Эпизоды
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In this episode of No Film School, GG Hawkins and Ryan Koo bring you a special live report from the 2025 Sundance Film Festival in Park City, Utah. They explore the energy of the festival, highlight standout films, and dive into the journey of filmmakers who have pushed through industry challenges to bring their visions to the screen. Joining the conversation are the creators behind Didn't Die, a unique take on the zombie apocalypse that blends horror, dark humor, and indie filmmaking ingenuity.
In this episode, No Film School’s GG Hawkins, NFS Founder Ryan Koo, and guests discuss:
The evolving landscape of independent cinema at Sundance and what trends are emerging in 2025
How Didn't Die offers a fresh, meta take on the zombie apocalypse through the lens of a struggling podcast host
The challenges of making an indie film with a limited budget, including DIY visual effects and multi-hat roles
Reflections on how filmmakers navigate festival submissions and distribution
The broader state of the film industry and the importance of resilience as an independent filmmaker
Memorable Quotes:
“I mean, definitely story-wise, what inspired me about working on The Walking Dead was like, my episode had a couple of different storylines that I thought were really sweet… And I think this idea of like a zombie movie that was more about finding meaning through the devastation and darkness was compelling to me.”
“It’s a zombie apocalypse, and our protagonist is still recording a podcast. It’s about holding onto what you love, even when the world is falling apart.”
“You pull favors, you adapt, and you embrace the chaos. That’s how we made this movie happen.”
Guests:
Meera Menon – Co-writer and Director of Didn't Die
Erica Fishman – Producer of Didn't Die
Paul Gleason – Co-writer and Cinematographer of Didn't Die
Resources:
Sundance 2025 Film Festival Lineup
No Film School’s Sundance 2025 Coverage
Episode: Invisible Work of Producers Plus Sundance Slate 2025
Sundance 2025: Editor Benjamin Shearn On Using Premiere Pro and Frame.io to Bring 'By Design' to Life
The VFX Secrets Behind Lush Sundance Short 'Em & Selma Go Griffin Hunting'
Bringing Mexico’s Vibrant Culture to Life in Sundance Short Film 'Susana'
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GG Hawkins and Jason Hellerman talk with Seth Gordon, the celebrated writer-director behind Back in Action, Horrible Bosses, and The King of Kong: A Fistful of Quarters. Seth shares the joys and challenges of creating large-scale films, balancing action and comedy, and his insights into leadership and creativity. This episode is packed with practical advice for emerging filmmakers and candid reflections on Seth’s career journey.
In this episode, No Film School’s GG Hawkins, Jason Hellerman, and Seth Gordon discuss:
How Seth approaches directing large-scale films while staying focused on the story’s essence
Why removing distractions is key to immersing yourself in the creative process
The importance of starting with the story and building everything else around it
Balancing meticulous planning with room for spontaneity and collaboration on set
Why aspiring filmmakers should focus on creating something deeply meaningful, rather than chasing external recognition
Memorable Quotes:
“My phone is always off. I don’t even answer the phone anymore... The interruptions throw me off... What works for me is to disappear into a tiny sort of working environment and then get lost in one detail at a time.”
“Make something. Don’t make it about a film festival or about getting recognition. Make it about something you care about deeply.”
“It didn't start with a crew of 300 and dealing with the Thames river and weather in England and whatever. It started with a piece of paper and excitement about a story.”
Resources:
Seth Gordon on IMDb
Back in Action Trailer
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Пропущенные эпизоды?
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In this episode of No Film School, GG Hawkins sits down with filmmakers Sarah Mokh, Stephen Cedars, Benji Kleiman, and Imran J. Khan to discuss navigating the South by Southwest (SXSW) Film Festival. With insights from seasoned festival veterans, this episode offers practical advice and candid reflections on how to make the most of a festival experience, whether you’re a first-timer or a returning filmmaker.
In this episode, No Film School’s GG Hawkins and guests discuss:
The importance of preparation before attending a festival and knowing how to pitch yourself and your project.
How to pace yourself and avoid burnout over the course of a week-long festival.
The value of publicists in boosting your film's visibility and managing PR.
Stories and lessons from navigating previous festivals, including Sundance and SXSW.
Audience engagement strategies to make your screenings successful.
Memorable Quotes:
Stephen Cedars: “South by Southwest is the most fun film festival in the entire world… It’s your first time, and it’ll be your only first time here.” (25:02)
Imran J. Khan: “Any movie, even a feature, is still kind of just an audition for another thing… You have to figure out what’s next and be ready to talk about it.” (17:10)
Benji Kleiman: “You need to have some talking points ready—what do you want people to say about your movie? That’s what’s going to make it into print.” (41:10)
Guests:
Sarah Mokh: Filmmaker behind Cigarettes, premiering in the SXSW Independent Pilot Competition.
