The No Film School Podcast

• Amazon Captures Bond and a Producer on Producer

  In this special episode of No Film School, GG Hawkins and Jason Hellerman dive into the Amazon acquisition of James Bond, what it means for the future of the franchise, and whether Bond spin-offs are inevitable. They also discuss IP fatigue and how streamers are expanding globally to combat it. Then, filmmaker Elle Roth-Brunet joins the show to talk about her unconventional journey into producing, demystifying indie film financing, and why tough conversations are essential in production. In this episode, No Film School’s GG Hawkins, Jason Hellerman, and Elle Roth-Brunet discuss: The history of James Bond’s ownership and what Amazon’s billion-dollar deal changes The risk of oversaturation—is Bond headed toward Marvel/Star Wars territory? The global market shift that keeps franchise fatigue at bay How Bond’s new freedom could lure filmmakers like Christopher Nolan Elle Roth-Brunet’s journey from marketing to film producing The reality of indie film financing—debt vs. equity vs. deficit financing The importance of clear producer roles in today’s industry Guests: Elle Roth-Brunet – Producer of I Really Love My Husband and indie film advocate. Memorable Quotes: “James Bond movies are always events. But if you keep pouring water into the gin bottle, at some point, it’s just water.” (04:51) “Filmmaking is 95% business and 5% creative. If you don’t understand the business, you’re not in control of your own movie.” (56:39) “The biggest lesson I learned? Hard conversations lead to breakthroughs. If you avoid them, you stall progress.” (22:45) “Boat Day was the most stressful day in theory—and then ended up being the easiest. The day we didn’t stress over? That was the hardest.” (26:33) Resources: Every James Bond Film, Ranked 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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• How ‘The Substance’ Editor Trimmed the Fat of the Hit Body Horror Flick

  In this episode of No Film School, GG Hawkins sits down with Jérôme Eltabet, the editor of the Oscar-nominated body horror film The Substance. Jérôme shares his journey from assistant director to editor, detailing his work with director Coralie Fargeat to bring The Substance to life. He breaks down the editing challenges, the importance of sound design, and why cutting a horror film is all about creating an immersive experience. In this episode, No Film School’s GG Hawkins and Jérôme Eltabet discuss: How Jérôme transitioned from assistant director to editor What it was like editing 300+ hours of footage for The Substance How sound design and score shaped the film’s tension The massive changes from the first cut to the final version How the film’s themes influenced its pacing and cutting style The collaborative dynamic between Jérôme and director Coralie Fargeat Memorable Quotes: “I do remember I gave a call to Coralie to say, ‘Oh, this movie is going to be very long.’ And she told me, ‘Shh, don’t tell anyone! We’ll talk about this later in the edit room.’” (8:38) “We had maybe 150 different versions of some sequences because Coralie needs to have the kind of goosebumps to like it. It’s not something you can explain—she just has to feel it.” (10:29) “Coralie didn’t want any realistic sounds. Everything had to be slightly off. The world needed to feel unnatural, unsettling—like something was always wrong.” (13:14) “The first rough cut was three and a half hours. Coralie wanted a perfect edit, a perfect sound design, so we fought to get the movie as tight as possible without losing its impact.” (32:10) “As an editor, you are the first audience. You have to trust your instincts, because six months later, after watching the same footage over and over, you’ll start doubting yourself.” (37:47) Guest: Jérôme Eltabet – Editor of The Substance, known for his precise, immersive approach to editing horror and psychological thrillers. Resources: The Substance – Ending Explained The Substance – Lookbook Read & Download The Substance Screenplay 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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• This 30 Min Oner Short Played Sundance & Slamdance

