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Telecommunication __ degree 1n _ 2M4» Major professor Date 615/? 7 0-7639 MS U i: an Affirmative Action/Equal Opportunity Imtimtl'on Ill I'llllllllllllllllllllllllIll 3 1293 00840 2483 1V1£SI.J RETURNING MATERIALS: Place in book drop to LJBRAnJEs remove this checkout from —;——. your record. FINES will .be charged if book is returned after the date stamped below. “ '329 27 I995 21? A DOCUMENTATION OF THE PRODUCTION PROCESS AN ORIGINAL TELEVISION DRAMA: "SWEET CAROLINE" BY Claus-Stefan Globig A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS College of Communication Arts and Sciences Department of Telecommunication 1987 ABSTRACT A DOCUMENTATION OF THE PRODUCTION PROCESS AN ORIGINAL TELEVISION DRAMA: "SWEET CAROLINE" BY Claus-Stefan Globig This description and discussion of the making of "Sweet Caroline" can be useful to those wishing to explore Ithe processes involved throughout the production of an original dramatic television program.’ The program is a one-half hour dramatic video shot single camera film style in a variety of locations. A lengthy and complex period of pre—production planning was followed by a total of twelve days involvement in principal and secondary photography. After a brief hiatus, post- production editing commenced while an original soundtrack was also being created. Eighteen months later, "Sweet Caroline" was finished. ACKNOWLEDGEMENTS The rewards of producing an original dramatic television program are great if one enjoys things like writing, directing and editing. These same rewards are even greater if the production was produced on a budget which prevented cast and crew and many others from being paid. The reason for this is simple: the pe0p1e that do work with you, and it takes a lot of them, either want to learn what it's like to make a movie, or they have such a liking or such a love for acting or for a story being told or for the quality and basic thrill of production life itself that they simply cannot stay away. Or they are friends of mine and doing me a favor. In any case, many, many people have volunteered time, effort and talent with a dedication and patience I find rare. To begin with, I'd like to extend my deepest appreci- ation to Vaughn Schneider, owner of "The Small Planet". He not only allowed my production people to invade his restaurant for six very long evenings, but he did so with a willingness and a grace and a style that will always be remembered. I also thank his wife, Lana, who eagerly kissed him on-screen when I asked her to.' ii The contributions and support I received from the cast of "Sweet Caroline" were enormous. With very special thanks to Leora Druckman and Cary Brown for playing the lead roles with such enthusiastic professionalism, I am indebted to and salute: David Barron Steve Kleinedler Eric Chial Candice Marazita Ed Cohen Tracey Mays Brad Graham Roger Sovis Kate Hennessy Gene Tamashiro The supporting cast was equally remarkable, and in addition to thanking them for their time and their talent I must thank them for not bolting out the door upon hearing their next scene, or their first, wouldn't be shot for another two hours: Scott Hanson Gregory Steimel Duncan Hollingsworth Vaugh Schneider Charles Loud Lana Schneider Gary Pizante Jessica Wenn Schon Andrea Salloum Theresa Denn Schon One of the great pleasures of production work is the way in which a crew can coordinate efforts and dedicate itself to a common goal. Each member of my crew brought along a unique personality and set of talents, and each and every night of shooting resulted in a finer rhythm in working together as a team. I congratulate them on a job well done and thank them for learning with me: iii Steve Atwell - An ace audio man with boundless energy, he was with me every step of the way, from load-in to load- out. Carrie/Jill Heeter - CBrrie/Jill was, in many ways, the most indispensable member of the production unit. Her encouragement during pre-production was constant, and throughout principal photography at The Small Planet, she prodded me when speed was of paramount importance. A multi-talented Renaissance Woman, Carrie/Jill also gave plenty in the way of love, friendship, and good advice. Rumor has it she's interested in production work once again. Scotty Moore - A young man I never got to know well enough, Scotty was my production "trump”. And also the one with the slowest, winningest smile. Mike Menczer - Responsible for lighting on the set, Mike was indefatigable and made many good suggestions. Darrel Schwandt -II have had the pleasure of knowing Darrel for several years. Darrel and I have worked very well together, both before and after the production of "Sweet Caroline". A week before shooting commenced, Darrel accepted a position as Associate Producer for Project Choice or Chance in Pontiac, Michigan. Instead of bowing out as cameraman for "Sweet Caroline“, he drove an hour and a half after work to be on the set before seven and often stayed until after midnight. In addition to being a close friend, I might add that Darrel will be a success at iv whatever he does. And thanks again for the book. . . Holly Hamilttn1- Holly was invaluable in the preparation of each shooting night, and she always had a smile for everyone. Marge Mooney - When Marge volunteered to assist in the production, I knew my crew requirements were fulfilled. I am fortunate to have worked with the musicians who composed and performed original music selections for "Sweet Caroline". Due to their talents, a dimension was added to the drama which should have been written into the script. The artistry of Gene Tamashiro with Tom Morris, Paul Hartley, Larry Friedman and Ann Arbor Brian is very much in evidence in the Dream Sequence, and their sounds were beautifully captured and recorded by Lisa Cousino. The soundtrack for "Sweet Caroline" was created at Alamo Sound by George and Scott Helmke and Steve Shoha. Their dedication to imagination and perfection has been most appreciated, and they can work on my movies anytime. There is a core unit of specialists at Michigan State University who had all taken an interest in my project and made themselves available for consultation. As Director of this thesis, Bob Albers has led with a gentle yet knowledge— able hand. His critiques have always been fair and objective, and his criticisms tempered with personal sensiitivity. As our student/teacher relationship has evolved over my years at MSU, Bob Albers has also become a friend. Knowing Don Kemp has always been a pleasure, and many are the times he has made my day with his technical expertise or kind words. We would salute each other with Italian phrases, and he may well have coined the following, because it fits him so well: Chi ama i1 suo lavora lo fa bene. Gary Reid has always been an inspiration to audio producers (he learned much of his craft under Don Donaldo), and there are now even those who walk and talk like him. I thank Gary for the time and interest he took in "Sweet Caroline" and wish him summers of fun on his boat. A fuller appreciation of the art of film-making is something that Jim Sumbler has given me. My first film shoots with Jim consisted of a series of commercials which he directed with meticulous precision, and ever since we've been arguing the merits of video versus film. Thank you also, Jim, for being such a gentleman and friend. I would alsoilike to take this opportunity to thank Dr. Robert Schlater, former Chair of the Telecommunication Department, for his friendship and assistance throughout my years at Michigan State University. He has always carried ‘himself with grace and dignity, and I shall remember him fondly as my first instructor of video production. The last acknowledgement of this thesis is to two people who have made the most significant impressions upon :me and contributed the most to the development of my character and personality. They have given me an vi unconditional love. They have spoken with the angels I have heard and they have fought with the devils I have refused. They have supported me in times of need and in times of crisis, and they have taught me the meaning of perseverance and courage. They have always led as examples of dignity and they have always yielded in matters of the heart. They have laughed with me and they have cried with me, and they are my closest and truest friends. They are my parents, Dr. F. Claus and Rose-Marie Globig. vii TABLE OF CONTENTS ACKNOWLEDGEMENTS OO.........OOOOOOOOOOOOOOOOOOO INTRODUCTION .0...I0.000............OOOOOOOOOOO CHAPTER I. II. BACKGROUND OF THESIS IDEA ............ Short Studio Dramas At MSU ........ Formation Of Promethean Productions Overview Of First Promethean Production ... PRE-PRODUCTION ....................... Preliminary Thoughts .............. Location Scouting ................. Funding ........................... Scriptwriting ..................... Outside Resources ................. Actor Auditions ................... Acquiring Location Familiarity .... Contacting Crew Members ........... Cast Selection - Preliminary ...... Equipment Requirements ............ Meetings With Technical Advisers .. First Cast/Script Meeting On Location ..... On Location With Camera And Lights viii ii 1 10 ll 15 17 18 20 22 24 27 28 III. IV. V. Second Script Meeting with Final Cast Members D011y In The Ritz 0.0000.00.00.00.000000000 Crucial Meeting With Location Contact Vaughn Schneider Re-Established Contact With Donors of Outside Resources Meeting To Finalize Audio Design .......... Arrival Of Camera Filters ................. Final On Location Deliberations and Chang PRODUCTION - Night Night Night Night Night Night 88 1 2 3 4 5 6 MAIN LOCATION 00.00000000000000000 January 13, 1986 ................ January 14' 1986 000.000.0000.... January 15’ 1986 0000.000000.000. January 20' 1986 0.0.0.0000000000 January 21, 1986 ................ January 22' 1986 0.0000000.0.00.0 PRODUCTION - DREAM SEQUENCE 0.0000000000000000. Introduction Interior Shooting: Exterior Shooting: Christmas Break ....... After The Fact ........ POST-PRODUCTION - EDITING 00000000000000.0000. Body Of Drama Dream Sequence Tape Logging 0.000.0.00000000000000000 Rough Edit Second Edit Rough Edit ....0.0.0.0....000000000000 Additional Shooting .................. A/B Roll With Dissolves In Studio .... ix 30 32 33 34 35 36 38 39 39 41 44 46 49 51 56 56 57 58 60 60 60 61 61 62 62 63 63 VI. VII. VIII. IX. POST-PRODUCTION - MUSIC ooooooooooooooooooooooo Dream Sequence Song ....................... soundtraCk .00.0.00.00.0000000000000000000. POST-PRODUCTION - FINAL STAGES ................ Final Edit 000000000000....0..00..0...0.0.0 Addition Of All MUBic 00.000000000000000... Credits POST-POSTING OR THE CREATION OF SEVERAL VERSIONS 0.0.0.00.00.00.000000000000000 SUMMARY/EVALUATION 0000.00....0000...000...00.0 APPENDIX 00.000000000.00.00.000.000.000.0000... Script: "Sweet Caroline” 65 65 66 68 68 69 70 71 72 INTRODUCTION The purpose of this paper is to provide those readers with a basic knowledge of television production techniques an accounting of the process of producing an original one- half hour dramatic program shot film-style in a variety of locations. The description and evaluation of events relevant to this project will be presented chronologically and in the following manner: Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter 1 2 Background of Thesis Idea. Pre-Production. Production - Main Location. Production - Dream Sequence. Post-Production - Editing. Post-Production - Music. Post-Production - Final Stages. The Creation Of Several Versions. Summary/Evaluation. CHAPTER I BACKGROUND OF THESIS IDEA Short Studio Dramas I was living in Woodstock, New York when I was accepted into the Telecommunication Department of Michigan State University as a graduate student. Included in the work load of my first semester was a television production course designed for non-majors. a course taught by the wonderful Dr. Schlater, the former Chair of the department. That class, quite simply, changed my life. The thrill of beginning with nothing but an idea evolving into a finished program, which you can even watch time and time again, captivated me then as it still does today. One of the class assignments, however, seemed a bit mundane, so I turned it into a drama. Doing this enabled me to add a few eyefuls of inventiveness to a project, and I was to find myself continually drawn to the dramatic format in future production courses. These ranged from two to ten minutes, 'were almost exclusively produced in-studio, and required little or no editing. After class one day in the fall of 1984, a colleague, Timothy J. Rathbun and I discussed the state of dramatic television at Midhigan State University and decided to start our own company. 