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Rambling Reflections About the Movies. Screening “Blazing Saddles,” and the start of my film career.

A new career and in sound which led to using my graphic design for film and television.

I recently watched “Blazing Saddles” again. That hilarious comedy movie by Mel Brooks, that broke barriers in the presentation of screen dialogue, and I think brought us to the reality of our world, by laughing at it. It also reminded me of the first time I screened it before its release, and my transition from advertising to film and television.

At the time, I was an art director, working for Wunderman World Wide, a division of Young & Rubicam, and really not enjoying it. My love for film stemmed from my childhood.

                                   MY FIRST FILM

Some years back, besides taking design courses at the School of Visual Arts in Manhattan, I took a very comprehensive course in film production. During my years in publishing, I had purchased a Bolex, 16mm camera, complete with a motor, and a series of lenses, including a 16mm editor, plus various extra items for the astounding price of $250. Now that I was taking the film production course, I felt I wanted to create a short film. I found that the Chicago International Film Festival, held a competition, that sounded like the perfect vehicle for my first film. The competition, was to create a one-minute film, using their subject, “Freedom Is…” The film course gave me the understanding, and hands-on experience about film production, and post-production, except for one area, cutting the final negative. Undaunted, I wrote the script, shot the film, using a friend as the only actor, and was successful in editing the film in work print format. Now it was time to cut the final negative. What I needed was really professional equipment, guidance from the film lab, as to what they needed. Having assembled everything, I spent countless hours every evening after getting home from work, slowly cutting the negative, hoping not to destroy what I needed, otherwise I would have to rework the whole film. After about two tiring weeks, the film was finished, and I submitted it. Surprisingly, I received an honorable mention for my work. But I digress.

The entire art department at Wunderman was invited to screen the film at the Playboy Theatre, a small theatre located on 57th street, just east of Madison Avenue. To our surprise, we were all given a box lunch, and several tall cocktails. Now, we all know how funny the movie is, but a first time viewing, combined with drinks, made it an experience I will never forget. I don’t know if the film spurred my desire to leave advertising at that time, and start my career in film and television, but within a year, that’s what happened.

                        MY NEW CAREER IN SOUND

I was taking a television production course at the New School, located in the West Greenwich Village section of Manhattan. While I was taking the course, I became friends with a film sound man, who was now working for a film laboratory in New York City. We exchanged backgrounds, including my desire to continue my goal of working in film and television. He told me there was an entry-level job available in the sound department of the film laboratory. The film lab specialized in small productions, documentaries, and student films, which were usually shot on 16mm film. The sound department transferred the production sound tape to sound film, and it also had a small mixing studio. This began my career in post-production sound, which led eventually to picture and sound editing, and supervising post-production for television series.

                MY OLD CAREER FINDS ANOTHER NICHE 

While I was working in the sound department, two very talented film makers who were clients, and who I knew, were given the opportunity to direct a feature film for the PBS “Visions” series. They found out that I was a graphic designer, and they wanted to know if I would design the titles for their films. Of course, there wasn’t any fee for my services, but I would get a film credit. Since it wasn’t going to cost me anything, I said yes. The first film was “The Gardener’s Son.” I screened the film to understand the story and setting, and spoke with the director. The second feature, “Alambrista,” which translates as “The Illegal,” was on hold for a while until the director, finished another project. One day, I remember that the labs account executive giving me a copy of the “Hollywood Reporter” magazine and said, “You’ve been nominated for an Emmy for Title Design.” Wow! I couldn’t believe it! This was definitely something out of left field. At the time, I didn’t realize what had happened. Now, I had the potential of two careers in film and television.