How do you bring a game world to life for the screen — especially when that world already has millions of devoted fans? Cinematographer Catherine Goldschmidt knows firsthand — and her work on The Last of Us reveals just how complex that challenge can be.
Catherine Goldschmidt joins Skid to discuss her work on the second season of HBO's The Last of Us, with co-host Gianni Damaia bringing the perspective of a longtime fan and gamer. Together, they dig into the complex visual language of an adaptation that blurs the line between game and cinema — from shot-for-shot recreations to bold deviations.
We cover:
Catherine’s approach to adapting game cinematics into film language — including when to match and when to break away
How The Last of Us uses space, light, and camera movement to draw viewers into Ellie’s experience
Constructing visual set pieces like the subway ambush and Jackson assault with a blend of practical stunts, VFX, and strategic camera placement
The emotional and logistical challenges of staging Joel’s death
The visual shift from chaos to quiet in Episode 2’s final montage — and how that deliberate pacing reshapes the episode’s emotional impact
Catherine also reflects on how her collaboration with multiple directors and departments shaped the season’s look and feel, and how visual storytelling can remain grounded even in the most heightened, post-apocalyptic moments.
🎧 Listen now to join us Below the Line with Catherine Goldschmidt — and explore more at www.belowtheline.biz.
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S24 - Ep 2 - Dope Thief - Film Editing
What does it mean to "edit for emotion" in a show built around crime, identity, and betrayal? Eric Litman knows — and his work on Dope Thief proves it.
Eric Litman returns to the cutting room — this time, with Skid and co-host Christopher Angel — to share how he approached the editorial storytelling in Apple TV+’s Dope Thief, a show that lives or dies by its tonal precision and dual-lead structure.
Guided by Chris’s thoughtful questions, the conversation digs into Eric’s instincts as an editor, the creative latitude he was given on the show, and the real collaboration that happens between editors, directors, and showrunners — all while serving a distinct visual and emotional tone.
🎞 How does an editor decide when to hold or cut away from a performance?
🧩 What does Eric look for when selecting alternate takes during tense scenes?
🧠 How does post shape the story, not just the footage?
Whether you’re a film editor yourself, a creative working in episodic TV, or just a fan of layered, propulsive storytelling — this episode is for you.
🎧 Press play and go Below the Line with Eric Litman — and explore more at www.belowtheline.biz.
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S24 - Ep 1 - Thunderbolts* - Props
What does it take to keep track of iconic props across the Marvel Cinematic Universe? Assistant Property Master Travis Bobbitt would know—he’s been doing it for over a decade.
In this episode of Below the Line, Skid and co-host Gianni Damaia sit down with (returning guest) Travis Bobbitt to talk about his journey through the MCU, culminating in his latest work on Thunderbolts. From organizing massive prop warehouses to navigating the fast-paced demands of a Marvel set, Travis shares what it’s really like working behind the scenes on some of the biggest blockbusters of our time.
Whether you're a filmmaker curious about the property department's role or a Marvel fan eager for behind-the-scenes stories, this episode offers a rare glimpse into the creative logistics that keep superhero worlds believable.
🎬 How do props evolve from concept to screen?
🛠 What’s the pressure like working on a franchise with millions of fans?
🧠 What does continuity actually look like across ten-plus Marvel projects?
Listen in for practical insights, war stories from the lot, and a few laughs with someone who’s helped shape the MCU from the inside out.
🎧 Hit play and go Below the Line with Travis Bobbitt — and explore more at www.belowtheline.biz.
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S23 - Ep 10 - A Complete Unknown
How do you turn New Jersey into 1960s Greenwich Village — while navigating strikes, rewrites, and a lead performance that hinges on live music? That was the challenge behind A Complete Unknown, the 2024 Bob Dylan biopic directed by James Mangold.
This week, Skid is joined by three key crew members behind the film: Set Decorator Regina Graves, Property Master Michael Jortner, and Second Assistant Director Brad Robinson. Together, they share how they navigated shifting scripts, location changes, and the challenge of historical fidelity — all in service of a film that manages to feel both intimate and iconic.
Topics include:
Rebuilding momentum after the actor’s strike forced a full crew reset
The challenges of transforming Hoboken and Jersey City into Greenwich Village
Training extras to behave like real 1960s folk fans — from posture to props
Creating immersive environments for actors to perform (and improvise) in
Balancing accuracy and atmosphere when representing real figures and events
Behind-the-scenes dynamics with director James Mangold and star Timothée Chalamet
Filming the concert finale, the Viking Hotel sequence, and the Columbia studio set
How a film’s invisible craft can be both its triumph and its obstacle come award season
The conversation also touches on the tensions between Dylan’s legacy and the demands of dramatization — and how the crew stayed grounded despite outside opinions and mid-production curveballs.
🎧 Press play and go Below the Line on A Complete Unknown. For more, visit belowtheline.biz.
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S23 - Ep 9 - Daredevil: Born Again - Cinematography
Cinematographer Pedro Gomez Millan shares stories from the set of “Daredevil: Born Again”, Disney’s 2025 continuation of the live action superhero saga that aired on Netflix between 2015 and 2018. Also continuing his co-host streak: Gianni Damaia!
Ireland