In this episode of No Film School, host GG Hawkins and tech editor Jordan Aldridge are joined by two incredible guests: filmmaker Leah Saint Marie and award-winning director Lizzy Born. The discussion delves into the challenges of navigating the indie film world, the stress of festival notification season, and creative approaches to career-building in a competitive industry. Both guests share personal stories, practical advice, and insights on how to push boundaries in filmmaking.

In this episode, No Film School’s GG Hawkins, Jordan Aldridge, Leah Saint Marie, and Lizzy Born discuss:

• Leah Saint Marie’s journey from projectionist to filmmaker and her strategies for staying resilient in “festival purgatory”
• The challenges of navigating FYC campaigns as an indie filmmaker
• Lizzy Born’s approach to directing, from Ziwe to branded content, and how she balances dark humor with social commentary
• Practical advice for emerging filmmakers, including the importance of collaboration and creating your own opportunities
• The inaugural Indies Awards, celebrating independent films outside of mainstream festival circuits

Memorable Quotes:

• “No one else is telling you no, except yourself. If you haven’t made a movie or written a script and you’re afraid to do it, do it anyway.” (39:44)
• “This job is about community. Finding your community of people who feel like they are in the same space as you is so essential.” (1:16:32)
• “Sometimes I wish I didn’t know as much... You’re going to do it in a fresh way because you don’t know what you’re referencing.” (1:19:50)

Resources:

Leah’s Podcast: Pitch! A Screenwriting Podcast

Leah on X (formerly Twitter): @leahwelch19

Leah’s IMDb:Leah Saint Marie

Lizzy’s Website: Lizzy Born

Lizzy’s Instagram: @LizzyB0rn

Read reviews of Ziwe: Variety on Ziwe

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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

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In this episode of No Film School, hosts GG Hawkins and Jason Hellerman are joined by filmmakers and programmers Erin Brown Thomas, Jillian Corsie, and Rafael Leyva to discuss the current state of short films. They dive into the challenges, creativity, and evolving landscape of the medium, exploring how short films serve as a crucial platform for experimentation and storytelling.

In this episode, No Film School’s GG Hawkins and Jason Hellerman discuss:

• The current climate for short films in the industry, including programming and distribution challenges
• How filmmakers like Erin, Jillian, and Rafael are innovating within the short film format
• The role of short films as both creative playgrounds and stepping stones for larger projects
• Programming insights from festivals like Salute Your Shorts and Slamdance
• Personal experiences creating impactful shorts, including Tooth and The Foster Ranch

Memorable Quotes:

• “Short films are such a cool outlet. If there’s any upcoming filmmakers out there, it’s such a great way to tell a story in a little time, and people have no idea how difficult that is.” (10:31)
• “Shorts are this wonderful playground for creativity and trying new things.” (32:11)
• “There’s a certain level of experimentation in shorts, and that’s why I think, even if I’m four features into my career, there might still be room for me to make shorts.” (32:11)

Resources:

• Tooth Short Film
• Erin Brown Thomas on Instagram: @erinbrownthomas_filmmaker
• Erin on TikTok: @erinbrownthomas_film
• Jillian Corsie on Instagram: @jcorsie
• Salute Your Shorts on TikTok: @salute_your_shorts
• The Foster Ranch Trailer: The Foster Ranch
• Rafael Leyva's Website: RLEYVADP.COM
• Versatile Assassins Films

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

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In this episode of No Film School, hosts GG Hawkins and Jason Hellerman explore the craft of cinematic monologues and discuss how these powerful moments can elevate films. They also sit down with director David Gordon Green, whose latest holiday family film, Nutcrackers, debuts on Hulu. David shares his process of crafting a heartfelt and improvisational movie built around four real-life brothers, discussing how his indie roots continue to shape his creative approach.

