When a movie goes over budget or a location falls through, everyone looks at one person: the unit production manager. David Witz has been that person for 30 years, on Dunkirk, War of the Worlds, Mission: Impossible III, and Escape from L.A.

David calls himself the general contractor of a film set, the person who turns a director’s vision into a number and then makes that number happen. He breaks down what a UPM and a line producer really do, how he ground out the DGA qualification list, and how the biggest directors handle money: Nolan announcing Dunkirk would cost $100 million and cutting a whole country to get there, and Spielberg making War of the Worlds for scale and Witz building the budget off a bullet-point outline.

Then the war stories: a 1986 shoot in Barcelona where the office was bombed the week before cameras rolled and he carried $85,000 out of a bank in his jacket, Tom Cruise on a crane in a lightning warning, why production has left Los Angeles, and the real flyable Spitfire they built for Dunkirk because Nolan will not do green screen. His advice for the next generation: there is no single path, so learn everything.

Every movie poster and billboard you walk past was produced by someone. Not the photographer, the photo producer. Sarah Brookshaw is the person who makes that single image come together, and she says if she does her job right, you never notice her at all.

Sarah produces the photo side of the big 360 campaigns behind the shows and films on Disney, Hulu, and beyond: key art, posters, bus-stop ads, and editorials. She breaks down what a photo producer actually does, the difference between editorial, advertising, and key art, why unit photographers on set are basically ninjas, and how some photographers prep a single shot down to the lens.

She goes into her unlikely career story: from wanting to be a lawyer at age eight, through a year of law school she hated, video game publishing, automotive PR, and wedding photography, to photo production almost by accident. Plus a genuinely balanced take on where AI fits in photography, and the line she will not cross. You cannot AI human connection away.

There is no straight path to directing television. Andi Armaganian’s ran through 22 years as an editor, a $100,000 feature she could not afford, and the one word you can never say when someone finally offers you the chance to direct.

The hosts met Andi as an editor on Smallville, back when it still cut on film. She spent 22 years in post before the Berlanti camp asked her to direct, did the Warner Bros. directing program, and went on to direct Arrow, Supergirl, Stargirl, and multiple Star Treks. She explains why editors make great directors, and how she made herself indispensable by giving directors an escape route in the edit.

Then the real job: why broadcast TV is cut to the exact frame, what it is like to be the guest director dropped into a machine that already has its crew and cast, how the business shrank from 22 directing slots to about four, directing Rescue: HI-Surf from a jet ski in the open ocean, and the best advice she gives every newcomer. Do not mess up the coffee.

Everyone knows what an actor’s agent does. But who represents the cinematographer, the production designer, and the producer, the production service companies, the people who physically make the movie? Talent agent Matt Birch has spent 25 years on every side of that question.

The hosts met Matt as a coordinator on Vanilla Sky. He went on to supervise production on Mission: Impossible III, Transformers, Elizabethtown, and Constantine before founding Mockingbird Media, a talent agency for producers, production designers, cinematographers, costume designers, second unit directors, studio and network executives, vfx producers and companies, production service companies and sound stages internationally. He breaks down what a crew agent really does: tracking jobs before they are announced, getting a client in the room, and why he wants to retire the phrase “below the line.”

The human side, he says, is the real job: being the shoulder to cry on, delivering bad news when all you can say is “we’re going in another direction,” and his father’s advice about cutting a “cancer” from a team. Plus the origin story that has to be heard: a 21-year-old PA, a ten-ton truck he had no business driving, and the boss reaction that saved his career.

Is AI ending film careers or reinventing them? Barbara Ford Grant has watched it from every side, as a digital artist, a studio CTO, and the expert studios now hire to plan their AI strategy.

Barbara spent 30 years bridging art and technology, from hand-drawn animation on Prince of Egypt, through six years of Shrek at PDI, to early machine learning at Sony Imageworks, Digital Domain, HBO in the Game of Thrones and Westworld era, and a run as CTO of Meow Wolf. That history is why her take on generative AI cuts differently. She is not reacting to a headline, she is describing a continuum she helped build.

She lays out the real watershed, the collapse of the framework the industry has used for decades, the legal grey zone where almost no case law exists yet, and the existential math facing studios now that a handful of people anywhere can make something of cinema quality.

