Filming Crew Quotes

That's a big love letter," she says, squinting. I know what I'm going to say and for a moment I wish there was a film crew documenting my day-to-day life: "I've got a big heart," I say.

Ever director has at least 10 bad films in them.

Actually it deals ("as usual" I was about to say!) with Life, Love and Death. Because nothing in fact is more important. To occupy oneself with. To think of. To worry over. To be happy about. And so on.

An audience can go back and watch a film any number of times they want. It's always there for them. For the cast and crew, the relationship with a film is more complex. The magic is in the making, and that process is a discreet unit of time in the past. You can reflect on that unit of time, you can be proud of it, but you can't revisit it.

You think you’re being difficult, my little sausage? Have I ever told you about the time I drank eight vodka martinis, took all my clothes off in front of a film crew and then broke my manager’s nose?

I suppressed the urge to raise my hand and let them film my middle finger.

And yet it was true: the responsibility was huge, but there is nothing about being a father that I don’t love. I even found the toddler tantrums weirdly charming. You think you’re being difficult, my little sausage? Have I ever told you about the time I drank eight vodka martinis, took all my clothes off in front of a film crew and then broke my manager’s nose?

film crew up there, enraptured by the charming rodents. The crew had come to shoot a documentary about the massacre; they had expected teen angst and American social Darwinism. They were seduced by the tranquillity—less than a hundred yards from the school. They shot hours of footage of the twelve-inch prairie dogs. The Japanese crew saw this place somewhat differently than Americans did. Their depiction was by turns tumultuous, brutal, explosive, and serene.

Once, in a three-day taping that included several sadists, the material was so overwhelming that both the film crew and I got sick - I with a sinus infection, and the entire film crew with a flu so severe they had to delay their departure from the motel. Our immune systems had weakened, I believe, from the beating out souls had taken.

The cup flew out of my hands and my God was it beautiful. I wish the Planet Earth video crew were there to film it at 100 frames per second so that we could watch it again at super slow motion in all of it’s glory.

Dating is all about getting to know somebody, without wasting a lot of time or money. What is the price of love? You’ve got the cost of dinner, a movie, and cab fare for you and your date, as well as the entire film crew documenting your evening. So you add all that up, and subtract various coupons and bulk discount rates you might qualify for. But what about time? You can make more money, but you can’t make more time if you waste it. That’s why you have to be efficient with your dating. Don’t date one on one. Take 10 women out at once, assembly line style, and forget the small talk. Focus on hard-hitting topics, and give them all questionnaires to fill out. I think the women will appreciate your honest and novel approach. Of course it’s possible that nine out of ten women might be offended. But who cares? All you need is one.


As time passes, the cast and crew go the way of all flesh, though their celluloid echoes remain--walking, talking, fighting, fucking. After enough time, every person you see onscreen will have died, transformed through the magic of cinema into a collection of visible memories: light on a screen, pixels on a videotape, information on a DVD. We bring them back every time we start a movie, and they live again, reflected in our eyes. It's a cruel sort of immortality, I guess, though it probably beats the alternative.

filmed for broadcast by the BBC, but the film crew became unexpectedly incapacitated. It was rumored that someone—or perhaps some band—dosed them with LSD.

Probably the most wasteful and pointless aspect of The Room’s production was Tommy’s decision to simultaneously shoot his movie with both a 35mm film camera and a high-definition (HD) camera. In 2002, an HD and 35mm film camera cost around $250,000 combined; the lenses ran from $20,000 to $40,000 apiece. And, of course, you had to hire an entirely different crew to operate this stuff. Tommy had a mount constructed that was able to accommodate both the 35mm camera and HD camera at the same time, meaning Tommy needed two different crews and two different lighting systems on set at all times. The film veterans on set had no idea why Tommy was doing this. Tommy was doing this because he wanted to be the first filmmaker to ever do so. He never stopped to ask himself why no one else had tried.

Andrea Meyer: What do you think your films offer to people today? Agnès Varda: I would say energy. I would say love for filming, intuition. I mean, a woman working with her intuition and trying to be intelligent. It's like a stream of feelings, intuition, and joy of discovering things. Finding beauty where it's maybe not. Seeing. And, on the other hand, trying to be structural, organized; trying to be clever. And doing what I believe is cinécriture, what I always call cine-writing. Which is not a screenplay. Which is not only the narration words. It's choosing the subject, choosing the place, the season, the crew, choosing the shots, the place, the lens, the light. Choosing your attitude towards people, towards actors. Then choosing the editing, the music. Choosing contemporary musicians. Choosing the tune of the mixing. Choosing the publicity material, the press book, the poster. You know, it's a handmade work of filmmaking - that I really believe. And I call that cine-writing.

Entrepreneurs who kept their day jobs had 33 percent lower odds of failure than those who quit. If you’re risk averse and have some doubts about the feasibility of your ideas, it’s likely that your business will be built to last. If you’re a freewheeling gambler, your startup is far more fragile. Like the Warby Parker crew, the entrepreneurs whose companies topped Fast Company’s recent most innovative lists typically stayed in their day jobs even after they launched. Former track star Phil Knight started selling running shoes out of the trunk of his car in 1964, yet kept working as an accountant until 1969. After inventing the original Apple I computer, Steve Wozniak started the company with Steve Jobs in 1976 but continued working full time in his engineering job at Hewlett-Packard until 1977. And although Google founders Larry Page and Sergey Brin figured out how to dramatically improve internet searches in 1996, they didn’t go on leave from their graduate studies at Stanford until 1998. “We almost didn’t start Google,” Page says, because we “were too worried about dropping out of our Ph.D. program.” In 1997, concerned that their fledgling search engine was distracting them from their research, they tried to sell Google for less than $2 million in cash and stock. Luckily for them, the potential buyer rejected the offer. This habit of keeping one’s day job isn’t limited to successful entrepreneurs. Many influential creative minds have stayed in full-time employment or education even after earning income from major projects. Selma director Ava DuVernay made her first three films while working in her day job as a publicist, only pursuing filmmaking full time after working at it for four years and winning multiple awards. Brian May was in the middle of doctoral studies in astrophysics when he started playing guitar in a new band, but he didn’t drop out until several years later to go all in with Queen. Soon thereafter he wrote “We Will Rock You.” Grammy winner John Legend released his first album in 2000 but kept working as a management consultant until 2002, preparing PowerPoint presentations by day while performing at night. Thriller master Stephen King worked as a teacher, janitor, and gas station attendant for seven years after writing his first story, only quitting a year after his first novel, Carrie, was published. Dilbert author Scott Adams worked at Pacific Bell for seven years after his first comic strip hit newspapers. Why did all these originals play it safe instead of risking it all?

. . . [E]very single writer I met likened writing for television to one thing--laying track for an incoming speeding train. The story is the track and you gotta keep laying it down because of the train. That train is production. You keep writing, you keep laying track down, no matter what, because the train of production is coming toward you--no matter what. Every eight days, the crew needs to being to prepare a new episode--find locations, build sets, design costumes, find props, plan shots. And every eight days after that, the crew needs to film a new episode. Every eight days. Eight days to prep. Eight days to shoot. Eight days, eight days, eight days, eight days. Which means every eight days, that crew needs a brand-new script. And my job is to damn well provide them with one. Every. Eight. Days. That train of production is a'coming. Every eight days that crew on that soundstage better have something to shoot. Because the worst thing you can do is halt or derail production and cost the studio hundreds of thousands of dollars while everyone waits. That is how you go from being a TV writer to being a failed TV writer.

I suppose a part of me wished when I put my key in the door, it would magically open into a different apartment, a different life, a place so bright with joy and excitement that I'd be temporarily blinded when I first saw it. I pictured what a documentary film crew would capture in my face as I glimpsed this whole new world before me, like in those home improvement shows Reva liked to watch when she came over. First, I'd cringe with surprise. But then, once my eyes adjusted to the light, they'd grow wide and glisten with awe. I'd drop the keys and the coffee and wander in, spinning around with my jaw hanging open, shocked at the transformation of my dim, gray apartment into a paradise of realized dreams. But what would it look like exactly? I had no idea. When I tried to imagine this new place, all I could come up with was a cheesy mural of a rainbow, a man in a white bunny costume, a set of dentures in a glass, a huge slice of watermelon on a yellow plate—an odd prediction, maybe, of when I'm ninety-five and losing my mind in an assisted-living facility where they treat the elderly residents like retarded children. I should be so lucky, I thought. I opened the door to my apartment, and, of course, nothing had changed.

I was flabbergasted as it was a distant scream from any catering I had experienced on any film set. I couldn’t help but stare in disbelief at the cast and crew eating together inside a truck so elegantly appointed, while gay Paree buzzed away around us. The whole thing was so wonderful, civilized, and strange that there is a part of me that thinks perhaps I may have just dreamed it all. If so, I’d like to dream it again on every film I make from now on.

Milch had a bigger cast, a bigger set (on the Melody Ranch studio, where Gene Autry had filmed very different Westerns decades earlier), and more creative freedom than he’d ever had before. There were no advertisers to answer to, and HBO was far more hands-off than the executives at NBC or ABC had been. And as a result, there was even less pretense of planning than there had been on NYPD Blue, and more improvisation. There were scripts for the first four episodes of Season 1, and after that, most of the series was written on the fly, with the cast and crew often not learning what they would be doing until the day before (if that). As Jody Worth recalls, the Deadwood writers would gather each morning for a long conversation: “We would talk about where we were going in the episode, and a lot of talk that had nothing to do with anything, a lot of Professor Milch talk, all over the map talk, which I enjoyed.” Out of those daily conversations came the decisions on what scenes to write that day, to be filmed the day after. There was no system to it, no order, and the actors would be given scenes completely out of context from the rest of the episode.

Like Alan, Jep turned his life around after overcoming the struggles of alcohol and drugs. He came to work for Duck Commander and found his niche as a videographer. He films the footage for our Duckmen videos and works with Willie on the Buck Commander videos. Jep is with us on nearly every hunt, filming the action from a distance. He knows exactly what we’re looking for in the videos and films it, downloads it, edits it, and sends it to the duplicator, who produces and distributes our DVDs. Having worked with the crew of Duck Dynasty over the last few years, I’ve noticed that most people who work in the film industry are a little bit weird. And Jep, my youngest son, is a little strange. It’s his personality-he’s easygoing, likable, and a lot more reserved than his brothers. But he’s the only one who will come up to me and give me a bear hug. He’ll just walk up and say, “Daddy, I need a hug.” The good news for Jep is that as far as the Duck Commander crowd goes, one thing is for sure: weirdos are in! We covet weirdos; they can do things we can’t because they’re so strange. You have to have two or three weirdos in your company to make it work. It’s truly been a blessing to watch Jep grow and mature and become a loving husband and father. He and his wife, Jessica, have four beautiful children.

The last week of shooting, we did a scene in which I drag Amanda Wyss, the sexy, blond actress who played Tina, across the ceiling of her bedroom, a sequence that ultimately became one of the most visceral from the entire Nightmare franchise. Tina’s bedroom was constructed as a revolving set, and before Tina and Freddy did their dance of death, Wes did a few POV shots of Nick Corri (aka Rod) staring at the ceiling in disbelief, then we flipped the room, and the floor became the ceiling and the ceiling became the floor and Amanda and I went to work. As was almost always the case when Freddy was chasing after a nubile young girl possessed by her nightmare, Amanda was clad only in her baby-doll nightie. Wes had a creative camera angle planned that he wanted to try, a POV shot from between Amanda’s legs. Amanda, however, wasn’t in the cameramen’s union and wouldn’t legally be allowed to operate the cemera for the shot. Fortunately, Amy Haitkin, our director of photography’s wife, was our film’s focus puller and a gifted camera operator in her own right. Being a good sport, she peeled off her jeans and volunteered to stand in for Amanda. The makeup crew dapped some fake blood onto her thighs, she lay down on the ground, Jacques handed her the camera, I grabbed her ankles, and Wes called, “Action.” After I dragged Amy across the floor/ceiling, I spontaneously blew her a kiss with my blood-covered claw; the fake blood on my blades was viscous, so that when I blew her my kiss of death, the blood webbed between my blades formed a bubble, a happy cinematic accident. The image of her pale, slender, blood-covered legs, Freddy looming over her, straddling the supine adolescent girl, knife fingers dripping, was surreal, erotic, and made for one of the most sexually charged shots of the movie. Unfortunately it got left on the cutting-room floor. If Wes had left it in, the MPAA - who always seemed to have it out for Mr. Craven - would definitely have tagged us with an X rating. You win some, you lose some.

