The No Film School Podcast

• Why the Austin Film Festival Is #1 for Screenwriters (and Could Texas Be #1 for Film Production?)

  In this episode, No Film School founder Ryan Koo sits down with contributor and fellow Austinite Jourdan Aldredge to recap the highlights and insights from the 32nd annual Austin Film Festival. Known as "The Writers Festival," AFF has emerged as a critical space for screenwriters, writer-directors, and filmmakers to connect, learn, and showcase their work. Ryan and Jourdan discuss how the festival nurtures emerging talent, supports the craft of screenwriting, and uniquely prioritizes writers. They also dig into the implications of Texas's new film incentive, SB 22, and what it means for the future of production in the Lone Star State. In this episode, No Film School’s Ryan Koo and Jourdan Aldredge discuss... Why the Austin Film Festival is considered the top screenwriting festival The unique setup of AFF with its focus on panels and Q&As over red carpets Highlights from panels with Michael Arndt, Celine Song, Christine Vachon, and Rian Johnson Screenwriter Andrew Kevin Walker's brutally honest take on breaking in The inspiring breakout story of writer Austin Kolodny and Dead Man’s Wire The economics of the film industry and why 90–97% of films don’t make money True stories as a strong route into the industry for aspiring screenwriters Texas's new $1.5 billion film incentive and how it could change U.S. production hubs Concerns about creative censorship tied to discretionary state grants The continued power of writing on spec, especially in genre like horror and action Memorable Quotes: "The artist is not the beggar for the producer's attention.” "I'm willing to bet the next two years of my life that that's a great ending." "There are a lot of us knocking at the door... We may do it for free for years." "You could get a coursework over a weekend at the Austin Film Festival." Resources: Michael Arndt's Video Lectures Previous AFF Roundtable Episode (with GG Hawkins) 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: [email protected] Learn more about your ad choices. Visit megaphone.fm/adchoices

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• Why Netflix’s #1 Film 'The Perfect Neighbor' Is the Edit Everyone’s Talking About

  In this episode, No Film School’s GG Hawkins and guests Geeta Gandbhir and Viridiana Lieberman dive into the making of the breakout documentary The Perfect Neighbor, which uses police body‑cam, Ring‑cam and dash‑cam footage to tell a harrowing story of a neighborhood dispute and a fatal shooting in Florida under the “stand your ground” law. The conversation focuses on how editor Lieberman navigated massive technical and emotional challenges, how director Gandbhir shaped the vision and collaboration, and what it takes to make nonfiction storytelling that feels fresh, urgent and cinematic. In this episode, No Film School’s GG Hawkins and guests Viridiana Lieberman and Geeta Gandbhir discuss: How Viridiana  Lieberman approached editing “The Perfect Neighbor”, choosing what to show when and from which vantage to preserve both clarity and emotional resonance. The origin of the project: how Geeta Gandbhir came to this story, the community she wanted to honor, and why she opted to build the film almost entirely out of institutional footage rather than recourse to expert interviews or narration. The technical and ethical challenges of juggling footage from very different sources (body cam, dash cam, Ring camera, 911 calls) in the edit room — and how Viridiana organised the workflow. The importance of tone, pacing and audience trust in documentary editing: trusting the audience, staying rooted with community, giving them room to observe rather than prescribing meaning. Collaboration between director and editor: the shorthand Lieberman and Gandbhir had built, the trust that was required, and how they shaped the structure together. Self‑care and emotional resilience when working on stories that deal with trauma, racial violence, and community grief — how Viridiana and the team held space for the neighborhood and for themselves. Advice for aspiring editors and filmmakers: start making stuff, vocalise what you want, collaborate with people you trust, don’t wait for permission. Memorable Quotes: “I said, wow, the film created that space.” “There’s moments of incredible insight and joy of this community … I always say surprising that people … do feel all of that.” “What I love is that Gita can direct me like I’m an actor … what are we trying to say here?” “The hardest part of this edit was more creative and technical because all of the … footage … is what it is.” Guests: Geeta Gandbhir Viridiana Lieberman Resources: Watch The  Perfect Neighbor on Netflix 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: [email protected] Learn more about your ad choices. Visit megaphone.fm/adchoices

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• The Art of Coming Undone: Mary Bronstein on ‘If I Had Legs I’d Kick You’

