{"id":1602,"date":"2011-09-08T13:59:37","date_gmt":"2011-09-08T21:59:37","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=1602"},"modified":"2014-06-04T21:14:25","modified_gmt":"2014-06-04T21:14:25","slug":"tv-generation","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/tv-generation\/","title":{"rendered":"TV Generation"},"content":{"rendered":"

DP Richard Rawlings Jr. and Unit Stills Bruce McBroom relive the \u201cgood old days\u201d of network television<\/strong><\/p>\n

<\/p>\n

\"\"
1981 Oahu, Hawaii location for Charlie’s Angels, L to R: Dolly Grip Mike Coo, Key Grip Rick Cardin, Operator Howard Ford, Extra Hammer Bill Schultz\/Photo Courtesy of Richard Rawlings Jr.<\/figcaption><\/figure>\n

Historians say the romance of creating filmed entertainment ended in the late 1960s, when the studio system fell apart. Surely the safety net that came with being a contract player (and full-time craft department member) dropped away, but with the wide open nature of the industry new avenues emerged Like network television, where legends-in-the-making like Aaron Spelling begun setting up new production families on escapist shows that preached fun over social drama. And, as sales of color TVs boomed, leaking into every room in the nuclear home, the demand for product increased \u2013 and so did the job market.<\/span><\/p>\n

Talk to Guild members who were there, and they\u2019ll say the network TV production boom peaked in the late 1970s and early 1980s, with everything from thought provoking M*A*S*H<\/em> episodes to the soft-core bubbly of Charlie\u2019s Angels<\/em>. Television was fun to watch, and, more importantly, fun to make. Walk onto the Fox lot and you might see the stars and crew from Starsky and Hutch<\/em> tossing Frisbees around on their breaks. Need to stop in and say hello to someone at Universal? Not a problem if Scotty was at the gate. He knew everyone in Hollywood \u2013 and ushered each one into fantasyland with a flourish. And that mechanical clink-clank as you looked for a parking space at Warner\u2019s probably meant a marathon pinball game was happening in the writers\u2019 building.<\/p>\n

Smack in the middle of all this insanity were two very different Guild craftsmen: cinematographer Dick Rawlings Jr., ASC, and unit stills photographer Bruce McBroom. Although they crossed paths only briefly (compared to the longevity of their careers), it was at the peak of TV\u2019s best era, when cultural, political, and technological boundaries were being tested \u2013 in front of and behind the cameras.<\/p>\n

\"\"
On the set of Widow, 1976 NBC-MOW – L to R: DP Richard Rawlings Sr., Operator Richard Rawlings Jr., 1st AC Bob Dawes, 2nd AC Hal Shiffman\/ Photo by Fred Sabine\/NBC<\/figcaption><\/figure>\n

McBroom, who just celebrated his 42nd<\/sup> year in the industry, may be best known for his one-sheet images for such landmark features as E.T.: The Extra Terrestrial, The Hunt for Red October, <\/em>and Sleepless in Seattle<\/em>. Although he started as an assistant to famed Hollywood celebrity photographer Sid Avery, his career really began as a day-player for ABC-TV, shooting shows like The Mod Squad, Starsky and Hutch <\/em>and Charlie\u2019s Angels<\/em>.<\/p>\n

Rawlings, on the other hand, grew up in Hollywood, under the tutelage of his father, Richard Rawlings, Sr., a cinematography hero even before his son had met him. [Rawlings Sr. served in the Navy Motion Picture Unit during World War II, and was off documenting the war when his son was born. The pair had an emotional first meeting near San Diego\u2019s harbor when Rawlings Jr. was three and his dad returned from the war.]<\/p>\n

When Rawlings Sr. entered the movie industry, he did it with all his soul (and sometimes even his body). He shot everything from the wild opening titles of Victory at Sea<\/em> to television series such as The Cisco Kid<\/em>, Gilligan\u2019s Island, The Wild Wild West, Sea Hunt, Kung Fu, Dynasty <\/em>and, Charlie\u2019s Angels.<\/em> Rawlings Jr. says he was along for the entire ride, learning from his father and friends like the legendary Teddy Voigtlander.<\/p>\n

\"\"
Cheryl Ladd on the 1977 20th Century Fox set of Charlie’s Angels\/ Photo by Bruce McBroom\/MPTV<\/figcaption><\/figure>\n

\u201cI remember the first thing that my dad said to Teddy, when I joined his team,\u201d Rawlings Jr. recalls. \u201c\u2019Don\u2019t give him any breaks and make sure he pays attention\u2019. I knew they wanted me to be the best I could be,\u201d Rawlings Jr. recalls.<\/p>\n

