A dream few days of shoot

[soundtrane]

Oh, Peter Weir is coming to India to shoot in the great hills of North-Eastern India just a few days for his film "The Way Back" and the Indian production controller has taken my latest resume and sent it to the production. It may be just two days of shoot, but it will be a great honour to work with Mr. Weir. Also, what will be incredible is that Mr. Ed Harris - an artist I really admire will probably be there since he is doing a role in the film. I fervently wish this little but GREAT gig actually happens for me.

I am a great lover of his film 'Picnic at Hanging Rock'. I saw this film on black and white TV in 1988 i think. It left a lasting impression on me. I saw the film once more a couple of years ago, and amazingly, the music and the visuals and the sound just came back to me as if it had been stored away in my head all this time.

-vin

[Jeff Wexler]

I hope this does come through for you, Vin, and you are right about Peter Weir --- he is a great filmmaker and a truly fine person. Peter has made some wonderful movies in the past, I, too, remember "Picnic at Hanging Rock" like it was yesterday. I have met Peter several times but have not yet had the chance to work with him. My good friend Art Rochester has done two movies with Peter and confirms what we all have known to be true.

Good luck.

-  Jeff Wexler

[soundtrane]

Many thanks Jeff, i sleep dreaming i am on... Wonderful images of great and wonderful people, Ed Harris and Mr. Weir...

-vin

[soundtrane]

I may have lost out on this gig. Once again - a victim to local line producers who think they can get a pat on the back from the producers of the film project because they have found 'a great sound guy for a hundred bucks'. I am so disappointed. There seems to be no way to break into this stupidity and get to the real producers of the film who may have the good sense to realize that cheap mostly does not mean good.

-vin

[soundtrane]

Jeff, I was actually trying to get in touch with Mr. Rochester to ask him for any tips on working with Mr. Weir. I did find an email address for him on imdbpro, but i have not received a reply from him yet.

-vin

[David Waelder]

I may have lost out on this gig

What a disappointment. We feel for you.

David

[old school]

Hey Vin, I doubt this will help, but in my life, every job I wanted I never got, but the jobs I got were better than the ones I wanted. Who knows, the phone may ring yet for this gig when they get a load of the 100 dollar mixer.

CrewC

[soundtrane]

Thanks guys, but such is life. It was only a two day gig, the entire purpose of my wanting so much to be on it was Mr. Weir and Mr. Ed Harris. Another time, and maybe for longer. Hopefully...

-vin

[David Waelder]

Sometimes these opportunities to work with renowned film artists can be more trial than privilege. Austin de Besche, the cameraman, told me about an experience he had working for a famous French film director years ago. As I recall, the director was Alain Renais but he told me the story thirty years ago and it was already an event a few years in that past, so I could be mistaken.

Anyway, the director and a few of his assistants were in town to capture some pick-up shots that they had missed during principal photography. The location was a small island, more a mound of earth than an actual island, in a small lake or quarry. Although only a hundred yards or so from the banks, it was accessible only by boat.

The French team had arranged for the rental of a Panavision camera package and hired Austin and his friend Frank Coleman to work as the gaffer/grip and camera assistant. The French crew consisted of the director, make-up artist, wardrobe and a few others. So, Austin and Frank found that they were the only people attending to the actual photography. As anyone who has worked with a Panaflex knows, the kit consists of at least 15 cases.

So, the morning goes OK although Austin and Frank have to scramble to get the camera set up and handle all the associated chores. The planned shots are all relatively simple so they manage.

Towards mid-day the company breaks for lunch but Austin and Frank have the chore of moving the camera and other gear – did I mention the dolly and track? – to the other side of the island. The French crew spreads a picnic blanket and breaks out pate and cheese and some Pouilly Fuisse while Austin and Frank hump the gear over. Fortunately, a European style lunch is sufficiently long that they are eventually able to join the company.

It was a light shooting day and they were able to wrap by late afternoon. True to form, the French crew dispersed immediately and left Austin and Frank to ferry all the camera and grip equipment back to the main shore.

Ever since, Austin has viewed the work of that director with a different eye. Of course, no real harm came of any of this and they did get a good story to tell.

My apologies if I have maligned the wrong director or mis-remembered any of the salient facts. It has been thirty years.

David Waelder