Working on the JFK movie

Kim Welch

Senior Member
Staff member
It was an inspiration working with so many talented people on the JFK movie in Dallas, Texas. I thought about doing it for a living but it is not really want I want to do. It was great. I helped build a set that was a duplication of the Oval office in a warehouse in los Colinas Texas just outside of Dallas. I did the trim for the ceiling and the windows behind the president’s desk. I did many of the decorative things including some of the stuff for Oswald’s house and the club scenes. I helped set up and take down the sets! And worked with some great talent behind the scenes. It was very exciting. Everyone was geared up and focused and we all worked hard from sun up to sun down.
 
Looking back on my experience in Pearl Harbor, I would have rather been on crew, but I still had fun running around on the set without being closely watched. It didn't even feel like work. It felt more like somebody with a lot of money just wanted to have a party with a violent, kinky "sailor at sea" theme.

Some of us would be oiled up, walking around in boxers and tight shirts, asking ourselves what the hell we signed up for? Then, there were some extras who were asked to get naked. I knew one guy who got paid extra to wear a towel that fell off of him while shooting an anti-air craft gun. Was it necessary? No, it obviously didn’t make the final cut, but somebody had to get his or her kicks. It was funny to see what they’d tried to do, but it made me question what the hell was going on?

Anyhow, I completely agree with the methodology of writing, directing, and producing your own films. When you’ve created something on your own terms, it’s natural to have a sense of urgency to accurately translate it as close to what you had originally envisioned, or else it defeats the purpose of doing it to begin with. The most difficult task of being a director is balancing the artistic hand and the iron fist. That's why I think filmmaking can be so challenging, because you're supposed to be free and artistic, yet you’re also expected to enforce a set rules that to some degree limits another person’s creativity by having them conform to the set of artistic standards that the writer, director, or producer has set fourth to see through. It takes one hell of a dynamic individual to pull off that balancing act, but when they do, it can be a beautiful thing.
 
Their reasoning was that since the attack was early in the morning; some guy could have likely gotten out of the shower and immediately started shooting at the invading aircraft. And because of the heavy recoil from the guns, it’s likely that his towel would have fallen off.

There were other memorable moments; one in particular wasn't so humorous at all.

One morning, they pulled several of us below deck into a prohibited area that had a sign saying we shouldn't go any further unless wearing masks. They wanted to shoot a scene below deck in a dimly lit place for an actor to be writing his girlfriend in the middle of an attack. So this older man, a producer I'm assuming, took the prohibited sign off and laid it face down on the ground before shooting.

After noticing this, one of the curious extras grabbed the sign and held it up to the camera with a dumb look on his face, asking, "should we really be down here?" Then, out of nowhere the older man reappears, firmly asking the extra to drop the sign, and for the cameraman not to shoot it. The cameraman turned the camera away, but the extra was defiant, and continued to hold up the sign. Suddenly, the older man lunged across the set and got into the kid's face and started yelling at the top of his lungs; "PUT THE F****ING SIGN DOWN NOW! PUT IT DOWN, YOU’LL BE REPLACED! PUT THE F****ING SIGN DOWN NOW!"
Trembling in the face of unyielding rigidity, the kid put the sign back down and did what he was told from that point forward without any questions.
 

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