  In this episode of No Film School, GG Hawkins sits down with Erin Brown Thomas, the director of Chasers, a 30-minute single-take short that played both Sundance and Slamdance 2025. Erin shares how she navigated festival promotion, the complexities of grassroots outreach, and why personalized marketing is critical for indie filmmakers. She also dives into the deeper themes of Chasers, which explores red flags in dating and the hustle culture of the entertainment industry. In this episode, No Film School’s GG Hawkins and Erin Brown Thomas discuss: How Chasers came to life and why Erin chose the oner format Her experience at Sundance and prepping for Slamdance in Los Angeles Why festival outreach feels like producing another film How she balances multiple roles in the industry while keeping her projects moving The financial realities of indie filmmaking and how to fundraise creatively Why personalized outreach is critical for making industry connections Memorable Quotes: “I spent most of my time at Sundance doing grassroots promotion for Chasers, but certain opportunities were just also really, really fun. We did a lot of panels. The panels in particular were like my favorite thing. We did a flash mob on Main Street—that was so much fun.” (2:50) “You’re really looking at like a full-time job as if you're making a whole other movie when you have an opportunity to play on this larger scale.” (3:16) “Every email you write, you want it to be bespoke. You want it to be personal. Everything needs to be done with grace and intention, walking that fine balance of being really confident that you're in the right place but also being, you know, grateful.” (4:08) “It’s always so much easier to stand up for yourself when somebody else who loves you is in the room. And by putting a film like this out into the open, I’m having those discussions with people who care about me.” (21:16) Guest: Erin Brown Thomas – Director of Chasers, festival programmer, and multi-hyphenate filmmaker passionate about lifting up other creatives. Resources: Chasers Film – Official Linktree Extraction 2 Director Sam Hargrave on Oners, Stunts, and Filmmaking All No Film School Articles on Oners Erin Brown Thomas on IMDb 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 This ‘Last Showgirl’ Producer Thinks Indie Cinema Still Has Legs

  In this episode of No Film School, host GG Hawkins sits down with Robert Schwartzman, producer of The Last Showgirl and co-founder of Utopia, to discuss the evolving landscape of independent cinema. As a filmmaker, distributor, and problem solver, Robert shares insights on how indie filmmakers can take control of their distribution, why the industry is shifting toward self-releasing, and what’s next for Utopia. In this episode, No Film School’s Jason Hellerman and Robert Schwartzman discuss: The evolving landscape of indie film distribution and the role of technology in direct-to-audience releases How Utopia is working to eliminate middlemen and empower filmmakers The importance of theatrical releases for indie films, despite industry shifts The inspiration behind The Last Showgirl and why Las Vegas was the perfect setting How finding creative solutions—from locations to costumes—can elevate a low-budget film Why international filmmakers have a competitive edge in today’s market Memorable Quotes: “I think filmmakers need to also get hip to the idea of like, oh, there's all these places I can sell my film, but I still need to reach them. Like no one's gonna just give me an audience, I need to find them.” (18:35) “The playing field is so level right now, that's what's so exciting about it. Like it's anyone's game. People just have to be willing to play it.” (20:55) “There will come a time when a movie is self-released using these new technologies and it will be nominated for something significant… That’s when people are really going to come around to it.” (22:50) “You’re not going to get everything you want in filmmaking. The key is knowing what you absolutely need and what you can live without.” (51:07) “If you shoot a movie quickly, the opportunity cost for people goes down.” (55:01) Guest: Robert Schwartzman – Producer of The Last Showgirl, co-founder of Utopia, and filmmaker known for Dreamland and The Unicorn. Resources: The Last Showgirl Official Trailer Utopia Distribution AltaVod – Self-Distribute Your Film PowerFlix – Aggregation Services for Indie Filmmakers 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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• How ‘Companion’ Director Drew Hancock Built His Career on Reps & Luck

  In this episode of No Film School, GG Hawkins sits down with writer-director Drew Hancock to discuss his journey to directing his feature debut, Companion. Drew shares how he built his career through persistence, taking creative risks, and, as he puts it, a fair amount of luck. He also reflects on finding success later in his career, how imposter syndrome nearly led him to quit, and the importance of self-awareness for filmmakers navigating the industry. In this episode, No Film School’s GG Hawkins and Drew Hancock discuss: The unconventional path Drew took from being a movie theater employee to a feature director Why Channel 101 played a pivotal role in his development as a filmmaker How Companion started as a writing sample and evolved into a feature film The role of luck and timing in getting a project greenlit in Hollywood Why filmmakers need to continuously create new work rather than banking on a single project Drew’s writing process and how working on multiple projects at once helps combat writers block The importance of self-awareness and confidence in overcoming career obstacles Memorable Quotes: “I mean, I’m an old man, so it’s a long, long, long journey that got me to this place right now. But the beginnings were just… I was a super fan of movies.” (2:32) “I wish I really, really wish that luck didn’t play such a huge part of making entertainment, but yeah, it has a lot to do with timing.” (22:53) “Every couple years, sit down and ask yourself: Are you where you want to be? If you’re not, what can you do to get there? Take stock. Measure the gap. And then do everything you can to close it.” (47:00) “Imposter syndrome is real. I almost gave up before Companion. I really almost did.” (46:02) “Make something. Don’t make it about a film festival or about getting recognition. Make it about something you care about deeply.” (38:51) Resources: Drew Hancock on IMDb Companion Official Trailer Channel 101 – The Filmmaking Community That Helped Shape Drew Hancock 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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