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hness was norma


l. "With Malcolm it is," Stone replied
in a clipped British public-school accent. "Some director
s are far more fr

eewheeling, of course. But no movie ever gets made exactly as planned. There are too many variables: cost, weather, equipment failure, the decision to improvise. You've seen The Wild Bunch?" "Several times," Kerney answered. "Remember the scene where William Holden attempts to free a member of his gang? Sam Peckinpah shot that on the spur of the moment and it worked brilliantly." Ward, the transportation captain, waved everyone toward the vehicles. They were ready to move on. "So, even with all this careful planning," Kerney said as he walked with Stone to the cars, "the actual filming can change." "It's bound to," Stone replied with a chuckle." But too much change will have Charlie Zwick tearing his hair out."

At the ranch headquarters the group was met by Julia Jordan. Joe and Bessie did not join them, although Kerney caught a quick glimpse of a figure standing at the living-room window inside their house. Before Usher started working on the next location setup, the catering vehicle arrived, and everyone broke for coffee. Julia, who'd glued herself to Kerney's side, shook her head when he asked if Joe and Bessie were planning to come out and watch the goings-on. "Dad wants nothing to do with this. It took Mom browbeating him for weeks to get him to let Johnny use the ranch in the movie." "Why is that?" "Dad doesn't like the

fact that Johnny is using o

and set them up for Susan Berman and Charlie Zwick, who sat
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