Life in Hollywood, below-the-line

Life in Hollywood, below-the-line
Work gloves at the end of the 2006/2007 television season (photo by Richard Blair)

Sunday, March 3, 2024

A Dark Day


                                   

From the first time I walked onto a soundstage, I liked going up high, where the work was always physical but relatively straightforward. The catwalks are a world apart from the clusterfuck of noise and confusion that so often infects the stage floor, where one or two loudmouths always seemed to be yelling about something. Some days were utterly terrifying, of course, but at least I knew that I was contributing in a meaningful way -- and in the process, earning every last penny of my paycheck ... and then some. Those days were very satisfying on many different levels.

Working thirty to forty-five feet or higher off the ground comes with inherent risks -- gravity has no mercy and takes no prisoners -- so you have to be careful, but the soundstages I started on at Paramount and Warner Brothers were in solid shape.  I felt safe on most of the non-union stages around town as well, although a few of the really old ones were decidedly sketchy.  My biggest worry when working up high was accidentally dropping a crescent wrench or screwdriver that might hit some poor bastard down on the stage floor. Still, most of those stages I worked on were built many decades ago, and time takes a toll on everything. Any studio that doesn't keep an eye on and maintain those catwalks is putting at risk the lives of crews who work up high. 

A terrible tragedy happened early last month at the CBS Studio in the valley -- "Radford" as it's known throughout Hollywood, which was my favorite studio and home lot for the last third of my career.  A  41-year-old lighting technician working a show on Stage 3, one of the oldest soundstages on the lot, was killed when the boards under his feet gave way with no warning. Exactly what happened remains unclear pending the investigation, but what matters is this: one moment Juan "Spike" Osorio was doing his job and the next moment he was falling forty feet to his death.  He wasn't out on the perms or doing anything remotely dangerous -- he was just doing the physical but routine task of wrangling cable up high, something every juicer does many times over the course of a career.  I spent countless days landing and dropping cable up high at Radford, although never on Stage 3, where Gunsmoke and many other shows were filmed way before my time in Hollywood. Never once in all those years did I worry about catwalk floorboards giving way like a trap door -- the possibility never entered my mind.  I'd spot occasional missing boards or a weak safety rail on the catwalks, and if I couldn't fix the issue right then and here, I'd report it to the studio rigging gaffer. Other than a few heart-pounding adventures out on the perms, I never felt in any danger up high, but it seems my confidence in the structural integrity of those stages was misplaced.  

The ripple effects of this tragedy won't be confined to Juan's widow and their families -- and here I speak from experience: nobody who was there will ever forget the sight and sounds of his violent death.  It's bad enough if you don't personally know the man, but if he was part of your crew and/or a friend, it's devastating. One way or another, everybody on that stage is a victim, and Spike's death will haunt them for a very long time.

Maybe I was just lucky during my years working up high -- I really don't know. All I can say for sure is that Juan Osorio didn't deserve to die on Stage 3: he should have finished his workday and gone home to his wife. There will doubtless be some kind of legal action and eventual settlement, but those things take time, so a GoFundMe has been established for his wife, who needs all the support she can get right now. I chipped in, but it was still short of the goal the last time I checked, so if you can help, please do.  If for whatever reason you can't contribute, please consider adding your voice to this online petition pressing for legislation to mandate that studios inspect, maintain, and repair sound stages. Let's do what we can to make sure what happened to Spike never happens to anybody else.

Thanks.

RIP, Spike.


I'd planned to write about other things this month, but shifting to another subject just doesn't feel right, so I'll save it for another day.

MT

Sunday, February 4, 2024

February



Thanks to the "Crew Stories" FB page, I recently came across another "inside the belly of the beast" film book. In Purple Fury: Rumbling With the Warriors, Rob Ryder weaves a collection of anecdotes describing his adventures toiling in many aspects of the film industry -- from PA to locations, set dec, acting, screenwriting, props, and sundry other on/off set chores -- around the central story of working on Walter Hill's legendary 1979 film The Warriors.  The title and cover photo come from Rob being drafted by Hill to replace an injured stuntman as a member of "The Baseball Furies," one of the violent gangs The Warriors must confront as they fight their way across New York City over the course of one long, bruising night. While playing the bat-swinging role of "Purple Fury" for the cameras at night, he managed to keep his day job in the Locations Dept for a few days, which made the messy and exhausting job of working a feature film all the more grueling. 

As you can see from the first page, Ryder is a stylish writer who spins a punchy, informative, and highly entertaining tale: 

"Making movies is a lot like life -- a swirling chaotic clusterfuck. So if you're looking for a polished story that stays on track, clips along in perfect chronological order and rolls into the last station all tied up in a shiny pink bow, you caught the wrong train."  

