BELOW THE LINE PODCAST

What does it take to shoot Formula 1 at Formula 1 speed? For 1st Assistant Director Toby Hefferman, it meant precision, improvisation, and a crew running at full throttle.

This week on Below the Line, Toby Hefferman joins Skid to talk about his work on F1: The Movie, the high-octane feature that merges scripted drama with real-world racing. From on-track logistics to high-pressure resets, Toby shares how he and the crew captured the energy of Formula 1 without slowing it down.

The conversation races through:

• Preparing for race-day chaos with limited takes and no second chances
• Coordinating with the F1 organization for track access and safety
• Balancing authentic racing with scripted storytelling beats
• Working with the broadcast crew and integrating into their coverage footprint
• Collaborating closely with director Joseph Kosinski to shape coverage and keep pace with the story
• Navigating the unique demands of filming alongside professional F1 drivers in active race environments
• What it means to “make the day” when the cars set the schedule — not the crew

What emerges is a portrait of an Assistant Director balancing structure with flexibility — drawing on lessons from Rogue One, Mission: Impossible, and now F1: The Movie.

🎧 Press play and go Below the Line on F1: The Movie. For more, visit belowtheline.biz.

In Alien: Earth, the music has to merge sci-fi horror with sci-fi action — all while carrying the emotional core of Noah Hawley’s storytelling.

This week on Below the Line, Score Composer Jeff Russo joins Skid and returning co-host Louis Weeks to discuss his work on Alien: Earth, the FX series now airing its first season. An Emmy-winning and multiple Emmy-nominated composer, Jeff talks through how his music honors the legacy of Alien while building something entirely new — with select clips from his score woven throughout the conversation.

Here’s what we cover:

• Collaborating with Noah Hawley from the earliest concept stage — five years before cameras rolled
• Weaving together the tones of Alien (1979) and Aliens (1986) while still making the score uniquely his own
• Creating distinct sonic palettes for human, alien, and synth characters — and finding ways to blend them
• Crafting character-driven themes, including Wendy’s motif and the “Siblings” theme
• Integrating unusual instruments like the bass desmaphone and Aztec death whistle to shape the show’s sonic identity
• How serialized storytelling allows themes to grow and evolve across multiple episodes
• Building episode-specific releases, like the standalone score for Episode 5

Jeff also shares how his long creative partnership with Hawley has shaped his process — and why building trust early makes it easier to take musical risks later.

🎧 Press play and go Below the Line on Alien: Earth. For more, visit belowtheline.biz.

Production Design doesn’t always get the laugh — but on Hacks, Rob Tokarz helps set up the punchline.

This week on Below the Line, Production Designer Rob Tokarz joins Skid to discuss Rob’s Emmy-nominated work on Hacks, the HBO Max comedy that just wrapped its fourth season. Rob shares how the show’s design evolved with Deborah and Ava’s careers — from Vegas casinos to LA sound stages — and how visual comedy can live in the details.

Among the highlights:

• Designing Deborah’s late night talk show set — and how its clean lines, reflective surfaces, and scale marked a new chapter in her career
• Leaning into sleek, showbiz artifice while still grounding scenes in emotional truth
• How Rob approaches “passive comedy” through shape, scale, texture, and layout
• Collaborating with Showrunners Lucia Aniello, Paul W. Downs, and Jen Statsky to ensure that design and comedy worked hand in hand
• Designing new spaces like Jimmy’s office and the Home Shopping Network studio
• Working with returning directors, DPs, and department heads to maintain visual continuity
• Navigating studio notes and shifting production goals across multiple seasons

Rob also shares how Hacks maintained character integrity even as its world kept expanding — and why no design detail is too small when you're playing for laughs.

🎧 Press play and go Below the Line on Hacks. For more, visit belowtheline.biz.

Designing a future where human life feels disposable — and deeply familiar — takes creative nerve, dark humor, and a fearless approach to world-building.

This week on Below the Line, Skid is joined by Production Designer Sue Chan to talk about her work on Murderbot, the new Apple TV+ series based on Martha Wells’ bestselling novellas. Sue breaks down how she and her team designed a future full of corporate dread, practical machinery, and sly visual comedy — all while making the world feel tactile rather than CG-slick.

We discuss:

• Developing the look of a far-future society built around exploitation, automation, and control
• How inflatable tech, 3D-printed architecture, and lightweight materials shaped the show’s practical builds
• Establishing a visual language that’s grounded in reality but laced with satire
• Designing Sanctuary Moon, the soap-opera-within-the-show, as a technicolor contrast to Murderbot’s grey, corporate environments
• Using shapes, signage, and spatial hierarchy to reinforce themes of capitalism and class division
• The creative and political process behind Murderbot’s helmet: the mask design that divided the studio and delighted Skarsgård
• Working with VFX and costumes to build a unified visual tone across departments
• Embracing “conscious contrasts” between the emotional tone of a scene and its visual environment

Sue also reflects on the challenge of building a world that feels both foreign and uncomfortably familiar — and why the best production design does more than just look good.

🎧 Press play and go Below the Line on Murderbot. For more, visit belowtheline.biz.

Cinematographer Romain Lacourbas returns to Below the Line to talk about crafting Ballerina, the latest stylish installment in the John Wick universe.

This week on Below the Line, Skid is joined by Cinematographer Romain Lacourbas to discuss his visual approach to Ballerina, from the film’s sweeping Prague exteriors to its tightly choreographed fight scenes. Romain breaks down his collaboration with Director Len Wiseman, the decision to shoot single-camera action, and the creative problem-solving behind some of the film’s most explosive moments.

We cover:

• Building trust with Len Wiseman — and how the director’s homemade pre-vis videos helped shape their collaboration
• Adapting the look of John Wick to a new city — with its own palette and texture
• Leveraging Alexa 35 cameras and Hawk Class-X anamorphic lenses to add volume and texture — a deliberate choice to highlight Philip Ivey’s distinctive production design
• Planning and executing long-take action — including that grenade-filled basement sequence
• Why most stunt scenes were shot with a single camera — and how that impacted timing, blocking, and performance
• Leaning into practical effects, from real explosions to blood rigs and rain-slicked streets
• Capturing Hallstatt’s natural beauty — even on a tight shooting schedule 

Romain also reflects on the freedom he had as a DP, his continued partnership with Camera Operator James Frater, and how working with a detail-driven director made the difference.

🎧 Press play and go Below the Line on Ballerina. For more, visit belowtheline.biz.

Running a tight, emotionally grounded procedural is no small feat — especially when you're steering a beloved franchise into new territory.

On this week’s Below the Line, Skid sits down with Director Patrick Cady, 1st Assistant Director/Producer Trey Batchelor, Cinematographer Jason Andrew, and Gaffer Derrick Kolus to go behind the scenes of Bosch: Legacy, the three-season Amazon series that extended the universe of Michael Connelly’s iconic detective — and pushed the crew into new creative and logistical territory.

We cover:

• How Bosch: Legacy balanced a fresh tone with the DNA of the original series
• The shift to a 5-act structure, network oversight, and more “advertiser-friendly” creative mandates
• How tight prep schedules, minimal standing sets, and constant location moves shaped every department’s workflow
• Jason’s transition from Key Grip to Cinematographer, and how his background informed his pacing and shot planning
• The challenges of lighting on the move — and how Derrick’s rigging strategy kept the crew ahead of schedule
• Trey’s insight into cast performances, unexpected rewrites, and what it really means to “make the day”
• Keeping continuity between DPs and episodes while balancing stylistic differences
• The collaborative bond this crew built across 10+ years and two Bosch series

Along the way, they reflect on the show’s emotional arc, where it fits within the Bosch universe, and how Bosch: Legacy became a proving ground for tight collaboration, creative flexibility, and below-the-line excellence.

🎧 Press play and go Below the Line on Bosch: Legacy. For more, visit belowtheline.biz.

Executing a well-timed oner is hard. Building a whole show around long, continuous takes? That’s another level.

This week on Below the Line, Skid is joined by First Assistant Director Donald Murphy and Camera Operator Mark Goellnicht to go behind the scenes of The Studio, the Apple TV+ comedy that blends big laughs with an ambitious visual style. Directed by Seth Rogen and Evan Goldberg, the show follows the fictional chaos of Continental Studios — and brings that chaos to life through long takes, handheld choreography, and camera work that pulls the audience into the scene.

Topics include:

• Shooting single-camera, continuous-take scenes for nearly every episode
• How the “oner” for Episode 2 was planned, rehearsed, and executed with an eye towards golden hour
• Building camera choreography around comedy timing and live dialogue
• Collaborating with actors and stand-ins on complex blocking
• Stitching shots using natural movement, practical transitions, and VFX
• Pulling off production in real-world locations like the Las Vegas strip and the Golden Globes
• Utilizing crew members as additional “background” for added realism
• Managing on-set tone and morale with Seth Rogen’s laid-back leadership

Donald and Mark also reflect on how The Studio pulled off its most ambitious sequences — from passing a camera mid-shot between operators to filming in working casinos with minimal control. And yes, they name names: Martin Scorsese, Sarah Polley, Zac Efron, and Ron Howard all make appearances (on set and in the story).

🎧 Press play and go Below the Line on The Studio. For more, visit belowtheline.biz.

How do you bring a game world to life for the screen — especially when that world already has millions of devoted fans? Cinematographer Catherine Goldschmidt knows firsthand — and her work on The Last of Us reveals just how complex that challenge can be.

Catherine Goldschmidt joins Skid to discuss her work on the second season of HBO's The Last of Us, with co-host Gianni Damaia bringing the perspective of a longtime fan and gamer. Together, they dig into the complex visual language of an adaptation that blurs the line between game and cinema — from shot-for-shot recreations to bold deviations.

We cover:

• Catherine’s approach to adapting game cinematics into film language — including when to match and when to break away
• How The Last of Us uses space, light, and camera movement to draw viewers into Ellie’s experience
• Constructing visual set pieces like the subway ambush and Jackson assault with a blend of practical stunts, VFX, and strategic camera placement
• The emotional and logistical challenges of staging Joel’s death
• The visual shift from chaos to quiet in Episode 2’s final montage — and how that deliberate pacing reshapes the episode’s emotional impact

Catherine also reflects on how her collaboration with multiple directors and departments shaped the season’s look and feel, and how visual storytelling can remain grounded even in the most heightened, post-apocalyptic moments.

🎧 Listen now to join us Below the Line with Catherine Goldschmidt — and explore more at www.belowtheline.biz.

What does it mean to “edit for emotion” in a show built around crime, identity, and betrayal? Eric Litman knows — and his work on Dope Thief proves it.

This week on Below the Line, Skid and co-host Christopher Angel are joined by Film Editor Eric Litman to talk about shaping Apple TV+’s eight-episode crime thriller starring Brian Tyree Henry and Wagner Moura.

Topics we cover include:

• From unpaid intern on Gladiator to full-fledged editor on Dope Thief: a career milestone with Scott Free
• Being hired for one episode but ultimately cutting three, thanks to production delays from the strikes
• Episode 7 as “an editor’s episode” — montages that demanded narrative weight without sliding into music-video style
• Collaboration with director Marcela Said, whose instinct for unplanned footage (like vultures over a quarry) inspired poetic editorial choices
• Shaping the quarry shootout to unfold in escalating stages — keeping viewers aligned with the characters as horrified witnesses rather than action heroes
• Crafting a brutal prison fight with disorienting POV flash frames from GoPro footage
• Weaving together montages of Mina’s training, Ray’s torment, and Mani’s tragic end — drawing on influences from The Dark Knight and The Fugitive
• Using city footage and transitions to ground the series in Philadelphia, connecting personal roots with storytelling choices

What emerges is an inside look at how an editor balances spectacle, emotion, and authenticity — turning raw footage into a gripping, character-driven crime saga.

🎧 Press play and go Below the Line on Dope Thief. For more, visit belowtheline.biz.

What does it take to keep Marvel’s superhero worlds grounded in reality? On Thunderbolts*, that meant practical stunts, iconic props, and a crew operating at the top of their game.

This week on Below the Line, Skid and co-host Gianni Damaia welcome back Assistant Property Master Travis Bobbitt to talk about his latest MCU project, after nearly two decades working on Marvel films.

Highlights from the conversation:

• Travis’s journey from Iron Man to Thunderbolts*, and even a cameo in She-Hulk
• How the post-strike production assembled “the best crew in every department”
• A deliberate push toward practical filmmaking: real explosions in Malaysia, Humvee flips in Utah, and base jumps off one of the world’s tallest buildings
• Prop highlights including John Walker’s taco shield, Bucky’s rebuilt Winter Soldier gear, Florence Pugh’s parachute backpack, and a very real Molotov cocktail
• Tracking 15,000 individual prop cues with a massive spreadsheet to keep continuity across the film
• Stories from set: Florence Pugh handling a live scorpion and black widow spider without breaking character, plus that mischievous guinea pig
• Marvel’s formal “Easter egg meetings,” including Travis’s favorite hidden detail: Alfredo’s Bail Bonds

What emerges is a portrait of a veteran prop master whose work bridges spectacle and detail — from designing hero props that stand up to fan scrutiny to collaborating across departments so that props, costumes, and VFX felt seamless on screen.

🎧 Press play and go Below the Line on Thunderbolts*. For more, visit belowtheline.biz.

How do you turn New Jersey into 1960s Greenwich Village — while navigating strikes, rewrites, and a lead performance that hinges on live music? That was the challenge behind A Complete Unknown, the 2024 Bob Dylan biopic directed by James Mangold.

This week, Skid is joined by three key crew members behind the film: Set Decorator Regina Graves, Property Master Michael Jortner, and Second Assistant Director Brad Robinson. Together, they share how they navigated shifting scripts, location changes, and the challenge of historical fidelity — all in service of a film that manages to feel both intimate and iconic.

Topics include:

• Rebuilding momentum after the actor’s strike forced a full crew reset
• The challenges of transforming Hoboken and Jersey City into Greenwich Village
• Training extras to behave like real 1960s folk fans — from posture to props
• Creating immersive environments for actors to perform (and improvise) in
• Balancing accuracy and atmosphere when representing real figures and events
• Behind-the-scenes dynamics with director James Mangold and star Timothée Chalamet
• Filming the concert finale, the Viking Hotel sequence, and the Columbia studio set
• How a film’s invisible craft can be both its triumph and its obstacle come award season

The conversation also touches on the tensions between Dylan’s legacy and the demands of dramatization — and how the crew stayed grounded despite outside opinions and mid-production curveballs.

🎧 Press play and go Below the Line on A Complete Unknown. For more, visit belowtheline.biz.

With shifting plans, a writer’s strike, and a new creative mandate, Daredevil: Born Again became one of Marvel’s most fluid productions — and one of its most cinematic.

This week on Below the Line, Skid is joined by Cinematographer Pedro Gomez Millan and co-host Gianni Damaia to discuss Pedro’s work on the Disney+ reboot. Together, they break down how Pedro helped shape the show’s visual identity — through strike delays, rewrites, and evolving creative priorities.

We cover:

• Why Pedro’s original pitch leaned into naturalism and New York-as-character imagery
• The influence of courtroom dramas, street crime films, and in-camera effects
• How production adapted after Marvel’s mid-season pivot
• The visual parallels between Matt Murdock and Wilson Fisk — and how lighting and lensing shaped their arcs
• The surprising story behind Episode 5’s Inside Man-inspired bank setting
• Shooting under real-world constraints in the heart of Wall Street
• Designing fight sequences that serve both the action and the emotional arc
• Incorporating “doom zooms” and other techniques to convey Daredevil’s heightened senses
• Discovering perfect alleyways (and great bagels) while location scouting on foot

Pedro also shares how his work on the series evolved across episodes — from gritty staircase fights to quietly devastating moments of character revelation — and why happy accidents often reveal the best ideas on set.

🎧 Press play and go Below the Line on Daredevil: Born Again. For more, visit belowtheline.biz.

Editing a character-driven crime series is never just about pacing — it’s about stitching together time, tone, and memory.

This week on Below the Line, Film Editor Matthew Barber joins Skid and co-host Gianni Damaia to talk about Matthew’s work on Long Bright River, the eight-episode adaptation of Liz Moore’s novel. From subtle flashback reveals to emotionally charged cross-cutting, Matthew shares how he and the creative team shaped the series’ visual language — often while discovering it in real time.

We cover:

• How flashbacks replaced the novel’s internal monologue — and became a key storytelling engine
• Balancing mystery, family drama, and editorial tone across episodes
• Structuring the pilot to delay key character reveals — including the true identity of the killer
• The emotional inspiration behind a flashback-within-a-flashback sequence
• Using match cuts, location callbacks, and music cues to layer subtext
• Capturing warmth and humanity inside a show full of loss, addiction, and institutional failure
• Incorporating both classical and contemporary music to define character and mood
• The editorial juggling act of cutting dailies, managing tone, and staying ahead of a tight production schedule

Matthew also shares how his personal life unexpectedly shaped some of the show’s most emotionally resonant moments — and how quiet, human moments often carried the greatest weight.

🎧 Press play and go Below the Line on Long Bright River. For more, visit belowtheline.biz.

Before streaming and prestige TV, there was network television — and few shows ran tighter, longer, or more efficiently than JAG.

This week on Below the Line, Skid is joined by First Assistant Director Robert Scott and Key 2nd Assistant Director Kevin Koster to look back at their time on JAG, the hit CBS procedural that ran for ten seasons and laid the groundwork for the NCIS franchise. Together, they explore how the show combined military precision with Hollywood problem-solving — and how their team navigated last-minute script changes, tight location logistics, and complex stunts on a weekly basis.

We discuss:

• Working with series creator Donald Bellisario — and his instinct-driven writing process
• Balancing legal drama, action sequences, and military protocol within a single episode
• The importance of trust and tempo in an AD team working at network speed
• Designing efficient workflows for multi-location shoots, vehicle setups, and stunts
• Welcoming new directors into a well-established style — while giving them room to breathe
• Managing day players, guest stars, and recurring cast across episodes
• Building and maintaining a core crew across ten seasons — and how long-term collaboration shaped production flow
• Lessons learned from JAG that still apply to today’s television sets

Robert and Kevin also reflect on the camaraderie that sustained the crew across ten seasons — and why “making the day” meant more than just finishing on time.

🎧 Press play and go Below the Line on JAG. For more, visit belowtheline.biz.

A score about maple syrup heists? FM Le Sieur makes it stick — with barrels, distortion, and a defiantly Canadian sound.

This week on Below the Line, Skid is joined by Score Composer FM Le Sieur and co-host Louis Weeks to talk about FM’s genre-blending music for The Sticky, the six-part comedy series about Quebec’s infamous maple syrup heist. From pitch process to percussion tricks, FM walks us through a score that blends character, chaos, and quiet emotion — all under a very tight schedule.

Among the highlights:

• Pitching the show during the strike and getting hired twice after long delays
• Building a sound palette from acoustic textures, folk instruments, and industrial objects (yes, including syrup barrels)
• Channeling a “Quebec sound” that balances regional roots and narrative tone
• Scoring for tone, not laughs — and why comedy music often works best when it holds back
• Embracing small ensembles, distorted metal, and deep manipulation in the mix
• Balancing groove, melody, and mood in a hybrid score
• Highlighting key cues like “Chainsaw,” “Ruth and Remy,” and the opening track for Episode 2
• Navigating the emotional demands of scoring intimate scenes — without going sentimental

FM also shares how he found his way into scoring through bands, gear tinkering, and a masterclass with Philip Glass — and why every great cue starts by trusting your gut.

🎧 Press play and go Below the Line on The Sticky. For more, visit belowtheline.biz.

The compound, Kitty’s porch, and a bondsman’s fraying wardrobe — design tells the tale in Prime Video’s The Bondsman.

This week on Below the Line, Production Designer Eve McCarney and Costume Designer Liz Vastola join Skid and co-host Gianni Damaia to talk about crafting the look and feel of Prime Video’s The Bondsman, starring Kevin Bacon as an undead bounty hunter.

Among the highlights:

• An unusually long prep schedule that gave Eve and Liz time to fully develop sets and wardrobes before cameras rolled
• Building the show’s four permanent sets, including the sprawling compound and the lived-in bond shop
• Designing Kitty’s porch as the emotional heart of the series and Hub’s apartment as a reflection of his resourceful character
• The evolution of The Boxcar, a richly layered club set complete with a memorable “one-er” shot
• Collaboration on the swimming pool sequence, balancing costume colors and set design for striking underwater visuals
• How production and costume design worked hand-in-hand, despite Eve and Liz never having collaborated before this project
• Behind-the-scenes stories of working with Kevin Bacon, from fittings and design emails to his generous, collaborative presence on

What shines through is the close collaboration between Eve and Liz — an intentional partnership that ensured the environments and characters lived in the same visual world, reinforcing the show’s grounded but heightened tone.

🎧 Press play and go Below the Line on The Bondsman. For more, visit belowtheline.biz.

Revisiting the 2025 Awards Season means looking back at the winners, the surprises, and the snubs that defined this year’s Oscars.

This week on Below the Line, Skid welcomes back Bill Hardy, Roger Mendoza, and Shaun O’Banion from last season’s Oscar panel. They weigh in on what the Academy got right — and where it went off course. Joining them is Katie Carroll, who missed the original conversation but brings fresh perspective to the follow-up.

Our discussion ranges across:

• Sean Baker’s Anora dominating with five Oscars, sparking debate over its strengths, flaws, and Baker’s unusual multiple credits (writer, director, editor, casting director)
• The panel weighing campaign politics, including Anora’s $6M indie turned $18M Oscar push
• Dune: Part Two emerging as a favorite for Skid and Katie, with the group questioning why it wasn’t more heavily awarded
• Split opinions on The Brutalist — admired for its scale and craft, but dismissed by some as slow or austere
• A Complete Unknown praised for performances and Mangold’s classic approach, despite being shut out on Oscar night
• Conclave respected as a compelling, old-school drama, with debate about its Catholic framing
• Emilia Pérez largely dismissed apart from Zoe Saldaña’s standout performance
• Additional shout-outs and overlooked titles, from Challengers to September 5th to the animated Flow

What stands out in this episode is the way the panel blends craft critique with industry context — from union debates to campaign spending — while keeping the conversation fast-moving and funny.

🎧 Press play and go Below the Line as we revisit the Oscar season. For more, visit belowtheline.biz.

Staging motorcycle clubs on film is no small feat — especially when the bikes, the actors, and the period details all have to ride in sync.

This week on Below the Line, 1st Assistant Director Don Sparks and Key 2nd Assistant Director Pete Dress join Skid to talk about building Jeff Nichols’ The Bikeriders, the period feature starring Austin Butler, Jodie Comer, and Tom Hardy.

On the call sheet for today’s conversation:

• Shooting in and around Cincinnati, Ohio to capture a 1960s Rust Belt look the camera could believe
• Managing a 41-day schedule on a modest budget, with both ADs heavily involved in prep and problem-solving
• Creating a motorcycle “boot camp” to get actors licensed and camera-ready on period bikes
• Insurance hurdles, safety protocols, and staging massive group rides — including the final pack ride of 30+ motorcycles
• How Jeff Nichols personally matched bikes to characters and remained a constant collaborator with cast and crew
• Navigating period authenticity challenges, from sourcing cars to designing original biker patches that avoided conflict with real clubs
• Favorite moments on set, from Norman Reedus’s temperamental bike to watching Hardy and Comer deliver “a master class” in acting

What stands out in this episode is the sheer scale of logistical detail — and how the AD team turned it into a smooth-running engine, balancing authenticity, safety, and storytelling at every turn.

🎧 Press play and go Below the Line on The Bikeriders. For more, visit belowtheline.biz.

Conspiracy, power, and the sound of unease — scoring Zero Day means writing tension into every frame.

This week on Below the Line, Score Composer Jeff Russo joins Skid and co-host Louis Weeks to talk about building the musical world of Netflix’s Zero Day.

In this episode, we dig into:

• Coming aboard early with showrunner Eric Newman and director Lesli Linka Glatter to set the series’ tonal compass
• Treating the main theme as a texture — a sound that signals doubt — rather than a traditional melody
• Mapping George Mullen’s psychological point of view, including a recurring “wake-up” motif that threads through the season
• Blending electronics with acoustic instruments (strings, piano, guitar): where texture carries the story and where harmony takes the lead
• How Episode 1 “unlocked” the palette and became the musical template for later episodes
• Spotting sessions, deadlines, and recording logistics — balancing live players with in-the-box writing under a TV schedule
• What lessons from Ripley (restraint, negative space) carried into Zero Day without duplicating a previous sound

What emerges is a score built on restraint and perspective: Jeff writes to the characters’ doubt and the show’s creeping uncertainty — letting silence, texture, and carefully chosen motifs do the talking.

🎧 Press play and go Below the Line on Zero Day. For more, visit belowtheline.biz.

What happens when the director of a documentary returns years later to retell the same story as a feature film?

This week on Below the Line, Skid talks with Director Alex Parkinson about Last Breath, first made as a 2019 documentary and now released as a feature film starring Woody Harrelson, Simu Liu, and Finn Cole.

We talk through:

• How Alex first discovered the real-life story of diver Chris Lemons and shaped it into a documentary built around five minutes of chilling ROV footage
• The deliberate choice to hide Chris’s survival in the documentary — and how the feature film shifted perspective to follow him underwater
• Blurring lines between documentary and reconstruction, and carrying that visual style into the feature by weaving real footage with staged material
• The long road to directing his first feature, convincing producers through lookbooks and rewrites that he could expand his own documentary into a drama
• Building a crew from scratch and attracting world-class talent, including underwater DP Ian Seabrook, who signed on after watching the documentary
• The critical role of First AD Jude Campbell in organizing the complex underwater schedule and keeping the production on track
• Filming in Malta’s massive water tank and on full-scale ship sets designed to preserve authenticity and claustrophobia
• Working with Woody Harrelson, Simu Liu, and Finn Cole to ground their performances in the documentary while making the feature cinematic

What emerges is a story about continuity and transformation — a director returning to familiar material but reimagining it at a different scale, with different tools, and for a wider audience.

🎧 Press play and go Below the Line on Last Breath. For more, visit belowtheline.biz.

Our sixth annual Academy Awards series — with panels of film professionals discussing the Oscar nominees in their category of expertise — concludes with Makeup and Hairstyling. Podcast veterans Angela Nogaro (Makeup) and Yvonne Depatis-Kupka (Hair) return to offer their assessment of this year’s slate of nominees. It’s a lively set of reviews to wrap up the series! I hope you’ve enjoyed these episodes as much as I’ve enjoyed publishing them.

The 2024 Nominees for Makeup and Hairstyling:

• “A Different Man”

• “Emilia Pérez”

• “Nosferatu”

• “The Substance”

• “Wicked” 

Film professionals discussing the nominees in their area of expertise: that’s Below the Line at the Academy Awards. We’re in the home stretch (episode 11 of 12!), and today we’re talking about the Oscar nominees for Cinematography. My returning guests — Patrick Cady and David Tuttman — are directors of photography (and directors in their own right!) with a keen eye for what makes these films worthy of the nomination. It gets a little technical sometimes for my understanding but I suspect you’ll enjoy it nonetheless.

The 2024 Nominees for Cinematography: 

• “The Brutalist”

• “Dune: Part Two”

• “Emilia Pérez”

• “Maria”

• “Nosferatu” 

It’s a wild and woolly episode of the podcast as editors Christopher Angel and Amy Duddleston return to discuss this year’s Oscar nominees for Film Editing. In all the years I’ve hosted these conversations, this pair has always complained about films being too long. Given that the shortest film on this list clocks in at two hours, I was anticipating some blistering critiques, but their assessments surprised me. Did we agree about all of these films on their merits? No. Was I entertained? Yes. I hope you will be as well.

The 2024 Nominees for Film Editing:

• “Anora”

• “The Brutalist”

• “Conclave”

• “Emilia Pérez”

• “Wicked” 

Costume Designers Helen Huang And Liz Vastola offer their insights on this year’s Academy Award nominees for Costume Design. This one runs a little longer than usual, but we take some time to discuss how costume design is different from fashion design, the role actors play in the shaping of their costumes, and other challenges of the craft. With the ceremony less than two weeks away, we’re in the home stretch, and I hope you’re keeping up.

The 2024 Nominees for Costume Design:

• “A Complete Unknown”

• “Conclave”

• “Gladiator II”

• “Nosferatu”

• “Wicked” 

Oscar season continues here at Below the Line, where film professionals discuss the nominees in the category of their expertise. Today’s animated conversation about the nominees for Animated Feature Film benefits from returning guests, Kent Seki and Camille Leganza. We also take a brief side quest to discuss the challenges currently faced by the Animation Industry.

The 2024 Nominees for Animated Feature Film:

• “Flow”

• “Inside Out 2”

• “Memoir of a Snail”

• “Wallace & Gromit: Vengeance Most Fowl”

• “The Wild Robot”