Remembering Doug Slocombe

Tribute to Doug Slocombe

Slocombe in center – portion of a photo from Variety.com, the article announcing his death.

A year ago this month I was talking to Howard Kazanjian about his work on The Return of the Jedi. We were discussing cameras, and how their choice for that project shook up things at Panavision, when he changed the topic to Raiders of the Lost Ark and its Director of Photography, Doug Slocombe.

Howard told me something that shocked me about Slocombe’s MO – he didn’t use a light meter on Raiders – ever! So I was not surprised to see this fact mentioned in the announcement in the press about Slocombe’s passing a few weeks ago.

What was missing in the article, however, was what the cinematographer preferred to use instead. Slocombe employed an eyepiece that was heavily tinted, a gaffer’s glass. With it he was able to judge whether the lights he had set were “burning equally” or not. Evidently this factor was more important to him than what a light meter would show.

He joked to Howard that light meters never told him what he wanted them to say.

Going Fishing with Bill Conrad

Bill Conrad wrangled another 1.2 million budget from Warners for his next project – Chubasco – on which Howard Kazanjian would continue his DGA apprenticeship. Besides being the name of the lead character, the title refers to the heavy thunder storms at sea along the Pacific Coast during the rainy season, a fitting metaphor for the troubled, mercurial young rebel (portrayed by Christopher Jones) who becomes involved in a star-crossed relationship with Bunny (played by Susan Strasberg), the daughter of a Portuguese tuna fisherman (played by Richard Egan).

The director Allen H. Miner also wrote the script. It was a passion project for him. He had covered the lives of tuna fishermen before in a documentary for which he wore all the hats – producer, cameraman, director and editor – The Naked Sea, released in 1954 by RKO. Bill Conrad’s connection to Miner dates back to this film. He provided the narration for it, and a few years later he appeared in a western directed by Miner, entitled The Ride Back.

According to Howard “we had a very strong cast for the day, basically all names.” And many deemed Christopher Jones a rising star. He was being boosted as a successor to James Dean. Miner brought Jones with him as his choice for the lead, having directed him in a couple of episodes in the TV series, the Legend of Jesse James. At this time Jones was married to his co-star Susan Strasberg, and a lot was made of that fact in the ongoing promotion for the picture.  Articles appeared in the press asking the question could they be as successful together as Liz Taylor and Richard Burton. Sadly, they split the year that Chubasco was released. Strasberg remained in the acting profession, but Jones, after appearing in David Lean’s Ryan’s Daughter, dropped out of sight for a myriad of personal reasons.

Originally Robert Burks was tapped to be DP. He was Hitchcock’s favorite cinematographer, teaming up with him beginning with Strangers on a Train through Marnie (only missing Psycho). Howard does not recall Burks on Chubasco at all. So for whatever reason, Burks must have left the production prior to Howard’s involvement with it. Two DPs are listed instead. Between Paul Ivano and Lew Jennings, I am not sure which was his replacement. Howard tells me that when you see two DPs, one of them is usually responsible for a specialized type of photography.  In the case  of Chubasco this was most likely for the underwater sequences.

The AD on the project, Fred Gammon, handed Howard the usual assignments. [Howard –  “Checking in actors into make-up in the morning, seeing that they get breakfast if needed.  Getting them to the set.   All paperwork, time cards, call sheets, production reports, etc. etc. etc.”] He also set the extras for the scenes on shore, notably the confrontation between Jones and the motorcycle gang that was crashing a party under a pier and Jones’ subsequent arrest. Howard placed extras for the bits when the fishermen brought their catches in.  [Howard – “I remember watching the tuna being unloaded and moving up a ramp bumping their heads on the wooden sides.  And then seeing huge piles of tuna in the warehouse.  I loved tuna sandwiches until I saw how they were handled”].

