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In this episode, host GG Hawkins hosts a roundtable discussion with microbudget filmmakers at the Austin Film Festival. They share their journeys of creating feature films under tight budgets and high personal stakes. Each filmmaker provides insight into the emotional, physical, and financial tolls of producing indie films while managing personal challenges. Despite the struggles, their stories are underscored by the resilience and camaraderie that helped them see their projects through.
The discussion touches on how these filmmakers greenlit their own projects, self-funded, and navigated logistical and emotional hurdles. From crafting stories inspired by personal traumas to relying on a supportive community to rally resources, the episode reveals what it truly takes to complete a microbudget film. The filmmakers open up about facing setbacks, from COVID shutdowns to creative crises, while pushing forward in pursuit of their vision.
In this episode, No Film School’s GG Hawkins speaks with indie filmmakers to discuss:
The personal inspiration behind their microbudget films
Emotional and physical tolls in the process of making a low-budget film
Strategies for overcoming logistical challenges, from location scouting to equipment sourcing
The importance of a supportive filmmaking community in DIY film production
How each filmmaker dealt with setbacks and moments of doubt
Key lessons from their experiences in indie filmmaking at AFF
Memorable Quotes:
“If I was going to do this and fail, it would be good to have a support system around us.” (20:10)
“Making the movie, getting picture lock… you’re only 60% there.” (44:13)
“It’s like a constant vulnerability. It’s like cutting yourself open and letting your guts out every day.” (25:27)
“I don’t know if I’ll do this again… It’s incredible, but the toll is so high.” (50:42)
Resources:
Austin Film Festival
GG Hawkins' Micro-Budget Filmmaking Newsletter: @LostinGraceland on Instagram
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: [email protected]
Learn more about your ad choices. Visit megaphone.fm/adchoices -
Celebrating Halloween, this special episode dives into the indie horror-comedy Booger, an unconventional story that combines grief, body horror, and dark humor. Director Mary Dauterman, editor Kyle Moriarty, and lead actor Grace Glowicki share the creative and logistical challenges they faced bringing this unique film to life. From crafting a cat-human transformation story inspired by loss to the collaborative spirit on set, they reveal how to keep indie film projects grounded in vision, even on a tight budget.
Mary Dauterman is a director and writer making her feature debut with Booger, a horror-comedy that blends humor and body horror to explore themes of grief. With a background in illustration and advertising, Mary brings a unique visual style to her work, making her voice distinct in the indie film scene.
Kyle Moriarty is an editor known for his collaborative approach to indie projects, often working closely with directors to capture unique tones and pacing. His work on Booger helped shape the film’s unsettling, humorous edge, bringing out the full impact of its horror-comedy fusion.
Grace Glowicki is an actor and filmmaker acclaimed for her physical, transformative performances. In Booger, she brings the role to life through meticulous body language, channeling both horror and humor in the character’s journey of transformation.
In today’s episode, No Film School’s GG Hawkins speaks with Mary Dauterman, Kyle Moriarty, and Grace Glowicki to discuss:
The inspiration behind Booger, blending dark themes with horror and humor
How the 2020 lockdown shaped the film’s themes of grief and loneliness
Mary Dauterman’s transition from shorts to her debut feature film and what that entailed
The creative approach to body horror, from prosthetics to unique camera techniques
How editor Kyle Moriarty’s previous collaboration with Mary Dauterman influenced the edit’s tone and pacing
Grace Glowicki’s physical preparation for the role, embodying the character’s transformation
Managing DIY effects on a low budget
Memorable Quotes:
“Writing it during lockdown and writing it being like super isolated, these themes of grief and loneliness started creeping in.” (04:18)
“I decided to storyboard the entire film all the way through, which was crazy, but I'm really glad I did it because I think I could pay attention to certain things like: how does the film feel visually?” (12:12)
“Our specialty lenses were called a lens baby, which is kind of like a lens with an accordion and you can push it all around and the focus falls and it looks really unsettling.” (14:06)
“The biggest challenge was we were shooting like July into August and turns out prosthetics melt.” (24:48)
“It's a little bit like the more seriously we take her cat behavior and transformation and just all that grossness… the funnier it is.” (30:52)
“I was getting these poster designs that I was like, what? No. I'm going to do this myself. So I went a little nuts.” (46:20)
Resources:
Booger on IMDb
Follow Mary Dauterman on Instagram
Mary Dauterman on IMDb
Mary Dauterman’s website
Kyle Moriarty on IMDb
Kyle Moriarty’s website
Grace Glowicki on IMDb
Find No Film School everywhere:
On the Web
https://nofilmschool.com/
Facebook
https://www.facebook.com/nofilmschool
Twitter
https://twitter.com/nofilmschool
YouTube
https://www.youtube.com/user/nofilmschool
Instagram
https://www.instagram.com/nofilmschool
Send us an email with questions or feedback: [email protected]
Learn more about your ad choices. Visit megaphone.fm/adchoices -
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What does it take to go from indie filmmaking on a shoestring budget to working with legends like Sam Raimi? Andrew Kightlinger’s journey from Madagascar to Hollywood shows how personal experiences shape a filmmaker’s voice. Filmmakers Adam Schindler and Brian Netto share how they moved from microbudget horror films to collaborating with one of the industry’s icons. This episode explores the highs and lows of filmmaking, from preparation and improvisation to building trust on set.
Andrew Kightlinger grew up surrounded by the vibrant landscapes of Madagascar, which ignited his passion for filmmaking. Now directing in Hollywood, his films, like Lost on a Mountain in Maine, showcase his ability to merge personal experiences with visually captivating storytelling. Lost on a Mountain in Maine releases on November 1.
