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Sex, power, and crossed boundaries are at the heart of I Want Your Sex. Behind the camera, however, clear boundaries are precisely what make the film's wildest moments possible. Intimacy Coordinator Yehuda Duenyas joins Skid to discuss his work on I Want Your Sex, the erotic comedy thriller from writer-director Gregg Araki, starring Olivia Wilde and Cooper Hoffman. From establishing clear expectations with performers to employing protective garments and other on-set safeguards, Yehuda explains how intimacy coordination supports both the director's creative vision and the actors bringing it to life. With clips from the film guiding the conversation, Yehuda takes us behind the scenes of its most provocative moments—and into the evolving role of intimacy coordination in Hollywood. Among the highlights: Collaborating with Gregg Araki, a filmmaker Yehuda admired long before they worked together, to bring the director's distinctive vision to life while preserving the playful atmosphere on set Preparing the cast for a schedule that placed every intimate scene within the first five shooting days, with a pre-shoot gathering designed to break the ice and build trust before cameras rolled Choreographing a complicated threesome sequence that moves from awkward comedy to emotional distress, using careful staging and established consent protocols to give the actors freedom to perform Exploring the film's generational conversation about sex and intimacy, including how changing attitudes toward relationships, personal freedom, and discomfort inform Araki's storytelling Tracing the evolution of intimacy coordination from an emerging specialty to a unionized profession, including Yehuda's role in negotiating its first SAG-AFTRA contract The conversation reveals how much artistry and preparation go into scenes that are meant to feel spontaneous, outrageous, or uncomfortable. For Yehuda, the goal isn't to tame the material, but to create the conditions in which filmmakers and performers can embrace it fully. 🎧 Press play and go Below the Line on I Want Your Sex. For more, visit belowtheline.biz.

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: Building the film's montages from an enormous volume of imagery, with macro photography, B-camera work and a dedicated insert day supplying shots that may appear for only a few frames Designing a spinning fisheye camera rig that lets the audience experience a safe dial from the safe's point of view Translating Nikki's heightened sensitivity to sound into images, culminating in a club sequence where lighting, camera movement and shallow depth of field make his surroundings feel physically overwhelming Finding a consistent approach to the film's shifts between romance, music and heist storytelling without "pouring hot sauce" on every stylistic choice Working with Dustin Hoffman, whose stories, humor and spontaneous piano playing made him the shoot's much-loved "fun uncle" 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: Scheduling a 23-day feature around child actors, animals, celebrity cameos, and a one-camera production Using Jill Kargman's relationships to secure extraordinary Upper East Side locations that would normally be beyond an independent film's reach Making intimate locations and crowded luncheon scenes feel far larger than the budget allowed Coordinating celebrity cameos and guest actors whose schedules left little room for rehearsal Navigating everything from neighborhood disruptions to approaching thunderstorms while keeping production on track 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: How the writers' room collaborated to break down the entire season before a single episode was drafted Why Episode 7 became the show's "heist episode" and the process of bringing multiple storylines together Planning a complex action sequence inside the Manor before any actual sets had been built Drawing on family history, retirement communities, and personal memories to shape key moments in the script Balancing a writer's creative contributions with the vision of a show's creators and showrunners 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: 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.

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: Planning and executing a truck-to-truck jump at 40 miles per hour in eight-degree weather Pulling off a crucial hot-rod entrance with a single take before the street reopened to traffic Teaching actors fight choreography on the day of shooting, a few moves at a time Designing a prison-riot fight around a dramatic overhead camera move Finding stunt doubles for guest stars cast only days before filming Creating a cliffside rescue sequence using real locations, stunt performers, and a custom-built set 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: 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.

How do you shoot a film where time doesn’t move forward, but folds in on itself? For Cinematographer 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.  Topics include: Building a “memory structure” visually — and why all time periods were treated with the same cinematic language Using a single farmhouse location as both logistical anchor and creative constraint Designing naturalistic lighting that still carries emotional intent, from candlelight to LED sources Creating a filmic look digitally, including Look-up Table development and 16mm emulation Balancing available light with precise planning — including timing shots to the position of the sun Solving complex practical challenges, from child actor scheduling to in-camera stunt solutions Using long lenses and selective framing to reflect how memory distorts perspective Reinforcing theme through technique — including recurring visual motifs like reflected light 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: 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.

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: Diane Warren’s Dear Me — her 17th nomination — and a candid conversation about formula, legacy nominations, and the Academy’s enduring embrace of one of its most persistent contenders Why Golden from K-Pop Demon Hunters has become the category’s undeniable frontrunner — and how its structure, performance demands, and cultural impact set it apart The scope and ambition of I Lied to You from Sinners, and how its blend of blues tradition and cinematic storytelling makes it more than just a “song” An operatic curveball in Sweet Dreams of Joy from Viva Verdi! — and what happens when a classical aria sits beside pop craftsmanship Nick Cave and Bryce Dessner’s Train Dreams, a meditative, image-driven piece that bridges songwriter performance and filmic atmosphere 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: 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.

Costume design defines character before a word is spoken — through silhouette, texture, and the quiet language of fabric. For Episode 10 of Below the Line’s 2026 Oscar series, Skid is joined by Liz Vastola, Austin Wittick, and Allison Choi Braun to examine the nominees for the Academy Award for Best Costume Design at the 98th Academy Awards. Drawing on their experience across period drama, contemporary storytelling, and large-scale production, the panel evaluates this year’s field with a focus on research, construction, collaboration, and narrative clarity. 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 physical craftsmanship behind Avatar: Fire and Ash, and how tangible garments support performance even in a digitally expansive world In Frankenstein, how heightened color and silhouette push beyond strict period realism to create something emotionally immediate How Hamnet uses restraint — muted palettes and softened textures — to support its interior storytelling The meticulous 1950s tailoring in Marty Supreme, and what period specificity reveals about character and class Blending Americana, music culture, and horror in Sinners, where aging, multiples, and continuity become storytelling tools The collaborative relationship between costume designers and directors, and how early visual conversations shape the entire production Throughout the episode, the panel reflects on how costume design operates at every scale — from the smallest accessory to the broadest color arc — and how these choices work in concert with lighting, production design, performance, and theme. 🎧 Press play — or watch the full conversation on YouTube — and join us Below the Line for Episode 10 of our 2026 Oscar series as we head into the 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.

Best Director may not be the top prize — but it’s the category that sparks the loudest arguments. In Episode 8 of Below the Line’s 2026 Oscar series, Skid is joined by Katie Carroll, Bill Hardy, and Shaun O’Banionto break down the nominees for the Academy Award for Best Director at the 98th Academy Awards. With years of shared on-set experience and a long-running panel dynamic, the conversation is sharp, occasionally irreverent, and grounded in what it actually takes to steer a production at this level. 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 ranges across: Chloé Zhao’s restraint in Hamnet, and how stillness and intimacy compete against larger canvases in this category The spirited (and sometimes hilarious) divide over Marty Supreme — its length, its chaos, and the argument over what discipline looks like on screen Paul Thomas Anderson’s command of tone in One Battle After Another, and the logistical confidence required to orchestrate narrative sprawl Joachim Trier’s delicate handling of memory and performance in Sentimental Value, and the quiet authority behind that control Ryan Coogler’s genre-blending ambition in Sinners, and the risks that come with expanding the boundaries of a franchise The case for Frankenstein as a nomination that could have reshaped the race — and why its absence sparked genuine debate at the table The episode carries the easy banter of collaborators who’ve spent years dissecting this category together — complete with side bets, mock outrage, and the occasional good-natured jab — but underneath the laughs is a serious respect for the director’s role: holding the vision, protecting performance, and keeping a sprawling production aligned from prep through post. 🎧 Press play — or watch the full conversation on YouTube — and join us Below the Line for Episode 8 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.