Actor-Turned-Director Lee Kirk on Directing Actors and the Making of 'Nimrods'

What happens when a longtime podcast listener takes the leap into feature filmmaking? No Film School listener turned filmmaker Douglas A. Plomitallo joins GG Hawkins to share how he went from making 86 horror shorts to directing, self-financing, and securing distribution for his debut feature, Halloween Candy. Doug explains how he repurposed existing short films into a feature-length horror anthology, found a distributor, and built on that experience to create Halloween Candy 2. He also discusses balancing independent filmmaking with his full-time job as a director of photography for WWE, editing movies while traveling, stretching microbudgets with a skeleton crew, and learning to trust collaborators. His journey offers practical lessons on DIY filmmaking, cinematography, indie film distribution, and building a sustainable creative career.

How do you adapt a novel that takes place almost entirely inside the stomach of a sperm whale? For writer-director Brian Duffield and Pulitzer Prize-winning author Daniel Kraus, the answer started with admitting they didn't know how to pull it off. In this episode, No Film School's GG Hawkins speaks with Duffield and Kraus about bringing Whalefall, starring Austin Abrams and Josh Brolin, from page to screen. They discuss the scientific research behind the story, the challenges of adapting a novel with dozens of flashbacks, building practical whale interiors with Wētā Workshop, and directing a physically demanding survival thriller. Duffield explains why acknowledging uncertainty helped build trust with studio executives and how surrounding himself with collaborative crew members made an unusually challenging production possible. Plus, Kanopy's Aaron Spears and Matt Lewis stop by to discuss the Crypt Collection, practical effects in horror filmmaking, and the movies that continue to scare them.

How do you bring Jane Austen's Sense and Sensibility to life for a modern audience while preserving its emotional depth? Director Georgia Oakley joins No Film School's GG Hawkins to discuss her new adaptation, starring Daisy Edgar-Jones and Esmé Creed-Miles as the Dashwood sisters. Oakley shares how she approached the film through the lens of sisterhood, longing, and the timeless tension between women's expectations and societal constraints. She breaks down her filmmaking process, from shooting on 35mm film and using two cameras to capture authentic performances, to collaborating with cinematographers Arnaud Potier and Tasha Back on naturalistic visuals. The conversation also explores casting, building chemistry between actors, adapting rehearsal techniques to individual performers, and navigating the pressures of an ambitious location-heavy production.

Saturday Night Live’s prerecorded sketches can go from first footage to national broadcast in roughly 36 hours. Host GG Hawkins talks with SNL editors Christopher Salerno and Mak Makower about the post-production workflow behind that turnaround, including their work on the Emmy-nominated “MAHAspital” sketch starring Harry Styles. They break down how footage moves from set to the edit, why line-by-line stringouts are essential, how they use Adobe Premiere Pro tools like transcription, Essential Sound, multicam sequences, and reverse match frame, and how sound design helps build tension before a joke lands. They also discuss the differences between editing SNL, commercials, and longer narrative projects, the importance of collaboration in the edit room, and the technical habits aspiring editors can develop to work faster without sacrificing storytelling.

Ryan Koo and Jourdan Aldredge report from Fantastic Fest 2026 in Austin, Texas, where they explore how the festival is expanding beyond exhibiting genre films to helping filmmakers actually get movies made. They break down the first completed feature from Fantastic Pitches, Nicholas Curcio’s Playhouse, what filmmakers can learn from its $100,000 production, and this year’s ambitious winning pitch, Father Figure. They also discuss the value of pitching even when you don’t win, the advantages of designing films around microbudget constraints, and some of the movies and filmmaking communities they’ve encountered at the festival.