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.

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.