The No Film School Podcast

Latest Episodes:

Director Amy Wang Reveals the Job That Keeps Filmmakers Working After Film School Mar 12, 2026

Show notes

Writer-director Amy Wang joins the No Film School podcast to discuss her debut feature, Slanted, and the long road from film school to theatrical release. In conversation with GG Hawkins, Wang reflects on leaving Australia for AFI, building a creative community in Los Angeles, learning to write as a practical path to survival in the industry, and what happened after Slanted premiered at SXSW 2025, won the Grand Jury Prize, and eventually landed distribution ahead of its 2026 theatrical release.

In this episode, No Film School's GG Hawkins and guest Amy Wang discuss...

How Fight Club inspired Wang to pursue filmmaking as a teenager in Sydney
Why she left Australia for AFI and what it was like arriving in Los Angeles as an international student
The real value of film school, especially for community-building and dedicated creative time
Why learning to write became the key to sustaining a filmmaking career after graduation
How a Black List script helped open doors in Hollywood
The emotional and personal origins of Slanted
Why body horror and comedy became the right form for exploring race, identity, and belonging
How Slanted went from a logline to a financed feature
What production and post looked like on a tight timeline before SXSW
What it felt like to premiere at SXSW, hear audience reactions, and unexpectedly win the Grand Jury Prize
The reality of selling an indie film in today’s market, even after major festival recognition
What Wang learned from working with Bleecker Street on the theatrical release
Details about her next feature, Crescendo, set in the world of competitive piano

Memorable Quotes:

“If you don't come from money, if you don't have a famous uncle and you don't want to work at Starbucks for the next three to four years after you graduate, you need to learn how to write.” (12:48)
“You can't let the highs be too high and you can't let the lows be too low.” (16:31)
“It doesn't matter what I do, it doesn't matter who I am, how I speak, my personality is like, what my thoughts or how intelligent I am, people will always see my face first.” (19:08)
“As long as you keep going, as long as you keep learning and changing and growing, I think you don't need to be the best throughout your life to be able to have a career in this industry.” (40:56)

Guests:

Amy Wang

Resources:

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The Best Distillation of Filmmaking: An A24 Edit Case Study Mar 06, 2026

Show notes

In this episode, GG Hawkins speaks with editor Harrison Atkins about shaping A24’s How to Make a Killing with director John Patton Ford. Atkins breaks down his path into editing, his holistic “total filmmaker” approach to storytelling, and the editorial challenges of balancing dark comedy, violence, voiceover, and audience empathy around a morally compromised protagonist. The conversation also explores the realities of studio post-production, from long edit timelines and test screenings to cutting in Adobe Premiere’s Productions workflow while collaborating with a London-based post team more accustomed to Avid.

In this episode, No Film School's GG Hawkins and guest Harrison Atkins discuss...

How Harrison Atkins found his way into editing through directing and making his own films
Why he thinks of editing as a holistic, dramaturgical part of filmmaking rather than a purely technical role
Reuniting with director John Patton Ford after Emily the Criminal
What drew him to the multi-tonal mix of crime, satire, dark comedy, and violence in How to Make a Killing
How voiceover created both opportunity and endless editorial possibilities in the cut
The difference between an indie sprint like Emily the Criminal and the extended timeline of a studio feature
How test screenings and audience response helped refine comedy, pacing, and emotional momentum
Why the first reel was crucial to getting audiences aligned with a charismatic but morally gray lead
The editorial challenge of shaping an underdog around Glenn Powell’s natural confidence and charm
How Premiere’s Productions workflow supported a collaborative feature edit with multiple people working simultaneously
What it was like cutting the film in London with assistant editors adapting from an Avid-heavy post environment
How temporary VFX comps in After Effects and Photoshop helped solve story and joke-building problems inside the edit
Harrison’s philosophy of leadership, collaboration, intuition, and staying present as both an editor and director
His advice to emerging filmmakers: fail boldly, work small if necessary, and keep making things instead of waiting for permission

