How a Wine-Infused Cold Email & Pool Parties Got 'Pools' Noticed

Writer-director Alex Ullom and producers Carrie Carusone and Evan Barber break down the unconventional path behind It Ends, their micro-budget indie horror feature about four friends trapped on an endless road. They explain how they raised their initial financing, leaned on their filmmaking community, turned production limitations into creative advantages, and used multiple rounds of strategic reshoots to transform an early cut that wasn’t working. The team also shares how they cut a Jeep in half to shoot on an LED volume stage, navigated an expensive and complicated post-production process, premiered at SXSW, and generated enough grassroots momentum through the online horror community and Letterboxd to ultimately land a theatrical release with Neon. In this episode, No Film School's GG Hawkins and guests Alex Ullom, Carrie Carusone, and Evan Barber discuss… How graduating from film school during the pandemic pushed the team toward making an independent feature Raising the initial micro-budget through unconventional investors, personal connections, and community support How Florida State University’s alumni equipment package made a $30,000 feature possible Why paying crew something—even on an extremely limited budget—was important to the producers Discovering in the edit that the first version of It Ends wasn’t working Why indie filmmakers should stop thinking of reshoots as a sign of failure Using test screenings to identify pacing problems, missing emotional beats, and scenes that needed additional coverage Designing a contained film that could be affordably reconstructed for multiple rounds of pickups Balancing the film’s horror and hangout-movie elements through pacing and visual language Cutting a Jeep Cherokee in half to get it onto an LED volume stage Rebuilding the Jeep interior and using the removable vehicle to create otherwise impossible camera angles Why the filmmakers pulled out of Fantasia to continue improving the movie Maintaining continuity when returning to the same actors and characters two years after principal photography The editing workflow Alex developed to compare multiple performances of the same line Using low-pass filtering, bass, sound design, and close-ups to create production value on an indie budget What Alex learned from an extremely disorganized Premiere timeline Premiering at SXSW during an especially difficult independent film distribution market Why strong festival reviews and sold-out screenings didn’t automatically lead to a distribution deal The changing economics of minimum guarantees for independent films How online horror creators helped generate new momentum for It Ends The film’s path from Letterboxd’s video store program to a theatrical release with Neon Why filmmakers should focus on making the strongest movie possible rather than designing a project specifically for a major festival How the lessons from It Ends changed the team’s approach to their next features Previsualizing an entire movie before production to eliminate setups and solve story problems Using executive producer credits strategically when raising additional financing Practical advice for protecting hard drives, feeding a small crew, and building a trusted filmmaking community Memorable Quotes: “I'm a huge advocate for reshoots.” “And on that Saturday we got it onto the stage and it, and it fit through that hallway with a literal quarter of an inch clearance on either side, and that's like, that's not an exaggeration.” “I hope that this film can live kinda like when I first saw Slacker for the first time, and it was just like, oh, all you really need is a camera and two faces talking to each other.” “At the end of the day, surround yourself, your entire crew with people you trust creatively.” Guests: Alex Ullom Carrie Carusone Evan Barber 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

Writer-director Sam Hayes and actor-filmmaker Michael Vlamis break down the making and unconventional release of Pools, a coming-of-age film built around an overnight pool-hopping adventure. They discuss the logistical challenges of shooting underwater on an indie schedule, building an ensemble cast around specific actors, and why traditional distribution offers pushed the team toward a hands-on grassroots strategy. Sam explains how pool-party premieres, years of networking, and a wine-fueled cold email helped Pools find a new audience through the Letterboxd Video Store, while Michael compares the scrappy production of Pools with working on Christopher Nolan’s The Odyssey. They also share lessons on preserving release momentum, budgeting for marketing, navigating film festivals, and finding an audience when streamers are not an option. In this episode, No Film School's GG Hawkins, Sam Hayes, and Michael Vlamis discuss... How the image of a glowing pool at night became the foundation for Pools Writing characters with specific actors like Michael Vlamis, Odessa A'zion, and Tyler Alvarez in mind Building chemistry within an ensemble cast on a limited indie prep schedule The complications of filming overnight pool scenes and shooting underwater How a breath coach helped Odessa A'zion increase her underwater breath hold from roughly 15 seconds to a minute and a half Why Sam turned down disappointing traditional distribution offers and pursued a more hands-on service deal