With over 25 years of experience in film, television, and commercial production, Andy has cultivated an enduring passion for storytelling in all its forms. His enthusiasm for the craft began in his youth when he and his friends started making their own movies in grade school. After studying film at the University of Colorado Boulder, Andy wrote, directed, and produced several short films while also producing indie features like Netherbeast Incorporated and Ambush at Dark Canyon.
Andy has been on the production team for award-winning documentaries such as The Imposter and The Joe Show, as well as TV shows like Investigation Discovery’s Deadly Dentists and Nat Geo’s Inside the Hunt for the Boston Bombers. Over a decade ago, he started podcasting with Pete and immediately embraced the medium. Now, as a partner at TruStory FM, Andy looks forward to more storytelling through their wide variety of shows.
Throughout his career, Andy has passed on his knowledge by teaching young minds the crafts of screenwriting, producing, editing, and podcasting.
Outside of work, Andy is a family man who enjoys a good martini, a cold beer, a nice cup o’ joe. And always, of course, a great movie.
🌐 Andy Nelson on IMDb
🌐 Connect with Andy on Letterboxd
🌐 Connect with Andy on Instagram
🌐 Connect with Andy on Facebook
🌐 Connect with Andy on LinkedIn
Andy has hosted as well as been a panelist on a number of episodes.
This page features episodes on which he has been a host.
See episodes where Andy has been a panelist right here.
We continue our look at nominees and non-nominees for the 1988 Academy Award Best Effects – Visual Effects category. Today, we’re chatting about Rob Reiner’s perfect fantasy comedy romance film. That’s right, we’re digging into The Princess Bride.
It’s our December Member Bonus Episode, and the members have spoken — we’re adding Joel Schumacher’s 1987 teen vampire horror comedy “The Lost Boys” to the list of films that coulda been a contender at the 1988 Academy Awards nominations for Best Visual Effects. It’s a fun one to return to, and has a lot more going on than we realized when we first saw it in the 80s. Tune in!
We continue our look at the 1988 Academy Awards Best Visual Effects Nominees – and some non-nominees – with a conversation about the fantastic John McTiernan 1987 muscle-filled alien battle. That’s right, we’re taking on Predator.
We kick off our look at the 1988 Academy Awards Best Visual Effects Nominees with Joe Dante’s miniaturization sci-fi comedy Innerspace, starring Martin Short, Dennis Quaid, and Meg Ryan. What a great way to start this incredibly fun series!
We conclude our series looking at the Hugo Award nominees for Best Dramatic Presentation in our conversation about Norman Jewison’s 1975 dystopian future sports movie, Rollerball.
Academy Award-winning cinematographer Erik Messerschmidt joins us to discuss his career – including David Fincher’s The Killer and Michael Mann’s Ferrari – as well as one of his favorite movies, Roman Polanski’s 1974 film Chinatown.
We continue our exploration of the films nominated at the 1976 Hugo Awards for Best Dramatic Presentation. Today, we laugh along with one of our favorites – Monty Python and the Holy Grail. Still works as well as ever, and we even try saying a few smart things about it along the way.
For our November member bonus episode, we add a ‘what if?’ to our run of 1976 Hugo Awards Best Dramatic Presentation Nominees series, talking about Bryan Forbes’ 1975 film The Stepford Wives. How does it compare to the nominees?
We continue our 1976 Hugo Awards Best Dramatic Presentation Nominees series with John Carpenter’s first film – and mostly a student film – it’s Dark Star. Is it better than a student film? Too much about hippies in space? Or does it work in some strange way?
We kick off our next series exploring the nominees for the Hugo Awards Best Dramatic Presentation award, starting with a bonkers post-apocalyptic film, L.Q. Jones’ A Boy and His Dog. Don Johnson and a telepathic dog? Jason Robards as leader of an underground society? We’re in!