He wasn't kidding. The narrative jumps back and forth in time and place from NYC to Hollywood, but Ryder's casual conversational style feels like he's telling you these stories told over a few ... okay, more than a few ... beers, and that's a good thing. This book is a highly entertaining read for industry veterans and newbies alike: the former will nod and grin as they resonate with Ryder's experiences, while the newbies receive a lively and accurate introduction to what it's like to work on a feature film.

I saw The Warriors when it was released thirty-five years ago, and although it made a big impression on me, I had no idea that it's since become a cult favorite all over the world, or that surviving members of the cast still gather at conventions to meet-and-greet fans, many of whom weren't even born when the film first hit theaters. 

Ryder moved to New York to become a writer before fate sent him on a detour into the film industry, but kept at the keyboard writing screenplays that often sold but didn't get made. Although one could view this as -- in the immortal words of then-president Jimmy Carter -- "an incomplete success," it's a hell of a lot more than most wannabe screenwriters accomplish. As his book reveals, he's still at it all these years later, coming up with ideas for scripts and making them pay one way or another. All that practice turned him into an excellent writer, which makes Purple Fury a great read.

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There's a fascinating piece on Scott Frank in the January 1 - 8 New Yorker by Patrick Radden Keefe, titled The Ventriloquist. Truth be told, I'd never heard of Frank before reading this article, but it turns out he's been one of the most prolific and in-demand screenwriter/script doctors in Hollywood for quite a while now, to the point where he was able to demand $300,000 a week for his re-write services before moving into the triple-threat task of being a writer/producer/director.

His credits include Get ShortyMarley & Me, and Logan, among many others, and according to Keefe, has done rewrites for sixty features. His most recent effort is directing a television series currently running on AMC called Monsieur Spade, which imagines the life of an aging Sam Spade -- the lead character of Dashiell Hammet's The Maltese Falcon -- after he's left San Franciso to live in France.

Although I've long been interested in writing, I've never been drawn to screenplays.  Like all writing, screenwriting is an art -- and thus a noble endeavor -- but even the best screenplay is a blueprint for a movie, not the movie itself.  No matter how clever the plot or beautiful the story structure, a brilliant screenplay will never see the light of day unless and until someone turns it into a movie.  Few people beyond actors, producers, directors, and aspiring screenwriters read screenplays, and I don't imagine many people outside the film and television industry ever say to themselves "Hey, this feels like a good night to sit by the fire and read a screenplay."  

The best screenwriters are as good at their craft as any short story specialist, novelist, or poet, but I'm grateful that I've never been drawn to that particular literary flame.  I know a few people who are, and although they write smart, well-structured screenplays, the finger-to-the-air nature of the marketplace has left them beating their heads against the wall of futility for many years.  It seems that a good screenplay at the wrong time has less a chance of being sold -- much less making it to the silver screen -- than a bad screenplay at the right time.  Although I can't imagine dealing with such a level of frustration, I salute those who keep grinding away at it year after year.  They're made of sterner stuff than I.    

For what it's worth,  here are some thoughts on the subject of screenwriting from back in 2008, and eight years later, a few more thoughts.   

Keefe's article is a great read, so I hope that link works -- you never know these days.  If not, well, most libraries carry the New Yorker, and this one is worth a trip to your local branch.  For any of you interested in more from Scott Frank, he has a lot to say in several of the On Story podcasts out of Austin, Texas.

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At some point in the last few years I stopped listening to podcasts of The Business, the weekly half-hour show on KCRW-FM that begins with a quick roundup of the latest news in the film and television industry, then moves on to an interview with an actor, writer, director, producer, or other luminary of the business.  Some weeks were great, others not so much, but eventually I grew weary of the show host, Kim Masters, and her habit of constantly interrupting and talking over her guests to the point where it seemed she thought the show was more about her than them.

I tuned in again recently and was pleasantly surprised to find that -- for these two episodes, anyway -- Kim left the interviewing to hosts more willing to shine the spotlight on the guests. The first features Noah Hawley discussing his Fargo series and another series in the works based on the "Alien" movies.  A wonderful storyteller, Hawley is also one very smart guy, and has some interesting things to say about a lot of things in that conversation.  The second has Gary Oldman talking about his role in Slow Horses, his acting career, his interest in directing, and the lure of continuing to work part-time so he can do things in life other than work on set. Personally, I could listen to Gary Oldman read a phone book (google it, kids) for twenty minutes, but this interview offers a lot more. If you like either show, give these a listen -- you'll be glad you did.

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A letter from my union local arrived a couple of weeks ago with an odd request: the officers wanted me to retire ... again.  I was confused at first --  didn't I already retire back in 2017, so WTF?

It turns out that a large portion of the dues each retiree pays to remain a member of the local goes to the IA international.* Although that's not necessarily a bad thing, my local in LA is hard-pressed to keep up with the ever-increasing cost of life insurance premiums that cover all members. They could raise the quarterly dues, of course, but after most of the union was unemployed for more than six months last year thanks to the WGA/SAG strike -- and with full production not yet up to speed in Hollywood -- nobody wants to see the dues go up.  By signing and returning the form, I'd become "a retired member of IATSE" rather than simply retired from Local 728,  so the local would get more of the annual dues I pay, which would help defray those insurance costs.  