Creating pool-party premieres that made screenings feel like events rather than another movie release How Sam became a top 0.01% Partiful user while organizing approximately 25 promotional events Why filmmakers need to actively build relationships with festival programmers, distributors, critics, and other members of the indie film community The mistake of delaying Pools' TVOD release in hopes of benefiting from the attention around Odessa A'zion's other projects Why maintaining momentum and giving audiences an immediate way to watch a film matters after theatrical release How the crowded TVOD marketplace makes discoverability especially difficult for independent movies The wine-fueled cold email Sam wrote to Letterboxd after feeling like the film was running out of distribution options Why Letterboxd's curated Video Store offered Pools a way to stand apart from algorithm-driven platforms How the film's Letterboxd rating improved as more viewers discovered it Michael's experience moving between Pools, his indie feature Crossword, and Christopher Nolan's The Odyssey Why a giant production can still feel surprisingly scrappy and responsive on set The difference between a film's production budget and the marketing budget needed to actually break through Why indie filmmakers cannot build their entire distribution strategy around getting acquired by a major streamer How real-world relationships can turn previous distribution passes into new opportunities Why Sam recommends budgeting for marketing before production begins The danger of submitting a rough cut to major film festivals before the movie is truly ready Michael's approach to finding grounded comedy without forcing jokes or overthinking a performance Memorable Quotes: “You need something fun, especially for an indie movie, to, like, build community around the film and with each other and make it about more than just the movie itself.” “As soon as the people start watching the movie, you want people to be able to see the movie.” “You can't rely on it. You have to find ways to, like, find your own audience with an indie film.” “Build in a marketing budget before you shoot. Like, have that be a part of the money that you raise.” Guests: Sam Hayes Michael Vlamis Resources: Pools on Letterboxd Rent Pools on the Letterboxd Video Store 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

Tribeca Festival Director and SVP of Programming Cara Cusumano joins No Film School’s GG Hawkins to reflect on 25 years of Tribeca and explain what independent filmmakers should understand about today’s festival landscape. Cusumano discusses Tribeca’s evolution from its post-9/11 roots into a multidisciplinary storytelling festival, how programmers evaluate nearly 14,000 submissions, why filmmakers should build relationships with their peers instead of chasing gatekeepers, and how festivals are responding to shifts in film distribution and audience behavior. She also shares how emerging filmmakers can participate in festival communities even without a film in the lineup and why creating distinctive work matters more than waiting for the perfect opportunity. In this episode, No Film School's GG Hawkins and guest Cara Cusumano discuss... How Tribeca’s founding mission of community, connection, and celebrating movies has endured across 25 years Cara’s path from attending the first Tribeca Festival as a film student to becoming Festival Director and SVP of Programming Why networking is really about building relationships with your contemporaries and growing together throughout your careers How programmers view filmmakers and why they are actively looking for work to champion rather than trying to keep filmmakers out What makes a project feel distinctly right for Tribeca, from independent storytelling to memorable audience experiences How Tribeca manages and evaluates nearly 14,000 film and project submissions Why passionate advocacy inside the programming room can matter even when programmers disagree about a film Why festival feedback is complicated and how programming decisions can depend on the composition of the entire lineup, not simply the quality of an individual film How Tribeca expanded beyond features and shorts into television, podcasts, games, VR, immersive work, and creator-driven storytelling The value of human curation as an alternative to algorithmic discovery Why Tribeca is interested in projects that blur the boundaries between film, games, immersive media, podcasts, and other formats How the role of film festivals is changing as selling an independent film directly out of a festival becomes more difficult Why festivals increasingly function as places for talent discovery, career building, networking, and demonstrating audience demand How the in-person festival experience can create moments that cannot be replicated through individual at-home viewing How emerging filmmakers can participate in Tribeca through programs like the Storytelling Summit even if their work is not selected Why Cara hopes Tribeca remains flexible enough to respond to new forms of storytelling that do not yet have an established industry category Her advice to stop waiting for the perfect moment, keep collaborating, and make work because of the story rather than its potential festival or distribution outcome Memorable Quotes: “It's building a relationship with your contemporaries, and then you all grow. Like anyone who I know who has a position of power is only 'cause we were in the trenches as assistants 20 years ago.” “Programmers want to discover films. They live in fear of missing something amazing. They want to build those relationships.” “The industry player's coming less to buy completed projects than they are to scout future talent.” “There's never a perfect moment and, and it- the more that you can be creating and collaborating, and don't think about, like, what festival is this going to get into or what's the distribution going to be?” Guest: Cara Cusumano on IMDb 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

