The No Film School Podcast

Director Mimi Cave joins No Film School’s GG Hawkins and guest co-host Madison Lanesey for a candid conversation about her path from dance to directing, maintaining artistic vision in the studio system, and fostering a grounded and collaborative atmosphere on set. Mimi opens up about the emotional rollercoaster of filmmaking, the practical steps she takes to craft immersive visual tones, and how she cultivates trust with her actors and crew. The episode offers a rare glimpse into the behind-the-scenes processes of her features Fresh and Holland, along with valuable insights for emerging filmmakers.In this episode, No Film School's GG Hawkins, guest co-host Madison Lanesey, and guest Mimi Cave discuss... Mimi’s creative origins in dance and how it led her into filmmaking The challenges and strategies of transitioning from indie to studio features Post-feature emotional “off-boarding” and how to manage the crash Establishing a calm and collaborative environment on set How she works with actors and tailors her directing approach to each personality Maintaining creative control within the studio system The importance of curiosity, asking questions, and embracing not knowing Building strong collaborative relationships with DPs, editors, and producers Memorable Quotes: "You get addicted to that... being needed all day is really amazing." "Take everything two days at a time... Anything after that's going to change anyways." "I walked into the set and I was like, you could hear a pin drop... it was so peaceful." "Some of the best filmmakers ever are some of the most unique, nerdy, freaky, out there people." Guest:Mimi CaveResources: Fresh – Available on Hulu Holland – Available on Amazon Prime Video Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Writer-director Christopher Landon joins No Film School’s GG Hawkins to discuss his newest film Drop, a sharp, suspenseful thriller starring Meghann Fahy. Known for genre-bending films like Happy Death Day, Freaky, and We Have a Ghost, Landon dives deep into his evolution as a filmmaker, how he overcame early failures, the importance of authenticity in storytelling, and the meticulous craft behind building tension. Landon also opens up about creating a supportive environment on set, casting with intuition, and how trusting his gut has shaped his career.In this episode, No Film School’s GG Hawkins and guest Christopher Landon discuss: How Christopher Landon’s love of horror movies began as a kid Early career failures and how they became pivotal learning moments Writing and selling Disturbia and joining the Paranormal Activity franchise The "feel-good horror" tone he discovered with Happy Death Day How Drop evolved from script to final film Shooting in sequence to elevate performances The importance of a supportive, no-asshole policy set How trusting his gut guides casting, shooting, and script decisions Advice for emerging filmmakers working within the studio system Memorable Quotes: "Failure is the greatest teacher." "If it ain’t on the page, it ain’t on the stage." "Casting is the one thing where I tune everybody out. I have to know it in my marrow." "Hollywood is seductive — don't chase the shiny things." Guest:Christopher LandonResources:The 7 Best Plot Twists of All TimeFind No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

What don't they tell you? They you gotta take a break! In this episode, No Film School's GG Hawkins and Jason Hellerman sit down with editor Max Goldblatt, who cut the heartfelt and hilarious indie road trip film Sacramento. Directed by Michael Angarano and starring Michael Cera, Kristen Stewart, and Maya Erskine, the film made waves at Tribeca and has since garnered a devoted following. Max shares how he got into editing, his long-time collaboration with Angarano, and offers invaluable insight into the nuanced craft of post-production—especially on a tight budget and timeline.In this episode, No Film School's GG Hawkins and guest Max Goldblatt discuss... How Max and director Michael Angarano formed their creative bond through music The challenges and victories of licensing a Rolling Stones song for an indie film Editorial techniques like split compositions and how they elevate performance Why taking breaks during the edit can lead to better storytelling Max’s unconventional path into editing and the moment he almost walked away from filmmaking The balance between instinct and structure when cutting complex character scenes Memorable Quotes: “Michael kind of broke the cardinal rule of putting a song in the script.” “Sometimes there's just this alchemy when you choose something maybe almost at random.” “I was about to quit trying to pursue film period before I was connected with Mike Angarano.” “Sometimes it takes feedback or questions that people have about characters, and you realize that the answer was there all along.” Guests:Max GoldblattResources: Sacramento on IMDb Michael Angarano’s first film, Avenues Robert Schwartzman's film The Argument Jason Hellerman's article on "Man on a Mission" stories 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, GG Hawkins and