The No Film School Podcast

• From Book to Big Screen: Rebecca Sonnenshine’s Adaptation Playbook (The Housemaid, The Boys)

  Screenwriter and showrunner Rebecca Sonnenshine joins the No Film School Podcast to unpack her career and creative process behind hit adaptations including The Boys and The Housemaid. She shares how she got her start, how she discovered her voice in genre, and the intense pitch process behind landing The Housemaid. Rebecca also offers practical advice for writing contained stories, building a compelling script from source material, and creating work that audiences actually want to watch. She shares how she got her start, how she discovered her voice in genre, and the intense pitch process behind landing The Housemaid. Rebecca also offers practical advice for writing contained stories, building a compelling script from source material, and creating work that audiences actually want to watch. In this episode, No Film School's GG Hawkins and guest Rebecca Sonnenshine discuss... How Rebecca’s early jobs and script coverage experience helped her become a screenwriter Why she embraced genre writing and how her perspective as a woman informs her work The pitch process for adapting The Housemaid, and how she knew it was the right fit How she avoids voiceover and instead finds cinematic ways to externalize internal character thoughts The importance of blocking and movement when writing contained, single-location stories Her writing habits: page goals, scene sketching, talking out dialogue, and more What filmmakers can learn from writing bottle episodes or adapting material Why thinking about your audience is key to writing something people actually want to watch Memorable Quotes: "I read something and it either clicks or it doesn’t." "Pitching… takes a long time. You need all the twists and turns… but not more than 28 minutes." "I don’t love voiceover. So I had to find a device in which we could get some of their thoughts out." "Blocking is everything. If you’re not thinking about blocking while you’re writing, then you’re doing your project a disservice." Guests: Rebecca Sonnenshine 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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• David Zaslav Will Make Nearly $1 Billion From Selling Warner Bros. to Netflix (or Paramount). How Much Will Filmmakers Make?

  In this episode, No Film School founder Ryan Koo and host GG Hawkins, along with producer and guest Ana Liza Muravina, dig into the ramifications of the news that Netflix is bidding (or may be outbid by Paramount) to acquire Warner Brothers — and what this massive consolidation could mean for the future of theatrical film, streaming, and the livelihoods of filmmakers. In this episode, No Film School's Ryan Koo, GG Hawkins, and guest Ana Liza Muravina discuss... How theatrical attendance has been in decline for decades, long before COVID — from the post–World War II boom through the arrival of television, home video, and streaming. Why the recent surge in acquisitions and mergers (from Comcast/Universal, Disney/Fox, Amazon/MGM, to the potential Netflix–Warner deal) spells trouble for market competition in both production and distribution. What consolidation means for filmmakers trying to get projects financed and sold — fewer buyers, fewer distribution windows, and diminished bidding wars that once supported indie and mid‑budget films. The potential financial upside for studios and executives (like David Zaslav), contrasted with the limited upside — or none — for writers, directors, actors, and other creative laborers. The possible benefits of global streaming platforms: ability to reach worldwide audiences, support for diverse or niche stories (e.g., a basketball movie about a young Black player), and access for filmmakers outside traditional Hollywood systems. How now more than ever filmmakers might need to pivot: embrace scrappy, independent means of production/distribution, build creative communities, and consider alternate funding — rather than relying on traditional studio financing and residual structures. That this may be a painful but necessary transition: the collapse of one ecosystem could open space for a new kind of filmmaking — more distinct voices, counterculture, experimentation, and potentially a new model for how films get made and distributed. Memorable Quotes: “I pitched my Netflix movie 80 times — I got 79 no’s and I got one yes.” “In a world where all the ways in which my piece of content can be exploited … are concentrated, it forces you to think about what are the other sources.” “You hit pause, you hibernate for a minute … and you don’t feel like that’s the end of the freaking world.” “This is the math all of us are doing all the time … If you follow one person benefiting to the tune of a billion dollars … from the sale of a company … it tells you exactly why so many people had to leave L.A…” Guests: Ana Liza Muravina Resources: Ana Liza's Previous No Film School Appearance 'Prince of Broadway' Director Sean Baker on No-Budget Filmmaking, Improvisation, and Long Release Cycles 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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• How Queer, Gender-Fluid DP Gayle Ye Is Transforming Set Culture From Within