In this episode, No Film School’s GG Hawkins and Jason Hellerman discuss:

• The craft of writing and performing memorable movie monologues
• Iconic monologues from The Godfather, Network, Cabin in the Woods, Scent of a Woman, and more
• David Gordon Green’s process of reverse-engineering Nutcrackers around its young, untrained stars
• Why David values improvisation and naturalism in his filmmaking
• Advice for indie filmmakers about creating economically viable films while staying true to their creative vision

Memorable Quotes:

• “When you’re writing a great monologue, you’re giving actors a reason to want to say those words and embody that character.” (4:21)
• “The movie became just a sculpture of things I want to see.” (22:54)
• “There’s only one you, and you have to be that as loud as you can.” (45:00)

Resources:

• The 25 Best Movie Monologues
• Watch Nutcrackers on Hulu
• GG Hawkins' Instagram: @LostinGraceland
• Jason Hellerman’s Twitter: @JasonHellerman
• David Gordon Green’s IMDb: David Gordon Green

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

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In this episode of No Film School, host GG Hawkins sits down with Jason Hellerman and special guest Matthew Starr, the creator of the Audible original series The Best Man's Ghostwriter. They delve into the creative process behind the audio series, which is described as an American version of Love Actually for audio, starring Glenn Powell and Nicholas Braun. Matthew shares how he transformed his experience as a ghostwriter for best man speeches into a compelling and humorous narrative.

The discussion also explores the genre of World War II films. Jason, Matthew, and GG each discuss their favorite WWII movies, sparking a conversation about the role these films play in culture and history.

In this episode, No Film School’s GG Hawkins, Jason Hellerman, and Matthew Starr discuss:

• Matthew Starr's journey creating The Best Man’s Ghostwriter, from its early concept to Audible production
• Adapting personal experiences into a scripted audio series
• Challenges and advantages of creating an episodic narrative in the audio format
• A discussion on their favorite World War II movies, including The Longest Day, Band of Brothers, Raiders of the Lost Ark, and Jojo Rabbit
• How WWII movies have shaped film culture and continue to resonate with audiences

Memorable Quotes:

• “Narrative audio is such a vibrant medium—it's about figuring out how to make it fun and engaging to listen to.” (15:18)
• “Band of Brothers really captures the experience of fighting and surviving in WWII, unlike anything else.” (07:04)
• “If you just want to see Nazis getting killed, go watch Sisu. One grizzled old man takes on a team of Nazis, and it’s incredible.” (11:15)

Resources:

• Top World War II Movies
• Matthew Starr’s Website: MatthewSStarr.com
• Follow Matthew on Instagram: @matthewsstarr
• Listen to The Best Man’s Ghostwriter on Audible

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

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In this episode, GG Hawkins sits down with editor Celia Beasley to discuss her role in shaping Penelope, the new episodic series by the Duplass Brothers, now on Netflix. They explore the unique process of editing an episodic series that was shot like an indie film and edited entirely in the cloud. Celia shares her experiences of working outside major film hubs and the impact of community on her career. Through insightful conversations on editing, storytelling, and collaboration, Celia reveals her creative process and what it means to find success beyond New York and LA.

In this episode, No Film School’s GG Hawkins and Celia Beasley discuss:

• Transitioning from still photography to filmmaking and discovering editing as a storytelling tool
• Navigating the industry outside of major film hubs and the importance of a supportive community
• The unique challenges of editing Penelope, including cloud-based editing and handling extensive footage
• Using editing techniques to convey the protagonist's journey, especially in time-compressed scenes
• Advice for emerging filmmakers on trusting instincts, building collaborative relationships, and allowing a film to develop organically

Memorable Quotes:

• “Editing is not an afterthought. It’s the last chance for the film to be the best version of itself.” (46:44)
• “In the edit, I feel like I’m getting a giant bin of Legos, and it’s up to me to put the pieces together to make it all work.” (30:24)
• “It’s okay to ask questions, especially as an editor. I need to understand the vision, and I’m here to serve that.” (52:16)
• “People outside of New York and LA are in film for the love of it; we’re doing it because we’re passionate.” (12:32)

Resources:

• Celia Beasley’s Website: CeliaBeasley.com
• Celia on Instagram: @CeliaBeasley_Films
• Netflix Series Penelope: Watch on Netflix

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

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In this episode, host GG Hawkins hosts a roundtable discussion with microbudget filmmakers at the Austin Film Festival. They share their journeys of creating feature films under tight budgets and high personal stakes. Each filmmaker provides insight into the emotional, physical, and financial tolls of producing indie films while managing personal challenges. Despite the struggles, their stories are underscored by the resilience and camaraderie that helped them see their projects through.

