BELOW THE LINE PODCAST

There are plenty of opportunities for visual showmanship in Tuner, but the trick is knowing how far to push them. Elaborate camera rigs, rapid-fire inserts, expressive lighting, and playful montages give the film its distinctive visual language—but the technique never becomes the point.

Cinematographer Lowell A. Meyer joins Skid to discuss his collaboration with director Daniel Roher on Tuner, starring Leo Woodall as a gifted piano tuner whose extraordinary ear proves equally useful for cracking safes. The film moves between romance, music and heist storytelling without treating each as a separate stylistic exercise—an approach that lets the characters and their worlds carry the shifts in genre.

With three clips from the film guiding the conversation, Lowell takes us inside the creative choices behind some of Tuner's key sequences.

Topics include:

With roughly 28 locations in 28 shooting days, Tuner demanded both ambition and efficiency. Lowell's stories reveal how much invention can happen within those constraints—and how preparation, collaboration and a willingness to experiment helped turn a demanding schedule into opportunities for creative problem-solving.

🎧 Press play and go Below the Line on Tuner. For more, visit belowtheline.biz.

The world of Influenced is one of luxury, exclusivity, and Manhattan's Upper East Side. Bringing that world to life on an independent film budget meant balancing creative ambition with production realities: making every location, every shooting day, and every production decision count.

This week on Below the Line, Bruce Edward Hall joins Skid to discuss Influenced, the independent comedy directed by Rachel Israel from a screenplay by Jill Kargman. Together, they explore the planning, coordination, and adaptability required to bring an ambitious feature to the screen, and how thoughtful preparation helped the production make the most of every opportunity.

Among the highlights:

Throughout the conversation, Bruce offers a behind-the-scenes look at the work audiences rarely notice, revealing how countless production decisions combine to make ambitious filmmaking look effortless on screen.

🎧 Press play and go Below the Line on Influenced. For more, visit belowtheline.biz.

By the penultimate episode of a serialized mystery, every decision matters. Screenwriter Yona Speidel takes us inside Episode 7 of The Boroughs, where the show's many storylines converge as the season races toward its finale.

This week on Below the Line, Yona Speidel discusses her work on The Boroughs, the Netflix sci-fi mystery series created by Jeffrey Addiss and Will Matthews. Together, she and Skid explore how a modern television writers' room operates, how Yona's specific episode evolved during development, and how real-life experiences helped shape key moments in the series.

Among the highlights:

Throughout the conversation, Yona offers an inside look at the collaborative nature of television writing, revealing how ideas move from the writers' room to the screen while adapting to the realities of production.

🎧 Press play and go Below the Line on The Boroughs. For more, visit belowtheline.biz.

A station wagon ride. A movie theater. A bathtub drain. In IT: Welcome to Derry, some of the most ordinary places become the source of the show's most memorable nightmares.

This week on Below the Line, Film Editor Esther Sokolow joins Skid and co-host Gianni Damaia to discuss editing the pilot episode of IT: Welcome to Derry. Building on the world established in IT Chapters One and Two, Esther breaks down how the creative team crafted the pilot's most memorable scares while exploring an earlier chapter in Pennywise's history.

HBO provided four clips from the pilot episode, giving Esther the opportunity to break down:

Beyond the individual scares, Esther explains how horror editing relies on audience empathy, carefully controlled perspective, and a deep understanding of what viewers fear before the monster ever appears. From sound design and pacing to practical effects and performance, she offers a fascinating look at adapting Stephen King's world for television while creating an identity uniquely suited to IT: Welcome to Derry.

🎧 Press play and go Below the Line on IT: Welcome to Derry. For more, visit belowtheline.biz.

How do you stage prison riots, cliffside fights, and high-speed chases when you only have a few hours to shoot each sequence? For Stunt Coordinator Victor Paguia, the answer starts with preparation, collaboration, and a willingness to solve problems on the fly.

This week on Below the Line, Victor Paguia joins Skid to discuss his work on FBI, the long-running CBS series now heading into its ninth season. Having been with the show since the pilot, Victor breaks down three standout action sequences from Season 8 and explains how his team delivers ambitious stunts under the demanding schedule of a network television production. 

We discuss:

Throughout the conversation, Victor returns to the same challenge: balancing ambition with reality. Whether he's coordinating a vehicle jump, choreographing a fight, or hanging stunt performers over a real cliff, every creative decision must account for time, budget, safety, and the practical demands of episodic television. The result is a fascinating look at the planning and problem-solving that make action storytelling possible. 

🎧 Press play and go Below the Line on FBI. For more, visit belowtheline.biz.

Adapting manga to live action has defeated more than a few ambitious productions. But somehow, One Piece became one of Netflix’s biggest successes — by embracing spectacle without losing sight of character.