Fiscal sponsorship can give independent filmmakers access to tax-deductible donations, in-kind contributions, corporate partnerships, and other fundraising opportunities without changing how they monetize their films after completion. Host GG Hawkins talks with filmmaker Lindsay St. Laurent and New Hollywood's Ian Mark about how fiscal sponsorship works, how to approach donors, and why building sustainable working conditions into an indie production matters. They also discuss tax incentives, pre-production strategies that can prevent burnout, protecting cast and crew on low-budget sets, and creating long-term relationships with supporters. In this episode, No Film School's GG Hawkins and guests Lindsay St. Laurent and Ian Mark discuss... How fiscal sponsorship allows filmmakers to fundraise through a nonprofit while maintaining the ability to operate commercially once the film is completed Why tax-deductible donations can give filmmakers a different fundraising pitch than traditional equity investment How in-kind donations can help cover production needs such as equipment, food, catering, and crafty How fiscal sponsorship can add legitimacy when approaching companies and potential partners New Hollywood's requirements for sponsored productions, including reasonable workdays, adequate turnaround times, and real meal breaks Why sustainable set culture and crew wellbeing can improve both the production experience and the finished film How table reads, storyboards, and strong pre-production planning can help filmmakers avoid long shoot days and burnout Why directors should communicate with department heads early and build schedules that make their jobs easier The importance of considering the emotional demands placed on actors when scheduling difficult scenes Why cast and crew members should understand their rights, establish boundaries, and read their contracts even on non-union productions How a more competitive grant landscape and changing corporate priorities are affecting independent film financing Why filmmakers raising larger budgets should research production tax credits and rebates as part of their financing strategy How to approach potential donors by focusing on genuine relationships rather than treating every conversation as a one-time ask Why filmmakers should present their projects as already having momentum rather than appearing dependent on a single donor How getting the first company, donor, or organization to say yes can make additional partnerships easier to secure Memorable Quotes: “So you get to fundraise as a nonprofit when you're starting, and then still operate as a for-profit entity once you have a film that you're ready to take to market.” “Just for our listeners, like if somebody is pushing you in a way that is not okay, you can say no, even if it's non-union.” “But like nobody is going to advocate for you on those sets except yourself, so it is good to know your rights.” “The first yes is the hardest one to get. Once you get that yes, the other yeses just start coming.” Guests: Lindsay St. Laurent Ian Mark 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

Editor Jon Fine joins GG Hawkins to discuss shaping The Revisionist, a dialogue-driven drama directed by Alex Vlack and starring Alison Brie, André Holland, and Dustin Hoffman. Fine explains how the cast’s performances transformed the tone of the script, how music and abrupt sonic interruptions helped place viewers inside a writer’s creative process, and how restructuring the film made its shifting layers of fiction and reality clearer. He also shares his Premiere Pro workflow, his approach to testing editorial ideas, and why emerging filmmakers should learn by making their own projects. In this episode, No Film School's GG Hawkins and guest Jon Fine discuss... How Fine’s longtime creative partnership with director Alex Vlack led to The Revisionist Discovering unexpected humor and tragedy in the actors’ interpretations of the script Finding a consistent tone across four distinct central performances The creative advantages of having an editor and director work together in the same room Using Philip Klein’s score to evoke the interior world of Alison Brie’s writer character Interrupting music with hard cuts to create surprise, humor, and playfulness Organizing scenes, takes, transcripts, and searchable dialogue in Adobe Premiere Pro Building a fast first assembly that closely followed the original screenplay Restructuring the film to make the writer’s influence over the unfolding story more apparent Using producer, audience, and actor feedback throughout the iterative editing process Balancing the ensemble while keeping Alison Brie’s character as the story’s emotional anchor Finding usable moments within Dustin Hoffman’s improvisations Why limited