The No Film School Podcast

In this episode of the No Film School Podcast, host GG Hawkins sits down with Matt Enlow and Oren Kaplan, the prolific directing duo and co-hosts of the long-running Just Shoot It podcast. With nearly 500 episodes under their belt, Matt and Oren dive deep into the realities of sustaining creative careers, the value of community, and how accountability and consistency have fueled their podcast and filmmaking journeys. They share behind-the-scenes stories, including how they met, what keeps them motivated, and how they've adapted to the evolving industry landscape. Whether you're a working filmmaker or just starting out, this episode is packed with wisdom, humor, and hard truths. In this episode, No Film School's GG Hawkins and guests discuss... How Matt and Oren first met and launched Just Shoot It Why having a podcast creates built-in accountability and industry access The highs and lows of directing careers—and why consistency matters more than perfection Why they think proximity, community, and cross-pollination matter more than ever How becoming a parent helped them find focus and efficiency in their careers Social skills, small talk, and how to navigate networking as a filmmaker Why it's time to embrace multi-hyphenate creative lives—and stop waiting for the cavalry Memorable Quotes: “If you're not getting work, just make your own stuff... but the important part is you have to share it.” “We are not going back to the boom times. The cavalry isn't coming... and that's okay.” “You're taking people into your career—whether they know it or not.” “We're playing pro ball. This isn't the same sort of game our parents played.” Guests: Matt Enlow Oren Kaplan Resources: Just Shoot It Podcast I Really Love My Husband Tickets Scriptnotes Podcast Lessons from the Screenplay Every Frame a Painting 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's GG Hawkins checks into Netflix’s brand new animated comedy, Haunted Hotel, and gets a behind-the-scenes look at what it takes to create an adult animation from the ground up. She’s joined by series creator and showrunner Matt Roller (Rick and Morty), art director Robbie Erwin, and writer Avital Ash for a roundtable conversation that spans the show’s long development journey, the complexities of world-building in animation, and the creative collaboration required to bring this spooky-yet-heartfelt family comedy to life. From storytelling tone to visual language and production logistics, this episode is a crash course in what makes adult animation work—and how this team made sure Haunted Hotel stood out in a crowded field. In this episode, No Film School's GG Hawkins and guests discuss... How Haunted Hotel evolved from a pitch to a Netflix series Why Matt Roller leaned into horror instead of sci-fi—and what makes horror more emotionally resonant How Robbie Erwin’s theme park design background helped shape the show’s tactile visual world The writer’s room philosophy that prioritized kindness, creativity, and unique perspectives Why visual design and writing had to be deeply integrated for successful world-building How the team balanced comedy, horror, and emotional depth across the season The decision to make the show TV-14 instead of TV-MA—and how that opened it up to more viewers The team’s favorite ghost characters Memorable Quotes: “I think in this type of TV show, you set out to build a world where you could tell 100 stories.” “The comedy pilot part is the baseline… then it’s the other stuff.” “I think the thing I’m proudest about is that I got to work on it—it’s one of the most proud I’ve been of all the work I’ve done.” “With horror, everything matters… and I think that’s how family works too.” Guests: Matt Roller Robbie Erwin Avital Ash Resources: Haunted Hotel is now streaming on Netflix I Really Love My Husband Tickets: https://linktr.ee/ireallylovemyhusband 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 Erin Sullivan and Johnny Han take listeners behind the curtain of The Penguin, exploring how a VFX team builds a gritty, immersive Gotham — from early concept to final composite. The conversation covers creative philosophy, technical workflow, tool choices, collaboration across departments, and the emotional stakes of creating visuals that feel both bold and invisible. In this episode, No Film School's GG Hawkins and guests Erin Sullivan and Johnny Han discuss… What their roles were on The Penguin, how they broke into VFX, and how their backgrounds shaped their approach The bridge role of a visual effects editor, and how VFX editors work with directors, editors, and artists How they developed the visual “language” of Gotham: referencing The Batman, leaning into New York elements, and creating a distinct but consistent style Their Adobe‑based workflow: using Premiere Pro, After Effects, Dynamic Link, project collection, mockups, and how small elements evolved into full assets On‑set and script‑stage involvement: how they break down scenes with all departments (stunts, production design, camera) Maintaining creative vitality: absorbing inspiration, staying curious, and making small work even when not on paid projects Practical advice for aspiring VFX practitioners: making work regularly, being patient with timelines, embracing iteration Memorable Quotes: “I was the visual effects editor on the Penguin. … The visual effects editor is the link between editorial and VFX.” “We would amass this huge library of just New York stuff … trash in a sidewalk, a mailbox, a bus stop … weird.” “There’s