The first phase of the production was tough. The home port for the story was San Diego. So that is where principal photography commenced for the exteriors. [Howard – “I think we were down in SD only two weeks. I stayed at the El Rey Hotel, that was the place to stay at the time. While on location I got the crew and cast to the harbor and sent them out to sea.  I stayed back on shore doing whatever needed to be done. Shooting on water is always difficult.  Always the fewer at sea the better”]. There were more vessels than one involved. Besides fishing vessels upon which the cast performed, another was set apart as the crew vessel. It also acted as a camera platform for master shots focused on the fishing boats. The studio hired a huge yacht to act as courier between the ships at sea and the company base on the mainland.

Just because Howard was land bound by his responsibilities, didn’t mean that he didn’t get to go out on the water. [Howard – “I recall being taken to dinner by Joe Cramer at the Coronado Hotel on the weekend. Joe was one of the best and nicest guys I met in the business and he took me under his wing. He was the assistant to the head production manager at WB, Dutch Meyer, to whom we all reported]. (Aside – The following year Cramer was the unit manager on “Bullitt” and AD on “The Green Berets”).  Cramer arranged for Howard and a few others to have a short cruise and a meal that Sunday. On location the production was shuttered on Sunday, and this yacht sat idle (you can see it in the above video, beginning about the 10 sec mark). It was paid for, so why not use it. Prior to this Howard’s experiences on the water had all been less than pleasurable (even outings to Catalina with his dad when younger, or on fishing expeditions with his uncle). And so it proved again. He became sick immediately upon the yacht casting away from the dock and had to lie down. Someone suggested a meal. In the dining salon a gigantic table (20 foot long) had been set up. It was on gimbals, so it could move but stay level. The chef brought out the meal. The blood from the meat moved around on the plate ever so slightly, but it was enough to send Howard up on deck to the rail.

After the two weeks in San Diego, the production moved up to the studio in Burbank for interiors. [Howard – I was on the film exactly 30 days.   I don’t recall if I saw the wrap or not.   I know I went onto Cool Hand Luke the next day].

Making a Musical for Bill Conrad

 

The next time Howard Kazanjian worked for producer Bill Conrad, the budget had been bumped up to 1.2 million. Warner Brothers was looking to cash in on the new craze sweeping the young teen audiences in America, represented by the success of such musical variety shows as Shindig and Hullabaloo.

The studio saw potential in a script penned by the first winner of the Samuel L Warner Memorial Opportunity Award, Joyce Geller when she was there for her internship. (I mentioned this in passing on my post entitled “Under the Spreading Chestnut Tree”). Geller’s script told the story of a talented but unsuccessful singer Cliff Donner (played by Gil Peterson) and an ambitious go-go dancer Hallie Rodgers (played by Debbie Watson), who are paired up by a millionaire rock’n’roll entrepreneur Tony Krum (played by Roddy McDowell). The story pivots around Krum’s plan to generate PR for the duo by engendering a perception in the teen audience that they are falling in love – complications, of course, ensue. Geller preferred her title “The Wiggy Plan of Tony Krum,” but the studio wanted something they considered more meaningful, hence “The Cool Ones.” She salted her dialogue with words such as “Ratfink” and “Dingaling,” jargon calculated to resonate with the target audience.

Conrad also put together his team with an eye to this end. For director he selected Gene Nelson, who most recently had helmed two Elvis Presley films – “Kissin’ Cousins” and “Harum Scarum.” Nelson came from a dance background, notably having played the part of Will Parker in the film version of “Oklahoma.” Howard found him to be a very nice guy.

For DP Conrad tapped Floyd Crosby. He had extensive experience working on teen projects, including four of the beach party movies and several Roger Corman horror productions. He had a couple more musical connections of interest, he had been involved with the production of Oklahoma in the 2d unit, so he may or may not have been acquainted with Nelson already. And most interesting of all, Floyd was the father of David Crosby, at this time a member of the rock band, the Byrds – (Crosby Stills and Nash and (sometimes Young) was in the near future).