Jason Hellerman tackle the timely question of whether production in Los Angeles is truly back, despite rising costs and the lure of tax incentives elsewhere. They also host a special Sundance DP Roundtable, featuring cinematographers from some of the festival's most talked-about films. These filmmakers share the stories of how they landed their gigs, the creative and technical choices behind their work, and how shooting on location posed unique challenges and opportunities. From the reality of Stay in LA initiatives to working with first-time directors and navigating quick turnarounds or even war-related production pivots, this episode is a deep dive into the craft and chaos of cinematography today.In this episode, No Film School's GG Hawkins, Jason Hellerman, and guests discuss... The current state of film production in Los Angeles and whether it’s really “back” Tax incentives drawing productions to places like Ireland, Canada, and Texas The emotional and practical toll of filming far from home Behind-the-scenes challenges of indie productions and festival films How DPs landed their Sundance jobs and their strategies for collaboration with directors Favorite gear, lenses, and technical decisions from Sundance cinematographers Working with non-actors, shooting in unpredictable locations, and reacting in real time Tools, workflows, and prep habits DPs rely on when heading into production Guests: Adolpho Veloso – DP of Train Dreams Mia Cioffi Henry – DP of Sorry, Baby Ethan Palmer – DP of Plainclothes Christopher Aoun – DP of All That's Left of You Memorable Quotes: "I always say prepping like that is like studying for an exam, and then it’s like not an open book test.” "You either are not going to sleep because you're working long hours, or because you're anxious because you're not working." "Some of the best stuff that's come my way has been very low budget." Resources: California’s “Stay in LA” push for local production The new hubs becoming “Hollywood” around the world 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

No Film School founder and director Ryan Koo flips the script in this special episode, interviewing regular podcast host GG Hawkins about the world premiere of her feature film I Really Love My Husband at the 2025 SXSW Film Festival. GG shares her whirlwind experience of showcasing her first feature, from managing the chaos of festival logistics and marketing, to the overwhelming response from audiences and peers alike. This episode offers a candid, behind-the-scenes look at what it’s really like to premiere at a major festival, how to prepare, and what filmmakers can learn to maximize their presence.In this episode, No Film School's Ryan Koo and GG Hawkins discuss... GG’s emotional and logistical journey leading up to the world premiere of her film How SXSW’s ticketing and badge system works—and how to prep for packed screenings Tips for marketing your film and working with PR ahead of a major festival The importance of pacing, wardrobe strategy, and managing energy during festival week Lessons learned from networking, screenings, and audience feedback A broader look at SXSW as a convergence of film, tech, and immersive media, including the Apple Vision Pro Memorable Quotes: "One of the best things you can do for yourself is have your family come to the second and third screening." (05:49) "If you make a movie and nobody sees it, what’s the point?" (08:32) "Don’t get a perm before your premiere." (17:01) "I didn't know I would be in sort of like a therapy support situation, which is awesome that the movie resonated with folks that way." (24:00) "This is the truest form for what it'll be in the long game—people who don't know me are going to sit back and watch and not know what's going to happen." (28:45) Resources: The Cameras Behind the Films of SXSW 2025 How to Shoot Your Feature in Three Months or Less Everything You Need to Know About Editing and Post-Production 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, GG Hawkins and Jason Hellerman present a roundtable discussion with independent filmmakers Daniel Talbott, Sav Rodgers, and Mikko Mäkelä. These three creatives share their unique journeys in the film industry, highlighting the importance of queer cinema, mentorship, and community. They discuss the challenges of gatekeeping, the power of DIY filmmaking, and the need for filmmakers to take control of their own greenlighting process.From premiering at Sundance and Tribeca to navigating the ever-changing landscape of independent film distribution, this episode offers a deep dive into the resilience and creativity required to make films outside the traditional Hollywood system.In this episode, No Film School’s GG Hawkins, Jason Hellerman, Daniel Talbott, Sav Rodgers, and Mikko Mäkelä discuss: [00:07] GG Hawkins and Jason Hellerman introduce the episode, recorded ahead of South by Southwest [00:41] Introducing the roundtable guests: Daniel Talbott, Sav Rodgers, and Mikko Mäkelä [01:06] The unique journeys of each filmmaker and their impact on queer cinema [01:30] Challenges in the independent film landscape, including gatekeeping and