BELOW THE LINE PODCAST

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 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.