The No Film School Podcast

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

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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:

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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:

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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

Charlie Traisman

Resources:

Madhouse Films

Madhouse Films on Instagram

Madhouse Films Newsletter

Fractured Atlas Fiscal Sponsorship

Find No Film School everywhere:

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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

Michael A. Drexton

Samantha Westervelt

Resources:

Sour Party on IMDb

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:

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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: podcast@nofilmschool.com

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