  In this episode of the No Film School Podcast, GG Hawkins speaks with writer-director Mary Bronstein about her searing psychological comedy-drama If I Had Legs, I'd Kick You. The film, starring Rose Byrne, Conan O'Brien, Christian Slater, and A$AP Rocky, explores the emotional breakdown of a woman navigating a mysterious illness in her child, an absentee husband, and a dangerously dependent relationship with her therapist. Premiering at Sundance and earning Rose Byrne a Silver Bear at Berlinale, the film has received critical acclaim for its raw emotional honesty and darkly comedic tone. Mary shares her deeply collaborative process with actors—particularly Byrne—and how performance, not just plot or technique, is the true core of her work. In this episode, No Film School's GG Hawkins and guest Mary Bronstein discuss... Mary’s non-traditional journey into directing via acting and method training Why understanding acting is essential for directors The intense six-week collaborative prep process Mary and Rose Byrne underwent to develop the character of Linda How Mary tailors her directing style to unlock emotionally raw, performance-driven cinema The importance of maintaining artistic integrity over commercial conformity Why most screenwriting classes and formatting “rules” are, in Mary’s words, “bullshit” The difference between directing for performance versus directing for aesthetics Mary’s perspective on the resurgence of a new indie golden age Memorable Quotes: "If your performances are shit, your movie is shit to me." (12:49) "By the time we get to set, there is nothing you could do that would be wrong." (30:34) "My struggle is a creative one, not a commercial one." (42:08) "You don’t wait for permission." (46:18) Guests: Mary Bronstein Resources: If I Had Legs, I'd Kick You is now in theaters via A24 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: [email protected] Learn more about your ad choices. Visit megaphone.fm/adchoices

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• Are You Up to the ‘Task’ of Directing Great TV? Jeremiah Zagar on How to Helm an HBO Hit

  No Film School founder, Ryan Koo, sits down with acclaimed director Jeremiah Zagar to explore his journey from Sundance Labs and indie documentaries to directing high-stakes prestige television. Zagar, best known for We the Animals and Hustle, shares an in-depth look at his process directing HBO’s Task—an emotionally rich, verité-style crime drama from showrunner Brad Ingelsby, starring Mark Ruffalo and Tom Pelphrey. The conversation dives deep into how Zagar’s collaborative ethos and commitment to joy and safety on set shapes his work, and how building a long-standing creative family has been key to his success. In this episode, No Film School’s Ryan Koo and guest Jeremiah Zagar discuss... How Jeremiah transitioned from making a personal documentary to directing HBO Sunday night TV The evolution of his production company Public Record and his partnership with longtime collaborator Jeremy Yaches Why he treats every project as a holistic collaboration, bringing in his trusted team across all productions The importance of storyboarding, mood boarding, and detailed prep to allow for freedom on set Behind-the-scenes stories from directing pivotal scenes in Task, including a climactic car scene with Ruffalo and Pelphrey The philosophy of “best idea wins” and how showrunner Brad Ingelsby fostered deep creative collaboration How emotional truth and safety for actors are prioritized on Zagar’s sets The unusual ways his acting coach (or “wizard”) helps foster intimacy and authenticity among cast members Why joy, kindness, and team spirit are central to Zagar’s directing ethos Memorable Quotes: "The process has to be better than the product." "I never expected to make any money. So it had to be a fulfilling artistic journey." "If you're working with NBA-caliber people, all you have to do is make sure LeBron James wins the game." "We said, we're going to run this set with kindness. And we did." Guests: Jeremiah Zagar – Director of Task, We the Animals, and Hustle 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: [email protected] Learn more about your ad choices. Visit megaphone.fm/adchoices

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• Can Filmmakers Make Money by Adding a ‘Tip Jar’ to the Credits? ‘Dolly’ Filmmakers Find Out

  How do you make enough money to support yourself as an independent filmmaker? It's nearly impossible. So these scrappy filmmakers tried something new. Moviegoers at this year's edition of Fantastic Fest were in for a surprise when the credits of the horror world premiere Dolly rolled: several QR codes lingered on screen. If you liked the movie, you could tip the filmmakers directly, through Venmo, Cash App, Zelle, and PayPal (those links are live in case you support the idea): In addition to the tip jar, they also put themselves in the movie so they could also find a revenue stream as actors, and they've since added to their website a high-priced opportunity to be in the sequel to Dolly as one of the victims. On this episode of the No Film School Podcast, NFS Founder Ryan Koo discusses these innovations with writer-director Rod Blackhurst, producer Noah Lang, and producer Ross O'Connor. In this episode… Why the Dolly team added a “tip jar” at the end of their movie using QR codes How creating additional revenue streams as actors and content creators might be a new model for indie filmmakers The story behind casting wrestler Max the Impaler as Dolly Using 16mm film to enhance the grindhouse horror tone and the challenges of daily shipping undeveloped reels The VFX, SFX, and editing craft that made the gore and kills land effectively The DIY spirit that fueled every part of this low-budget horror’s production Putting themselves in the film for potential SAG residuals Plans to build Dolly into a franchise and the playful spirit they bring to that The lesson that proper channels aren’t always the best path—sometimes you just DM a star and see what happens Memorable Quotes: “Putting a tip jar in the credits—if not us, then who? If not now, then when?” (42:20) “We couldn’t afford to license music, so we made our own band.” (42:30) “It’s both the most pathetic thing ever and the greatest idea of all time.” (43:50) “We will be in every Dolly. That is 100% the plan.” (50:12) Guests: Rod Blackhurst Noah Lang Ross O'Connor Resources: Why The 'Blood for Dust' Filmmakers Don't Wait for Permission ⁠'Here Alone': Post-Apocalyptic DIY Flick Wins Audience Award at Tribeca ⁠7 Directing Tips From A First-Time Feature Director ⁠Why a Proof of Concept Short is Always Worth Making 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: [email protected] Learn more about your ad choices. Visit megaphone.fm/adchoices

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