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.
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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.
In 1991, Richard D. Zanuck and his wife, Lili Fini Zanuck, produced her directorial debut, “Rush,” a story of two undercover cops trying to bring down a big drug dealer in a small Texas town and in the process become addicts themselves. Our memory of the film, unfortunately, was a bit better than the film itself (even if one of us disliked it less than the other).
Driving Miss Daisy was a perfect story choice for Richard D. Zanuck to produce. Sure, it was difficult to get made but for a film that only cost $7.5 million dollars to produce, it raked in over $100 million at the domestic box office, putting it in the top 10 of the year with the likes of Batman and Lethal Weapon 2. Topping that off, it led Zanuck, along with his wife, Lili Fini Zanuck, to win the Best Picture award at the Oscars. But this 1989 film, which deals with prejudice and friendship in the relationship between an old Jewish woman in the south and her African American driver, stands out for many people as a perfect example of what’s wrong with the Oscars because it came out the same year as Spike Lee’s Do the Right Thing, a film that deals with race relations in a much more intense and direct way, and what many feel should have won the Best Picture award.
When someone says the word ‘jaws’ to you, it inevitably conjures up the man-eating great white shark in Steven Spielberg’s 1975 thriller masterpiece. It’s hard to imagine a time when the word ‘jaws’ didn’t do this. But that’s what Spielberg’s film “Jaws” did, as well as birth the notion of the summer blockbuster and make people not want to swim in the ocean. Join us—Pete Wright and Andy Nelson—on this week’s episode as we chat about this film, the next in our Richard D. Zanuck series.
After his father fired him from 20th Century Fox and a short stint at Warner Bros., Richard D. Zanuck joined forces with his buddy David Brown from his Fox days and the two joined forces as the independent producing duo under the banner The Zanuck/Brown Company. For their first film? They found possibly one of the greatest scripts ever written – David S. Ward’s “The Sting” – attached George Roy Hill to direct with Paul Newman and Robert Redford heading up the stellar cast, and ended up producing the Best Picture winner of 1973, as well as one of the greatest films ever made. Join us – Pete Wright and Andy Nelson – this week for the second in our Richard D. Zanuck series as we discuss (and maybe gush a little bit because of our overwhelming love for this film) everything that makes “The Sting” great.
It’s the start of our Richard D. Zanuck tribute series, ladies and gentlemen, and what better way to begin than with the first film he produced for his father, Darryl F. Zanuck, 1959’s “Compulsion.” Based on the book of the same name by Meyer Levin about the Leopold/Loeb murder from 1924, Richard D. Zanuck puts together a top notch team of cast and crew, headed up by director Richard Fleischer, to create a film that comes in under budget and ahead of schedule.
We always knew there were other operatives out there, and when the producers couldn’t get Matt Damon and Paul Greengrass to return to do another Jason Bourne movie, they did the right thing by bringing in the man who’s been with the series from the start—Tony Gilroy—to not only write but also direct this latest entry into the franchise, “The Bourne Legacy.”
It’s time, ladies and gentlemen, for the final chapter in the Jason Bourne trilogy, even if it’s not the end of the Bourne series. Jason finally works to dig up where he came from, no matter how ugly it is, and come to terms with it. It’s a great film and an awesome end to this trilogy, even if the jiggly monkey cam does make people literally vomit in the aisles. Listen in as we—Pete Wright and Andy Nelson—talk about it this week.
Jason Bourne’s back, still trying to figure out his past as a government assassin while struggling to stay ahead of both the good and bad guys as they attempt to take him out. This week, we’re covering the 2004 film, “The Bourne Supremacy”, the second in the Bourne franchise.
This week, movie lovers, we begin our series on the Bourne movies, starting here with Doug Liman’s 2002 film, The Bourne Identity. Born from Robert Ludlum’s classic spy thriller, this movie came out a time when the spy film genre was feeling a little… overstuffed. This film, as well as the two that followed it, proved that a spy film could be more than just action scenes loosely strung together with threads of a weak story.
John Huston co-wrote and directed it, choosing to shoot as much as he possibly could in Africa. While many said it couldn’t be done—shooting a story on location about two characters typically considered much too old for a love story—John Huston proved them wrong.