Recorded live at the 2026 Sundance Film Festival in Park City, this annual Director of Photography Roundtable features No Film School’s GG Hawkins in conversation with cinematographers Lidia Nikonova, Sam Levy, and Maria Herrera. The group discusses their unconventional paths into cinematography—from orchestras and photojournalism to weddings and radio DJing—how they landed their Sundance projects, and why connection, rhythm, and trust matter more than flashy lookbooks. They also break down the tools they used to communicate vision, navigate long dialogue scenes, and adapt to technical and emotional challenges on set.

In this episode, No Film School's GG Hawkins and guests discuss…

Shooting at the 2026 Sundance Film Festival and hosting at the BraveMaker house

Maria Herrera’s transition from music to cinematography and operating handheld for emotionally intense performances

Sam Levy’s mentorship under Harris Savides and how that shaped his approach to narrative filmmaking

Lidia Nikonova’s journey from photojournalism and the Canon EOS 5D Mark II to AFI and shooting narrative features

How each DP landed their Sundance projects through relationships, cold emails, and creative chemistry

When to bring visual references to a director meeting—and when to just listen

Using tools like Figma to build collaborative lookbooks and visual worlds

Why dialogue rhythm and musicality influence cinematography choices

Shooting on 35mm with an Arricam ST versus digital on the ARRI Alexa 35

Working with vintage Super Baltar lenses (famously used on The Godfather) for a modern crime thriller

Referencing L'Argent by Robert Bresson for insert shots and cinematic economy

How to approach 10+ page dialogue scenes without losing visual intention

The value of shooting weddings and low-budget projects to build craft and confidence

Advice for emerging cinematographers: show up early, trust your vision, and get your reps in

Memorable Quotes:

“This child will never play a musical instrument ever in her life.”

“If you have good dialogues, it's like, okay, here's something.”

“Just connect with her.”

“Show up at least one hour early… and do not use your phone on set.”

Guests:

Lidia Nikonova

Sam Levy

Maria Herrera

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Producer Zainab Azizi joins GG Hawkins to break down her journey from agency mailroom to President of Raimi Productions and producing studio features like Send Help. Azizi shares how she develops original ideas, packages talent, protects projects through shifting studio mandates, and leads with a collaborative producing style. She also discusses mentoring female producers, balancing creative and financial realities in modern filmmaking, and why theatrical success for original films still matters.

In this episode, No Film School's GG Hawkins and guest Zainab Azizi discuss...

How Send Help evolved from a logline in 2019 to a theatrical release

Moving the project from Columbia Pictures to 20th and navigating studio mandate shifts

Why Sam Raimi was essential to directing the film—and how storyboards helped secure studio confidence

Packaging as a producer: attaching directors and actors through agency relationships

Casting Rachel McAdams and Dylan O’Brien and building chemistry into the film’s core dynamic

The tension between “social media value” and creative talent in casting decisions

What Azizi learned in the WME mailroom and how agencies really function behind the scenes

Different types of producers (creative, line, financing, studio producers) and protecting the “PGA” credit

Her collaborative leadership style and the “three solutions for every problem” rule

Mentorship, promoting female producers, and fostering more women-led sets

Why theatrical releases for original films still matter in 2026

Developing a Seshu Hayakawa biopic and why his story feels urgent today

The importance of sacrifice, networking, and embracing rejection early in your career

Memorable Quotes:

“My job is to find three solutions for every problem.”

“Rejection is just redirection. We celebrate rejections.”

“If it scares you, it means you’re headed the right direction.”

“You have to put yourself out there.”

Guests:

Zainab Azizi – President of Raimi Productions and producer of Send Help

Resources:

LaBelle Foundation (for adopting Cactus the foster puppy)

Producers Guild of America (PGA)

Producers United

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Recorded live from the Sundance Film Festival, GG Hawkins hosts a roundtable conversation with four short film directors premiering work at the festival: Kelly McCormack (How Brief), Anna Baumgarten (Balloon Animals), Ana Alpízar (Norheimsund), and Anooya Swamy (Pankaja). The filmmakers discuss the origins of their films, navigating production across Cuba, India, Canada, and the U.S., working within (and outside of) film school structures, and the deeply personal themes of grief, mother-daughter relationships, disappearance, and survival that unexpectedly connect their work.