Stephen Cedars: Co-director of Snatchers, a horror-comedy that premiered at SXSW.
Benji Kleiman: Co-director of Snatchers and veteran of multiple SXSW screenings.
Imran J. Khan: Director of Mustache, winner of the SXSW Audience Award.
Resources:
SXSW Film Festival Lineup
Follow I Really Love My Husband: Instagram
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In this episode of the No Film School podcast, hosts GG Hawkins and Jason Hellerman discuss the devastating fires in Los Angeles and their impact on the film industry. They share personal experiences of evacuation and the emotional toll of the crisis, emphasizing the importance of community support and resilience. The conversation highlights the need for filmmakers to prioritize their safety and mental health while navigating the uncertain future of the industry. They also explore the power of storytelling as a means of processing trauma and fostering empathy in challenging times.
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In this episode of No Film School, GG Hawkins speaks with the filmmakers behind two impactful films, Hazard and Studio One Forever. Writer-director Eddie Mensore shares the journey of creating Hazard, an indie drama about the opioid crisis in Appalachia, and how leaving LA led to the film's 40-theater release. Later, Marc Saltarelli discusses the acclaimed LGBTQ+ documentary Studio One Forever, exploring its historical significance and enduring legacy.
In this episode, No Film School’s GG Hawkins, Eddie Mensore, and Marc Saltarelli discuss:
How Eddie’s move away from LA revitalized his career and allowed him to focus on meaningful indie films
The challenges and triumphs of making Hazard, a deeply personal story about the opioid crisis
Marc’s experience documenting LGBTQ+ history through Studio One Forever and the film’s resonance in today’s political climate
Advice for filmmakers navigating the industry outside of traditional Hollywood structures
Memorable Quotes:
“As an independent filmmaker, it’s not about what’s the most passionate project you want to make. It’s about which one can you physically make.”
“I hope that the younger generation will take a little bit of time out from TikTok and watch these 90 minutes and realize what we went through—and what’s at stake.”
“I had to take a few steps backward, I believe that I’m ultimately taking 10 steps forward.”
Resources:
Hazard Official Website
Hazard Theatrical Release
Studio One Forever Official Trailer
STUDIO ONE FOREVER is the untold story of America’s first gay disco, a kaleidoscopic excursion into LGBTQ+ history through the lens of this groundbreaking club. Directed by Marc Saltarelli, the film features interviews with Chita Rivera, Bruce Vilanch, Lance Bass, and others.
Eddie Mensore on IMDb
Marc Saltarelli on IMDb
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In this episode of No Film School, GG Hawkins and Jason Hellerman chat with John August, an acclaimed screenwriter, podcaster, and software developer. Known for films like Big Fish and Aladdin, as well as co-hosting Scriptnotes with Craig Mazin, John August discusses his career, the evolution of screenwriting tools, and how he's simplifying life for writers with his app, Highland.
In this episode, No Film School’s GG Hawkins, Jason Hellerman, and John August discuss:
John’s journey from journalism major to one of Hollywood’s most recognized screenwriters
How working across different mediums—from novels to musicals—has shaped his storytelling
The philosophy behind creating Highland, a screenwriting app designed to keep writers in the flow
Practical advice for writers starting out in today’s industry
Memorable Quotes:
“Your ability to have an idea but then actually articulate the idea… to yourself, to your team, and to the audience is so fundamental and so important.”
“When I see something in the world that bothers me, I try to fix it. My instinct is to get involved and figure it out.”
“A screenplay is a luxury. You know you have about 120 pages. There are constraints, and those constraints help you figure out what’s important.”
Resources:
John August on IMDb
Highland App
Scriptnotes Podcast
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In this episode of No Film School, GG Hawkins and Jason Hellerman sit down with acclaimed director James Mangold to dive into the making of his latest film, A Complete Unknown. Known for iconic works like Logan and Ford v Ferrari, Mangold shares deep insights into his creative process, the importance of preparation, and how he navigates the complexities of storytelling. This holiday special offers invaluable lessons for filmmakers at every level.