Adam Schindler and Brian Netto began their filmmaking journey with microbudget horror, mastering the craft of tension and suspense. Their latest film, Don’t Move, produced by Sam Raimi, is set to release on October 25, 2024 on Netflix, proving that powerful stories don’t require massive budgets
In today’s episode, No Film School’s Jason Hellerman and GG Hawkins speak with Andrew Kightlinger, Adam Schindler, and Brian Netto to discuss:
Andrew Kightlinger’s journey from Madagascar to Hollywood
How his upbringing influenced Lost on a Mountain in Maine
The need for preparation and improvisation with tight budgets
Schindler and Netto’s move from micro budget films to working with Sam Raimi on Don’t Move
Creating real-time horror with minimal voiceover and non-linear techniques
The role of trust and collaboration in elevating a project
Memorable Quotes:
“The big lesson I learned in that movie was who not to work with, and I won't go into more detail than that, but I think that's a very important lesson in a collaborative field like ours.” (12:03)
“I believe that filmmaking is preparation. Like bar none, that's what your job as a director is to do. So prepare because it's gonna be chaos when you start shooting.” (18:02)
“I knew what I wanted the film to be. And then I also storyboarded the whole movie just with stick figures. I just had an iPad and I drew out all the really complicated stuff to the best of my ability.” (20:06)
“He's the consummate collaborator, like… horror icon, but also like one of the best script to screen notes… he lives up to all of it.” (45:22)
“We became directors together. Our passion for film began together. We founded together. I think the things that we enjoy are slightly different. We like the same movies, but we also have different tastes.” (55:17)
“I think the filmmaking part of it is the fun part and the easy part. It's all the other things that you have to juggle and have the temperament for and the stomach for and the patience for and all those sorts of things.” (1:04:26)
Resources:
Follow Andrew Kightlinger on Instagram
Andrew on IMDb
Lost on a Mountain in Maine on IMDb
Adam Schindler on IMDb
Follow Adam on Instagram
Brian Netto on IMDb
Follow Brian on Instagram
Don’t Move on IMDB
Find No Film School everywhere:
On the Web
https://nofilmschool.com/
Facebook
https://www.facebook.com/nofilmschool
Twitter
https://twitter.com/nofilmschool
YouTube
https://www.youtube.com/user/nofilmschool
Instagram
https://www.instagram.com/nofilmschool
Send us an email with questions or feedback: [email protected]
Learn more about your ad choices. Visit megaphone.fm/adchoices -
In filmmaking, finding the right actor can make all the difference, and for Hallie Meyers-Shyer, Michael Keaton was the only choice for the lead role in Goodrich. This episode delves into the creative journey of writing and directing a deeply personal film, navigating the challenges of independent production, and discovering the heart of the story during editing. It also explores how persistence, vision, and collaboration are essential in bringing a project to life.
Hallie Meyers-Shyer is a writer and director known for her heartfelt and character-driven stories. Following in the footsteps of her legendary filmmaking parents, Nancy Meyers and Charles Shyer, Hallie made her directorial debut with Home Again in 2017. Her latest film, Goodrich, is a personal story inspired by her family dynamics, with a lead role written specifically for Michael Keaton. Hallie is passionate about crafting films that blend humor and emotion, creating stories that resonate on a deeply human level.
In today’s episode, No Film School’s GG Hawkins and Jason Hellerman speak with Hallie Meyers-Shyer to discuss:
Insights from the LA Director’s Lab, a workshop that offers directors a space to practice their craft and experiment with creative risks
Why Michael Keaton was the perfect fit for Goodrich and how she wrote the role with him in mind
The personal inspiration behind the story, rooted in Hallie’s experiences with her own family
How to keep pushing forward with a film project, even when financing falls through
The importance of outlining in the writing process and how it provides freedom in creativity
Hallie’s experience working with a tight-knit team and storyboarding the entire film
The emotional discoveries that shaped the film during editing and how the film revealed itself as more than just a comedy
Memorable Quotes:
“I work hard to fully flesh out each character and make them not just servicing the thing that you want to get across in that scene and make them people with a lot of layers and things.” (15:06)
“I kind of always felt this was going to be an independent movie, even though it sort of would have been a studio movie probably 30 years ago.” (18:24)
“I had Pinterest boards for costumes. I had Pinterest boards for every location. I also had a really long time to work on this movie, so I had about six years of images pulled.” (26:27)
“I love editing. I just love it. It's one of my favorite parts, if not my favorite part.” (36:02)
“Something I noticed about Michael Keaton in the editing room (…) is he brings the first scene of the movie into the last scene of the movie.” (37:15)
“I know many super talented writers who can do multiple projects at once. I admire it. I cannot do it. I am so fully immersed in what I'm writing.” (46:27)
“I think it's so important for human stories, personal stories about people and emotions and whatever your life story is, get it out there, keep at it, be your biggest champion, make it happen.” (51:52)
Resources:
Follow Hallie Meyers-Shyer on Instagram
Hallie on IMDb
Goodrich on IMDb
Hollywood Camera Works trainings
Find No Film School everywhere:
On the Web
https://nofilmschool.com/
Facebook
https://www.facebook.com/nofilmschool
Twitter
https://twitter.com/nofilmschool
YouTube
https://www.youtube.com/user/nofilmschool
Instagram
https://www.instagram.com/nofilmschool
Send us an email with questions or feedback: [email protected]
Learn more about your ad choices. Visit megaphone.fm/adchoices -
The Austin Film Festival (AFF) stands out for its unique focus on writers and emerging filmmakers, providing a space for attendees to connect with industry professionals and discover creative collaborations. With its welcoming atmosphere, AFF offers an ideal environment for networking, learning, and exploring new opportunities. The conversation also delves into the career of cinematographer Mihai Malaimare Jr., who shares his journey from film school to working with legendary director Francis Ford Coppola, offering insights into his approach to cinematography and navigating the evolving role of technology in film.
Andy Volk is the Senior Film Programmer at Austin Film Festival. He selects films from around the world and helps shape the festival’s diverse lineup.
Emily Lock is the Conference Director at Austin Film Festival. She organizes panels and events focused on screenwriting and filmmaking.
Mihai Malaimare Jr. is a cinematographer known for Megalopolis and Jojo Rabbit. He began working with Francis Ford Coppola shortly after film school and is recognized for his innovative approach to both film and digital cinematography. Mihai has worked on several acclaimed films, blending artistry with evolving technology.
