How Microbudget ‘Sour Party’ Became a Steven Soderbergh Presents

Inside the Craft of Action With Emmy-Nominated Stunt Coordinator Victor Paguia

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 [https://www.imdb.com/name/nm2403493/] Resources: * Watch Victor Paguia’s Zombieland stunt [https://www.youtube.com/watch?si=NN9USbxABlv3c008&t=36&v=OI_JONTVVuE&feature=youtu.be] * Extraction 2 Director Sam Hargrave’s Advice on Oners, Stunts, and Emails [https://nofilmschool.com/extraction-2-director-sam-hargraves-advice-oners-stunts-and-emails] 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: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices [https://megaphone.fm/adchoices]

The Art of Asking for Money for Indie Films feat. Madhouse Films

Madhouse Films co-founders Katherine Romans and Charlie Traisman join GG Hawkins to explain how they built an independent production company from the ground up. They discuss using short films as their version of film school, raising project financing through relationship-building, approaching investors as creative partners, and transitioning from shorts to feature films. The conversation also explores cold outreach, fiscal sponsorship, balancing artistic ambition with financial realities, building durable producing partnerships, and why filmmakers must treat their projects like small businesses. In this episode, No Film School's GG Hawkins and guests Katherine Romans and Charlie Traisman discuss... * How Romans and Traisman’s longtime friendship developed into a creative and business partnership * Using short films to establish Madhouse Films’ voice, values, and community of collaborators * Why emerging producers should make projects before waiting for the perfect opportunity * Raising a flexible pool of financing while simultaneously developing and producing films * Identifying different investor profiles and understanding what each person wants from participating * Approaching investors as creative partners rather than treating fundraising as a transaction * Using fiscal sponsorship to accept tax-deductible donations for qualifying independent film projects * Reframing fundraising and relationship-building as part of a filmmaker’s creative practice * Why clear, direct financial asks are more effective than vague pitches * Learning from rejection and using each “no” to improve the next approach * How cold emails helped Madhouse build relationships with filmmakers they admired * Transitioning from short-film fundraising to feature-film financing, revenue participation, and ROI conversations * Giving filmmakers room to dream while establishing practical budget boundaries * Deciding which creative priorities are worth protecting and where compromises can be made * Maintaining trust, communication, and humor within a producing partnership * Why directors should act as entrepreneurs and actively help their producers find financing * Treating an independent film like a small business that must be continually pushed toward completion * Developing Madhouse Films’ new film fund and expanding what audiences consider a Madhouse project Memorable Quotes: * “The whole process of raising and relationship building is extraordinarily fluid and nonlinear.” * “You don't want money from just anyone. You do want someone who's aligned with you because they're part of your team.” * “Because someone says no does not mean you stop asking. You just have to understand how to ask better.” * “If you're getting no's, it means you're putting yourself out there.” Guests: * Katherine Romans [https://www.imdb.com/name/nm2799278/] * Charlie Traisman [https://www.imdb.com/name/nm7609100/] Resources: * Madhouse Films [https://madhouse-films.com/] * Madhouse Films on Instagram [https://www.instagram.com/its_madhousefilms/] * Madhouse Films Newsletter [https://madhouse-films.com/] * Fractured Atlas Fiscal Sponsorship [https://www.fracturedatlas.org/fiscal-sponsorship] 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: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices [https://megaphone.fm/adchoices]

