BELOW THE LINE PODCAST

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.

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.

Kevin Bacon returns to the small screen with “The Bondsman”, and today we welcome back two veterans of the podcast, Production Designer Eve McCarney and Costume Designer Liz Vastola, to discuss the challenges of a show that’s balancing genre spectacle and family drama. Co-host Gianni Damaia has some good questions, but primarily he wants to know what it’s like working with Kevin Bacon (he has a “Tremors” image on his wall). All eight episodes of the first season are currently available on Prime.

One more look back at the 2025 Awards Season, and I’m joined by my go-to panel of fellow below-the-liners: Katie Carroll, Bill Hardy, Roger Mendoza and Shaun O’Banion. Did “Anora” deserve all those statues? Should “Dune: Part Two” have been awarded more? Who got snubbed, and which losses are we cheering? That and more, with lots of laughs. 

“The Bikeriders” is an ambitious film: star-studded cast, set in Chicago during the 1960’s and 1970’s, and - of course - lots and lots of motorcycles. My guests, 1st Assistant Director (and Producer) Don Sparks and Key 2nd Assistant Director Pete Dress, tackled these challenges head-on and helped deliver this underrated film on a tight schedule with a limited budget.  It’s an impressive accomplishment, which you’ll appreciate even more after going behind the scenes with us. 

“Zero Day” - the intriguing six-episode political thriller currently streaming on Netflix - is an intentional commentary about today’s politics. Score Composer Jeff Russo joins the podcast to discuss his work on the series, and co-host Louis Weeks provides expert context for a conversation that explores both Jeff’s specific intentions with “Zero Day” and his philosophical approach to score composing as an art.

Season 23! Episode 251! Long-time listeners: thanks for sticking with us. New listeners: welcome! We’ve got a lot to offer you. This episode is about “Last Breath”, the based-on-a-true-story film currently in theaters. My guest is Alex Parkinson, who directed both the feature film and the documentary which inspired the movie. First-time director stories! Check. Exploring the transition from documentary to film! Check. Is Woody Harrelson’s performance a realistic take on the person he’s portraying? Well, maybe we don’t tackle that last question. But we’re serving up an entertaining discussion, nonetheless. If you’ve read this far, you probably don’t need additional help finding the episode, but tell your friends! Thank you, from Below the Line.