In today’s episode, No Film School’s GG Hawkins and Ryan Koo speak with Andy Volk, Emily Lock, and Mihai Malaimare Jr. to discuss:
How to make the most of your time at the Austin Film Festival
Why AFF stands out as a community-driven festival
Tips for networking, pitching, and finding creative collaborations at the festival
Mihai Malaimare Jr.’s journey from film school to becoming Francis Ford Coppola’s go-to cinematographer
How Mihai navigates the evolving landscape of VFX-heavy productions and maintains the balance between technology and artistry
Building lasting professional relationships with directors and how to stay open to creative ideas on set
Memorable Quotes:
“[AFF] is one of the more welcoming festivals that I've ever been to, and it really is about community. And I think that's one of the things that we really pride ourselves on at the festival is making it feel really warm and really open.” (7:34)
“It's a very rare opportunity for an aspiring and emerging storyteller to get in a room with someone who's an actual gatekeeper for Hollywood, to hear their perspective on what they're looking for and their advice to emerging voices, and to have the opportunity to speak with them, either one-on-one or in a group, and really pitch themselves.” (16:22)
“I want any of our listeners who sort of skew on the shyer side to practice introducing themselves to somebody that they don't know.” (19:03)
“My advice is watch everything. And I know that sounds trite, but it's so important to get outside your own taste bubble.” (25:34)
“Make space for things that don't jump out at you. And you would be surprised how much you can love something that didn't really necessarily call to you.” (25:58)
“It can be very stressful when you're not prepared, and you're used to productions that are really very carefully planned. If you move an inch, then it's a disaster.” (38:09)
“I'm still trying to figure out why, but I'm more attracted to still photography than stills from other movies.” (52:18)
Resources Mentioned:
Austin Film Festival
On Story podcast
Mihai Malaimare Jr. on Instagram
Mihai Malaimare Jr. on IMDb
Mihai Malaimare Jr.’s website
Find No Film School everywhere:
On the Web
https://nofilmschool.com/
Facebook
https://www.facebook.com/nofilmschool
Twitter
https://twitter.com/nofilmschool
YouTube
https://www.youtube.com/user/nofilmschool
Instagram
https://www.instagram.com/nofilmschool
Send us an email with questions or feedback: [email protected]!
Learn more about your ad choices. Visit megaphone.fm/adchoices -
The O-1 visa, also known as the "artist visa," is a crucial step for filmmakers and creative professionals aiming to establish their careers in the U.S. Designed for individuals with extraordinary ability in their fields, the application process can be daunting. This episode offers insights into what it takes to qualify, how to strengthen your application, and common challenges faced by those seeking an O-1. Whether you're in the middle of applying or just starting out, this episode provides a roadmap for navigating the process.
Alabama Blonde is a casting director, costume designer, and performance coach originally from Australia. Now based in Los Angeles, she has navigated the O-1 visa process twice, ultimately securing a green card. Alabama’s multidisciplinary career spans various creative roles, giving her unique insights into the challenges of obtaining visas as an artist working across multiple fields.
Julia Zanin de Paula is a Brazilian filmmaker, director, and editor currently based in New York. With a background in horror films, including her notable short Mother of Monsters, Julia has successfully transitioned from a student visa to an O-1 artist visa. She offers valuable advice on gathering press, awards, and recommendations to strengthen her application.
Sneha Mendis is a producer and screenwriter from India, currently in New York, and in the midst of applying for her O-1 visa. With a background in production and development, Sneha shares her experience of building a case for the visa while working in various roles across film sets in the U.S.
In today’s episode, No Film School’s GG Hawkins and Jason Hellerman speak with filmmakers Alabama Blonde, Julia Zanin de Paula, and Sneha Mendes to discuss:
What qualifies as “extraordinary ability” and how to demonstrate it in your visa application
The key documents and evidence required to strengthen your case, including press coverage, awards, and work offers
The emotional challenges of navigating the visa process and finding support while applying
Common misconceptions about the O-1 visa and why it’s not as "easy" as some think
Financial considerations: the costs of legal fees, recommendations, and union approvals
Memorable Quotes:
“I think being extraordinary is having something that sets you apart from everyone who's doing the thing that you do.” (15:05)
“You know what happens when you're a filmmaker and you are starting your career? You're couch surfing. You know, it's not always easy.” (24:10)
“They can't say Julia will be extraordinary. They have to say Julia is extraordinary right now, and she will be extraordinary in the US.” (25:56)
“You've got to be a little insane to do the O1 visa. You've got to be a little delusional. Because if you don't go all in, you're not going to get it.” (32:34)
If you have a long-term project that the producer has never encountered your visa and has never gone through human resources with your kind of visa, they might not be down to do it.” (43:22)
“It doesn't get easier once you get it. It's just a constant struggle to grow in your career.” (44:20)
Mentioned:
Follow Sneha Mendes on Instagram
Sneha’s website
Sneha on IMDb
Follow Julia Zanin de Paula on Instagram
Julia’s website
Julia on IMDb
Follow Alabama Blonde on Instagram
Strike the Blonde Casting on Instagram
Find No Film School everywhere:
On the Web
https://nofilmschool.com/
Facebook
https://www.facebook.com/nofilmschool
Twitter
https://twitter.com/nofilmschool
YouTube
https://www.youtube.com/user/nofilmschool
Instagram
https://www.instagram.com/nofilmschool
Send us an email with questions or feedback: [email protected]!
Learn more about your ad choices. Visit megaphone.fm/adchoices -
As AI continues to reshape creative industries, video editing is undergoing a major transformation. Tools like Eddie AI are making the editing process faster, more efficient, and more accessible to filmmakers. By acting as a storytelling partner, AI can quickly generate rough cuts, find key moments in footage, and even suggest alternative storylines, all while freeing up creatives to focus on the art of storytelling. This episode explores how AI is changing the landscape of post-production, addressing both the excitement and concerns about its growing role in filmmaking.