In this episode, No Film School’s GG Hawkins and guests discuss…

Shooting narrative shorts on location in Havana, Bangalore, Vancouver, and Los Angeles

Returning to Cuba to film Norheimsund after seeking asylum in the United States

How Pankaja draws from growing up in the slums of Bangalore and confronting personal memory

Making a $6,500 microbudget short inside a real grocery store overnight

Building a short film over eight years and resisting the “proof of concept” mindset

Working within NYU’s film school structure versus creating outside institutional systems

Casting mother-daughter dynamics rooted in real-life relationships

Designing color theory, texture, cement, and dirt as emotional language

Shooting inside real police stations and navigating bureaucracy while telling stories about it

Grief as a “big soup of emotions” and balancing melancholy with comedy

Collaborating with ride-or-die creative partners

Advice for emerging filmmakers about not compromising and trusting instinct

Memorable Quotes:

“Dreaming doesn’t cost a thing.”

“Choosing oblivion.”

“We often live really simple lives in complicated worlds.”

“You are allowed not to compromise.”

Guests:

Kelly McCormack – Director, How Brief

Anna Baumgarten – Writer/Director, Balloon Animals

Ana Alpízar – Director, Norheimsund

Anooya Swamy – Writer/Director, Pankaja

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In this episode, GG Hawkins speaks with Madison Jones and Lindsay Grossman, co-founders of The Love List, along with filmmaker Shelby Blake Bartelstein, about what makes a romance script stand out in today’s marketplace. They discuss the origins of The Love List, the evolving appetite for romance across film and television, how to craft undeniable chemistry on the page, and why specificity, vulnerability, and the grand gesture are essential tools for writers hoping to sell in the genre.

In this episode, No Film School's GG Hawkins and guests discuss...

The “meet cute” origin story behind The Love List and how a shared love of YA romance sparked a professional movement

How The Love List curates the best unproduced romance pilots and screenplays each year

Why romance remains commercially viable—and why the industry is rediscovering its power

The importance of writing what you love instead of chasing market trends

How to balance high-concept hooks with emotional authenticity

Crafting chemistry on the page through small, specific moments

Why vulnerability is the core engine of all great storytelling

The art of the grand gesture in romantic storytelling

Why television romance (including slow burns and enemies-to-lovers arcs) can be just as powerful as film

How executives identify “soul” in a script—and why that’s what ultimately sells

Memorable Quotes:

“Write what you want to watch. To me, that is the most crucial piece of advice.”

“What part of you is this healing?”

“You can tell when there’s not a soul in it.”

“It’s not about knowing whether or not they’re going to end up together. It’s about how they get there.”

Guests:

Madison Jones

Lindsay Grossman

Shelby Blake Bartelstein

Resources:

The Love List on Instagram - @TheLoveList26

“Change the Prophecy” Short Film

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Recorded live at Sundance, this episode features a wide-ranging roundtable on the current state of independent film exhibition. Host GG Hawkins speaks with festival programmers, exhibitors, and platform founders about what’s broken in the exhibition ecosystem, what’s actually working better than people realize, and how community-driven models—from art houses to new distribution tools—are reshaping how films are discovered, shown, and sustained beyond the festival circuit.

In this episode, No Film School's GG Hawkins and guests discuss…

Why art house cinemas and film festivals remain vital community hubs

The realities of audience-building beyond “market festivals” and multiplexes

How filmmakers can rethink distribution, touring, and self-exhibition

New tools and platforms helping filmmakers navigate submissions and discovery

The rise of alternative distribution models, including physical media reimagined

Why shorts, community producers, and collaboration matter more than ever

How filmmakers and exhibitors can work together more effectively

What a sustainable film community could look like in 2026

Memorable Quotes:

“Art house cinemas and independent exhibitors and film festivals are thriving because they build community.”

“Making movies is like having a baby… then you’ve got to raise it.”

“There is such an opportunity on both sides for filmmakers and exhibitors to learn how to work together.”

“Independent film is rooted in community and curation.”

Guests:

Ash Cook – Programmer, Sundance Film Festival; Festival Director, San Francisco Jewish Film Festival; Founder & CEO, Video.Storage

Tony Gapastone – Founder & Executive Director, Bravemaker

Lela Meadow-Conner – Interim Executive Director, Art House Convergence; Co-founder, The Popcorn List

Tyler Knohl – Co-founder, Hiike; Assistant Director, Boston Sci-Fi Film Festival

Brynne Norquist – Co-founder & CEO, Hiike

Aidan Dick – COO, Video.Storage; Programmer, Frameline Film Festival

Resources:

Bravemaker – https://bravemaker.org

Art House Convergence – https://arthouseconvergence.org

The Popcorn List – https://thepopcornlist.com

Hiike – https://hiike.com/

Video.Storage – https://www.videostoreage.com

Frameline Film Festival – https://www.frameline.org

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In this episode, we dive into the logistics, strategy, and evolving experience of getting into and attending SXSW. GG Hawkins is joined by No Film School Founder Ryan Koo and a panel of SXSW insiders: Claudette Godfrey, Peter Hall, and Francis Román, who share their personal journeys into programming and illuminate the processes behind one of the most significant festivals in the world. Whether you’re hoping to submit, attend, or just understand the inner workings, this conversation offers clarity on what to expect from the 2026 edition and beyond.