According to the letter, the only downside to signing that form is that there's no going back. An IA member who retires from the local can "un-retire" and go back to work -- or if sufficiently motivated, run for one of the union officer jobs -- but once he or she officially retires from the international, those avenues are closed. Given that I now live four hundred miles north of LA and am not about to take all those "safety classes" again --  without which I wouldn't be allowed on set anyway -- going back to work was never a realistic possibility, and my interest in becoming an officer of the local is less than zero.  That said, I hate to torch a bridge unless it's unavoidable, so I left the letter sitting on my desk for a week or so.  Then one morning I looked at it and thought "Who am I kidding? No fucking way am I moving back to LA to get back on the Hollywood merry-go-round." 

It's over -- it was over the first time I retired back in 2017.  At this point, an hour or two of stacking firewood finishes me off for the day, so there's no way I could go back to slinging 4/0 on a rigging crew or working 12 hour days on set.  More to the point, I don't want to -- at all. Forty years was enough ... so I signed the form and dropped it in the mail the next day. 

I won't lose any sleep over this.

That's all, kiddos. As months go, February isn't much fun -- at all -- but remember the words of Garrison Keillor:

"Without winter, you can't appreciate the spring."



 * Retiree dues are much less than active members -- in my case, around $120 a year as opposed to nearly $1000 active members pay. 

Sunday, December 31, 2023

January


                                    Here comes 2024

                                            (Photo by Robert Aasness)

Yeah, I know ... this is actually the last Sunday in December, not the first Sunday of January, so why is the monthly BS&T post appearing today? Hey, rules were made to be broken, and besides, it's New Year's Eve. I can't think of a better time to offer one last Hollywood air-kiss to 2023 while bracing myself for what's coming in the New Year. 


Although I may be one of the few sentient beings in this country who’s never seen a single episode of Homicide: Life on the Street — and likewise missed the entirety of Brooklyn Nine-Nine despite the fact that it was shot on a soundstage just a few yards across the alley at CBS Radford from the stage where I toiled on the longest running show of my so-called career— I was stunned and deeply saddened to learn of Andre Braugher’s entirely premature death last month. 2023 was a rough year for those who appreciate good actors of all stripes. The list of those left us is long and painful, and although there’s no way to determine which of these artists represented the greatest loss (and why the fuck would anybody even attempt such a ghoulish task?), it’s often the most recent losses that sting the most, and such is the case with Andre Braugher. 

I first became aware of him in the 2007 sci-fi thriller/horror film The Mist, a taut, spooky, and ultimately bleak film that made quite an impression on me, but I didn’t see him again until Men of a Certain Age came to my television a couple of years later.  Braugher gave strong, nuanced, memorable performances in each of these productions, which marked him as an actor to watch. You can get an inkling of how broad was his thespian range and what kind of guy he was from an interview that was broadcast on NPR, but for a measure of the man himself, it's hard to beat this story from a dolly grip who worked with him a long time ago.*

"About 25 years ago I did a movie with him (don't remember the name).  I'd gotten divorced a year earlier, and with a small daughter, still didn't have a lot of money. I took a date to the wrap party, a young lady that I wanted to impress.  We stopped for drinks at a restaurant on the way, and there was Andre at the bar.  I said hi and we chatted for a minute. My date said she liked whiskey, so I told the bartender to give me his best two shots. After we downed them, he said "That'll be sixty dollars."  

This was way more than I could afford -- I was expecting maybe twenty bucks ... in 1998 dollars.  Andre must have seen the panic on my face, and without missing a beat he told the bartender 'I've got this one."

"Thank you,' I mouthed."

"Forget it,' he said, then wished us a good evening. I've never forgotten this small act of kindness. He was a good man."

         Andre Braugher: a wonderful actor and an even better man.

                                                     RIP

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Anybody who's been watching Slow Horses on Apple TV knows what an entertaining show it is, and that the lead is a role Gary Oldman was absolutely born to play.  It's been a long time since Oldman's birth, of course, and the weight of all those years is evident in everything about the slovenly leader of a motley crew of disgraced MI 5 agents -- slow horses -- each of whom has been shunted off to perform menial and meaningless bureaucratic busy-work under the relentlessly critical eye of seasoned veteran and fellow disgracee Jackson Lamb.**  

As this piece from GQ notes, the show provides Oldman the opportunity to release and "embrace his inner crank" and let the bile flow while guiding his younger agents through the labyrinth of spy-craft at the price of occasional blood. As usual with Brit shows, the acting of the entire cast is terrific. Slow Horses is a fun show now in its third season, and if you're not watching it, you're missing out. 

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I've long thought of Frank Capra's classic It's a Wonderful Life as a Christmas Noir: a film that takes its protagonist -- a good man so thoroughly disillusioned by the cumulative weight of fate and circumstance that he's driven to commit suicide, but is saved at the last second by a guardian angel who then shows him how miserable the lives of those he loves would have been had he never been born. It's a truly great movie, but I never thought much past that thumbnail description for one reason: analytical dissections of cinematic classics was never -- ever -- in my wheelhouse. If it was, maybe I'd have spent a forty-year career doing something less strenuous and bruising than wrangling heavy cable and lamps on set in Hollywood. Still, I enjoy reading the analysis of those who do the mental heavy-lifting my brain can't handle, as in this take on Capra's movie from Mick LaSalle, senior film critic for the San Francisco Chronicle. 

"This movie was considered too downbeat for audiences when it debuted in 1946, and today is misremembered as a sentimental Christmas classic.  The truth is somewhere in between.  It's a Christmas movie, in a sense, but it's one that mostly addresses a central question that people ask themselves throughout their lives.  The question starts out as "Will my life amount to anything?"  Then it's rephrased over time: "Is my life amounting to anything?" "Has my life amounted to anything?"  Finally, it's "Did my life amount to anything?"

"Jimmy Stewart, a specialist in screen anguish, plays a man who's convinced that his life has amounted to absolutely nothing, and it takes a divine intervention to make him see otherwise. The redemption of his spirit is reassuring, not just to him, but to all of us. The movie tells us that Christmas is a time of renewal, but says it in a way that's unexpectedly visceral and personal.  Our relief for him is relief for ourselves. This is a great American movie about the meaning of success."

"You know you want to see it again. So see it."

Thanks, Mick. I think I will.

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As the New Year approached, I had the feeling of being strapped into a roller coaster as it slowly clanked up through the darkness towards the first and highest peak, after which will come a stomach-churning vertiginous plunge into the twisty unknown at an ever-accelerating and increasingly lethal pace. Should anything go wrong -- a worn-out bearing, loose bolt, or broken piece of track -- the entire train of cars could hurtle into the void, sending all the passengers to oblivion.  A lot can go wrong over the course of this year, and here we are, just beginning to feel the heart-stopping panic as gravity takes charge ... and it hits us that we're suddenly no longer in control. 

What will happen, and what kind of world will we face a year from today? I don't know, but I find it hard to be optimistic these days.

All of this put me in mind of W. B. Yeats famous poem The Second Coming, which feels disturbingly appropriate for our current cultural, political, and geopolitical situation.

The Second Coming

William Butler Yeats

Turning and turning in the widening gyre

The falcon cannot hear the falconer:

Things fall apart; the center cannot hold:

Mere anarchy is loosed upon the world,

The blood-dimmed tide is loosed, and everywhere

The ceremony of innocence is drowned:

The best lack all conviction, while the worst

Are full of passionate intensity.


Surely some revelation is at hand:

Surely the Second Coming is at hand.

The Second Coming! Hardly are those words out

When a vast image out of Spiritus Mundi

Troubles my sight somewhere in the sands of the desert

A shape with lion body and the head of a man, 

A gaze blank and pitiless as the sun,

Is moving its slow thighs, while all about it

Reel shadows of the indignant desert birds.

The darkness drops again: but now I know

That twenty centuries of stony sleep

Were vexed to nightmare by a rocking cradle, 

And what rough beast, its hour come 'round at last,

Slouches towards Bethlehem to be born?


On that somber note, I wish you all a Happy New Year -- and good luck. We're all gonna need it.


* That would be "D" of Dollygrippery fame, of course. Thanks for sharing your great story, D!

** If "disgracee" isn't a real word ... well, it should be.


Sunday, December 3, 2023

December


                                             Victory!*

Christmas came early with the end of the SAG strike, but the ancient wisdom once again held true: "When elephants fight, the grass is trampled."  The film industry's below-the-line workers -- who do the heavy lifting on and off set to move a script from computer screen to silver screen -- were getting trampled even before WGA picket lines went up on May 2. The powers that be knew damned well a strike was coming and had long since ramped down production, which is why so many below-the-liners have been out of work for eight to ten months now, and some even longer.  Unemployment benefits run out after twenty-six weekly checks have been delivered -- and $450/week doesn't go very far in LA anyway -- so many of those people have been in desperate shape for a very long time.

Having burned through their savings, plundered retirement accounts, sold what they could, re-mortgaged homes, taken temp jobs, and borrowed from whoever was able to help, most of those hard-working crew people are now in a deep financial hole. It's great that long-dormant movie and television productions are finally gearing up to shoot, but it won't happen overnight, which means much of Hollywood is facing a lean and hungry Christmas.  

Things will be different in the New Year, when the film and television industry should be going at it hammer and tongs.  Debts will be repaid and bank accounts gradually replenished as the months pass, and life will be better for a while, but another dark cloud looms on the horizon: the IA contract with the AMPTP expires next summer on July 31st. Those in the rank and file were not happy with the last contract negotiated in 2021, when the IA came closer than I'd ever seen to calling a general strike. After decades of watching more hard-earned benefits vanish with each new contract, the membership was fed up ... but not quite enough, because they ratified the 2021 contract.  Still, the consensus at the time was that the 2024 contract would have to be much better or a strike will almost certainly be called to make sure that -- as The Who memorably sang back in the days of my youth -- "We don't get fooled again.

But then Covid shut things down for a while, and as production gradually resumed, it was with mandatory safety protocols -- daily testing, mask requirements, social distancing, strict and often fickle Covid Safety monitors, and an onerous A-Zone/B-Zone/C-Zone sector on every set -- which made a tough job all that much harder and pretty much took all the fun out of this business. Much of the workforce hadn't fully recovered when the WGA and SAG went on strike, which slammed the door for 114 days during which no sector of the industry suffered more than the below-the-line community, who supported the strike despite not having a dog in the fight. So when it's our turn for a new and better contract in July, will the battered, bruised, and still-recovering IA membership really be willing to call another industry strike -- and if so, will the WGA and SAG support us?

I don't know, nor does anyone else. To quote another old saying: "Time will tell."

It seems a bit early to declare who the real winners and losers were in this strike, but that didn't stop The Hollywood Reporter from sharing a few thoughts on the matter.  Whether they're correct in that assessment remains to be seen, but I hope they're right about at least one thing: the Lizard Queen losing influence -- and hopefully her job -- leading the AMPTP.  I didn't like her when she first got the job, and nothing since then has softened my view. 

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A while back -- quite a while, actually -- a post appeared here called Art vs. Commerce discussing the age-old struggle between those in Hollywood who are driven to reap profits and those whose interest is in creating cinematic art.  When the two drives miraculously come together, the result can be a classic film ... but that doesn't happen often enough.

My own cinematic coming of age in the 70s was sparked by a new style of filmmaking that focused on compelling dramas with something to say, many of which did well at the box office. A young generation of writers and directors turned Hollywood upside down and created a new mini-Golden Age, but the good times couldn't last. Once George Lucas and Steven Spielberg demonstrated the massive profit potential of slick, well-crafted, undeniably entertaining movies like Star Wars and Jaws, that brief flowering of artistic expression in Hollywood was doomed. 

Nowadays Hollywood's bread-and-butter is a depressingly juvenile string of CGI-laden tentpole superhero franchise spectaculars, because it's all about the money.  The industry always has been, really, but there was a time when producers and studio heads were so befuddled by the changing tastes of a younger generation that they had to roll the dice on new writers, directors, and actors. The resulting cinematic renaissance fired my young imagination enough to lure me to Hollywood, but I have to wonder: if I was twenty years old now, would the current crop of superhero comic-book movies  drive me to enter the film industry?  I doubt it. I'd probably be more interested in the video game industry, which -- much to my surprise -- turns out to be bigger in monetary terms than the film and music industries combined.**

Look, if you love all the superhero/Marvel stuff, great: I'm not judging anybody else's taste, so more power to you. All I'm saying is that we're not gonna see another The Last Detail  -- let alone a classic like Chinatown -- emerge from Hollywood anytime soon, and I think that's a shame.

For those of you who might be weary of me shoving various books down your throat, here's a change of pace: Boxed Out is an excellent piece by Michael Schulman that appeared in the Nov. 6 issue of The New Yorker, analyzing why the most recent Golden Age of Television -- the early streaming years -- didn't and couldn't last. Another New Yorker piece by Schulman is a profile of Ridley Scott titled Napoleon Complex, which appeared in the Nov. 13 issue. I hope those links work for you, although they may lie behind a paywall. In that case, both of these articles are worth seeking out, either from friends who subscribe to The New Yorker or at your local library.

On the general theme of art vs. commerce, here's a fascinating interview/conversation with David Byrne  that will be of interest to any fans of The Talking Heads.  Byrne is not your typical pop/rock/whatever star, and is thus always worth a listen.

And speaking of music, in what passes for tradition at Blood, Sweat, and Tedium, here's the annual presentation of the inimitable Robert Earl Keen's classic Christmas song. 


And since I have no way of knowing if the "embed video" function still works at blogger, here's a direct link just in case: Christmas With the Family.

The world is a mess these days, here and abroad, but I hope you all find a way to have a wonderful Christmas season.  


* Okay, so it wasn't exactly VJ Day, but amid the tsunami of grim news in 2023, settling the strike qualifies as very good news indeed - and for anybody who doesn't see the connection, here you go:


** This is a total hypothetical, of course, since the last video game I played was "Pong" back in the early 70s.

Sunday, November 5, 2023

November

 


I've been reading a lot of film books the past few years to learn the inside stories of how so many movies we now consider classics -- CasablancaChinatown, The French Connection, The Wild Bunch, and others -- came to be made. When I first became interested in film back in school, my hopelessly naive assumption was that great movies were somehow blessed right from the start: a terrific script attracted a talented director, skilled cinematographer, a great cast, and voila: a cinematic classic was born ... but that's not how any of it works.

There's an old saying I often heard on set: "It's just as hard to make a bad movie as a good one, so let's make a good one," but it's never that easy.  More realistic - and certainly more to the point - is another Hollywood truism: "You can't polish a turd." No matter how good the acting, set design, or cinematography, turning a lousy script into a good movie is an expensive exercise in futility.  As it turns out, a long, difficult struggle was required to usher each of those classic films from script to screen, because the reality then as now is that getting anything new and different made in Hollywood -- where the tried-and-true is gospel and anything else deemed "too risky" -- is like carrying a sixty-pound sack of concrete through quicksand.  Back in the old days before my time, hard-ass, tight-fisted studio moguls like Jack Warner and Harry Cohn would occasionally take a chance based on gut feelings or an impassioned plea (or threat...) from a talented, bankable star or director, but nowadays Hollywood has little tolerance for anything that doesn't involve comic book superheroes.  That the two smash hits of last summer were movies based on a long-dead nuclear physicist and a popular doll sold to generations of pre-teen girls back in the 20th century is unlikely to change the sclerotic corporate hive-mind of modern Hollywood.

But for all the desperate battles fought by Roman Polanski, William Friedkin, Sam Peckinpah and other great directors, none had to face the ordeal of South Korean director Shin Sang-Ok and his star actress Choi Sun-Hee -- both the most famous in their respective crafts  -- who became the most successful power-couple in the South Korean film industry.  The story of their rise and fall is itself a classic film industry tale, but what happened next might make the most outlandish script ever written.  Both were kidnapped separately by agents of North Korean dictator Kim Jong-Il, a fanatical film buff who sought to harness their cinematic talents to bring his country's crude film industry up to world-class standards. This fantastic tale unfolds in the book A Kim Jong-Il Production, which sheds light on the infamously brutal "Hermit Kingdom" of North Korea, a country ruled by a familial succession of iron-fisted despots who turned it into the geopolitical equivalent of a black hole from which little is known and only a handful of people manage to escape.  

You can hear the streamlined basics of the story in this podcast from an episode of This American Life, but the book offers much more, including a history lesson on how the current heavily armed north/south standoff in Korea came about. Truth be told, though, the book is a bit of a slog, and I have yet to finish it, but if the prose is less than lyrical and the pacing glacially slow, the story is fascinating and offers a useful perspective on life in our own Hollywood film industry.  No matter how miserable you might feel at 3:00 a.m. working on some poorly written, low-budget, lousy craft-service pile of cinematic garbage here in America, at least you're not slaving for a pittance under the lash of a dictator who will see to it that you and your entire family are strung up over a blazing fire if you dare complain. 

Remember: no matter how bad things are, they can always get worse.

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Roger Corman is one of the few living legends still alive in Hollywood. As one of the original -- and certainly the most prolific -- independent filmmakers to thrive in the shadow of the studio system, Corman's ultra-low-budget productions served as an incubator for young talent unlike any before or since. The list of major directors, actors, and countless below-the-line workers who graduated from the Corman school into mainstream Hollywood is impressive. The notable names on the poster of the 2011 documentary Corman's World: Exploits of a Hollywood Rebel are just a few of those who got their start working for Corman as he made films for American International Pictures, then started his own production company and studio with New World Pictures. 

If I'd had any brains when I landed in LA back in the summer of 1977, I'd have knocked on Corman's door, but I was utterly clueless at the time. Instead, I got my start with the now-defunct Crown International Pictures, one of the lesser low-budget production and distribution companies that were around back then.  A few years later, fate finally brought me to Corman's New World Pictures studio -- the old Hammond Lumber Yard -- in Venice, California to toil on a space epic with the working title "Planet of Horrors."  By the time it was released, the title had morphed to Galaxy of Terror, for better or worse.




My tenure there was a brief but interesting two weeks, during which we ran power throughout the stage and spaceship sets to ready them for filming, but the low wages -- I was making $600/week on a flat rate -- did not make me happy, so when a ten-day job paying $250/day came in over the phone, I decided to exit the low-budget feature world and walked away without looking back.  The gaffer replaced me with another warm-body/juicer, but forgot to inform the office that I was gone, which is how another $600 check arrived in the mail two weeks later ... which brought my total income on that project to $1800 for two weeks -- still not great, but a bit closer to market rate at the time. All things considered, I suppose Corman and New World Pictures treated me reasonably well, however inadvertently.  

Only once did the man come on stage to settle some issue, and did so with the Voice of God. Roger Corman was as impressive in person as is his legend in the film industry. He was a unique presence in our business who certainly deserved the Honorary Oscar awarded him by the Academy in 2009. Corman's World: Exploits of a Hollywood Rebel is a highly entertaining documentary available on Amazon Prime for just a couple of bucks: a fittingly low-budget price for the low-budget King.

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Werner Herzog needs no introduction, but that Wiki-link will fill in the particulars for anyone not familiar with the man -- and once again the word "prolific" comes to mind.  As a director, writer, and actor, he's produced a massive quantity of interesting work -- there really is nobody else quite like him -- so whenever he's interviewed, it's worth a listen. Here's a recent conversation he did for the radio program Fresh Air as they discussed his new memoir Every Man for Himself and God Against All.  I have no idea what that title means, and whether the book is worth reading is an open question -- the NY Times reviewer seems to find it an odd blend of fact and lurid fantasy, and who knows which is which?  Still, Herzog's astonishing life and career are unlike that of any other filmmaker I'm aware of, and the Fresh Air interview is thoroughly entertaining, so check it out.

That's it for November, folks -- I hope every last one of you has a great Thanksgiving.

Sunday, October 1, 2023

October


The WGA strike seems to be over -- a good thing, that -- and SAG is due to resume talks with the agents of Satan ... er, the producers ... tomorrow, but for the hard-working crews whose heavy lifting on set is necessary to move every script from keyboard to screen, it won't be over until SAG settles and Hollywood can finally gear up for the fall TV season and reboot the more arduous production process for features. Although writers will soon be back at work and getting paid, many thousands of below-the-line workers in Hollywood and beyond endured real suffering over the past five months, living on unemployment checks that don't come close to paying for housing and living expenses.  Most of these people will have lost at least six months of income before the industry gets moving again -- fully half a year -- and will face a very lean holiday season in a couple of months.  Some lost their union health coverage and are living on savings, unemployment checks, and borrowed money to keep the lights on and to pay the very expensive monthly tab for last-resort COBRA health coverage, while others simply had to do without.*  These people didn't really have a dog in this fight and had nothing to gain by the strike. The best they could hope for was to minimize their losses and hang on by their fingernails while praying that the struggle between the WGA, SAG, and the AMPTP didn't drag on too long. Like innocent victims of every fight -- be it on the battlefield or the picket line -- they wind up as collateral damage, and it'll be a long time before they're made whole again.

It's not over 'til it's over ...  and it's not over.

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The story of how Sam Peckinpah got into the film industry, then rose through the ranks to become one of the legendary directors of Hollywood is fascinating in every way.  He was an astonishingly creative, prolific writer/director whose drive to succeed enabled him to make one of the truly great films of his era -- The Wild Bunch -- but in the end, those same demons that drove him were the agents of his professional demise.  Although I've been a huge fan of The Wild Bunch ever since seeing the film during its initial theatrical release, I didn't know much about him or his career before reading If They Move, Kill 'Em, a long (552 pages), detailed, and well-written biography of the life and career of Sam Peckinpah. Like most such stories, it starts off slow in describing his early boyhood life, then shifts into high gear once he begins directing plays on the road to Hollywood.  In Ride the High Country and The Wild Bunch, Peckinpah crafted two of the best westerns ever made, each a story of men who knew they'd outlived their time, then had to figure out how to live  -- or else die -- in the changing West. He further explored this theme, albeit in a very different setting, with Cross of Iron, a WW2 drama about German soldiers enduring the bloody collapse of their effort to defeat the Soviet Union.  All of Peckinpah's films are discussed here -- The Ballad of Cable HogueJunior BonnerStraw DogsThe Getaway, Bring Me the Head of Alfredo Garcia, and the misbegotten Convoy, among others.  Near the end of his flailing career, desperate to get back into the game, he even directed a pair of music videos for Julian Lennon.  

Peckinpah was a complex and confounding man capable of extreme kindness and generosity one moment, then flying into a violent rage the next. Much of his volcanic instability was due to alcohol and cocaine abuse -- a commercial director I worked with back in the day dated Sam's daughter at a time when Peckinpah was downing a fifth of hard liquor every day -- but some of it came from those relentless demons inside.  The creative muse often brings a double-edged sword to slash a clearing in the wilderness where the artist can stand alone and shine, but eventually cuts and bleeds him or her to death.  

The title If They Move, Kill 'Em comes from a line delivered early in The Wild Bunch, an order issued by the lead character that dooms one of the members of his gang to certain death -- a young man who, it later turns out, was family to one of his oldest friends. That's the kind of soul-crushing moral dilemma that fascinated Sam Peckinpah, and helps make this book such a great read.  If you have any feeling at all for his movies, read this book. It's wellworth your time.

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That's all I've got for today. As you can see from the photos below, September was a busy and rather bruising month as I once again put my shoulder to the wheel to render order from chaos in preparation for what's predicted to be another wet winter.  Who knows if those predictions will come true, but as the saying goes: "Better safe than sorry." The sheer physical effort of sorting, splitting, and stacking two full cords of firewood was daunting: two-plus weeks of daily pain. It felt like I was back on a 4/0 rigging crew turning pain into paychecks, except now I don't get paid.  Still, I could stop each day when I'd had enough, which means when my back started screaming. But a man's gotta do what a man's gotta do to keep his shack warm and dry, because  -- drumroll, please -- winter is coming.

                                            Before


                                            After

* One below-the-liner reported that he was paying $2700/month to cover himself and his family under the COBRA plan. The maximum EDD benefit is $1800/month ... so you can understand the problem he faced.


Sunday, September 3, 2023

Friedkin

 


With the recent passing of William Friedkin, another giant of Hollywood has exited stage-left. I first wrote about hinearly ten years ago, and won't repeat myself here other than to say this: if you followed the advice of film critics to avoid seeing his then-new release Sorcerer back in 1977, it's high time you rectified that error.

Like the 1953 classic Wages of Fear, directed by Henri-Georges Clouzot, Sorcerer carves a taut, compelling path through the cinematic jungle following four desperate men as they pilot two heavy trucks through rough country to transport a load of highly unstable nitroglycerin to a huge oil field fire burning out of control. A fire like that can only be extinguished with a massive explosion: thus the nitro.  Although there are no tire-squealing car vs. train chases through a big city or hair-raising supernatural visitations by the Devil himself, every bump in that crude hacked-from-the-wilderness road is a lethal threat, which makes an extended, impossibly tense bridge crossing scene something that you'll really do have to see to believe. In its own quieter way, Sorcerer is every bit as edge-of-your-seat thrilling as The French Connection or The Exorcist.*

A lot of people were unhappy with the tone of that New York Times obituary, which dismissed much of Friedkin's work as "interesting but deeply flawed." Among those taking umbrage was Tim Goodman -- erstwhile TV critic for the SF Examiner and Chronicle for a dozen years before becoming chief TV critic at the Hollywood Reporter for another decade -- who responded with a passionate and spirited defense of Friedkin on his Substack page which, like all of Tim's writing, is a great read.**

The NPR show Fresh Air recently re-aired an interview with Friedkin that was first broadcast in 1988,  but has lost none of its relevance. For more Friedkin from the man himself -- his methods of casting, how the Movie Gods are really in control of things, and some great inside stories about French Connection and The Exorcist -- here's a fascinating conversation he had with Alec Baldwin (well before the Rust scandal) for the WNYC podcast Here's the Thing.  It's worth a listen.

* A scene that took three full months to film.

** Tim is also the Godfather of this blog, but that's a story for another day.

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Fans of the FX show Justified, which ran on FX for six seasons starting in 2010, will be happy to see the main character of Raylan Givens -- a US Marshal always ready to cool the jets of a criminal who Just-Won't-Listen with an accurately fired bullet -- is back on screen in a somewhat older and grayer incarnation for the FX reboot Justified: City Primeval. Raylan now has the requisite teenage daughter to challenge, vex, and confound him, thus rendering his crime-fighting life all the more problematic. He's still good with a gun, of course, because some things never change, but rather than work his home turf of Harlan County, Kentucky, this season unfolds in the presumably primeval and cinematically crime-ridden dystopia of Detroit.

Not being a TV critic, I'll leave any deep analysis of the show to those who get paid to evaluate television -- and who happen to be a lot smarter than me. I liked Justified well enough to watch it every week, and the same goes for the reboot ... but I'm easy: all I ask of a TV show is that it entertain me enough so that I don't think about anything else for an hour or so.  Justified: City Primeval clears that bar and then some. Still, given that I haven't stepped onto a sound stage for nearly seven years now -- and thus have no more connection to this show than any other civilian kicking back in their Barcalounger while basking in the LED glow of a flatscreen -- you might wonder why I bother to mention it.  Just one reason: the cinematography is exceptionally good, particularly the night interior and exterior scenes. Whoever the DP is, he/she and their crew are doing a wonderful job, because this show looks terrific.

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Since it's late summer -- and I don't have much to say this month -- I've reached back into the dusty archives for a re-run titled Learning to Work.  It's a safe bet that the only reason I managed to hit the ground running when I first rolled into Hollywood was that I already knew how to work. This may sound simple -- and maybe it is for most people -- but I had to learn the hard way, as usual, and my education took place in a small mom-and-pop deli after I'd graduated from school.  

I bring this up because the founder of Erik's Deli (who now commands an empire of twenty-seven deli franchisees) threw a 50th-year reunion/anniversary bash for past employees last weekend, so down I went to share memories and swap stories with a few of the surviving members of that crew. It was a good time, and a useful reminder that none of us accomplishes much of anything on our own. As the saying goes, it takes a village.

Enjoy this last gasp of summer, kiddos, because .... winter is coming, and with it -- hopefully -- an end to the strike. Fingers crossed.