The No Film School Podcast

• State of the Industry & the Art of Programming with Nicolas Curcio and Imani Davis

  In this episode of the No Film School Podcast, host GG Hawkins connects with two key voices in the film-industry ecosystem. First, she chats with screenwriter and filmmaker Nicolas Curcio to take the pulse of the movie business at the close of 2025—what’s changed, what’s hopeful, and what still needs to shift. Then, GG talks with programmer and curator Imani Davis of the American Cinematheque to explore the art and mechanics of programming—from year-round curatorial work to the annual Proof Film Festival, which helps shorts leap into features. In this episode, No Film School’s GG Hawkins and guests discuss… The emotional and career‑landscape “temperature check” for creators post‑strikes and entering 2026 The role of social media, creator‑voice, and audience‑building in today’s writer/director paths Why embracing a “patchwork” of gigs (writing, podcasts, video content) may be more realistic than the old one‑track screenwriter dream Why clean spec scripts are “back” and what that signals for writers getting in the door What a film programmer actually does—how someone like Imani rates submissions, builds curatorial strategies, leverages relationships The difference between ongoing programming (year‑round screenings at an institution) vs. annual festival programming (with a fixed offer to submit, schedule, panels) Inside the Proof Film Festival: what makes a short film “feature‑expandable,” and what kind of statement or vision catches the eye of programmers & studios How programmers balance gut feelings, industry data/timeliness, and filmmaker readiness when selecting films The specific flaws and tired tropes they’re seeing in short films right now (yes: the “influencer vlogs” and basic “AI cautionary tales”) How to start in programming: from basement screenings and volunteer festival committees to full‑time curatorial work The importance of mentorship, networking, and building community around film culture Lastly: quick advice to emerging creators — find a way to stand out, build your voice, and force people to pay attention Memorable Quotes: “The studios … they are incredibly self‑aware about the moment that the industry is in … but they’re also like incredibly open to trying new things, giving young filmmakers a chance.” “I used to think … in six months from now, if I don’t have my next studio job, I’m a failure or my career is over. And that has been something I’ve accepted: there are successful screenwriters who don’t just do this.” “At the Proof Film Festival … after each short we show a 90‑second statement of intent video from the filmmaker saying: ‘Here’s my plan for the next phase of this project.’” “What I’m looking for in a short: niche world, unique character, something I haven’t seen that way — like niche sports film about a fencer in a character‑driven way.” Guests: Nicolas Curcio Imani Davis Resources: Nicolas Curcio on Instagram: @nicolascurcio Proof Film Festival: Proof of Concept Film Festival – American Cinematheque GG’s directorial debut feature, I Really Love My Husband, now streaming on Apple TV, Amazon Prime Video, and Google Play. 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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• Do We Even Need Reps? How 'Violent Ends' Director John-Michael Powell Made His Theatrical Feature Without Them

  Director John-Michael Powell joins No Film School to talk about his gritty Southern crime thriller Violent Ends, which hits theaters October 31. Powell shares the winding journey that led to the film’s production—from being dropped from a college art program, to cutting indie films that made it to festivals like Sundance and SXSW, to editing the Emmy-winning Netflix series American Manhunt. Remarkably, he crafted a feature starring Billy Magnussen and Alexandra Shipp—without agents, managers, or festival support. This episode offers a raw, inspiring, and tactical look at building a career from the ground up, how to forge meaningful creative collaborations, and why the cavalry might never come. In this episode, No Film School’s GG Hawkins and guest John-Michael Powell discuss… How Powell transitioned from music and graphic design to filmmaking Why getting cut from a college program helped shape his resilience The long road from writing Violent Ends in 2013 to securing funding a decade later The strategy behind securing name actors without traditional representation How he used relationships and resourcefulness to get a bidding war What filmmakers should know about real-money offers and escrow Why adaptability and microbudget thinking still matters—on any scale How not having representation can actually work in your favor Building a production company (Midnight Road) and what’s coming next Memorable Quotes: "I got cut. I got the axe." "The most powerful tool you have as a filmmaker is your feet." "I took out 'editor' and put in just 'director and writer.'" "Violent Ends did not get accepted to any festivals… and we sold it to IFC." Guests: John-Michael Powell Resources: Watch the Violent Ends Trailer Violent Ends in Theaters via Fandango 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 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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