The No Film School Podcast

As streaming reshapes the industry, pilot season is a thing of the past, leaving creatives to navigate constant demands and year-round pitching. How do filmmakers find balance when the lines between work and rest blur? And how can unexpected pivots lead to more meaningful projects? This episode explores staying resilient in a world without structure, featuring Max Lugavere's decade-long journey with Little Empty Boxes, a deeply personal documentary about his mother's battle with dementia that evolved in ways he never expected. Max Lugavere is a filmmaker, health journalist, and New York Times bestselling author. After his mother’s diagnosis with Lewy body dementia, Max chronicled her experience in Little Empty Boxes. The film, which took over a decade to complete, shifted from an investigative piece to an intimate portrayal of love, loss, and resilience.In today’s episode, No Film School’s Gigi Hawkins speaks with Jason Hellerman, Max Lugavere and Chris Newhard to discuss: The death of pilot season and how streaming has transformed the TV landscape The endless cycle of pitching and the impact on writers’ lives Finding balance between personal life and an unpredictable film industry. How unexpected creative pivots can lead to more meaningful work. Max Lugavere’s personal journey documenting his mother’s battle with dementia in Little Empty Boxes Chris Newhard’s role in reshaping Little Empty Boxes through fresh eyes, helping it evolve into a deeply emotional and impactful documentary  Memorable Quotes: “The thing with pilot season not existing is interesting because you still have network TV, right? Network TV still generally functions the way it always has, except for it doesn't embrace the buying and research and development behind pilot season anymore.” [5:36] “The anxiety of pitching year-round is that you're also assuming these execs are reading year-round. They need a break too.” [9:03] “There were likely overlapping skills that I had learned as a short form content creator that could be applied to long form documentary filmmaking, but of course the amount of money and time and personnel required to create a feature length documentary… it's so different.” [26:28] “Being in front of the camera allowed me access to some moments that I think you probably wouldn't have been able to catch on film had I not actually had been there.” [41:04] “I just simply found that going with the emotion instead of trying to fight the tide was more beneficial for me.” [53:24] “He spent a lot of time and a lot of money trying to make this movie happen. And the first thing I did is I deleted it.” [55:42]  Mentioned:Max Lugavere on Instagram Little Empty Boxes website Max Lugavere’s website The Genius Life podcast Max Lugavere’s Books Chris Newhard’s website Chris Newhard on Instagram Jason Hellerman on IMDb Jason’s library of content on No Film School Jason on Instagram Jason on X KYNO editing tool Find No Film School everywhere:On the Webhttps://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschoolInstagramhttps://www.instagram.com/nofilmschoolSend us an email with questions or feedback: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

Selling a script can feel like a distant dream, but the process is very much alive. From using platforms like The Black List to writing query letters and building personal connections, breaking into the industry is challenging but not impossible.Plus, we explore the rise of the Panamanian film industry, how it has evolved, and what it takes to make a mark in a smaller but growing market. Delfina Vidal is a Panamanian filmmaker known for her documentaries. She has contributed significantly to the growing Panamanian film industry, focusing on telling stories that resonate with local and international audiences.Arianne Benedetti is a producer and key figure in the Panamanian film scene. She is instrumental in the development of Panama’s cinematic landscape, working on projects that showcase the country’s cultural and artistic diversity.Maria Isabel Burnes is involved in promoting the Panamanian film industry, playing an essential role in nurturing emerging filmmakers and helping develop a vibrant film culture in Panama.In today’s episode, No Film School’s GG Hawkins speaks with Jason Hellerman and filmmakers from Panama Delfina Vidal, Arianne Benedetti and Maria Isabel Burnes to discuss: How to break into the industry by selling or optioning scripts The importance of getting your work out into the world and building a community around it The Substance, the film starring Demi Moore, Dennis Quaid and Margaret Qualley, written and directed by Coralie Fargeat What emerging filmmakers in Panama are doing to grow their film industry Strategies to create universal stories that can travel beyond local markets Why female filmmakers are thriving in Panama’s expanding film scene Memorable Quotes: "You have to get your story out into the world. You have to be willing to hear the sometimes harsh feedback that these websites deliver.” [05:25] "Don't stop writing, because maybe the main thing here is: one script can open a couple doors, two scripts can open more, three, you know, onward and upward, but you're gonna need scripts." [16:34] “It's not just about how great your script is, but how marketable it is. Who sees that they can make money from it? Is this some material that I can get something in return for?” [20:15] “It’s more common to be on an NFL roster than it is to be a working screenwriter in Hollywood.” [26:21” “When you're going to work with kids, make sure you have a lot of time before set so they can relate to you and feel very comfortable with you.” [59:02] “Always, always prepare for the worst. Prepare your coworkers for the worst. Prepare your actors for the worst. Prepare the location that you're working in for the worst.” [1:03:07] Mentioned:Jason Hellerman on IMDbJason’s library of content on No Film SchoolJason on InstagramJason on XDelfina Vidal on IMDbArianne Benedetti on IMDbMaria Isabel Burnes on IMDbThe Black ListStage 32Roadmap WritersFind No Film School everywhere:On the Webhttps://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschoolInstagramhttps://www.instagram.com/nofilmschoolSend us an email with questions or feedback: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