She is just as clear about the limits: you can imitate a Roger Deakins shot, but you cannot predict what Deakins would do next, and that is the artistry no model can reach. Her advice to working crew is simple and urgent: get access to the tools and help define what they become.

Who actually does what on a fight scene? Stuntman, stunt coordinator, and second unit director Christopher Troy maps the whole hierarchy, from the performer who gets “burned” on day one to the second unit director running the sequence.

Troy breaks down the roles most viewers never see: the stunt double who stays for a show’s entire run, the core team building fight previs in “box land” (a technique from the late Brad Allen of Jackie Chan’s team), the new “action designer” role, and the coordinators who carry the insurance when a stunt goes wrong. Then he explains how a stunt lead climbs to directing, the way J.J. Perry did with Day Shift.

From there it gets forward-looking. He has motion-captured God of War, Mortal Kombat, and Call of Duty, and he is honest about generative AI: it is already fooling him, it will take some jobs, and it still cannot replace a human in the room. Plus how set safety really changed, why Christopher Nolan going all-practical still feels different, and the one piece of advice he would give his 17-year-old self.

This is Part 2 of two. Part 1, his breakdancer-to-stuntman origin and the Hawaii fall, is out now.

How do you actually become a Hollywood stunt performer? Christopher Troy, a former professional breakdancer turned stunt performer, has the motion-capture resume (God of War, Mortal Kombat, Call of Duty) and the scars from live action movies and TV shows to explain it.

He got discovered at 15 on a Huntington Beach pier, booked his first job at 17 (a music video, one second of screen time, the $200 pay stub now framed on his wall), and spent years striking out as an actor before he realized dance was a skill set that skips the line. A favor at a stunt gym, doubling a kid thrown through a table, turned into a decade of stunt work.

Then it gets real. Why breaking into stunts is who you know, precisely because the work is dangerous. Why you can fake almost anything in Hollywood except a stunt. Why comedy hurts more than action. And the whole anatomy of a 15-foot fall for The Wrong Missy in Hawaii: the world-champion high-faller who called him, the one thing that kept him up all night, and the split-second decision that saved his vacation.

This is Part 1 of two. Part 2 drops next week.

***This episode was recorded in early 2026. OpenAI has since discontinued Sora (referenced at ~15:32, ~19:22, and ~26:05), and its $1B Disney licensing deal (~26:05) was cancelled as part of that shutdown.***

Is AI ending film careers or creating them? AI film professor Justin Winters has watched it from every side: Sundance panels, Hollywood writers rooms, and a film school classroom where his students all want a career path he says no longer exists.

Justin moderated Sundance's AI panel with Joseph Gordon-Levitt and former Academy president Janet Yang, and he brings that insider view here: the studios quietly building AI divisions, the $30 million OpenAI-funded animated film premiering at Cannes while Disney spends up to $1.5 million per minute of animation, and the House of David VFX budget that turned 700 shots into 500 VFX and 200 Gen AI.

Then it gets personal. The quiet student who became the AI artist behind the Coca-Cola commercial. The TV writer who built millions of followers in 11 months. And the agent who refused to meet the most brilliant student Justin has ever taught, because she wasn’t leveraging the technology. His advice to her is the best 60 seconds of the episode.

How does a costume designer build a viral red carpet look in one week? Emmy winning costume designer Erica Schwartz did exactly that for Hacks stars Megan Stalter and Paul W. Downs, and she takes us all the way inside the job.

This one is a craft master class disguised as a great conversation. Erica breaks down recreating an iconic Marty Supreme Premiere look with custom painted shoes and 3D printed hardware, how she reads a script and gets inside a character before casting, why the actor usually wins the fight over a look, and how costume quietly solves problems for the sound and props departments. Along the way: Eli, the last working chimp in Hollywood, generative AI and body scanning creeping onto LED volume stages, and her love affair with the drag world, where more is more.

Then it gets political. Erica sat on the contract committee that fought the AMPTP for pay equity on behalf of costume designers, a traditionally female department that was paid less than half of the art directors, and they won. It is the accomplishment she is proudest of, and it is why she wears her joy on her sleeve, literally.

In this season finale bonus episode, hosts Chris and Tanner are joined by Eyes On producer Simran Porwal to answer listener questions about everything from on-set attitudes to joining your first union.

Eyes On: Conversations with Hollywood Filmmakers will be back next year for season two! In the meantime, if you have a burning question you'd like to hear answered next year, hit us up on any of our social platforms.