I thought you weren't supposed to force action." He laughed. "You know, my wife was filming a nature documentary a couple of years ago, and a flock of penguins got stuck in a ravine. The crew had to watch, completely helpless, as dozens of birds tried and tried and tried to get out to no avail. And if they did nothing, that entire flock would've died. So they broke their rule about intervening and carved stairs in the ice and snow, and the penguins marched right out of that ravine as soon as they had the chance." I shook my head. "Not sure that's a flattering comparison if you're me." He slapped me on the back. "They were smart enough to climb those stairs, Griffin. All I'm asking you to do is open your eyes. Once you do, your life will never be the same.

Frankly, the racial-harmony shit put Pepper on edge. The majority of the film crew were hippie freaks, but Zippo and the director of photography and Angela, the lady who did the wardrobe and makeup, were black. The white people did what they were told. This was America, melting pot and powder keg. Surely something was about to pop off. It kept not happening. Pepper had never worked jobs with white people before. Pulling shit in Newark, then uptown in those days, that was the reality. It was not done. Occasionally he'd get asked to join a crew with a white wheelman or a bankroll and that was a sign to wait for the next gig. His current refusals were simple common sense. Pepper barely trusted Negro crooks--why extend the courtesy to some cracker motherfucker who'd fuck you over first chance? Sometimes black people fell over themselves trying to vouch for a white man who hadn't wronged them. Yet.

Hoping to settle the wheelchair matter once and for all, Graham dragged his chief of construction, his chief of architecture, and a film crew out to Dulles Airport, whose escalators were approximately the same width as those planned for Metro. There he produced a variety of braces and crutches. As the cameras rolled, Graham rode up and down the escalators using one aid after another, climaxing by riding both directions in a wheelchair, facing up each time. Graham clearly believed he had proved beyond doubt that 'it is entirely possible, easily and safely, for wheelchair travelers to use escalators.' His aides watched in disbelief; a fit and fearless major general in his fifties hardly represented the disabled population, whatever braces he strapped to his legs. All he had proved, concluded the WMATA architect Sprague Thresher, was that 'if everybody who had to use a wheelchair was Jack Graham, we wouldn't need elevators.

This was the point in the Fire Swamp sequence where Buttercup’s dress briefly catches on fire before the flame is extinguished by Westley. It’s merely a line in the stage directions and consumes only a few seconds of film, but before we could shoot the scene, several steps had to be taken. First, a fire marshal had to be brought to the set. He would then meet with the stunt coordinator, Peter Diamond, Nick Allder, our FX supervisor, and his special effects crew. This was followed by what is known as a general “safety meeting” with the rest of the crew. Anytime there are firearms, fire, or even a dangerous or semidangerous stunt involved, there is always a safety meeting of this kind. The whole crew gathers around, and usually the first AD explains what the meeting is about. He then introduces everyone to the person in charge of special effects/stunts/firearms, etc., and that person walks everyone through the sequence, detailing both process and all potential safety concerns.

Hey—we have a problem. You have some unexpected guests down at the gate. You should go check it out.” Guests? Who would come here to see me? I hop in the golf cart and drive down to the main gate. Just in time to hear Franny Barrister, the Countess of Ellington, tearing into a poor, clueless Matched security guard. “Don’t you tell me we can’t come in, you horse’s arse. Where’s Henry—what have you done with him?” Simon, my brother’s best friend, sees me approach, his sparkling blue eyes shining. “There he is.” I nod to security and open the gate. “Simon, Franny, what are you doing here?” “Nicholas said you didn’t sound right the last time he spoke to you. He asked us to peek in on you,” Simon explains. Franny’s shrewd gaze rakes me over. “He doesn’t look drunk. And he obviously hasn’t hung himself from the rafters—that’s better than I was expecting.” “Thanks for the vote of confidence.” Simon peers around the grounds, at the smattering of crew members and staging tents. “What the hell is going on, Henry?” I clear my throat. “So . . . the thing is . . . I’m sort of . . . filming a reality dating television show here at the castle and we started with twenty women and now we’re down to four, and when it’s over one of them will get the diamond tiara and become my betrothed. At least in theory.” It sounded so much better in my head. “Don’t tell Nicholas.” Simon scrubs his hand down his face. “Now I’m going to have to avoid his calls—I’m terrible with secrets.” And Franny lets loose a peal of tinkling laughter. “This is fabulous! You never disappoint, you naughty boy.” She pats my arm. “And don’t worry, when the Queen boots you out of the palace, Simon and I will adopt you. Won’t we, darling?” Simon nods. “Yes, like a rescue dog.” “Good to know.” Then I gesture back to their car. “Well . . . it was nice of you to stop by.” Simon shakes his head. “You’re not getting rid of us that easily, mate.” “Yes, we’re definitely staying.” Franny claps her hands. “I have to see this!” Fantastic.

When you’re on the dance floor screaming louder than the amps and dancing to the pulse of the lights, you’re in the bubble. As soon as the bubble bursts, that it, you’re now outside it all. The swinging arms of the crowd become shutting barriers; the lights blind you and force you back; the deafening music becomes a solid wall of impenetrable sound. It’s like you stop being one of the actors and turn into one of the film crew behind the scenes. You just have to stand back and watch in silence; the fake set slides away from you on wheels and you’re left in the dark shadows, waiting for the director to shout, ‘Cut!’ just so you can move again. As soon as you step foot inside a club, you know that you have to keep in that bubble moment; keep drinking; keep dancing; keep mingling. Until one drink too many, exhausted from the dancing, you mingle beyond the last person in the club and fall outside the moment. Then it’s lost forever and you end up sitting next to a sleeping drunk or leaning against a pile of discarded coats.

She's barely gained consciousness and when she sees me standing over her naked, I can imagine my virtual absence of humanity fills her with mind-bending horror. I've situated the body in front of the new Toshiba Television set and in the VCR is an old tape and appearing on the screen is the last girl I filmed. I'm wearing: a Joseph Abboud suit, tie by Paul Stuart, shoes by J. Crew, a vest by someone Italian and I'm kneeing on the floor beside a corpse eating the girl's brain gobbling it down spreading Grey Poupon over hunks of the pink fleshy meat. "Can you see?" I asked the girl not on the Television set. "Can you see this, are you watching?" I whisper. I try using the power drill on her, forcing it into her mouth but she's conscious enough, has strength to close her teeth clamping them down and even though the drill goes through the teeth quickly it fails to interest me. So I hold her head up, blood dribbling from her mouth and make her watch the rest of the tape. While she's looking at the girl on the screen bleed from almost every possible orifice I'm hoping she realizes that this would've happened to her no matter what. That she would've ended up here lying on the floor in my apartment hands nailed to posts, cheese and broken glass pushed up into her cunt. Her head cracked and bleeding purple no matter what other choice she might have made.

Ryan was complex—he was big-hearted and caring but also resolute and direct. He once e-mailed me an audio clip of a television news interview he gave after a group of Navy SEALs rescued the captain of the Maersk Alabama tanker ship. Pirates had taken the ship and the captain hostage off the coast of Somalia, Africa. The story was later made into the film Captain Phillips, starring Tom Hanks. A team of Navy SEAL snipers shot and killed all but one of the hostage takers, who had placed themselves and their hostage in a desperate situation. Ryan told the TV reporter, “Despite what your momma told you, violence does solve problems.”1 I understood exactly what Ryan meant—there was no diplomatic or political solution to the crisis, and allowing pirates to take American vessels and crews hostage would set a bad precedent in other parts of the globe. Weeks before, in fact, the pirates had killed other hostages. Ryan’s statement was in no way meant to be bravado; he was merely conveying the fact that many times violence brings about a successful conclusion to a hostage crisis. The SEALs spoke the only language that the Somali pirates understood: violence. Apparently, the SEALs’ response acted as a deterrent, since the Somali pirates have consequently stayed clear of US flagged vessels. Chris Kyle later turned Ryan’s statement into a patch he wore on his hat.

Islamophobia” as a weapon of jihad The charge of “Islamophobia” is routinely used to shift attention away from jihad terrorists. After a rise in jihadist militancy and the arrest of eight people in Switzerland on suspicion of aiding suicide bombers in Saudi Arabia, some Muslims in Switzerland were in no mood to clean house: “As far as we’re concerned,” said Nadia Karmous, leader of a Muslim women’s group in Switzerland, “there is no rise in Islamism, but rather an increase in Islamophobia.”5 This pattern has recurred in recent years all over the world as “Islamophobia” has passed into the larger lexicon and become a self-perpetuating industry. In Western countries, “Islamophobia” has taken a place beside “racism,” “sexism,” and “homophobia.” The absurdity of all this was well illustrated by a recent incident in Britain: While a crew was filming the harassment of a Muslim for a movie about “Islamophobia,” two passing Brits, who didn’t realize the cameras were rolling, stopped to defend the person being assaulted. Yet neither the filmmakers nor the reporters covering these events seemed to realize that this was evidence that the British were not as violent and xenophobic as the film they were creating suggested.6 Historian Victor Davis Hanson has ably explained the dangerous shift of focus that “Islamophobia” entails: There really isn’t a phenomenon like “Islamophobia”—at least no more than there was a “Germanophobia” in hating Hitler or “Russophobia” in detesting Stalinism. Any unfairness or rudeness that accrues from the “security profiling” of Middle Eastern young males is dwarfed by efforts of Islamic fascists themselves—here in the U.S., in the UK, the Netherlands, France, Turkey, and Israel—to murder Westerners and blow up civilians. The real danger to thousands of innocents is not an occasional evangelical zealot or uncouth politician spouting off about Islam, but the deliberately orchestrated and very sick anti-Semitism and anti-Americanism that floods the airways worldwide, emanating from Iran, Lebanon, and Syria, to be sure, but also from our erstwhile “allies” in Egypt, Saudi Arabia, and Qatar.7

University, where she is an adjunct professor of education and serves on the Veterans Committee, among about a thousand other things. That’s heroism. I have taken the kernel of her story and do what I do, which is dramatize, romanticize, exaggerate, and open fire. Hence, Game of Snipers. Now, on to apologies, excuses, and evasions. Let me offer the first to Tel Aviv; Dearborn, Michigan; Greenville, Ohio; Wichita, Kansas; Rock Springs, Wyoming; and Anacostia, D.C. I generally go to places I write about to check the lay of streets, the fall of shadows, the color of police cars, and the taste of local beer. At seventy-three, such ordeals-by-airport are no longer fun, not even the beer part; I only go where there’s beaches. For this book, I worked from maps and Google, and any geographical mistakes emerge out of that practice. Is the cathedral three hundred yards from the courthouse in Wichita? Hmm, seems about right, and that’s good enough for me on this. On the other hand, I finally got Bob’s wife’s name correct. It’s Julie, right? I’ve called her Jen more than once, but I’m pretty sure Jen was Bud Pewtie’s wife in Dirty White Boys. For some reason, this mistake seemed to trigger certain Amazon reviewers into psychotic episodes. Folks, calm down, have a drink, hug someone soft. It’ll be all right. As for the shooting, my account of the difficulties of hitting at over a mile is more or less accurate (snipers have done it at least eight times). I have simplified, because it is so arcane it would put all but the most dedicated in a coma. I have also been quite accurate about the ballistics app FirstShot, because I made it up and can make it do anything I want. The other shot, the three hundred, benefits from the wisdom of Craig Boddington, the great hunter and writer, who looked it over and sent me a detailed email, from which I have borrowed much. Naturally, any errors are mine, not Craig’s. I met Craig when shooting something (on film!) for another boon companion, Michael Bane, and his Outdoor Channel Gun Stories crew. For some reason, he finds it amusing when I start jabbering away and likes to turn the camera on. Don’t ask me why. On the same trip, I also met the great firearms historian and all-around movie guy (he knows more than I do) Garry James, who has become

Jones, along with the US military attaché in Indonesia, took Subandrio’s advice. He emphasized to Washington that the United States should support the Indonesian military as a more effective, long-term anticommunist strategy. The country of Indonesia couldn’t be simply broken into pieces to slow down the advance of global socialism, so this was a way that the US could work within existing conditions. This strategic shift would begin soon, and would prove very fruitful. But behind the scenes, the CIA boys dreamed up wild schemes. On the softer side, a CIA front called the Congress for Cultural Freedom, which funded literary magazines and fine arts around the world, published and distributed books in Indonesia, such as George Orwell’s Animal Farm and the famous anticommunist collection The God That Failed.33 And the CIA discussed simply murdering Sukarno. The Agency went so far as to identify the “asset” who would kill him, according to Richard M. Bissell, Wisner’s successor as deputy director for plans.34 Instead, the CIA hired pornographic actors, including a very rough Sukarno look-alike, and produced an adult film in a bizarre attempt to destroy his reputation. The Agency boys knew that Sukarno routinely engaged in extramarital affairs. But everyone in Indonesia also knew it. Indonesian elites didn’t shy away from Sukarno’s activities the way the Washington press corps protected philanderers like JFK. Some of Sukarno’s supporters viewed his promiscuity as a sign of his power and masculinity. Others, like Sumiyati and members of the Gerwani Women’s Movement, viewed it as an embarrassing defect. But the CIA thought this was their big chance to expose him. So they got a Hollywood film crew together.35 They wanted to spread the rumor that Sukarno had slept with a beautiful blond flight attendant who worked for the KGB, and was therefore both immoral and compromised. To play the president, the filmmakers (that is, Bing Crosby and his brother Larry) hired a “Hispanic-looking” actor, and put him in heavy makeup to make him look a little more Indonesian. They also wanted him bald, since exposing Sukarno—who always wore a hat—as such might further embarrass him. The idea was to destroy the genuine affection that young Sakono, and Francisca, and millions of other Indonesians, felt for the Founding Father of their country. The thing was never released—not because this was immoral or a bad idea, but because the team couldn’t put together a convincing enough film.36