Memorable Quotes:

“I never really considered myself an editor. I still kind of weirdly don't.” (01:19)
“The calendar is really a myth.” (06:59)
“The difference between a joke that lands and one that doesn't is often microscopic.” (13:30)
“Perfection is the enemy of good.” (33:50)

Guests:

Harrison Atkins

Resources:

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What These DPs Used Instead of Stills to Land Their Sundance Films Feb 26, 2026

Show notes

Recorded live at the 2026 Sundance Film Festival in Park City, this annual Director of Photography Roundtable features No Film School’s GG Hawkins in conversation with cinematographers Lidia Nikonova, Sam Levy, and Maria Herrera. The group discusses their unconventional paths into cinematography—from orchestras and photojournalism to weddings and radio DJing—how they landed their Sundance projects, and why connection, rhythm, and trust matter more than flashy lookbooks. They also break down the tools they used to communicate vision, navigate long dialogue scenes, and adapt to technical and emotional challenges on set.

In this episode, No Film School's GG Hawkins and guests discuss…

Shooting at the 2026 Sundance Film Festival and hosting at the BraveMaker house
Maria Herrera’s transition from music to cinematography and operating handheld for emotionally intense performances
Sam Levy’s mentorship under Harris Savides and how that shaped his approach to narrative filmmaking
Lidia Nikonova’s journey from photojournalism and the Canon EOS 5D Mark II to AFI and shooting narrative features
How each DP landed their Sundance projects through relationships, cold emails, and creative chemistry
When to bring visual references to a director meeting—and when to just listen
Using tools like Figma to build collaborative lookbooks and visual worlds
Why dialogue rhythm and musicality influence cinematography choices
Shooting on 35mm with an Arricam ST versus digital on the ARRI Alexa 35
Working with vintage Super Baltar lenses (famously used on The Godfather) for a modern crime thriller
Referencing L'Argent by Robert Bresson for insert shots and cinematic economy
How to approach 10+ page dialogue scenes without losing visual intention
The value of shooting weddings and low-budget projects to build craft and confidence
Advice for emerging cinematographers: show up early, trust your vision, and get your reps in

Memorable Quotes:

“This child will never play a musical instrument ever in her life.”
“If you have good dialogues, it's like, okay, here's something.”
“Just connect with her.”
“Show up at least one hour early… and do not use your phone on set.”

Guests:

Find No Film School everywhere:

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‘Send Help’ Producer Zainab Azizi’s Studio Filmmaking Playbook Feb 20, 2026

Show notes

Producer Zainab Azizi joins GG Hawkins to break down her journey from agency mailroom to President of Raimi Productions and producing studio features like Send Help. Azizi shares how she develops original ideas, packages talent, protects projects through shifting studio mandates, and leads with a collaborative producing style. She also discusses mentoring female producers, balancing creative and financial realities in modern filmmaking, and why theatrical success for original films still matters.

In this episode, No Film School's GG Hawkins and guest Zainab Azizi discuss...

How Send Help evolved from a logline in 2019 to a theatrical release
Moving the project from Columbia Pictures to 20th and navigating studio mandate shifts
Why Sam Raimi was essential to directing the film—and how storyboards helped secure studio confidence
Packaging as a producer: attaching directors and actors through agency relationships
Casting Rachel McAdams and Dylan O’Brien and building chemistry into the film’s core dynamic
The tension between “social media value” and creative talent in casting decisions
What Azizi learned in the WME mailroom and how agencies really function behind the scenes
Different types of producers (creative, line, financing, studio producers) and protecting the “PGA” credit
Her collaborative leadership style and the “three solutions for every problem” rule
Mentorship, promoting female producers, and fostering more women-led sets
Why theatrical releases for original films still matter in 2026
Developing a Seshu Hayakawa biopic and why his story feels urgent today
The importance of sacrifice, networking, and embracing rejection early in your career

Memorable Quotes:

“My job is to find three solutions for every problem.”
“Rejection is just redirection. We celebrate rejections.”
“If it scares you, it means you’re headed the right direction.”
“You have to put yourself out there.”