Filmmaking isn’t just about making a great film—it’s about getting that film seen. With traditional distribution models crumbling, independent filmmakers are finding new ways to connect directly with audiences. This episode explores how the indie film landscape is shifting, with filmmakers taking control of their own distribution, marketing, and audience-building strategies. Whether you’re a first-time filmmaker or a seasoned pro, this episode will inspire you to think outside the box and embrace a more grassroots approach to getting your work into the world.Jon Reiss is a filmmaker, author of the book Think Outside the Box Office, and a media strategist who runs 8 Above, a company that creates custom distribution strategies for indie films. He has consulted with filmmakers and organizations worldwide including The Gotham, IDA, and Film Independent, and has led workshops on distribution and marketing through his 8 Above Distribution Lab. Reiss is currently producing a documentary on robotic performance artist Mark Pauline, and is producing the second season of a podcast, Plantscendence, about people’s psychedelic experiences. He has recently launched a Substack focused on indie film distribution and marketing.Annamaria Sofillas, a development executive and producer, is the Director of Content at Kino Lorber’s MHz SVOD. She is the lead producer of the documentary "I'm “George Lucas": A Connor Ratliff Story, which premiered at Slamdance ’24 and received theatrical exhibition nationwide through Alamo Drafthouse Cinemas, with digital distribution by Grasshopper Film. Annamaria was instrumental in building NBCUniversal's Seeso and Gimlet Media's scripted division, where she led over 25 long-form television series and 30 stand-up specials, including the GLAAD Award-nominated Take My Wife and BAFTA Award-nominated Flowers.Scott Monahan, the filmmaker behind Anchorage, has been candid about his experience with self-distribution, highlighting the challenges and successes of taking control of a film’s release.Glen Reynolds, founder of Circus Road Films, is a producer rep and festival advocate who helps indie filmmakers navigate distribution and find the right partners to bring their projects to audiences.In this roundtable discussion, No Film School’s GG Hawkins speaks with Jon Reiss, Annamaria Sofillas, Scott Monahan, and Glen Reynolds to discuss: Why hybrid distribution is essential for indie filmmakers today How film festivals and events can help grow your audience Why setting clear release goals is crucial for your film’s success How building your audience starts long before your film's release Real-world examples of filmmakers using grassroots promotion and festival tours Why filmmakers are taking control of their own marketing and outreach strategies How indie filmmakers are embracing a punk rock mentality to bypass traditional distribution models Links:Learn more about Scott MonahanLearn more about Glen ReynoldsFollow Annamaria Sofillas on InstagramBuy or rent I’m “George Lucas”: A Connor Ratliff Story on Amazon/AppleI'm "George Lucas": A Connor Ratliff Story WebsiteFollow I’m “George Lucas” on InstagramFollow I’m “George Lucas” on FacebookFollow I’m “George Lucas” on X8 Above with Jon Reiss Substack8 Above websiteFind No Film School everywhere:On the Webhttps://nofilmschool.com/Facebook https://www.facebook.com/nofilmschoolTwitter https://twitter.com/nofilmschoolYouTube https://www.youtube.com/user/nofilmschoolInstagramhttps://www.instagram.com/nofilmschoolSend us an email with questions or feedback: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

