Below the Line

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.

“Drugstore June”, starring Esther Povitsky, is a refreshingly low-key comedy that I sincerely enjoyed. Indie filmmaking is challenging, and Cinematographer Sherri Kauk explains how she worked with Director Nicholaus Goossen and the rest of the crew on issues of budget and schedule, ensuring that they got the most bang for their limited buck. She also shares insights that I wouldn't have picked up on my own, like the different visual style of each act and how she plays with color throughout the film. And lest you think I forgot: I ask about that two-foot tall gummi bear baby.

“Griselda”, currently streaming on Netflix, stars Sofia Vergara as the titular cocaine kingpin, prominent in the Miami drug scene of the 1970s and 1980s. The role is a change of pace for the former “Modern Family” star, and my guest Angela Nogaro, Makeup Department Head for the series, was part of the team that made Sofia's transformation possible. We talk about the challenges of designing makeup for a period-set project and how everyone came together in support of the vision (actors included).

The Paramount+ series “Sexy Beast”, with all eight episodes currently streaming, is a prequel to Jonathan Glazer's 2000 film of the same name. My guest is Producer and Editor Matthew Barber, who joined the production to help establish the tone of the series and worked as an editor on the first and last episodes. We talk about the challenges of doing a prequel series to the well-respected film, and we break down specific scenes from an editor's perspective. The State of the Podcast is strong! Check it out. 

“Oppenheimer” cleaned up at the Academy Awards last weekend, claiming seven statues for its 13 nominations. My guest this episode is the film's Propmaster, Guillaume DeLouche. Achievement in Propmastering isn't recognized with an Oscar, but today, we're going to discuss how props contributed to all of the nominations and wins for Christopher Nolan's magnum opus. Yes, even Original Score! Oh, and Guillaume and I first worked together back in 2000, so it's a reunion of sorts. Good times! Join us.

BONUS EPISODE! Propmastering is not recognized with an Oscar, but what if it was? Gregg Bilson, Jr. (President of mega-prop conglomerate ISS) and Scott Buckwald (property master and friend of the podcast!) discuss a hypothetical slate of films that could be nominated for their props. This episode wraps our Academy Awards coverage, but if you've listened to the entire series, I promise you'll be the smartest person at your Oscars party. The 2023 Nominees for Propmastering: •“The Creator” •“Last Voyage of the Demeter” •“Napoleon” •“Oppenheimer” •”Poor Things”

The Academy Awards are only a week away, and 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 an assessment of these nominees that encompasses both the technical and the meta. The 2023 Nominees for Original Song: •"The Fire Inside" from "Flamin' Hot"  •"I'm Just Ken" from "Barbie"  •"It Never Went Away" from "American Symphony"  •"Wahzhazhe (A Song For My People)" from "Killers of the Flower Moon"  •"What Was I Made For?" from "Barbie"

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 Armon (executive producer/music supervisor) — offer a multi-layered set of insights. The 2023 Nominees for Original Score: •"American Fiction"  •"Indiana Jones and the Dial of Destiny"  •"Killers of the Flower Moon" •"Oppenheimer" •"Poor Things"

The Oscar nominees for Film Editing compose an interesting slate of films this year, and editors Christopher Angel and Amy Duddleston return to share their insights. For those following along at home, you may be amused to know that they disagree on the merits of at least one of these movies, but they both reinforced my opinion about the one nominee I've elsewhere suggested was overrated. What drama! Join us for a listen. The 2023 Nominees for Film Editing: •"Anatomy of a Fall" •"The Holdovers" •"Killers of the Flower Moon" •"Oppenheimer" •"Poor Things"

Our Academy Awards series continues with a discussion of the Oscar nominees for Makeup and Hairstyling. Joining me today are Angela Nogaro (Makeup) and Yvonne Depatis-Kupka (Hair), discussing not only the nominated films but - once again - questions about the selection process and who is considered part of the team. Why is there only one name on the team for “Oppenheimer”? We offer some thoughts. The 2023 Nominees for Makeup and Hairstyling: •"Golda" •"Maestro" •"Oppenheimer" •"Poor Things" •"Society of the Snow"

Film professionals discussing the nominees in their area of expertise: that's Below the Line at the Oscars. Today, we're talking about Cinematography, and my returning guests — Patrick Cady and David Tuttman — are directors of photography with stories to share.  The 2023 Nominees for Cinematography:  •"El Conde" •"Killers of the Flower Moon" •"Maestro" •"Oppenheimer" •"Poor Things"

Costume Designers Helen Huang And Allison Choi Braun return to offer their insights on this year's Oscar nominees for Costume Design. We mark our halfway point through the Academy Awards season with another great conversation, discussing not only the five nominated films but also how the craft of costume design is such an integral aspect of the filmmaking collaboration. The 2023 Nominees for Costume Design: • "Barbie" •"Killers of the Flower Moon"  •"Napoleon"  •"Oppenheimer"  •"Poor Things" 

It's difficult to sell 12 episodes of Oscars coverage, but if you appreciate the work done by crew, you're going to appreciate this season, where film professionals discuss the nominees in the category of their expertise. Today's animated conversation about the nominees for Animated Feature benefits from returning guests, Kent Seki and Camille Leganza. Have YOU seen Oscar nominee “Robot Dreams”? It's the rare case of a nominated film that I didn't get to see, so no spoilers about that one. The 2023 Nominees for Animated Feature Film: •“The Boy and the Heron“  •"Elemental" •"Nimona"  •"Robot Dreams" •"Spider-Man: Across the Spider-Verse" 

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.

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 Visual Effects. This year, it looks like any of these nominees could deservedly take the prize. Join us for insights about the surprising group of contenders in this rapidly evolving field.

Below the Line continues our Fifth Annual Oscar Series with a discussion of the nominees for achievement in Directing, and I'm joined by a returning panel of fellow below-the-liners: Katie Carroll, Bill Hardy, Roger Mendoza and Shaun O'Banion. It's the first year we've discussed the directors nominated for the Academy Award, but it's in lieu of our traditional conversation focused on the Directors Guild of America nominees (the DGA crowns their winners next weekend, Feb 10th). Same panel, same topic, but a slightly different focus; the episode runs long, but I hope you'll enjoy it.

Our Fifth Annual Oscar Series beings now! Once again, we've got panels of film professionals discussing the nominees in their category of expertise. First up: Oscar nominee Steve Morrow (production sound mixer) and Oscar winner Don Sylvester (sound editor) discuss this year's nominees for Sound.

Now for something completely different! “Gen V” is a bombastic and provocative take on the Superhero genre, and Film Editor Maura Corey threads a needle balancing the action, the satire, and the humor from scene to scene. Gianni Damaia returns to the co-host seat, and - once again - it's a laugh-out-loud conversation that I hope you'll enjoy as much as we did.

2022's “Aftersun” is a slow-burn of a movie which nonetheless resonated with a sizable audience, and Film Editor Blair McClendon brings us inside the collaboration that sits at the center of this film (which is currently streaming on Showtime and Paramount+). Fellow editor (and friend of the podcast) Christopher Angel identified “Aftersun” as an overlooked gem when we discussed Oscar nominees at the start of 2023, and he joins me today in the co-host chair to help tease out what made this rule-defying film so successful. 

“Hatching”, a successful Finnish horror film currently streaming on Hulu, is a good case study for exploring the differences between European filmmaking and the U.S. studio system. I'm joined today by the Producer of “Hatching”, Mika Ritalahti, and two Executive Line Producers from Mistrus Media Film Production, Gints Grube and Elina Gedina. While the film is from Finland, principal photography was conducted in Riga, Latvia, and my panel shares how this entertaining movie came together.

“Dungeons & Dragons: Honor Among Thieves” was released in theaters early this year and is now streaming on multiple platforms. Tyler Cordova, Co-Visual Effects Producer, is here to explain how practical effects and visual effects work together to create the magic of the film. And for the first time on the podcast: we're discussing specific scenes in real time! Let us know if it works.

“Tom Clancy's Jack Ryan” wrapped earlier this year after four seasons on Amazon Prime, and Production Designer Derek Hill is here to offer behind-the-scene insights for a team that was based out of Budapest but filmed across Europe, from Greece to Croatia to the Canary Islands. Oh, and COVID: there was COVID.

Costume Designer Liz Vastola talks about her work on “Twisted Metal”, the comedy/action video game adaptation currently streaming on Peacock. I've never played the video game, but co-host (and fellow podcaster) Gianni Damaia brings some hard-won expertise to our laugh-out-loud discussion of the series.

Score Composer Andrew Lockington talks about his work on Taylor Sheridan's “Special Ops: Lioness” (currently airing on Paramount+), and co-host Louis Weeks (composer, recording artist, and friend of the podcast) provides another layer of insight to our conversation. We discuss Andrew's work on multiple levels, from the intention behind specifics pieces of score to the larger themes that inform the overall arc of the story.

My guest is Daril Fannin, CEO of Kino Studios. We talk about how Daril's experiences as an army veteran, writer and executive producer led to the founding of Kino, with the goal of making Hollywood more open, equitable, efficient and diverse. Kino also runs a robust behind-the-scenes program which emphasizes - you guessed it - the contributions of Below the Line talent (www.kino.studio).

2022's “The Menu” was an intriguing film that defied genre expectations. WIth 14 principle cast members and a tight shooting schedule, it was also a logistical challenge of epic proportions. First Assistant Director Gary Goldman takes us behind the scenes with stories about the cast, the supporting background, and the food. I mean, the FOOD: it was another character, both on and off the set.

“Star Trek: Strange New Worlds” - now in its second season on Paramount+ - continues to make the familiar franchise new again. Director of Photography Benji Bakshi talks about how cinematography contributes to the genre-uniqueness of each episode, and we talk in detail about the recently-aired, first-ever Star Trek musical episode. 

“Teenage Mutant Ninja Turtles: Mutant Mayhem” - in theaters now - is both a cutting-edge computer-animated feature and a really enjoyable film. Head of Cinematography Kent Seki and Art Director Arthur Fong share how an emphasis on the “teenage” aspect of the title characters informed every aspect of the filmmaking over a course of production spanning more than three years.

The “Hellraiser” film released late last year on Hulu was a creative reimagining of Clive Barker's 1987 original. Production Designer Kathrin Eder discusses the challenge of rebooting a 35-year-old horror classic, Director David Bruckner's reliance on practical effects wherever possible, and bringing all of these elements together while filming in Serbia.

“The Flash”, the latest DC superhero to earn a solo outing on the big screen, may be a spectacle of visual effects, but Sound Editors John Marquis and Nancy Nugent Title are here to explain why the movie experience is affected as much by what you hear as what you see. The integration is key, but recognizing the contributions of sound can unlock a completely new understanding of the film.

On June 23rd, the Directors Guild of America ratified a new three-year agreement with the Alliance of Motion Picture and Television Producers (AMPTP); the vote was 87% in favor. Today I'm discussing the agreement with Kevin Koster, who works as a 1st Assistant Director, served as a member of the negotiating committee, and is a returning guest to the podcast.

Costume Designer Helen Huang and Assistant Costume Designer Austin Wittick return to discuss their work on “Beef”, the 2023 Netflix limited series starring Stephen Yeun and Ali Wong. We take the opportunity to discuss not only how costume design contributes to this story behind the scenes but how diversity is important for all the stories that Hollywood wants to tell.