Guests:

Zainab Azizi – President of Raimi Productions and producer of Send Help

Resources:

LaBelle Foundation (for adopting Cactus the foster puppy)
Producers Guild of America (PGA)
Producers United

Find No Film School everywhere:

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📩 Send us an email with questions or feedback: podcast@nofilmschool.com

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The Quiet Throughline in This Year’s Sundance Shorts Feb 19, 2026

Show notes

Recorded live from the Sundance Film Festival, GG Hawkins hosts a roundtable conversation with four short film directors premiering work at the festival: Kelly McCormack (How Brief), Anna Baumgarten (Balloon Animals), Ana Alpízar (Norheimsund), and Anooya Swamy (Pankaja). The filmmakers discuss the origins of their films, navigating production across Cuba, India, Canada, and the U.S., working within (and outside of) film school structures, and the deeply personal themes of grief, mother-daughter relationships, disappearance, and survival that unexpectedly connect their work.

In this episode, No Film School’s GG Hawkins and guests discuss…

Shooting narrative shorts on location in Havana, Bangalore, Vancouver, and Los Angeles
Returning to Cuba to film Norheimsund after seeking asylum in the United States
How Pankaja draws from growing up in the slums of Bangalore and confronting personal memory
Making a $6,500 microbudget short inside a real grocery store overnight
Building a short film over eight years and resisting the “proof of concept” mindset
Working within NYU’s film school structure versus creating outside institutional systems
Casting mother-daughter dynamics rooted in real-life relationships
Designing color theory, texture, cement, and dirt as emotional language
Shooting inside real police stations and navigating bureaucracy while telling stories about it
Grief as a “big soup of emotions” and balancing melancholy with comedy
Collaborating with ride-or-die creative partners
Advice for emerging filmmakers about not compromising and trusting instinct

Memorable Quotes:

“Dreaming doesn’t cost a thing.”
“Choosing oblivion.”
“We often live really simple lives in complicated worlds.”
“You are allowed not to compromise.”

Guests:

Kelly McCormack – Director, How Brief
Anna Baumgarten – Writer/Director, Balloon Animals
Ana Alpízar – Director, Norheimsund
Anooya Swamy – Writer/Director, Pankaja

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How to Write Romance Scripts That Sell: Insider Tips from The Love List Feb 13, 2026

Show notes

In this episode, GG Hawkins speaks with Madison Jones and Lindsay Grossman, co-founders of The Love List, along with filmmaker Shelby Blake Bartelstein, about what makes a romance script stand out in today’s marketplace. They discuss the origins of The Love List, the evolving appetite for romance across film and television, how to craft undeniable chemistry on the page, and why specificity, vulnerability, and the grand gesture are essential tools for writers hoping to sell in the genre.

In this episode, No Film School's GG Hawkins and guests discuss...

The “meet cute” origin story behind The Love List and how a shared love of YA romance sparked a professional movement
How The Love List curates the best unproduced romance pilots and screenplays each year
Why romance remains commercially viable—and why the industry is rediscovering its power
The importance of writing what you love instead of chasing market trends
How to balance high-concept hooks with emotional authenticity
Crafting chemistry on the page through small, specific moments
Why vulnerability is the core engine of all great storytelling
The art of the grand gesture in romantic storytelling
Why television romance (including slow burns and enemies-to-lovers arcs) can be just as powerful as film
How executives identify “soul” in a script—and why that’s what ultimately sells

Memorable Quotes:

“Write what you want to watch. To me, that is the most crucial piece of advice.”
“What part of you is this healing?”
“You can tell when there’s not a soul in it.”
“It’s not about knowing whether or not they’re going to end up together. It’s about how they get there.”

