In this episode, No Film School founder Ryan Koo and host GG Hawkins, along with producer and guest Ana Liza Muravina, dig into the ramifications of the news that Netflix is bidding (or may be outbid by Paramount) to acquire Warner Brothers — and what this massive consolidation could mean for the future of theatrical film, streaming, and the livelihoods of filmmakers.
In this episode, No Film School's Ryan Koo, GG Hawkins, and guest Ana Liza Muravina discuss...
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How theatrical attendance has been in decline for decades, long before COVID — from the post–World War II boom through the arrival of television, home video, and streaming.
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Why the recent surge in acquisitions and mergers (from Comcast/Universal, Disney/Fox, Amazon/MGM, to the potential Netflix–Warner deal) spells trouble for market competition in both production and distribution.
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What consolidation means for filmmakers trying to get projects financed and sold — fewer buyers, fewer distribution windows, and diminished bidding wars that once supported indie and mid‑budget films.
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The potential financial upside for studios and executives (like David Zaslav), contrasted with the limited upside — or none — for writers, directors, actors, and other creative laborers.
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The possible benefits of global streaming platforms: ability to reach worldwide audiences, support for diverse or niche stories (e.g., a basketball movie about a young Black player), and access for filmmakers outside traditional Hollywood systems.
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How now more than ever filmmakers might need to pivot: embrace scrappy, independent means of production/distribution, build creative communities, and consider alternate funding — rather than relying on traditional studio financing and residual structures.
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That this may be a painful but necessary transition: the collapse of one ecosystem could open space for a new kind of filmmaking — more distinct voices, counterculture, experimentation, and potentially a new model for how films get made and distributed.
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Memorable Quotes:
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“I pitched my Netflix movie 80 times — I got 79 no’s and I got one yes.”
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“In a world where all the ways in which my piece of content can be exploited … are concentrated, it forces you to think about what are the other sources.”
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“You hit pause, you hibernate for a minute … and you don’t feel like that’s the end of the freaking world.”
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“This is the math all of us are doing all the time … If you follow one person benefiting to the tune of a billion dollars … from the sale of a company … it tells you exactly why so many people had to leave L.A…”
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Guests:
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<a href="https://www.imdb.com/name/nm6939136/">Ana Liza Muravina</a>
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Resources:
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<a href="https://nofilmschool.com/ana-liza-muravina">Ana Liza's Previous No Film School Appearance</a>
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<a href="https://nofilmschool.com/2011/10/sean-baker-prince-of-broadway-interview">'Prince of Broadway' Director Sean Baker on No-Budget Filmmaking, Improvisation, and Long Release Cycles</a>
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Find No Film School everywhere:
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On the Web: No Film School (<a href="https://nofilmschool.com/">https://nofilmschool.com/</a>)
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Facebook: No Film School on Facebook (<a href="https://www.facebook.com/nofilmschool">https://www.facebook.com/nofilmschool</a>)
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Twitter: No Film School on Twitter (<a href="https://twitter.com/nofilmschool">https://twitter.com/nofilmschool</a>)
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YouTube: No Film School on YouTube (<a href="https://www.youtube.com/user/nofilmschool">https://www.youtube.com/user/nofilmschool</a>)
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Instagram: No Film School on Instagram (<a href="https://www.instagram.com/nofilmschool">https://www.instagram.com/nofilmschool</a>)
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 📩 Send us an email with questions or feedback: podcast@nofilmschool.com
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David Zaslav Will Make Nearly $1 Billion From Selling Warner Bros. to Netflix (or Paramount). How Much Will Filmmakers Make?

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