3 Formation of Promethean Productions We called ourselves Promethean Productions and dedicated the company to producing broadcast-quality one- half hour dramatic television programs. We became a registered university organization and applied for $500.00 from the Associated Students of Michigan State University (ASMSU) Funding Board for our first production. The request was granted and we busied ourselves with integrating several MSU departments: the English Department for a script, the Theater Department for actors and actresses, the Music Department for the soundtrack, and the Telecommunication Department for the television production crew and facilities/equipment. Timothy J. Rathbun and I hoped to produce one program per half year: he would direct the first program, which was to be shot in Studio B of the Communication Arts and Sciences Building of Michigan State university, and I would direct the second show, hopefully in order to partially fulfill the requirements for the degree of Master of Arts. Then we would graduate and others could take over Promethean Productions. Overview of First PROMETHEAN Production After soliciting scripts for several weeks, we chose one entitled 'Ten Years Ago Tonight", written by Richard Amadon, a graduate student in English. His play, which we transformed into a television script, called for four main 4 characters. All were cast from the Theater Department, and two were graduate students. In order to retain as much control over the project as possible, we opted to shoot in Studio E (and not on location in some hotel lobby) and build our own set. Shooting then took place over the Memorial Day weekend - three straight days of fifteen hour shoots and we'd finished principal photography and one of the actors had two hours to catch a plane! Mr. Rathbun and I began editing after a two week break, gave a rough copy to the Music Department student who was to score the program, and then finished the project within six weeks. The program was then screened in the Communication Arts and Sciences Building and was very well received. 'Ten Years Ago Tonight'I was my first half hour production. Despite all the problems that were encountered throughout the different stages of production, it reinforced and stimulated my desire and need to produce dramatic programs. It was then that I knew what I would do for Promethean Production Number Two. CHAPTER II PRE-PRODUCTION Preliminary Thoughts "Sweet Caroline" was the name given to a short, five minute script I had written in 1983 for my Basic Video Production 302 course Final Project. It didn't turn out badly, but may have been too ambitious at the time: a restaurant needed to be recreated in the studio complete with tables, chairs, food, wine, music: 10 to 15 actors were required: and only ninety minutes were available for set-up, rehearsal, the live take, and break-down. After directing that production I had always preserved the idea of expanding the script and shooting it single-camera on location. After "Ten Years Ago Tonight“ had been completed, there was no question as to what the next drama would concern itself with and what it would be about. Location Scouting While the basic idea of the drama had by now been carved in stone, finding a suitable restaurant was a task to take very seriously. Many considerations needed to be weighed: was the look, the feel of the restaurant right? Was it spacious enough for my cast, crew and equipment demands? Was the owner willing, gracious and generous or consenting in a lackluster fashion? was there sufficient 6 power and was the condition of the electrical circuitry good? What was the drive time from MSU where all equipment was stored and needed to be returned every night? After spending several days scouting in both Lansing and East Lansing I had high hopes for both Sigee's at the Harley Hotel and the Pantree in East Lansing. The former was a significantly further distance than the latter from the Communication Arts and Sciences Building, while the Pantree lacked the formal dining elegance necessary to this production. It was only by chance that I noted the Art Deco decor (If the separate dining room of The Small Planet, an East Lansing restaurant on Ann Street. It was both romantic and surrealistic to me, and there were tablecloths and candles on the tables. On October 6, 1986, I approached Vaughn Schneider, the owner of The Small Planet, with the idea of shooting a one-half hour original drama in his restaurant. I explained that the script had not been put to paper yet, but the story would center around a woman who lives her life in a romanticized non-reality. A woman believes that a childhood friend is still alive, she believes they are now lovers and she awaits him one evening at an elegant restaurant. Others view this woman as being strange or crazy and as the drama unfolds her thoughts, her history, and her character are revealed. As she interacts with people in the various scenes, conflict, poignancy and humor are created. Mr. Schneider replied that most employees and 7 customers of The Small Planet embraced lunacy in varying degrees, and since he was a video buff as well, he would happily help me with my project. He then asked if there was anything else he could do for me at such an early stage of the production, and I replied that my picking up several shifts a week as a waiter would enable me to become familiar with the inside workings of the restaurant and ultimately ensure a smoother operation. Mr. Schneider welcomed me aboard and we shook hands. From that point on, his assistance and generosity were invaluable. After my initial contact with Mr. Schneider, I considered the project to have ”taken off” and immediately set out to develop a preliminary schedule beginning with the initial pre-production phase and continuing through the production itself. Since actual shooting was now slated to begin during the first two weeks of December, time had become an extraordinarily valuable commodity. I wanted principal photography completed before Christmas break in December, and Mr. Schneider and I had agreed to shoot Monday, Tuesday and Wednesday evenings from 6:00 p.m. to 2:00 a.m. for two consecutive weeks. With this schedule, the restaurant wouldn't be intruded upon and invaded on its busiest nights, and cast and crew (and director!) would have the luxury of a fOur day break. An additional note concerning The Small Planet: the shooting would take place in what is called the Ritz Room, a room separated from the rest of the premises by an alcove. Beyond the alcove lies 8 the bar, and that room is connected to another, less formal dining room with booths. I was looking forward to producing my drama in such a lovely restaurant, and the project had begun in earnest and several steps now needed to be undertaken simultaneously and completed within the next three weeks, by November 1, 1985. I needed to obtain funding for the project, I needed to write the script, I needed in) begin looking for outside donors to contribute resources to the program, and I needed to begin thinking of both cast and crew for "Sweet Caroline”. Funding Of these initial steps, the first two, funding and scriptwriting were essentially the most important, and I gave myself two weeks during which to simultaneously lock in both. Because of the success Mr. Rathbun and I had enjoyed in receiving funds from the ASMSU Funding Board the previous year for the pilot program of Promethean Productions, it was the first and best place to look for assistance. The Funding Board is an on-campus organization dedicated to funding worthwhile student endeavors which also help promote Michigan State University or its students. I made an) appointment with the Funding Board Chairperson, James Routh, detailed my projected plans for the program, and filled out a proposal for funds. It was then necessary to create a detailed budget. Included were 9 items such as videotapes for $450.00, makeup for actors for $50.00, the drafting of legal documents such as talent releases, location release and program copyright for $100.00, :3 glass covered table for #100.00, wardrobe for the cast for $175.00, and a reduced rate for on-camera meals from The Small Planet for $140.00. Other items were requested, for a total amount of $2,049.85. The completed proposal and budget was then submitted on October 8, 1985 to the Funding Board and a date was set for a hearing before the full Board. After having outlined my plans to them, they asked to view the first Promethean Production, "Ten Years Ago Tonight," which they were very impressed with two days later. Within three weeks I had received official notification from the Board that $1,949.85 of the requested $2,049.85 had been approved. They had cut $100.00 from a pizza request from Bilbo's Pizza on Ann Street! Needless to say, I was exhilarated to have received these monies for “Sweet Caroline“. It was the first time a student's Thesis had been funded by the ASMSU Funding Board and I was determined to keep my energy level soaring. From that point on, I worked closely with Mr. Routh in dealing with the bureaucratic structure by using purchase order numbers correctly, itemizing accounts properly, and allowing for enough time for the system to function without delaying me. 10 Scriptwriting Almost immediately after Mr. Schneider consented to my shooting in The Small Planet, I initiated contact with the Funding Board at Michigan State University while also writing the script, “Sweet Caroline". Basically I conducted business and worked with the budget during the day and wrote my drama at night. I'd looked for and found the old five-minute script from Basic Video Production 302 two years earlier, made a few notes from it and tossed it out. Within the first week, working five hours a day for seven days, it outlined the drama with respect to characters, events, and the sequencing of scenes. A rough script was in hand, and the next week was spent re-writing and polishing with the help of my creative consultant, Carrie/Jill Heeter. Although numerous small changes were made within the next eight weeks, I had what basically amounted to a final script by October 21, 1985. The process of writing had been very enjoyable and remarkably fluid and the thirty-eight pages of script had left me not only on schedule but with a bonus as well: because I had spent several of my writing evenings working on-location in the Ritz Room of The Small Planet, I was visualizing shots and blocking sequences as I wrote, giving me an edited version of the program in my head. This ”edited version” of the program was to change dramatically as production began, as the realities set in. 11 Outside Resources While I was formulating the budget and writing the script, I was beginning to list other resources that I would need for the production. The following East Lansing/Lansing businesses were contacted for donations and incorporated into the budget in case it was necessary to rent or buy - the following seven donated items free of charge and in return for courtesy screen credit only: .1. The Well-Tempered Plant. One entire side of the Ritz Room consisted of windows, and I needed hanging plants to cover as much glass as possible in order to avoid un- wanted reflections. These plants were delivered and hung the day before shooting began, having survived a killing frost on the way north from Florida. :2. Mr. President's Tuxedo. One of the main characters in ”Sweet Caroline" is her antagonist, the Host of the restaurant. Needing to wear a formal tuxedo, he was outfitted shoes to bowtie. 3. Modern Lighting. Since the Ritz Room was lit only from permanent fixtures suspended from the ceiling, I wanted two additional lamps to use for the set in order to spruce up the room a little and also provide some motivational lighting. Two beautiful lamps were donated: one a tall lamp for a corner of the room and the other a small lamp for the bus table. 