Shamir Allibhai is the co-founder and CEO of Eddie AI, an innovative tool designed to assist filmmakers in streamlining the video editing process. With a background in documentary filmmaking and production work at the BBC, Shamir transitioned into tech to solve the workflow challenges he encountered in the field. His passion for storytelling drives his mission to use AI as a tool to empower creators, making the process of crafting stories more efficient and accessible to all.
Jourdan Aldredge is the tech editor at No Film School, with years of experience covering filmmaking tools, techniques, and trends. A filmmaker and writer himself, Jourdan brings a unique perspective on how technology intersects with storytelling.
In today’s episode, No Film School’s Gigi Hawkins speaks with Jourdan Aldredge and Shamir Allibhai to discuss:
The evolution of video editing and how AI tools can help streamline the process
How Eddie AI functions as a "storytelling partner" for filmmakers, not just an editing tool
The iterative nature of filmmaking and how AI can aid in refining the story during production
Addressing fears around AI in creative industries, including concerns about replacing human creativity
How AI tools can save time and focus more energy on the craft of storytelling
The future of AI in film and how it can democratize storytelling
Memorable Quotes:
“I have this aspiration that more people can tell better stories. And I want to help bring those untold stories out.” (5:04)
“Hey, let's find the most important sound bites on these topics, let's start creating a rough cut, but also, hey, you also need 10 TikToks.” (16:58)
“Imagine if production and post-production weren't the siloed steps. What if they could operate in tandem in a similar sense to an agile workflow?” (20:36)
“I think with every technology we've observed, they've actually led to an increase in productivity or creativity.” (24:13)
“I truly believe that a lot of these tools are like bicycles for the mind.” (36:03)
Mentioned:
Eddie AI
Jourdan Aldredge's article about Eddie AI
Follow Jourdan on LinkedIn
Follow Shamir on X
Shamir on IMDb
Find No Film School everywhere:
On the Web
https://nofilmschool.com/
Facebook
https://www.facebook.com/nofilmschool
Twitter
https://twitter.com/nofilmschool
YouTube
https://www.youtube.com/user/nofilmschool
Instagram
https://www.instagram.com/nofilmschool
Send us an email with questions or feedback: [email protected]!
Learn more about your ad choices. Visit megaphone.fm/adchoices -
How do documentary films inform the way we approach narrative filmmaking? What does it mean to care for your mental health in an industry that thrives on constant creativity and long hours? How do documentary editors navigate the emotional toll of handling sensitive, often traumatic stories?
In today’s episode, No Film School’s GG Hawkins speaks with editor Kait Plum to discuss:
Doing a test scene before becoming the editor of Bad Shabbos
The difference between editing doc and editing narrative
Editing a film with many characters
The benefits of doing test screenings for comedy
Facing difficult footage when editing a documentary
The importance of setting boundaries and taking breaks
Using the term “participant” instead of “subject” in documentary filmmaking
What it was like to work on the doc, Mediha
Why networking and mentorship are crucial for aspiring editors
Memorable Quotes
“Working in documentary is so much work. Working in narrative was just fun because everything is there and you have a script.” [5:01]
“We are looking at a lot of harrowing stuff on repeat and having to internalize that.” [30:55]
“I know a lot of fellow documentary editors who deal with depression and anxiety on a regular basis.” [31:02]
“The number one thing in the film industry is to network.” [42:56]
Links:
Bad Shabbos
Mediha
Follow Kait on IG
Find No Film School everywhere:
On the Web
https://nofilmschool.com/
Facebook
https://www.facebook.com/nofilmschool
Twitter
https://twitter.com/nofilmschool
YouTube
https://www.youtube.com/user/nofilmschool
Instagram
https://www.instagram.com/nofilmschool
Send us an email with questions or feedback: [email protected]!
Learn more about your ad choices. Visit megaphone.fm/adchoices -
As streaming reshapes the industry, pilot season is a thing of the past, leaving creatives to navigate constant demands and year-round pitching. How do filmmakers find balance when the lines between work and rest blur? And how can unexpected pivots lead to more meaningful projects? This episode explores staying resilient in a world without structure, featuring Max Lugavere's decade-long journey with Little Empty Boxes, a deeply personal documentary about his mother's battle with dementia that evolved in ways he never expected.
Max Lugavere is a filmmaker, health journalist, and New York Times bestselling author. After his mother’s diagnosis with Lewy body dementia, Max chronicled her experience in Little Empty Boxes. The film, which took over a decade to complete, shifted from an investigative piece to an intimate portrayal of love, loss, and resilience.
In today’s episode, No Film School’s Gigi Hawkins speaks with Jason Hellerman, Max Lugavere and Chris Newhard to discuss:
The death of pilot season and how streaming has transformed the TV landscape
The endless cycle of pitching and the impact on writers’ lives
Finding balance between personal life and an unpredictable film industry.
How unexpected creative pivots can lead to more meaningful work.
Max Lugavere’s personal journey documenting his mother’s battle with dementia in Little Empty Boxes
Chris Newhard’s role in reshaping Little Empty Boxes through fresh eyes, helping it evolve into a deeply emotional and impactful documentary
Memorable Quotes:
“The thing with pilot season not existing is interesting because you still have network TV, right? Network TV still generally functions the way it always has, except for it doesn't embrace the buying and research and development behind pilot season anymore.” [5:36]
“The anxiety of pitching year-round is that you're also assuming these execs are reading year-round. They need a break too.” [9:03]
“There were likely overlapping skills that I had learned as a short form content creator that could be applied to long form documentary filmmaking, but of course the amount of money and time and personnel required to create a feature length documentary… it's so different.” [26:28]
“Being in front of the camera allowed me access to some moments that I think you probably wouldn't have been able to catch on film had I not actually had been there.” [41:04]
“I just simply found that going with the emotion instead of trying to fight the tide was more beneficial for me.” [53:24]
“He spent a lot of time and a lot of money trying to make this movie happen. And the first thing I did is I deleted it.” [55:42]
Mentioned:
Max Lugavere on Instagram
Little Empty Boxes website
Max Lugavere’s website
The Genius Life podcast
Max Lugavere’s Books
Chris Newhard’s website
Chris Newhard on Instagram
Jason Hellerman on IMDb
Jason’s library of content on No Film School
Jason on Instagram
Jason on X
KYNO editing tool
Find No Film School everywhere:
On the Web
https://nofilmschool.com/
Facebook
https://www.facebook.com/nofilmschool
Twitter
https://twitter.com/nofilmschool
YouTube
https://www.youtube.com/user/nofilmschool
Instagram
https://www.instagram.com/nofilmschool
Send us an email with questions or feedback: [email protected]!