Guests:

Resources:

Deadline - The 2026 Love List

The Love List on Instagram - @TheLoveList26
“Change the Prophecy” Short Film

Find No Film School everywhere:

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📩 Send us an email with questions or feedback: podcast@nofilmschool.com

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The Indie Exhibition Problem (And the People Fixing It) Feb 06, 2026

Show notes

Recorded live at Sundance, this episode features a wide-ranging roundtable on the current state of independent film exhibition. Host GG Hawkins speaks with festival programmers, exhibitors, and platform founders about what’s broken in the exhibition ecosystem, what’s actually working better than people realize, and how community-driven models—from art houses to new distribution tools—are reshaping how films are discovered, shown, and sustained beyond the festival circuit.

In this episode, No Film School's GG Hawkins and guests discuss…

Why art house cinemas and film festivals remain vital community hubs
The realities of audience-building beyond “market festivals” and multiplexes
How filmmakers can rethink distribution, touring, and self-exhibition
New tools and platforms helping filmmakers navigate submissions and discovery
The rise of alternative distribution models, including physical media reimagined
Why shorts, community producers, and collaboration matter more than ever
How filmmakers and exhibitors can work together more effectively
What a sustainable film community could look like in 2026

Memorable Quotes:

“Art house cinemas and independent exhibitors and film festivals are thriving because they build community.”
“Making movies is like having a baby… then you’ve got to raise it.”
“There is such an opportunity on both sides for filmmakers and exhibitors to learn how to work together.”
“Independent film is rooted in community and curation.”

Guests:

Ash Cook – Programmer, Sundance Film Festival; Festival Director, San Francisco Jewish Film Festival; Founder & CEO, Video.Storage
Tony Gapastone – Founder & Executive Director, Bravemaker
Lela Meadow-Conner – Interim Executive Director, Art House Convergence; Co-founder, The Popcorn List
Tyler Knohl – Co-founder, Hiike; Assistant Director, Boston Sci-Fi Film Festival
Brynne Norquist – Co-founder & CEO, Hiike
Aidan Dick – COO, Video.Storage; Programmer, Frameline Film Festival

Resources:

Bravemaker – https://bravemaker.org
Art House Convergence – https://arthouseconvergence.org
The Popcorn List – https://thepopcornlist.com
Hiike – https://hiike.com/
Video.Storage – https://www.videostoreage.com
Frameline Film Festival – https://www.frameline.org

Find No Film School everywhere:

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Twitter: No Film School on Twitter
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📩 Send us an email with questions or feedback: podcast@nofilmschool.com

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How to Get Into — or at Least Go to — SXSW Feb 05, 2026

Show notes

In this episode, we dive into the logistics, strategy, and evolving experience of getting into and attending SXSW. GG Hawkins is joined by No Film School Founder Ryan Koo and a panel of SXSW insiders: Claudette Godfrey, Peter Hall, and Francis Román, who share their personal journeys into programming and illuminate the processes behind one of the most significant festivals in the world. Whether you’re hoping to submit, attend, or just understand the inner workings, this conversation offers clarity on what to expect from the 2026 edition and beyond.

In this episode, No Film School's GG Hawkins, Ryan Koo, and guests discuss...

The different paths each SXSW programmer took to join the festival team
Why SXSW values first-time filmmakers and how they approach the programming process
Practical ways to attend SXSW (volunteering, student discounts, single tickets)
Major changes to SXSW 2026, including venue shifts, badge updates, and a new festival layout
How to best prepare your submission, including rough cut etiquette and the importance of strong film stills
Common myths about festival programming—debunked
Why meaningful networking and personal connection at SXSW can shape careers
What types of films SXSW is most excited about—and what they’re seeing too much of

Memorable Quotes:

"If a film can make you laugh in your home alone at 2 a.m. and you've worked a 20-hour day, then it's hilarious."
"If you're submitting unfinished, you should have a title card at the very beginning that says exactly where you're at."
"We're looking for that director's vision, the fingerprint on it."
"You should come to South By, and if you can’t, go to whatever local film festival is going on in your area."

