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Welcome to Below the Line, where we talk about making movies from the crew perspective. My name is Robert ”Skid” Skidmore, and I worked in Hollywood as an Assistant Director for the better part of eight years. For the podcast, I invite my production friends - both old and new - to tell stories from their time on set. We do our best to make it accessible, with the larger goal of providing some insights as to what really happens behind the scenes. Each episode is organized around a specific film, television show or some other theme relevant to working in Hollywood. I hope you enjoy hearing the stories as much as we enjoy telling them. Thanks for listening, and I welcome your feedback = skid@belowtheline.biz
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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 movie. 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).
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