Then, just as we were to leave on a whirlwind honeymoon in the beautiful Pacific Northwest, a call came from Australia. Steve’s friend John Stainton had word that a big croc had been frequenting areas too close to civilization, and someone had been taking potshots at him. “It’s a big one, Stevo, maybe fourteen or fifteen feet,” John said over the phone. “I hate to catch you right at this moment, but they’re going to kill him unless he gets relocated.” John was one of Australia’s award-winning documentary filmmakers. He and Steve had met in the late 1980s, when Steve would help John shoot commercials that required a zoo animal like a lizard or a turtle. But their friendship did not really take off until 1990, when an Australian beer company hired John to film a tricky shot involving a crocodile. He called Steve. “They want a bloke to toss a coldie to another bloke, but a croc comes out of the water and snatches at it. The guy grabs the beer right in front of the croc’s jaws. You think that’s doable?” “Sure, mate, no problem at all,” Steve said with his usual confidence. “Only one thing, it has to be my hand in front of the croc.” John agreed. He journeyed up to the zoo to film the commercial. It was the first time he had seen Steve on his own turf, and he was impressed. He was even more impressed when the croc shoot went off flawlessly. Monty, the saltwater crocodile, lay partially submerged in his pool. An actor fetched a coldie from the esky and tossed it toward Steve. As Steve’s hand went above Monty’s head, the crocodile lunged upward in a food response. On film it looked like the croc was about to snatch the can--which Steve caught right in front of his jaws. John was extremely impressed. As he left the zoo after completing the commercial shoot, Steve gave him a collection of VHS tapes. Steve had shot the videotapes himself. The raw footage came from Steve simply propping his camera in a tree, or jamming it into the mud, and filming himself single-handedly catching crocs. John watched the tapes when he got home to Brisbane. He told me later that what he saw was unbelievable. “It was three hours of captivating film and I watched it straight through, twice,” John recalled to me. “It was Steve. The camera loved him.” He rang up his contacts in television and explained that he had a hot property. The programmers couldn’t use Steve’s original VHS footage, but one of them had a better idea. He gave John the green light to shoot his own documentary of Steve. That led to John Stainton’s call to Oregon on the eve of our honeymoon. “I know it’s not the best timing, mate,” John said, “but we could take a crew and film a documentary of you rescuing this crocodile.” Steve turned to me. Honeymoon or crocodile? For him, it wasn’t much of a quandary. But what about me?” “Let’s go,” I replied.

Gentile’s office in downtown Las Vegas, I got on the elevator and turned around and there was a TV camera. It was just the two of us in the little box, me and the man with the big machine on his shoulder. He was filming me as I stood there silent. “Turn the camera off,” I said. He didn’t. I tried to move away from him in the elevator, and somehow in the maneuvering he bumped my chin with the black plastic end of his machine and I snapped. I slugged him, or actually I slugged the camera. He turned it off. The maids case was like a county fair compared with the Silverman disappearance, which had happened in the media capital of the world. It had happened within blocks of the studios of the three major networks and the New York Times. The tabloids reveled in the rich narrative of the case, and Mom and Kenny became notorious throughout the Western Hemisphere. Most crimes are pedestrian and tawdry. Though each perpetrator has his own rap sheet and motivation and banged-up psyche, the crime blotter is very repetitive. A wife beater kills his wife. A crack addict uses a gun to get money for his habit. Liquor-store holdups, domestic abuse, drug dealer shoot-outs, DWIs, and so on. This one had a story line you could reduce to a movie pitch. Mother/Son Grifters Held in Millionaire’s Disappearance! My mother’s over-the-top persona, Kenny’s shady polish, and the ridiculous rumors of mother-son incest gave the media a narrative it couldn’t resist. Mom and Kenny were the smart, interesting, evil criminals with the elaborate, diabolical plan who exist in fiction and rarely in real life. The media landed on my life with elephant feet. I was under siege as soon as I returned to my office after my family’s excursion to Newport Beach. The deluge started at 10 A.M. on July 8, 1998. I kept a list in a drawer of the media outlets that called or dropped by our little one-story L-shaped office building on Decatur. It was a tabloid clusterfuck. Every network, newspaper, local news station, and wire service sent troops. Dateline and 20/20 competed to see who could get a Kimes segment on-air first. Dateline did two shows about Mom and Kenny. I developed a strategy for dealing with reporters. My unusual training in the media arts as the son of Sante, and as a de facto paralegal in the maids case, meant that I had a better idea of how to deal with reporters than my staff did. They might find it exciting that someone wanted to talk to them, and forget to stop at “No comment.” I knew better. So I hid from the camera crews in a back room, so there’d be no pictures, and I handled the calls myself. I told my secretary not to bother asking who was on the line and to transfer all comers back to me. I would get the name and affiliation of the reporter, write down the info on my roster, and

These televised scenes grew dark and violent. Roaring and exploding as private cops and militias fired into crowds of young families; some still tiny and in diapers. “All too often,” came the narrator’s voice again, “Adults try to silence those who have seen what their leaders have been trying to hide. “Children learn very early that it is not socially acceptable to speak the truth. “Just play the game, they are told, just try to get along with how things have to be. “Life is just that way.” On the screen, children, many of them dressed in rags, had gathered in small, desperate knots behind The Walls. Begging for food, or for the simple right to speak, as PolitiChurch bullies fired into their small and loose clusters. Children fell. Bleeding. Moaning, blinded, crippled, or dead. Many of them weeping from the teargas. “Life is just that way,” came the voice again.......... Even there though, not every cop felt quite clear in his conscience. While some took aim even at cameras and film crews threatening to expose their militarized thuggery, others held their fire. Or maybe shot into the sky. The world was breaking apart into factions. No one could just turn his back on something like this. The repercussions from this kind of violence followed troubled souls even into their sleep. They would have to take a stand. Somebody had to do something.' From 'The Soul Hides in Shadows

He took the trophy and the mic and said, ‘Uhm,’ and then laughed, almost as if he were at a loss for words. When the presenters insisted though, he looked to the audience and thanked his crew again, Danny Boyle especially, the people of Mumbai and the optimism that he believed was the essence of the film. ‘All my life,’ he said, finally looking like he was starting to choke up, ‘I had a choice of hate and love. I chose love. And I’m here. God bless.’ Truer words he could not have spoken. At every point in his life he had faced this crucial choice. When his father died. When he had to start working before he was even a teenager. When he had to drop out of school. When he had to grow up faster than any child could have reasonably been expected to; when he had to become the man of the house at eleven, had to take care of his family. When he felt creatively stifled during his days as a sessions player and wondered if this was all his life was going to be about. When he felt his music wasn’t being appreciated widely or truly enough before Roja. When it seemed he was all alone, with no one to turn to. When he became famous. He could have chosen to be bitter, prideful or sad at every stage. But he didn’t. If not for his music, then simply for his capacity to choose light over dark, A.R. Rahman deserves every bit of adulation he got that day and ever since. His speech done, AR lowered his mic, as if not trusting himself to keep his composure for much longer, and walked off the stage.

You need to be careful to stay out of Charlie’s line of sight,” Steve said to me. “I want Charlie focusing only on me. If he changes focus and starts attacking you, it’s going to be too difficult for me to control the situation.” Right. Steve got no argument from me. Getting anywhere near those bone-crushing jaws was the furthest thing from my mind. I wasn’t keen on being down on the water with a huge saltwater crocodile trying to get me. I would have to totally rely on Steve to keep me safe. We stepped into the dinghy, which was moored in Charlie’s enclosure, secured front and back with ropes. Charlie came over immediately to investigate. It didn’t take much to encourage him to have a go at Steve. Steve grabbed a top-jaw rope. He worked on roping Charlie while the cameras rolled. Time and time again, Charlie hurled himself straight at Steve, a half ton of reptile flesh exploding up out of the water a few feet away from me. I tried to hang on precariously and keep the boat counterbalanced. I didn’t want Steve to lose his footing and topple in. Charlie was one angry crocodile. He would have loved nothing more than to get his teeth into Steve. As Charlie used his powerful tail to propel himself out of the water, he arched his neck and opened his jaws wide, whipping his head back and forth, snapping and gnashing. Steve carefully threw the top-jaw rope, but he didn’t actually want to snag Charlie. Then he would have had to get the rope off without stressing the croc, and that would have been tricky. The cameras rolled. Charlie lunged. I cowered. Steve continued to deftly toss the rope. Then, all of a sudden, Charlie swung at the rope instead of Steve, and the rope went right over Charlie’s top jaw. A perfect toss, provided that had been what Steve was trying to do. But it wasn’t. We had a roped croc on our hands that we really didn’t want. Steve immediately let the rope go slack. Charlie had it snagged in his teeth. Because of Steve’s quick thinking and prompt maneuvering, the rope came clear. We breathed a collective sigh of relief. Steve looked up at the cameras. “I think you’ve got it.” John agreed. “I think we do, mate.” The crew cheered. The shoot lasted several minutes, but in the boat, I wasn’t sure if it had been seconds or hours. Watching Steve work Charlie up close had been amazing--a huge, unpredictable animal with a complicated thought process, able to outwit its prey, an animal that had been on the planet for millions of years, yet Steve knew how to manipulate him and got some fantastic footage. To the applause of the crew, Steve got us both out of the boat. He gave me a big hug. He was happy. This was what he loved best, being able to interact and work with wildlife. Never before had anything like it been filmed in any format, much less on thirty-five-millimeter film for a movie theater. We accomplished the shot with the insurance underwriters none the wiser. Steve wanted to portray crocs as the powerful apex predators that they were, keeping everyone safe while he did it. Never once did he want it to appear as though he were dominating the crocodile, or showing off by being in close proximity to it. He wished for the crocodile to be the star of the show, not himself. I was proud of him that day. The shoot represented Steve Irwin at his best, his true colors, and his desire to make people understand how amazing these animals are, to be witnessed by audiences in movie theaters all over the world. We filmed many more sequences with crocs, and each time Steve performed professionally and perfected the shots. He was definitely in his element. With the live-croc footage behind us, the insurance people came on board, and we were finally able to sign a contract with MGM. We were to start filming in earnest. First stop: the Simpson Desert, with perentie lizards and fierce snakes.

Steve looked up at the cameras. “I think you’ve got it.” John agreed. “I think we do, mate.” The crew cheered. The shoot lasted several minutes, but in the boat, I wasn’t sure if it had been seconds or hours. Watching Steve work Charlie up close had been amazing--a huge, unpredictable animal with a complicated thought process, able to outwit its prey, an animal that had been on the planet for millions of years, yet Steve knew how to manipulate him and got some fantastic footage. To the applause of the crew, Steve got us both out of the boat. He gave me a big hug. He was happy. This was what he loved best, being able to interact and work with wildlife. Never before had anything like it been filmed in any format, much less on thirty-five-millimeter film for a movie theater. We accomplished the shot with the insurance underwriters none the wiser. Steve wanted to portray crocs as the powerful apex predators that they were, keeping everyone safe while he did it. Never once did he want it to appear as though he were dominating the crocodile, or showing off by being in close proximity to it. He wished for the crocodile to be the star of the show, not himself. I was proud of him that day. The shoot represented Steve Irwin at his best, his true colors, and his desire to make people understand how amazing these animals are, to be witnessed by audiences in movie theaters all over the world. We filmed many more sequences with crocs, and each time Steve performed professionally and perfected the shots. He was definitely in his element.

Watching Steve around the camp was witnessing a man at one with his environment. Steve had spent all his life perfecting his bush skills, first learning them at his father’s side when he was a boy. He hero-worshiped Bob and finally became like his dad and then some. Steve took all the knowledge he’d acquired over the years and added his own experience. Nothing seemed to daunt him, from green ants, mozzies, sand flies, and leeches, to constant wet weather. On Cape York we faced the obvious wildlife hazards, including feral pigs, venomous snakes, and huge crocodiles. I never saw Steve afraid of anything, except the chance of harm coming to someone he loved. He learned how to take care of himself over the years he spent alone in the bush. But as his life took a sharp turn, into the unknown territory of celebrity-naturalist, he suddenly found himself with a whole film crew to watch out for. Filming wildlife documentaries couldn’t have happened without John Stainton, our producer. Steve always referred to John as the genius behind the camera, and that was true. The music orchestration, the editing, the knowledge of what would make good television and what wouldn’t--these were all areas of John’s clear expertise. But on the ground, under the water, or in the bush, while we were actually filming, it was 100 percent Steve. He took care of the crew and eventually his family as well, while filming in some of the most remote, inaccessible, and dangerous areas on earth. Steve kept the cameraman alive by telling him exactly when to shoot and when to run. He orchestrated what to film and where to film, and then located the wildlife. Steve’s first rule, which he repeated to the crew over and over, was a simple one: Film everything, no matter what happens. “If something goes wrong,” he told the crew, “you are not going to be of any use to me lugging a camera and waving your other arm around trying to help. Just keep rolling. Whatever the sticky situation is, I will get out of it.” Just keep rolling. Steve’s mantra.

Filming wildlife documentaries couldn’t have happened without John Stainton, our producer. Steve always referred to John as the genius behind the camera, and that was true. The music orchestration, the editing, the knowledge of what would make good television and what wouldn’t--these were all areas of John’s clear expertise. But on the ground, under the water, or in the bush, while we were actually filming, it was 100 percent Steve. He took care of the crew and eventually his family as well, while filming in some of the most remote, inaccessible, and dangerous areas on earth. Steve kept the cameraman alive by telling him exactly when to shoot and when to run. He orchestrated what to film and where to film, and then located the wildlife. Steve’s first rule, which he repeated to the crew over and over, was a simple one: Film everything, no matter what happens. “If something goes wrong,” he told the crew, “you are not going to be of any use to me lugging a camera and waving your other arm around trying to help. Just keep rolling. Whatever the sticky situation is, I will get out of it.” Just keep rolling. Steve’s mantra. On all of our documentary trips, Steve packed the food, set up camp, fed the crew. He knew to take the extra tires, the extra fuel, the water, the gear. He anticipated the needs of six adults and two kids on every film shoot we ever went on. As I watched him at Lakefield, the situation was no different. Our croc crew came and went, and the park rangers came and went, and Steve wound up organizing anywhere from twenty to thirty people. Everyone did their part to help. But the first night, I watched while one of the crew put up tarps to cover the kitchen area. After a day or two, the tarps slipped, the ropes came undone, and water poured off into our camp kitchen. After a full day of croc capture, Steve came back into camp that evening. He made no big deal about it. He saw what was going on. I watched him wordlessly shimmy up a tree, retie the knots, and resecure the tarps. What was once a collection of saggy, baggy tarps had been transformed into a well-secured roof. Steve had the smooth and steady movements of someone who was self-assured after years of practice. He’d get into the boat, fire up the engine, and start immediately. There was never any hesitation. His physical strength was unsurpassed. He could chop wood, gather water, and build many things with an ease that was awkwardly obvious when anybody else (myself, for example) tried to struggle with the same task. But when I think of all his bush skills, I treasured most his way of delivering up the natural world. On that croc research trip in the winter of 2006, Steve presented me with a series of memories more valuable than any piece of jewelry.

Every once in a while goannas sauntered right through camp. As I chopped vegetables that first night, a big lacey showed up. “Grab it,” Steve said to me. I dropped what I was doing and picked up the lizard. John and his crew went into action. I told the camera everything I knew about lace monitors. “Lace monitors are excellent tree climbers,” I said. “They can grow up to seven feet long, but this guy looks to be between four and five feet.” I spoke about the lizard’s predatory nature and diet. Meanwhile, the star of the show flicked his forked tongue in and out. After we got some footage, I put the huge lizard down, and Steve leaned his head into the camera frame to have a last word. “And they’ve also got teeth like a tiger shark, mate,” he said with relish. “They can tear you to ribbons!” “Thanks a lot,” I said, laughing, after John stopped filming. “You should have told me that before I picked the bloody thing up!” It was a brave new world that I found myself in. At night I would hear the sounds of the fruit bats as they came into the trees. Also in the mix were the strange, far-off grunts of the koalas as they sang out their mating calls. Herds of wild pigs passed right behind the tent. Venturing outside in the middle of the night with my dunny roll to go use a bush was a daunting experience.

It was a brave new world that I found myself in. At night I would hear the sounds of the fruit bats as they came into the trees. Also in the mix were the strange, far-off grunts of the koalas as they sang out their mating calls. Herds of wild pigs passed right behind the tent. Venturing outside in the middle of the night with my dunny roll to go use a bush was a daunting experience. Steve was a natural in front of the camera. John had to give him only one important piece of advice. “Stevo,” John instructed, “there are three people in this documentary. There’s you, Terri, and the camera. Treat the camera just like another person.” Steve’s energy and enthusiasm took over. He completely relaxed, and he managed to just be himself--which was true of his entire career. This wasn’t just a film trip, it was also our honeymoon. Steve would sometimes escape the camera crew and take us up a tributary to be alone. We watched the fireflies come out. I’d never seen fireflies in Oregon. The magical little insects glowed everywhere, in the bushes and in the air. The darker it got, the brighter their blue lights burned on and off. I had arrived in a fairyland.

This wasn’t just a film trip, it was also our honeymoon. Steve would sometimes escape the camera crew and take us up a tributary to be alone. We watched the fireflies come out. I’d never seen fireflies in Oregon. The magical little insects glowed everywhere, in the bushes and in the air. The darker it got, the brighter their blue lights burned on and off. I had arrived in a fairyland.

It seemed that wherever we went, Steve had an uncanny ability as a wildlife magnet. As we traveled downstream in the boat, he spotted a large carpet python on an overhanging limb. We filmed as Steve held on to the python’s tree limb, keeping the boat steady. He talked about the snake, and how it might have been in that tree to hunt fruit bats. Suddenly the tree lamb snapped, and both the branch and snake crashed down into the boat. Everyone reacted, startled. I had been standing up, and I fell backward into the river. Splashing to the surface would only catch a crocodile’s attention, so I let myself sink and then gradually drift up to the surface again. As my head broke the surface, I could see the boat had drifted off. I can remember looking up from the murky water and seeing the spotlight get smaller and smaller. Don’t panic, I told myself, knowing we were right in front of a baited croc trap. I was trying to tread water without making any splashing or “hurt animal”--type movements that would attract a crocodile. I could feel my heart pounding. It was hard to breathe. I was absolutely fighting the panic. Steve and the film crew were wrangling branch and snake. The boat motor had quit. Steve frantically attempted to start it. I could hear him swearing in the darkness. The crew member holding the spotlight divided his attention between making sure I was okay and helping Steve see what he was doing. The boat continued to drift farther and farther down the river. Just be as motionless as possible, I told myself. I had my teeth clenched in anticipation of feeling a croc’s immense jaw pressure close around my leg. Suddenly I heard the engine roar back to life. Steve swung the boat around and gunned it. As soon as he got to me, he dragged me back in. I felt a little sick. I lay there for a moment, but the drama was not over. Our cameraman was deathly afraid of snakes, and the carpet python was still in the bottom of the boat. Steve scooped it up. The snake decided it didn’t appreciate the whole ordeal. It swung around and proceeded to grab Steve repeatedly on the forearm, bite after bite after bite. Looking back at the footage now, the whole ordeal seems a bit amusing. “Ah! Ah! Ah!” a male voice yells. You think it might be Steve, as he is the one being bitten, but actually it was John Stainton. He cries out in sympathy each time the python sinks its teeth into Steve’s arm. It sounds as though Steve himself is being terribly injured, when in fact the little tiny pinpricks form the carpet python’s hundreds of teeth were only minor wounds. Although the teeth go deep into the flesh and it bleeds quite readily, there was no permanent scarring, no venom, and no infection. “Are you okay, babe?” Steve asked. I told him I was. Shaken, but in one piece. Steve was okay, the python was okay, and even the cameraman seemed to have recovered. We returned the snake to its tree. “We might as well go back to camp,” Steve said, mock-sternly. “Thanks to you, we probably won’t catch that croc tonight. You probably scared the living daylights out of him, landing in the water like that.

Steve got up before me and left to check the trap. The fire was already going when I crawled out of my swag. I relived the events of the night before over my cup of tea. I heard the boat motor and saw that Steve was coming back, so I got up and ran down to the riverbank to meet him. “We got one,” he said, breathless. “A croc went in that trap after all, mate.” “I guess maybe my splashing around attracted it,” I said with a grin. He laughed. Then he turned and yelled up to the guys, “Cooee!” The whole camp erupted into action. The film crew grabbed their gear, and we went to rescue the crocodile before a poacher’s bullet could claim it. I didn’t know what to expect. I had heard stories of Steve catching crocodiles. I’d seen photographs and some of his video footage. Steve took me into the crocodile enclosures at the zoo. But this was something I’d never experienced. This was in the wild.

I watched him work. He retied several knots in quick succession. Once he was satisfied that it was safe, he could take into consideration the film crew and me. He explained to me what we were going to do. The object would be to get the crocodile out of the trap. We needed it completely unencumbered to be able to move it to a new location. The mesh trap was tangled in the croc’s teeth and claws. We needed to carefully untangle it. As we approached the croc, my adrenaline surged. I could feel my fingertips tingling, and my mouth went dry. Steve positioned the camera crew so they could have the best vantage point without risk of getting nailed. Then he turned to me. “Right,” he said. “You jump on its head and I’ll get the net off.” Um…what? I thought surely I’d misunderstood. “Right,” Steve shouted. “Now!” So I jumped on the crocodile’s head.

It felt fantastic to be back filming again, and it made me realize how much I missed it. The crew represented our extended family. I never once caught a feeling of annoyance or impatience at the prospect of having a six-day-old baby on set. To the contrary, the atmosphere was one of joy. I can mark precisely Bindi Irwin’s introduction to the wonderful world of wildlife documentary filming: Thursday, July 30, 1998, in the spectacular subtropics of the Queensland coast, where the brilliant white sand meets the turquoise water. This is where the sea turtles navigate the rolling surf each year to come ashore and lay their eggs. Next stop: America, baby on board. Bindi was so tiny she fit on an airplane pillow. Steve watched over her almost obsessively, fussing with her and guarding to see if anything would fall out of the overhead bins whenever they were opened. Such a protective daddy. Our first shoot in California focused on rattlesnakes and spiders. We got a cute photo of baby Bindi with a little hat on and a brown tarantula on her head. In Texas she got to meet toads and Trans-Pecos rat snakes. Steve found two stunning specimens of the nonvenomous snakes in an abandoned house. I watched as two-week-old Bindi reacted to their presence. She gazed up at the snakes and her small, shaky arms reached out toward them. I laughed with delight at her eagerness. Steve looked over at me, as if to say, See? Our own little wildlife warrior!

Steve was in his element during the Florida shoot. He spotted a coral snake at Eglin, and another huge diamondback. It was stinking hot, like most summers in the southeast. Bindi spent a lot of her time sitting in the air-conditioned vehicle, while one of the crew stayed with her. I would move far enough away so that the camera’s microphone couldn’t pick up the sound of the truck running, film like mad, and then run back to be with her. Bindi always enjoyed being close to Steve. He seemed to both excite her and keep her calm at the same time. He showed her everything that entered his world, all the wildlife, the landscapes, and the people. Even at only a few weeks old, Bindi turned her head when Steve walked past her room. I don’t think she could even see him, but she smelled or somehow sensed his presence. Then she fussed until he came and picked her up. The bond between father and daughter continued to grow stronger.

As much as he influenced her, Bindi changed Steve, too. After our Florida trip, Bindi and I went home, while Steve flew off to the Indonesian island of Sumatra. We couldn’t accompany him because of the malaria risk, so we kept the home fires burning instead. At one point, Steve was filming with orangutans when his newfound fatherhood came in handy. A local park ranger who had worked with the national park’s orangutans for twenty-five years accompanied Steve into the rain forest, where they encountered a mother and baby orangutan. The rangers keep a close eye on the orangutans to prevent poaching, and the ranger recognized a lot of the animals by sight. “She reminds me of Bindi,” Steve exclaimed, seeing the infant ape. It was a mischievous, happy baby, clinging to her mother way up in the top branches of a tree. “This will be great to film,” Steve said. “I’ll climb into the tree, and then you can get me and the orangutans in the same shot.” The ranger waved his hands, heading Steve off. “You absolutely can’t do that,” the ranger said. “The mother orangutans are extremely protective. If you make a move anywhere near that tree, she’ll come down and pull your arms off.” Steve paused to listen. “They are very strong,” the ranger said. “She won’t tolerate you in her tree.” “I won’t climb very close to her,” Steve said. “I’ll just go a little way up. Then the camera can shoot up at me and get her in the background.” The ranger looked doubtful. “Okay, Steve,” he said. “But I promise you, she will come down out of that tree and pull your head off.” “Don’t worry, mate,” Steve said confidently, “she’ll be right.” He climbed into the tree. Down came the mother, just as the ranger had predicted. Tugging, pulling, and dragging her baby along behind her, she deftly made her way right over to Steve. He didn’t move. He sat on his tree limb and watched her come toward him. The crew filmed it all, and it became one of the most incredible shots in documentary filmmaking. Mama came close to Steve. She swung onto the same tree limb. Then she edged her way over until she sat right beside him. Everyone on the crew was nervous, except for Steve. Mama put her arm around Steve’s shoulders. I guess the ranger was right, Steve thought, wondering if he would be armless or headless in the very immediate future. While hanging on to her baby, Mama pulled Steve in tight with her other arm, looked him square in the face, and…started making kissy faces at him. The whole crew busted up laughing as Mama puckered up her lips and looked lovingly into Steve’s eyes. “You’ve got a beautiful little baby, sweetheart,” Steve said softly. The baby scrambled up the limb away from them, and without taking her eyes off Steve, the mother reached over, grabbed her baby, and dragged the tot back down. “You’re a good mum,” Steve cooed. “You take good care of that little bib-bib.” “I have never seen anything like that,” the park ranger said later. I had to believe that the encounter was further evidence of the uncanny connection Steve had with the wildlife he loved so much, as well as one proud parent recognizing another.

We were taking a DC-10 all the way across the country, from the east coast to the west. Together we flew into the Red Centre, the interior of the continent and the location of Ayers Rock--one of Australia’s most recognizable icons. “Have a look at it,” Steve said when we arrived. “It’s the heart of Australia.” I could see why. A huge red mountain rose up out of the flat, sandy landscape. The rock appeared out of place in the great expanse of the desert. The Aborigines knew it as Uluru, and they preferred that tourists did not clamber over their sacred site. We respectfully filmed only the areas we were allowed to access with the local Aborigines’ blessing. As we approached the rock, Steve saw a lizard nearby. He turned to the camera to talk about it. I was concentrating on Steve, Steve was concentrating on the lizard, and John was filming. Bindi was with us, and she could barely take two steps on her own at this point, so I knew I could afford to watch Steve. But after John called out, “Got it,” and we turned back to Bindi, we were amazed at what we saw. Bindi was leaning against the base of Ayer’s Rock. She had placed both her palms against the smooth stone, gently put her cheek up to the rock, and stood there, mesmerized. “She’s listening,” Steve whispered. It was an eerie moment. The whole crew stopped and stared. Then Bindi suddenly seemed to come out of her trance. She plopped down and started stuffing the red sand of Uluru into her mouth like it was delicious.

We were taking a DC-10 all the way across the country, from the east coast to the west. Together we flew into the Red Centre, the interior of the continent and the location of Ayers Rock--one of Australia’s most recognizable icons. “Have a look at it,” Steve said when we arrived. “It’s the heart of Australia.” I could see why. A huge red mountain rose up out of the flat, sandy landscape. The rock appeared out of place in the great expanse of the desert. The Aborigines knew it as Uluru, and they preferred that tourists did not clamber over their sacred site. We respectfully filmed only the areas we were allowed to access with the local Aborigines’ blessing. As we approached the rock, Steve saw a lizard nearby. He turned to the camera to talk about it. I was concentrating on Steve, Steve was concentrating on the lizard, and John was filming. Bindi was with us, and she could barely take two steps on her own at this point, so I knew I could afford to watch Steve. But after John called out, “Got it,” and we turned back to Bindi, we were amazed at what we saw. Bindi was leaning against the base of Ayer’s Rock. She had placed both her palms against the smooth stone, gently put her cheek up to the rock, and stood there, mesmerized. “She’s listening,” Steve whispered. It was an eerie moment. The whole crew stopped and stared. Then Bindi suddenly seemed to come out of her trance. She plopped down and started stuffing the red sand of Uluru into her mouth like it was delicious. We also filmed a thorny devil busily licking up ants from the sandy soil. The one-of-a-kind lizard is covered with big, lumpy, bumpy scales and spikes. “When it rains,” Steve told the camera, “the water droplets run along its body and end up channeling over its face, so that if there is any rain at all, the thorny devil can get a drink without having to look for water!” It’s a pity she won’t remember any of it, I thought, watching Bindi crouch down to examine the thorny devil’s tongue as it madly ate ants. But we had the photos and the footage. What a lucky little girl, I thought. We’ll have all these special experiences recorded for her to take out and enjoy anytime she wants to remember.

During the early days of Franco's tenure with Harry Alan Towers (1967-1969) there was an occasion, oft remarked upon, when one film (The Girl From Rio) finished shooting a week early, and rather than send the crew home Towers and Franco hastily wrote a new script over the weekend (99 Women), and began shooting it on the Monday. In this case the arrangement was made with the full cooperation of the producer. But did the experience suggest to Franco a possible way of working in the future? After all, 99 Women, conceived in a rush and made without deliberation, went on to become one of Franco's biggest grossing films of all time, spending weeks in the upper reaches of the Variety chart.

June 2: Filming of Niagara begins in Buffalo, with Marilyn playing Rose Loomis, the femme fatale murdered by her co-star, Joseph Cotten. Marilyn stays at the General Brock Hotel in Niagara Falls. Joseph Cotten arranges a cocktail party for cast and crew in his hotel room. Marilyn arrives in a terry cloth robe and drinks orange juice. When a guest observes that “Sherry Netherlands Hotel, New York” is embroidered on the robe, Marilyn replies, “Oh, that. I thought I had stolen this robe, until I paid my bill.” Cotten is amused with her and calls her a “pretty clown, beguiling and theatrically disarming.” On this occasion she is charming. On weekends Marilyn goes to New York City to be with DiMaggio.

We pulled up stakes and headed north to croc country. Lakefield National Park is one of my favorite places in Australia. Steve considered it the most beautiful place on the face of the earth. He gave the NBC people everything they wanted and more. Not only did we spot numerous saltwater crocodiles, but Steve found one that had submerged under an overhanging tree limb. We were able to crawl out on the limb and film straight down over a magnificent twelve-foot croc. But it was left to me to head off what could have been a potential catastrophe at the end of filming. The Dateline host and a female producer were with a couple of the NBC crew members beside a stretch of water. Steve, myself, and some of the team from Australia Zoo faced them across the creek. “See how NBC Dateline is over there on the other side?” Steve said. “Let’s show them our NBC ‘Datelines,’ what do you reckon?” All the guys laughed. They turned around, faced their backsides toward our American friends, and were about to drop their daks. I leaped forward like a soldier throwing herself over a grenade. “Noooooo!” I exclaimed. “The women from New York just won’t get it.” The boys grumpily kept their pants on. Steve threw me an oh-you’re-no-fun look. I may have been a wet blanket, but a cross-cultural disaster had been successfully averted.

We got back on the road, heading west. I remember my thoughts as we ventured into the Simpson Desert. There’s nothing out here. The landscape was flat and lifeless. Except for the occasional jump-up--a small mesa that rose twenty or thirty feet above the desert floor-it just looked like dirt, sticks, and dead trees. The Simpson Desert is one of the hottest places on earth. But Steve brought the desert to life, pointing out lizards, echidnas, and all kinds of wildlife. He made it into a fantastic journey. In the middle of this vast landscape were the two of us, the only people for miles. Steve had become adept at eluding the film crew from time to time so we could be alone. There was a local cattle station about an hour-and-a-half drive from where we were filming, a small homestead in the middle of nowhere. The owners invited the whole crew over for a home-cooked meal. Steve and I stayed in the bush, and Bob and Lyn headed to one of their favorite camping spots. After having dinner, the crew couldn’t locate us. They searched in the desert for a while before deciding to sleep in the car. What was an uncomfortable night for them turned out to be a brilliant night for us! Steve made it romantic without being traditional. His idea of a beautiful evening was building a roaring campfire, watching a spectacular sunset, and cooking a curry dinner for me in a camp oven. Then we headed out spotlighting, looking for wildlife for hours on end. It was fantastic, like the ultimate Easter egg hunt. I never knew what we’d find. When Steve did discover something that night--the tracks of a huge goanna, or a tiny gecko hiding under a bush--he reveled in his discovery. His excitement was contagious, and I couldn’t help but become excited too. The best times in my life were out in the bush with Steve.

Suddenly he had a premonition. He turned to me. “Something’s going to happen,” he said. Just ahead of us, a koala ran through a paddock over open ground. Steve immediately jumped out of the truck. “Get John and catch up!” Steve yelled. I scrambled into the driver’s seat, bouncing like hell over the muddy track, rounding up John and the crew to come film Steve’s encounter with the koala. “How did you know something was going to happen?” I asked Steve, once we’d filmed the koala and gotten it safely to a nearby tree. “How did you sense it?” He shrugged. “I don’t know, mate, it’s the strangest thing.” Were Steve’s bush instincts simply more finely honed than anyone else’s? I didn’t think it was that simple. He seemed to be able to tune into some sixth sense with wildlife. After years in the bush, he had refined his gift into an uncanny ability.

I called Steve. He came up from the Gold Coast as quickly as he could, after losing his car keys, not remembering where he parked, and forgetting which way home was in his excitement. When he arrived at the hospital, I saw that he had brought the whole camera crew with him. John was just as flustered as anyone but suggested we film the event. “It’s okay with me,” Steve said. I was in no mood to argue. I didn’t care if a spaceship landed on the hospital. Each contraction took every bit of my attention. When they finally wheeled me into the delivery room at about eight o’clock that night, I was so tired I didn’t know how I could go on. Steve proved to be a great coach. He encouraged me as though it were a footy game. “You can do it, babe,” he yelled. “Come on, push!

As we passed through the tiny community of Thargaminda, I took the rare opportunity to indulge in a hot shower at the police station, while Steve checked on road conditions. Some of the local children noticed us in town, and we were invited to make an appearance at their school. We met all fifty-one students. “You are so lucky to have such beautiful snakes out here,” Steve said. He explained how to live safely with the venomous snakes in the region, and even demonstrated first aid for snakebites. The kids were hanging on his every word. Coming back from the school, Steve suddenly slammed on the brakes, skidding over the dirt. He cursed himself. “I was going too fast,” he said. “I think I ran over a bearded dragon.” He got out of the truck, completely crestfallen, until he discovered that the lizard was alive and well, sitting poised in the middle of the road. Steve got the lizard off the road and then lay down on the dirt with it to get it on film. “What a little ripper,” he said. “Look how he pops out his beard as a defense mechanism. He’s got all those spiny scales down his back to keep predators from eating him.” Steve was face-to-face with the lizard, which was all puffed up, trying to look intimidating. He was just inches away as he spoke with passion about the little desert dweller. The lizard, though, had other ideas. He decided he was a little bit tougher than Stevo. In an instant, the lizard had launched himself straight up in the air and latched onto Steve’s face. Steve jumped back, but not before he’d been solidly bitten on the nose. “You bit me on the nose, you little brat!” I burst out laughing. Steve took the opportunity to reiterate an important lesson. Whenever an animal nails you, it’s not the animal’s fault. It’s your fault. “I was sitting nose-to-nose with the little bloke,” he said. “Of course he was going to bite me.” He held no contempt for the lizard. Meanwhile, the crew and I were still recovering. We laughed so hard tears streamed down our faces. The lizard seemed to smile himself as he ran off and skittered up a log.

As I write this, I’m sitting in a café in Paris overlooking the Luxembourg Garden, just off of Rue Saint-Jacques. Rue Saint-Jacques is likely the oldest road in Paris, and it has a rich literary history. Victor Hugo lived a few blocks from where I’m sitting. Gertrude Stein drank coffee and F. Scott Fitzgerald socialized within a stone’s throw. Hemingway wandered up and down the sidewalks, his books percolating in his mind, wine no doubt percolating in his blood. I came to France to take a break from everything. No social media, no email, no social commitments, no set plans . . . except one project. The month had been set aside to review all of the lessons I’d learned from nearly 200 world-class performers I’d interviewed on The Tim Ferriss Show, which recently passed 100,000,000 downloads. The guests included chess prodigies, movie stars, four-star generals, pro athletes, and hedge fund managers. It was a motley crew. More than a handful of them had since become collaborators in business and creative projects, spanning from investments to indie film. As a result, I’d absorbed a lot of their wisdom outside of our recordings, whether over workouts, wine-infused jam sessions, text message exchanges, dinners, or late-night phone calls. In every case, I’d gotten to know them well beyond the superficial headlines in the media. My life had already improved in every area as a result of the lessons I could remember. But that was the tip of the iceberg. The majority of the gems were still lodged in thousands of pages of transcripts and hand-scribbled notes. More than anything, I longed for the chance to distill everything into a playbook. So, I’d set aside an entire month for review (and, if I’m being honest, pain au chocolat), to put together the ultimate CliffsNotes for myself. It would be the notebook to end all notebooks. Something that could help me in minutes but be read for a lifetime.

As soon as camera crews are able to enter the Congo again, and have the guts to film bonobos the way they are, people will understand that everything being said about these apes is no exaggeration. They are not the product of some overactive sexual imagination, or of wishful thinking. That they delight feminists, the gay community, and pacifists should not be held against them. If one of our closest relatives fails to fit the prevailing views about aggressive males and passive females, one possibility to consider is that the prevailing views are mistaken. Either that, or there is something wrong with those males.

Given that the English language dominates the information flow in the modern world, this has not been to the advantage of the bonobo. When the Make Love Not War hippies of the animal kingdom knocked at our door, they were left standing outside by a mortified family. The author of the same Time article about the female body, Barbara Ehrenreich, felt that the bonobo's peculiarities were better left alone. Similarly, a British camera crew traveled all the way to the remote jungles of Africa to film bonobos only to stop their cameras each time an embarrassing scene came into view.

I realise as soon as that [Snape’s] ring and costume go on – something happens. It becomes alien to be chatty, smiley, open. The character narrows me down, tightens me up. Not good qualities on a film set. I have never been less communicative with a crew. Fortunately, Dan [Radcliffe] fills that role with ease and charm. And youth.

I didn't appreciate it in that moment, but my tears were teaching me another important lesson. An audience can go back and watch a film any number of times they want. It's always there for them. For the cast and crew, the relationship with a film is more complex. The magic is in the making, and that process is a discreet unit of time in the past. You can reflect on that unit of time, you can be proud of it, but you can't revisit it.

Fifty Best Rock Documentaries Chicago Blues (1972) B. B. King: The Life of Riley (2014) Devil at the Crossroads (2019) BBC: Dancing in the Street: Whole Lotta Shakin’ (1996) BBC: Story of American Folk Music (2014) The Weavers: Wasn’t That a Time! (1982) PBS: The March on Washington (2013) BBC: Beach Boys: Wouldn’t It Be Nice (2005) The Wrecking Crew (2008) What’s Happening! The Beatles in the U.S.A. (1964) BBC: Blues Britannia (2009) Rolling Stones: Charlie Is My Darling—Ireland 1965 (2012) Bob Dylan: Dont Look Back (1967) BBC: The Motown Invasion (2011) Rolling Stones: Sympathy for the Devil (1968) BBC: Summer of Love: How Hippies Changed the World (2017) Gimme Shelter (1970) Rumble: The Indians Who Rocked the World (2017) Cocksucker Blues (1972) John Lennon & the Plastic Ono Band: Sweet Toronto (1971) John and Yoko: Above Us Only Sky (2018) Gimme Some Truth: The Making of John Lennon’s “Imagine” Album (2000) Echo in the Canyon (2018) BBC: Prog Rock Britannia (2009) BBC: Hotel California: LA from the Byrds to the Eagles (2007) The Allman Brothers Band: After the Crash (2016) BBC: Sweet Home Alabama: The Southern Rock Saga (2012) Ain’t in It for My Health: A Film About Levon Helm (2010) BBC: Kings of Glam (2006) Super Duper Alice Cooper (2014) New York Dolls: All Dolled Up (2005) End of the Century: The Story of the Ramones (2004) Fillmore: The Last Days (1972) Gimme Danger: The Stooges (2016) George Clinton: The Mothership Connection (1998) Fleetwood Mac: Rumours (1997) The Who: The Kids Are Alright (1979) The Clash: New Year’s Day ’77 (2015) The Decline of Western Civilization (1981) U2: Rattle and Hum (1988) Neil Young: Year of the Horse (1997) Ginger Baker: Beware of Mr. Baker (2012) AC/DC: Dirty Deeds (2012) Grateful Dead: Long, Strange Trip (2017) No Direction Home: Bob Dylan (2005) Hip-Hop Evolution (2016) Joan Jett: Bad Reputation (2018) David Crosby: Remember My Name (2019) Zappa (2020) Summer of Soul (2021)

Now, though, as we assembled the crew to work on our second film, A Bug’s Life, drawing on people who’d been key to Toy Story’s evolution, I discovered we’d completely missed a serious, ongoing rift between our creative and production departments. In short, production managers told me that working on Toy Story had been a nightmare. They felt disrespected and marginalized—like second-class citizens. And while they were gratified by Toy Story’s success, they were very reluctant to sign on to work on another film at Pixar. I was floored. How had we missed this? The answer, at least in part, was rooted in the role production managers play in making our films. Production managers are the people who keep track of the endless details that ensure that a movie is delivered on time and on budget. They monitor the overall progress of the crew; they keep track of the thousands of shots; they evaluate how resources are being used; they persuade and cajole and nudge and say no when necessary. In other words, they do something essential for a company whose success relies on hitting deadlines and staying on-budget: They manage people and safeguard the process. If there was one thing we prided ourselves on at Pixar, it was making sure that Pixar’s artists and technical people treated each other as equals, and I had assumed that that same mutual respect would be afforded to those who managed the productions. I had assumed wrong. Sure enough, when I checked with the artists and technical staff, they did believe that production managers were second-class and that they impeded—not facilitated—good filmmaking by overcontrolling the process, by micromanaging. Production managers, the folks I consulted told me, were just sand in the gears.

Cops aired for thirty-two seasons and was canceled by Fox in the wake of the 2020 murder of George Floyd by a Minneapolis police officer. For years prior, Cops had been criticized as evidence of an unholy alliance between law enforcement and media—the show was dependent on the police allowing TV crews to shadow their street work, which would only be allowed if the police were featured in a positive light. When public sentiment toward law enforcement collapsed, the very premise of a program delivered from that viewpoint was seen as irredeemable. There was, however, an ancillary aspect to Cops that played an underrated role in its watchability: the uniqueness of its geography. Cops was filmed in multiple cities across multiple states, and since the sole focus was on criminal activity, it ended up featuring neighborhoods and communities that would never appear on TV for any other reason. It’s possible to argue that Cops was a soft form of fascism, but that it was also an unorthodox form of tourism.

These teams started with a provisional plan, the “sheet music.” Film crews had a detailed daily schedule. The SWAT team outlined a plan for each mission—which specified, for example, who would cover the exits of a house, where snipers would be stationed, and when officers would bust down the door. But when things didn’t go as expected, because people understood one another’s roles so well and how their roles fit together, teams were adept at revising their plan on the spot.

The cameras were rolling; it was go time. I signaled to Jared who sent in the waitress. She placed white rice noodles, greens, fried pork rolls, two steaming bowls of broth, and two beers on the table. “I feel a little awkward sitting in front of all this good food with you guys standing there working. Did you get something to eat?” President Obama asked before starting the scene. He was one of the few people in the thousands we’d filmed who inquired if the crew was hungry.

People outside the industry pruriently ask how he gets through sex scenes, nudity, baring it physically. They miss the point. Sure, that takes some courage. But, man, it’s ALL like that. Try crying in front of sixty-three people, most of whom are there to do jobs like lighting your face so the tears are in focus while the snot and spit fall behind — or surrounding you with mics to make sure the sound of your sobbing, disconsolate self falling apart is picked up cleanly, so you won’t have to dub over it in post six months later. That crew of people, expertly watching you turn feral with the grief that’s causing your character to make monumentally bad decisions leading to the epiphany that finally turns it around in the third act. Could anything be more naked, more intimate than tearing your soul inside out in service to the story? It’s tantric. Visceral.

if it's not recorded properly in the first place nothing is going to matter.

Had I fallen prey, in middle age, to a kind of andropause? It wouldn’t have surprised me. To find out for sure I decided to spend my evenings on YouPorn, which over the years had grown into a sort of porn encyclopedia. The results were immediate and extremely reassuring. YouPorn catered to the fantasies of normal men all over the world, and within minutes it became clear that I was an utterly normal man. This was not something I took for granted. After all, I’d devoted years of my life to the study of a man who was often considered a kind of Decadent, whose sexuality was therefore not entirely clear. At any rate, the experiment put my mind at rest. Some of the videos were superb (shot by a crew from Los Angeles, complete with a lighting designer, cameramen and cinematographer), some were wretched but ‘vintage’ (German amateurs), and all were based on the same few crowd-pleasing scenarios. In one of the most common, some man (young? old? both versions existed) had been foolish enough to let his penis curl up for a nap in his pants or boxers. Two young women, of varying race, would alert him to the oversight and, this accomplished, would stop at nothing until they liberated his organ from its temporary abode. They’d coax it out with the sluttiest kind of badinage, all in a spirit of friendship and feminine complicity. The penis would pass from one mouth to the other, tongues crossing paths like restless flocks of swallows in the sombre skies above the Seine-et-Marne when they prepare to leave Europe for their winter migration. The man, destroyed at the moment of his assumption, would utter a few weak words: appallingly weak in the French films (‘Oh putain!’ ‘Oh putain je jouis!’: more or less what you’d expect from a nation of regicides), more beautiful and intense from those true believers the Americans (‘Oh my God!’ ‘Oh Jesus Christ!’), like an injunction not to neglect God’s gifts (blow jobs, roast chicken). At any rate I got a hard-on, too, sitting in front of my twenty-seven-inch iMac, and all was well. Once I was made a professor, my reduced course load meant I could get all my teaching done on Wednesdays.

For proof of just how unique, consider the example of Toy Story 3 once again. As I said at the start of this chapter, this was the only Pixar production during which we didn’t have a major crisis, and after the film came out, I repeatedly said so in public, lauding its crew for racking up not a single disaster during the film’s gestation. You might imagine that the Toy Story 3 crew would have been happy when I said this, but you’d imagine wrong. So ingrained are the beliefs I’ve been describing about failure at Pixar that the people who worked on Toy Story 3 were actually offended by my remarks. They interpreted them to mean that they hadn’t tried as hard as their colleagues on other films—that they hadn’t pushed themselves enough. That isn’t at all what I meant, but I have to admit: I was thrilled by their reaction. I saw it as proof that our culture is healthy.

All Sam Peckinpah ever did in his movies was show that getting hit on the chin doesn't sound like [makes a small popping noise]. When one grown man hits another grown man in the face, it splatters like an overripe tomato. And it's not fun getting killed. It's bloody and gory and altogether unpleasant. That's all Sam Peckinpah ever did.

You can return to Luanda, but all the cameras must remain behind.’ Not surprisingly, the three television crews, including a Brazilian team which had come straight from the airport, debate the issue strenuously, but theirs is a lost cause. Surely they can leave their film behind and take the cameras, we protest, but the commander has said that everything is to remain behind. Orders from headquarters. A crowd of soldiers raise their weapons to stress the point. Rambo is going ballistic, shouting that the camera is his personal property and it cost many thousands of dollars. He is not helping his case. UNITA soldiers rarely disobey orders, and telling them how much his camera is worth does not seem the best of strategies.

Dateline is a major prime-time news show in America, reaching millions of viewers on the NBC network. So it should have been very good news when the show’s producers informed us that they wanted to do a segment on Steve, and they wanted to film it in Queensland. “We want to experience him firsthand in the bush,” the producer told me cheerfully ove the phone. Do you really, mate? I wanted to say. I had been with Steve in the bush. It was the most fantastic experience, but I wasn’t sure he understood how remote the bush really was. I simply responded with all the right words about how excited we were to have Dateline come film. The producers wanted two totally different environments in which to film. We chose the deserts of Queensland with the most venomous snake on earth, and the Cape York mangroves--crocodile territory. Great! responded Dateline. Perfect! Only…the host was a woman, who had to look presentable, so she needed a generator for her blow-dryer. And a Winnebago, because it wasn’t really fair to ask her to throw a swag on the ground among the scorpions and spiders. This film shoot would mean a bit of additional expense. We weren’t just grabbing Sui and the Ute and setting out. But the exposure we would get on Dateline would be good for wildlife conservation, our zoo, and tourism. I telephoned a representative of the Queensland Tourism and Travel Commission in Los Angeles. “I wonder if you could help us out,” I asked. “This Dateline segment will showcase Queensland to people in America.” Could Queensland Tourism possibly subsidize the cost of a generator and a Winnebago? Silence at the end of the line. “What you are showing off of Queensland,” a voice carefully explained, “is not how we want tourists to see our fair country.” The most venomous snake on earth? Giant crocodiles? No, thanks. “But people are fascinated by dangerous animals,” I began to argue. I was wasting my time. There was no convincing him. We scraped up the money ourselves, and off we went with the Dateline crew into the bush.

