BELOW THE LINE PODCAST

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. Eric Litman returns to the cutting room — this time, with Skid and co-host Christopher Angel — to share how he approached the editorial storytelling in Apple TV+’s Dope Thief, a show that lives or dies by its tonal precision and dual-lead structure. Guided by Chris’s thoughtful questions, the conversation digs into Eric’s instincts as an editor, the creative latitude he was given on the show, and the real collaboration that happens between editors, directors, and showrunners — all while serving a distinct visual and emotional tone. 🎞 How does an editor decide when to hold or cut away from a performance? 🧩 What does Eric look for when selecting alternate takes during tense scenes? 🧠 How does post shape the story, not just the footage? Whether you’re a film editor yourself, a creative working in episodic TV, or just a fan of layered, propulsive storytelling — this episode is for you. 🎧 Press play and go Below the Line with Eric Litman — and explore more at www.belowtheline.biz.

What does it take to keep track of iconic props across the Marvel Cinematic Universe? Assistant Property Master Travis Bobbitt would know—he’s been doing it for over a decade. In this episode of Below the Line, Skid and co-host Gianni Damaia sit down with (returning guest) Travis Bobbitt to talk about his journey through the MCU, culminating in his latest work on Thunderbolts. From organizing massive prop warehouses to navigating the fast-paced demands of a Marvel set, Travis shares what it’s really like working behind the scenes on some of the biggest blockbusters of our time. Whether you're a filmmaker curious about the property department's role or a Marvel fan eager for behind-the-scenes stories, this episode offers a rare glimpse into the creative logistics that keep superhero worlds believable. 🎬 How do props evolve from concept to screen? 🛠 What’s the pressure like working on a franchise with millions of fans? 🧠 What does continuity actually look like across ten-plus Marvel projects? Listen in for practical insights, war stories from the lot, and a few laughs with someone who’s helped shape the MCU from the inside out. 🎧 Hit play and go Below the Line with Travis Bobbitt — and explore more at www.belowtheline.biz.

Set decorator Regina Graves, property master Michael Jortner, and 2nd assistant director Brad Robinson delve into their behind-the-scenes experiences on the Bob Dylan biopic. They discuss the challenges of adapting to strikes and delays while trying to maintain historical accuracy. The team shares insights on crafting authentic sets and the emotional depth needed for a period piece. They also reflect on the collaborative spirit required to represent Dylan’s legacy, along with anecdotes from filming in scenic New Jersey and hints at exciting future projects.