Learn more about your ad choices. Visit megaphone.fm/adchoices -
Selling a script can feel like a distant dream, but the process is very much alive. From using platforms like The Black List to writing query letters and building personal connections, breaking into the industry is challenging but not impossible.
Plus, we explore the rise of the Panamanian film industry, how it has evolved, and what it takes to make a mark in a smaller but growing market.
Delfina Vidal is a Panamanian filmmaker known for her documentaries. She has contributed significantly to the growing Panamanian film industry, focusing on telling stories that resonate with local and international audiences.
Arianne Benedetti is a producer and key figure in the Panamanian film scene. She is instrumental in the development of Panama’s cinematic landscape, working on projects that showcase the country’s cultural and artistic diversity.
Maria Isabel Burnes is involved in promoting the Panamanian film industry, playing an essential role in nurturing emerging filmmakers and helping develop a vibrant film culture in Panama.
In today’s episode, No Film School’s GG Hawkins speaks with Jason Hellerman and filmmakers from Panama Delfina Vidal, Arianne Benedetti and Maria Isabel Burnes to discuss:
How to break into the industry by selling or optioning scripts
The importance of getting your work out into the world and building a community around it
The Substance, the film starring Demi Moore, Dennis Quaid and Margaret Qualley, written and directed by Coralie Fargeat
What emerging filmmakers in Panama are doing to grow their film industry
Strategies to create universal stories that can travel beyond local markets
Why female filmmakers are thriving in Panama’s expanding film scene
Memorable Quotes:
"You have to get your story out into the world. You have to be willing to hear the sometimes harsh feedback that these websites deliver.” [05:25]
"Don't stop writing, because maybe the main thing here is: one script can open a couple doors, two scripts can open more, three, you know, onward and upward, but you're gonna need scripts." [16:34]
“It's not just about how great your script is, but how marketable it is. Who sees that they can make money from it? Is this some material that I can get something in return for?” [20:15]
“It’s more common to be on an NFL roster than it is to be a working screenwriter in Hollywood.” [26:21”
“When you're going to work with kids, make sure you have a lot of time before set so they can relate to you and feel very comfortable with you.” [59:02]
“Always, always prepare for the worst. Prepare your coworkers for the worst. Prepare your actors for the worst. Prepare the location that you're working in for the worst.” [1:03:07]
Mentioned:
Jason Hellerman on IMDb
Jason’s library of content on No Film School
Jason on Instagram
Jason on X
Delfina Vidal on IMDb
Arianne Benedetti on IMDb
Maria Isabel Burnes on IMDb
The Black List
Stage 32
Roadmap Writers
Find No Film School everywhere:
On the Web
https://nofilmschool.com/
Facebook
https://www.facebook.com/nofilmschool
Twitter
https://twitter.com/nofilmschool
YouTube
https://www.youtube.com/user/nofilmschool
Instagram
https://www.instagram.com/nofilmschool
Send us an email with questions or feedback: [email protected]!
Learn more about your ad choices. Visit megaphone.fm/adchoices -
Filmmaking isn’t just about making a great film—it’s about getting that film seen. With traditional distribution models crumbling, independent filmmakers are finding new ways to connect directly with audiences. This episode explores how the indie film landscape is shifting, with filmmakers taking control of their own distribution, marketing, and audience-building strategies. Whether you’re a first-time filmmaker or a seasoned pro, this episode will inspire you to think outside the box and embrace a more grassroots approach to getting your work into the world.
Jon Reiss is a filmmaker, author of the book Think Outside the Box Office, and a media strategist who runs 8 Above, a company that creates custom distribution strategies for indie films. He has consulted with filmmakers and organizations worldwide including The Gotham, IDA, and Film Independent, and has led workshops on distribution and marketing through his 8 Above Distribution Lab. Reiss is currently producing a documentary on robotic performance artist Mark Pauline, and is producing the second season of a podcast, Plantscendence, about people’s psychedelic experiences. He has recently launched a Substack focused on indie film distribution and marketing.
Annamaria Sofillas, a development executive and producer, is the Director of Content at Kino Lorber’s MHz SVOD. She is the lead producer of the documentary "I'm “George Lucas": A Connor Ratliff Story, which premiered at Slamdance ’24 and received theatrical exhibition nationwide through Alamo Drafthouse Cinemas, with digital distribution by Grasshopper Film. Annamaria was instrumental in building NBCUniversal's Seeso and Gimlet Media's scripted division, where she led over 25 long-form television series and 30 stand-up specials, including the GLAAD Award-nominated Take My Wife and BAFTA Award-nominated Flowers.
Scott Monahan, the filmmaker behind Anchorage, has been candid about his experience with self-distribution, highlighting the challenges and successes of taking control of a film’s release.
Glen Reynolds, founder of Circus Road Films, is a producer rep and festival advocate who helps indie filmmakers navigate distribution and find the right partners to bring their projects to audiences.