locations, a small cast, and dialogue-heavy scenes can benefit independent filmmakers Auditioning editorial ideas quickly instead of becoming overly attached to one version Creating an editing environment with natural light, plants, instruments, and opportunities to step outside What traditional editors can learn from filmmakers cutting polished videos on their phones Why the most effective way to learn editing is to make films with friends Memorable Quotes: “I still think the best way to make a film is to be in the room with someone.” “We wanted it to feel like you were inside of the head of a writer. You’re in her mind.” “I’m really in favor of just auditioning ideas and trying things.” “I think the best way to learn is in practice.” Guests: Jon Fine Resources: The Revisionist on IMDb 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

Most filmmakers wait until after production to identify their audience and develop a distribution strategy. In this partner episode, GG Hawkins speaks with Greenlight Coverage founder Jack Zhang and Level 33 Entertainment Vice President Andreas Olavarria about evaluating a screenplay’s commercial potential before production begins. They explain how AI-assisted script coverage can support—not replace—human decision-making, what distributors look for when assessing independent films, and how the Greenlight List gives screenwriters a path toward $100,000 in equity financing and guaranteed distribution. In this episode, No Film School's GG Hawkins and guests Jack Zhang and Andreas Olavarria discuss... Why filmmakers should consider their target audience, key art, trailer, genre, and distribution strategy while developing the screenplay How Greenlight Coverage uses data science and AI-assisted analysis to evaluate screenplays How Jack developed the platform using data from thousands of films and hundreds of millions of audience data points Why AI script coverage should function as an initial evaluation tool rather than a replacement for human readers How the Greenlight List combines an algorithmic first pass with evaluation by experienced industry professionals What separates a well-written screenplay from a commercially viable independent film Why contained concepts can be more practical for independent filmmakers and investors How originality, plot construction, character development, theme, and audience positioning affect a project’s score Why low-budget horror still requires a specific audience and marketing strategy The built-in audiences for horror, thrillers, romance, and Hallmark- or Lifetime-style films How theatrical, TVOD, SVOD, and AVOD distribution windows affect independent film development Why filmmakers may need to hook viewers within the first five minutes on ad-supported streaming platforms How cast members, executive producers, and creators with established audiences can strengthen a film’s marketability How the Greenlight List offers its grand prize winner $100,000 in equity financing and guaranteed distribution through Level 33 Entertainment Why writers should use submission deadlines as concrete milestones for completing their screenplays Memorable Quotes: “I think it’s so important that filmmakers look at what the end product will be and how they’re going to connect that film, that story, with a target audience.” “It has to have a specific audience itch that you’re trying to scratch, or it’s just going to be one of the thousands of films produced out there sitting on the shelf, unfortunately.” “The film itself should hook the audience in whatever genre in the first five minutes.” “Don’t miss a deadline. Hit the submit button. Don’t miss the deadline.” Guests: Jack Zhang — Founder of Greenlight Coverage Andreas Olavarria — Vice President at Level 33 Entertainment Resources: The Greenlight List Greenlight Coverage Level 33 Entertainment 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

Wonder Dynamics co-founders Tye Sheridan and Nikola Todorovic join GG Hawkins to explain how their filmmaking backgrounds shaped the development of AI-powered production tools for artists. They trace the company’s evolution from an interactive storytelling startup to Autodesk Flow Studio, a tool designed to transfer live-action performances to CG characters while preserving creative control and compatibility with established VFX pipelines. The conversation covers Hollywood’s changing relationship with artificial intelligence, the potential for lower-cost sci-fi filmmaking, Autodesk’s acquisition of Wonder Dynamics, the continuing importance of marketing and distribution, and how emerging filmmakers can prepare for an AI-integrated industry. In this episode, No Film School's GG Hawkins and guests Tye Sheridan and Nikola Todorovic discuss... How Sheridan and Todorovic met while working on Last Days in the Desert and bonded over their interest in making independent science-fiction films Why the expense of CG and visual effects inspired them to pursue a lower-budget, “Blumhouse model” for sci-fi and animation Wonder Dynamics’ pivot from interactive narratives to AI tools focused on film production Why AI filmmaking technology should be developed by people who understand professional production and post-production workflows The differences between tools made for social media content and tools made for long-form narrative filmmaking Why editability, control, and compatibility with established VFX