The discussion touches on how these filmmakers greenlit their own projects, self-funded, and navigated logistical and emotional hurdles. From crafting stories inspired by personal traumas to relying on a supportive community to rally resources, the episode reveals what it truly takes to complete a microbudget film. The filmmakers open up about facing setbacks, from COVID shutdowns to creative crises, while pushing forward in pursuit of their vision.

Panelists featured in this episode include:

Sisters

• Sarah Khasrovi (Story By, Lead)
• Susie Yankou (Writer/Director, Lead) 

Lady Parts

• Bonnie Gross (Screenwriter, Executive Producer)
• Edith Belmont (Editor)

Young King

• Bryant T Griffin (Writer, Director)
• Selena Leoni, p.g.a. (Producer)

Crossword

• Michael Vlamis (Co-writer, Director, Producer, and Actor)

The Ego Death of Queen Cecilia

• Travis White (Producer)
• Jo Schaeffer (Lead, Producer)

In this episode, No Film School’s GG Hawkins speaks with indie filmmakers to discuss:

• The personal inspiration behind their microbudget films
• Emotional and physical tolls in the process of making a low-budget film
• Strategies for overcoming logistical challenges, from location scouting to equipment sourcing
• The importance of a supportive filmmaking community in DIY film production
• How each filmmaker dealt with setbacks and moments of doubt
• Key lessons from their experiences in indie filmmaking at AFF

Memorable Quotes:

• “If I was going to do this and fail, it would be good to have a support system around us.” (20:10)
• “Making the movie, getting picture lock… you’re only 60% there.” (44:13)
• “It’s like a constant vulnerability. It’s like cutting yourself open and letting your guts out every day.” (25:27)
• “I don’t know if I’ll do this again… It’s incredible, but the toll is so high.” (50:42)

Resources:

• Austin Film Festival
• GG Hawkins' Micro-Budget Filmmaking Newsletter: @LostinGraceland on Instagram

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: [email protected]

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Celebrating Halloween, this special episode dives into the indie horror-comedy Booger, an unconventional story that combines grief, body horror, and dark humor. Director Mary Dauterman, editor Kyle Moriarty, and lead actor Grace Glowicki share the creative and logistical challenges they faced bringing this unique film to life. From crafting a cat-human transformation story inspired by loss to the collaborative spirit on set, they reveal how to keep indie film projects grounded in vision, even on a tight budget.

Mary Dauterman is a director and writer making her feature debut with Booger, a horror-comedy that blends humor and body horror to explore themes of grief. With a background in illustration and advertising, Mary brings a unique visual style to her work, making her voice distinct in the indie film scene.

Kyle Moriarty is an editor known for his collaborative approach to indie projects, often working closely with directors to capture unique tones and pacing. His work on Booger helped shape the film’s unsettling, humorous edge, bringing out the full impact of its horror-comedy fusion.

Grace Glowicki is an actor and filmmaker acclaimed for her physical, transformative performances. In Booger, she brings the role to life through meticulous body language, channeling both horror and humor in the character’s journey of transformation.

In today’s episode, No Film School’s GG Hawkins speaks with Mary Dauterman, Kyle Moriarty, and Grace Glowicki to discuss:

• The inspiration behind Booger, blending dark themes with horror and humor
• How the 2020 lockdown shaped the film’s themes of grief and loneliness
• Mary Dauterman’s transition from shorts to her debut feature film and what that entailed
• The creative approach to body horror, from prosthetics to unique camera techniques
• How editor Kyle Moriarty’s previous collaboration with Mary Dauterman influenced the edit’s tone and pacing
• Grace Glowicki’s physical preparation for the role, embodying the character’s transformation
• Managing DIY effects on a low budget

Memorable Quotes:

• “Writing it during lockdown and writing it being like super isolated, these themes of grief and loneliness started creeping in.” (04:18)
• “I decided to storyboard the entire film all the way through, which was crazy, but I'm really glad I did it because I think I could pay attention to certain things like: how does the film feel visually?” (12:12)
• “Our specialty lenses were called a lens baby, which is kind of like a lens with an accordion and you can push it all around and the focus falls and it looks really unsettling.” (14:06)
• “The biggest challenge was we were shooting like July into August and turns out prosthetics melt.” (24:48)
• “It's a little bit like the more seriously we take her cat behavior and transformation and just all that grossness… the funnier it is.” (30:52)
• “I was getting these poster designs that I was like, what? No. I'm going to do this myself. So I went a little nuts.” (46:20)

Resources:

Booger on IMDb

Follow Mary Dauterman on Instagram

Mary Dauterman on IMDb

Mary Dauterman’s website

Kyle Moriarty on IMDb

Kyle Moriarty’s website

Grace Glowicki on IMDb

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What does it take to go from indie filmmaking on a shoestring budget to working with legends like Sam Raimi? Andrew Kightlinger’s journey from Madagascar to Hollywood shows how personal experiences shape a filmmaker’s voice. Filmmakers Adam Schindler and Brian Netto share how they moved from microbudget horror films to collaborating with one of the industry’s icons. This episode explores the highs and lows of filmmaking, from preparation and improvisation to building trust on set.

Andrew Kightlinger grew up surrounded by the vibrant landscapes of Madagascar, which ignited his passion for filmmaking. Now directing in Hollywood, his films, like Lost on a Mountain in Maine, showcase his ability to merge personal experiences with visually captivating storytelling. Lost on a Mountain in Maine releases on November 1.

Adam Schindler and Brian Netto began their filmmaking journey with microbudget horror, mastering the craft of tension and suspense. Their latest film, Don’t Move, produced by Sam Raimi, is set to release on October 25, 2024 on Netflix, proving that powerful stories don’t require massive budgets

In today’s episode, No Film School’s Jason Hellerman and GG Hawkins speak with Andrew Kightlinger, Adam Schindler, and Brian Netto to discuss:

• Andrew Kightlinger’s journey from Madagascar to Hollywood
• How his upbringing influenced Lost on a Mountain in Maine
• The need for preparation and improvisation with tight budgets
• Schindler and Netto’s move from micro budget films to working with Sam Raimi on Don’t Move
• Creating real-time horror with minimal voiceover and non-linear techniques
• The role of trust and collaboration in elevating a project

Memorable Quotes:

• “The big lesson I learned in that movie was who not to work with, and I won't go into more detail than that, but I think that's a very important lesson in a collaborative field like ours.” (12:03)
• “I believe that filmmaking is preparation. Like bar none, that's what your job as a director is to do. So prepare because it's gonna be chaos when you start shooting.” (18:02)
•  “I knew what I wanted the film to be. And then I also storyboarded the whole movie just with stick figures. I just had an iPad and I drew out all the really complicated stuff to the best of my ability.” (20:06)
• “He's the consummate collaborator, like… horror icon, but also like one of the best script to screen notes… he lives up to all of it.” (45:22)
• “We became directors together. Our passion for film began together. We founded together. I think the things that we enjoy are slightly different. We like the same movies, but we also have different tastes.” (55:17)
• “I think the filmmaking part of it is the fun part and the easy part. It's all the other things that you have to juggle and have the temperament for and the stomach for and the patience for and all those sorts of things.” (1:04:26)

Resources:

Follow Andrew Kightlinger on Instagram

Andrew on IMDb

Lost on a Mountain in Maine on IMDb

Adam Schindler on IMDb

Follow Adam on Instagram

Brian Netto on IMDb

Follow Brian on Instagram

Don’t Move on IMDB

Find No Film School everywhere:

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In filmmaking, finding the right actor can make all the difference, and for Hallie Meyers-Shyer, Michael Keaton was the only choice for the lead role in Goodrich. This episode delves into the creative journey of writing and directing a deeply personal film, navigating the challenges of independent production, and discovering the heart of the story during editing. It also explores how persistence, vision, and collaboration are essential in bringing a project to life.