How Microbudget ‘Sour Party’ Became a Steven Soderbergh Presents

After an earlier feature project collapsed, filmmakers Amanda Drexton, Michael A. Drexton, and Samantha Westervelt decided to stop waiting for permission and make Sour Party with the people, locations, equipment, and lived experiences already available to them. They discuss financing and shooting the microbudget comedy, surviving festival rejection, finding a distributor, budgeting for post-production, and campaigning through Decentralized Pictures until Steven Soderbergh selected the film to receive his support and the “Steven Soderbergh Presents” credit. In this episode, No Film School's GG Hawkins and guests Amanda Drexton, Michael A. Drexton, and Samantha Westervelt discuss... * Turning the collapse of a planned feature into the motivation to make Sour Party * Expanding earlier short-film ideas into a female-led Los Angeles buddy comedy * Writing around the actors, locations, equipment, and personal experiences they already had * Financing the production with a small-business loan, credit cards, deferred rates, and community support * Moving quickly from the first draft to production rather than waiting for outside permission * Shooting an 80-minute feature over approximately 19 days with mostly 12-hour production days * Navigating festival rejection before premiering at the Chattanooga Film Festival and winning its Audience Award * Building relationships with filmmakers and festival supporters who helped champion the movie * Choosing a smaller distributor that offered accessibility, communication, and flexibility * Why a distribution agreement does not necessarily include a minimum guarantee or a marketing budget * Applying for Steven Soderbergh’s Decentralized Pictures grant to secure prints and advertising support * Spending months campaigning through the platform’s community-based voting process * Pulling the film from its scheduled release after Soderbergh selected it and offered to present the movie * Setting up a collection account to manage investors, deferred payments, points, residuals, and revenue distribution * Planning for post-production costs, including music licensing, legal work, sound, color, deliverables, and distribution expenses * Negotiating music licenses when the production could not afford the initial quoted prices * Learning to consider production logistics while writing future projects * The importance of collaborators whose different skills combine into a shared creative vision * Why filmmakers should view their careers as a long game rather than measuring success by age * Building the soundtrack around Samantha’s former band, Egg Drop Soup, and other local female artists * How DCP Plus aims to offer independent filmmakers a more transparent distribution option * Why audience reviews, word of mouth, and communal viewing remain important for microbudget films Memorable Quotes: * “We’re not waiting for permission. So we just did it.” — 05:37 * “My big advice is just do it. You’ll figure it out. You’re going to make mistakes. Just do it. And also, do not forget about post.” — 32:39 * “The best negotiation tactic is to just actually not have the money.” — 33:27 * “Your community is your superpower.” — 43:41 Guests: * Amanda Drexton [https://www.imdb.com/name/nm3876184/] * Michael A. Drexton [https://www.imdb.com/name/nm3884648/] * Samantha Westervelt [https://www.imdb.com/name/nm7308727/] Resources: * Sour Party on IMDb [https://www.imdb.com/title/tt19393664/] * Sour Party is scheduled to be available July 24 on digital rental platforms, including Amazon, Apple, Fandango at Home, DirecTV, and DCP Plus. 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: podcast@nofilmschool.com [podcast@nofilmschool.com] Learn more about your ad choices. Visit megaphone.fm/adchoices [https://megaphone.fm/adchoices]

