The No Film School Podcast

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

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

In this episode of the No Film School podcast, GG Hawkins and Ryan Koo dig into the often‑murky world of film release strategy and distribution from multiple angles—and then sit down with acclaimed filmmaker Ruben Fleischer to trace his path from indie start to big‑budget studio productions. In this episode, No Film School’s GG Hawkins, Ryan Koo, and guest Ruben Fleischer discuss… GG’s journey with her micro‑budget feature I Really Love My Husband: festival strategy, light theatrical run, and streaming rollout The importance of marketing and audience‑building even for indie films (“the extra 50% of effort after picture‑lock”) Festival submission strategy: premium “buyer’s festivals” vs regional festivals, world‑premiere constraints, and timing decisions Tools and tactics: creating trailer/sizzle assets, leveraging sales & festival reps, doing the reference‑check on distributors Real‑world rejection: extracting learning from “pass” notes and small deals, how to choose between flashy name vs partner who will work for you The one‑to‑one interview with Ruben Fleischer: his early career, moving from shorts/commmercials to features, how he handles large‑scale shoots, visualising scenes, leading big crews, and navigating reshoots Ruben’s key pieces of advice for emerging filmmakers: making things now, learning by doing, honing your craft by continuing to create A bonus deep‑dive into how even locked‑picture films still require a lot of narrative strategy, deliverables, and business savvy in order to land distribution Memorable Quotes: “If you are going to bend over backwards, invest all this time, energy, and effort into making a film, but you’re not going to do the same for getting the word out there … you are setting yourself up for failure.” “Submitting to a film festival is like getting down on one knee and asking someone to marry you, but then you have to wait months for the response.” “I always go in with an intention of how I would imagine blocking the scene… but I’m also very flexible in working with actors.” “The only real way to direct stuff is to go out and do it.” Guests: Ruben Fleischer Resources: Shoot in Three Months – No Film School Filmmaker’s Guide to SXSW – No Film School A First‑Timer’s Guide to the Cannes Film Festival – No Film School Microbudget Filmmaker Podcast – No Film School Why Indie Film Distribution Is About to Go Punk Rock – No Film School Where to watch I Really Love My Husband: Apple TV: I Really Love My Husband Amazon: I Really Love My Husband Google Play: I Really Love My Husband Where to watch Amateur (Ryan’s first feature): Netflix Ryan’s podcast series First Feature – a case study about the making of Amateur: SoundCloud – No Film School Find No Film School everywhere: On the Web: No Film School (https://nofilmschool.com/) Facebook: No Film School on Facebook (https://www.facebook.com/nofilmschool) Twitter: No Film School on Twitter (https://twitter.com/nofilmschool) YouTube: No Film School on YouTube (https://www.youtube.com/user/nofilmschool) Instagram: No Film School on Instagram (https://www.instagram.com/nofilmschool)  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

The current state of Hollywood script development is chaotic, to say the least—but what if there were a way to reclaim it for writers? In this episode, guest host Charles Haine returns to No Film School to speak with Brian Austin and Scott Foster, the creators behind ScriptHop and the newly launched The Gauntlet. They dive into how the traditional process of script discovery has broken down and explore how the Gauntlet offers a transformative path forward—one that empowers writers with meaningful feedback, professional endorsements, and real chances at industry attention. In this episode, No Film School's Charles Haine and guests discuss... The breakdown of traditional story departments at major agencies and studios How ScriptHop began as a library tool and evolved into a platform empowering writers The creation of “The Packet” to help writers better market their scripts Why Script Gauntlet isn’t just another screenwriting contest How the Gauntlet provides detailed, collaborative feedback from active industry professionals Why professional endorsements through the Gauntlet could change the script discovery game Their strategy for launching scripts through curated industry slates Memorable Quotes: "Hollywood is kind of a pro-spaceship town." "It is so crazy to me that the first guard of feedback is... so untested." "This is the