I saw our familiar stomping ground in Windorah through the eyes of our American visitors, who were as astounded as I had been at Steve’s ability to bring the desert to life. We searched and searched for fierce snakes, but to no avail. Then Steve’s sixth sense kicked in. At five thirty one morning, after days of fruitless searching, he said, “Hurry up, let’s get going.” Our Dateline host was keen. This was what she’d traveled halfway around the world to see. “Where are we heading?” she asked. “We’ve got to get out on the black soil plains,” Steve said. “We are going to see a fierce snake at seven thirty.” The host looked a bit surprised. Even I teased him. “Oh, yeah, seven thirty, Stevo, we are going to see a fierce snake at exactly seven thirty, right.” But off we trundled to the black soil plains, camera crew, host, Winnebago, Ute--the whole convoy. Steve scanned the landscape. I monitored the temperature (and the clock). Seven thirty came and went. “So, we’re going to see a fierce snake at seven thirty?” I said. “Let’s see, oh, yes, it is seven thirty, and where might the fierce snake be?” After a little bit of teasing, Steve gave a good-natured grin, but then a look of determination passed over his face. No lie: Precisely at 7:32, he spotted a fierce snake. We ended up filming not one but two that morning. The rest of the NBC crew looked upon Steve with new respect. This guy says we’re going to see a snake at seven thirty and he’s off by two minutes? They were checking their watches and shaking their heads. Always give Steve the benefit of the doubt in the bush. I had learned that lesson before, the last time we had tailed fierce snakes on the black soil plains. But his ability to sense wildlife continued to strike me as uncanny.

Steve and I watched the dingo family play out its drama for a long time. Then we edged our way down to the dam and hopped in. The water was cold, but it felt good. “This is great,” I said, as we swam together. “I’ve been coming here since I was just a little tacker,” Steve said. Bob had brought his young son with him on his research trips, studying the snakes of the region. As I walked in and out of the water, washing up, shampooing my hair, and relishing the chance to clean off some of the desert dust, I noticed something hard underfoot. “Steve, I stepped on something here,” I said. He immediately started clearing the bottom of the pond, tugging on what I had felt beneath the murky water. “Tree limb,” I guessed. “Look around,” Steve said, yanking at the mired object. “No trees here at all.” He couldn’t budge whatever it was, but he didn’t give up. He went back to camp, drove to the dam in his Ute, and tied a chain to the obstacle. As he backed up the truck, the chain tightened. Slowly a cow’s pelvis emerged from the muck. I watched with horror as Steve dislodged an entire cow carcass that had been decomposing right where I had been enjoying my refreshing dip. I must have been poking among its rib cage while I brushed my teeth and washed my hair. Steve dragged the carcass a good distance off. “Do you think we should tell the crew?” he asked me when he came back. “Maybe what they don’t know won’t hurt them,” I said. Steve nodded. “They probably won’t brush their teeth in there, anyway.” “Probably not,” I said, pondering the possibility of future romantic dips with Steve, and what might lurk under the water at the next dam. When we returned to camp, Steve insisted I sit down and not lift a finger while he cooked me a real Aussie breakfast: bacon and sausage with eggs, and toast with Vegemite. This last treat was a paste-like spread that’s an Australian tradition. For an Oregon girl, it was a hard sell. I always thought Vegemite tasted like a salty B vitamin. I chowed down, though, determined to learn to love it. As the sun rose in full, Steve began to get bored. He was antsy. He wanted to go wrangle something, discover something, film anything. Finally, at midmorning, the crew showed up. “Let’s go,” Steve said. “There’s an eagle’s nest my dad showed me when I was just a billy lid. I want to see if it might still be there.” Right, I thought, a nest you saw with Bob years ago. What are the chances we’re going to find that? John looked longingly at the dam. “Thought we might have a tub first,” he said. The grime of the desert covered all of them. “Oh, I think we should go,” I said hastily, the cow carcass fresh in my mind. “You don’t need a bath, do you, guys?” “Come on,” Steve urged. “Wedge-tailed eagles!” No rest for the weary.

When we returned to camp, Steve insisted I sit down and not lift a finger while he cooked me a real Aussie breakfast: bacon and sausage with eggs, and toast with Vegemite. This last treat was a paste-like spread that’s an Australian tradition. For an Oregon girl, it was a hard sell. I always thought Vegemite tasted like a salty B vitamin. I chowed down, though, determined to learn to love it. As the sun rose in full, Steve began to get bored. He was antsy. He wanted to go wrangle something, discover something, film anything. Finally, at midmorning, the crew showed up. “Let’s go,” Steve said. “There’s an eagle’s nest my dad showed me when I was just a billy lid. I want to see if it might still be there.” Right, I thought, a nest you saw with Bob years ago. What are the chances we’re going to find that? John looked longingly at the dam. “Thought we might have a tub first,” he said. The grime of the desert covered all of them. “Oh, I think we should go,” I said hastily, the cow carcass fresh in my mind. “You don’t need a bath, do you, guys?” “Come on,” Steve urged. “Wedge-tailed eagles!” No rest for the weary. “So, Steve,” I said as gently as I could, not wanting to dissuade him as we headed out. “How old were you when Bob took you to see this nest?” “Must’ve been six,” he said. More than two decades ago. I stared around at the limitless horizon. I had my doubts. I watched Steve’s eyes dart across the landscape. He struck out in a particular direction and led us over a series of jump-ups. Then he’d get his bearings and head off again. One hour. Two hours. If someone had put a gun to my head I could not have led them back to the dam. “I think I know where it is,” Steve said abruptly. We continued on a little farther. Sure enough, in the distance I saw an unusually large eucalypt. In its main fork was what appeared to be a thick pile of debris and sticks, carefully laid together, that must have been eight feet thick. There it was, an eagle’s nest, twenty feet off the ground.

We listened as he and his wife told us their wildlife stories. I wasn’t sure why, but they seemed to really hate emus. I think it was because a panicked, running emu could put a hole right through the fence. “You know, an emu is supposed to be able to run sixty kilometers per hour,” he said, relishing his story. “But if I run my truck right up their bum, they will actually reach about sixty-eight kilometers an hour. It’s funny how they look back over their shoulder just before they get run over.” They laughed long and loud until they realized that none of us were laughing with them. His wife must have thought we didn’t get the joke, because she tried to explain it further. “Our oldest child, he always begs his dad,” she told us, “Run down an emu, Dad, run down an emu!” While we drove the fence line afterward, it was obvious that Steve was trying to get back to the job at hand and move on from the awkward conversation. Suddenly he had a premonition. He turned to me. “Something’s going to happen,” he said. Just ahead of us, a koala ran through a paddock over open ground. Steve immediately jumped out of the truck. “Get John and catch up!” Steve yelled. I scrambled into the driver’s seat, bouncing like hell over the muddy track, rounding up John and the crew to come film Steve’s encounter with the koala. “How did you know something was going to happen?” I asked Steve, once we’d filmed the koala and gotten it safely to a nearby tree. “How did you sense it?” He shrugged. “I don’t know, mate, it’s the strangest thing.” Were Steve’s bush instincts simply more finely honed than anyone else’s? I didn’t think it was that simple. He seemed to be able to tune into some sixth sense with wildlife. After years in the bush, he had refined his gift into an uncanny ability.

In the headlights of the truck, I saw small animals popping out of the ground everywhere. Steve leaped out of the truck excitedly and motioned me over to get a close-up look at the creatures emerging from the mud. “Cycloranas,” Steve said, “water-holding frogs.” He explained that these frogs would burrow into the ground and then cover themselves with a membrane that would hold in water. They wouldn’t pee, and none of their bodily fluids would evaporate. They could remain underground for weeks, months, or even years, until the next rain hit. “Then they emerge up from their tiny tombs, lost their membrane, and are good as gold,” Steve said, marveling. “They’re ready now to reproduce and feed and do their own thing.” It was an epic task to get the camera out and set up the waterproof gear to film the cycloranas. The rain finally broke, and Steve was able to film a scene. We had been driving all day, out in the rain, changing flat tires from the debris on the track. Steve even had to repair the fence when the crew’s truck slid sideways across the slippery mud, knocking a neat hole in one section. Everybody was beyond exhausted. No matter how hard Steve tried, he couldn’t get his words right. He couldn’t properly explain how the frogs could go so long without water. “Membranes” became “mum-branes,” “water-filled” was “water-flood.” We were all getting frustrated. John said, exasperated, “Just give us something really concise.” I whispered two words into Steve’s ear. He turned to the camera. “Water…nah,” he said. The whole crew cracked up. Two words to sum up the water-holding frog.

We left the beach to track Tasmanian snakes inland. Steve was feeling particularly protective of me. “Whatever you do, don’t grab any of these snakes,” he said. “They are all venomous here in Tasmania. You are pregnant and you’ve got to be careful.” “No problem,” I said. But it did turn out to be difficult just to watch. Over and over again, Steve got to wrangle a gorgeous venomous snake as the crew filmed. I wanted some of the action! After a few days of this, we tramped through the bush and encountered a great big tiger snake. It glistened in the sun at the edge of a stream. Steve turned around and motioned to the cameraman to start rolling. We made minimal movements and whispered, even though snakes have no ears and can’t hear (instead they sense vibrations). We approached the tiger snake as it drank in the stream. It raised its head slightly. It knew we were there. My heart started pounding, but I had made a decision. I knew we had one take with this snake. Once we disturbed it, it would never go back to drinking, and the shot would be lost. I moved forward, waddling my pregnant body in behind the snake, and tailed him. He was a huge snake, but slow and gentle, just as I had anticipated. I told the camera all about tigers, how they could give birth to thirty young at once, and how the Tasmanian tiger snakes are special, tolerating some of the coldest weather in the country. As I let the snake go, I looked sheepishly back at Steve. His eyes had grown large, and he didn’t say a word. I’m not entirely sure if he was angry with me. I think he realized that I was still the same old Terri, even though I was pregnant.

Maybe it was my condition, but I was even more sensitive about cruelty to wildlife. When we journeyed to New Zealand to protest whale hunts, we viewed a documentary about whales attacking the whaling ships, trying to defend the females and their young. Whales are like elephants of the sea. They have family structures, mannerisms, and habits that are similar to our own. In the midst of this very emotional work in Wellington, I felt the baby move for the first time. Soon the baby was dancing around inside me both day and night. All my checkups came back favorable, and the doctor said Steve was more than welcome to glove up and help deliver the baby when the time came. Until then, though, there was stacks of filming to be done. We filmed sharks just off the Queensland coast, near where Steve’s parents had retired. Some of the crew were typical Aussie blokes. As soon as I got on board and they saw that I was very obviously pregnant, they decided to embark on “Project Spew.” To attract sharks, they mixed up a large container of chum--a gory stew made of fish oil, blood, fish skeletons, and offal. The crew would pass it right underneath my nose in an effort to make me sick. I countered them by sitting down and eating lunch right next to the putrid-smelling chum container. I knew they couldn’t break me!

One evening Steve and I didn’t feel like cooking, and we had ordered a pizza. I noticed that I was a bit leaky, but when you are enormously pregnant, all kinds of weird things happen with your body. I didn’t pay any particular attention. The next day I called the hospital. “You should come right in,” the nurse told me over the phone. Steve was fairly nearby, on the Gold Coast south of Brisbane, filming bull sharks. I won’t bother him, I thought. I’ll just go in for a quick checkup. “If everything checks out okay,” I told them at the hospital, “I’ll just head back.” The nurse looked to see if I was serious. She laughed. “You’re not going anywhere,” she said. “You’re having a baby.” I called Steve. He came up from the Gold Coast as quickly as he could, after losing his car keys, not remembering where he parked, and forgetting which way home was in his excitement. When he arrived at the hospital, I saw that he had brought the whole camera crew with him. John was just as flustered as anyone but suggested we film the event. “It’s okay with me,” Steve said. I was in no mood to argue. I didn’t care if a spaceship landed on the hospital. Each contraction took every bit of my attention. When they finally wheeled me into the delivery room at about eight o’clock that night, I was so tired I didn’t know how I could go on. Steve proved to be a great coach. He encouraged me as though it were a footy game. “You can do it, babe,” he yelled. “Come on, push!” At 9:46 p.m., a little head appeared. Steve was beside himself with excitement. I was in a fog, but I clearly remember the joy on his face. He helped turn and lift the baby out. I heard both Steve and doctor announce simultaneously, “It’s a girl.” Six pounds and two ounces of little baby girl. She was early but she was fine. All pink and perfect. Steve cut the umbilical cord and cradled her, gazing down at his newborn daughter. “Look, she’s our little Bindi.” She was named after a crocodile at the zoo, and it also fit that the word “bindi” was Aboriginal for “young girl.” Here was our own young girl, our little Bindi. I smiled up at Steve. “Bindi Sue,” I said, after his beloved dog, Sui. Steve gently handed her to me. We both looked down at her in utter amazement. He suddenly scooped her up in the towels and blankets and bolted off. “I’ve got a baby girl!” he yelled, as he headed down the hall. The doctor and midwives were still attending to me. After a while, one of the midwives said nervously, “So, is he coming back?” I just laughed. I knew what Steve was doing. He was showing off his beautiful baby girl to the whole maternity ward, even though each and every new parent had their own bundle of joy. Steve was such a proud parent. He came back and laid Bindi beside me. I said, “I couldn’t have done it if you hadn’t been here.” “Yes, you could have.” “No, I really needed you here.” Once again, I had that overwhelming feeling that as long as we were together, everything would be safe and wonderful. I watched Bindi as she stared intently at her daddy with dark, piercing eyes. He gazed back at her and smiled, tears rolling down his cheeks, with such great love for his new daughter. The world had a brand-new wildlife warrior.

Nigel Havers One of Britain’s leading stage and television actors, Nigel Havers has also appeared in many outstanding film productions, including Chariots of Fire, A Passage to India, Empire of the Sun, The Whistle Blower, Farewell to the King, Quiet Days in Clichy, and The Private War of Lucinda Smith. He has recently completed his autobiography, Playing with Fire, published by Headline. One afternoon, when I was filming a series called The Good Guys and Polly was away in Spain, all the crew were all a bit beady-eyed with me. “What on earth is going on, guys?” I asked. But they kept looking at me in a strange way. It transpired that on the front of the Evening Standard was the first transcript of the Diana tapes--the Squidgy tapes--and no one knew who the man calling Diana Squidgy was and the headline on the front page said it was me! As everyone was hiding the paper from me, I went and grabbed it. “My God, it’s not me. It’s not me, I know,” I said. It wasn’t me, of course. But when you read something and your name is in banner headlines, there is a split second where you almost believe it. I called Diana at once (she had given me her private mobile number), and she laughed like a drain when I told her how panicked I was. She literally couldn’t stop laughing. I was a bit jumpy around her because I fancied her so much, but I really just felt sad for her. When she came to tea with me, she would be wearing jeans and a T-shirt. She just walked out of Kensington Palace and up Kensington High Street to my flat. She told me that no one would turn around, and as they weren’t expecting to see her strolling down the street, she was never recognized.

During the first week of filming, it began raining in Tunisia’s Nefta Valley for the first time in seven years and didn’t stop for four days. Equipment and vehicles bogged down in the mud, requiring assistance from the Tunisian army to pull everything out of the muck. It was often cold in the morning and blazing hot by afternoon, and Lucas would begin most days in his brown coat, hands shoved deep in the pockets as he peered through the eyepiece of the camera; as the sun rose higher in the sky, he would shrug off his coat, put on his sunglasses, and direct his actors in a checked work shirt, with a baseball cap pulled low over his eyes. When it wasn’t raining, high winds tore up the sets, ripping apart the sandcrawler and blowing one set, as a crew member put it, “halfway to Algeria.”7

On one occasion, after a particularly long spell away from home, I got Shara to fly into the mountains we were filming in. “Bring the boys, my love, I miss you.” That night, I hitched a lift with the crew, jumped into the helicopter that was extracting them back to base, and went to the lodge they were staying in. Shara was there, waiting. I spent the night in my family’s arms and went back to film the next day. Reckless, I know. But the press got wind of it, as they do, and they went for the jugular. It made for a killer headline. I totally understood. But who hasn’t made the odd mistake? In hindsight, it was more than reckless--it was an error, and it opened a can of worms for the papers to feed on. But, for the record, it had been total heaven to see Shara and the boys. So which do I value more--being a hero or being a father? There’s a third option, Bear. It is called patience. I know. It is never my strong point. So this was another moment that could have sunk the show, but Channel 4 and Discovery backed me. They knew all too well how hard I work and the risks I take every day. And the best response to the critics was the show’s subsequent runaway success.

The Fellowship heralded a new kind of film-making. Its script had four credited writers and about seven non-credited ones. Peter Jackson ran seven film units, nine music units and a production crew of 2,400.

HEROPANTI MOVIE REVIEW & RATING Movie Name: Heropanti Director: Sabbir Khan Producer: Sajid Nadiadwala Music Director: Sajid-Wajid, Manj Musik Cast: Tiger Shroff, Kirti Sanon, Sandeepa Dhar ‘Heropanti’, a love story is directed by Sabbir Khan and produced by Sajid Nadiadwala. It is the debut movie of Tiger Shroff (son of superstar Jackie Shroff) and Kirti Sanon, both starring in lead roles alongside Sandeepa Dhar featuring in a pivotal role. Overall it is a remake of Telugu movie ‘Parugu’ starring Allu Arjun. ‘Heropanti’ is all about another new gem in Bollywood industry. Big launch with hit songs. New faces- heroine as well as hero. Does it work? Let’s go through to know it… ‘Heropanti’ borrows half of its title from Sr. Shroff’s breakout film and is also having the signature tune from ‘Hero’ (1983) which is being played in the background repeatedly. The action movie is not as terrible as Salman and Akshay films. The newcomer Tiger Shroff has done amazing stunts in the film. The story is set in the land of Jattland in Harayana where Chaudhary (Prakash Raj), the Haryanvi goon is completely against love marriages. He has two daughters- Renu (Sandeepa Dhar) and Dimpi (Kirti Sanon). Chaudharyji’s elder daughter Renu’s marriage is held, but on the wedding night she elopes with her boyfriend Rakesh. Her step results in a frantic search for her across the village. Chaudharyji launches a manhunt to track them down and eliminate them. Now Haryanvi goon’s men suspects Rakesh’s friends and thinks that they may know where Renu is. So the goon decides to kidnap the buddies of his daughter’s lover. Bablu (Tiger Shroff) turns to be one of the buddies with ultra muscular head and shoulders model who falls in love with Chaudharyji’s younger daughter Dimpy (Kirti Sanon). The goons manage to trace Bablu who has actually helped Rakesh and Renu in escaping. Bablu, meanwhile in captivity, shares with his pals about his love interest. Bablu falls in love at first sight with the pretty younger daughter of Chaudharyji’s, Dimpy. He comes to know quite early that it is none other than the Harynavi goon Chaudharyji’s daughter. The movie tries to end up in a ‘Dilwale Dulhania Le Jayenge’ style where Bablu uses his superpowers and figures out to be with his love but without offending her father. launch pad for Shroff to show his acting and dancing skills. Plan to watch it, if nothing left to do. Tiger Shoff is a great action hero. When it comes to action, he is a star but comparatively his acting skills are zero. Kirti Sanon requires a little brushing up on her acting skills she reminds us somewhere of young Deepika Padukone who is surely going to have a good run in the industry someday. Verdict: It’s the most masala-less movie of this year with more action and less drama. But the movie is a perfect

Lucas lifted his head to look around and saw that dozens of people were dead or wounded; and that cops were flowing in from everywhere, that fifteen civilians were filming the chaos with their iPhones, that two TV crews were already working it, and that people everywhere were screaming in pain . . . He and Bowden knelt next to Jubek and Jubek’s eyes were open and he said, “Hurt,” and Lucas could hear more clearly now and said, “Hang on,” and Jubek almost laughed and said, “I’m trying, dumbshit. Get me something . . .

LUCY and Desi. Lucy and Ricky. As far as the public knew, the private life of the Arnazes closely resembled that of the Ricardos on the TV screen; a camera crew just dropped by once a week to film a half hour of slapstick and tender kisses.

Seems convenient,” she said, “that a film crew just happened to be making a documentary about her when she returned from the dead. What impeccable timing for both parties. Where’s Ramsey?” She turned on Ash.

On an early morning scouting trip in the foothills north of Los Angeles, two van-loads of crew people fan out over an area that the production designer wants to make into a guerrilla army encampment. I stay close to the vans, keeping an overview of the area and waiting for the director to emerge. It’s a warm sunny day. Most of the crew is wearing shorts and running shoes. The director is another story. He climbs out of his van wearing a location-specific hunter-outdoorsman khaki outfit complete with an impressive pair of lug-sole hiking boots and walks off in the general direction the crew has taken, thumbing through some script notes. A few seconds later he steps squarely into a pile of dog-doo that everyone else has successfully navigated. I watch, transfixed, as he leaps back in horror and freezes. He does not spot me as he quickly looks around to see if anyone has noticed his predicament. No one else has. He hurriedly examines the bottom of his now-disgusting hiking boot. I take a deep breath and step from beside the van, pretending I am deeply involved in a conversation on my walkie-talkie. As I walk toward him, I pull a little folding penknife from my pocket and flip the blade open. I hand it to him without a word as I pass and continue on toward the location, still pretending to be talking into the radio. I round the corner of a building and find a vantage point. The director is hopping up and down on one foot, hurriedly scraping the bottom of his boot with the tiny knife. He finishes the messy job, pulls himself together, and strides purposefully around the building and toward a clearing where the crew has gathered, waiting for his comments. I quickly take my place as the director approaches. He walks briskly past me and without looking, hands the little knife back to me with the dog-doo-covered blade still open. He continues on to the front of the group and with complete authority runs through his ideas for the scene. Over the next few months of filming, neither of us ever mentions the incident.

For the cast and crew, the relationship with a film is more complex. The magic is in the making, and that process is a discreet unit of time in the past. You can reflect on that unit of time, you can be proud of it, but you can’t revisit it.

She looked out the taxi window at the picturesque Creole cottages and brick Spanish Colonial houses on the way back to the bakery. Piper could understand why New Orleans was an attractive location for filming. The culturally rich neighborhoods and diverse locations, from bayou to big city, provided vivid backdrops. There were willing extras of all shapes, sizes, and ethnicities available, as well as state-of-the-art sound stages and plenty of skilled crew members. Piper also knew that Louisiana offered attractive tax incentives to the film industry to bring in business to New Orleans. The city was working hard to earn the moniker "Hollywood of the South.

The Other Side of the Wind is the story of Jake Hannaford, a hard-drinking, big-game-hunting, womanizing, adventure-seeking director who loves to shoot in remote locations around the world and revels in putting himself, his cast, and his crew in dangerous situations. Welles would joke that at least one crew member dies on the set of every Hannaford film. A product of the studio system, Hannaford fell out of favor and retreated to Europe for a few years of self-imposed exile and has finally returned to Los Angeles, seeking end money to complete his artsy, modernist attempt at a sex-infused and violence-laden comeback movie that reflects the style and values of New Hollywood circa 1970. As Welles mentioned in his introduction, the film examines the last day of Hannaford’s life as viewed through the medium of film in

He had been one of Facebook’s earliest investors, and a mentor to both Zuckerberg and Sheryl Sandberg. A few years back, he had also exploded onto the press scene, as an outspoken critic of Facebook. Now I wanted to know why. While waiting inside a fancy residence in New York with the film crew, I watched a video of the now-infamous Roger McNamee.

Lerner had never been happy with the 1951 stage show, his and Loewe’s entry between Brigadoon and My Fair Lady. He revised it a bit for the national tour, and now decided to give it a completely different storyline and some new numbers to match. The results might, at least, have been a bargain, as the whole thing takes place in and around a single spot, a gold-rush town in more or less everyday (if period) clothes. As opposed to the castles in Spain where Camelot did much of its filming, not to mention the gargoyles and falconry. However, anticipating the disaster-film cycle, Lerner wanted Paint Your Wagon’s mining town (“No-Name City. Population: Male”) to sink into the earth in a catastrophe finale. Worse, production built the place from scratch in the wilds of Oregon, with no nearby living quarters for cast and crew; they had to be trucked and helicoptered in and out each day in a long and pricey commute, greatly protracting the shooting schedule. Back as director again after Camelot, Joshua Logan fretted about all this, but Lerner didn’t care how much of Paramount’s money he spent. He even hired Camelot’s spendthrift designer, John Truscott. In the end, it would appear that no one knows exactly how much Paint Your Wagon cost, but there is no doubt that it lost a vast fortune. It deserved to. Cynically, Lerner took note of changing times and filled the film with a “youth now!” attitude and sexual freedom—refreshing if they didn’t feel so commercially opportunistic. But after all, Hair (1967) had happened. Was Broadway urging Hollywood to go hippie, too, or would Lerner have done this anyway?

This show was the most ambitious thing I’d done. Although the idea was simple, the fact that every piece of gear had to come onstage for tech check in the afternoon and then be removed again before the show was a lot of work for the crew. But the show was a success; the transparency and conceptual nature of its structure took away nothing from the emotional impact. It was tremendously gratifying. I didn’t perform for a while after that. It was hard to top that experience. I directed a feature film, married, and had a child, and I wanted to be around for as much of my daughter’s early years as I could. I continued to make records and launch other creative endeavors, but I didn’t perform.

The film crew followed us around for about a week. They bought Chaz cider early in the morning and he played right into their hands! All they seemed to want to do was to portray us all as drunken yobs and for the most part they succeeded!