In this roundtable discussion, No Film School’s GG Hawkins speaks with Jon Reiss, Annamaria Sofillas, Scott Monahan, and Glen Reynolds to discuss:
Why hybrid distribution is essential for indie filmmakers today
How film festivals and events can help grow your audience
Why setting clear release goals is crucial for your film’s success
How building your audience starts long before your film's release
Real-world examples of filmmakers using grassroots promotion and festival tours
Why filmmakers are taking control of their own marketing and outreach strategies
How indie filmmakers are embracing a punk rock mentality to bypass traditional distribution models
Links:
Learn more about Scott Monahan
Learn more about Glen Reynolds
Follow Annamaria Sofillas on Instagram
Buy or rent I’m “George Lucas”: A Connor Ratliff Story on Amazon/Apple
I'm "George Lucas": A Connor Ratliff Story Website
Follow I’m “George Lucas” on Instagram
Follow I’m “George Lucas” on Facebook
Follow I’m “George Lucas” on X
8 Above with Jon Reiss Substack
8 Above website
Find No Film School everywhere:
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Imagery plays a crucial role in filmmaking, shaping how a story visually unfolds. This element must be integrated into the scriptwriting process, rather than being left for production. With fall film festivals in full swing, indie filmmakers are not only focused on storytelling but also on the challenges of navigating the competitive market and selling their films. A strong visual narrative can make all the difference when it comes to standing out and securing distribution deals.
Director Niclas Larsson’s feature film Mother, Couch! brings an intriguing mix of surrealism and family drama to the screen. Premiering at the 2023 Toronto International Film Festival, this film stars Ewan McGregor and explores the strange dynamic of a mother refusing to leave a couch in a furniture store. Its unique visual storytelling and offbeat premise are sure to leave an impression.
In today’s episode, No Film School’s GG Hawkins speaks with Jason Hellerman and Niclas Larsson to discuss:
Why memorable imagery in scripts is key to creating impactful films
The challenges of today’s film festival market and indie acquisitions
Niclas Larsson’s unique creative process and his “Storm Book”
How the physical layout of Mother, Couch! plays a critical role in the story's themes
Why sticking to your gut and vision is essential in the post-production process
Memorable Quotes:
"Imagery is something that should go hand in hand with filmmaking." [1:55]
"We're missing images right from the core. We're relying too much on cinematographers or directors to find them later." [5:08]
"If you can master the short form, if you can really pay attention to every single second of what you're doing and the importance of every second." [24:23]
"Everything we do in scene one to nine needs to be confused, it needs to resemble or picture, convey confusion and displacement." [30:12]
"You make movies for other people—the real people. A singular vision is supposed to be criticized." [01:04:37]
"The level of filmmaking has declined and is declining rapidly. And we need to stay strong, giving an adult audience bang for their buck, because that's our job." [01:04:56]
Mentioned
Jason Hellerman on IMDb
Jason’s library of content on No Film School
Learn more about Mother, Couch! on IMDb
Niclas Larsson on IMDb
Follow Niclas on Vimeo
Follow Niclas Larsson on Instagram
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Actor Saoirse Ronan recently revealed that she is halfway through writing a short film that she plans to direct— and it feels so relatable. It reminds us that creative struggles are universal, no matter who you are. But being halfway through is not a failure but a part of the journey. Tune in to know what to do to reach the finish line.
In today’s episode, No Film School’s GG Hawkins, Jason Hellerman and guest Patrick Walsh discuss:
Saoirse Ronan is halfway through writing a short film she plans to direct
The relatable struggle of getting stuck halfway through a project
Outlining and having a clear ending in mind to avoid getting stuck in the middle of a writing project
Actors transitioning to directing and the unique perspective they bring
The value of grants, labs, and workshops for filmmakers to get support and feedback
The list of grants and labs that No Film School has launched on its website
The recent positive performance of films at the box office
Patrick’s journey into editing, starting from film studies
Patrick’s experience of destination editing for the film The Uninvited
Technical challenges and workflow of remote editing
Memorable Quotes
“I do think short films are coming back to Hollywood.” [03:03]
“Don’t start writing something you don’t absolutely know how it ends. It’s not worth cranking out 100 final draft pages if you don’t know what happens in the last four.” [3:39]
“Labs beget labs, just as festivals beget festivals.” [15:50]
“These grants are that stepping stone that maybe you didn’t know you needed.” [15:03]
“Seeing these movies do well has been a strong indicator that movies are back, and original ideas with strong genres and points of view have a viable place in the marketplace.” [21:49]
“It’s been good to see Hollywood bounce back a little bit from the strikes and from the MPTP not paying writers and actors what they deserve.” [23:22]
“Films aren’t finished. They’re abandoned.” [51:33]
Links:
Patrick Walsh Website
Follow Patrick Walsh on IG
Grants and Labs List
Find No Film School everywhere:
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https://www.facebook.com/nofilmschool
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https://www.instagram.com/nofilmschool
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In this episode of the No Film School podcast, GG Hawkins interviews Ryan Thomas, the cinematographer, and Dan Edwards, the colorist, of the film 'I Really Love My Husband'. They discuss the process of color grading and the importance of early collaboration and communication between the director, DP, and colorist. They emphasize the need for budgeting for color grading and creating a LUT (lookup table) before shooting to establish the desired look of the film. They also discuss the dangers of editing in log and the importance of developing a shared vision and trust between the creative team. In this conversation, Dan, GG Hawkins, and Ryan discuss the importance of color grading in filmmaking and how it can enhance the storytelling process. They talk about the role of color in creating a specific mood and atmosphere, as well as the challenges and considerations when working with different skin tones. They also touch on the importance of communication and collaboration between the director, DP, and colorist, and the use of visual references to convey desired looks. The conversation concludes with advice for emerging filmmakers interested in color grading.
Takeaways
Early collaboration and communication between the director, DP, and colorist is crucial for achieving the desired look of the film.
Budgeting for color grading is important to ensure that there is enough time and resources for the process.
Creating a LUT before shooting can help establish the look of the film and avoid surprises in the final grade.
Editing in log can limit creativity and make it difficult to achieve the desired look of the film.
Developing a shared vision and trust between the creative team is essential for a successful color grading process. Color grading plays a crucial role in enhancing the storytelling process by creating a specific mood and atmosphere.
Working with different skin tones requires careful consideration and communication to achieve the desired look.