4. Art Van Furniture. I wanted the table that Caroline sat at to be a glass one. I'd planned a shot 12 where the camera is below the table shooting upwards as the Host rips the tablecloth off in a moment of fury. Hector Martinez, a staff member of The Small Planet, brought this table to the restaurant for me three days running from downtown Lansing in a borrowed pick-up truck. 5. WKAR-TV. Permission was given by Mike Mihalus and Jim Lau, both management-level employees with Michigan State University's Public Station WKAR-TV 23, to use one of the station's vans for equipment transport on each of the designated shooting nights. Equipment was loaded between 5:00 and 6:00 p.m. and the van was returned after that evening's production was completed. 6. Department of Telecommunication - MSU. A great deal was donated by the department: Ikegami 730 camera. Extension cables. Sony V0 5800 recording deck. Power strips. Batteries - camera and deck. Podium. AC power packs. Tripods. 3 portable light kits. Color monitor. Microphones: AKG 4 pattern, Sennheiser shotgun, lavalieres. Mic cables, stands, and boom. ‘7. Instructional Media Center — MSU. Jim Sumbler, filmmaker and editor, provided: A mechanical three-wheeled dolly. Portable light kits. Extra lamps, gels, and diffusion material. Gobo stands - used to hold large white cards for reflected light. 13 The following East Lansing/Lansing businesses also played major roles in the production of "Sweet Caroline", affirming the value of solid teamwork in any such endeavor: 8. Gladstone's. A 14' x 3' strip of linoleum was purchased at half price for use as track or carpet for designated dolly shots. The restaurant floor was not smooth enough, and I decided against nailing or gluing plywood strips together. The linoleum carpet was only used for one shot, but worked very well. 9. Rent All. Furniture pads were rented to hang as a divider between the Ritz Room and the rest of The Small Planet. The main reason was to keep sound out, because the restaurant was Open for business during production - only the Ritz Room was sealed off. Heavy curtains were also affixed with duct tape to serve as a visual divider - the bar was just outside the doorway. 10. Somebody Else's Closet. Several articles of clothing were purchased at discounted prices at this second hand store. 11. Cruse Communications. The following items were purchased at a slight discount: Tapes: 12 UCA 60's - 3/4' tapes. 15 M80 Mini's - 3/4' tapes. 15 L250's - 1/2' Beta tapes for auditions. A packet of colored gels. Lamps - spares for Lowell Omni portable lights. 14 Camera Filters: (See Page 23 for details) Star. Split-Field. Multi-Image. Soft Contrast 2 and 3. Low Contrast 1. Adapter rings for lenses. 12. The Small Planet. The donation made by Mr. Schneider consisted of the following: Full use of the Ritz Room for 6 nights shooting, and more if necessary. Storage facilities if needed in the basement. All meals and drinks, both prOp and cast/crew were discounted by 1/2. Some of the donations that were used in the production are not noticeable while watching the program. One sees this lamp here and that lamp there and thinks nothing of it - the same with the plants hanging from the windows or the pads hanging over the doorway. That is part of the beauty and magic of production, but more of the beauty and magic comes from the actors (I will use "actors“ for both males and females) themselves. All of the actors I worked with in "Sweet Caroline” amazed me for different reasons, whether it was a certain strain of humor or how well someone knew his lines or the patience so many displayed by spending such long hours on the set and complaining so little, (Ed Cohen, a friend and graduate student in Telecommunication, complained more than anyone but didn't mean most of it). 15 Actor Auditions On October 22, 1985, I posted audition notices for "Sweet Caroline" both on and off the Michigan State University campus. Posted alongside were sign-up sheets which included a brief description of the project. Within ten days I had the names and telephone numbers of 23 women and 17 men. I then scheduled three 5-hour blocks of studio time with the Telecommunication Department for November 3, 5 and 6 and contacted the students to set up convenient time slots. The auditions progressed as follows: Each actor was given a 15-20 minute period of time in the studio fbr the individual audition. The actors were all afforded the opportunity to read the script before auditioning - two copies were kept on file at the Theater Department Main Office. Depending on whether the actor was male or female, I had two to four roles for which I wanted a reading: 1. Caroline. The main character, she lives in a world of partial non-reality and believes her friend, Mr. Thomas Jensen, is still alive. FEMALE. 2. Host. The main antagonist, he symbolizes the harshness of the real, naturalistic world and tries to force Caroline to renounce her belief in Mr. Jensen. MALE. 3. 293;. Is he a Mr. Jensen for Caroline? He provides comic relief and serves also to confuse the audience. MALE. 4. Psychologist. This is Caroline's private doctor, 16 who protects her from harm at the restaurant. MALE or FEMALE. 5. Waiter. In contact with all the main characters, he doesn't learn what is going on any quicker than the audience. MALE. Carrie/Jill Heeter, my Assistant Director, was with me for time majority of auditions and read parts and offered suggestions as well. To conclude the audition, I asked for performances of their prepared monologues. It was important to videotape all auditions for two reasons: (a) so I could refer to the tapes and not need to rely upon memory, and (b) I needed to see how the actors performed on camera. I spent November 7 and 8 reviewing the tapes, and except for two situations, the characters began falling into place: I. An excellent actor that had played in ”Ten Years Ago Tonight" was guaranteed a role, by me, in my next production. The problem was that I wanted him to play the Poet, and not the Host, which was the larger role. (In my own mind I had already cast the Host with an actor that could easily have played the Poet, and would have been very good as the Poet, but as the Host he was perfect.) He gave me what was, in effect, an ultimatum: he could find the “time“ to play the Host, but not the Poet. After two days I decided not to compromise. 2. The other major casting decision I was confronted with concerned the female lead - who was to play Caroline? 17 Two women were excellent - one was a more polished actor and would pursue the art as a career, while the other was more excited about the project. I went with the spunk, and haven't regretted jig. During this first week of November while auditions were being prepared for and completed, I was working on two other facets of the pre-production stage: (a) acquiring further location familiarity and, (b) thinking about my technical crew. Acquiring Location Familiarity Much as I liked to spend evenings in the Ritz Room working on my script, I now began sitting in all corners of the room and letting the drama unfold from all angles. It was during this period that I began to realize I wouldn't be able to shoot as much of the story with long focal- length lenses as originally planned. With a long lens, selective focusing is easy because focus is so critical, and I wanted a very shallow depth of field, where the foreground or background is out of focus, in order to create more mood and tension. The problem that surfaced is that the Ritz Room is a fairly small room, and especially so when considering I was to require a fourth of the space as a control center from which to operate. In such a confined area, the camera to subject distance would not have been great enough to be able to use the lens (it was a zoom lens) at anything near its narrowest angle. The Ritz Room naturally contains 11 tables, 7 on the 18 main level of the room and 4 on a platform which is built in and is a foot more elevated. Since the room can easily become very crowded and congested, I decided to eliminate at least two tables and perhaps three. That side of the room which consists of windows also proclaims an unused and always locked door. I thought it would make a nice entrance for one of the characters in the story. I also began to finalize where all of the characters would sit, at which table and facing what direction and sitting with whom, including all extras, both those with speaking lines and those without. Furthermore, camera blocking was sketched out on paper and I would leave the restaurant late at night and fatigued but growing increasingly more anxious. Contacting Crew Members One of the things I was becoming anxious about was putting a solid crew together. It is difficult to overstate the value of a crew with the correct mixture of talent, efficiency, and just plain old likability. If a production is to succeed, the crew must really feel they are working toward a common goal, and they must be directed without being ordered and humored without being cajoled. My crew requirements were: 1. Assistant Director. Carrie/Jill Heeter acted as AD in many respects, both during pre-production and the shoot. She helped schedule major actors and actresses, 19 dealt with character wardrobe and auditioning. During production she was invaluable in organizing extras, setting up tables correctly, ordering food and drink and acting as liaison between The Small Planet and me, and consistently notifying me that time was running out. She also took on script supervisory duties in carefully dealing with continuity. 2. Camera Operator. Darrel M. Schwandt was camera operator for the last Promethean production, perfbrmed beautifully, and was asked again. I highly respect his dedication for doing a job and doing it right, and he offered many useful suggestions as well. 3. .Audio Design. Steve Atwell, a Telecommunication student specializing in audio production, came highly recommended by TC Audio Specialist Gary Reid. Steve handled all audio requirements with skill and speed, recorded videotape and controlled playbacks for monitoring as well. 4. Lighting Design. Mike Menczer, also a Tele- communication student, specializes in computer graphics but did a wonderful job with lighting the Ritz Room. 5. Camera Assistant. Scotty Moore was invaluable in helping Darrel with camera, tripod, and dolly. He also helped out wherever necessary and was always a pleasure to have on the set. 6. Production Assistants. In addition to my five main people, good PA's are invaluable to almost any 20 production. So many problems pOp up during the course of a shoot that without several highly energetic people, a director could never do the job of making the production a success. Holly Hamilton and Marge Mooney, both Tele- communication students with production experience and skill, eagerly did the messy little jobs that need to be done. Ralph Perna also acted as a PA on one of our shooting nights. Heeter, Schwandt, Atwell, Menczer, and Globig were the crew all six nights of production at The Small Planet. Moore was with us five nights, and Hamilton and Mooney crewed four evenings apiece. Brad Graham, who played a major role in the drama as the Psychologist, also offered his expertise as a crew member whenever necessary. One night I needed his camera, also an Ikegami 730, when the Department's had a ndnor burn-in on the picture tube and could not be used that evening. Cast Selection - Preliminary By November 10, 1987, I had decided upon actors for the majority of roles: I. Leora Druckman. She displayed a great deal of sensitivity for the female lead Caroline. 2. Cary Brown. He read beautifully for two roles: Poet and Host. I didn't realize his looks were perfect for his role as Host until I saw him, with shoulder-length blonde hair and a golden mane for a beard. The Host was a 21 hardcore realist, one unwilling to accept dreamers in his world. I dressed him in a tuxedo and saw a flower-child grown up, until his character became flayed and revealed itself layer by layer. The audience would be in doubt, trusting him, until after Caroline, the lost dreamer, had already figured him out. 3. David Barron. He read for several roles, including Host, for which I felt he'd have been excellent. Heeter disagreed strongly and was correct. I cast him as Waiter. 4. Jim Cash. I asked him to play the Poet because I felt his particular style of outrageousness would have been wonderful. Besides, he liked the script and it would have been an honor to have him aboard. A few days later he called to regretfully say he'd have to pull out of the role because of time commitments. 