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.
We continue our series looking at the 1965 BAFTAs for the nominees of the Films From Any Source category, this time with a conversation about Jack Clayton’s The Pumpkin Eater. Easy to say we loved this powerful drama.
Cinematographer Lyn Moncrief joins us to talk about one of his favorite movies, Paul Thomas Anderson’s 1999 Magnolia. We also talk about how Lyn got his start, his work in the horror genre, and the latest work he did on the brand new Five Nights at Freddy’s.
We kick off our next series looking at the 1965 BAFTA Best Film From Any Source Nominees. First up, it’s a battle between church and state, between friends, between Normans and Saxons. Plus, Peter O’Toole and Richard Burton cavorting like pros. It’s Peter Glenville’s 1964 film Becket! Tune in!
We wrap up our member bonus episode series looking at the three films nominated for the National Society of Film Critics Awards for Best Cinematography in 1969 with a chat about Sam Peckinpah’s The Wild Bunch. It’s a brilliant film and one we’re thrilled to talk about.
We wrap up our series on the nominees at the 1952 Academy Awards for Best Black-and-White Cinematography with a conversation about Elia Kazan’s adaptation of Tennessee Williams’ play “A Streetcar Named Desire.” It’s a strong finish for this series and gives us a lot to talk about. Tune in!
We continue our 1952 Academy Awards Best Cinematography • Black-and-White Nominees series with a conversation about Alfred Hitchcock’s fantastic “Strangers on a Train.” The cinematography is top notch. The story’s perfectly Hitchcock. It’s a great film to chat about!
Sophie Barthes, writer/director behind “Cold Souls,” “Madame Bovary,” and most recently “The Pod Generation,” joins us to tackle Bergman! We’re talking about his 1966 film “Persona,” which means we have no shortage of things to discuss. Shot construction, editing style, performances, Bergman’s personal life leading to the film – we barely scratch the surface of this fascinating film. Plus, we dig into Sophie and her films. Tune in!
We continue our 1952 Academy Awards • Best Cinematography, Black-and-White nominees series with a conversation about the winner that year – George Stevens’ dark melodrama “A Place in the Sun”. Neither of us had seen it and we both were completely surprised by how much we loved it. Check it out then tune in!
We continue our series looking at the 1952 Academy Award nominees for Best Cinematography, Black-and-White. Today, we talk about a film that gave the Navy’s Underwater Demolitions Team – subsequently the SEALs – a big boost in applicants. It’s Lloyd Bacon’s 1951 film “The Frogmen” starring Richard Widmark and Dana Andrews. Plus, it’s one of the first major Hollywood films to incorporate underwater cinematography to this extent! Tune in.
We return to the 1969 National Society of Film Critics Awards nominee list for Best Cinematography for this month’s member bonus episode. Specifically, we’re talking about Haskell Wexler’s narrative feature directorial debut “Medium Cool.” Taking place around Chicago during the 1968 Democratic National Convention, it has a lot to say about politics, race relations, and the media. Still, that last act leaves us scratching our heads… Tune in!