Collaboration and communication between the director, DP, and colorist are essential for a successful color grading session.
Visual references can be used to convey desired looks and facilitate effective communication.
Investing in a comfortable and well-equipped color grading environment can enhance the client's experience and trust in the process.
For emerging filmmakers interested in color grading, it is recommended to seek out reliable learning resources and invest in a calibrated display for accurate color representation.
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The world of filmmaking is full of challenges, from industry rejection to personal setbacks. Yet, for many independent filmmakers, these obstacles become opportunities for growth and perseverance. This episode explores how passion, persistence, and a refusal to give up can turn seemingly insurmountable odds into career-defining moments. Whether you're an aspiring filmmaker or a seasoned professional, the story of how Nadine Crocker made her mark in the industry is sure to inspire.
Nadine is a filmmaker, actor, and mental health advocate whose latest feature, “Continue,” is based on her own struggles with depression and suicide. The award-winning drama tells the story of a woman who, after a failed suicide attempt, is taken to a mental institution where she finds unexpected friendships, love, and a new purpose. Release by Lionsgate during Suicide Awareness Month, the film has garnered critical acclaim for its raw portrayal of mental health struggles. Nadine not only wrote, directed, and produced “Continue,” but also stars in it, bringing an intensely personal narrative to life. After years of being typecast and facing rejection, she took control of her career.
In today’s episode, No Film School’s GG Hawkins speaks with Nadine Crocker to discuss:
Being dropped by her reps shortly after having her son—and how it led her to make “Continue” independently.
Breaking free from being typecast and proving herself as a writer, director, and producer.
Balancing waitressing and raising a newborn while working on her first feature film.
Securing financing through personal savings and a small group of supportive investors.
Deciding to stop waiting for permission and create her own opportunities.
How “Continue” became a movement for mental health awareness through her nonprofit, Continue On.
Memorable Quotes:
“I did hear like all the time that I was too pretty to play the best friend and I wasn't famous enough to be the lead.” [6:01]
“I'm done asking for permission. I'm making this movie and I don't care what I have to do or how much work or how many years it takes.” [9:16]
“I invested my life savings into this movie, like everything we had, and went back to waitressing so that I could keep the lights on.” [11:30]
"Imagine being dropped in the middle of the ocean with nothing but a hard drive, and you gotta keep it over your head and tread motherfucking water until someone comes." [21:09]
Links:
Continue IMDb
Follow Nadine Crocker on Instagram
Continue the Film on Instagram
Learn more about her nonprofit
Find No Film School everywhere:
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Facebook
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https://www.youtube.com/user/nofilmschool
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What happens when you make two micro-budget films back-to-back? For filmmakers Henry Loevner and Steven Kanter, it sparks what they’ve dubbed the “micro-budget chain reaction,” inspiring others in their community to pick up cameras and start shooting. As the industry consolidates and traditional distribution becomes harder to navigate, indie filmmakers are finding new ways to create and share their work, embracing folk filmmaking and using platforms like YouTube to bypass traditional barriers. Peak Season, the duo's second feature, serves as a perfect example of this movement.
In today’s episode, No Film School’s GG Hawkins speaks with filmmakers Henry Loevner and Steven Kanter to discuss:
What the "micro-budget chain reaction" means and how it inspired others to follow in their footsteps
The challenges of making two micro-budget films back-to-back
The impact of friends and community on the rise of indie filmmaking
Their experience shooting Peak Season in Wyoming with a small crew
How the landscape of indie film distribution is changing and why many filmmakers are turning to YouTube
The importance of flexibility and improvisation in low-budget filmmaking
How Peak Season found its audience and landed a theatrical release
Why Henry and Steven are ready to transition to a studio film after their micro-budget projects
Memorable Quotes:
"It's contagious for better or worse... we're making something, and we're not waiting for permission." [5:40]
“Despite all the doom and gloom about the industry in general and how hard it is to make a living, there's never been an easier time to go out and make your film.” [6:43]
“If you just put your movie on YouTube, you can get it out there immediately, which is amazing.” [8:19]
“If you've written a script and it's going to take $10 million to make this movie and you don't have $10 million, then write a new script.” [51:33]
“The only way to do it is you have to just write something small that you can manage. Write something that's set in a single location.” [51:56]
Mentioned
Peak Season on IMDb
Follow Henry Loevner on IG
Follow Steven Kanter on Instagram
Find No Film School everywhere:
On the Web
https://nofilmschool.com/
Facebook
https://www.facebook.com/nofilmschool
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https://www.youtube.com/user/nofilmschool
Instagram
https://www.instagram.com/nofilmschool
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How can you break into the film industry? Especially if you're not in Hollywood or you come from a different profession, like law. Is thick skin essential? Can you balance business with creativity? Producer Ken Kao, co-founder of Waypoint Entertainment, shares insights on these topics, some of his experiences, and recent projects.
Ken’s latest feature, CUCKOO, written and directed by Tilman Singer, stars Hunter Schafer, Dan Stevens, and Jessica Henwick and premiered at the 2024 Berlin International Film Festival. With a diverse portfolio spanning films like Academy Award-winning THE FAVORITE and THE NICE GUYS, featuring Ryan Gosling and Russell Crowe, Ken's expertise and vision have shaped the landscape of modern cinema.