only one rule in photography to take good pictures … you might … get one good picture. So what do you do? You just shoot lots of rolls of pictures, right?” Guests: Erin Sullivan Johnny Han 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, Ryan Koo and Jourdan Aldredge explore what makes the 20th edition of Fantastic Fest so crucial for genre and indie filmmakers. They discuss the festival’s unique energy, audience connection, and events, spotlight standout films like Shelby Oaks, Sisu: Road to Revenge, Black Phone 2, Luger, Vicious, Primate, Whistle, Coyotes, and others. The conversation culminates in a new initiative—Fantastic Pitches—marking a shift in the fest’s ecosystem from exhibiting work to helping get new projects made. In this episode, No Film School’s Ryan Koo and Jordan Aldridge discuss: How Fantastic Fest blends genre film exhibition with audience experience, making film festivals more fun, accessible, and communal. The importance of seeing what genre filmmakers are doing with limited resources—especially horror, fantasy, action—and how those constraints often spawn creative solutions. Highlights of films at Fantastic Fest 2025: Shelby Oaks (Chris Stuckmann’s debut), Sisu: Road to Revenge, Black Phone 2, Vicious, Primate, Whistle, Coyotes, The Piano Accident, and Luger among others, with a look at what makes them stand out visually, tonally, and in terms of audience response. The exciting new Fantastic Pitches competition: structure, reward (including a $100,000 funding prize, guaranteed premiere, distribution, post‑production support), what it means for early‑stage projects, and how such programs shift festivals from merely showing films toward incubating them. Practical advice for filmmakers: how to attend Fantastic Fest (buy early, badge types, use online ticket systems), pro tips for navigating ticket demand, the importance of authenticity in genre work, and why festivals like Fantastic that lean into live audience momentum are more important now than ever. Memorable Quotes: “It is the 20th year of the Fantastic Fest … Fantastic Fest equals FunTastic Fest.” “If you come from an authentic place of loving horror movies … I think the audience will always connect with it.” “It’s really a vital experience now more than ever, especially for genre films, which play so well theatrically.” “Fantastic Pitches was fantastic. The pitches really were fantastic … for the first time when this event happened for the first time.” Resources: Fantastic Fest 2025 — Full Film Guide & Lineup Sisu: Road to Revenge Black Phone 2 Vicious Coyotes The Piano Accident Luger Shelby Oaks Primate Whistle 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 sits down with Carmen Emmi (director, writer) and Erik Vogt-Nilsen (editor) of Plainclothes, a striking debut feature that blends the aching vulnerability of first love with the sharp tension of queer identity under surveillance. Set in 1997 and laced with nostalgic Hi8 footage, the film isn’t just a period piece — it’s a raw, intimate time capsule of self-discovery, repression, and resilience. This episode dives deep into the emotional and creative process behind the film, from Sundance dreams to strawberry farm editing sessions and how true collaboration can unlock something extraordinary. In this episode, No Film School’s GG Hawkins and guests discuss… The genesis and central themes of Plainclothes, including first love/obsession, policing emotions, identity, nostalgia, and honesty in queer storytelling Why the 1990s setting — especially 1997 — was chosen, both for personal reasons and as a tool for emotional resonance How Carmen and Erik came together creatively, even though Erik joined after principal photography, and how they structured their collaboration (the “Editing Intentions” document, visits, tone setting, etc.) The editorial process: charting out passes, refining scenes, balancing structure vs. emotional truth, and maintaining rawness from the editor’s cut through to the final version Test screenings: what kinds of feedback matter, figuring out clarity vs. ambiguity in the narrative, audience confusion around timelines, and how those screenings shaped the final cut On‑set dynamics: director’s approaches, setting tone (no yelling unless dire), using music on set, capturing wordless moments, incubating trust and structure among cast and crew Filmmaking tools & creative choices: use of Hi8 footage to express internal states like anxiety; letting instinct and experimentation guide sequences; integrating personal memory and sensory detail into the cinematic style Advice for emerging filmmakers: avoid perfectionism, work with collaborators or friends you trust, give ideas a chance in editing, accept that not everything needs to be precious, learn from every project Memorable Quotes: “It was really, every creative decision I made was like, it was all stemmed from like, what does it feel like to police your feelings?” “One rule. And that was no yelling on set unless like someone’s life was in danger…” “We had a lot of love for the story … there was so much levity and play in the edit room … even though we were dealing with very serious kind of themes…” “Give every idea a try … you don’t have to spend too much time on it, if it’s not working. But … that yes and‑kind of mentality … unlocks stuff you would never think of.” Guests: Carmen Emmi Erik Vogt-Nilsen Resources: Plainclothes Official Trailer I Really Love My Husband Screenings 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