Secrets to an Oscar Short Film Campaign with Julia Aks and Steve Pinder

No Film School’s Jo Light records live from Aspen Shorts Fest with Julia Aks and Steve Pinder, the co-writers and co-directors of Jane Austen’s Period Drama. The conversation covers how the short grew from a period-drama pun into an Oscar-nominated comedy, what it took to produce an ambitious period piece on a limited budget, and how the filmmakers navigated festivals, awards qualification, campaign strategy, and the career momentum that followed. In this episode, No Film School's GG Hawkins, Jo Light, and guests Julia Aks and Steve Pinder discuss... * How Julia Aks and Steve Pinder first met through a USC student film and developed their creative partnership * Turning a comedic pun into a short film with emotional depth and a clear central event * Why successful short films often focus on a small moment instead of compressing a feature-sized story * Budgeting the short, finding the right producer, and learning where production money shows up on screen * Calling in community favors for period costumes, crew, and production support * Working with Snow White the chicken and planning animal scenes safely * Balancing Julia’s roles as actor, co-writer, co-director, and editor * Building a festival strategy after early rejections and learning the importance of premiere status * Why Aspen Shorts Fest became a key Oscar-qualifying opportunity for the film * How live festival screenings shaped the filmmakers’ understanding of the comedy * Handling polarizing reviews and why strong reactions can signal that a film took risks * What happens after winning a qualifying award, from the long list to the short list to nomination * The cost, strategy, and labor behind an Oscar campaign for a short film * How Emma Thompson became the film’s “Executive Menstrual Advisor” * Why live screenings became central to their campaign strategy * The career impact of receiving an Oscar nomination, even without winning * Developing the feature version of Jane Austen’s Period Drama and future musical comedy ideas Memorable Quotes: * “When short films are very successful, I think they take a small moment or they take a small piece of humanity or a small observation about life, and then really maximize and explore that small thing.” * “We never wanted to make a proof of concept that didn't stand on its own. We wanted to make a short film that was a short film.” * “Everything makes sense, and also nothing makes sense.” * “Be bold, be brave, make a zero or a 10. Don't make a five.” Guests: * Julia Aks [https://www.imdb.com/name/nm2539508/] * Steve Pinder [https://www.imdb.com/name/nm7448751/] Resources: * Jane Austen’s Period Drama [https://janeaustensperioddrama.com/] * Jane Austen’s Period Drama on IMDb [https://www.imdb.com/title/tt31171760/] * Aspen Shortsfest [https://aspenfilm.org/festival/aspen-shortsfest/] 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: podcast@nofilmschool.com [podcast@nofilmschool.com] Learn more about your ad choices. Visit megaphone.fm/adchoices [https://megaphone.fm/adchoices]

The Assistant Route: Networking, Mentorship, and Building a Film Career & Community

In this episode, GG Hawkins talks with writer, director, producer, assistant, and Not Your Daddy’s Films co-founder Vika Stubblebine about building a sustainable film career through assistant work, mentorship, community, and creative self-advocacy. Vika traces her path from acting and theater at UCLA to working in TV production at Sony, becoming a writers’ assistant, writing episodes of S.W.A.T., and helping build Not Your Daddy’s Films into a Los Angeles community for women and non-binary filmmakers. In this episode, No Film School's GG Hawkins and guest Vika Stubblebine discuss... * How Vika moved from theater, acting, and playwriting into film and television * Why assistant jobs can be one of the most valuable ways to learn the entertainment industry * What Vika learned working in TV production at Sony * How mentorship from bosses and showrunners helped her move toward writing * The importance of telling people what you want to do in your career * How Vika landed opportunities in writers’ rooms and on S.W.A.T. * Why Not Your Daddy’s Films began as a grassroots screening event * Building community for women and non-binary filmmakers in Los Angeles * The role of accessible events, panels, workshops, and screenings in supporting emerging filmmakers * Why being on set in any capacity can help actors, writers, directors, and producers understand the filmmaking ecosystem Memorable Quotes: * “Tell everyone what you want, and you don’t need to be me, me, me, me, me. Talk about me all the time, but be comfortable being like, yeah, I want to be in a writer's room.” * “You need to start believing that you're good enough because every single person in this world, it's not everybody, but people are going to tell you no, and you can't also tell yourself no.” * “That was the spark that led us to creating Not Your Daddy's Films because we were looking for more community.” * “I think that community, community, community is what indie film to me is all about. It's making at the very basic level, it's making cool shit with your friends.” Guests: * Vika Stubblebine [https://www.imdb.com/name/nm6482189/] Resources: * Not Your Daddy’s Films [https://www.notyourdaddysfilms.com/] * Not Your Daddy’s Films on Instagram [https://www.instagram.com/nydfilms/] * The Daddy Dailies Podcast on Instagram [https://www.instagram.com/daddydailiespod/] * Vika Stubblebine [https://www.vikastubblebine.us/] * How Not Your Daddy’s Films is Redefining the Industry By Championing Women and Non-binary Filmmakers [https://nofilmschool.com/not-your-daddys-films] 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: podcast@nofilmschool.com Learn more about your ad choices. Visit megaphone.fm/adchoices [https://megaphone.fm/adchoices]