After serving as an extra in the KCPT/Wide Awake production of BAD BLOOD, I'm reminded of another time I worked as an extra in another film production. This was during the month of April 1989, a one day shoot for the motion picture, GLORY. The site was on some property near Jonesboro, Georgia, just southeast of Atlanta. Several hundred reenactors attended for what would be the opening segment of the movie, the Battle of Antietam. Here are my observations of this one-day working with Hollywood. The full story can be read in CHIN MUSIC FROM A GREYHOUND, Volume Two.
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Once everyone was through getting reacquainted and "grab-assing" was finished, we marched off in column of fours up the street to movie production central. As I mentioned, here were vans, semis, utility vehicles, generators, lighting and sound equipment, mobile homes for the cast and crew, and a mobile cafeteria. Buffet tables were loaded down with all the trappings of a large breakfast, including fruits of all varieties, cold cereal, donuts, juice and milk in box containers, and plenty of bottled water. Food handlers in white smocks and paper hats serviced a steam table in which sat stainless steel tubs of scrambled eggs, bacon, grits, biscuits and gravy, sausage (link and round), pancakes, French toast, hash browns, etc., and etc. Once we arrived at this central location, the reenactors were told to "pitch in" and then be on the set within an hour. Reenactors may be many things, but we're not bashful. We quickly stacked arms and stood in line with plastic trays in our mitts piled high with the cooked and the raw.
After breakfast everyone started to mosey up to the "set." This was an area a half mile away that we were told was to resemble a small portion of the Antietam battlefield. Off to one side of the field, Hollywood craftsmen had built a replica of the Dunker church. Don, Pat, Dave, and I posed for a picture by it. As I recall, the Dunker building never made it in the final cut of the movie. The field was fairly wide open, about three football fields in width and breadth. The field was not perfectly flat. It seemed to have one or two rolling folds, plus it rose to a slight elevation. During the filming of our scenes the Federals would be advancing uphill in three long lines, while the Confederate infantry would enjoy the comfort a barricade along with artillery support. Before filming here, an assistant director sent about fifty of us into the woods for some footage of us running, shooting, and falling, but those scenes ended up on the cutting room floor.
Directing GLORY would be Ed Zwick, who's previous claim to fame had been as director/producer of the TV series THIRTYSOMETHING. I think this was his first motion picture. Anyway, he came down and welcomed us all to his movie and gave us all instructions on what to expect and what to do. He told us if something went wrong or he needed to stop shooting, someone would yell, "CUT," or some type of flare would be launched if the battle noise got too loud for us to hear the order. He told us there would be ground charges in various places on this field-he pointed them out and told us to be aware of the wires and flash pots. Ed Zwick was very grateful for our involvement and wanted us to have a good time. He also told us that there'd be a lot of hurry up and wait between takes, but not to get bored or frustrated as that is how Hollywood does things.
Three battalions were formed, with roughly 150 men in each battalion. All the Holmes Brigade boys were in the first battalion in the far right company. The other two battalions were lined up behind us in equal numbers. As I'd mentioned earlier, the scenario called for all of us to march uphill into the teeth of enemy artillery and musket fire. After a pre-determined number of flash pots had detonated under our feet, we were supposed to panic and run around like scared little girls. We were all in our places, "with bright shining faces," when Mr. Cary Elwes came down the brow of the hill toward us. At the early point in his Hollywood career, he was mostly known for his role in The Princess Bride. As Cary Elwes came closer, we could see he had on an officer's uniform, plus he was decked out with leather rigging and carrying a wicked blade. Although his face wouldn't be seen in this segment of GLORY, director Zwick wanted him in the ranks with us reenactors.