Imagery plays a crucial role in filmmaking, shaping how a story visually unfolds. This element must be integrated into the scriptwriting process, rather than being left for production. With fall film festivals in full swing, indie filmmakers are not only focused on storytelling but also on the challenges of navigating the competitive market and selling their films. A strong visual narrative can make all the difference when it comes to standing out and securing distribution deals.Director Niclas Larsson’s feature film Mother, Couch! brings an intriguing mix of surrealism and family drama to the screen. Premiering at the 2023 Toronto International Film Festival, this film stars Ewan McGregor and explores the strange dynamic of a mother refusing to leave a couch in a furniture store. Its unique visual storytelling and offbeat premise are sure to leave an impression. In today’s episode, No Film School’s GG Hawkins speaks with Jason Hellerman and Niclas Larsson to discuss: Why memorable imagery in scripts is key to creating impactful films The challenges of today’s film festival market and indie acquisitions Niclas Larsson’s unique creative process and his “Storm Book” How the physical layout of Mother, Couch! plays a critical role in the story's themes Why sticking to your gut and vision is essential in the post-production process  Memorable Quotes: "Imagery is something that should go hand in hand with filmmaking." [1:55]  "We're missing images right from the core. We're relying too much on cinematographers or directors to find them later." [5:08] "If you can master the short form, if you can really pay attention to every single second of what you're doing and the importance of every second." [24:23] "Everything we do in scene one to nine needs to be confused, it needs to resemble or picture, convey confusion and displacement." [30:12] "You make movies for other people—the real people. A singular vision is supposed to be criticized." [01:04:37] "The level of filmmaking has declined and is declining rapidly. And we need to stay strong, giving an adult audience bang for their buck, because that's our job." [01:04:56] MentionedJason Hellerman on IMDbJason’s library of content on No Film SchoolLearn more about Mother, Couch! on IMDbNiclas Larsson on IMDbFollow Niclas on VimeoFollow Niclas Larsson on Instagram Find No Film School everywhere:On the Webhttps://nofilmschool.com/ Facebook https://www.facebook.com/nofilmschool Twitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschoolInstagramhttps://www.instagram.com/nofilmschoolSend us an email with questions or feedback: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

Actor Saoirse Ronan recently revealed that she is halfway through writing a short film that she plans to direct— and it feels so relatable. It reminds us that creative struggles are universal, no matter who you are. But being halfway through is not a failure but a part of the journey. Tune in to know what to do to reach the finish line.In today’s episode, No Film School’s GG Hawkins, Jason Hellerman and guest Patrick Walsh discuss: Saoirse Ronan is halfway through writing a short film she plans to direct  The relatable struggle of getting stuck halfway through a project Outlining and having a clear ending in mind to avoid getting stuck in the middle of a writing project Actors transitioning to directing and the unique perspective they bring The value of grants, labs, and workshops for filmmakers to get support and feedback The list of grants and labs that No Film School has launched on its website The recent positive performance of films at the box office Patrick’s journey into editing, starting from film studies Patrick’s experience of destination editing for the film The Uninvited Technical challenges and workflow of remote editing Memorable Quotes “I do think short films are coming back to Hollywood.” [03:03]  “Don’t start writing something you don’t absolutely know how it ends. It’s not worth cranking out 100 final draft pages if you don’t know what happens in the last four.” [3:39]   “Labs beget labs, just as festivals beget festivals.” [15:50] “These grants are that stepping stone that maybe you didn’t know you needed.” [15:03] “Seeing these movies do well has been a strong indicator that movies are back, and original ideas with strong genres and points of view have a viable place in the marketplace.” [21:49]  “It’s been good to see Hollywood bounce back a little bit from the strikes and from the MPTP not paying writers and actors what they deserve.” [23:22]  “Films aren’t finished. They’re abandoned.” [51:33] Links:Patrick Walsh Website Follow Patrick Walsh on IGGrants and Labs List  Find No Film School everywhere:On the Webhttps://nofilmschool.com/Facebook https://www.facebook.com/nofilmschoolTwitter https://twitter.com/nofilmschoolYouTube https://www.youtube.com/user/nofilmschoolInstagramhttps://www.instagram.com/nofilmschoolSend us an email with questions or feedback: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

Ryan Thomas, the cinematographer of 'I Really Love My Husband,' teams up with Dan Edwards, the colorist of the same film, to explore the vital role of color in filmmaking. They discuss the significance of early collaboration among the creative team to shape the film's look. Key topics include the importance of budgeting for color grading and the use of LUTs to establish a visual style before shooting. The duo shares insights on effectively managing different skin tones and the impact of color on storytelling.