  In this episode, cinematographer Gayle Ye joins host GG Hawkins for an intimate and wide-ranging conversation about artistry, identity, and what it means to lead with authenticity as a DP. Gayle, who recently won a Canadian Screen Award for Paying For It and Late Bloomer, breaks down their creative process, from building visual language to managing crew dynamics. As the youngest and first queer, gender-fluid person of color to win a Daytime Emmy for lighting design, Gayle shares how they use their voice and position to advocate for meaningful change in the industry—on set and beyond. In this episode, No Film School's GG Hawkins and guest Gayle Ye discuss... Gayle's path from shooting webcam videos in high school to winning a Daytime Emmy How their background in editing informs their cinematography Visual strategies and “cinematography pillars” used in Paying For It Shooting intimacy scenes with care and collaboration Why being a “Dream Manager” is a key part of being a DP The role of mentorship, advocacy, and representation in Gayle’s career Building visual tone in dramedy series Late Bloomer Advice for underrepresented filmmakers breaking into the industry Memorable Quotes: “I preferred to be on set for 14 hours than in a dark room for eight.” “I'm not here to just show up and throw all my cool shot ideas. I really need to immerse myself in the story.” “If I made it, then it’s an Asian and queer film. It doesn’t matter what the content is.” “A DP is also a Dream Manager—negotiating between vision and budget.” Guests: Gayle Ye Resources: BIPOC TV & Film Canadian Film Centre Scriptation GoodNotes Artemis Pro Sunseeker App 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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• Documenting the Business of Fear: Inside HBO’s 'Thoughts & Prayers'

  GG Hawkins speaks with directors Jessica Dimmock and Zackary Canepari about their haunting and thought-provoking HBO documentary Thoughts & Prayers. The film offers a chillingly observational look at the normalization of school shootings in America—not by focusing on the tragedies themselves, but by examining the surreal, billion-dollar industry of “school safety” that's risen in their aftermath. Through restrained cinematography and a surprisingly dark sense of humor, Dimmock and Canepari capture how everyday life continues against the backdrop of unimaginable trauma, and how children are often more articulate than adults about the realities they face. In this episode, No Film School's GG Hawkins and guests discuss... How the project evolved from a photo series to a full-length documentary The cultural and industrial normalization of school shootings in America Why the film avoids graphic depictions of violence and instead focuses on the systems around it The use of stillness, humor, and wide shots as storytelling tools Casting nontraditional “characters” in a documentary format The emotional challenges of working with children on such a sensitive topic Co-directing as creative collaborators and partners The gear and post-production tools that made the film possible Why the title Thoughts & Prayers was chosen and how satire plays into it Memorable Quotes: "In the middle of learning your ABCs, you pause to practice for mass death, and then you go back to learning... that's the chilling part." "Cut this more like a scene in a Christopher Guest film than in an important documentary.” "None of the adults ever say anything about guns... it's always the kids." "We're not going to practice our way out of this." Guests: Jessica Dimmock Zackary Canepari Resources: Thoughts & Prayers on HBO 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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• You’re Picture Locked. Now What? (Plus Dir. Ruben Fleischer!)

  In this episode of the No Film School podcast, GG Hawkins and Ryan Koo dig into the often‑murky world of film release strategy and distribution from multiple angles—and then sit down with acclaimed filmmaker Ruben Fleischer to trace his path from indie start to big‑budget studio productions. In this episode, No Film School’s GG Hawkins, Ryan Koo, and guest Ruben Fleischer discuss… GG’s journey with her micro‑budget feature I Really Love My Husband: festival strategy, light theatrical run, and streaming rollout The importance of marketing and audience‑building even for indie films (“the extra 50% of effort after picture‑lock”) Festival submission strategy: premium “buyer’s festivals” vs regional festivals, world‑premiere constraints, and timing decisions Tools and tactics: creating trailer/sizzle assets, leveraging sales & festival reps, doing the reference‑check on distributors Real‑world rejection: extracting learning from “pass” notes and small deals, how to choose between flashy name vs partner who will work for you The one‑to‑one interview with Ruben Fleischer: his early career, moving from shorts/commmercials to features, how he handles large‑scale shoots, visualising scenes, leading big crews, and navigating reshoots Ruben’s key pieces of advice for emerging filmmakers: making things now, learning by doing, honing your craft by continuing to create A bonus deep‑dive into how even locked‑picture films still require a lot of narrative strategy, deliverables, and business savvy in order to land distribution Memorable Quotes: “If you are going to bend over backwards, invest all this time, energy, and effort into making a film, but you’re not going to do the same for getting the word out there … you are setting yourself up for failure.” “Submitting to a film festival is like getting down on one knee and asking someone to marry you, but then you have to wait months for the response.” “I always go in with an intention of how I would imagine blocking the scene… but I’m also very flexible in working with actors.” “The only real way to direct stuff is to go out and do it.” Guests: Ruben Fleischer Resources: Shoot in Three Months – No Film School Filmmaker’s Guide to SXSW – No Film School A First‑Timer’s Guide to the Cannes Film Festival – No Film School Microbudget Filmmaker Podcast – No Film School Why Indie Film Distribution Is About to Go Punk Rock – No Film School Where to watch I Really Love My Husband: Apple TV: I Really Love My Husband Amazon: I Really Love My Husband Google Play: I Really Love My Husband Where to watch Amateur (Ryan’s first feature): Netflix Ryan’s podcast series First Feature – a case study about the making of Amateur: SoundCloud – No Film School 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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