In this episode, No Film School’s GG Hawkins, Jason Hellerman, and James Mangold discuss:
How Mangold approached depicting Bob Dylan’s relationships with iconic figures like Woody Guthrie and Johnny Cash
The value of mentorship in filmmaking and how Alexander Mackendrick influenced Mangold’s career
Finding the balance between preparation and flexibility when directing
Mangold’s advice for capturing subtext and the unspoken dynamics between characters
The art of juxtaposition and how to craft impactful scene transitions
Memorable Quotes:
“You come to the set with a plan, but your actors are gonna add a lot, and you don’t want to be so slavish, so enslaved by your plan that you feel lost if an idea comes up with one of the actors that undermines the plan you came with.”
“The point for the director is to make everything look like you planned it—even if you didn’t.”
“What is the scene about, and what are the beats I must make sure the audience sees? Not lines, but what’s unsaid—the subtext, the human thought behind the eyes.”
Resources:
James Mangold on IMDb
Microbudget Workshop with GG Hawkins
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In this episode of No Film School, Jason Hellerman interviews Tyler Nielsen and Michael Schwartz, the dynamic directing duo behind the bold and provocative film Los Frikis. Known for their previous success with Peanut Butter Falcon, Tyler and Michael take listeners on a journey into the making of their latest project—a darkly comedic and deeply human tale about the Los Frikis generation in 1990s Cuba. The film explores themes of rebellion, freedom, and survival, centering on punks who willfully injected HIV to escape oppression.
In this episode, No Film School’s Jason Hellerman, Tyler Nielsen, and Michael Schwartz discuss:
How Tyler and Michael transitioned from Peanut Butter Falcon to Los Frikis
The challenge of balancing dark humor with historical and cultural authenticity
Why the directors learned Spanish to ensure authenticity in directing Cuban actors
Their approach to punk rock aesthetics, both musically and visually, in the film
Practical advice for filmmakers tackling deeply unconventional and emotional stories
Memorable Quotes:
“Punk rock is choosing freedom and choosing, like, your reality, regardless of the authorities or the powers that be.”
“If you task the audience with remembering 10 things, they might remember the wrong five. So we focused on the five things that mattered most.”
“We really just try to set a vibe. The vibe matches the story. And then we invite people to bring themselves to it.”
Resources:
Microbudget Workshop with GG Hawkins
Tyler Nielsen IMDb
Michael Schwartz IMDb
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In this special episode of No Film School, GG Hawkins and Jason Hellerman delve into the often-overlooked role of producers and the essential work they perform behind the scenes. They are joined by Emmy-nominated producer Carolina Groppa, who shares insights from her remarkable career. The episode also highlights key films from the newly announced Sundance 2025 slate, offering reflections on the festival’s evolving influence.
Meet Carolina Groppa: Carolina is an Emmy-nominated producer who was previously the Executive in Charge of Production at Issa Rae’s HOORAE Media and ColorCreative. Born in São Paulo, Brazil, Carolina moved to the US as a child, and her immigrant upbringing inspired her to work hard to build the career of her dreams.
Carolina produced the 2017 Emmy-nominated feature documentary AUTISM IN LOVE, which explores how adults with autism find and navigate romantic relationships. Passionate about supporting female filmmakers, she was a co-producer on Netflix’s MISS VIRGINIA, starring Uzo Aduba, and IFC’s THE FEMALE BRAIN, Whitney Cummings’ directorial debut. She was a physical producer on Amazon’s SYLVIE'S LOVE, starring Tessa Thompson and Nnamdi Asomugha, and the UPM/EP on Adamma Ebo’s 2022 Sundance hit HONK FOR JESUS. SAVE YOUR SOUL, starring Regina Hall and Sterling K. Brown.
She also produced the documentaries HYSTERICAL (2020) for FX and THE HONORABLE: SHYNE (2024) for Hulu. Additionally, she is the creator, host, and producer of ANGLE ON PRODUCERS, a podcast spotlighting producers across entertainment. A love letter to the creative community, the show boasts over 95 episodes and has featured notable guests such as Eva Longoria, Stephanie Allain, Lynette Howell Taylor, and Cynthia Erivo.
In this episode, No Film School’s GG Hawkins, Jason Hellerman, and Carolina Groppa discuss:
Carolina Groppa’s career journey, from her early days as an actor to becoming a producer and podcast host
The invisible yet critical role of producers and why their contributions are often misunderstood
Practical advice for emerging producers, including navigating challenges and building strong collaborations
Reflections on the 2025 Sundance slate, including standout films like Sorry Baby and Dead Lover
How trust and leadership shape successful filmmaking partnerships
Memorable Quotes:
“Producing is about choices. It’s never just about saying no; it’s about saying, ‘Here’s what we can do with what we have.’”
“The only thing people remember is how you made them feel on set. If you can lead with kindness and clarity, that’s what sticks.”
“Sundance is where you see the future of storytelling take shape, and this year’s slate is no exception.”
Resources:
Carolina Groppa’s Podcast: Angle on Producers
Carolina’s IMDb: Carolina Groppa
Carolina on Instagram: @carolinagroppa
Learn more about the Sundance Film Festival: Sundance 2025
Highlighted Sundance Films:
Sorry Baby: A heartfelt indie produced by Pastel, Barry Jenkins’ company
Dead Lover: Directed and written by Grace Glowicki, featuring Ben Petrie, and described as “genre-bending and unforgettable”
Lose: A poignant drama set in Hong Kong about a man searching for his daughter
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In this episode of No Film School, host GG Hawkins and tech editor Jordan Aldridge are joined by two incredible guests: filmmaker Leah Saint Marie and award-winning director Lizzy Born. The discussion delves into the challenges of navigating the indie film world, the stress of festival notification season, and creative approaches to career-building in a competitive industry. Both guests share personal stories, practical advice, and insights on how to push boundaries in filmmaking.
In this episode, No Film School’s GG Hawkins, Jordan Aldridge, Leah Saint Marie, and Lizzy Born discuss:
Leah Saint Marie’s journey from projectionist to filmmaker and her strategies for staying resilient in “festival purgatory”
The challenges of navigating FYC campaigns as an indie filmmaker
Lizzy Born’s approach to directing, from Ziwe to branded content, and how she balances dark humor with social commentary
Practical advice for emerging filmmakers, including the importance of collaboration and creating your own opportunities
The inaugural Indies Awards, celebrating independent films outside of mainstream festival circuits
Memorable Quotes:
“No one else is telling you no, except yourself. If you haven’t made a movie or written a script and you’re afraid to do it, do it anyway.” (39:44)
“This job is about community. Finding your community of people who feel like they are in the same space as you is so essential.” (1:16:32)
“Sometimes I wish I didn’t know as much... You’re going to do it in a fresh way because you don’t know what you’re referencing.” (1:19:50)
Resources:
Leah’s Podcast: Pitch! A Screenwriting Podcast
Leah on X (formerly Twitter): @leahwelch19
Leah’s IMDb:Leah Saint Marie
Lizzy’s Website: Lizzy Born
Lizzy’s Instagram: @LizzyB0rn
Read reviews of Ziwe: Variety on Ziwe
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In this episode of No Film School, hosts GG Hawkins and Jason Hellerman are joined by filmmakers and programmers Erin Brown Thomas, Jillian Corsie, and Rafael Leyva to discuss the current state of short films. They dive into the challenges, creativity, and evolving landscape of the medium, exploring how short films serve as a crucial platform for experimentation and storytelling.
In this episode, No Film School’s GG Hawkins and Jason Hellerman discuss:
The current climate for short films in the industry, including programming and distribution challenges
How filmmakers like Erin, Jillian, and Rafael are innovating within the short film format
The role of short films as both creative playgrounds and stepping stones for larger projects
Programming insights from festivals like Salute Your Shorts and Slamdance
Personal experiences creating impactful shorts, including Tooth and The Foster Ranch
Memorable Quotes:
“Short films are such a cool outlet. If there’s any upcoming filmmakers out there, it’s such a great way to tell a story in a little time, and people have no idea how difficult that is.” (10:31)
“Shorts are this wonderful playground for creativity and trying new things.” (32:11)
“There’s a certain level of experimentation in shorts, and that’s why I think, even if I’m four features into my career, there might still be room for me to make shorts.” (32:11)
Resources:
Tooth Short Film
Erin Brown Thomas on Instagram: @erinbrownthomas_filmmaker
Erin on TikTok: @erinbrownthomas_film
Jillian Corsie on Instagram: @jcorsie
Salute Your Shorts on TikTok: @salute_your_shorts
The Foster Ranch Trailer: The Foster Ranch
Rafael Leyva's Website: RLEYVADP.COM
Versatile Assassins Films
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In this episode of No Film School, hosts GG Hawkins and Jason Hellerman explore the craft of cinematic monologues and discuss how these powerful moments can elevate films. They also sit down with director David Gordon Green, whose latest holiday family film, Nutcrackers, debuts on Hulu. David shares his process of crafting a heartfelt and improvisational movie built around four real-life brothers, discussing how his indie roots continue to shape his creative approach.