5. Candy Marazita. Although she is a very accomplished actress and read well for the role of Caroline, she graciously accepted a much smaller role. She was thoroughly professional in every respect. .6. Roger Sovis. A friend from the Theater Department, I cast him to play Candy's husband. 7. ‘Vaughn and Lana Schneider. The owners of The Small Planet. I wanted them in a cameo role as the couple kissing at the table where Caroline would then sit waiting for her “Mr. Jensen”. They also lent more authenticity to the production, being older than the other actors and extras. 22 For other roles, both with speaking lines and without, I cast a combination of Theater students and personal friends: Eric Chial, Ed Cohen, Scott Hanson, Kate Hennessy, Duncan Hollingsworth, Charles Loud, Gary Pizante, Andrea Salloum, Gregory Steimel, and two women named Jessica. Two others were originally cast, but their scene was cut before production began. At this point I still needed to cast the Psychologist, a pivotal role in "Sweet Caroline". I'd pictured him to be a very large, heavy-set man, with a voice like Burl Ives. After being turned down by a few fat people, I asked a producer/actor friend, Brad Graham to play the role, and he accepted without hesitation and was a pleasure to work with. Equipment Requirements With projected shooting at this point less than a month away, a great deal needed to be accomplished between November 10 and November 17, 1985. First of all, I made twenty copies of the script and distributed them to all the actors. Secondly, I wanted to buy my tape stock very soon and specifically list in detail all equipment needs I had with Bob Albers, Telecommunication Department Video Specialist at Michigan State University. The following were requested and approved: Ikegami 730 camera, Sony 5800 record deck (which Don Kemp, Telecommunication Department Master Engineer made broadcast compatible by performing a 23 vertical head switch), batteries for both camera and deck, AC power packs with extension cables, three portable Lowell light kits, a tripod, color monitor, power strips, and a podium. From Gary Reid I obtained microphones including an AKG 4 pattern, a Sennheiser shotgun, and several lavalieres. Also received were mike cables stands and a boom. Dates and times were set so all approved hardware was reserved for my production. I also wanted to order some filters for the camera. Filters are common in shooting film, and not only when correcting for color imbalances. At that point in time I had not spoken with anyone who had used any filters in video productions, and especially because a major criticism of video has always been the harshness and sharp contrast of the image, I ordered the following from Cruse Communications: Soft and Low Contrast Filters - these soften the image and are available in several gradations. I ordered three. Center Spot Filter - the center is clear glass with the rest slightly diffused. Star Filter - this splits a strong direct source of light into several sparkling shafts. Multi-Image Lens - a single image is seen through the lens as many times as facets are cut. I ordered one with five images. Split-Field - being one half clear and one half lens, great depth of field is possible. Adapter Rings - these are necessary so the filters can be fit onto the barrel of the lens itself one is using. Another item on the agenda for the week of November 24 10th was to experiment with the dolly I'd been given access to by Jim Sumbler, filmmaker at Instructional Media Center at Michigan State University. It was an old mechanical dolly and quite unrefined, but it was a dolly and it could give more shot-making options and I was eager to try it out. Darrel Schwandt and I took it into the studio and were happy with our results. He stood on the dolly with camera and deck as I wheeled him about the studio floor. The wheels needed to be greased, and the most important question was whether the carpet in the Ritz Room was too bumpy to use without a dolly track or a plywood flooring. I later realized that strips of linoleum would suit my purposes best. Meetings With Technical Advisors By the beginning of the second week in November, I made arrangements to meet with several project advisors, (all men of distinction I had known at Michigan State University for the past several years, and men whose talents and thoughts I respected greatly. I met at The Small Planet with Bob Albers, Gary Reid and Jim Sumbler in order to get their feedback and advice. 1. Bob Albers. Our discussion was general in nature. It was an immediate surprise to him that the entire restaurant wasn't going to be closed for the production. I agreed it was not perfect that only the Ritz Room would be mine, and that business as usual would occur at the bar and 25 in the other dining areas, but I nevertheless felt fortunate to have the access I did. Bob agreed with me that a dividing curtain, at least, was essential, and then stressed the need for deciding upon set-up space, where our "Control Room" would be. I had underestimated that problem, and as it turned out, our control area changed at least once a night and took up one-fourth, or very close to that, in terms of overall space. Add twenty people and equipment and lights and the room is crowded. Bob and I also spoke of lighting, of the mood I wanted to create in the dining room. I did want a moody feel, an atmosphere of mystery, and I sensed from our discussion that creating it would be very time-consuming, and that to recreate that look and mood from angle change to angle change would be impossible. A key here is that at this time I still fully intended to shoot the drama in sequence and that I was worried about setting up identical lighting effects on successive days of production. As usual, I left that meeting with Bob Albert with a lot to think about. 2. Gary Reid. Gary began by noting that audio considerations are often relegated to secondary status by video producers, and that he was happy to have been asked to The Small Planet for his reactions and counsel. I told him I was willing to change shots I may have already conceived from a visual standpoint if the quality of the audio would be severely affected, and that actor blocking may also be dictated by a regard for audio qualities. As 26 we conversed, Gary noted the echo, the flatness of the room. Sounds bounce all over the place, and anywhere that pads, such as furniture pads could be hung or placed would be helpful. 11 then mentioned my leaning towards using as few different microphones as possible - we'd used four or five in the last production and it was noticeable. Gary recommended one of two basic miking options I could choose from: (a) use a combination of shotgun and a 4-pattern AKG, using the boom as needed and (b) use a combination of hidden mics, both stationary mics, such as a 635 in a flower vase, and lavalieres for the actors. I chose the first option because it seemed simpler and gave me a wider range of possibilities. It was agreed that I needed a heavy curtain to hang from the doorway. Better yet would be to seal it firmly with duct tape so as to keep out as much extraneous noise as possible. He also recommended I push for as much control over music coming from the bar stereo as I could get - and we did, during production, constantly need to have the volume turned down. The last thing Gary mentioned was getting wild sound - restaurant ambience and nothing else. I'll never neglect to do that again. Jim Sumbler. Because of Jim's background as a filmmaker and a film editor, his approach to our meeting took on a different light. As a matter of fact, his concerns emphasized technical matters and lighting. An immediate concern of his was the window space on one side 27 of the room. Can you shoot around it? Can you gel the windows? Can I hang plants instead? Sure you can, but there will be gaps. I'll shoot around them. The problem with gels in this case was that they'd affect the amount of light coming in too much, since I was shooting at night and wanted to see headlights in the background. Jim reinforced the need for careful and proper lighting. He recommended I exchange the bulb's already in the room's fixtures with more powerful ones - this would let me get away with less portable lights with which to drain the circuits. He also stressed using as much bounce light as possible and had gobo stands and white cardboard sheets for me to use. A recommendation of Jim's that I didn't follow until the second night of production was to shoot the story out of sequence. I can't believe now I hadn't been born with that knowledge, but as he explained, in order to save a lot of time, you have to shoot according to your lighting set-ups and not follow the script in a linear fashion. I thought about what he had said and decided to shoot as the script was written. First Cast/Script Meeting On Location On the evening of November 13, 1985 our first script reading took place in the Ritz Room at The Small Planet. I only asked those with the most substantial roles to attend: Caroline, the Host, the Waiter, the Poet, and my Assistant Director. Jim Cash was still the Poet at this time, and he 28 brought his wife Cynthia. It was the first time most of them had been in The Small Planet, and as we ate dinner we discussed costuming. After we'd agreed upon the general flavoring of their dress, we thought about where to find the clothes: second-hand at Somebody Else's Closet if possible, tuxedo for at least the Host at perhaps Mr. President's Tuxedo, and other articles from wherever they could be gotten. We then read through the script twice, discovering which lines were awkward or uncomfortable and discussing character motivation. 11 left that evening feeling very optimistic about the project. A few days later, however, Jim called to say he wouldn't have the time needed to give the drama his best, and that he realized after the reading he wasn't an actor. That evening, looking over my audition tapes, I found my Poet, Steve Kleinedler, called him and he was on-board. On Location With Camera And Lights Not long after the deal had been made to shoot at The Small Planet, I realized that due to the generosity and helpful spirit of Vaughn Schneider, the owner, I was offered a luxury few producers have. I was able to spend as much time at the restaurant, in the Ritz Room, as I wanted in order to better acquaint myself with my location. All I needed to do was let someone there know I was coming that evening with equipment, and when the last customer 29 left the Ritz Room, which was usually around nine or ten, the room was mine. On the 14th and 15th of November I went with camera and deck and on the 17th with lights as well. Those hours in the Ritz Room were extremely valuable, for I was able to match shots and angles I'd envisioned with actual shots. The first camera session filled me with ambivalence: The place looked beautiful through the lens and the place looked tiny through the lens. An original intention was to use depth of field as a production technique to assist in creating a mysterious mood and revealing character. A wide depth of field presents the viewer with various things to look at within the frame - the viewer can watch something in the foreground, then switch to the background, it is all in focus. It is more true to life, in that the eye has the choice of what particular image to focus on. I had wanted shots with such a wide depth of field (wider angle lens setting) to be used from the perspective Caroline was seen by others (in the restaurant) from. On the other hand, I'd planned to use a shallow depth of field for shots that were from Caroline's perspective, where I as director automatically select what the viewer will see and where the viewer's focus is forced. Caroline's perspective, then, one of non-reality, would be aided and substantiated cinematically by employing a very shallow depth of field. The perspective of others, who were living in a more clearly defined and normal world, would be reflected with a 30 wide depth of field, which is in itself more life-like. What I quickly learned, however, was that I could rarely put the camera far enough away from the subject to use a long enough lens setting to throw the background out of focus enough to achieve the effect I desired. In situations where that would have been possible, say from one end of the room to the