In this episode, No Film School's GG Hawkins, Ryan Koo, and guests discuss...

The different paths each SXSW programmer took to join the festival team

Why SXSW values first-time filmmakers and how they approach the programming process

Practical ways to attend SXSW (volunteering, student discounts, single tickets)

Major changes to SXSW 2026, including venue shifts, badge updates, and a new festival layout

How to best prepare your submission, including rough cut etiquette and the importance of strong film stills

Common myths about festival programming—debunked

Why meaningful networking and personal connection at SXSW can shape careers

What types of films SXSW is most excited about—and what they’re seeing too much of

Memorable Quotes:

"If a film can make you laugh in your home alone at 2 a.m. and you've worked a 20-hour day, then it's hilarious."

"If you're submitting unfinished, you should have a title card at the very beginning that says exactly where you're at."

"We're looking for that director's vision, the fingerprint on it."

"You should come to South By, and if you can’t, go to whatever local film festival is going on in your area."

Guests:

Claudette Godfrey

Peter Hall

Francis Román

Resources:

SXSW Volunteer Info

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In this episode recorded live at the Sundance Film Festival, No Film School founder Ryan Koo sits down with Julien and Justen Turner—real-life brothers and co-creators of FreeLance, an indie TV pilot that debuted in the festival’s Episodic Pilot Showcase. The Turner Brothers walk through their journey of building a creative career outside of New York or LA, self-funding their show in Columbus, Ohio, and pulling off a high-production-value pilot in just four days. They talk about their process, influences, and how their authentic, relatable characters came to life through personal experience and community-driven production.

In this episode, No Film School’s Ryan Koo and guests discuss…

The origin of the episodic pilot category at Sundance and its importance for indie creators

How the Turner Brothers’ musical upbringing led to an early love of filmmaking

Their decision to self-fund FreeLance instead of attending Sundance in 2023

Turning real-life freelance filmmaking experiences (like wedding videography chaos) into episodic comedy

Casting comedians, athletes, and non-actors from social media and commercial work

Building a 150-page show bible and planning a multi-season vision

The four-day shoot that captured 41 minutes of content, including an improvised scene in a thrifted basement

How making content in Ohio allowed the show to break traditional industry molds

Advice for filmmakers: choose a date, build your team, and just shoot

The surreal moment of getting the Sundance acceptance call (via their mom!)

Memorable Quotes:

“We kind of realized that the only people we were waiting on was ourselves.”

“The more specific we were, the more universal it was.”

“We shot a 41-minute pilot in four days.”

“This is getting done, and it’s going to be done like this.”

Guests:

Julien Turner

Justen Turner

Resources:

Dreadhead Films on Instagram

dreadheadfilms.com

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This episode of the No Film School Podcast is recorded live from the final Sundance Film Festival in Park City, 2026. GG Hawkins and Ryan Koo are joined by No Film School writer Jo Light and special guest Teddy Kim to share insights and lessons from Sundance. Together, they reflect on what it takes to find true creative collaborators at festivals, how the indie landscape continues to shift, and why human connection still matters more than ever in a rapidly changing industry. The episode includes a game of "Red Flag, Green Flag" and wraps with an interview between Ryan Koo and writer-director Stephanie Ahn, whose feature Bedford Park won the U.S. Dramatic Special Jury Award for Debut Feature at Sundance 2026.

In this episode you'll hear...

How to make the most of Sundance even if you're not actively pitching a project

Why networking at film festivals is more about vibe than résumé

The evolving role of indie production companies balancing studio and independent films

Which films are getting buzz at Sundance 2026 and what the acquisition market looks like

How filmmakers are using episodic pilots and private screenings to get attention

The pros and cons of “networking dinners” and late-night parties like Tao

A playful, practical game of "Red Flag, Green Flag" to decode festival behavior

GG’s and Jo’s favorite short and episodic pilots—and what makes them feel fresh

A deep-dive interview with Bedford Park director Stephanie Ahn about perseverance, editing your own movie, and telling emotionally resonant stories

Memorable Quotes:

“In filmmaking, they often say you better give 10 years of your life… I exceeded that, and Stephanie exceeded that.”

