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.

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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.

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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.

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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.

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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.

How do you turn New Jersey into 1960s Greenwich Village — while navigating strikes, rewrites, and a lead performance that hinges on live music? That was the challenge behind A Complete Unknown, the 2024 Bob Dylan biopic directed by James Mangold.

This week, Skid is joined by three key crew members behind the film: Set Decorator Regina Graves, Property Master Michael Jortner, and Second Assistant Director Brad Robinson. Together, they share how they navigated shifting scripts, location changes, and the challenge of historical fidelity — all in service of a film that manages to feel both intimate and iconic.

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The conversation also touches on the tensions between Dylan’s legacy and the demands of dramatization — and how the crew stayed grounded despite outside opinions and mid-production curveballs.

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

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.

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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.

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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.

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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:

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.

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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.