The No Film School Podcast

In this episode, host Charles Haine sits down with cinematographer Oren Soffer to dive deep into the groundbreaking and much-discussed visual style of The Creator. As the co-DP alongside Greig Fraser, Soffer shares how they achieved the film’s unique aesthetic using a prosumer Sony FX3 camera, a single vintage lens, and a minimalist, indie-inspired production model. This discussion covers everything from lighting choices and VFX collaboration to gear workflows and lens testing, offering an in-depth look at how one of the year's most visually striking sci-fi films was crafted. In this episode, No Film School's Charles Haine and guest Oren Soffer discuss... How Oren Soffer became co-DP on The Creator alongside Greig Fraser The decision to shoot 95% of the film on one vintage 75mm Kowa anamorphic lens Using the Sony FX3 with an Atomos Ninja for ProRes RAW capture The benefits of designing visual effects around photography rather than the reverse Lighting choices inspired by naturalism and a small-footprint, indie ethos The influence of films like Baraka and Rogue One on the visual approach Operating with a nimble crew and custom-built gimbal rigs Remote collaboration between Soffer, Fraser, and director Gareth Edwards The impact of location shooting across Southeast Asia Memorable Quotes: "We shot 95 percent of the movie on a single focal length, which is the Kowa Cine Prominar... you're baking the look into the image." "The way to make visual effects feel more real is to let the photography lead." "We wanted to shoot this big movie as if it’s this tiny road movie." "It was an indie film with a 90-day shoot schedule and a full stunt team... but the filmmaking process itself felt really scrappy in the best way possible." Guest: Oren Soffer 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

Allan Ungar started directing features at just 23 and has since evolved into a filmmaker known for his action-comedy chops and ability to elicit career-best performances from his actors. In this episode, he sits down with No Film School host, GG Hawkins, to discuss how his approach has matured from rigid control to meaningful collaboration, why psychological insight is essential for directors, and how to create an environment where actors can thrive. From early experiments with camcorders to directing viral hits and the critically acclaimed Bandit and London Calling, Ungar shares a masterclass in the art and strategy of long-term career building in film. In this episode, No Film School's GG Hawkins and guest Allan Ungar discuss... Why understanding actor psychology is key to strong performances How Ungar transitioned from controlling sets to creating collaborative environments Techniques to push actors without breaking trust The evolution of Ungar’s directing style across films like Bandit and London Calling Building a career in chapters and managing “hurry up and wait” downtime Why creating your own opportunities is essential in today’s film landscape The importance of casting actors who can improvise and bring ideas How to know when a joke or moment fits the tone of a scene Advice for emerging filmmakers navigating their first projects Memorable Quotes: "Directing is more than just a creative outlet. You have to be good with people." "To be a filmmaker that's in control, you have to let go of control." "I leave no stone unturned. If I don't feel like I have it, I will push until we have it." "You have to figure out how to greenlight yourself." Guest: Allan Ungar 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

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

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

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