BELOW THE LINE PODCAST

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S25 - Ep 4 - Navy Public Affairs in Hollywood
Before there were military consultants on movie sets, there were officers like Jon McBride — servicemen who understood how stories shape public perception. On this Veterans Day episode of Below the Line, we look at how the Navy’s storytellers helped connect the worlds of service and cinema. This week, Skid is joined by Jon McBride, a former U.S. Navy officer whose service from 1964 to 1968 led him from the deck of the USS Kitty Hawk to the Navy’s Public Affairs Office in Hollywood — bridging two worlds that rarely meet but often influence one another. We explore: Jon’s path from Yale graduate to Naval officer during the Vietnam War era, and how chance and persistence steered him toward public affairs Life aboard the aircraft carrier USS Kitty Hawk, where he volunteered for the ship’s public information role — discovering a talent for storytelling under pressure How a Pentagon connection set Jon on the path to Hollywood, joining the Navy’s West Coast Public Affairs Office on Sunset Boulevard The Navy’s relationship with the film industry — reviewing scripts, assigning project officers, and shaping depictions of sailors on screen Behind-the-scenes memories from Operation: Entertainment, Yours, Mine and Ours, and an unexpected day serving as Dionne Warwick’s “agent” Encounters with Ray Charles, the Blue Angels, and the surreal overlap between show business and service How McBride’s later work with the grassroots Beyond War movement reframed his understanding of conflict and communication Episodes like this one reflect a recurring theme for Below the Line — the shared discipline, teamwork, and creative purpose that link filmmaking and military service. Jon’s story captures that connection with humor, humility, and a deep sense of how storytelling itself can serve a mission. 🎧 Press play and go Below the Line for a Veterans Day conversation that spans from the bridge of the Kitty Hawk to the backlots of Hollywood. For more, visit belowtheline.biz.
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S25 - Ep 3 - The Lowdown - Makeup and Production Design
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.
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S25 - Ep 2 - HIM - Film Editing
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.
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S25 - Ep 1 - Chief of War - Production Design
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.
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S24 - Ep 10 - F1: The Movie - Assistant Directing
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.
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