For choreographer, they brought in Toni Basil. She had assisted her mentor David Winters, the choreographer on both Hullabaloo and Shindig, (she would appear later in Easy Rider; and did choreography for American Graffiti). She brought along her friend and fellow Shindig dancer Teri Garr, whom you can catch in the background in some shots. Both Toni and Teri had appeared in front of the lenses of Floyd Crosby before, in the film “Pajama Party.” Another Shindig member, a guitarist for the Shindig house band was given a small speaking/singing part – Glenn Campbell.

Three garage bands were tapped to appear in the film – The Leaves, The Bantams, and T.J. and the Fourmations. In the main, the music was supplied by Lee Hazelwood, the composer propelling Nancy Sinatra to the top of the charts (“These Boots Were Made for Walking”). He scored ten of the twelve tunes for “The Cool Ones.” One of these – “This Town” has had a long life afterwards. Hazelwood brought in Billy Strange for the arrangements. Strange was a guitarist and a member of the Wrecking Crew, the famous group of studio musicians (utilized by many of the rock groups of the day, including the Byrds). He also supplied one song. The twelfth song slotted in was the 1957 tune “It’s Magic” by Sammy Cahn and Jule Styne which was warbled by the novelty pop personality Mrs. Miller.

Howard reported to Assistant Director Gil Kessel. Gil was an old timer at WB, having got his start as a set decorator in 1941 on The Maltese Falcon. He made the switch in 1958 to AD. Howard says he was a little slow, and envious of the younger people coming up. He looked askance at them, not viewing them so much as assistants but rather as his replacements.

The Cool Ones was shot mostly at the studio. For exteriors they travelled to the nearby San Fernando Valley and over to Palm Springs. Most of the scenes shot in Palm Springs were around the town, both day and night exteriors. There was one challenging bit – a musical number staged inside the Palm Springs Aerial Tramway and up on the observation platform. The tramway begins at an elevation of 2,643 feet and climbs the Chino Canyon wall up to a level of 8,516 feet. Howard says that the shoot was further complicated by limited time up on top.

The Cool Ones had one more “musical tie-in” of note. When at work on one of the sets, Howard tells me that Lee Wilson the WB lighting gaffer pointed out to him that the carpet on the floor was the same one that had been used in the Ascot race scene for “My Fair Lady.” At that time there were sets for that film still around the lot, notably the one for Covent Garden – the flower market standing set. (The Cool Ones had a market scene too, but it was on location over in Olvera Street).

The Cool Ones should be so famous.

Working For Bill Conrad

When still in his apprentice days at the PGA/DGA in the late sixties, Howard Kazanjian worked on three productions for William Conrad. Most remember Conrad for his distinctive voice and for his turn as the corpulent investigator in the TV series Cannon which aired between 1971 and 1976 and the much later Jake and the Fat Man. That voice got him his start in the entertainment business for a multitude of roles in radio and as a heavy in films.

Howard remembers him for his rather unique directorial style. He caught him at WB directing a TV show some time before these other productions. The scene was on a set with the light from an arc streaming through a window. He set things in play by calling – “Okay, action.” After one or two takes watching the staging, then he turned his back to the actors and just listened to the dialogue. If he liked what he heard he said, “Cut! Print!” If not he would call for the crew and actors to reset for another take. Howard chalks this quirk up to Conrad’s formative years in radio.

[Aside – I queried Howard for more about this process – Howard – “Directors always rehearse with a walk-through so the DP knows where the characters are.  Then the actors leave the set while the DP lights with stand-ins.  When lit, the Director might rehearse the actors one or two times depending on the budget, the shooting schedule, etc.  Then he shoots.  Often with Conrad the first take was a print.   If there was coverage no rehearsal was needed along with minor adjustments with the camera and lighting.   No rehearsal unless the Director wants some change.  Shoot.  Maybe print, or a second take or even a third”].