DIY filmmaking [02:24] The importance of self-greenlighting and not waiting for permission [03:12] Balancing artistic expression with the business side of filmmaking [10:44] The role of mentorship and community in helping emerging queer filmmakers [15:14] Strategies for inspiring industry gatekeepers to invest in queer stories [22:21] Navigating meetings with executives and dealing with industry fears [26:40] How the collapse of the streaming acquisition model affects independent filmmakers [28:17] The importance of finding ways to share resources and build a film community [31:42] Embracing both DIY filmmaking and larger-scale projects in tandem [33:13] How a filmmaker’s unique voice is their most valuable asset [34:11] Moments when the filmmakers had to greenlight themselves [41:57] The experience of sharing personal work with an audience [47:10] How independent queer films resonate with unexpected audiences [52:14] The power of queer filmmakers supporting one another [53:38] How audiences can better support independent queer cinema [56:02] What’s next for Daniel, Sav, and Mikko Memorable Quotes: "The ability to go out and shoot your own work is the way to prove that people are interested, to prove that things are important." "Don't ask for permission. Make it, go do it, find the audience, bring them in, prove everybody wrong." "We are as complicated and human as anyone else on this planet. Get to know our stories and be uncomfortable with it." "For queer cinema to stay authentic and radical, it will, by necessity, most often be made in a DIY spirit." Guests Daniel Talbott Sav Rodgers Mikko Mäkelä Find Out More: Watch Chasing, Chasing Amy by Sav Rodgers: Available on streaming platforms and through libraries on Kanopy Transgender Film Center Explore Mikko Mäkelä’s work: www.mikkomakayla.com Follow Daniel Talbott on Instagram: @DanielCameronTalbott More from No Film School:Visit NoFilmSchool.com for industry news, interviews, and filmmaking resources.Have a question or topic suggestion? Email us: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, we dive into the editing process behind Daughters, the heart-wrenching and beautifully crafted documentary that follows four young girls preparing for a father-daughter dance with their incarcerated fathers. Editors Troy Lewis and Adelina Bichis take us inside their process, from shaping the raw footage to balancing the film’s emotional weight and ensuring the story was told ethically and collaboratively.Daughters premiered at Sundance, is shortlisted for the Academy Awards, and is now streaming on Netflix. If you haven't seen it yet, this conversation will give you a whole new appreciation for the craftsmanship behind the film.In this episode, No Film Schools’s GG Hawkins, Troy Lewis, and Adelina Bichis discuss: [00:08] Listener emails about breaking into Hollywood and finding confidence as a filmmaker [01:59] Introduction to Daughters and its powerful impact [02:57] The unique editing process, with Troy shaping the early cuts and Adelina refining the final version [08:47] How they structured the massive amount of footage into a cohesive story [16:45] Using index cards, beat sheets, and writing techniques in documentary editing [19:02] The challenges of weaving together multiple character arcs [30:37] Ethics in documentary filmmaking and ensuring psychological safety for subjects [35:42] The portrayal of masculinity and fatherhood in Daughters [38:34] Editing tools and techniques that helped shape the final cut [50:17] Advice for aspiring editors and documentary filmmakers Memorable Quotes “The girls were so strong, everything was so moving… I thought, ‘This is a film I want to be part of.’” “We wanted to keep interviews to a minimum and really focus on verité scenes, almost as narrative film scenes.” “It was important for the film to view them as fathers first and foremost.” “We had to make sure that every part shown in the film had its place there, that it truly belonged.” Guests Troy Lewis Adelina Bichis ResourcesWatch the Daughters trailerFind 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 special episode of No Film School, GG Hawkins and Jason Hellerman dive into the Amazon acquisition of James Bond, what it means for the future of the franchise, and whether Bond spin-offs are inevitable. They also discuss IP fatigue and how streamers are expanding globally to combat it. Then, filmmaker Elle Roth-Brunet joins the show to talk about her unconventional journey into producing, demystifying indie film financing, and why tough conversations are essential in production.In this episode, No Film School’s GG Hawkins, Jason Hellerman, and Elle Roth-Brunet discuss: The history of James Bond’s ownership and what Amazon’s billion-dollar deal changes The risk of oversaturation—is Bond headed toward Marvel/Star Wars territory? The global market shift that keeps franchise fatigue at bay How Bond’s new freedom could lure filmmakers like Christopher Nolan Elle Roth-Brunet’s journey from marketing to film producing The reality of indie film financing—debt vs. equity vs. deficit financing The importance of clear producer roles