other, there was no background at all, nor the room for it, other than a wall or a window. Second Script Meeting With Final Cast Members On November 18, 1985 I held another script meeting for the major actors, this time in the Communication Arts and Sciences Building at Michigan State University. Included for the first time in such a rehearsal were Brad Graham as the Psychologist and Steve Kleinedler as the Poet. As before, Leora Druckman as Caroline and Cary Brown as the Host also participated. Rehearsals like this can be a source of great enjoyment - we were all getting to know each other as well as the characters and a sense of unity was being created. Small changes were still being made in the script, and Steve wanted to make the Poet even more off-beat than originally planned — complete with earring, multi-colored day-glo sneakers, a long army coat - and I loved it” Perhaps the most important consequence of rehearsals for me is that they provide the best opportunity for the director to hear what the actors really think and feel, to experiment with their suggestions and reap the 31 benefits of open channels of expression. A proper evening coat and dress were still needed for Leora, and Brad had numerous suits for me to choose from for the Psychologist to wear. Small details like wardrobe are not really small details at all - what is chosen for the actors to wear can be critical to the look and feel of the production. wanting dressy, elegant clothing for the two leads of ”Sweet Caroline“ was not an afterthought, but a method with which to counterpoint the strangeness of their relationship even more. At this point I still needed two extras, one of which had speaking lines in the opening scene: a conversation between a man and a woman and the woman had just won a million dollars and decided to leave him. Steve volunteered a few names, I made a few phone calls, and welcomed both women, actresses, aboard sight unseen. One would later be selected to play the opening character. A major decision was made at this meeting: to delay production at The Small Planet until the new year, with shooting now scheduled for the first two weeks in January. The request was brought up by one of the actors and the others were in immediate agreement. They all had classes and final examinations which would to some degree guarantee interference with our original production dates. Within five minutes I welcomed the change - there was still a great deal of preparation and many details which needed my attention. II'was producer, director and production 32 assistant rolled into one person and wanted to stay on friendly terms with Father Time. I also thought about the ‘filter order that was taking longer than expected. They were now due to arrive within the first ten days of December, and I had to have time to experiment with them both in the studio and in the Ritz Room. Dolly In The Ritz On the evening of November 18, I returned to The Small Planet with Darrel Schwandt, and this time we brought our dolly along with our camera equipment. We proceeded to clear tables and chairs in order to pave a path for the dolly. The leg-spread was a half inch more than three feet, which didn't leave us much room from the back door by the windows to the entrance where Caroline would enter the restaurant. It was a tight fit, but it would work. What was not satisfactory was the Ritz Room carpet. We recorded take after take, adding weights to the dolly and always shooting with the lens at its widest angle, which reduces and lessens the visible effects of jolts and other camera motion. Also, the camera move during a dolly often looks smoother on playback than to the operator during the shot, but it wasn't smooth enough. Plywood would certainly be smooth enough, but I felt it wouldn't work well in such a confined space, that two pieces would need to be joined anyway, and to make that joint smooth was very difficult. The next day I went to Gladstone's, a carpet retailer 33 in Lansing, and eventually purchased a roll of heavy linoleum which needed to be kept relatively warm so it wouldn't crack. I bought it untried, hoping it would work for the shot. I stored it in the basement of The Small Planet and went upstairs to meet with Vaughn Schneider, owner of The Small Planet. Crucial Meeting With Location Contact (Vaughn Schneider) Delaying the production dates until early January presented no problems to Vaughn Schneider. I had brought a list of important details with me to discuss with him, and they included the following: 1. Use of The Small Planet's basement for storage of several props and some technical equipment which could safely be stored at the restaurant between shooting nights. 2. Running extension cords from the Ritz Room along booths in those parts of the restaurant which were open for business to the basement so that the circuits in the Ritz Room wouldn't become overloaded - I was using AC power for lights, camera, and monitor as well as for the audio mixer and had to be careful not to blow fuses. 3. Exchanging all existing bulbs in the Ritz Room with more powerful ones on a nightly basis. 4. Completely sealing off the Ritz Room from the rest of the restaurant with curtains and furniture pads. 5. Having kitchen prepare meals, both prop meals for the actors during scene takes and meals for cast and crew. 34 6. Having a tab run at the bar for both prop drinks for actors and real drinks for cast and crew (pitchers of coke were used). 7. Keeping the level of bar music as low as possible, and instrumental rather than music with voice. 8. Obtaining a key for the back door of the Ritz Room, which was never used. 9. Being allowed to shoot beyond closing time (2:00 a.m.) if and whenever deemed necessary. There were some very major, important requests made here, requests Vaughn had never heard before. He nodded as I went through the list, told me he never realized the amount of preparation a TV show takes, and okayed all of them. I waited on his tables like a demon that night. Re-Established Contact With Donors Of Outside Resources The last week of November was spent meeting with crew members, purchasing odds and ends, changing the Opening scene of ”Sweet Caroline", formally submitting my lists of equipment requests to Bob Albers and Gary Reid, and re— establishing contact with my outside donors. In notifying them of the production delay, the only problem to arise was with Art Van Furniture: of the two suitable glass-covered tables I'd picked out in their showroom in their Lansing retail store, only one could be held through the middle of Januaryu Fortunately, it was the table I preferred, although one of the base legs had to be unscrewed so the 35 camera could shoot directly upwards from the floor. It was also necessary to return the table during the four day 'break in the schedule. It used that table for the entire production even though it was covered with a tablecloth and really only "used” for one shot the last night. The height didn't match that of the existing tables in the Ritz Room and I avoided any possible continuity problems by having it on the set all six evenings. Cary Brown, the Host, and I went to Mr. President's Tuxedo for choosing the style and fit of the clothes which were to be picked up the day before shooting commenced. The two lamps from Modern Electric could be picked up several days before production, and I was assured by the Well-Tempered Plant that they would personally deliver and hang the plants from the window ledges. Meeting To Finalize Audio Design I met again with Gary Reid, this time in his audio production studio on the second floor in the Communication Arts and Sciences Building. Steve Atwell was also there, and although he hadn't received a script yet, I familiar- ized him with it and the project. Gary then highlighted our audio meeting at The Small Planet before picking out the specific equipment we required and setting it aside. ‘We packed away boom, mike stands, audio cables, mixer, Sennheiser shotgun, AKG, with lavalieres and an RE-lS as backup microPhones. After this meeting, which also 36 revealed Steve's fully professional approach, I was confident that audio quality for ”Sweet Caroline" was in no way being compromised. Arrival Of Camera Filters It was sometime in the first week of December that Cruse Communications called with word that the camera filters has arrived. .I immediately signed up studio time so I could spend two days working with them and discover applicabilities for the production of "Sweet Caroline”. I used one camera, several props and portable lights and recorded everything I did on 3/4' videotape. Several of the filters had fascinating capabilities but were never used during the production: the split-field diopter, which is one half clear and one half lens of a chosen magnitude, needed extremely careful shot preparation to be used correctly. Basically, it enables you to have extraordinary depth of field by focusing the lens (one half of the filter) on a distant object while the other half of the filter, which is cflear (you can poke your finger through it), can be focused on something two feet from the lens. The beauty is you get this extreme depth of field with the aperture wide open so the quantity of light entering the lens is greatest. The difficulty in using this filter, this diopter, is that the middle-ground of your frame needs to be carefully chosen so the actual division between glass and nothingness is not visible. 37 Another filter whose effect was not seen in the finished program was the multi-image lens, which I had ordered with five facets so five images would be repeated and seen at one time. Different effects can be achieved depending upon the focal length of the lens and camera movement, and I shot numerous "scenes” for possibLe inclusion in the dream sequence. I wish now I had put the multi-image lens on the camera for one shot in the program (in the dining room scene when Caroline startles upright after the photographer/reporter has left). (A third filter not used in the final production was time center-spot, which is clear (no glass) in the center and surrounded by diffused glass, which can be ordered in varying degrees and gradations of diffusion. It is a filter often used in portraiture work, or when wanting to separate a: subject from the background without using shallow depth of field. My problem was I didn't order the filter with enough diffusion, and it was difficult to see the effect. I did further experimentation with soft contrast filters, and I ordered three which softened contrast in varying degrees. One stole too much light, another not enough, and the third, a soft contrast 2, seemed just righta It lowered the light level about 5 units on the waveform monitor, and in terms of the image, it was less harsh and the contrast between light and shadow was not as sharp. It really did soften the picture and give me a 38 'filmier' look.- I used the soft contrast 2 for all interior shots in The Small Planet. Final On-Location Deliberations And Changes During the second week of December, before Christmas Break, I met again with both cast, for a final rehearsal, and with my crew for a general meeting. I also worked on scheduling of all actors, both principal and extras, trying to accurately document when specific people would be needed, when they'd be "on". This turned out to be largely in vain, because at the time I was still assuming I'd shoot in sequence. What was accomplished with positive results was further on-location experimentation with filters, camera, lights, and dolly with carpet. More than anything else, I was becoming very familiar with all the equipment and how it, and I, related to the environment we'd be in over a period of six long evenings. Darrel Schwandt joined me for two of three sessions during this week and his familiarity with all aspects of the production was very helpful. We discovered that the linoleum strip would work as a dolly track, that the ride was smooth and I planned six to eight shots for which the dolly would be used. This was to change, but I wasn't to discover that until I returned after Christmas. CHAPTER I I I PRODUCTION - MAIN LOCATION Night 1 - January 13, 1986 This first night of shooting in The Small Planet was in many ways the most crucial, and in retrospect it was also the most trying and difficult. An important benefit that was derived from the evening was the rhythm the crew and actors began to slip into as the production proceeded. Steve Atwell and I arrived in WKAR's van at 6:00 p.m. and while we were unloading, Darrel Schwandt and Scott Moor arrived, soon to be followed by Marge Mooney, Holly Hamilton, Mike Menczer and Carrie/Jill Heeter. (Earlier that day, with the help of Small Planet staff, I'd picked up the following and had already brought them into the Ritz Room: two lamps, the glass table, and plywood sheets as ‘backup for the linoleum.) we then prepared the room for the first series of shots by moving several tables and chairs to the basement, setting up our control center, ordering prOp food and drinks, and sealing the doorway with heavy curtains and pads. By the time actors began arriving at 7:15 p.m., we were approaching a state of readiness. I'd arrived with 38 pages of script and shot sheets for the first three nights of production. Let me reiterate here that I had fully intended to shoot the drama in sequence. 