss... What Kanopy is and how it differs from subscription-based streamers like Netflix Why Kanopy’s free, ad-free model through libraries and universities matters for film access Aaron’s path from film programming and art house theaters to Kanopy’s content programming team Matt’s background in entertainment marketing and how he brings that experience to Kanopy How Kanopy’s programming team curates new titles each week Why human taste, context, and browsing still matter in an algorithm-driven media landscape How poster art, title design, and trailers shape audience expectations What filmmakers should consider when creating key art for their films How Kanopy uses social media clips and themed collections to help audiences discover films Why niche programming, rock docs, horror, and repertory-style collections can build loyal audiences How universities use Kanopy for coursework and casual film discovery The continued importance of festivals, theatrical screenings, and communal moviegoing Why libraries may be one of the most important access points for independent cinema Upcoming Kanopy titles and programming, including I Really Love My Husband, Fright Fest, and The Napa Boys Advice for emerging filmmakers interested in curation, marketing, and film culture Memorable Quotes: “The big headline is, it's free. And also no ads.” “I really feel like browsing itself, this is probably the librarian in my head too, like browsing itself should be a pleasure.” “I think if you can represent that with a poster, that really helps too.” “Do your best to watch one movie a day.” Guests: Aaron Spears Matt Lewis Resources: Kanopy 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 Logistics of Chaos: Directing Lord of the Flies With 36 Child Actors With Marc Munden 12.06.2026 47min

GG Hawkins speaks with BAFTA-winning director Marc Munden about directing the new Netflix adaptation of Lord of the Flies, written by Jack Thorne. Munden discusses revisiting William Golding’s novel, shaping the series’ visual language, filming on a remote island in Malaysia, working with 36 young actors, and how limitations around child actors’ schedules helped inspire the show’s hallucinatory nighttime look. In this episode, No Film School's GG Hawkins and guest Marc Munden discuss... Why Munden was initially conflicted about adapting Lord of the Flies again How Jack Thorne structured the four-part series around Piggy, Jack, Simon, and Ralph Using the rainforest as an alien, living ecosystem that mirrors the boys’ collapsing society How production restrictions led Munden to develop an infrared-inspired visual approach for nighttime scenes Rehearsing for five weeks with 36 child actors before shooting Directing young performers toward natural behavior instead of “performing” How Munden uses analog production books filled with references, sketches, script pages, and notes Why post-production became a continuation of discovery, including iPhone footage and evolving portrait sequences Munden’s advice for emerging filmmakers: make films, learn to write, be kind, and keep learning from others Memorable Quotes: “I thought, well, who needs another Lord of the Flies?” “I wanted to just characterize the rainforest as something which is alien, that has a strange beauty to it.” “I think filmmaking is the mixture of extreme joy and small defeats.” “I would say, shoot your own film.” Guests: Marc Munden 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 #2: Erupcja (and Releasing an Indie Starring Charli XCX) 11.06.2026 46min

GG Hawkins continues No Film School’s 2026 distribution experiment with filmmaker Pete Ohs, focusing on the release of Erupcja, his Warsaw-shot microbudget feature starring Charli XCX, Lena Góra, Will Madden, and Jeremy O. Harris. Pete breaks down how the movie was made, how its TIFF premiere led to a deal with One Two Special, and what he learned from theatrical touring, Q&As, VOD timing, marketing assets, fan edits, and the emotional sustainability of releasing independent films. In this episode, No Film School's GG Hawkins and guest Pete Ohs discuss... Making Erupcja in Warsaw, Poland, with Charli XCX and a small, experimental production model How SAG’s Global Rule One affected the budget of an international indie production Premiering at TIFF and navigating sales conversations with CAA and multiple distributors Why Pete chose One Two Special based on alignment, communication, and “vibes” Building a release around Q&As, theatrical events, and in-person audience engagement Creating playful marketing assets, including a zine, a voicemail phone line, and fan-edit materials Releasing trailer stems and encouraging remix culture around the film How theatrical box office expectations were framed for a movie made under $100,000 The limits of relying on actors or stars to carry indie film promotion Why filmmakers should treat Q&As as another form of storytelling The idea of “regional filmmaking” and creating meaningful local releases Finishing and releasing projects as part of sustaining a long-term filmmaking practice Memorable Quotes: “We went to Poland in August of 2024 for two weeks with half of an outline and shot the movie in order.” “If the numbers were better or the percentages were better, but the vibe was worse. I would have been suffering.” “The work doesn't end.” “Treat it as practice for storytelling.” Guests: Pete Ohs Resources: Erupcja on IMDb No Film School: How a Film Score Actually Gets Made (Step by Step) & Pete Ohs’ Distribution Experiment of 2026 No Film School: Pete Ohs' 2026 Distribution Experiment #1: 'OBEX' No Film School: Pete Ohs Rethinks How We Make Movies 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 Started in the Red — Then Made a Movie: The Story of 'Hacked' 04.06.2026 43min

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 50min

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 27min

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 41min

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 44min

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 43min

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 30min

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 44min

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 1h 10min

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 39min

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