Hallie Meyers-Shyer is a writer and director known for her heartfelt and character-driven stories. Following in the footsteps of her legendary filmmaking parents, Nancy Meyers and Charles Shyer, Hallie made her directorial debut with Home Again in 2017. Her latest film, Goodrich, is a personal story inspired by her family dynamics, with a lead role written specifically for Michael Keaton. Hallie is passionate about crafting films that blend humor and emotion, creating stories that resonate on a deeply human level.

In today’s episode, No Film School’s GG Hawkins and Jason Hellerman speak with Hallie Meyers-Shyer to discuss:

• Insights from the LA Director’s Lab, a workshop that offers directors a space to practice their craft and experiment with creative risks
• Why Michael Keaton was the perfect fit for Goodrich and how she wrote the role with him in mind
• The personal inspiration behind the story, rooted in Hallie’s experiences with her own family
• How to keep pushing forward with a film project, even when financing falls through
• The importance of outlining in the writing process and how it provides freedom in creativity
• Hallie’s experience working with a tight-knit team and storyboarding the entire film
• The emotional discoveries that shaped the film during editing and how the film revealed itself as more than just a comedy

Memorable Quotes:

• “I work hard to fully flesh out each character and make them not just servicing the thing that you want to get across in that scene and make them people with a lot of layers and things.” (15:06)
• “I kind of always felt this was going to be an independent movie, even though it sort of would have been a studio movie probably 30 years ago.” (18:24)
• “I had Pinterest boards for costumes. I had Pinterest boards for every location. I also had a really long time to work on this movie, so I had about six years of images pulled.” (26:27)
• “I love editing. I just love it. It's one of my favorite parts, if not my favorite part.” (36:02)
• “Something I noticed about Michael Keaton in the editing room (…) is he brings the first scene of the movie into the last scene of the movie.” (37:15)
• “I know many super talented writers who can do multiple projects at once. I admire it. I cannot do it. I am so fully immersed in what I'm writing.” (46:27)
• “I think it's so important for human stories, personal stories about people and emotions and whatever your life story is, get it out there, keep at it, be your biggest champion, make it happen.” (51:52)

Resources:

Follow Hallie Meyers-Shyer on Instagram

Hallie on IMDb

Goodrich on IMDb

Hollywood Camera Works trainings

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The Austin Film Festival (AFF) stands out for its unique focus on writers and emerging filmmakers, providing a space for attendees to connect with industry professionals and discover creative collaborations. With its welcoming atmosphere, AFF offers an ideal environment for networking, learning, and exploring new opportunities. The conversation also delves into the career of cinematographer Mihai Malaimare Jr., who shares his journey from film school to working with legendary director Francis Ford Coppola, offering insights into his approach to cinematography and navigating the evolving role of technology in film.

Andy Volk is the Senior Film Programmer at Austin Film Festival. He selects films from around the world and helps shape the festival’s diverse lineup.

Emily Lock is the Conference Director at Austin Film Festival. She organizes panels and events focused on screenwriting and filmmaking.

Mihai Malaimare Jr. is a cinematographer known for Megalopolis and Jojo Rabbit. He began working with Francis Ford Coppola shortly after film school and is recognized for his innovative approach to both film and digital cinematography. Mihai has worked on several acclaimed films, blending artistry with evolving technology.

In today’s episode, No Film School’s GG Hawkins and Ryan Koo speak with Andy Volk, Emily Lock, and Mihai Malaimare Jr. to discuss:

• How to make the most of your time at the Austin Film Festival
• Why AFF stands out as a community-driven festival
• Tips for networking, pitching, and finding creative collaborations at the festival
• Mihai Malaimare Jr.’s journey from film school to becoming Francis Ford Coppola’s go-to cinematographer
• How Mihai navigates the evolving landscape of VFX-heavy productions and maintains the balance between technology and artistry
• Building lasting professional relationships with directors and how to stay open to creative ideas on set

Memorable Quotes:

• “[AFF] is one of the more welcoming festivals that I've ever been to, and it really is about community. And I think that's one of the things that we really pride ourselves on at the festival is making it feel really warm and really open.” (7:34)
• “It's a very rare opportunity for an aspiring and emerging storyteller to get in a room with someone who's an actual gatekeeper for Hollywood, to hear their perspective on what they're looking for and their advice to emerging voices, and to have the opportunity to speak with them, either one-on-one or in a group, and really pitch themselves.” (16:22)
• “I want any of our listeners who sort of skew on the shyer side to practice introducing themselves to somebody that they don't know.” (19:03)
• “My advice is watch everything. And I know that sounds trite, but it's so important to get outside your own taste bubble.” (25:34)
• “Make space for things that don't jump out at you. And you would be surprised how much you can love something that didn't really necessarily call to you.” (25:58)
• “It can be very stressful when you're not prepared, and you're used to productions that are really very carefully planned. If you move an inch, then it's a disaster.” (38:09)
• “I'm still trying to figure out why, but I'm more attracted to still photography than stills from other movies.” (52:18)

Resources Mentioned:

Austin Film Festival

On Story podcast

Mihai Malaimare Jr. on Instagram 

Mihai Malaimare Jr. on IMDb

Mihai Malaimare Jr.’s website

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The O-1 visa, also known as the "artist visa," is a crucial step for filmmakers and creative professionals aiming to establish their careers in the U.S. Designed for individuals with extraordinary ability in their fields, the application process can be daunting. This episode offers insights into what it takes to qualify, how to strengthen your application, and common challenges faced by those seeking an O-1. Whether you're in the middle of applying or just starting out, this episode provides a roadmap for navigating the process.

Alabama Blonde is a casting director, costume designer, and performance coach originally from Australia. Now based in Los Angeles, she has navigated the O-1 visa process twice, ultimately securing a green card. Alabama’s multidisciplinary career spans various creative roles, giving her unique insights into the challenges of obtaining visas as an artist working across multiple fields.

Julia Zanin de Paula is a Brazilian filmmaker, director, and editor currently based in New York. With a background in horror films, including her notable short Mother of Monsters, Julia has successfully transitioned from a student visa to an O-1 artist visa. She offers valuable advice on gathering press, awards, and recommendations to strengthen her application.

Sneha Mendis is a producer and screenwriter from India, currently in New York, and in the midst of applying for her O-1 visa. With a background in production and development, Sneha shares her experience of building a case for the visa while working in various roles across film sets in the U.S.

In today’s episode, No Film School’s GG Hawkins and Jason Hellerman speak with filmmakers Alabama Blonde, Julia Zanin de Paula, and Sneha Mendes to discuss:

• What qualifies as “extraordinary ability” and how to demonstrate it in your visa application
• The key documents and evidence required to strengthen your case, including press coverage, awards, and work offers
• The emotional challenges of navigating the visa process and finding support while applying
• Common misconceptions about the O-1 visa and why it’s not as "easy" as some think
• Financial considerations: the costs of legal fees, recommendations, and union approvals

Memorable Quotes:

• “I think being extraordinary is having something that sets you apart from everyone who's doing the thing that you do.” (15:05)
• “You know what happens when you're a filmmaker and you are starting your career? You're couch surfing. You know, it's not always easy.” (24:10)
• “They can't say Julia will be extraordinary. They have to say Julia is extraordinary right now, and she will be extraordinary in the US.” (25:56)
• “You've got to be a little insane to do the O1 visa. You've got to be a little delusional. Because if you don't go all in, you're not going to get it.” (32:34)
• If you have a long-term project that the producer has never encountered your visa and has never gone through human resources with your kind of visa, they might not be down to do it.” (43:22)
• “It doesn't get easier once you get it. It's just a constant struggle to grow in your career.” (44:20)

Mentioned:

Follow Sneha Mendes on Instagram

Sneha’s website

Sneha on IMDb

Follow Julia Zanin de Paula on Instagram

Julia’s website

Julia on IMDb

Follow Alabama Blonde on Instagram

Strike the Blonde Casting on Instagram

Find No Film School everywhere:

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