pipelines became central to Autodesk Flow Studio How Autodesk Flow Studio captures a performance from single-camera footage and transfers it to a CG character without a traditional motion-capture stage Why Sheridan and Todorovic do not believe an actor’s performance should be generated entirely through prompts Hollywood’s pushback against AI during the SAG-AFTRA and WGA strikes and the industry’s gradual shift toward discussing responsible use How filmmakers can evaluate AI tools according to their ethics, usefulness, and respect for artistic control The potential for AI to lower production costs and help independent filmmakers create ambitious sci-fi and VFX-heavy projects Why cheaper production does not eliminate the challenges of marketing, distribution, and audience discovery How short films, YouTube projects, commercials, and music videos can serve as testing grounds for new filmmaking technology The opportunity to create visually ambitious genre films that remain grounded in original ideas and character-driven storytelling What Autodesk’s acquisition of Wonder Dynamics provides in terms of 3D expertise, scale, resources, and integration How small production teams have used Autodesk Flow Studio to revive scripts they previously could not afford to produce Why future filmmakers may see AI as an ordinary part of every creative tool rather than a separate category Sheridan’s advice to practice whenever an opportunity appears and learn from every film set Todorovic’s advice to persistently seek mentors and approach experienced professionals with genuine curiosity Memorable Quotes: “For us, that became our core theme, is just building something for artists that leaves them in control.” “AI is like the Internet. You can’t just say AI is bad or AI is good. It means so many different things. It really depends on how you’re using it and whether or not you’re maintaining the integrity of the artist process.” “We’re kind of allowing distribution to everybody, we’re going to allow the production to everybody, but now it’s a matter of being discovered.” “Be stubborn, be persistent, and try to find the best mentor you can possibly think of, someone you admire, and then just bother them with emails for six months. You’d be surprised.” Guests: Tye Sheridan Nikola Todorovic Resources: Autodesk Flow Studio 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

Editor, director, and producer Whit Conway explains how the Hulu comedy Never Change! was assembled on an unusually compressed post-production schedule. He discusses cutting scenes while production was still underway, building an organized Adobe Premiere Pro workflow, using searchable transcripts to locate alternate performances, and collaborating with director and co-editor Marty Schousboe. Conway also shares how constant iteration shapes comedy, why editors cannot become precious about an early cut, and how aspiring comedy filmmakers can create the work they want to be hired to make. In this episode, No Film School's GG Hawkins and guest Whit Conway discuss... How Whit’s previous collaborations with director Marty Schousboe led to Never Change! Why the film’s budget and delivery schedule required editing to begin during production Completing an initial assembly within a week of production wrapping Applying lessons from the fast-paced editorial workflows of Saturday Night Live and Joe Pera Talks With You Organizing footage into scene sequences and line-by-line collections of every performance How front-loading editorial organization saves time when producers request alternate takes Treating the first cut as a strong starting point rather than a version that must be protected Adjusting individual jokes by only a few frames and testing different reaction shots Preserving previous versions of scenes without formally tracking every editorial change Recognizing when a joke needs more work versus when the filmmakers have simply watched it too many times Using Premiere Pro’s searchable speech-to-text transcripts to find improvised lines and specific takes Collaborating with directors who edit and directors who communicate their ideas conceptually Why strong directors know what they want while remaining open to better ideas from collaborators Managing creative disagreements, competing producer notes, and compressed deadlines How walks and time away from the edit room can help collaborators reset Why budget limitations ultimately determine when the filmmakers must put their pencils down Building a comedy-editing career by making long-form work, studying classic comedies, and creating projects with friends Treating unpaid personal projects as “extra credit” that can lead to new professional opportunities Memorable Quotes: “It is just my job to put the first version of the moment together as fast as I can and also be tickled by it.” “I think great directors do a couple of things. One, I think they know what they want. They know what the moment should be. Two, they are open and willing to see other versions of that moment.” “I think you don’t have to have all the answers all the time.” “People understand you and know you through the work that you have done, that they have seen you do.” Guests: Whit Conway Resources: Watch Never Change! on Hulu Whit Conway’s Website Adobe Premiere Speech to Text How These SNL Editors Cut an Emmy-Nominated Sketch With 60+ VFX Shots in 2 Days Cutting Comedy: Inside the Edit of Saturday Night Live’s 50th Anniversary Field Producing on Last Week Tonight & Tackling Vimeo’s EU/UK Problem 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

