Apropos of the interest expressed by several readers about why we use the device known as a "process trailer" to film car scenes on, I thought I'd re-post the "tour of the trailer" that one of our interns did--believe it's already been up once but I figure if Sinatra can repeat material, so can I.
As far as process trailers go, ours was pretty hinky. It had, frankly, seen better days and none of us were convinced that it would survive the days work. But it did and I have a feeling that the company we rented from have no plans to retire the old horse until it literally collapses on the job. Some of the coolest equipment along the same lines are made by a company called Shotmaker--I tried but was financially unable to deploy some of their equipment. Click here to check out their website.
Tomorrow I will be writing at length about my old friend, filmmaker Edward Dmytryk ("Crossfire", "Murder My Sweet", "The Caine Mutiny") whose centennial passed this month (he died ten years ago) and, as far as I can tell, passed completely without comment from even hard-core cinema buffs. There are reasons for this, and that's what I'll be writing about.
Finally, click here if you like jazz and the sound of the French language. It's an unusually well-programmed jazz station direct from Paris which my editor, David Leonard, turned me onto the other day and to which I've become addicted--there's something so frigging charming about hearing the French announcers pronouncing the players names--Cannonball Adderly, Thelonius Monk--with that wonderfully wack accent.