In today’s episode, No Film School’s GG Hawkins speaks with Ken Kao, co-founder of Waypoint Entertainment and producer of some of the most anticipated films of 2024, to discuss:
How Ken started in the industry, moving from lawyer to producer without film school
Advice for emerging filmmakers and indie producers
The Waypoint x Neon partnership and the opportunity in mid-budget films
How he selects projects, being a genre-agnostic producer
How Waypoint stays nimble and adaptive in the ever-changing industry
What every producer or aspiring producer should be consuming and Ken’s media diet beyond movies
Living in Hawaii and maintaining distance from Hollywood
His latest feature, "CUCKOO," by Tilman Singer, starring Hunter Schafer, Dan Stevens, and Jessica Henwick
Waypoint’s involvement in the release of “Longlegs,” directed by Osgood Perkins and starring Nicolas Cage and Maika Monroe
Other projects currently in development
Memorable quotes:
“You never know what's gonna happen when you start making a film” [12:02]
“We're all just trying to make good movies that touch people and that we can be proud of” [20:05]
“I think the vast majority, especially this younger generation of people, if you're gonna get them off their sofas, getting to put their phone down, take 10 to 20 minutes to drive to a theater park and get it and sit there and give up two hours of their time, you need to give them some kind of authentic experience. I think what's good is subjective, but I think their ability to sniff the BS is high.” [21:55]
“As difficult as the film business right now is, I think as a creator, and I'm not just speaking for myself, I'm just speaking for aspiring creators, people that are creating already, in some ways it's as strong as the time has ever.” [41:00]
“A good number of people know when actors are choosing movies to make a buck. And when they really love the material and they're putting themselves in that role, in that movie.” [46:07]
“Trust your taste, trust what you're trying to say to people, and trust your instincts.” [47:33]
Links:
Follow Ken Kao on LinkedIn
Ken Kao on IMDb
Find No Film School everywhere:
On the Web
https://nofilmschool.com/
Facebook
https://www.facebook.com/nofilmschool
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https://twitter.com/nofilmschool
YouTube
https://www.youtube.com/user/nofilmschool
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https://www.instagram.com/nofilmschool
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As an editor, should you specialize in documentary film or narrative film? Who says you can’t do both? Editor Daniel Garber proves it’s possible, sharing his unique approach to editing some of his most recent projects. He dives into the nuances of pacing, note-taking, and the art of knowing when not to cut.
In today’s episode, No Film School’s GG Hawkins speaks with editor Daniel Garber to discuss:
Getting his first editing credit and learning from other established editors
Working with director Lance Oppenheim on multiple films
Keeping your expenses low as a filmmaker
How tension emerges from the performances and the pacing of the edit
Differences between doc and fiction
The unexpected moments that happen after a scene has wrapped
A very efficient note-taking process
Working on small indie films compared to large productions
The power of face-to-face interactions
Memorable Quotes
“I go back and forth between documentary and fiction. I get a lot out of that.” [15:05]
With most documentaries, you have way more footage. You’re preparing yourself for a marathon rather than a sprint.” [17:28]
“Making a decision not to cut is a huge part of editing.” [21:30]
“The social aspect of editing is the most rewarding part.” [35:42]
Links:
Check out Daniel's website
Follow Daniel on IG
Daniel Garber on IMDb
Find No Film School everywhere:
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https://nofilmschool.com/
Facebook
https://www.facebook.com/nofilmschool
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https://www.youtube.com/user/nofilmschool
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https://www.instagram.com/nofilmschool
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TV is oversaturated. California is too expensive to film in. Many audiences are underserved. It’s time we indie filmmakers rebuild the film industry on our terms. Plus, we bid farewell to a beloved host of the No Film School podcast.
In today’s episode, No Film School’s Charles Haine, GG Hawkins, Jason Hellerman, and guest Janek Ambros discuss:
Not waiting on labs or studios to give you the green light
The influx of people looking for jobs in the market
Needing better streamer options for indie projects
The benefits of serving an underserved audience
Why the distribution process is vital
Advice for people who think they are finished with their project
The important reasons Charles insists on working in Davinci Resolve
Why Charles is leaving the No Film School podcast
The origin of the short documentary film, Ukrainians in Exile
Why Janek wanted to keep the movie so simple and so short
Advice for documentary filmmakers
Memorable Quotes:
“We’re going to have this feral resurgence of indie filmmaking because we are so sick of the industry to figure it out.” [5:54]
“Breakdowns lead to breakthroughs. We need to break through because the way it’s been working is not sustainable.” [6:35]
“It should be a lot easier to shoot in California, it shouldn’t be so expensive.” [13:32]
“Because of the way distribution works, distribution never feels finished.” [28:00]
“People think I know all these celebrities, but I don’t. I just annoy every single publicist in Hollywood.” [1:03:07]
“If you want to make a short doc, you can make a short doc. There’s no excuse for that.” [1:07:50]
Links:
Ukrainians in Exile: A Documentary Short Film
Follow Assembly Line Entertainment on IG
Follow Janek on X
BlueCheck Ukraine
Find No Film School everywhere:
On the Web
https://nofilmschool.com/
Facebook
https://www.facebook.com/nofilmschool
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https://www.youtube.com/user/nofilmschool
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https://www.instagram.com/nofilmschool
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If you were a teen in the early 2000s, the film Dìdi will likely evoke a strong sense of nostalgia. Dìdi, which is said to embrace “the cringier side of adolescence,” premiered at the 2024 Sundance Film Festival where it won the Audience Award for the best U.S. Dramatic film.
In today’s episode, No Film School’s GG Hawkins speaks with Sean Wang and Arielle Zakowski to discuss:
The invaluable experience gained working in advertising
Why the advertising world is a great start for new filmmakers
Feeling emotion through the computer screens in the film
Our silly AOL Instant Messenger user names from the early 2000s
Empowering the young actors and giving them the space to play
How to help actors stop overthinking when they are stuck in their heads
Getting the director’s cut finished in time to submit to Sundance
Being pregnant during post-production
The power of making small, very personal films
Memorable Quotes
“We always wanted to make sure you could feel the person behind the computer.” [15:49]
“Any idea is a good idea. If you try it and it doesn’t work, then we can recalibrate.” [18:47]
“Maintaining any sense of objectivity in the edit is kind of the hardest part.” [31:31]
“The thing you think is just the thing you do for fun that no one will care about, that’s the thing that will help you find your voice.” [33:43]
“Make the things that feel very small and pure and have those build on top of each other.” [35:45]
Mentioned:
Follow Arielle on IG
Follow Sean on IG
Dìdi trailer
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https://www.youtube.com/user/nofilmschool
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https://www.instagram.com/nofilmschool
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