His first working experience with Conrad, the producer, was on the film An American Dream. A hot property at the time, it was based on the recent novel by Norman Mailer, and setup with a very decent budget of a million dollars. In some markets it was released as “See You in Hell Darling,” a very apt title if you’ve seen it. The story centers around a controversial TV talk show host [Stephen Rojack, played by Stuart Whitman] and his toxic marriage to a spoiled, one might say insane, wealthy heir and socialite [Deborah Kelly Rojack, played by Eleanor Parker]. The way she sadistically goads him, the audience ends up with little sympathy for her nor any wonder that he lets her fall to her death from her thirtieth floor penthouse.

Howard worked closely with the AD and the DP. The director Bob Gist was difficult, personality wise rather gruff, and had a little bit of ego. (Gist debuted as an actor in the film Miracle on 34th St (1947), and may have gotten this project due to his part as one of the soldiers in the film based on Mailer’s The Naked and the Dead (1958). He made the change to the director’s chair under the tutelage of Blake Edwards, when he was running the TV series Peter Gunn)). The AD in question was Sherry Shourds, whom Howard thought a very likable guy. He later inherited a ranch, left the business and lived happily ever after.

The DP was Sam Levitt. Howard calls him a good cameraman, having been in film since the 30’s as an operator, and since 1952 as a DP (i.e. Major Dundee, Cape Fear and Exodus). He had just recently added work in TV (Batman and Journey to the Bottom of the Sea). He was one of those “coat, hat and tie guys” then prevalent in that generation working at the studios.

After viewing the film, two of the exteriors stood out in my mind, so I asked Howard for more information about them. The first was the skyscraper from which the wife fell, and the subsequent multi-car pileup. [Howard – “The high-rise building was in downtown Los Angeles once owned by Occidental Oil, now ATT.  We shot exteriors only. Interiors were sets at WB.  While we were shooting the “accident” a fire broke out on the (approximately) 20th floor.  We pulled our equipment back while the fire department handled the situation.  Fortunately sprinklers put out most of the fire. The broken window from the fire and heat didn’t hit us as it crashed to the street.” And about the staged pileup itself. “No storyboards.  Just staged by the director and stunt driver, and extras filled in by me.”].

Another building in LA was utilized for the rooftop safe place called “the Treehouse” by Rojack’s girl friend from the past (Cherry, played by Janet Leigh she sings the Oscar nominated song “A Time for Love” linked above). There was one 360 degree shot from the top of a building, that revealed it was nestled in the middle of the LA freeway system. [Howard – That building was in downtown LA close to the convention center surrounded by freeways.  Anytime a film crew shoots on a roof, expect the owner or landlord to complain about damage.  We had to replace the roof for him]. I was able to find this location on Google maps – I started with the LA Convention Center and looked for the nearby freeways, which turned out to be the conjunction of the Santa Monica and the Harbor Freeways. From the street level view, the building situated on Wright Street is still recognizable as that which was filmed to represent Cherry’s apartment.

There were two other Bill Conrad productions on which Howard Kazanjian apprenticed. I will cover them in future posts.

[Aside – when watching the film, I thought the maid “Ruta” played by Susan Denberg looked familiar. IMDB gave me the reason, she was in a famous Star Trek episode “Mudd’s Women,” (season 1, episode 6). And there is another Star Trek connection to the film, series regular George (Sulu) Takei plays an assistant DA].

Cold Hands Howard

https://www.youtube.com/embed/q111bDVYNXk” target=”_blank”>Link to DVD trailer

Back in 1966 when Howard Kazanjian was in the assistant director training program with the DGA, he was called up to the Stockton California area to work on a film with 1st AD Hank Moonjean. Moonjean had been in the business since the mid-fifties, and had a solid reputation. Notably, he had been associated with Paul Newman projects since his 1956 MGM film “Somebody Up There Likes Me” based on the life of prizefighter Rocky Graziano, and was on four of Newman’s next five at the same studio (Until They Sail, Cat on a Hot Tin Roof, Sweet Bird of Youth, and The Prize).

They were now in Lodi, California doing a night time shoot on a new Paul Newman feature, “Cool Hand Luke,” this time for Jack Lemmon’s production company to be released by Warner Bros. Hank Moonjean kept Howard by his side, right next to the camera, and mentored him. He gave Howard sage advice –  “Never sit down” with the further explanation – “you’re not in control.” And this night as Paul Newman’s character Luke Jackson was lopping off the heads of a line of parking meters, Moonjean further admonished him “Take your hands out of your pocket.” [Howard – this despite the fact that it was freezing out there].

They spent two solid months in Stockton, California to get all their exterior shots. Daily Howard rode the bus with the cast and crew from the hotel to the camp. The only exceptions were the actors J D Cannon and George Kennedy, and Paul Newman of course. [Howard – Paul Newman was nice – he would order Coors beer for the crew every night. But he kept quiet and to himself – distant really. Other people’s radar detected that, and gave him his space].

It was a high testosterone cast. Besides the actors mentioned, this prison tale’s landscape was populated with familiar faces: Strother Martin, Clifton James, Morgan Woodward, Luke Askew, Dennis Hopper, Wayne Rogers, Harry Dean Stanton, Ralph Waite and Anthony Zerbe. Of the cast’s thirty-seven members only two were women – Jo Van Fleet, an actress who played Luke’s mom, and Joy Harmon, whose car washing scene raised eyebrows among the cast and after the film’s release. [Howard – the scene was not planned in advance].

The lop-sided proportion was reflected in the crew also. Here too there were only two women, a hair stylist and the script supervisor. This fact was overlooked on occasion and led to some ticklish problems. In one instance the female script supervisor was put in a very uncomfortable position. In preparation for an important scene, the one in which Luke was to be punished by being placed in solitary, a small box the size of an outhouse – all unnecessary crew and cast were moved well back from the camera setup (about a hundred feet). The only ones allowed close were those required to be there –  the director and his staff, the cameramen and this script supervisor. She had no idea what was going to happen. The script read:

          Luke steps forward, pulls off his shirt and jacket. He steps
                behind the latticework screen to take off his pants as the
                Captain speaks.

When Newman stripped off all his clothes, the script supervisor burst into tears. Howard watched as Hank Moonjean leapt into action, suddenly aware of the problem, he stepped up to comfort her, and apologized profusely that she had not been filled in completely beforehand.

Howard relates that the DP, Conrad Hall, (“Connie” to cast and crew) was an excellent cameraman, and that he wished he had been able to work with him more.  The director, Stuart Rosenburg had worked mainly in TV and at that time had only one film to his credit (as co-director on Murder Inc in 1960).  Howard remembers him as a nice, quiet individual, a smoker. And perhaps because he was riding herd on such a huge cast – he let Connie select all the camera positions and lenses, controlling completely the look of the film.

When the exteriors were complete, the company moved back to the studio for interiors. But with a week and a half still to run on “Cool Hand Luke,” Howard was taken off and put onto Camelot, (the principals were just back from shooting exteriors in Europe). Howard Kazanjian’s training was over.

Bodega, Stockton and Sonora

There were some scenes that Francis Ford Coppola and Howard Kazanjian captured on their trips around the Bay area that did stay in Finian’s Rainbow. And they were clearly not those done by Carroll Ballard because the presence of Fred Astaire and Petula Clark are unmistakable.  (Ballard was sent out after principal photography with some doubles for the stars – in which he covered the likes of Mount Rushmore, the Statue of Liberty and scenic parks in Utah and Montana).

There is a gorgeous shot, with Fred and Petula, as they walk along a fence line with a small village in the background. Only seven buildings are visible, two are notable, one a church and the other I thought might be a courthouse.  I asked Howard if he recalled the location. (Howard – I believe it was the same town in which Hitchcock filmed The Birds). I looked again. Face-palm! No wonder I thought there was something very familiar about that “courthouse.” It was indeed the building used by Hitchcock. It was the schoolhouse, that set the locale for one of the attacks by the birds. In real life it is the former Potter Schoolhouse, now a private residence in Bodega, CA.

Fred and Petula at one time are viewed from shore traveling up a river on the deck of a boat. I took it to be along the Mississippi River, somewhere in the south. Actually, Francis and Howard had been driving through Stockton, CA when the director spotted the boat and seized another opportunity.

It may have been on the same trip that they ended up in Sonora where they had scheduled to shoot some footage of their romantic lead Don Francks as he is returning home to Rainbow Valley on a train. Coppola caught a lot of coverage with the actor in various parts of the train – inside, outside, and atop.

On the spur of the moment, Francis decided to add a new element to the sequence. He had seen an effect in another film and wanted to replicate it. (The film was a short by Charles Eames called “Toccata for a Toy Train” – see below). The effect gave the sense that the train was hurtling toward the camera, enveloping it and passing on – from the front, right through the back.  No one on the crew could figure out how it had been done without losing a camera. So Phil Lathrop, the DP, made some calls to ask around – this is what they found out – it was done with a mirror.  Howard was sent out to find the biggest one available.  He came back with a huge 6’ by 6’ one which they mounted at a forty-five degree angle across the tracks. Then from the side the operator framed the shot to take in the full size of the reflected image as the train moved towards it. The mirror, however was not of the best quality and consequently there was a bit of a vibration as the train moved down the tracks. There was only one take, for the train smashed into the mirror. And so it was done, the broken mirror edited out of course.

With this the location shoot was finished, and they returned to the studio for a couple weeks of rehearsal prior to beginning production in the sound stages and on the backlot.

[To view the first four minutes of Finian’s Rainbow to see the Bodega and Stockton footage try this link:

http://www.tcmscreenonthegreen.com/watchtcm/movies/19397/Finian-s-Rainbow/

and select the clip Look to the Rainbow]

[Below is the Eames film mentioned above – the effect Coppola wanted begins around the 8:47 mark]

Dick Kline DP

Dick Kline DP

So Howard Kazanjian on one side reported to the director Josh Logan, but he also came in the orbit of influence of the director of photography, Dick Kline. Sometimes there can be a struggle between the Director and the DP in creative matters, with the Director holding the upper hand.  Instead Logan concerned himself more with the major talents (and the budget, and cutting costs), and he gave a lot of latitude to Kline in setting up the shots.  He trusted him to do more than just light for the camera.

Dick Kline’s father was cinematographer Benjamin H Kline, who had been working in Hollywood since the silent days in the 1920s – up through the 50s and 60s when he switched to television.  (At Columbia in the 40s he turned the camera on the shenanigans of the Three Stooges).

In Dick Kline, Howard found an excellent friend and a mentor. They had worked together on another project here at Warners – a pilot for a TV series called “House of Wax”.

[Aside – House of Wax was turned down by the network, so WB released it as a feature, under the title it would have had as the first episode – Chamber of Horrors].

Kline’s turn as DP on it had caught the eye of studio head Jack Warner, who in acknowledgement gave him the DP position on his next personal production – Camelot.  And because Kline had been impressed by Howard and his get up and go attitude, he went to the powers that be and asked that Howard be assigned to Camelot too. [Howard – I never walked but ran everywhere, tackling my tasks. I used to be on two phones at once, and listening to what was going on, on set]

Howard also liked Kline’s camerawork. [Howard – Dick had a different way of lighting a scene.  And on Camelot his style conflicted with the key gaffer, causing a little friction].  The old timers were more attuned to the slower film speeds (AS200) which called for tons of light.  Kline toned down the lights, but would throw extra on smaller areas. For example, in Vanessa’s arrival at Camelot, for the dolly shot that followed her horse litter, he trained a PAR light (Parabolic anodized reflector) on the star while they did this traveling shot.

And Howard especially appreciated the fact that Kline was helpful with directors, or more specifically young ADs. Kline kept Howard informed. He would let Howard know when his cameras were in place, and the set lit, giving Howard ample time to have the actors and extras in place. (Unlike Howard’s experience later with the DP on The Wild Bunch). Or conversely he would give him a heads up about delays, and if it were near to the lunch hour, Howard could fully use that intelligence and call an early lunch, saving both time and money.

Kline also gave him advice about the business and about people.  And pointers on why he did things a certain way. Howard would write notes on the margins of his script about camera setups and lighting. [Howard – you have to pick a style – you move or you don’t. Kline only moved when he had to, preferring to keep the camera stationary. And he used the crane a lot.]

For one shot – one end of the throne room set had been converted to the round table room. (These sets were housed within the largest sound stage on the WB lot). A simple establishing shot was planned – the whole entirety of the round table would be in view and the camera operator was to pan up from there and take in the stained glass windows on the wall behind them.  Howard was watching and thought the operator hadn’t quite fulfilled the task. He brought his concern to Kline. Kline quizzed his operator if he had panned up as instructed. The cameraman assured his boss that he had, and it was left at that.  However, the dailies came back and when run they showed that the operator had not covered them completely. But it was all too late, the round table set by that time had been broken down and it would have been too expensive to set up again.

Stay tuned next week for “Painting Stars and Falling Knights,” the next post in The Adventures of Howard Kazanjian.

Camelot on the Warner Lot

Camelot on the Warner Lot

Principal photography on Camelot commenced in Europe. The director, Josh Logan took his key cast members and some of the key crew on the expedition, and filled up the balance of the crew (a larger contingent) with Europeans. It was a quick trip over there to set the big locales against the backdrop of real castles and landscapes. If you remember Lancelot “singing” his way down to the sea to take a boat for England, that was all shot at that time.

While they had been busy shooting in Europe, the carpenters back at the studio were busy constructing the sets based on production designer John Truscott’s vision of Camelot. Under his direction the largest building on the lot, called The Mill, was buzzing. It was the facility where all the props, large and small were fabricated. And besides “dressing up” the sets they supplied the actors with most (not all) of their hardware. They were called upon to supply the armor and swords for those filling the part of knights.  [Howard – some chain mail and boots were brought back from London].

So when Howard drove his 1966 GTO onto the WB lot that day when photography began at the studio, he found the Casablanca street converted into King Arthur’s mythological England. [A side note – this standing set was later converted for use on the TV series Kung Fu starring David Carradine].

First up before the cameras was Laurence Naismith, who had the part of the wizard Merlin. His costume, Howard says, was a marvel, with all manner of strange critters, slugs and bugs woven into it. In fact it was more striking in person than what the camera was able to capture. And the actor was fitted for a pair of contact lenses that had a mirror-like surface that gave a striking cast to his appearance on screen – lending a air of mystery, fitting for a character who was living his life backwards in time.

A winter scene was set up for the arrival in Camelot of Guinevere, Vanessa Redgrave.  The stage was decked out with a blanket of snow, and nestled in the background was Camelot castle.  Of course, no snow was harmed (or melted) in the filming of this picture. Lots of salt stood in for that wintry substance. It was replaced in close ups, when the actors needed to fall back onto a “snowy” cushion, by ice that was ground into a fine powder. In that instance the doors were kept closed and the AC on the set boosted, prompting the crew to don parkas. And that castle in the background was actually a miniature. This miniature also had been made at the Mill.

This winter scene was the showcase for the title song – “Camelot.” As was the form, Redgrave lip synched her part, but Harris had other ideas. [Howard – “Harris wanted to sing live, not on pre-recorded track – – because Rex Harrison (who could sing) was over at the Fox lot singing/filming Doctor Doolittle.  Logan and the music department were against this.  And it showed in the movie.  Harris couldn’t sing.   Have you ever watched American Idol or heard a friend who THOUGHT he could sing, but really sounded terrible. Well……”].

Though Howard was given an office on the lot he spent little time in it. Instead he had a “stand up” office on whatever set he was working. [Howard – “it was a little stand up desk 3’ by 3’ on wheels. A high stool came with it. The top was tilted, higher at the back than the front”]. There he kept his records and tended to an important facet of his job – co-ordinating the orders of director Logan and the director of photography Dick Kline.

Join me next week for “Josh Logan – Director” the next post in The Adventures of Howard Kazanjian.