Word that filming was about to start, and everyone was to stand by for "ACTION!" Cary Elwes walked to the front of our company, with his back to the camera, and held both arms straight out from his side-the saber in one hand. My guess was Matthew Broderick was on the left end of the battalion and would lead the men on his wing, the same way. When ACTION was shouted, Cary Elwes began walking backwards, arms still outstretched. The object by most battalion officers who do this, is to keep the battle line straight, by using sheer will power and out stretched arms. It's not wise not to look where you're going, as Mr. Elwes would discover, the hard way. Acting company commander, Lt. Bill Fannin, tried to tell the actor he was going about it all wrong and he could possibly hurt himself if he continued to walk backwards, but Cary Elwes curtly responded with a "I know what I'm doing" remark.
Here is a comment from Pat McCarthy on what happened next: "As you recall, we were instructed that we should take a hit if a ground charge went off close to us during filming. Prior to one of the takes, one of our guys (Fannin) noticed that Elwes was carrying his sword with his off hand on the blade. He had the audacity to mention to Elwes that this was dangerous and that he could hurt himself. Elwes responded by saying "I know what I'm doing"! Well, during the filming I had a ground charge go off almost between my legs, so I dutifully died on the spot. Shorting after, the charge faltered and the rout began. Through slitted eyes I watched as Elwes, "face to the enemy" and backing up, was headed right for me. Of course, his left hand was on the blade of his sword. Without moving my lips, I tried to shout, "look out" several times, but he obviously couldn't hear me. Sure enough, he tripped over me and his elbow dug into the inside of my left thigh (it left a huge, deep purple bruise that lasted for weeks). Anyway, Elwes rolled off me, looked at me with a funny look on his face, got up and started limping to the rear. My first thought was "great, I've just maimed the co-star of the film!"
"After the take we got up and were brushing ourselves off when someone came running up to me saying that Elwes was looking for me. Well, I was PISSED OFF. I'd watched this prima donna strutting around all-day and yelling at people, and I thought if he was going to shout at me that I'd take his head off. After all, I was hurting and it was his fault. Soon enough he came striding up to me, and I was ready to give him both barrels. But he was very apologetic and asked several times if I was all right. As it turned out, he thought his elbow had come down on my head. I told him I was ok and asked if he was, since I saw him limping afterward. He told me that he had affected the limp for the camera.
"About that time I noticed that his left hand was dripping blood, and asked him if that was affected for the cameras, too. He looked at his hand and got all pale. Sure enough, he cut his hand on his sword when he fell over me! Filming was held up for an hour while he had the hand treated! So much for my brush with fame!"
During the break, while the special effects people rebuilt all the ground charges and Cary Elwes was being treated for his cut, us soldiers milled around a bit like cattle, sat down and munched on snacks or played with some of the props lying about. Littering the "battlefield," were a number of dead horses and dead men. These were all fakes and stuffed with straw, although the horses looked like they had once been real and had come from a taxidermist. Don Whitson, Tim Moore, Joe Covais, and I became playful with one dead horse, while a few of the other boys, including Dave Bennett, turned a straw soldier into a pin cushion with their bayonets. I have the photographic proof! During the breaks, we also found time to get four or five of us in a picture with Cary Elwes and Matthew Broderick. Don shoved his camera into the hands of one of the Hollywood people while we crowded around Matt. The guy that Don rudely forced his camera on, turned out that he was the producer. Don didn't know. He just saw some guy standing next to Matt with his hands in his pocket and said, "Here, take our picture!"
Director Zwick had us do another charge up the slope. All three Federal battalions got about half way up, and then once again the earth opened up under our feet. At the same time, a long line of Confederate infantry, behind a rail fence, was pouring volumes of musket fire into our ranks. The Federals were instructed by Director Zwick not to return fire! Instead we were supposed to panic, play dead or "run off like scared little girls." However, as the third battalion came up over the slope and marched into the pandemonium, they began firing back! Boy, was Zwick pissed! CUT! Red flares went off in all directions. With a forced smile, Zwick reminded us that, "we were not supposed to return fire!" All the ground charges had to be made up again. Another hour sitting on our hands. At some point we went to lunch. It may have been before the Federal firearm's fiasco. Once again, the amount of food laid out would have made King Henry the VIII envious.
If you want to follow my further adventures, please pick a copy of CHIN MUSIC FROM A GREYHOUND, Volume Two by visiting Two Trails Publishing at www.civilwarbooklady.com
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Once everyone was through getting reacquainted and "grab-assing" was finished, we marched off in column of fours up the street to movie production central. As I mentioned, here were vans, semis, utility vehicles, generators, lighting and sound equipment, mobile homes for the cast and crew, and a mobile cafeteria. Buffet tables were loaded down with all the trappings of a large breakfast, including fruits of all varieties, cold cereal, donuts, juice and milk in box containers, and plenty of bottled water. Food handlers in white smocks and paper hats serviced a steam table in which sat stainless steel tubs of scrambled eggs, bacon, grits, biscuits and gravy, sausage (link and round), pancakes, French toast, hash browns, etc., and etc. Once we arrived at this central location, the reenactors were told to "pitch in" and then be on the set within an hour. Reenactors may be many things, but we're not bashful. We quickly stacked arms and stood in line with plastic trays in our mitts piled high with the cooked and the raw.
After breakfast everyone started to mosey up to the "set." This was an area a half mile away that we were told was to resemble a small portion of the Antietam battlefield. Off to one side of the field, Hollywood craftsmen had built a replica of the Dunker church. Don, Pat, Dave, and I posed for a picture by it. As I recall, the Dunker building never made it in the final cut of the movie. The field was fairly wide open, about three football fields in width and breadth. The field was not perfectly flat. It seemed to have one or two rolling folds, plus it rose to a slight elevation. During the filming of our scenes the Federals would be advancing uphill in three long lines, while the Confederate infantry would enjoy the comfort a barricade along with artillery support. Before filming here, an assistant director sent about fifty of us into the woods for some footage of us running, shooting, and falling, but those scenes ended up on the cutting room floor.
Directing GLORY would be Ed Zwick, who's previous claim to fame had been as director/producer of the TV series THIRTYSOMETHING. I think this was his first motion picture. Anyway, he came down and welcomed us all to his movie and gave us all instructions on what to expect and what to do. He told us if something went wrong or he needed to stop shooting, someone would yell, "CUT," or some type of flare would be launched if the battle noise got too loud for us to hear the order. He told us there would be ground charges in various places on this field-he pointed them out and told us to be aware of the wires and flash pots. Ed Zwick was very grateful for our involvement and wanted us to have a good time. He also told us that there'd be a lot of hurry up and wait between takes, but not to get bored or frustrated as that is how Hollywood does things.
Three battalions were formed, with roughly 150 men in each battalion. All the Holmes Brigade boys were in the first battalion in the far right company. The other two battalions were lined up behind us in equal numbers. As I'd mentioned earlier, the scenario called for all of us to march uphill into the teeth of enemy artillery and musket fire. After a pre-determined number of flash pots had detonated under our feet, we were supposed to panic and run around like scared little girls. We were all in our places, "with bright shining faces," when Mr. Cary Elwes came down the brow of the hill toward us. At the early point in his Hollywood career, he was mostly known for his role in The Princess Bride. As Cary Elwes came closer, we could see he had on an officer's uniform, plus he was decked out with leather rigging and carrying a wicked blade. Although his face wouldn't be seen in this segment of GLORY, director Zwick wanted him in the ranks with us reenactors.
Word that filming was about to start, and everyone was to stand by for "ACTION!" Cary Elwes walked to the front of our company, with his back to the camera, and held both arms straight out from his side-the saber in one hand. My guess was Matthew Broderick was on the left end of the battalion and would lead the men on his wing, the same way. When ACTION was shouted, Cary Elwes began walking backwards, arms still outstretched. The object by most battalion officers who do this, is to keep the battle line straight, by using sheer will power and out stretched arms. It's not wise not to look where you're going, as Mr. Elwes would discover, the hard way. Acting company commander, Lt. Bill Fannin, tried to tell the actor he was going about it all wrong and he could possibly hurt himself if he continued to walk backwards, but Cary Elwes curtly responded with a "I know what I'm doing" remark.
Here is a comment from Pat McCarthy on what happened next: "As you recall, we were instructed that we should take a hit if a ground charge went off close to us during filming. Prior to one of the takes, one of our guys (Fannin) noticed that Elwes was carrying his sword with his off hand on the blade. He had the audacity to mention to Elwes that this was dangerous and that he could hurt himself. Elwes responded by saying "I know what I'm doing"! Well, during the filming I had a ground charge go off almost between my legs, so I dutifully died on the spot. Shorting after, the charge faltered and the rout began. Through slitted eyes I watched as Elwes, "face to the enemy" and backing up, was headed right for me. Of course, his left hand was on the blade of his sword. Without moving my lips, I tried to shout, "look out" several times, but he obviously couldn't hear me. Sure enough, he tripped over me and his elbow dug into the inside of my left thigh (it left a huge, deep purple bruise that lasted for weeks). Anyway, Elwes rolled off me, looked at me with a funny look on his face, got up and started limping to the rear. My first thought was "great, I've just maimed the co-star of the film!"
"After the take we got up and were brushing ourselves off when someone came running up to me saying that Elwes was looking for me. Well, I was PISSED OFF. I'd watched this prima donna strutting around all-day and yelling at people, and I thought if he was going to shout at me that I'd take his head off. After all, I was hurting and it was his fault. Soon enough he came striding up to me, and I was ready to give him both barrels. But he was very apologetic and asked several times if I was all right. As it turned out, he thought his elbow had come down on my head. I told him I was ok and asked if he was, since I saw him limping afterward. He told me that he had affected the limp for the camera.
"About that time I noticed that his left hand was dripping blood, and asked him if that was affected for the cameras, too. He looked at his hand and got all pale. Sure enough, he cut his hand on his sword when he fell over me! Filming was held up for an hour while he had the hand treated! So much for my brush with fame!"
During the break, while the special effects people rebuilt all the ground charges and Cary Elwes was being treated for his cut, us soldiers milled around a bit like cattle, sat down and munched on snacks or played with some of the props lying about. Littering the "battlefield," were a number of dead horses and dead men. These were all fakes and stuffed with straw, although the horses looked like they had once been real and had come from a taxidermist. Don Whitson, Tim Moore, Joe Covais, and I became playful with one dead horse, while a few of the other boys, including Dave Bennett, turned a straw soldier into a pin cushion with their bayonets. I have the photographic proof! During the breaks, we also found time to get four or five of us in a picture with Cary Elwes and Matthew Broderick. Don shoved his camera into the hands of one of the Hollywood people while we crowded around Matt. The guy that Don rudely forced his camera on, turned out that he was the producer. Don didn't know. He just saw some guy standing next to Matt with his hands in his pocket and said, "Here, take our picture!"
Director Zwick had us do another charge up the slope. All three Federal battalions got about half way up, and then once again the earth opened up under our feet. At the same time, a long line of Confederate infantry, behind a rail fence, was pouring volumes of musket fire into our ranks. The Federals were instructed by Director Zwick not to return fire! Instead we were supposed to panic, play dead or "run off like scared little girls." However, as the third battalion came up over the slope and marched into the pandemonium, they began firing back! Boy, was Zwick pissed! CUT! Red flares went off in all directions. With a forced smile, Zwick reminded us that, "we were not supposed to return fire!" All the ground charges had to be made up again. Another hour sitting on our hands. At some point we went to lunch. It may have been before the Federal firearm's fiasco. Once again, the amount of food laid out would have made King Henry the VIII envious.
If you want to follow my further adventures, please pick a copy of CHIN MUSIC FROM A GREYHOUND, Volume Two by visiting Two Trails Publishing at www.civilwarbooklady.com
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