\u201cMy father and I were there for some interesting changes in the industry,\u201d he adds. \u201cI started with old Mitchell cameras and follow focus finders. Then this \u2018little\u2019 company called Panavision was formed and the camera revolution began. Their first camera was a \u2018reflexed\u2019 Mitchell. It wasn\u2019t until Bob Gottschalk took over Panavision that shooting changed with the Panaflex, which could be used studio\/dolly\/handheld and was a sound camera.\u201d<\/p>\n

In fact, Rawlings Jr. was the first assistant to work with the Panaflex on a television series called The Cowboys<\/em>. When Charlie\u2019s Angels<\/em> hit the airwaves, father and son were shooting The Blue Night<\/em>, mostly handheld with the Panaflex.<\/p>\n

\u201cIt was an interesting show but we were up against this new phenomenon,\u201d Rawlings Jr. recalls. \u201cWhen The Blue Night <\/em>got cancelled, and we heard that the cameraman who shot the first season of Charlie\u2019s Angels<\/em> was leaving, I gave my father a shove \u2013 \u2018Call your agent. Make sure Spelling knows you are available.\u2019 It was probably my father\u2019s years with The Doris Day Show<\/em> that sold Spelling. My dad was brought over \u2013 and he brought along his crew, including me as operator.<\/p>\n

\"\"
1981 Oahu location for Charlie’s Angels, FG: (L to R) Mike Coo, Grip Best Boy Jimmy Shelton, director Kim Manners BG: (L to R) Tanya Roberts, Jacqueline Smith\/Photo Courtesy of Richard Rawlings Jr.<\/figcaption><\/figure>\n

\u201cThat first day was crazy!\u201d Rawlings Jr. continues. \u201cBefore 10 in the morning my father got into a fight with the director, who was trying to tell him how to photograph the show and where to put the camera. My dad got so mad he set up the camera then went to the restroom \u2013 leaving me there! When the director started screaming, I asked if I cold help. He said my father had them behind \u2013 which, of course, we weren\u2019t.\u201d<\/p>\n

The storyline, as Rawlings Jr. recounts, involved the Angels trying to find out who was sabotaging a circus. Famed stuntman Buddy Joe Hooker was to do a motorcycle stunt off a ramp, and hit the grass below. The episode\u2019s director wanted him to slide towards the camera – an Arriflex equipped with a 10-to-1 zoom that would quickly pull out from 250 millimeter to 25-millimeter.<\/p>\n

\u201cMy dad told him it wasn\u2019t right; that there would be a loss of action making such a quick zoom,\u201d Rawlings Jr. states. \u201cBut the director demanded the camera be under the ramp and have the bike slide on the grass, which my father and Buddy Joe knew would be very dangerous and unpredictable. After awhile, I got so tired of arguing with the director, about the camera placement, that I, foolishly, just got under the ramp. The dolly grip, Rick Cardin, was holding onto my belt as my safety.\u201d<\/p>\n

Hooker did the stunt, and Rawlings Jr. zoomed out just as the bike hit the grass. \u201cThe next thing I knew, Rick was pulling me away from the camera,\u201d he explains. \u201cThe bike had taken out the camera and part of the ramp I was under, and a loose two-by-four plank had split my head open!<\/p>\n

\u201cThe nurse came over and they called the paramedics,\u201d he continues. \u201cBuddy Joe was very upset; he didn\u2019t want anyone hurt. They got me on a gurney and put me in an ambulance. Even before I was off the location, the director turned around to the rest of the crew with a \u2018let\u2019s get the day\u2019s work done.\u2019 The other operator, John Conner, pinned the director against the Honey Wagon. \u2018When they call us and say he\u2019s okay \u2013 we\u2019ll go back to work,\u2019 he told him. We were a family. We looked out for each other.\u201d<\/p>\n

\"\"
Richard Rawlings Jr. (L) with 1st AC Bob Dawes (R) placing Arriflex into the nose of a B-25 on 1975 ABC-TV remake of The Best Years of Our Lives<\/figcaption><\/figure>\n

Rawlings Jr. says such an incident is unlikely today.<\/strong> \u201cProducers have turned over the responsibility of safety to each department head, so a cameraman just wouldn\u2019t put his crew or himself in harm\u2019s way. He would stand up to the director if asked to execute a dangerous shot. But back then the safety standards were not in place, and as long as we gave them what they wanted, the studio execs left us alone.\u201d<\/p>\n