Producer and Joy Coalition founder Joy Gorman Wettels joins GG Hawkins to discuss the long, uncertain path of building a producing career, from developing Next to Normal and spending 17 years at Anonymous Content to betting on herself as an independent producer. She explains why she staffed Little House on the Prairie before it received a green light, how she develops projects designed to create cultural conversations, and why the industry’s shrinking infrastructure threatens the next generation of producers. Gorman Wettels also shares lessons from 13 Reasons Why, Home Before Dark, and The Bell Jar, emphasizing empathy, creative conviction, audience-building, and the importance of finding collaborators who will grow alongside you. In this episode, No Film School's GG Hawkins and guest Joy Gorman Wettels discuss... The challenge of balancing production schedules with family life How growing up around theater and the arts shaped Joy’s career Developing Next to Normal over the course of a decade Learning the creative and logistical sides of producing at Anonymous Content Launching Joy Coalition just before the industry strikes The financial risks independent producers take while developing and staffing projects Why Joy staffed Little House on the Prairie before the series was greenlit How the industry’s broken career pipeline limits mentorship and upward mobility The goals of Producers United and the need to compensate career producers fairly How instability affects studio executives as well as independent producers Choosing projects that can bridge cultural and generational divides The research, psychiatric support, and sensitivity practices behind 13 Reasons Why Creating stories that give young audiences “something to reach up to” Why emerging filmmakers should build their own audiences and distribution channels Finding long-term collaborators, remaining loyal, and celebrating friends’ successes Memorable Quotes: “All you could do is bank on the things that you believe in and love.” “Some of the best of us producers no longer have the infrastructure to bring up the next generation.” “Everything that I make pretty much comes down to taking young people more seriously than I feel we have historically.” “Hollywood’s a very, very, very long high school and college, and you find your people and you succeed together.” Guests: Joy Gorman Wettels Resources: Joy Coalition Joy Gorman Wettels on Instagram Producers United 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

Emmy-nominated stunt coordinator and performer Victor Paguia joins No Film School’s GG Hawkins to explain how action sequences are designed around character, story, safety, and production realities. Drawing on more than two decades of experience—including his work on I Am Legend, Zombieland, and CBS’s FBI—Paguia discusses breaking into the stunt industry, developing distinct fighting styles for characters, creating ambitious television action on an eight-day prep schedule, and using previsualization to make sequences safer and more effective. He also shares practical advice for independent filmmakers staging action with limited time and resources. In this episode, No Film School's GG Hawkins and guest Victor Paguia discuss... How competitive diving prepared Paguia to perform under pressure Crashing the callback that led to his first stunt job on I Am Legend Why effective stunt work must serve the story rather than spectacle Finding the line between exciting action and physically unbelievable action Developing a shared movement language for zombies and other creatures Why fast zombies are more intimidating—and more enjoyable to perform Building action around the established strengths of a character Giving the agents on FBI distinct fighting styles based on personality and physicality Keeping fights, chases, and takedowns fresh across multiple seasons The differences between preparing action for a feature film and a network television series Choreographing and teaching fights to actors while filming on a tight schedule Why filmmakers should slow down instead of rushing on set How stunt doubles help actors learn choreography and improve their performances Using an iPhone to previs camera angles, movement, costumes, and choreography How smaller camera systems have expanded the possibilities for action photography Monitoring multi-camera stunt sequences when playback is unavailable Why micro-budget filmmakers should design action within their actual resources The driving, fighting, falling, and wire-work skills aspiring stunt performers should develop How collaboration between departments creates memorable action Memorable Quotes: “Telling the story of the movie is more important than performing the action.” “Slow is smooth, smooth is fast—and wear sunscreen.” “Stunt doubles aren't just there to perform the action instead of the actor. They're also there to help choreograph and teach and show.” “It's enticing to try to go for bigger than you can actually handle, but it may end up just looking bad or sort of amateur.” Guests: Victor Paguia Resources: Watch Victor Paguia’s Zombieland stunt Extraction 2 Director Sam Hargrave’s Advice on Oners, Stunts, and Emails 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