The world of filmmaking is full of challenges, from industry rejection to personal setbacks. Yet, for many independent filmmakers, these obstacles become opportunities for growth and perseverance. This episode explores how passion, persistence, and a refusal to give up can turn seemingly insurmountable odds into career-defining moments. Whether you're an aspiring filmmaker or a seasoned professional, the story of how Nadine Crocker made her mark in the industry is sure to inspire.Nadine is a filmmaker, actor, and mental health advocate whose latest feature, “Continue,” is based on her own struggles with depression and suicide. The award-winning drama tells the story of a woman who, after a failed suicide attempt, is taken to a mental institution where she finds unexpected friendships, love, and a new purpose. Release by Lionsgate during Suicide Awareness Month, the film has garnered critical acclaim for its raw portrayal of mental health struggles. Nadine not only wrote, directed, and produced “Continue,”  but also stars in it, bringing an intensely personal narrative to life. After years of being typecast and facing rejection, she took control of her career.In today’s episode, No Film School’s GG Hawkins speaks with Nadine Crocker to discuss: Being dropped by her reps shortly after having her son—and how it led her to make “Continue” independently. Breaking free from being typecast and proving herself as a writer, director, and producer. Balancing waitressing and raising a newborn while working on her first feature film. Securing financing through personal savings and a small group of supportive investors. Deciding to stop waiting for permission and create her own opportunities. How “Continue” became a movement for mental health awareness through her nonprofit, Continue On. Memorable Quotes:“I did hear like all the time that I was too pretty to play the best friend and I wasn't famous enough to be the lead.” [6:01]“I'm done asking for permission. I'm making this movie and I don't care what I have to do or how much work or how many years it takes.” [9:16]“I invested my life savings into this movie, like everything we had, and went back to waitressing so that I could keep the lights on.” [11:30]"Imagine being dropped in the middle of the ocean with nothing but a hard drive, and you gotta keep it over your head and tread motherfucking water until someone comes." [21:09]Links:Continue IMDbFollow Nadine Crocker on InstagramContinue the Film on InstagramLearn more about her nonprofit Find No Film School everywhere: On the Webhttps://nofilmschool.com/Facebookhttps://www.facebook.com/nofilmschoolTwitterhttps://twitter.com/nofilmschoolYouTubehttps://www.youtube.com/user/nofilmschoolInstagramhttps://www.instagram.com/nofilmschoolSend us an email with questions or feedback: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

What happens when you make two micro-budget films back-to-back? For filmmakers Henry Loevner and Steven Kanter, it sparks what they’ve dubbed the “micro-budget chain reaction,” inspiring others in their community to pick up cameras and start shooting. As the industry consolidates and traditional distribution becomes harder to navigate, indie filmmakers are finding new ways to create and share their work, embracing folk filmmaking and using platforms like YouTube to bypass traditional barriers. Peak Season, the duo's second feature, serves as a perfect example of this movement. In today’s episode, No Film School’s GG Hawkins speaks with filmmakers Henry Loevner and Steven Kanter to discuss: What the "micro-budget chain reaction" means and how it inspired others to follow in their footsteps The challenges of making two micro-budget films back-to-back The impact of friends and community on the rise of indie filmmaking Their experience shooting Peak Season in Wyoming with a small crew How the landscape of indie film distribution is changing and why many filmmakers are turning to YouTube The importance of flexibility and improvisation in low-budget filmmaking How Peak Season found its audience and landed a theatrical release Why Henry and Steven are ready to transition to a studio film after their micro-budget projects  Memorable Quotes: "It's contagious for better or worse... we're making something, and we're not waiting for permission." [5:40] “Despite all the doom and gloom about the industry in general and how hard it is to make a living, there's never been an easier time to go out and make your film.” [6:43] “If you just put your movie on YouTube, you can get it out there immediately, which is amazing.” [8:19] “If you've written a script and it's going to take $10 million to make this movie and you don't have $10 million, then write a new script.” [51:33] “The only way to do it is you have to just write something small that you can manage. Write something that's set in a single location.” [51:56]  MentionedPeak Season on IMDbFollow Henry Loevner on IGFollow Steven Kanter on Instagram Find No Film School everywhere:On the Webhttps://nofilmschool.com/Facebookhttps://www.facebook.com/nofilmschoolTwitterhttps://twitter.com/nofilmschoolYouTubehttps://www.youtube.com/user/nofilmschoolInstagramhttps://www.instagram.com/nofilmschoolSend us an email with questions or feedback: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

