Word: carly
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Dates: during 1960-1969
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...TAKE was hard. Tim wanted Tommy to wait until there were two cars in front of him before he started down the highway. This created problems: sometimes passing drivers would see the camera and slow down to find out what was going on; or, if there was a car behind Tommy's jeep, there was a possibility of collision at the point when Tommy suddenly lurches into reverse. Meanwhile, the sun kept going in and out of the clouds, necessitating constant shifts in the lens setting...
...once the real takes began, the problems came out in force. Not only were there long periods when no cars appeared, but when they did, the drivers more often than not looked into the camera, ruining the shot. Once, a car ahead of the jeep stopped to give Nora a ride...
...roped to the front of the jeep, and, with the camera mounted in front of him on the hood, would shoot a conversation between Tommy and Nora as the car sped down the highway at 25 m.p.h. Eric would crouch in the back of the jeep with the tape recorder, holding the mike below the range of the camera...
...none of that now. Eric and Tim fooled around silently with the jeep. Tommy was smoking and still. Phoebe and Nora went to the station wagon, turned on the motor and the heat, and sat silenly inside. The sun began to set. And at 4:15, a Milford cop car pulled up, its blue roof light flashing...
...WANTED some shots of Tommy on horseback surveying the snowscape after Eleanora's death. Driving there, Tim and Eric talked a little about possible solutions to the jeep dilemma, but, after a few minutes, the only noise in the car was the low, static-filled sound of the radio. Outside it was gloomy. The beauty of the day was transformed...