This week on Below the Line, Film Editor Eric Litman returns to the podcast alongside regular guest and co-host Christopher Angel to discuss the editorial challenges behind Netflix’s hit adaptation of One Piece. From reshaping major sequences in post to balancing fan expectations with emotional clarity, Eric breaks down how the series found its rhythm — and why grounding the story emotionally became the key to making its larger-than-life world work.

Among the highlights:

What emerges throughout the conversation is how much modern editing — especially on a visual effects-heavy show like One Piece — depends on collaboration. Eric describes a process that extended far beyond the cutting room, involving constant communication between editorial, sound, previs, visual effects, production, and performance.

🎧 Press play and go Below the Line on One Piece. For more, visit belowtheline.biz.

How do you shoot a film where time doesn’t move forward, but folds in on itself? For Fabian Gamper, the answer was building a visual language that treats every image like a memory — layered, subjective, and deeply tied to place.

This week on Below the Line, Skid is joined by Fabian Gamper and co-host David Tuttman to discuss the cinematography behind Sound of Falling, the Cannes Jury Prize-winning film that blends four time periods into a single, interconnected visual experience.

From the beginning, Fabian approached the project with a guiding principle: the farmhouse location would dictate the look. Rather than designing separate visual styles for each era, he and director Mascha Schilinski chose to unify the film through a consistent, naturalistic approach — allowing light, texture, and production design to signal shifts in time while maintaining a shared emotional language across generations. 

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What emerges is a conversation about control and surrender — knowing when to shape the image, and when to let the environment lead. Whether working with limited resources or ambitious ideas, Fabian’s process shows how a clear visual philosophy can unify even the most complex narrative structures.

🎧 Press play — or watch the full conversation on YouTube — and go Below the Line on Sound of Falling. For more, visit belowtheline.biz.

What happens when you build an action movie from the discipline, pain tolerance, and physical language of ballet? For Director Vicky Jewson, the answer became Pretty Lethal — a film where movement isn’t just style, it’s story.

This week on Below the Line, Skid is joined by Vicky Jewson and co-host Katie Carroll to go behind the camera on Pretty Lethal, the action thriller now streaming on Prime Video.

From the outset, Vicky approached the project with a clear mandate: ballet wouldn’t be window dressing — it would drive everything. That meant immersing herself in the world of professional dance, collaborating with prima ballerinas, and building an entirely new movement language that blends choreography and combat into what the team ultimately dubbed “Ballet-Fu.”

The conversation explores how that idea shaped every stage of production:

Along the way, Vicky discusses the realities of getting a film like this made — from years of development and packaging to finding the right partners and building a team that could execute at scale. She also reflects on working with Uma Thurman, whose performance balances heightened, almost mythic energy with emotional grounding.

What emerges is a conversation about preparation, collaboration, and intention — and how a clear creative idea, carried all the way through production, can define the identity of a film.

🎧 Press play — or watch the full conversation on YouTube — and go Below the Line on Pretty Lethal. For more, visit belowtheline.biz.

Oscar night is almost here, and Below the Line closes out its 2026 Oscar series with a look at the Academy Award for Best Original Song.

This week, Skid is joined by returning guests Chris Molanphy, Louis Weeks, and Tom Peyton to break down the five nominees — a lineup that ranges from chart-topping K-pop to blues-infused cinematic spectacle, intimate indie folk, and even a rare operatic outlier.

As the ceremony approaches on March 15, the panel weighs not only which song will win, but how each nominee functions inside its film — and what that says about the evolving relationship between movies and popular music.

Among the highlights:

The conversation moves easily between technical craft and big-picture questions: What makes a song “original” in today’s industry? Should Best Original Song reward chart success, narrative function, or musical innovation? And in an era of streaming metrics and algorithmic pop, what still feels distinctly human?

🎧 Press play and go Below the Line on Best Original Song — and get ready for Oscar night. For more, visit belowtheline.biz.

As Oscar night draws near, Below the Line turns to one of the most emotionally powerful — and hotly debated — categories of the year: the Academy Award for Best Original Score.

In Episode 11 of our 2026 Oscar series, Skid is joined by returning panelists Chris Molanphy, Louis Weeks, and Jennie Armon to break down the five nominees recognized at the 98th Academy Awards: Bagonia, Frankenstein, Hamnet, One Battle After Another, and Sinners.

With just over a week until the ceremony on March 15, the conversation balances prediction, perspective, and deep craft analysis — examining not only who might win, but what each score is attempting to accomplish.

The discussion covers:

Along the way, the panel debates what the Academy tends to reward in this category: traditional orchestral craftsmanship, avant-garde experimentation, cultural resonance, or sheer emotional impact. They also spotlight overlooked scores from the year and reflect on how film music continues to evolve — especially as composers move fluidly between pop, concert, and cinematic worlds.

As the 98th Academy Awards approach, this episode offers both a critical deep dive and a celebration of how music shapes the movies we love.

🎧 Press play — or watch the full conversation on YouTube — and join us Below the Line as our 2026 Oscar series heads into its final stretch. For more, visit belowtheline.biz.