best reader dollars I've ever spent." "We're going to be a more important aggregator of analysis than say Rotten Tomatoes." Guests: Brian Austin Scott Foster Resources: ScriptHop The Gauntlet Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of the No Film School Podcast, GG Hawkins dives into the sweeping process behind Train Dreams, a period drama adapted from the Dennis Johnson novella. GG is joined by director Clint Bentley and editor Parker Laramie, who discuss the challenges and joys of crafting a film that spans decades while staying intimate and emotionally resonant. The episode also opens with a candid conversation with filmmaker Boris Rodriguez about community and collaboration in independent filmmaking, leading up to the release of GG’s own directorial debut I Really Love My Husband. In this episode, No Film School's GG Hawkins and guests discuss... The emotional and technical journey of adapting Train Dreams from a novella into a feature film How Clint and Parker’s creative partnership evolved from Jockey to this ambitious period piece The process of editing a film that spans decades without losing narrative momentum How Parker’s background in documentary shaped his approach to editing fiction The value of grabbing unplanned shots on set and how they can end up saving key scenes The philosophical and technical challenges of handling notes from producers and stakeholders The role of music and rhythm in both writing and editing the film Clint’s directorial flexibility and willingness to discover the movie during post Parker’s favorite hotkey and the logistics of editing across Premiere and Avid Reflections on releasing the film and the audience’s evolving interpretation of its themes Memorable Quotes: “You have to listen to the film. The way the film speaks to you is through other people and other people giving you notes.” “Just try the fucking note.” “We had no slates on Jockey… and we tried to do that again.” “You don’t always have a good understanding of how something’s going.” Guests: Clint Bentley Parker Laramie Boris Rodriguez Resources: GG's Directorial feature debut, I Really Love My Husband, is now available to stream on Apple TV, Amazon Prime Video, and Google Play. Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of the No Film School Podcast, host GG Hawkins connects with two key voices in the film-industry ecosystem. First, she chats with screenwriter and filmmaker Nicolas Curcio to take the pulse of the movie business at the close of 2025—what’s changed, what’s hopeful, and what still needs to shift. Then, GG talks with programmer and curator Imani Davis of the American Cinematheque to explore the art and mechanics of programming—from year-round curatorial work to the annual Proof Film Festival, which helps shorts leap into features. In this episode, No Film School’s GG Hawkins and guests discuss… The emotional and career‑landscape “temperature check” for creators post‑strikes and entering 2026 The role of social media, creator‑voice, and audience‑building in today’s writer/director paths Why embracing a “patchwork” of gigs (writing, podcasts, video content) may be more realistic than the old one‑track screenwriter dream Why clean spec scripts are “back” and what that signals for writers getting in the door What a film programmer actually does—how someone like Imani rates submissions, builds curatorial strategies, leverages relationships The difference between ongoing programming (year‑round screenings at an institution) vs. annual festival programming (with a fixed offer to submit, schedule, panels) Inside the Proof Film Festival: what makes a short film “feature‑expandable,” and what kind of statement or vision catches the eye of programmers & studios How programmers balance gut feelings, industry data/timeliness, and filmmaker readiness when selecting films The specific flaws and tired tropes they’re seeing in short films right now (yes: the “influencer vlogs” and basic “AI cautionary tales”) How to start in programming: from basement screenings and volunteer festival committees to full‑time curatorial work The importance of mentorship, networking, and building community around film culture Lastly: quick advice to emerging creators — find a way to stand out, build your voice, and force people to pay attention Memorable Quotes: “The studios … they are incredibly self‑aware about the moment that the industry is in … but they’re also like incredibly open to trying new things, giving young filmmakers a chance.” “I used to think … in six months from now, if I don’t have my next studio job, I’m a failure or my career is over. And that has been