39 40 Scene 1. The opening of the program was to be a CU of a flower held by two wooden cutouts, man and woman on a wall in the Ritz Room, widen out to show them and tilt to a table where a man sat reading aloud and to himself an excerpt from Sartre's 'No Exit", which described a lost love affair. It took 8 takes and I ended up not using it at all. A better open was found in shooting for the Dream Sequence a month later. (Scene took one hour) Scene 2. A conversation between a man and a woman, she telling him the bad news with the good: she'd won a million dollars, but was leaving him. We shot OTS to her, CU of her, OTS to the man, and CU's of the man for their brief dialogue. A total of 16 takes took three hours and one half of page one was complete. Scene 3. This was my first intended dolly shot. We laid out the linoleum carpet, which was still cold, and decided upon an angle running toward the doorway where Caroline would make her entrance. Our fore-and-background extras were all in place, and dolly rehearsal began. Darrel rode the bull, Scott steered it, and we knew it would work but it wasn't easy. The pace needed to be even and smooth and timed correctly with both camera and talent movement. The final lines of the preceding scene were the beginning of the shot, and as they finished, a waitress would refill their glasses and do the same with the other tables in the shot. MOving the camera with her movement was Darrel's idea, and it worked well and motivated the 41 movement, which ended two tables later as Caroline entered and approached the Host. At that point the doorway seemed large and barren and I went to the bar and asked two patrons to stand in the background to inject a little more life into the tail-end of the shot. Voice-over for the shot was added later in post- production and placed between the end of the Opening dialogue and Caroline's first exchange with the Host. Three hours and 12 takes later, the dolly shot was a success. It was also 1:00 a.m. and time to strike. I had gotten through page 1 of 38, and realized that everything would change from then on. I could no longer shoot the drama in sequence. Also, preparing for dolly shots, of which I had six others designed, was so time-consuming because of the difficult-to-work-with linoleum, the brittle mechanics of the dolly itself, and the general lack of room around which to Operate, that I was forced to put a hold on them. They would be used only if time permitted, a luxury not to be counted upon. Night 2 - January 14, 1986 My approach to preparing for both the second and third nights of shooting was essentially the same: from 11:00 a.m. until 4:00 p.m. I laid out revised shot-sheets and scheduling for that evening's production. Based on the lessons I received the first night, I had two options: 42 either shoot totally out of sequence, or divide the drama into two (keeping in mind the four day break) and shoot out of sequence for the first half of the drama and begin with the second half after the break and shoot out of sequence for it as well. I chose the latter to better keep the flow Of the piece intact as much as possible. The first two scenes of Night 2 included the owner of The Small Planet and his wife, Lana. It was most convenient for them to do their scenes early in the evening. Scene 1. The camera began with a CU of nighttime building windows painted on a wall and tilted down to Vaughn and Lana holding hands, then widening out to reveal them sitting at a dining room table. Caroline delivered her lines off camera (speaking to the Host), as I knew where this shot would be inserted. On Page 2, the scene took 7 takes and on takes 5-7, I had Vaughn and Lana kiss which, as it turned out, got me out of trouble later by bridging an otherwise awkward sequence. Scene 2. The scene where Vaughn and Lana exit the restaurant and provide the table where Caroline will be seated. Caroline already has cognac in hand. The scene took 9 takes, and as Caroline had never drank Cognac before, the glass was alien to her and she had troubLe holding it naturally. 43 Scene 3. Here the Host leads Caroline to her table, seats her, and whispers something to the waiter after he's left the table. This scene took 14 takes. There were noise problems with her chair being pulled out, and from take 9 on I had them enter the frame instead of starting out in it. Scenes 1-3 all used the same lighting scheme, with only minor adjustments. Scene 4. An OTS from Caroline to the Waiter, who enters the frame. Included in the background was a couple, and one of the actors, Gary Pizante, had to leave so I exited him by his kissing his companion and leaving. He was in the background of a previous scene as an extra. This scene on Page 6, took 15 takes. I worked hard on the waiter getting his lines correct and he never quite did, but I had to move on. Scene 5. An MCU of Caroline seated, covering the same dialogue as in Scene 4. We did only 4 takes this time, and except for her French pronunciation, it was perfect. Scene 6. This scene began at midnight, my cameraman Darrel had to leave, and I compressed 3 shots into one. It's a wide shot Of Caroline entering the frame and talking to a couple while waiting to be seated by the Host. We see Caroline from behind, the couple facing the camera, and the Host then enters to close their conversation. From Page 4, to Page 5, the scene took 9 takes and we called it a night. 44 Night 3 - January 15, 1986 Scene 1. This was a MS of Caroline, covering the same material as Scene 6 of the previous night. We moved the table where the couple had sat in order to position the camera so I had the background I wanted. Holly Hamilton read both the couples parts, and the scene took 5 takes. Scene 2. This was a long master shot beginning with Caroline entering the restaurant. It was angled toward the Host, and during the dialogue with Caroline he leaves with 'her umbrella and returns as she's slipped into a dreamy, reflective state. Two background extras sitting at a table made their exits during this scene. On a dialogue cue, the waitress seen in the dolly shot entered the frame behind the Host and in front of the table, turned on the light on the wait-stand, and as she crossed in front of them they rose to leave. From Page 1, to Page 3, the scene took 6 takes. The orchestration of moves and cues went smoothly and the actors knew their lines well. Scene 3. From the angle as the previous scene, but a CU of the HOst covering the same dialogue. With 3 takes the scene was done. Scene 4. The Poet arrived at 10:00 p.m. for his first scene. At 10:30 pm, we were ready for him. Caroline leads the Poet to her table and the audience believes he is the "Mr. Jensen" she had been awaiting. The champagne is already at the table. From Page 8, to Page 9, this scene took 9 takes. Although we couldn't see the champagne 45 bucket in the shot, it was a nice addition of Steve's to take ice from it and munch. Scene 5. As in Scene 4, the shot is an OTS to the Poet. On Page 9, as Caroline says “Oh my God, you're listening to Mozartl“, the Poet continues to write with his headphones on. This shot was designed to be inserted in the Waiter/Psychologist conversation. The Scene took 3 takes. Scene 6. This is a long master shot, again an OTS to the Poet. Caroline interrupts his writing, the waiter enters with coffee, etc., the Psychologist enters the scene to see Caroline and as the Poet becomes flustered enough to leave the table, the Psychologist takes his place. Although the tripod remained stationary, there was slight zooming and tilting involved, and with four actors on a small stage the choreography was difficult. After the second take Brad threw up his arms and yelled, "This is crazy, something has to be done here!" Everyone laughed and I re-blocked the scene and after 10 takes and a lot of dialogue we had it. From Page 11, to Page 12. Scene 7. This was an OTS from Caroline to the Psychologist. At the end of their set of conversation, Caroline bolts from the table and the good doctor follows. From Page 12, to Page 13. Scene 8. In this scene they re-enter the frame and sit back down. He is a comfort to her. It is an OTS from Caroline to the Psychologist. From Page 13, to Page 14. 46 It was past 2:00 p.m. when we were finished for the night and for the week. I had covered about one-fourth of the script and one~ha1f of my time was gone. Although I could have obtained permission to shoot an extra day or two at The Small Planet, it was definitely an Option I wanted to avoid. I had given myself a timetable and a deadline for this location, for the principal photography, and it was critical to stay within those parameters. When you run out of time, you need to improvise, and I was willing to test myself and get the production in on time. Night 4 - January720, 1986 Scene 1. This was a tight shot of the champagne being poured into two glasses by the Waiter. We went through 5 bottles and 5 takes on these CU's, shot them with a star filter, and burned the pick-up tube of our Ikegami. We placed the camera on a tripod to shoot a white card while Brad Graham left to bring his camera, also an Ikegami 730. Without his help and camera, the evening's shoot would have ended with those 5 takes of a scene I left out of the final edit. Scene 2. This was from the Waiter's perspective toward Caroline, from Page 6, to Page 7. In the background are two tables with extras, the Psychologist is in the shot, and in the far background is the back door where I wanted the Poet to make his entrance. This shot, with much regret, was also not used in the final cut: I should have 47 shown part of the Waiter in the shot, in the foreground as he was exiting the scene to get Caroline's champagne, and because I didn't the angle didn't match with the shot I was cutting to it from. In addition to that, there was a very momentary flash of light on the glass door as it closed behind the Poet entering. It was a shot of great depth and beautifully lit. It required 6 takes to get right. Scene 3. A scene after the Poet had arrived and the Host rushes up to him, wanting him to leave because of his very strange experience. It is an OTS from the Host to the Poet on Page 7 . It took 4 takes and longer in time because the Poet said, "I'd like some coffee and a place to shit.", which broke everyone up for quite a spell. Scene 4. The scene where the Waiter leaves Caroline's table because the Psychologist needs to fill him in on her real life situation. I Opted for a 2-shot here and nothing else to save time. From Page 9, to Page 10, the scene took 6 takes. Scene 5. This scene was a long master, again to help save time. It was an OTS from the Psychologist to Caroline. As was the case with the following scene, the shot was poorly framed and I should have caught it at the time - too much of the Psychologist's head is in the frame. Also, attempts to zoom at a certain point in the conver- sation were unsuccessful because the tripod was catching and causing a very slight, but unacceptable jerk at the start of the tilt. We took 4 takes without lens movement and had it. 48 Scene 6. Here the shot is an OTS to Caroline, and she and the doctor are already sitting again. From Page 13, to Page 14, this was a very emotional scene for Leora and she did a beautiful job with it. Again, we tried a slow zoom in, trashed it and shot CU's of Caroline next scene. This one required 8 takes. Scene 7. A CU of Caroline directly from the front, a flower in a vase in the foreground as she Speaks