|
|
|
 |
 |
Editor:
Jay Scherberth. |
|
|
|
|
|
Production
Associates:
Jayne Harris, Ted Neff. |
|
|
|
|
|
Art
Director:
Ray Klausen. |
|
|
|
|
|
Assistant
To Ron Samuels:
June Scott, Gabe Thomas, Lana Wood. |
|
|
|
|
|
Associate
Director:
Wendy Charles. |
|
|
|
|
|
Stage
Managers:
John Sprague, John Marsh. |
|
|
|
|
|
Announcer:
Dick Tufeld. |
|
|
|
|
|
Lynda
Carter's Make-up:
John Elliott. |
|
|
|
|
|
Lynda
Carter's Hair Stylist:
Cheri Ruff. |
|
|
|
|
|
Post
Production Facilities:
Pacific Video. |
|
|
|
|
|
© 1982 Lyn-Ron
Productions, Inc.
All Rights Reserved. |
|
|
|
 |
|
|
|
|
Awards:
"Emmy Award"
nomination for Outstanding Technical Direction and Electronic
camerawork (Gerry Bucci Technical Director, Ron Brooks Cameraperson,
Warren Cress Cameraperson, D.J. Diomedes Cameraperson, Don Langford
Cameraperson, Jay Lowry Cameraperson, Bill Scott Cameraperson). Sunday,
September 19, 1982, Pasadena Civic Auditorium, Pasadena, CA. Lynda
Carter and Ron Samuels' production company were responsible for the
show.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 The
following are some memories of one of the marines of the Marine Corp's
Silent Drill Team who participated in the "Fifty Ways To Leave Your
Lover" act of the "Street Life" special. He's 39 years old now, and he
shares some of his memories with us about the taping of the show: |
|
|
|
 "After
our taping each of us got to meet her and have individual pictures
taken with her by a marine corp photographer that was travelling with
us. They were later returned to us back in Washington D.C. with her
best wishes and autograph on the back. Some notable things happened
upon our arrival to the studio. We were a crack crew of 24, hand
selected from 72 marines, already involved in a Silent Drill Team
"spring training" at Yuma, Arizona. We were flown to Hollywood,
California on a C-130 transport. Then bussed to the studio."
|
|
|
|
"I don't think the producers even knew what we really were or what we
did. They had us go out on a helicopter pad and show them our drill
routine. It was a ten minute drill routine practiced with
precision and involving various changes in formations and spins and
tossing of the rifles with and without bayonets without any commands.
They were very impressed as was usually the case with any group that
saw the drill. We were then taken in to our dressing rooms where we
prepared for the taping." |
|
|
|
"While we were upstairs shining our brass and ironing our uniforms
this little guy in a suit comes walking up the stairs. We were all
kind of hanging out from room to room having a good time with
everything when this guy yells out, "Hey!! Are you guys for real?!! It
was Tony Orlando. He didn't know if we were actors or the real thing.
We assured him of the latter. Later, when ready, we were brought down
on stage for the taping." |
|
|
|
"Now we had to quickly throw together some edited impromptu version of
our original drill routine because we didn't have sufficient room on
the stage to accommodate or regular drill routine. We were lined up in
a columns of twos starting from the back of the stage and leading to
the front. This was a part of the drill we dubbed "The Meat Grinder."
The idea was to have Linda start down the middle of the row and head
for the front as she sang " Fifty Ways To Leave Your Lover." As she
passed through each set of marines behind her would come from the
order arms position and spin the weapon, with bayonet affixed and
spinning in an inner locking fashion directly behind her. We kept
catching up to her and we'd have to cut to avoid cutting her. It was a
timing thing with her, the music, and us. After about three cuts we
finally all got it dialed in. I've got a few more little tidbits but I
need to think some more about them. It's been awhile. It was a very
unique experience, as was my whole tour around the U.S. thought the
better part of that summer flying on our own DC-9 with the Marine Corp
Band performing for some very notable venues." |
|
|
|
"When she came out singing, 'The
problem is all inside your head she said to me,'
Lynda was carrying a cordless mic. They kept getting a lot of feedback
and would have to cut. This went on for several takes. After one cut,
with the crew still not knowing what was causing it, Lynda says,
'Maybe it's these buttons on their uniforms.'
She then walked up to me and started rubbing the top of the mic
circling my buttons all the way down to the bottom of my jacket. She
was very lovely and I can feel my blood pressure rising this very
minute. After determining this wasn't the problem it was corrected and
we carried on with the taping. I will say that it was one of the most
memorable stops that I made with the Silent Drill Team that year. And
there were many." |
|
|
|
|
|
|
|