Editor Taylor Mason returns to the No Film School Podcast to discuss her leap from indie features to her first studio film, HIM, directed by Justin Tipping. Host GG Hawkins explores how Mason's editing shaped the emotional tone, visual storytelling, and layered character dynamics of the surreal football drama. They also dive into how working on larger-scale projects differs from the indie scene, the importance of creative collaboration, and how editing can profoundly impact narrative clarity and emotional resonance. In this episode, No Film School’s GG Hawkins and guest Taylor Mason discuss... The transition from indie films like Birth/Rebirth to her first studio feature Building a post-production team and navigating leadership as a young editor How editing techniques, like temp comps and montage, shaped HIM's unique tone Balancing bombastic visuals with nuanced performances and story arcs Using audience feedback and experimentation to refine the final cut Maintaining perspective and boundaries during a 10-month post-production cycle The surrealism and political commentary in HIM, with references like Holy Mountain and Enter the Void Advice for aspiring editors on building careers with intentional collaboration Memorable Quotes: "We tried to insert these flash frames... quick cuts of this melted skeleton... to help track where he is emotionally, physically." "This film required me to be bigger and much louder and much more visible... and be like loud and proud and bombastic." "My whole career has kind of been built and sculpted along with people that I first learned the craft with." "It's hard for me to do my best on something that doesn't excite me... I feel like I'm doing that film a disservice if I take it." Guests: Taylor Mason on IMDb Resources: Our last pod with Taylor I Really Love My Husband Screenings 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 is joined by Shelby Schultz, Director of Programming at LOOK Cinemas. Shelby shares her insights into the complex and often misunderstood world of theatrical exhibition, from how she discovers films to what drives the decision-making process behind booking movies in theaters. Drawing from her extensive background in distribution, financing, and development, Shelby explains how indie filmmakers can better position their projects for theatrical success, the importance of knowing your audience, and the evolving role of movie theaters in the digital age. In this episode, No Film School's GG Hawkins and guest Shelby Schultz discuss... How Shelby’s background in film led her to become a theater programmer The process LOOK Cinemas uses to discover and book films Why strong marketing and audience engagement matter more than ever for indie films The importance of trailer placement and timing when planning a theatrical run The metrics used to evaluate a film’s success in theaters How filmmakers can effectively pitch their projects to theater chains Seasonal trends in theatrical programming and when indie films have the best shot How audience behavior has shifted post-COVID and why theaters are still thriving The critical role local support plays in theatrical success Memorable Quotes: "Quality doesn’t always get people to the theater... so we have to find ways to work together with our filmmaker partners." "I don’t necessarily need comps. I just want to know that you know who your audience is and how to reach them." "Success can just look like having one sold out show in your hometown." "Don’t be afraid to reach out to your local theater. We want to represent you." Resources: LOOK Cinemas Film Independent Spirit Awards 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 speaks with writer-director-producer Nora Fiffer about her debut feature Another Happy Day, and how she achieved a rare feat in indie filmmaking: shooting on strict eight‑hour days while providing on‑set childcare. The two explore how this family-friendly approach—driven by Fiffer's own journey into motherhood—shaped every stage of production, from scheduling and budgeting to set morale and creative decision-making. In this episode, No Film School’s GG Hawkins, and guest Nora Fiffer discuss… The personal impetus behind Another Happy Day—how motherhood inspired the story and production values Creating a collaborative, theater-informed mindset that fueled preparation and efficiency Concrete strategies for implementing eight‑hour shooting days and on‑set childcare as non-negotiables in budget and schedule How fewer setups, lean shot lists, and actor preparation maximized time and morale Using fixed creative constraints as generative tools—not limitations Securing talent like Lauren Lapkus, Carrie Coon, and Marilyn Dodds Frank through personalized writing and deep connections Pitching the film to investors with equity and inclusion baked into its DNA (childcare prominently featured, even in opening credits) The importance of making such practices visible to normalize them across the industry Lessons learned in post-production—how the same efficiency and clarity from production didn’t automatically carry over How Fiffer plans to carry this ethos forward in future projects Memorable Quotes “What the priority was emerging to shoot eight‑hour days, in addition to providing childcare, this now impacted how we were going to shoot it even before we got to production.” “By prioritizing childcare and the eight‑hour days in the budget… that was untouched.” “Everyone came with fresh ideas.” “I planned every moment, every beat… I knew the script, the story, the characters and the edit in my head so well.” Guests: Nora Fiffer — Writer, director, producer, actor of Another Happy Day Resources: Nora Fiffer, Another Happy Day I Really Love My Husband Instagram 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 sits down with filmmaker Macon Blair to discuss his journey from scrappy DIY filmmaking in Virginia to directing the 2025 reimagining of the cult classic The Toxic Avenger. The film hits theaters today, and Blair shares how he balanced homage and originality, kept the humor grounded in absurdity, and tackled the long production process. He also reflects on his start in the industry, the value of creative community, and what it really means to stick it out in an unpredictable industry. In this episode, No Film School's GG Hawkins and guest Macon Blair discuss... Macon's early days making VHS films with friends and how that creative community shaped his career The years-long journey from writing spec scripts to directing Sundance winner I Don’t Feel at Home in This World Anymore How Macon was approached to write The Toxic Avenger and how it evolved into his directorial role Reimagining a cult classic while staying true to its outrageous tone and aesthetic How comedy and absurdity play into horror and action, and the challenge of balancing tone The production process in Bulgaria and collaborating with an international crew Designing the film’s gritty, stylized world—from production design to costumes and camera movement Lessons from the editing room and how to let audience feedback shape the final cut Macon’s advice for emerging filmmakers about perseverance, collaboration, and flexibility Memorable Quotes: “I just wanted to do something with movies... if it's writing, great. If it's acting, great. If it's driving a truck, great.” “We would just pitch things back and forth, and if a line or a reaction would get a laugh from enough people, then it would be like, alright, put it in the movie.” “You have to be flexible enough or open enough to kind of be like, oh, I didn’t construct things the correct way. And I kind of owe it to you for you to not be confused.” “Preparation versus flexibility—having everything prepared to the nth degree, and being prepared to totally drop it if you need to.” Guests: Macon Blair Resources: Macon Blair on I Don’t Feel at Home in This World Anymore (No Film School interview) Get tickets to The Toxic Avenger (Look Cinemas) Follow GG Hawkins’s feature I Really Love My Husband on Instagram Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram  📩 Send us an email with questions or feedback: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices

No Film School delves into the high-pressure, fast-paced world of sketch comedy editing on Saturday Night Live's historic 50th Anniversary special. The episode features returning guest Ryan Spears—four-time Emmy nominee and Film Unit editor at SNL—joined by longtime collaborators Daniel Garcia and Paul Del Gesso. Together, they share insider stories on crafting memorable montages, rediscovering archival gems, navigating the evolution from analog to digital workflows, and ultimately earning their first-ever team nomination for the anniversary special. In this episode, No Film School's GG Hawkins, and guests discuss… How the SNL editorial team collaborated on the 50th Anniversary special, blending archival material and creative reels into a unified piece. The rediscovery of forgotten gems—like Tom Hanks’s softball clip—and deciding what made the final cut. Technical and generational shifts in editing: from film and DIY workflows to 4K raw editing, searchable transcripts, advanced VFX, and speedy turnaround. Adapting to new creative tools, such as APM’s sound‑alike search and 3D animation techniques like the Cheeto character. Balancing fast cuts with breathing room—tailoring pacing to fit the tone, whether it’s surreal whimsy or a more paced parody like White Lotus. Managing chaos: keeping cool under pressure during live edits, system failures, and last-minute creative changes. Advice for aspiring SNL editors: start as assistant editors, build a strong reel (even outside comedy), check your ego at the door, and learn the collaborative workflow. Memorable Quotes “It really was just this kind of like hot, like this sort of like melting pot of ideas…” “Tom Hanks is playing softball with these kids… he’s playing the real version of Tom Hanks… super competitive.” “We’ve jumped to 4K and we’re editing raw… now you’re transcribing your sequences too… What a game changer.” “Every joke to the frame pretty much.” “It’s a learned craft… some people could do it and some people can.” Guests Ryan Spears is a Film Unit editor at SNL and four time Emmy nominee for work including “I’m Just Pete”, “Mario Kart”, and “Murder Show”. He’s also cut for the shows “The Amber Ruffin Show”, “Teenage Euthanasia”, the film “Citizen Weiner” and the Hulu standup “Matteo Lane: The Al Dente Special”. He’s currently a commercial editor based in New York at The Den Editorial. Daniel Garcia – Daniel Garcia has been a video editor at SNL for 10 years.  His work on the show includes editing weekly promos, pretapes such as PDD’s “Hard Seltzer”, and the Emmy winning digital series Creating SNL. Paul Del Gesso is a Film Unit Editor at SNL, where he was previously Emmy nominated for "Bowen's Straight." Additionally, Paul is a writer and producer, and is Head of Production at Warrior Queen Inc. Resources I Really Love My Husband on Instagram: @iReallyLovemyhusbandmovie 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