of flowers and death. On Page 14, this required 1 take. Scene 8. Again a CU of Caroline, tighter than the previous scene, and when the photographer/reporter rushes in on her, Page 14. This shot would begin and end with flashes going off, special effects I did in the studio in post. The post work took 9 hours, the shot lasted 7 seconds screen-time and there were 48 edits in the sequence. Scene 9. This was an OTS from the Psychologist to Caroline, from Page 14, to Page 15. Take 4 was the best and last. Scene 10. This shot was a CU of Caroline, Page 16, from "U ma muchi..." to "... go up in smoke.” This required 3 takes and done. Scene 11. It was time now to return to the near beginning of the script. This scene was an OTS from the Host to Caroline as she has just entered the restaurant. From Page 1, to Page 2, we did this in 5 takes. It had been six days since I'd shot the angle of this stretch on 49 the Host: in retrospect I would certainly have shot in sequence here. Night 3 was very loud with a full bar just outside our doorway, and Night 4 was very quiet. The difference cutting back and forth was jarring. I opted not to mix in wild sound later but to cover as best I could with a music track. Scene 12. In this scene, a MS of Caroline, she reverts to memory, speaking of snow and ambulances and call girls and drunken men. On Page 3. Scene 13. CU's Of Candy Marazita (woman Caroline approaches), Page 4, to Page 5, in 2 takes. Scene 14. CU's of Roger Sovis (man Caroline approaches), Page 4, to Page 5, in 3 takes. Scene 15. This was a sweet little scene with my friend Ed Cohen, who reads aloud from a book, stops to look at the camera and tells us about the steak and salad bar in the restaurant, picks up his doggy container and exits. On Page 6, in the script and to his relief, only 4 takes. It was 1:45 p.m. and we packed it up for the night. Night 5 - January 21, 1986 Scene 1. A lovely shot, this is an OTS to the Host after the Poet has entered the restaurant. On Page 7, to the scene took 4 takes. Caroline is seen in the background watching the encounter, and then leaving her table to befriend the Poet. 50 Scene 2. This was a wide master, as Caroline walks to the Host and Poet and drapes her stocking around the Poet's neck to serve as a tie for him to be allowed in the restaurant with. From Page 7, to Page 8, we took 4 takes. Mike Menczer wanted to light the scene better and I said no. I also regret not shooting any CU's here, as we stay too far from the action. Scene 3. This was an exit scene for two restaurant patrons. It was not used in the final edit because I decided, (n1 Carrie/Jill Heeter's suggestion, that it was superfluous to show peOple leaving the restaurant when I could come out of the Dream Sequence and cut directly to an empty restaurant. On Page 22, this was 3 takes and a slight burn-in is visible. Scene 4. This shot was the entrance scene of the couple of Scene 3. Page 19. Scene 5. It was now past 12:00 p.m. Darrel left for Brighton and I took over camera. I shot a very long master, from Page 16, to Page 18, and three minutes screen time. What I did was roll 8 shots into one - I was very worried about not getting through the script. I'd originally intended to dolly in with the Host as he approached the table and then dolly back out as the Poet rose to recite his poetry and use other cuts and close angles in between. However, it was all done in one shot, though it took 10 takes to get it right. 51 Scene 6. This was a MS of Caroline as she is ready to bolt from her chair. On Page 13, we took 4 takes. Scene 7. On Page 21, this was another scene that didn't see the final edit, as the couple from Page 4, leave the restaurant after Caroline awakens. Scene 8. Here, the Poet and Caroline talk and the Host saunters over and clearly reveals himself to be a villain. From Page 19, to Page 20, this scene took 6 takes. Scene 9. Here I shot CU's of Caroline, covering the same material as in scene 7. Scene 11%. On Page 14, I play the photographer/ reporter and get it in only 4 takes. I lost my raincoat during the shoot and the one I wear in the scene belongs to Darrel. Scene 11. On Page 14, this scene consists of CU's Of Caroline, done in 2 takes. Night 6 - January 22, 1986 As Steve Atwell, Mike Menczer and I loaded the van at the Communication Arts and Sciences Building at 5:00 p.m., there was little doubt that we would finish on time, that night“ The shots for the evening were well planned out, and it was the night for staying late: because the confrontational scene between Caroline and the Host take place in an empty restaurant, I wanted to shoot after 2:00 a.m. when we'd have The Small Planet to ourselves. It was 52 the first night we stayed late, and when we finally finished at 6:00 a.m., the sun was rising. Scene 14. From Page 21, I have Caroline sipping from her champagne, picking up her stocking and walking toward the Host. The sequence was not preserved in the final edit and took an hour and 6 takes. Scene 2. Here we shot cutaways of Caroline in various poses at her table. Scene 3. From Page 18, the shot is an OTS from Caroline to the Poet. 4 takes. Scene 4. I now needed the Poet putting his headphones on Caroline as she slips into her dream world, and this was a CU of Caroline with the Poet crossing in front of her as he leaves. Scene 5. Here we shot an OTS from the Poet to Caroline, with the same dialogue as in Scene 3. An hour and a half and 6 takes later, we had the reverse Of Scene 3. Scene 6. The reverse of Scene 4, CU's of the Poet as he puts the phones on Caroline. Scene 7. Next on the agenda were cutaways of the Poet on the riser, writing, sipping coffee, blowing bubbles, etc. Scene 8. This was the follow-up shot of Scene 1, also not preserved except as raw footage. Here Caroline engages the Host in conversation and pokes fun at him. From Page 22, and requiring 5 takes. 53 Scene 9. The next shot to get was Caroline receiving the cognac glass from the Waiter, back on Page 3. She 'hears, "YOur drink, ma'am, and turns to take the glass, and we see only a hand giving it to her. This took 9 or 10 takes because either her eyes weren't looking in the right direction at the right angle or I saw too much of his hand or she was holding the cognac snifter like a viper. It was now past 1:00 a.m. and we busied ourselves for the remaining shots. Two actors remained: Leora and Cary. I Operated camera, Steve handled audio and both Mike Menczer and Scott Moore stayed through to the end. Leora and Cary took time to rehearse while the boys and I set up the final scenes. Spirits were running high and we were excited about finishing and finishing with the most dramatic scenes. Scene 10. This scene began on Page 22, with Caroline entering the room very slowly and sitting down to an empty table in an empty restaurant. The Host then enters the room very deliberately and tries to get the truth from Caroline. The scene ends as the Host, who had been listening to her with his back turned, whirls around and is about to (he actually does it next shot) rip the tablecloth off. Having watched them rehearse, I decided to keep the shot framed very wide and to use no camera movement, no cuts and no distractions - letting the actors not only carry the scene themselves, but build tension to the following shot by keeping this one very, very still. On 54 one take, Leora didn't like the feel, on another, Cary didn't like the feel, on another it was my decision to do it again. Those were luxurious moments, and then several takes were interrupted by peOple outside in the street. On the next take, Cary tossed in a very subtle, beautiful touch by slumping, so Christlike, ever so slightly as he stood turned away from Caroline's rambling dreams. Even I thought she'd finally gotten through to him. It worked, and almost 2 hours later we were ready for the big rip. Scene 114. The only reason I wanted a glass-covered table was to see through it. This shot. I dismantled the base so I could lie on my back shooting up towards Caroline and the Host. I preset focus and the tablecloth was put in place with silverware and champagne glasses at attention. I wore Steve's glasses fer flying fragments. And on my cue, Cary ripped the cloth Off and they played the scene out. Two takes and it was perfect. On Page 23, my only regret is I didn't give myself shots with which to cut into this perspective just a few sentences sooner. Scene 12. .It was now 4:00 a.m. and I was becoming concerned about finishing before the sunrise spoiled everything. The scene was a long master of Caroline from the front, fairly wide. I liked the shot because the painting on the wall of building lights was beautifully reflected.>> She's an actress preparing for her newest role. She's come here incognito - her hair is actually blonde. Much shorter. She came here to be in character, to discover, Her character's thoughts, feelings, patterns... It's her method! [11:12] A tender, delicate situation we have here. Can you understand that? Yes, of course... (afterthought) I'm an actor too! Perhaps I could... Don't even think of it! Just be kind, gentle, AND DON'T let on that you know, Not to anyone, alright? Of course! I mean of course not, sir. This is incredible! I'll bring her coffee immediately! And I'll have another cognac. Thank you, sir! (Waiter leaves) PHOTOGRAPHER IN CAR, DRIVING [11:42] (leaning across table to Poet, who is busy writing) I can hear it. You're listening to Mozart... And you're writing about me and, and... Ignoring me! POET LOOKS UP AT HER, SHAKES HIS HEAD, TIGHTENS KNOT OF TIE, KEEPS WRITING 86 DOC W. ARRIVES AT THEIR TABLE AS WAITER ARRIVES WITH POET'S COFFEE WAITER SETS COFFEE, ETC., IN FRONT OF POET DOC W. TAKES HIS GLASS OFF TRAY DOC W.: It would be my greatest pleasure to join you. POET: (he looks at intruder) I'm sorry. (exasperated) I can't write, listen, and deal with all this madness At the same time! (he packs up his belongings, stands up with coffee) Thanks for the tie. CAROL: (rising) Please wait, talk with me. POET: Lady, please allow me my solitude. (Poet looks for a place to sit, finds raised step) [12:17] DOC W.: Please sit down I've been wanting to speak with you for quite a while. CAROL: (she sits slowly) I don't know why... he's listening to Mozart... (she folds her head in her arms) DOC W.: (Doc W. sits where Poet sat) Where do you know him from? What is it about Mozart? (CAROL: That's not the beginning. There is no beginning anymore (she lifts head to look at Doc W.) Don't you understand? I've almost forgotten, I've lived such a full life! I've travelled the world, lived, loved... CAROL: DOC W.: DOC W.: * * CAROL : **DOC W.: **CAROL : M'DOC W. : CAROL: Docw. CAROL: 87 But I can't forget! It eats at me, like rain on a mountain, He keeps slipping away... And I... I keep slipping back... (a long pause - then excitedly) He's on his way, I know he is! I'm sure he is. (he sips cognac) I'm sure he is... [13:33] From what you say, Carol, I don't know if I can Piece it together, there is a beginning. Your friend, and Mozart... Carol, what about your friend... and Mozart? I love him, that's all. I love them both... Perhaps I should leave? He hasn't come yet, Mozart just left... Don't do that, Carol. Stay here. And you don't need to slip back, You'd be deserting them. What your mind holds on to, You can follow. But he's not here And now he's (points to Poet) gone, too. Why should I stay? Because you'll find them again. Or they'll find you. (soothingly) Tell me about your friend, Carol. But I've already told you a hundred times! [13:53] Pretend it's the first time, Carol. Please try again. It rushes by too fast. They stay too long, my memories... He should be here by now. (she stands up) 88 CAROL: He's late. I'm late, we keep Missing each other, Misunderstandings... (she bolts toward Host, who has been watching the scene) DOC W.: CAROL, CAROL! HOST: Time to leave, eh? *INTERIOR OF FAST-MOVING TAXI- *MAN TO DRIVER: Don't worry about the speed. Just get us there. DOC W. AND CAROL ARE IN DOORWAY DOC W.: It really is time to sit And just sort out life, Carol. 