Guests:

Resources:

SXSW Volunteer Info

Find No Film School everywhere:

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📩 Send us an email with questions or feedback: podcast@nofilmschool.com

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How to Self-Produce an Indie TV Pilot in Your Hometown… and Premiere at Sundance Jan 31, 2026

Show notes

In this episode recorded live at the Sundance Film Festival, No Film School founder Ryan Koo sits down with Julien and Justen Turner—real-life brothers and co-creators of FreeLance, an indie TV pilot that debuted in the festival’s Episodic Pilot Showcase. The Turner Brothers walk through their journey of building a creative career outside of New York or LA, self-funding their show in Columbus, Ohio, and pulling off a high-production-value pilot in just four days. They talk about their process, influences, and how their authentic, relatable characters came to life through personal experience and community-driven production.

In this episode, No Film School’s Ryan Koo and guests discuss…

The origin of the episodic pilot category at Sundance and its importance for indie creators
How the Turner Brothers’ musical upbringing led to an early love of filmmaking
Their decision to self-fund FreeLance instead of attending Sundance in 2023
Turning real-life freelance filmmaking experiences (like wedding videography chaos) into episodic comedy
Casting comedians, athletes, and non-actors from social media and commercial work
Building a 150-page show bible and planning a multi-season vision
The four-day shoot that captured 41 minutes of content, including an improvised scene in a thrifted basement
How making content in Ohio allowed the show to break traditional industry molds
Advice for filmmakers: choose a date, build your team, and just shoot
The surreal moment of getting the Sundance acceptance call (via their mom!)

Memorable Quotes:

“We kind of realized that the only people we were waiting on was ourselves.”
“The more specific we were, the more universal it was.”
“We shot a 41-minute pilot in four days.”
“This is getting done, and it’s going to be done like this.”

Guests:

Resources:

Find No Film School everywhere:

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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

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How to Find Collaborators at Film Festivals, from Sundance '26 Jan 30, 2026

Show notes

This episode of the No Film School Podcast is recorded live from the final Sundance Film Festival in Park City, 2026. GG Hawkins and Ryan Koo are joined by No Film School writer Jo Light and special guest Teddy Kim to share insights and lessons from Sundance. Together, they reflect on what it takes to find true creative collaborators at festivals, how the indie landscape continues to shift, and why human connection still matters more than ever in a rapidly changing industry. The episode includes a game of "Red Flag, Green Flag" and wraps with an interview between Ryan Koo and writer-director Stephanie Ahn, whose feature Bedford Park won the U.S. Dramatic Special Jury Award for Debut Feature at Sundance 2026.

In this episode you'll hear...

How to make the most of Sundance even if you're not actively pitching a project
Why networking at film festivals is more about vibe than résumé
The evolving role of indie production companies balancing studio and independent films
Which films are getting buzz at Sundance 2026 and what the acquisition market looks like
How filmmakers are using episodic pilots and private screenings to get attention
The pros and cons of “networking dinners” and late-night parties like Tao
A playful, practical game of "Red Flag, Green Flag" to decode festival behavior
GG’s and Jo’s favorite short and episodic pilots—and what makes them feel fresh
A deep-dive interview with Bedford Park director Stephanie Ahn about perseverance, editing your own movie, and telling emotionally resonant stories

Memorable Quotes:

“In filmmaking, they often say you better give 10 years of your life… I exceeded that, and Stephanie exceeded that.”
“You have to be very clear about what your intentions are and what the story is going to be. If you maintain an integrity with that, people come.”
“It’s not a matter of whether there is a big headline acquisition… but can a bunch of other movies get acquired for $3 million and have a healthy minimum guarantee?”
“I wanted to make a film that hopefully an audience would actually feel something—genuinely feel something.”

Resources: