Below the Line

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 Robert “Skid” Skidmore 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.

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 Robert “Skid” Skidmore 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.

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, Robert “Skid” Skidmore 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.

Set Decorator Regina Graves, Property Master Michael Jortner, and 2nd Assistant Director Brad Robinson provide a plethora of insights from behind the scenes of “A Complete Unknown”, the 2024 Bob Dylan biopic starring Timothée Chalamet and directed by James Mangold. 

Cinematographer Pedro Gomez Millan shares stories from the set of “Daredevil: Born Again”, Disney's 2025 continuation of the live action superhero saga that aired on Netflix between 2015 and 2018. Also continuing his co-host streak: Gianni Damaia!

Film Editor Matthew Barber returns to the podcast to discuss his work on “Long Bright River”, the limited series starring Amanda Seyfried that is currently streaming on Peacock. Gianni Damaia joins us again as co-host!

For today's conversation, Assistant Directors Robert Scott and Kevin Koster reminisce about their time on “JAG”, the long-running legal drama that aired 10 seasons from 1995 to 2005. Robert was there for Season 1, which aired on NBC, and Kevin joined the AD team for Season 2, when CBS picked up the show. Both ADs were there at the end, and have stories to share about the various studios that hosted production, how the show's relationship with the military evolved over the years, and the overlapping seasons when the “NCIS” spinoff was waxing ascendant. Also some namedropping and a lot of laughs along the way.

Amazon Prime's “The Sticky” is a clever bit of storytelling: the tale, inspired by the real-life heist of $18 million worth of maple syrup from Quebec's national reserves, combines drama, suspense and comedy in equal parts. Helping knit together these disparate elements is the work of Score Composer FM Le Sieur, who joins us today to discuss his musical influences, his composing process and the specific inspirations for this very Canadian piece of work. Also happy to have fellow composer Louis Weeks join us as co-host, offering additional insights as we explore what makes the score for this six-episode series truly unique.

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. “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. Bonus announcement: I'm instituting a new listener appreciation program! If you send me a picture of yourself in a Below the Line t-shirt, I'll mention you by name on a future episode of the podcast. 

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.

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 collaboration 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” 

Today we're discussing the Oscar nominees for Original Song. My guests — Chris Molanphy (chart analyst and podcast host), Louis Weeks (score composer), and Tom Peyton (song writer) — offer both analysis and critique of this year's nominees. Is there a lot of enthusiasm for the musical innovations these songs offer the listening audience? Well, no. Does it make for an interesting discussion? Yes, definitely.  The 2024 Nominees for Original Song: • “El Mal” from “Emilia Pérez” • “The Journey” from “The Six Triple Eight” • “Like a Bird” from “Sing Sing” • “Mi Camino” also from “Emilia Pérez” and • “Never Too Late” from “Elton John: Never Too Late” 

Our tour through the technical categories continues with a discussion of the Oscar nominees for Original Score. My guests — Louis Weeks (score composer), Chris Molanphy (chart analyst/pop critic), and Jennie Calendar (founder and music supervisor of Soundbloom) — offer a multi-layered set of insights. The 2024 Nominees for Original Score: • “The Brutalist” • “Conclave” • “Emilia Pérez”  • “Wicked” • “The Wild Robot”  

It's non-stop conversations about the Oscar nominees in the technical categories from now until the Academy Awards, and I hope you'll follow us for the full season. Today, Kent Seki and Chris Batty return to discuss the nominees for Achievement in Visual Effects.  The 2024 Nominees for Visual Effects: • “Alien: Romulus” • “Better Man” • “Dune: Part Two”  • “Kingdom of the Planet of the Apes” • “Wicked”  

Below the Line continues our Sixth Annual Oscar Series with a discussion of the nominees for achievement in Directing, and I'm joined by a panel of fellow below-the-liners: Bill Hardy, Roger Mendoza and Shaun O'Banion. (This is the second year we've discussed the directors nominated for the Academy Award in lieu of the Directors Guild of America nominees.) The 2024 Nominees for Directing: • “Anora” • “The Brutalist” • “A Complete Unknown”  • “Emilia Pérez” • “The Substance”  

We're continuing our deep dive discussions about the Oscar nominees in the technical categories, and today, Production Designer Bob Shaw and Set Decorator Regina Graves - Oscar nominees themselves - offer their insights about the five nominees for Production Design. The 2024 Nominees for Production Design: • “The Brutalist” • “Conclave” • “Dune: Part Two”  • “Nosferatu” • “Wicked”  

Our Academy Awards coverage continues, and now we're into the categories proper. Today, Oscar nominees Steve Morrow (production sound mixer) and Erik Aadahl (sound editor) discuss this year's nominees for Achievement in Sound. The 2024 Nominees for Sound: • “A Complete Unknown” • “Dune: Part Two”  • “Emilia Pèrez”  • “Wicked”   • “The Wild Robot” 

Our Sixth Annual Academy Awards Series begins here! Each episode this season features a panel of Film Industry professionals discussing the nominees in their category of expertise. To kick us off: Achievement in Property Mastering. While the work of the property master is still not recognized with an Oscar, we're carrying a torch. Gregg Bilson, Jr. (CEO of ISS) and Scott Buckwald (property master and friend of the podcast) propose a hypothetical slate of 2024 films that could have been nominated for their fantastic work with props. Our 2024 Nominees for Property Mastering: • “Alien: Romulus” • “Blitz” • “A Complete Unknown” • “Gladiator II” • ”Horizon: An American Saga”

“Henry Danger: The Movie”, now streaming on Paramount+, is the latest chapter in a storyline that started with the Nickelodeon television series in 2014. Director Joe Menendez joins me alongside an all-star panel of crew, including Costume Designer Farnaz Khaki-Sadigh, Director of Photography Chris Kempinski, Production Designer Bridget McGuire and Makeup Designer Jenn Kaminski. Not only did their collaborative efforts lift this multi-faceted film to another level, but they had a great time doing it. We've also shared an album of behind-the-scenes photos on Facebook: www.facebook.com/podcastbelowtheline/  

“St. Denis Medical”, the workplace comedy currently airing on NBC and streaming on Peacock, is the latest show to take a crack at the mockumentary genre. Camera Operators Jacob Pinger, Mande Whitaker and Danny Whiteneck discuss how their extensive experience with unscripted television helps elevate this mockumentary to the next level. Why is it that an actual reality tv production would have fired these operators for filming the way they did, but this show kept pushing them to make the camera movements more obvious? Answers in the podcast. 

“Cross”, the eight-episode crime thriller currently available on Amazon Prime, was filmed in Toronto but is set in Washington,  DC. The assignment for Production Designer Elisa Sauvé was to venture outside the stereotypical Capitol Hill locations and really give the city it's due. From the Georgetown neighborhood to Ben's Chili Bowl, Elisa and her team made sure that DC's unique vibrancy was an integral part of the series.

“Dune: Prophecy”, which airs its sixth episode and season finale tonight (!), is the latest example of HBO Max's commitment to prestige television. This short but ambitious series required an all-hands-on-deck approach, and Film Editors Sarah Reeves and Mark Martzell are here to share the collaborative details. We talk about doing a prequel to the movies, the challenge of the strikes on production, and - spoiler alert - we break down some specific scenes. Insights and laughs guaranteed, or your money back.

Can “Rumours”, the 2024 comedy horror film written and directed by Guy Maddin, Evan Johnson and Galen Johnson, be both an absurdist take on international politics AND the most accurate depiction of a G7 meeting ever? Cinematographer Stefan Ciupek collaborated with this team of three (!) directors to navigate a tightrope production between farce and truth. While every film project is a challenge, the need to accommodate an ensemble cast of nine (led by Cate Blanchett) while filming in Hungary on an independent film budget definitely spawned some transcendental experiences. This provocative and entertaining film teases both insights and laughs, and it was a lot of fun to talk about. In summary: yes, that's a giant brain, and yes, it really is on fire.

“Wicked”, the Jon Chu theatrical adaptation of the stage musical, is currently in theaters and continues to dominate at the box office. Choreographer Christopher Scott and Film Editor Myron Kerstein share the challenges of bringing the extensive dance numbers from script to screen, with deep dives into “What Is This Feeling?” (bo staffs!), “Dancing Through Life” (tornado wheels!), and “No One Mourns the Wicked” (tulips!). Chris, Myron and Jon Chu previously worked together on “In the Heights”, and the strength of their collaboration is evident with this movie as well. 

Wait, what? You haven't finished watching “The Penguin”, even though all episodes are now available on HBO Max? Please catch up, because today we're hosting Hair Department Head Brian Badie, and we're going heavy on the spoilers. Plus: fellow Batman fan Gianni Damaia returns as co-host! 

“Landman”, the new Taylor Sheridan drama starring Billy Bob Thornton, debuted just last week on Paramount+. Film Editor Chad Galster and Score Composer Andrew Lockington are both veterans of multiple Taylor projects and veterans of the podcast: with a warm welcome, I'm excited to have them make a joint appearance on the show. (Chad was also visiting set when they ran a tanker truck into an airplane parked on the highway - that was a practical stunt!)

It's easy to assume that working on “Rescue: HI-Surf”, the Hawaii-based action drama currently airing on Fox, would be akin to a vacation for the crew. Filming on the North Shore of O'ahu, however, is a difficult undertaking even before you mix in the challenge of the ocean itself.  Cinematographer Anka Malatynska and Water Unit Director of Photography Don King split the lensing duties at the waterline, and, together, they make this show work. Ready to go behind the scenes? Let's ride this wave. 

This episode - in honor of Veterans Day - is about “84 Charlie MoPic”, the 1989 feature film about small unit operations during the Vietnam War, and our star-studded panel includes Director Patrick Duncan, Cinematographer Alan Caso and Producer Michael Nolin. Joining me as co-hosts are Jim Stayton and Al Gerloff, current friends and former colleagues from my pre-Hollywood days with Combat Camera. This conversation is one that my late father, himself a veteran of the Vietnam War, would have enjoyed very much, and it made for a really special episode. I hope you enjoy it.

Wes Anderson's 1996 feature film debut, “Bottle Rocket,” introduced a larger audience to both Wes's unique filmmaking style and the acting chops of brothers Owen and Luke Wilson. It's fair to say that the careers of all three received a big assist from this film's veteran assistant director team — Jim Goldthwait (1st AD), Heather Kritzer (Key 2nd AD) and Jimmy Flowers (2nd 2nd AD) — who helped shepherd this classic film from script to screen over then course of a 40-day shoot. I speak with the team about filming in 90's Texas, teaching Set Protocols 101, and how the crew knew when the party room at the Hillsboro Days Inn was open for guests.  Interested in the script, the shooting schedule, call sheets, or other materials from the film? The AD team has made all of that and a treasure trove of photos available here: https://drive.google.com/drive/folders/1904r6Cgyv4dlhBis5wS9_uzB2uDOHVcu?usp=share_link

Costume Designer Helen Huang and Assistant Costume Designer Austin Wittick return to the podcast to discuss their work on “The Penguin”, the eight-episode series currently streaming on HBO/Max. The series is a spin-off and sequel to 2022's “The Batman”, Director Matt Reeve's take on the iconic superhero. While the Penguin was a supporting role in the film, played by an almost unrecognizable Colin Farrell, here he is the primary character for more than eight hours of television. Helen and Austin talk about the challenge of wardrobing for an entire series while remaining true to the original concepts. 

Propmaster and friend of the show Scott Buckwald returns to the podcast with stories about his work on “The Old Man”, the Jeff Bridges-led spy drama currently airing its second season on FX. Two years ago, Scott and I talked about the first season with a focus on the challenges faced by production; this time, adversity is an ongoing theme but we're more focused on the props. (You would think that Scott was ready for that, but decide for yourself: he kind of comes across as a little surprised.)

And without further delay, the Major League Baseball playoffs are upon us! My guest today, Rick Nyburg, has been a freelance camera operator for more than 30 years. He's here to share stories not only about his time covering MLB games (Go Dodgers!), but also his multiple backstage interactions with Hollywood talent, the surprising reaction of the NASA team that landed the lander on Mars, and the evolving challenge of working freelance camera across three decades.

Shepherding an independent film from script to screen is hard: financial constraints don't change the amount of work to be done. But when it comes to post-production, Jijo Reed, Founder and CEO of Sugar Studios, thinks his company can be part of the solution. Sugar Studios offers everything from Dailies and Editorial to Color, Mix, VFX and Deliverables under one roof: a synergistic opportunity that, for an indie project, can mean the difference between picture lock and post-production limbo. Jijo and I also discuss the state of the Industry, what runaway production means for LA, and the potential impact of AI on the post-production process.

Last March, the Academy of Motion Picture Arts and Sciences announced the addition of a new Oscar category: Best Achievement in Casting. Allison Estrin, an NYC-based casting director whose credits include “Billions”, “The Other Two”, “Bupkis”, and a slew of movies, joins me today and  graciously answers my questions about the craft. We also talk about the Artios Awards, the honor by which the Casting Society of America has been honoring casting professionals since 1985, and what we might expect for the first slate of Oscar nominations in 2026.

Today we're talking about the craft of Food Styling, and I'm joined by two guests with expertise to share. Christine Tobin (“Little Women”, “Julia” and “The Holdovers”) and Melissa McSorley (“Chef”, “Mad Men”, and various Star Wars projects) discuss where Food Styling fits into the larger film set environment, and we compare how period, contemporary and futuristic storylines trigger different food styling challenges.

“What's Next: A Backstage Pass to The West Wing” is a treasure trove of behind-the-scenes stories from former cast members Melissa Fitzgerald and Mary McCormack, and I'm thrilled to host them on this episode of the podcast and talk about the book (which was just published last week). Our conversation is both a teaser for the release and a chance to explore some of the set stories in more detail, and we discuss how the theme of service runs through the entire endeavor. Since the West Wing is among my assistant director credits, this was also a nice trip down memory lane for me and a wonderful opportunity to catch up.

“The Dead Don't Hurt” is an indie western written and directed by Viggo Mortenson, who also starred in the film and composed the score. Costume Designer Anne Dixon joins me to discuss both the challenges of working on a multinational, low-budget film, the rewards of working with Viggo and the tone he sets (both on set and in front of the camera), and little easter eggs that thread through the entire film. It had a theatrical run earlier this summer and is now available for streaming. 

Today we're talking about “Mayor of Kingstown”, the Taylor Sheridan-produced series starring Jeremy Renner. Score Composer Andrew Lockington returns to the podcast to discuss his contributions across all three seasons, and composer Louis Weeks joins me once again to provide a colleague's perspective. “Mayor of Kingstown” streams on Paramount+, and the finale of the third season is airing today. Relevance! 

Regular listeners know that this podcast has a lot of respect for the film contribution of props, and we're excited to discuss the recent endeavors of the Property Masters Guild (founded January 2021). Mikey Trudel and Chris Call, who both serve on the Board of Directors, discuss the PMG's efforts serving both the society of property masters and the larger community of people who are interested in the craft. We also talk about the first ever MacGuffin Awards, which will be awarded in LA on September 14, 2024, and the PMG's official podcast, Prop Talk (which they both host).

Netflix's eight-episode adaptation of “Avatar: The Last Airbender” was well-received by critics and fans alike, and two more seasons are on the way. Costume Designer Farnaz Khaki-Sadigh discusses the challenge of adapting the popular animated series for live action, and we dive deep into the major battle scenes from the first and last episodes of season one.

“Fallout”, the eight-episode video game adaptation currently streaming on Prime, is retro-futuristic apocalyptic chaos at its best. The series has been applauded by gamers and non-gamers alike, and today's guests — Set Decorator Regina Graves, Propmaster Michael Jortner and Propmaster Peter Gelfman — share story after story about the effort and creativity it took to bring the aesthetic of the game to a live-action show. Finally, it wouldn't be a video game adaptation podcast without Gianni Damaia, who joins me once again as co-host. Don't miss the accompanying photo album on our Facebook page.

It's a two-guest show! Recreating the historical drama of Apple TV+'s “Manhunt” so it's relatable to a modern audience was a challenge for both Costume Designer Katie Irish and 1st Assistant Director Gary Goldman. No matter what you think you know about Lincoln's assassination and the 12-day manhunt that followed, Katie and Gary share some details that I bet will surprise you. Visit our Facebook page for an album of photos that illustrate what we're talking about.

“Ripley” - the stylish eight-episode series currently streaming on Netflix - is a very deliberate bit of filmmaking. While the black-and-white filming and exquisitely framed shots draw attention to the cinematography, today co-host Louis Weeks and I are speaking with Score Composer Jeff Russo. We explore how Jeff's relationship with the character of Ripley evolved over time, and Jeff illustrates how this score is an integrated aspect of the storytelling. (Jeff also draws parallels between his collaboration with creator Steve Zaillian and his time as a founding member of the rock band, Tonic, which itself is worth the price of admission.)

“Before I Change My Mind” is a wonderful coming-of-age story with a twist: the gender of our protagonist, Robin (played by Vaughan Murrae), is indeterminate throughout the film. Writer/Director Trevor Anderson shares how his extensive theater experience — and the support of the Edmonton theater scene — was integral to the making of this film. We also talk about how it's even possible to set a film in the Alberta, Canada, of 1987 for only half a million dollars (American). Trevor's answer, which he also credits to his theater experience? A focus on character.