“You have to be very clear about what your intentions are and what the story is going to be. If you maintain an integrity with that, people come.”

“It’s not a matter of whether there is a big headline acquisition… but can a bunch of other movies get acquired for $3 million and have a healthy minimum guarantee?”

“I wanted to make a film that hopefully an audience would actually feel something—genuinely feel something.”

Resources:

Sundance 2026 Award Winners

Guests:

Jo Light

Teddy Kim

Stephanie Ahn

Resources Mentioned:

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In this episode recorded live from the final Sundance Film Festival in Park City, Utah, GG Hawkins is joined by No Film School’s Ryan Koo and Jo Light to commemorate the end of an era. The trio dives into personal memories, the legacy of Robert Redford, and what the future may hold for the festival as it prepares to relocate to Boulder, Colorado. They reflect on how Sundance has supported filmmakers through its labs, how festival culture shapes careers, and the emotional highs and lows of navigating the indie film landscape. GG also shares behind-the-scenes insights from her recent event at Sundance focused on women in the business of film, while offering a candid look at what it really takes to get a film into a top-tier festival.

In this episode, No Film School's GG Hawkins, Ryan Koo, and Jo Light discuss...

What makes Sundance in Park City so special—and why it's bittersweet to say goodbye

The importance of Sundance's labs and the legacy of Robert Redford

The emotional impact of community and connection during film festivals

GG’s first Sundance as a filmmaker with a feature and her reflections on that journey

Advice for filmmakers on submission strategy and post-production polish

What types of films stand out at Sundance today: high-concept, star-driven, or uniquely personal

Highlights from GG’s industry dinner focused on women in the business of film

Thoughts and hopes for the new Sundance location in Boulder, Colorado

Memorable Quotes:

“The old rules don’t apply and the new rules haven’t been written.”

“If it’s not ready, don’t submit yet. Unless Willem Dafoe is in your movie.”

“You’re already 99.9% past the obstacles just by making a movie.”

“Robert Redford used his power to help others.”

Guests:

Ryan Koo

Jo Light

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January is often perceived as a slow month in Hollywood, but in reality it’s one of the most strategic windows of the year for filmmakers. On this episode, GG Hawkins and guests Ana Liza Muravina and John Lamm unpack how the industry “wakes up” in early 2026, what that means for creative careers, and how artists can structure their time, their projects, and their expectations to thrive amid shifting economic and ecosystem forces. From understanding industry seasonality, permission structures, and macro trends in distribution to practical strategies for developing and releasing work, this conversation offers both mindset shifts and concrete guidance for filmmakers navigating careers in the current landscape.

In this episode, No Film School’s GG Hawkins and guests Ana Liza Muravina and John Lamm discuss:

Breaking down the idea of a “Hollywood shutdown” and why January becomes a key moment of restart, planning, and opportunity.

How to contextually plan your writing year and align creative output with industry cycles (inspired by ideas from Final Draft’s annual planning guide).

Why building structure as an independent artist (even without external deadlines) empowers your career and creative focus.

“Permission structures” in the industry — what they are, how they shape opportunity, and how filmmakers can navigate or build them.

The importance of community, cohorts, and trusted feedback systems for career sustainability and perspective.

How macroeconomic forces, consolidation in the streaming market, and attention economy shifts are reshaping how films get financed, distributed, and found.

Practical project strategies — from refining scripts based on audience/readers to building a tailored outreach atlas for producers and executives.

The value of aligning ambition with realistic pathways — creating work you can make now while aiming for larger goals down the line.

Inspiring perspectives on why now may be an era of opportunity for scrappy independent filmmaking.

Memorable Quotes:

“Most filmmakers think January is slow, but quietly it’s one of the most strategic months of the year.”

“It’s one of those weird things … every now and then when I zoom like 10,000 feet back … it’s not necessarily indictment on your art.”

“You see it … LA is the concentration of us. It’s artists who are so good at what they do just waiting for someone to give them permission to do what they do well… And the answer generally is unless you decide to stride and do it yourself, no one gives you permission.”

“Don’t get too bogged down in the how, the strategy … let’s make movies, y’all. Let’s just do it.”

Guests:

Ana Liza Muravina

John Lamm

Resources Mentioned:

The Current: Less Chaos, More Momentum (On the Circuit)

How to Plan Your Entire Screenwriting Year: A Month-by-Month Guide (Final Draft)

Video: Preparing for the Creator Economy Apocalypse (with Chris Gethard)

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