something I’ve accepted: there are successful screenwriters who don’t just do this.” “At the Proof Film Festival … after each short we show a 90‑second statement of intent video from the filmmaker saying: ‘Here’s my plan for the next phase of this project.’” “What I’m looking for in a short: niche world, unique character, something I haven’t seen that way — like niche sports film about a fencer in a character‑driven way.” Guests: Nicolas Curcio Imani Davis Resources: Nicolas Curcio on Instagram: @nicolascurcio Proof Film Festival: Proof of Concept Film Festival – American Cinematheque GG’s directorial debut feature, I Really Love My Husband, now streaming on Apple TV, Amazon Prime Video, and Google Play. Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Director John-Michael Powell joins No Film School to talk about his gritty Southern crime thriller Violent Ends, which hits theaters October 31. Powell shares the winding journey that led to the film’s production—from being dropped from a college art program, to cutting indie films that made it to festivals like Sundance and SXSW, to editing the Emmy-winning Netflix series American Manhunt. Remarkably, he crafted a feature starring Billy Magnussen and Alexandra Shipp—without agents, managers, or festival support. This episode offers a raw, inspiring, and tactical look at building a career from the ground up, how to forge meaningful creative collaborations, and why the cavalry might never come. In this episode, No Film School’s GG Hawkins and guest John-Michael Powell discuss… How Powell transitioned from music and graphic design to filmmaking Why getting cut from a college program helped shape his resilience The long road from writing Violent Ends in 2013 to securing funding a decade later The strategy behind securing name actors without traditional representation How he used relationships and resourcefulness to get a bidding war What filmmakers should know about real-money offers and escrow Why adaptability and microbudget thinking still matters—on any scale How not having representation can actually work in your favor Building a production company (Midnight Road) and what’s coming next Memorable Quotes: "I got cut. I got the axe." "The most powerful tool you have as a filmmaker is your feet." "I took out 'editor' and put in just 'director and writer.'" "Violent Ends did not get accepted to any festivals… and we sold it to IFC." Guests: John-Michael Powell Resources: Watch the Violent Ends Trailer Violent Ends in Theaters via Fandango Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, No Film School founder Ryan Koo sits down with contributor and fellow Austinite Jourdan Aldredge to recap the highlights and insights from the 32nd annual Austin Film Festival. Known as "The Writers Festival," AFF has emerged as a critical space for screenwriters, writer-directors, and filmmakers to connect, learn, and showcase their work. Ryan and Jourdan discuss how the festival nurtures emerging talent, supports the craft of screenwriting, and uniquely prioritizes writers. They also dig into the implications of Texas's new film incentive, SB 22, and what it means for the future of production in the Lone Star State. In this episode, No Film School’s Ryan Koo and Jourdan Aldredge discuss... Why the Austin Film Festival is considered the top screenwriting festival The unique setup of AFF with its focus on panels and Q&As over red carpets Highlights from panels with Michael Arndt, Celine Song, Christine Vachon, and Rian Johnson Screenwriter Andrew Kevin Walker's brutally honest take on breaking in The inspiring breakout story of writer Austin Kolodny and Dead Man’s Wire The economics of the film industry and why 90–97% of films don’t make money True stories as a strong route into the industry for aspiring screenwriters Texas's new $1.5 billion film incentive and how it could change U.S. production hubs Concerns about creative censorship tied to discretionary state grants The continued power of writing on spec, especially in genre like horror and action Memorable Quotes: "The artist is not the beggar for the producer's attention.” "I'm willing to bet the next two years of my life that that's a great ending." "There are a lot of us knocking at the door... We may do it for free for years." "You could get a coursework over a weekend at the Austin Film Festival." Resources: Michael Arndt's Video Lectures Previous AFF Roundtable Episode (with GG Hawkins) Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, No Film School’s GG Hawkins and guests Geeta Gandbhir and Viridiana Lieberman dive into the making of the breakout documentary The Perfect