in today’s industry Guests: Elle Roth-Brunet – Producer of I Really Love My Husband and indie film advocate.Memorable Quotes: “James Bond movies are always events. But if you keep pouring water into the gin bottle, at some point, it’s just water.” (04:51) “Filmmaking is 95% business and 5% creative. If you don’t understand the business, you’re not in control of your own movie.” (56:39) “The biggest lesson I learned? Hard conversations lead to breakthroughs. If you avoid them, you stall progress.” (22:45) “Boat Day was the most stressful day in theory—and then ended up being the easiest. The day we didn’t stress over? That was the hardest.” (26:33) Resources:Every James Bond Film, RankedFind 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 No Film School, GG Hawkins sits down with Jérôme Eltabet, the editor of the Oscar-nominated body horror film The Substance. Jérôme shares his journey from assistant director to editor, detailing his work with director Coralie Fargeat to bring The Substance to life. He breaks down the editing challenges, the importance of sound design, and why cutting a horror film is all about creating an immersive experience.In this episode, No Film School’s GG Hawkins and Jérôme Eltabet discuss: How Jérôme transitioned from assistant director to editor What it was like editing 300+ hours of footage for The Substance How sound design and score shaped the film’s tension The massive changes from the first cut to the final version How the film’s themes influenced its pacing and cutting style The collaborative dynamic between Jérôme and director Coralie Fargeat Memorable Quotes: “I do remember I gave a call to Coralie to say, ‘Oh, this movie is going to be very long.’ And she told me, ‘Shh, don’t tell anyone! We’ll talk about this later in the edit room.’” (8:38) “We had maybe 150 different versions of some sequences because Coralie needs to have the kind of goosebumps to like it. It’s not something you can explain—she just has to feel it.” (10:29) “Coralie didn’t want any realistic sounds. Everything had to be slightly off. The world needed to feel unnatural, unsettling—like something was always wrong.” (13:14) “The first rough cut was three and a half hours. Coralie wanted a perfect edit, a perfect sound design, so we fought to get the movie as tight as possible without losing its impact.” (32:10) “As an editor, you are the first audience. You have to trust your instincts, because six months later, after watching the same footage over and over, you’ll start doubting yourself.” (37:47) Guest: Jérôme Eltabet – Editor of The Substance, known for his precise, immersive approach to editing horror and psychological thrillers.Resources: The Substance – Ending Explained The Substance – Lookbook Read & Download The Substance Screenplay 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 No Film School, GG Hawkins sits down with Erin Brown Thomas, the director of Chasers, a 30-minute single-take short that played both Sundance and Slamdance 2025. Erin shares how she navigated festival promotion, the complexities of grassroots outreach, and why personalized marketing is critical for indie filmmakers. She also dives into the deeper themes of Chasers, which explores red flags in dating and the hustle culture of the entertainment industry.In this episode, No Film School’s GG Hawkins and Erin Brown Thomas discuss: How Chasers came to life and why Erin chose the oner format Her experience at Sundance and prepping for Slamdance in Los Angeles Why festival outreach feels like producing another film How she balances multiple roles in the industry while keeping her projects moving The financial realities of indie filmmaking and how to fundraise creatively Why personalized outreach is critical for making industry connections Memorable Quotes: “I spent most of my time at Sundance doing grassroots promotion for Chasers, but certain opportunities were just also really, really fun. We did a lot of panels. The panels in particular were like my favorite thing. We did a flash mob on Main Street—that was so much fun.” (2:50) “You’re really looking at like a full-time job as if you're making a whole other movie when you have an opportunity to play on this larger scale.” (3:16) “Every email you write, you want it to be bespoke. You want it to be personal. Everything needs to be done with grace and intention, walking that fine balance of being really confident that you're in the right place but also being, you know, grateful.” (4:08) “It’s always so much easier to stand up for yourself when somebody else who loves you is in the room. And by putting a film like this out into the open, I’m having those discussions with people who care about me.” (21:16) Guest: Erin Brown Thomas – Director of Chasers, festival programmer, and multi-hyphenate filmmaker passionate about lifting up other creatives.Resources: Chasers Film – Official Linktree Extraction 2 Director Sam Hargrave on Oners, Stunts, and Filmmaking All No Film School Articles on Oners Erin Brown Thomas on IMDb Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram 📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices