BELOW THE LINE PODCAST

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.

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.

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.