1 know Mozart, I know your friend. Your friend was on a dock, fishing, Hours on end, hours... [14:47] And he had not tie, no line, no sinker. And he was happy. _ I'm getting to know you, too, Carol. CAROL: Yes, I believe you are. (she walks back to table with Doc W. - they sit) He walked into the house... DOC W.: Whose house? CAROL: Our house, well, his, His mother's house. She took me in, after my parents had... Moved. DOC W.: And what happened then, Carol? CAROL: Tommy came in, after two days away, And he was us together, on the sofa. He walked in without a sound, I was crying, and then... DOC W.: Why were you crying, Carol? CAROL: They'd found my mother. She was dead. And Tommy, he didn't understand, How could he? He walked in and saw us and left before I knew He had been there [16:44] A . CAROL: DOC W.: CAROL: 89 Then something in my blood raced to my heart And I rushed outside. Flowers were on the sidewalk, Beautiful pOppies... I found him at the lake, His sanctuary, the place he took me once, at night, When the horse ran wild, He was playing flute, Mozart, I couldn't talk, and he couldn't listen... What happened then, Carol? What did you do, what did Tommy do? He took a flower and bit it's head Off... and, Threw it in the water, I watched it float, Tommy stOpped playing, And then I was white... CU OF CAMERAFLASHES and AUTOWINDER SOUNDS AS PHOTOGRAPHER RUSHES TO CAROL'S TABLE - TAKING MANY PICTURES HE GETS A FEW, THEN CAROL COVERS HER FACE CAROL: DOC W.: PHOTOG. PHOTOG: PHOTOG. *HOST: DOC W. NO, NO, STOP! Those horrible lights... STOP! (she smashes wine glass on table, slumps over, sobbing) [18:25] (he rises quickly, shoving Photog. away) You fool! Do you know what you're doing?!! (pushes Photog. out toward door, Host rushes in also) AND HOST AND DOC W. AT DOOR The first ones since the inquest! (spoken triumphantly) LEAVES RESTAURANT (to himself) The inquest... the inquest... HURRIES BACK TO THE TABLE - HOST A STEP BEHIND 9O DOC W.: Carol, are you alright? CAROL, STILL FACE-DOWN, DOESN'T HEAR HIM HOST MOTIONS TO WAITER AND TAKES WINE GLASS STEM FROM CAROL'S HAND - SHE STARTLES AT THE TOUCH CAROL: (looks up at Host, then to Doc W.) Why that was a bit of a shock, wasn't it? All of a sudden, so many lights, So much white, white everywhere... [18:50] DOC W: Who was he Carol? What did he want? CAROL: He wanted to take my picture, didn't he? (she takes photo of Tommy, looks at it) I should keep it in my purse (takes out mirror, puts on lipstick, checks hair) If he comes again, he might get a different version. HOST ENTERS SCENE, GOES TO TABLE HOST: Just like at the inquest, ma'am? DOC W: (motions to Host to be quite, Host leaves) Tell me, Carol, I don't understand. What is all this talk of an inquest? CAROL: Just that, I would think. QUACK QUACK QUACK! TALK! (she finishes hair, puts things back in purse. looks at Doc W.) I don't understand talk very well, you know, I hear so many things, and See such bright colors ... None of them make much sense And none of them stay very long either, Niki niki tembo no so rembo ... [19:52] Doc W.: Carol, you were saying, about the lake? 91 CAROL: U ma muchi gamma gamma guchi. I used to rake leaves with Tommy. We'd climb trees and build nests and Wait for birds to fly in - It seemed so much nicer than watching them all go up in smoke. HOST RETURNS TO TABLE HOST: A call for you Dr. Wiley. DOC W.: Yes, of course. Thank you. (he rises) Excuse me, Carol. (he touches her hand) Please wait. (he exists) DOC W. FOLLOWS HOST TO TELEPHONE WAITER, WHO HAD LEFT AFTER CLEANING, RETURNS WAITER: Ma'am, I've been appreciating you. Could I please have your autograph? (he hands her pen and paper) CAROL: Why, I don't know... Do you want mine or someone else's? [20:50] WAITER: The real you, if you please. CAROL: But I am always real! However, (takes pen, paper and writes) I don't see why not. You won't tell anyone, will you? WAITER: I was just thinking the same thing! (looks at it, puts in pocket) Thank you very much. CAROL: I suppose one acquires celebrity status After an evening in a place as lovely as this? WAITER: CAROL: WAITER: DOC W. DOC W.: 92 It preceded you, ma'am. Is there anything else I can do for you? DO keep an eye out for Mr. Jensen. He's apt to have a great deal on his mind And walk right on by. He's awfully busy these days, you know. I'm sure he is, ma'am. And thank you again. RETURNS TO TABLE JUST AS WAITER was ABOUT TO LEAVE [21:36] (to Waiter) May I? (takes pad and pen) Carol, I'm so sorry, but I must leave. An emergency has come up and I must go downtown. Here, (he writes on pad) Here's my number. Do call me on Monday And we'll arrange another session. OUR POET, WHO HAS BEEN SITTING QUIETLY ON STEPS, RISES WITH OUTSTRETCHED ARMS: HE CLICKS OFF WALKMAN POET: DOC W.: POET: DOC W.: (reading) Her toes curl As with heaving breast she sighs A time-swept grief and listens to echoes Of wind she once held dear - Like mothers whose sucklings despaired Before the end And tasted bitterness in a world grown Old. I must leave, Carol. Do call me this time, please. Sir! Allow me to read! I read anywhere, everywhere! [22:17] Goodbye, Carol. (he exits, looking over his shoulder once) POET: 93 (moving more into center as though to prevent another interruption) In a world grown old. So who am I to grapple With leaves of love Swirling to frozen ground? For unless tears were acid biting bone The healing well Could never dry and I can do NO more than flicker salt with tongue And await the flowering Of her lids. POET LOOKS ABOUT, SEES ALL EYES ON HIM WE SEE CAROL, HER PHOTO OF TOMMY IN HER HANDS SHE LIGHTS A MATCH, SETS FIRE TO PAPER DOC W WROTE ON POET BOWS IN ALL DIRECTIONS, WAITER RUSHES UP TO HIM WAITER: POET: CAROL: POET: Incredible! An incredible evening? (holds pad and paper to him) Your autograph, please! In thirty years, in thirty years... (he walks to Carol's table, rethinks, turns back to Waiter) [23:15] Hey, why not. I write anywhere, everywhere! (he signs, walks back to Carol) I've had my time, one of my moments. May I sit? I've been having several of my moments. Join me, but Don't ignore me. (he sits, lays Walkman on table, folds notebook shut) I no longer feel like an alien Running along the legs of an isoceceles triangle, Never sure of when to stop Or which leg to stand on. (he undoes stocking around neck. lays it across tabletOp) 94 CAROL: Isosoles..., Isolation. That's what your poem reminds me of. She must be the one you've never spoken of, Never written about. POET: And now I can look upward and see her face, ‘Her teeth as they sparkle with The luster of Dentine! Oh yes, joy-be-gone and come again, YES!!! I don't know what I write about, But I knew you'd understand! [24:17] *HOST: Our deserts are delicious Have a pleasant evening. MAN IS SHOWN SEATING HIS ESCORT HE SLOWLY SURVEYS THE DINNINGROOM, LIGHTS A CIGAR, SITS STILL CHECKING OUT THE ROOM MAN: A bit on the dull side tonight. WOMAN: The silverware is imported, Fred. I'm sure they'll feed us well. POET: I write anywhere, everywhere, But I drink this, (he toasts Carol) Only after I've written. (he spills a little on Carol's stocking) WAITER APPEARS WAITER: Let me help you with that sir. POET: No, no, it's alright, really it is. WAITER: (very proudly) It's part of my job sir. (pats stocking with napkin) HOST APPEARS - WALKING BY, HE SEES WHAT HAPPENED [25:00] HOST: I see that your tie is also a fingerbowl! Let me know if there's anything else we can do for you. 95 CAROL: You could do something for me. HOST: (sarcastically) Yes ma'am? CAROL: You could be a little kinder! Your intolerance betrays your youth. POET SIPS WINE, TOASTS CAROL AGAIN, SMILES UP AT HOST HOST: Life gives us many Opportunities. You certainly take advantage of your sleepless nights. POET: (to Host) I'd prefer troubled sleeps to a life of smug complacency. HOST: Then let her be the only one to know (to Carol) Save the inquest for your memoirs, ma'am. And pardon the intrusion. (Host exits scene) CAROL: That's what time is good for. It gives us the chance to forget. [25:45] POET TURNS ON WALKMAN, RISES AND SLIPS PHONES ON HER - CAROL SMILES, SLIPS BACK INTO CHAIR AND CLOSES EYES DREAM SEQUENCE IMAGERY AND MUSIC **AS CAROL AWAKENS FROM HER REVERIE, THE POET IS GONE, HAVING LEFT HER WITH THE WALKMAN AND PERHAPS THE POEM **CAROL LIFTS WINE TO MOUTH, WE SEE HOST IN BACKGROUND TALKING ON TELEPHONE - CAROL PUTS GLASS DOWN **CAROL: WAITER! May I please have a glass of water? All of a sudden, I seem to have Developed an overpowering thirst. **WAITER: (he brings her a glass) Here you are. (He begins to clear the other glasses) **CAROL: **MAN AND **MAN: WOMAN: **MAN: **WAITER: **WOMAN: **CAROL: **WAITER: **CAROL: 96 NO! We must wait! Mr. Jensen has yet to arrive. [28:43] WOMAN LEAVE TABLE AND WALK BY WAITER Good night, now. Thank you. Another wonderful evening. A little more action, I'd say. That is a fact. (leans closer) Might even get us into the papers! Well, thanks again, Mr. Paugh, Mrs. Paugh. Have a nice weekend. (to Carol) And we hope to see you here again! (Man and Woman exit) (lingeringly) That would be lovely... (to Waiter) Thank you. (she sips, then gulps water) You're such a sweet young man, DO be on the lookout for Tommy. I'll be watching for him, ma'am. (he winks at her, slowly) (she laughs) You might need to keep both eyes Open. (she winks - one eye, then the other) **WAITER BOWS SLIGHTLY, THEN EXITS CAROL PICKS UP STOCKING< RISES AND APPROACHES HOST STANDING IN THE DOORWAY ' 97 **CAROL: Which way to the ladies room, please? **HOST: (deliberately, not nicely) Straight down, and to the left. **CAROL: (extremely sweetly, sarcastically) I hOpe you have a machine That sells these! (she twirls stocking in front of Host, exits) **CAMERA ALLOWS CAROL TO LEAVE FRAME - PANS BACK TO DINNINGROOM TO TABLE WITH CIGARMAN **MAN: (newspaper covers face, he peers to Woman) It's time to leave, Myrtle. **MYRTLE: I do feel like a chocolate turtle, Fred. **MAN: Turtle, turtle, why always a chocolate turtle? (he rises, tosses bills on table) You know that Karen gets bored with the kids! **MYRTLE: (she rises) We'll stOp by the market on the way. **MAN: Yes, darling. (he holds out hand, she takes it, they exit) AS CAROL RETURNS TO TABLE, EVERYONE IS GONE HOST APPROACHES [START - 29:02] HOST: I see you've refreshed yourself for your vigil. CAROL: I do seem to be your last remaining patron. HOST: And I'm beginning to feel like your saint. Don't you think it's time to come straight? Your audience is gone. 98 CAROL: You don't understand, do you? (reflectively) I remember when we were in Spain... HOST: We? You and your Mr. Jensen? CAROL: No. I was there with a relative (said faster now, eyes gleaming) The arena was empty after the fights - As the sun was setting, a table was brought out, Filled with food, and the cloth was white with candles HOST TURNS HIS BACK TO CAROL And the moon hung as though on a clothesline as The matador and his lady entered and sat with the air Rich and honeyed and dripping love into their laps As they laughed and fed each other And we were the only ones to see this celebration Of private affections and toasts to dreams and life... HOST TURNS VERY QUICKLY AND RIPS TABLECLOTH OFF TABLE [30:28] HOST: So you've been to a bullfight, eh? What else is new? Dreams! Poetry! Ridiculous images! That's all I've been hearing from you! Why don't you tell me why Mr. Jensen isn't here? Where is your Mr. Jensen? CAROL: Why should he be of such concern to you? What right do you have? He is my friend, my paramour, my cause, HOST: Your road to ruin! CAROL: My road to life! He keeps me alive! [31:03] HOST: How? Where is he now? **HOST WATCHES AS CAROL DUMPS PURSE ON TABLE: PULLS OUR PHOTO AND HOLDS IT TO HIM **CAROL: (softly) He's here. Don't you see him? What else do you need to see? HOST: CAROL: HOST: 99 (strikes a match and leans in to her) I want to see him burn! Burned out of your mind. (pulls away from flame) You're crazy. He's safe now, he's safe from you! (coaxingly) You're so right... That's exactly what they tell me... Now why don't you tell me exactly where he is? [31:44] CAROL DOESN'T ANSWER, BUT SITS QUIETLY, STARING He's dead, isn't he? Why don't you tell me about that? CAROL DOESN'T MOVE, DOESN'T FLINCH CAROL: HOST: I know you're listening to me, You can hear me He drowned, and you were there. (he shouts) You watched him drown! I saw white, And then I saw nothing. And now, I see him all the time... White is Christmas, White is pretense. You saw more than white! CAROL REMAINS VERY COMPOSED, CONTROLLED THROUGHOUT SHE LOOKS AT HOST CAROL : I see him all the time. (she looks straight ahead, staring) I must leave now... If you'll be so kind as to bring my check, My umbrella and my coat... Thomas is expecting me shortly... THE END [33:00] MICHIGAN STATE I . LIBRARIES UN llilllll 08402483 V 312930