In this episode, No Film School’s GG Hawkins and Jason Hellerman discuss:
The craft of writing and performing memorable movie monologues
Iconic monologues from The Godfather, Network, Cabin in the Woods, Scent of a Woman, and more
David Gordon Green’s process of reverse-engineering Nutcrackers around its young, untrained stars
Why David values improvisation and naturalism in his filmmaking
Advice for indie filmmakers about creating economically viable films while staying true to their creative vision
Memorable Quotes:
“When you’re writing a great monologue, you’re giving actors a reason to want to say those words and embody that character.” (4:21)
“The movie became just a sculpture of things I want to see.” (22:54)
“There’s only one you, and you have to be that as loud as you can.” (45:00)
Resources:
The 25 Best Movie Monologues
Watch Nutcrackers on Hulu
GG Hawkins' Instagram: @LostinGraceland
Jason Hellerman’s Twitter: @JasonHellerman
David Gordon Green’s IMDb: David Gordon Green
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In this episode of No Film School, host GG Hawkins sits down with Jason Hellerman and special guest Matthew Starr, the creator of the Audible original series The Best Man's Ghostwriter. They delve into the creative process behind the audio series, which is described as an American version of Love Actually for audio, starring Glenn Powell and Nicholas Braun. Matthew shares how he transformed his experience as a ghostwriter for best man speeches into a compelling and humorous narrative.
The discussion also explores the genre of World War II films. Jason, Matthew, and GG each discuss their favorite WWII movies, sparking a conversation about the role these films play in culture and history.
In this episode, No Film School’s GG Hawkins, Jason Hellerman, and Matthew Starr discuss:
Matthew Starr's journey creating The Best Man’s Ghostwriter, from its early concept to Audible production
Adapting personal experiences into a scripted audio series
Challenges and advantages of creating an episodic narrative in the audio format
A discussion on their favorite World War II movies, including The Longest Day, Band of Brothers, Raiders of the Lost Ark, and Jojo Rabbit
How WWII movies have shaped film culture and continue to resonate with audiences
Memorable Quotes:
“Narrative audio is such a vibrant medium—it's about figuring out how to make it fun and engaging to listen to.” (15:18)
“Band of Brothers really captures the experience of fighting and surviving in WWII, unlike anything else.” (07:04)
“If you just want to see Nazis getting killed, go watch Sisu. One grizzled old man takes on a team of Nazis, and it’s incredible.” (11:15)
Resources:
Top World War II Movies
Matthew Starr’s Website: MatthewSStarr.com
Follow Matthew on Instagram: @matthewsstarr
Listen to The Best Man’s Ghostwriter on Audible
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In this episode, GG Hawkins sits down with editor Celia Beasley to discuss her role in shaping Penelope, the new episodic series by the Duplass Brothers, now on Netflix. They explore the unique process of editing an episodic series that was shot like an indie film and edited entirely in the cloud. Celia shares her experiences of working outside major film hubs and the impact of community on her career. Through insightful conversations on editing, storytelling, and collaboration, Celia reveals her creative process and what it means to find success beyond New York and LA.
In this episode, No Film School’s GG Hawkins and Celia Beasley discuss:
Transitioning from still photography to filmmaking and discovering editing as a storytelling tool
Navigating the industry outside of major film hubs and the importance of a supportive community
The unique challenges of editing Penelope, including cloud-based editing and handling extensive footage
Using editing techniques to convey the protagonist's journey, especially in time-compressed scenes
Advice for emerging filmmakers on trusting instincts, building collaborative relationships, and allowing a film to develop organically
Memorable Quotes:
“Editing is not an afterthought. It’s the last chance for the film to be the best version of itself.” (46:44)
“In the edit, I feel like I’m getting a giant bin of Legos, and it’s up to me to put the pieces together to make it all work.” (30:24)
“It’s okay to ask questions, especially as an editor. I need to understand the vision, and I’m here to serve that.” (52:16)
“People outside of New York and LA are in film for the love of it; we’re doing it because we’re passionate.” (12:32)
Resources:
Celia Beasley’s Website: CeliaBeasley.com
Celia on Instagram: @CeliaBeasley_Films
Netflix Series Penelope: Watch on Netflix
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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.
Panelists featured in this episode include:
Sisters
Sarah Khasrovi (Story By, Lead)
Susie Yankou (Writer/Director, Lead)
Lady Parts
Bonnie Gross (Screenwriter, Executive Producer)
Edith Belmont (Editor)
Young King
Bryant T Griffin (Writer, Director)
Selena Leoni, p.g.a. (Producer)
Crossword
Michael Vlamis (Co-writer, Director, Producer, and Actor)
The Ego Death of Queen Cecilia
Travis White (Producer)
Jo Schaeffer (Lead, Producer)
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
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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]
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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]
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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]
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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]!
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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]!
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