Neighbor, which uses police body‑cam, Ring‑cam and dash‑cam footage to tell a harrowing story of a neighborhood dispute and a fatal shooting in Florida under the “stand your ground” law. The conversation focuses on how editor Lieberman navigated massive technical and emotional challenges, how director Gandbhir shaped the vision and collaboration, and what it takes to make nonfiction storytelling that feels fresh, urgent and cinematic. In this episode, No Film School’s GG Hawkins and guests Viridiana Lieberman and Geeta Gandbhir discuss: How Viridiana  Lieberman approached editing “The Perfect Neighbor”, choosing what to show when and from which vantage to preserve both clarity and emotional resonance. The origin of the project: how Geeta Gandbhir came to this story, the community she wanted to honor, and why she opted to build the film almost entirely out of institutional footage rather than recourse to expert interviews or narration. The technical and ethical challenges of juggling footage from very different sources (body cam, dash cam, Ring camera, 911 calls) in the edit room — and how Viridiana organised the workflow. The importance of tone, pacing and audience trust in documentary editing: trusting the audience, staying rooted with community, giving them room to observe rather than prescribing meaning. Collaboration between director and editor: the shorthand Lieberman and Gandbhir had built, the trust that was required, and how they shaped the structure together. Self‑care and emotional resilience when working on stories that deal with trauma, racial violence, and community grief — how Viridiana and the team held space for the neighborhood and for themselves. Advice for aspiring editors and filmmakers: start making stuff, vocalise what you want, collaborate with people you trust, don’t wait for permission. Memorable Quotes: “I said, wow, the film created that space.” “There’s moments of incredible insight and joy of this community … I always say surprising that people … do feel all of that.” “What I love is that Gita can direct me like I’m an actor … what are we trying to say here?” “The hardest part of this edit was more creative and technical because all of the … footage … is what it is.” Guests: Geeta Gandbhir Viridiana Lieberman Resources: Watch The  Perfect Neighbor on Netflix Find No Film School everywhere: On the Web: No Film School (https://nofilmschool.com/) Facebook: No Film School on Facebook (https://www.facebook.com/nofilmschool) Twitter: No Film School on Twitter (https://twitter.com/nofilmschool) YouTube: No Film School on YouTube (https://www.youtube.com/user/nofilmschool) Instagram: No Film School on Instagram (https://www.instagram.com/nofilmschool)  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of the No Film School Podcast, GG Hawkins speaks with writer-director Mary Bronstein about her searing psychological comedy-drama If I Had Legs, I'd Kick You. The film, starring Rose Byrne, Conan O'Brien, Christian Slater, and A$AP Rocky, explores the emotional breakdown of a woman navigating a mysterious illness in her child, an absentee husband, and a dangerously dependent relationship with her therapist. Premiering at Sundance and earning Rose Byrne a Silver Bear at Berlinale, the film has received critical acclaim for its raw emotional honesty and darkly comedic tone. Mary shares her deeply collaborative process with actors—particularly Byrne—and how performance, not just plot or technique, is the true core of her work. In this episode, No Film School's GG Hawkins and guest Mary Bronstein discuss... Mary’s non-traditional journey into directing via acting and method training Why understanding acting is essential for directors The intense six-week collaborative prep process Mary and Rose Byrne underwent to develop the character of Linda How Mary tailors her directing style to unlock emotionally raw, performance-driven cinema The importance of maintaining artistic integrity over commercial conformity Why most screenwriting classes and formatting “rules” are, in Mary’s words, “bullshit” The difference between directing for performance versus directing for aesthetics Mary’s perspective on the resurgence of a new indie golden age Memorable Quotes: "If your performances are shit, your movie is shit to me." (12:49) "By the time we get to set, there is nothing you could do that would be wrong." (30:34) "My struggle is a creative one, not a commercial one." (42:08) "You don’t wait for permission." (46:18) Guests: Mary Bronstein Resources: If I Had Legs, I'd Kick You is now in theaters via A24 Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices