Can Filmmakers Make Money by Adding a ‘Tip Jar’ to the Credits? ‘Dolly’ Filmmakers Find Out

How do you make enough money to support yourself as an independent filmmaker? It's nearly impossible. So these scrappy filmmakers tried something new. Moviegoers at this year's edition of Fantastic Fest were in for a surprise when the credits of the horror world premiere Dolly rolled: several QR codes lingered on screen. If you liked the movie, you could tip the filmmakers directly, through Venmo, Cash App, Zelle, and PayPal (those links are live in case you support the idea): In addition to the tip jar, they also put themselves in the movie so they could also find a revenue stream as actors, and they've since added to their website a high-priced opportunity to be in the sequel to Dolly as one of the victims. On this episode of the No Film School Podcast, NFS Founder Ryan Koo discusses these innovations with writer-director Rod Blackhurst, producer Noah Lang, and producer Ross O'Connor. In this episode… Why the Dolly team added a “tip jar” at the end of their movie using QR codes How creating additional revenue streams as actors and content creators might be a new model for indie filmmakers The story behind casting wrestler Max the Impaler as Dolly Using 16mm film to enhance the grindhouse horror tone and the challenges of daily shipping undeveloped reels The VFX, SFX, and editing craft that made the gore and kills land effectively The DIY spirit that fueled every part of this low-budget horror’s production Putting themselves in the film for potential SAG residuals Plans to build Dolly into a franchise and the playful spirit they bring to that The lesson that proper channels aren’t always the best path—sometimes you just DM a star and see what happens Memorable Quotes: “Putting a tip jar in the credits—if not us, then who? If not now, then when?” (42:20) “We couldn’t afford to license music, so we made our own band.” (42:30) “It’s both the most pathetic thing ever and the greatest idea of all time.” (43:50) “We will be in every Dolly. That is 100% the plan.” (50:12) Guests: Rod Blackhurst Noah Lang Ross O'Connor Resources: Why The 'Blood for Dust' Filmmakers Don't Wait for Permission ⁠'Here Alone': Post-Apocalyptic DIY Flick Wins Audience Award at Tribeca ⁠7 Directing Tips From A First-Time Feature Director ⁠Why a Proof of Concept Short is Always Worth Making 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 of the No Film School Podcast, host GG Hawkins sits down with writer-director Zoe Eisenberg to discuss her provocative and powerful debut feature Chaperone, which won the Grand Jury Prize for Best Breakout Feature at Slamdance. Set in Hawaii, the film explores a taboo relationship between a woman and a teenage boy and dives deep into themes of loneliness, desire, and moral ambiguity. GG and Zoe unpack the journey from novelist to filmmaker, the unique challenges of indie production on a remote island, and how a community-driven approach made the film possible. Plus, GG shares her own experiences pitching at the Gotham Project Market, with special guest and No Film School founder Ryan Koo reflecting on his own path from Gotham to Netflix. In this episode, No Film School's GG Hawkins, Jason Hellerman, and guests discuss... The inspiration behind Chaperone and what made the film's provocative premise resonate How Zoe transitioned from novelist to filmmaker without formal film school training The role of the Hawaii film community in supporting ultra-low-budget indie filmmaking Casting the leads, chemistry reads, and how Zoe found her actors on Instagram GG’s experience at the Gotham Project Market and Ryan Koo’s career post-Gotham Why AFM can be both a useful tool and a tough experience for emerging filmmakers Navigating rejection, finding investors locally, and the importance of perseverance How Chaperone finally found distribution and is preparing for a VOD release Memorable Quotes: "I laughed a lot, but then I became very fixated… what kind of woman would have said yes to that?" "Everyone wants to get in on a train that’s already moving." "I'm not that special. If I want to watch or read it, then other women like myself will as well." "Protect the movie and protect the actors you believe in." Guests: Zoe Eisenberg Ryan Koo Resources: Chaperone on Letterboxd Zoe Eisenberg’s novel Significant Others The Gotham Project Market 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

This episode of the No Film School Podcast takes a deep dive into the intersection of AI and creativity in filmmaking. Host GG Hawkins speaks with Matty Shimura from ElevenLabs about the upcoming Chroma Awards—an international competition that aims to spotlight ethical, intentional, and innovative uses of AI in film, music videos, and games. The conversation explores how AI is being used as a tool rather than a shortcut, the ethical complexities of its application in creative work, and how filmmakers can adapt and thrive using these new technologies. This is a sponsored podcast in partnership with ElevenLabs and the Chroma Awards. In this episode, No Film School's GG Hawkins and guest Matty Shimura discuss... The mission behind the Chroma Awards and what makes it unique in the AI creative space Why AI is not the death of creativity, but a tool for expanding it The distinction between “AI natives” and traditional filmmakers How the competition promotes transparency and ethical storytelling Ways AI can democratize filmmaking for underrepresented voices Real-world examples of powerful AI-driven projects like Electric Pink The rigorous and human-driven process behind making an AI film The fears surrounding job replacement and how to respond with curiosity and skill-building Opportunities for collaboration and community within the AI creative movement Memorable Quotes: “AI can never create taste or choice or voice. But it is a tool for honing your voice.” “Just because you can technically do anything, that doesn’t mean you should.” “The people who are going to be best at using these tools are those ones who have had these decades of experience.” “I think directing is reacting.” Guests: Matty Shimura – ElevenLabs and Chroma Awards Resources: Chroma Awards ElevenLabs 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 fe\edback: [email protected] Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of the No Film School Podcast, host GG Hawkins sits down with legendary screenwriter and director Shane Black, known for iconic films like Lethal Weapon, The Last Boy Scout, The Nice Guys, and Kiss Kiss Bang Bang. The two dive deep into Black’s creative process, his latest project Play Dirty (an adaptation of Donald Westlake's Parker novels), and how his filmmaking journey and sobriety have shaped his vision. From staying true to source material while adding his unique voice, to building character-driven action scenes and navigating Hollywood with integrity and purpose, Shane shares invaluable insights for filmmakers at every stage. In this episode, No Film School's GG Hawkins and guest Shane Black discuss... What drew Shane to the Parker novels and how he approached adapting them The balance between honoring Westlake’s tone and injecting Shane’s signature wit How to structure complex stories while preserving ambiguity and character depth Creating blue-collar, competent anti-heroes as a more grounded alternative to spy thrillers The role of pre-visualization, animatics, and spontaneity on set How Shane leads a creative and collaborative environment with his cast and crew The power of post-production and the art of shaping the final story in the edit Building creative stamina and the importance of structure in a writer’s day Advice for filmmakers entering a fear-based industry with confidence and authenticity The impact of sobriety and self-awareness on creativity and leadership Memorable Quotes: "Parker is a lot of things. Sentimental is not one of them." "You're comparing your insides with their outside. So they look great... So are they." "You don’t die from a feeling.” "Be so good they can't ignore you." Guests: Shane Black 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, GG Hawkins sits down with filmmaker and actor Benny Safdie to dig into his solo directorial feature The Smashing Machine — a biopic‑adjacent portrait of UFC legend Mark Kerr starring Dwayne Johnson and Emily Blunt. The conversation ranges from genesis stories and casting experiments to the heavy emotional labor behind staging domestic fights, and how Benny’s dual identity as actor-director shapes his approach to truth in film. In this episode, No Film School’s GG Hawkins and guest Benny Safdie discuss… How the film began as a handwritten letter and a vintage sweater, and the surprising miscommunication that delayed the project Benny’s desire to make emotional scenes feel like “virtual reality,” pushing the boundary between fiction and lived experience His method of breaking big scenes (fights, domestic conflict) into overlapping sections for pacing, focus, and emotional veracity Working with first-time actors and real athletes: adapting dialogue, rehearsal during casting, and honoring spontaneity The role of the score (with Nala Sinefroo) as an “actor” in the film, and how Benny collaborates with musicians Editing while shooting, watching dailies, and carrying the film in his mind from set to cut Struggles in balancing creative work with personal life, and how photography serves as a solitary creative practice Advice for emerging directors: start with something you intimately understand before trying to overreach Memorable Quotes: “What you write is meaningless if it doesn't sound good coming out of the person's mouth.” “I want it to feel like you were really there… the sound has to be 360.” “You have to love what’s there. You have to fall in love with it.” “I call it liposuction for the end — shrink wrapping the film.” Guests: Benny Safdie 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 of the No Film School Podcast, host GG Hawkins sits down with Matt Enlow and Oren Kaplan, the prolific directing duo and co-hosts of the long-running Just Shoot It podcast. With nearly 500 episodes under their belt, Matt and Oren dive deep into the realities of sustaining creative careers, the value of community, and how accountability and consistency have fueled their podcast and filmmaking journeys. They share behind-the-scenes stories, including how they met, what keeps them motivated, and how they've adapted to the evolving industry landscape. Whether you're a working filmmaker or just starting out, this episode is packed with wisdom, humor, and hard truths. In this episode, No Film School's GG Hawkins and guests discuss... How Matt and Oren first met and launched Just Shoot It Why having a podcast creates built-in accountability and industry access The highs and lows of directing careers—and why consistency matters more than perfection Why they think proximity, community, and cross-pollination matter more than ever How becoming a parent helped them find focus and efficiency in their careers Social skills, small talk, and how to navigate networking as a filmmaker Why it's time to embrace multi-hyphenate creative lives—and stop waiting for the cavalry Memorable Quotes: “If you're not getting work, just make your own stuff... but the important part is you have to share it.” “We are not going back to the boom times. The cavalry isn't coming... and that's okay.” “You're taking people into your career—whether they know it or not.” “We're playing pro ball. This isn't the same sort of game our parents played.” Guests: Matt Enlow Oren Kaplan Resources: Just Shoot It Podcast I Really Love My Husband Tickets Scriptnotes Podcast Lessons from the Screenplay Every Frame a Painting 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

No Film School's GG Hawkins checks into Netflix’s brand new animated comedy, Haunted Hotel, and gets a behind-the-scenes look at what it takes to create an adult animation from the ground up. She’s joined by series creator and showrunner Matt Roller (Rick and Morty), art director Robbie Erwin, and writer Avital Ash for a roundtable conversation that spans the show’s long development journey, the complexities of world-building in animation, and the creative collaboration required to bring this spooky-yet-heartfelt family comedy to life. From storytelling tone to visual language and production logistics, this episode is a crash course in what makes adult animation work—and how this team made sure Haunted Hotel stood out in a crowded field. In this episode, No Film School's GG Hawkins and guests discuss... How Haunted Hotel evolved from a pitch to a Netflix series Why Matt Roller leaned into horror instead of sci-fi—and what makes horror more emotionally resonant How Robbie Erwin’s theme park design background helped shape the show’s tactile visual world The writer’s room philosophy that prioritized kindness, creativity, and unique perspectives Why visual design and writing had to be deeply integrated for successful world-building How the team balanced comedy, horror, and emotional depth across the season The decision to make the show TV-14 instead of TV-MA—and how that opened it up to more viewers The team’s favorite ghost characters Memorable Quotes: “I think in this type of TV show, you set out to build a world where you could tell 100 stories.” “The comedy pilot part is the baseline… then it’s the other stuff.” “I think the thing I’m proudest about is that I got to work on it—it’s one of the most proud I’ve been of all the work I’ve done.” “With horror, everything matters… and I think that’s how family works too.” Guests: Matt Roller Robbie Erwin Avital Ash Resources: Haunted Hotel is now streaming on Netflix I Really Love My Husband Tickets: https://linktr.ee/ireallylovemyhusband 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’s GG Hawkins, and guests Erin Sullivan and Johnny Han take listeners behind the curtain of The Penguin, exploring how a VFX team builds a gritty, immersive Gotham — from early concept to final composite. The conversation covers creative philosophy, technical workflow, tool choices, collaboration across departments, and the emotional stakes of creating visuals that feel both bold and invisible. In this episode, No Film School's GG Hawkins and guests Erin Sullivan and Johnny Han discuss… What their roles were on The Penguin, how they broke into VFX, and how their backgrounds shaped their approach The bridge role of a visual effects editor, and how VFX editors work with directors, editors, and artists How they developed the visual “language” of Gotham: referencing The Batman, leaning into New York elements, and creating a distinct but consistent style Their Adobe‑based workflow: using Premiere Pro, After Effects, Dynamic Link, project collection, mockups, and how small elements evolved into full assets On‑set and script‑stage involvement: how they break down scenes with all departments (stunts, production design, camera) Maintaining creative vitality: absorbing inspiration, staying curious, and making small work even when not on paid projects Practical advice for aspiring VFX practitioners: making work regularly, being patient with timelines, embracing iteration Memorable Quotes: “I was the visual effects editor on the Penguin. … The visual effects editor is the link between editorial and VFX.” “We would amass this huge library of just New York stuff … trash in a sidewalk, a mailbox, a bus stop … weird.” “There’s only one rule in photography to take good pictures … you might … get one good picture. So what do you do? You just shoot lots of rolls of pictures, right?” Guests: Erin Sullivan Johnny Han 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, Ryan Koo and Jourdan Aldredge explore what makes the 20th edition of Fantastic Fest so crucial for genre and indie filmmakers. They discuss the festival’s unique energy, audience connection, and events, spotlight standout films like Shelby Oaks, Sisu: Road to Revenge, Black Phone 2, Luger, Vicious, Primate, Whistle, Coyotes, and others. The conversation culminates in a new initiative—Fantastic Pitches—marking a shift in the fest’s ecosystem from exhibiting work to helping get new projects made. In this episode, No Film School’s Ryan Koo and Jordan Aldridge discuss: How Fantastic Fest blends genre film exhibition with audience experience, making film festivals more fun, accessible, and communal. The importance of seeing what genre filmmakers are doing with limited resources—especially horror, fantasy, action—and how those constraints often spawn creative solutions. Highlights of films at Fantastic Fest 2025: Shelby Oaks (Chris Stuckmann’s debut), Sisu: Road to Revenge, Black Phone 2, Vicious, Primate, Whistle, Coyotes, The Piano Accident, and Luger among others, with a look at what makes them stand out visually, tonally, and in terms of audience response. The exciting new Fantastic Pitches competition: structure, reward (including a $100,000 funding prize, guaranteed premiere, distribution, post‑production support), what it means for early‑stage projects, and how such programs shift festivals from merely showing films toward incubating them. Practical advice for filmmakers: how to attend Fantastic Fest (buy early, badge types, use online ticket systems), pro tips for navigating ticket demand, the importance of authenticity in genre work, and why festivals like Fantastic that lean into live audience momentum are more important now than ever. Memorable Quotes: “It is the 20th year of the Fantastic Fest … Fantastic Fest equals FunTastic Fest.” “If you come from an authentic place of loving horror movies … I think the audience will always connect with it.” “It’s really a vital experience now more than ever, especially for genre films, which play so well theatrically.” “Fantastic Pitches was fantastic. The pitches really were fantastic … for the first time when this event happened for the first time.” Resources: Fantastic Fest 2025 — Full Film Guide & Lineup Sisu: Road to Revenge Black Phone 2 Vicious Coyotes The Piano Accident Luger Shelby Oaks Primate Whistle 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

GG Hawkins sits down with Carmen Emmi (director, writer) and Erik Vogt-Nilsen (editor) of Plainclothes, a striking debut feature that blends the aching vulnerability of first love with the sharp tension of queer identity under surveillance. Set in 1997 and laced with nostalgic Hi8 footage, the film isn’t just a period piece — it’s a raw, intimate time capsule of self-discovery, repression, and resilience. This episode dives deep into the emotional and creative process behind the film, from Sundance dreams to strawberry farm editing sessions and how true collaboration can unlock something extraordinary. In this episode, No Film School’s GG Hawkins and guests discuss… The genesis and central themes of Plainclothes, including first love/obsession, policing emotions, identity, nostalgia, and honesty in queer storytelling Why the 1990s setting — especially 1997 — was chosen, both for personal reasons and as a tool for emotional resonance How Carmen and Erik came together creatively, even though Erik joined after principal photography, and how they structured their collaboration (the “Editing Intentions” document, visits, tone setting, etc.) The editorial process: charting out passes, refining scenes, balancing structure vs. emotional truth, and maintaining rawness from the editor’s cut through to the final version Test screenings: what kinds of feedback matter, figuring out clarity vs. ambiguity in the narrative, audience confusion around timelines, and how those screenings shaped the final cut On‑set dynamics: director’s approaches, setting tone (no yelling unless dire), using music on set, capturing wordless moments, incubating trust and structure among cast and crew Filmmaking tools & creative choices: use of Hi8 footage to express internal states like anxiety; letting instinct and experimentation guide sequences; integrating personal memory and sensory detail into the cinematic style Advice for emerging filmmakers: avoid perfectionism, work with collaborators or friends you trust, give ideas a chance in editing, accept that not everything needs to be precious, learn from every project Memorable Quotes: “It was really, every creative decision I made was like, it was all stemmed from like, what does it feel like to police your feelings?” “One rule. And that was no yelling on set unless like someone’s life was in danger…” “We had a lot of love for the story … there was so much levity and play in the edit room … even though we were dealing with very serious kind of themes…” “Give every idea a try … you don’t have to spend too much time on it, if it’s not working. But … that yes and‑kind of mentality … unlocks stuff you would never think of.” Guests: Carmen Emmi Erik Vogt-Nilsen Resources: Plainclothes Official Trailer I Really Love My Husband Screenings 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