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.

What does it mean to edit a sports horror film that blurs the line between spectacle and nightmare? For Taylor Mason, the answer was finding the rhythm that carried HIM through its shifting tones.

This week on Below the Line, Skid is joined by Film Editor Taylor Mason to discuss her work on the Universal/Monkeypaw feature HIM, directed by Justin Tipping and starring Tyriq Withers and Marlon Wayans. Joining the conversation is Christopher Angel, a regular guest and co-host of the podcast, who adds his editorial perspective.

The conversation cuts across:

• Building Taylor’s creative partnership with director Justin Tipping, which began during their AFI collaborations
• Taylor’s career arc through high-end assistant editing (e.g. Blade Runner 2049, Dune) before making the jump to feature editing
• Shaping HIM’s hybrid genre — balancing horror, satire, and sports narrative in the edit room
• Sculpting tone shifts, from unnerving silence to explosive sequences, while keeping character central
• Using helmet POVs, flash cuts, and hallucinatory visuals to plunge the viewer into the chaos of football
• Integrating VFX and x-ray sequences to reflect Cam’s physical deterioration and internal collapse
• Bringing personal resonance to the material, informed by her father’s NFL legacy and her own complicated relationship with the sport
• Cutting the film’s finale — a climax that threads horror, absurdism, and social critique

In the end, it’s rhythm that defines Taylor’s edit — balancing precision and chaos in a story that’s both savage and deeply human.

🎧 Press play and go Below the Line on HIM. 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.

What does it take to shoot Formula 1 at Formula 1 speed? For 1st Assistant Director Toby Hefferman, it meant precision, improvisation, and a crew running at full throttle.

This week on Below the Line, Toby Hefferman joins Skid to talk about his work on F1: The Movie, the high-octane feature that merges scripted drama with real-world racing. From on-track logistics to high-pressure resets, Toby shares how he and the crew captured the energy of Formula 1 without slowing it down.

The conversation races through:

• Preparing for race-day chaos with limited takes and no second chances
• Coordinating with the F1 organization for track access and safety
• Balancing authentic racing with scripted storytelling beats
• Working with the broadcast crew and integrating into their coverage footprint
• Collaborating closely with director Joseph Kosinski to shape coverage and keep pace with the story
• Navigating the unique demands of filming alongside professional F1 drivers in active race environments
• What it means to “make the day” when the cars set the schedule — not the crew

What emerges is a portrait of an Assistant Director balancing structure with flexibility — drawing on lessons from Rogue One, Mission: Impossible, and now F1: The Movie.

🎧 Press play and go Below the Line on F1: The Movie. For more, visit belowtheline.biz.

In Alien: Earth, the music has to merge sci-fi horror with sci-fi action — all while carrying the emotional core of Noah Hawley’s storytelling.

This week on Below the Line, Score Composer Jeff Russo joins Skid and returning co-host Louis Weeks to discuss his work on Alien: Earth, the FX series now airing its first season. An Emmy-winning and multiple Emmy-nominated composer, Jeff talks through how his music honors the legacy of Alien while building something entirely new — with select clips from his score woven throughout the conversation.

Here’s what we cover:

• Collaborating with Noah Hawley from the earliest concept stage — five years before cameras rolled
• Weaving together the tones of Alien (1979) and Aliens (1986) while still making the score uniquely his own
• Creating distinct sonic palettes for human, alien, and synth characters — and finding ways to blend them
• Crafting character-driven themes, including Wendy’s motif and the “Siblings” theme
• Integrating unusual instruments like the bass desmaphone and Aztec death whistle to shape the show’s sonic identity
• How serialized storytelling allows themes to grow and evolve across multiple episodes
• Building episode-specific releases, like the standalone score for Episode 5

Jeff also shares how his long creative partnership with Hawley has shaped his process — and why building trust early makes it easier to take musical risks later.

🎧 Press play and go Below the Line on Alien: Earth. For more, visit belowtheline.biz.

Production Design doesn’t always get the laugh — but on Hacks, Rob Tokarz helps set up the punchline.

This week on Below the Line, Production Designer Rob Tokarz joins Skid to discuss Rob’s Emmy-nominated work on Hacks, the HBO Max comedy that just wrapped its fourth season. Rob shares how the show’s design evolved with Deborah and Ava’s careers — from Vegas casinos to LA sound stages — and how visual comedy can live in the details.

Among the highlights:

• Designing Deborah’s late night talk show set — and how its clean lines, reflective surfaces, and scale marked a new chapter in her career
• Leaning into sleek, showbiz artifice while still grounding scenes in emotional truth
• How Rob approaches “passive comedy” through shape, scale, texture, and layout
• Collaborating with Showrunners Lucia Aniello, Paul W. Downs, and Jen Statsky to ensure that design and comedy worked hand in hand
• Designing new spaces like Jimmy’s office and the Home Shopping Network studio
• Working with returning directors, DPs, and department heads to maintain visual continuity
• Navigating studio notes and shifting production goals across multiple seasons

Rob also shares how Hacks maintained character integrity even as its world kept expanding — and why no design detail is too small when you're playing for laughs.

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

Designing a future where human life feels disposable — and deeply familiar — takes creative nerve, dark humor, and a fearless approach to world-building.

This week on Below the Line, Skid is joined by Production Designer Sue Chan to talk about her work on Murderbot, the new Apple TV+ series based on Martha Wells’ bestselling novellas. Sue breaks down how she and her team designed a future full of corporate dread, practical machinery, and sly visual comedy — all while making the world feel tactile rather than CG-slick.

We discuss:

• Developing the look of a far-future society built around exploitation, automation, and control
• How inflatable tech, 3D-printed architecture, and lightweight materials shaped the show’s practical builds
• Establishing a visual language that’s grounded in reality but laced with satire
• Designing Sanctuary Moon, the soap-opera-within-the-show, as a technicolor contrast to Murderbot’s grey, corporate environments
• Using shapes, signage, and spatial hierarchy to reinforce themes of capitalism and class division
• The creative and political process behind Murderbot’s helmet: the mask design that divided the studio and delighted Skarsgård
• Working with VFX and costumes to build a unified visual tone across departments
• Embracing “conscious contrasts” between the emotional tone of a scene and its visual environment

Sue also reflects on the challenge of building a world that feels both foreign and uncomfortably familiar — and why the best production design does more than just look good.

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

Cinematographer Romain Lacourbas returns to Below the Line to talk about crafting Ballerina, the latest stylish installment in the John Wick universe.

This week on Below the Line, Skid is joined by Cinematographer Romain Lacourbas to discuss his visual approach to Ballerina, from the film’s sweeping Prague exteriors to its tightly choreographed fight scenes. Romain breaks down his collaboration with Director Len Wiseman, the decision to shoot single-camera action, and the creative problem-solving behind some of the film’s most explosive moments.

We cover:

• Building trust with Len Wiseman — and how the director’s homemade pre-vis videos helped shape their collaboration
• Adapting the look of John Wick to a new city — with its own palette and texture
• Leveraging Alexa 35 cameras and Hawk Class-X anamorphic lenses to add volume and texture — a deliberate choice to highlight Philip Ivey’s distinctive production design
• Planning and executing long-take action — including that grenade-filled basement sequence
• Why most stunt scenes were shot with a single camera — and how that impacted timing, blocking, and performance
• Leaning into practical effects, from real explosions to blood rigs and rain-slicked streets
• Capturing Hallstatt’s natural beauty — even on a tight shooting schedule

Romain also reflects on the freedom he had as a DP, his continued partnership with Camera Operator James Frater, and how working with a detail-driven director made the difference.

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