How can you break into the film industry? Especially if you're not in Hollywood or you come from a different profession, like law. Is thick skin essential? Can you balance business with creativity? Producer Ken Kao, co-founder of Waypoint Entertainment, shares insights on these topics, some of his experiences, and recent projects.Ken’s latest feature, CUCKOO, written and directed by Tilman Singer, stars Hunter Schafer, Dan Stevens, and Jessica Henwick and premiered at the 2024 Berlin International Film Festival. With a diverse portfolio spanning films like Academy Award-winning THE FAVORITE and THE NICE GUYS, featuring Ryan Gosling and Russell Crowe, Ken's expertise and vision have shaped the landscape of modern cinema.In today’s episode, No Film School’s GG Hawkins speaks with Ken Kao, co-founder of Waypoint Entertainment and producer of some of the most anticipated films of 2024, to discuss: How Ken started in the industry, moving from lawyer to producer without film school Advice for emerging filmmakers and indie producers The Waypoint x Neon partnership and the opportunity in mid-budget films How he selects projects, being a genre-agnostic producer How Waypoint stays nimble and adaptive in the ever-changing industry What every producer or aspiring producer should be consuming and Ken’s media diet beyond movies Living in Hawaii and maintaining distance from Hollywood His latest feature, "CUCKOO," by Tilman Singer, starring Hunter Schafer, Dan Stevens, and Jessica Henwick Waypoint’s involvement in the release of “Longlegs,” directed by Osgood Perkins and starring Nicolas Cage and Maika Monroe Other projects currently in development  Memorable quotes:“You never know what's gonna happen when you start making a film” [12:02]“We're all just trying to make good movies that touch people and that we can be proud of” [20:05]“I think the vast majority, especially this younger generation of people, if you're gonna get them off their sofas, getting to put their phone down, take 10 to 20 minutes to drive to a theater park and get it and sit there and give up two hours of their time, you need to give them some kind of authentic experience. I think what's good is subjective, but I think their ability to sniff the BS is high.” [21:55]“As difficult as the film business right now is, I think as a creator, and I'm not just speaking for myself, I'm just speaking for aspiring creators, people that are creating already, in some ways it's as strong as the time has ever.” [41:00]“A good number of people know when actors are choosing movies to make a buck. And when they really love the material and they're putting themselves in that role, in that movie.” [46:07]“Trust your taste, trust what you're trying to say to people, and trust your instincts.” [47:33] Links:Follow Ken Kao on LinkedInKen Kao on IMDbFind No Film School everywhere:On the Webhttps://nofilmschool.com/Facebook https://www.facebook.com/nofilmschoolTwitter https://twitter.com/nofilmschool YouTube https://www.youtube.com/user/nofilmschoolInstagramhttps://www.instagram.com/nofilmschoolSend us an email with questions or feedback: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

As an editor, should you specialize in documentary film or narrative film? Who says you can’t do both? Editor Daniel Garber proves it’s possible, sharing his unique approach to editing some of his most recent projects. He dives into the nuances of pacing, note-taking, and the art of knowing when not to cut.In today’s episode, No Film School’s GG Hawkins speaks with editor Daniel Garber to discuss: Getting his first editing credit and learning from other established editors Working with director Lance Oppenheim on multiple films Keeping your expenses low as a filmmaker How tension emerges from the performances and the pacing of the edit Differences between doc and fiction The unexpected moments that happen after a scene has wrapped A very efficient note-taking process  Working on small indie films compared to large productions  The power of face-to-face interactions  Memorable Quotes “I go back and forth between documentary and fiction. I get a lot out of that.” [15:05] With most documentaries, you have way more footage. You’re preparing yourself for a marathon rather than a sprint.” [17:28] “Making a decision not to cut is a huge part of editing.” [21:30] “The social aspect of editing is the most rewarding part.” [35:42] Links:Check out Daniel's websiteFollow Daniel on IGDaniel Garber on IMDb Find No Film School everywhere:On the Webhttps://nofilmschool.com/Facebook https://www.facebook.com/nofilmschoolTwitter https://twitter.com/nofilmschoolYouTube https://www.youtube.com/user/nofilmschoolInstagramhttps://www.instagram.com/nofilmschoolSend us an email with questions or feedback: podcast@nofilmschool.com! Learn more about your ad choices. Visit megaphone.fm/adchoices