BELOW THE LINE PODCAST

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: The station wagon sequence that transforms a seemingly kind family into one of the pilot's most disturbing nightmares The theater massacre and the editorial decision to anchor the chaos through Lilly's point of view Teddy's encounter with the living lampshade and the practical effects hidden within the scare Lilly's bathtub vision and the subtle editorial tricks that make Pennywise's presence feel unnervingly wrong 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.

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: Reworking the opening of Season 2 to establish energy, tone, and momentum from the very first scene Building complex visual effects sequences before the effects themselves even existed Using pacing, speed ramps, and eye-lines to shape action scenes around character perspective Finding visual inspiration in the original manga while still allowing the live-action series to stand on its own How editorial restructuring and pickups helped strengthen emotional connections between the Straw Hats Collaborating with previs, sound, stunt, and VFX teams across multiple countries during post-production Why the creative team resisted “fan service” in favor of character-driven storytelling The emotional audience reactions that revealed just how deeply One Piece connects with its fans 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.

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: Why the film was designed “ballet first, fight second,” and how that philosophy led to the creation of a new stunt vocabulary Building a hybrid team of dancers and stunt performers — and how seven weeks of prep transformed ballerinas into action-ready doubles The logistics behind intensive rehearsal, previs, and on-location blocking — including shooting complex sequences with an editor assembling scenes in real time Designing action set pieces as evolving story beats, allowing the audience to discover Ballet-Fu alongside the characters The decision to embrace the visual symbolism of tutus — not as spectacle, but as a statement about strength, femininity, and perception Creating a collaborative, high-trust environment on set, where tone, culture, and preparation all contribute to performance 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.

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: Jerskin Fendrix’s anarchic, genre-bending approach to Bagonia — and whether creative “broken communication” can be a feature rather than a flaw Alexandre Desplat’s lush, violin-forward score for Frankenstein and what makes it feel both classical and quietly subversive Max Richter’s restrained work on Hamnet, including the complicated legacy of “On the Nature of Daylight” and how previously composed music intersects with Oscar eligibility Johnny Greenwood’s immersive, pulse-driven soundscape for One Battle After Another — and why some scores only reveal their full power in context with picture Ludwig Göransson’s sweeping, thesis-driven score for Sinners, a front-runner that uses music not just to support story, but to make an argument of its own 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.

Cinematography is where intention meets execution — in the choice of lens, the placement of light, and the movement of the camera. For Episode 9 of Below the Line’s 2026 Oscar series, we turn to the nominees for the Academy Award for Best Cinematography at the 98th Academy Awards. Skid is joined by cinematographers Patrick Cady and David Tuttman, who return to examine this year’s field from the inside — balancing technical precision, aesthetic philosophy, and the lived reality of production. As with the rest of this year’s Oscar series, the conversation is available both as an audio podcast and as a full video episode on YouTube. In this episode, the conversation explores: • The “military operation of joy” behind Frankenstein — and how large-format photography, depth of field, and camera movement supported a unified creative vision• The disciplined exposure control and 1970s-influenced grit of Marty Supreme, shot largely on film with exacting precision• The ambitious VistaVision approach of One Battle After Another, and why certain sequences demand to be seen on the biggest screen possible• The bold format shifts and musical visual language of Sinners, including the challenge of blending IMAX, 70mm, and intimate close-ups• The natural-light philosophy of Train Dreams, and why “lighting with fire” is anything but simple• Patrick’s case for five additional films he believes deserved recognition — and what that reveals about how deep this year’s cinematography field really is Along the way, Patrick and David reflect on film versus digital workflows, lens design, aspect ratios, shutter angle choices, and the subtle collaboration between cinematography, production design, and performance. The discussion moves easily between the granular (film stocks, lenses, exposure latitude) and the philosophical (joy in the process, trust between departments, and how cinematography shapes story without announcing itself). 🎧 Press play — or watch the full conversation on YouTube — and join us Below the Line for Episode 9 of our 2026 Oscar series. For more, visit belowtheline.biz.

Sound is where performance, environment, and emotion converge — shaped first on set and refined in the mix. In Episode 7 of Below the Line’s 2026 Oscar series, Skid is joined by Steve Morrow (Production Sound Mixer) and Don Sylvester (Sound Editor) to examine the nominees for Achievement in Sound at the 98th Academy Awards. Together, they explore how production and post-production intersect to support performance, pacing, and dramatic tension. As with the rest of this year’s Oscar series, the conversation is available both as an audio podcast and as a full video episode on YouTube. Our discussion explores: The immersive racing soundscape of F1, and how layered engine recording, ambisonics, and dynamic mixing place audiences inside the cockpit The evolving vocal treatment and tonal balancing in Frankenstein, where horror, romance, and creature design must coexist within a unified sonic world How One Battle After Another uses vehicles, space, and environmental texture to reinforce character perspective Capturing live musical performance and choreographed chaos in Sinners, where production sound and post must move in lockstep The blurred boundary between music and environment in Sirāt, and how subtle soundscapes shape perception as much as spectacle Why production sound and sound editing are inseparable disciplines when it comes to protecting performance A brief look at shortlist contender Warfare, and what makes immersive combat sound both technically complex and emotionally overwhelming Throughout the conversation, Steve and Don reflect on the practical realities of their craft — from mic placement and set noise to mix decisions and audience psychology — offering a detailed look at how sound both grounds and elevates cinematic storytelling. 🎧 Press play — or watch the full conversation on YouTube — and join us Below the Line for Episode 7 of our 2026 Oscar series. For more, visit belowtheline.biz.

Animated feature filmmaking is defined by endurance — years of development, constant iteration, and creative risks that often aren’t visible on screen. This week on Below the Line, Skid is joined by Kent Seki and Camille Leganza to discuss the nominees for Best Animated Feature at the 98th Academy Awards. Drawing on their extensive experience in animation, they look closely at how different creative pipelines, production cultures, and storytelling ambitions shape this year’s unusually diverse slate of nominees. As with the rest of this year’s Oscar series, the conversation is available both as an audio podcast and as a full video episode on YouTube, offering listeners the option to watch the discussion or engage with it in its traditional audio form. Our discussion ranges across: The long development paths behind animated features — and what creative “endurance” really looks like in practice Why Arco stands out for its visual authorship, unconventional time-travel structure, and optimistic view of the future The creative challenges behind Elio, including director transitions, tonal recalibration, and ambitious visual experimentation How K‑Pop Demon Hunters became an unexpected cultural phenomenon through bold genre blending and stylistic risk The visual restraint, emotional specificity, and rapid production schedule that define Little Amélie or the Character of Rain The scale, scope, and world-building demands of Zootopia 2, and why sequels can be harder than originals How audience expectations, box-office performance, and cultural context intersect with Academy recognition What this year’s nominees suggest about the evolving identity of animated feature filmmaking The conversation presents animated features as works of sustained creative commitment — films shaped as much by patience, resilience, and collaboration as by technology or visual style. 🎧 Press play — or watch the full conversation on YouTube — and join us Below the Line as the 2026 Oscar series continues. For more, visit belowtheline.biz.

This episode begins with a hypothetical question: what would it look like if Property Mastering were its own Oscar category? We explore it as part of Below the Line’s 2026 Oscar series. This week on Below the Line, Skid is joined by Scott Buckwald and Gregg Bilson, Jr. for a deep dive into the craft of property mastering through the lens of the 98th Academy Awards. Using a fictional Oscar ballot as a framework, they explore how props function as storytelling tools — shaping character, tone, and authenticity across a wide range of films. As with the rest of this year’s Oscar series, the conversation is available both as an audio podcast and as a full video episode on YouTube, offering listeners and viewers a closer look at how below-the-line crafts are discussed and evaluated from inside the work itself. Our discussion ranges across: Why property mastering sits at the intersection of design, performance, and logistics — often unnoticed, but never incidental How props help define character and period across films like Nuremberg and Song Sung Blue The heightened demands of genre storytelling, from the mythic scale of Frankenstein to the grounded realism of Sinners Managing continuity and narrative logic when props evolve over the course of a story The technical and ethical considerations involved in handling story-critical objects, from weapons to documents and artifacts How preparation, research, and documentation allow property masters to support performance without drawing attention to the work itself Why collaboration with actors and other departments is essential to making props feel lived-in rather than ornamental What this hypothetical exercise reveals about how deeply props are woven into storytelling, even when they’re easy to overlook The conversation highlights property mastering as a discipline defined by preparation, judgment, and storytelling instincts — a craft that quietly anchors performance and world-building across every genre. 🎧 Press play — or watch the full conversation on YouTube — and join us Below the Line as the 2026 Oscar series continues. For more, visit belowtheline.biz.

As the 98th Academy Awards approach, Below the Line returns for its seventh annual Oscar series — beginning with Film Editing, a category that quietly shapes every other craft recognized on Oscar night. This week on Below the Line, Skid is joined by Amy Duddleston and Christopher Angel to open the 2026 Oscar series with a focused conversation about the nominees for Achievement in Film Editing. Together, they examine how editing choices shape performance, tone, and point of view — and why the category can be difficult to evaluate without understanding what the work actually requires. This episode also marks a first for Below the Line: these Oscar conversations are now available both as an audio podcast and as full video episodes on YouTube, offering listeners the choice to watch the discussion unfold or continue enjoying the show in its traditional audio format. Our discussion ranges across: Why Film Editing is often misunderstood as “most editing” rather than best judgment The distinct editorial challenges behind this year’s nominees, including F1, Marty Supreme, One Battle After Another, Sentimental Value, and Sinners How performance-driven films ask editors to prioritize restraint over visibility The editor’s role in shaping character psychology and audience alignment When cutting calls attention to itself — and when disappearing is the hardest choice Navigating collaboration with directors whose approaches range from highly controlled to deliberately chaotic What this year’s nominees reveal about how the Academy continues to define the craft Grounded in the perspective of two working editors, the conversation focuses less on prediction and more on process — unpacking how editing decisions actually function on screen, and why the craft remains essential even when it goes unnoticed. 🎧 Press play — or watch the full conversation on YouTube — and join us Below the Line as we begin our 2026 Oscar series. For more, visit belowtheline.biz.

The stranger The Chair Company gets, the more seriously it has to be treated. Nothing about the show tells the audience when to laugh — its world looks ordinary, its people feel real, and that restraint is exactly what lets the absurdity land. This week on Below the Line, Skid is joined by Costume Designer Nicky Smith and Cinematographer Ashley Connor to discuss their work on The Chair Company, the HBO series created by Tim Robinson and Zach Kanin. Together, they break down how a show rooted in off-kilter comedy relies on rigorous visual logic — from wardrobe and camera movement to pacing, texture, and point of view — to maintain its delicate tonal balance. Our conversation ranges across: Treating the series like a grounded crime or conspiracy drama, using mundane wardrobe and restrained visuals to make moments of surrealism hit harder Ashley’s cinematography approach: anchoring the camera to Ron’s emotional journey, using aggressive dollies, zooms, and imperfect movement to mirror his unraveling Nicky’s costume philosophy of thrifted, worn-in clothing — washing, distressing, and avoiding “newness” so characters feel unmistakably real Designing visual normalcy as misdirection, allowing sudden tonal shifts to surprise the audience without breaking the world of the show The evolving production scale from pilot to series, and how departments learned to stretch limited resources into something that feels expansive Building key sequences like the Episode Five bar chase and the Episode Eight wedding — where every department had to stay in sync to manage the chaos How casting, body types, and costume choices avoid stereotypes, creating a workplace and social world that feels genuinely lived-in Setting up Season Two without knowing the destination — trusting Tim Robinson and Zach Kanin’s writing while embracing uncertainty Rather than signaling comedy through exaggeration, The Chair Company finds its power in restraint — proving that the stranger a story becomes, the more important it is that every visual choice feels honest, deliberate, and grounded in character. 🎧 Press play and go Below the Line on The Chair Company. For more, visit belowtheline.biz.

What happens when filmmaking becomes a marathon of collaboration — spanning years, thousands of shots, and the world of Oz itself? For Wicked: For Good, that was the daily reality for Film Editor Myron Kerstein and Visual Effects Supervisor Pablo Helman. This week on Below the Line, Skid welcomes back Myron Kerstein and introduces Pablo Helman, who makes his Below the Line debut to discuss their shared journey on Wicked: For Good, the sequel to Jon M. Chu’s Wicked. Together, they reflect on what it means to sustain creative momentum through two interconnected films and the largest project of their careers. This episode unpacks: Building a years-long partnership between editorial and visual effects — and learning to “finish each other’s sentences” after thousands of hours together Integrating production, post, and VFX pipelines from the earliest days of Wicked through the sequel’s final render Designing the epic opening battle on the Yellow Brick Road, where performance, camera, and creature animation all converge Navigating Jon M. Chu’s collaborative process — a director who, as Myron puts it, is “a collector of people” and thrives on creative dialogue Crafting the technically complex “Girl in the Bubble” sequence — eight stitched plates, multiple reflections, and a seamless illusion that tested every department’s trust Refining the “No Good Deed” sequence — balancing raw emotion, musical rhythm, and visual effects spectacle Intercutting Glinda’s wedding with the imprisoned creatures to heighten tension and emotional contrast across parallel storylines How small creative choices — like a cape’s weight, a confetti storm, or a single flash of red sky — became storytelling tools in the hands of two artists who speak the same cinematic language What emerges is a portrait of collaboration under pressure — one built on mutual respect, relentless curiosity, and a shared belief that every frame, no matter how fantastical, should feel grounded and human. 🎧 Press play and go Below the Line on Wicked: For Good. For more, visit belowtheline.biz.

What does it take to build a world that feels as authentic as the people it represents? On The Lowdown, that meant storytelling rooted in place — and departments working in harmony. This week on Below the Line, Skid welcomes Makeup Department Head Sharon Tabb and Production Designer Brandon Tonner-Connolly, who reunite after three seasons of Reservation Dogs to discuss their latest collaboration with creator Sterlin Harjo on the FX series The Lowdown, starring Ethan Hawke. The discussion covers: Continuing the collaborative spirit from Reservation Dogs — and how Sterlin Harjo’s leadership fosters creativity and respect across the crew Finding shared visual language between makeup and production design — creating a lived-in aesthetic that balances grit, texture, and humanity Designing the show’s Tulsa block from the ground up, building interconnected sets like Hoot Owl Books, Sweet Emily’s Diner, and nearby stores into one functioning neighborhood Layering authenticity through local artists and real community involvement, from murals and set dressing to tattoo design Bringing lived experience into the work — honoring real figures like journalist Lee Roy Chapman while telling a fictionalized story of truth-seekers and corruption Sharon’s approach to Ethan Hawke’s tattoos and makeup continuity, balancing realism with subtle symbolism — and a few Easter eggs for sharp-eyed viewers Brandon’s creation of Sweet Emily’s Diner, complete with custom wallpaper that pays tribute to Reservation Dogs in the most unexpected way Coordinating large-scale sequences like the cop party “oner” that concludes Episode Five — blending chaos, choreography, and cinematic precision Together, Sharon and Brandon reveal how every bruise, tattoo, and weathered wall becomes part of a larger visual story — one built from collaboration, trust, and craft in sync. 🎧 Press play and go Below the Line on The Lowdown. For more, visit belowtheline.biz.

How do you design a world that honors Hawaiian history while telling a story on a global stage? For Production Designer Jean-François Campeau, the answer was equal parts creativity, cultural respect, and collaboration. This week on Below the Line, Skid is joined by Jean-François “JF” Campeau, Production Designer of Chief of War, the Apple TV+ historical drama starring Jason Momoa. Two special guests from the Smithsonian Institution add their perspectives: Kalewa Correa, Curator of Hawaiʻi and the Pacific at the Smithsonian Asian Pacific American Center, and Halena Kapuni-Reynolds, Associate Curator of Native Hawaiian History and Culture at the National Museum of the American Indian. We cover: JF’s first reaction to the project — both inspired and intimidated by the cultural weight of the story Research at the Bishop Museum and working closely with Hawaiian and Māori cultural advisors to ground the sets in authenticity Constructing major builds like temples, strongholds, and the bone tower — with blessings and protocols woven into the process Carving sacred objects from authentic materials, including shipping an ʻōhiʻa tree from Hawai‘i to New Zealand for sculpting Collaborating with Pacific artisans on woven mats, sails, and canoes that carried both cultural and cinematic weight Blending Hawaiian and New Zealand landscapes, balancing cultural similarities with visual continuity challenges Jason Momoa’s insistence on filming battle sequences on real Hawaiian lava fields — including a shoot delayed by Mauna Loa’s eruption Capturing the gravity of historically significant moments, like the Olowalu massacre carried out under Captain Simon Metcalfe, with sensitivity to sacred ground JF’s personal reflections on how the project changed him, and the values he carried forward from working alongside Native Hawaiian and Māori communities The conversation also touches on recommended resources for further learning, including Ke Kumu Aupuni: The Foundation of Hawaiian Nationhood by Samuel Kamaka and Fragments of Hawaiian History by John Papa Iʻi, suggested by our Smithsonian co-hosts. Through every set, carving and detail, Chief of War builds a conversation between past and present — one that honors place, people, and story alike. 🎧 Press play and go Below the Line on Chief of War. For more, visit belowtheline.biz.