McBroom was also a part of the Angels <\/em>crew. As a shooter for ABC-TV he floated around all the network shows \u2013 and worked with the different camera teams. \u201cI\u2019d walk in the door and it was like old home week,\u201d McBroom recalls. \u201cEveryone was glad to see me. Even the actors wanted to help. It\u2019s true, as Dick said: The suits left us alone.<\/p>\n

\u201cSometimes too alone!\u201d he laughs. \u201cI was shooting stills for Baretta<\/em> and walked on to the set at Universal one day. When I took my camera bag off my shoulder and started unpacking, I looked up to see Robert Blake and these two big guys standing over me. \u2018Put your camera away,\u2019 Blake growled. I thought they were throwing me out but he was actually holding me hostage! Seriously. He had had some problems with ABC and the network had refused to send one of their VPs down to talk to him. So, he was going to hold me hostage until someone came down!<\/p>\n

\u201cI went to the stage phone and called my assignment editor,\u201d McBroom continues. \u201cIt took what seemed like hours to convince the network that I wasn\u2019t joking. Finally, the suits marched in about noon. Boy, did I grab my gear and run out the door!\u201d<\/p>\n

Rawlings Jr. confirms that network execs, and even producers, rarely showed up on the set. \u201cI remember one Charlie\u2019s Angels<\/em> – the episode before we were supposed to leave for a series of shows in Hawaii,\u201d he says. \u201cThe scene was in Bosley\u2019s office, with the girls and Charlie on the phone. Aaron Spelling walked in and apologized for the interruption. \u2018The show may be canceled,\u2019 he explained.\u00a0 \u2018We are in negotiations. You are all going home. And, if it gets canceled, you will be paid for two months work.\u2019 Three days later we were all called back and a week later we were in Hawaii.\u201d<\/p>\n

\"\"
Camera Operator Robert Edesa on 1981 Oahu location of Charlie’s Angels\/ Photo Courtesy of Richard Rawlings Jr.<\/figcaption><\/figure>\n

The stories Rawlings Jr. and McBroom recount from their time<\/strong> in the Islands truly conjure up the giddy innocence of that era.<\/p>\n

\u201cI remember that we decided to get some footage as soon as we landed at the airport,\u201d Rawlings Jr. begins. \u201cWe had an insert car towing a late 1970s Cadillac down the main boulevard in Waikiki. We were traveling back up the boulevard to unload and move onto another set. The actors couldn\u2019t go anywhere. So, we decided to have a little fun and do the popular thing of the time \u2013 moon them! At the luau before we went home, Cheryl Ladd gave out a trophy for the best \u2018moon job\u2019. It\u2019s still sitting on my shelf!\u201d<\/p>\n

\u201cThe photos from the set are priceless!\u201d McBroom confirms.<\/p>\n

\u201cIt was the end of the show where Bosley would say something funny and the girls would laugh and we\u2019d freeze it,\u201d Rawlings Jr. adds. \u201cWhen we didn\u2019t get the right frame we went in again. I leaned over and whispered to David Doyle [Bosley] to moon them. Well, he mooned them all right. He dropped his drawers to his ankles and the Angels got more than mooned! The look on Jacqueline\u2019s face was priceless. Her eyes were wide open. The other girls closed their eyes. It just shows the fun that we had.\u201d<\/p>\n

\u201cIn those days we didn\u2019t have blimped cameras,\u201d McBroom recounts. \u201cSo we would photograph rehearsals and then get out of there. I remember doing a movie-of-the-week with several top television people, including Larry Hagman. I\u2019d shot him on several other shows, so we knew each other. I walked in on the actors sitting around a table and immediately shot a dozen frames. The motor drive didn\u2019t bother the actors, they were used to it. But the director went berserk. I\u2019d ruined his movie! He threw me out.<\/p>\n

\u201cI went over to crafts services, figuring I wasn\u2019t going to get anything for the rest of the day,\u201d McBroom continues. \u201cA little while later Larry came out and pulled me aside. He told me to take out my motor drive and he got out a pocket tape recorder. He had me run off a whole roll and then he went back into the set to do another angle. During the scene, Larry turns on the tape recording of the motor drive. The director called the shot \u2013 screaming; \u2018Where is he? I\u2019m going to kill him!\u2019 When Larry put the tape recorder on the table, let\u2019s just say, the director got no respect after that.\u201d<\/p>\n

And the stories don\u2019t end there. There were the toga parties at the end of Charlie\u2019s Angels\u2019 <\/em>shooting days, \u201cwhere we decided to reinvent Pearl Harbor and dive bomb the parking kiosk below with egg rolls,\u201d Rawlings Jr. recalls. \u201cNext day on the call sheet it read, \u2018when you have a party \u2013 please do not throw egg rolls at the parking guard\u2019.\u201d<\/p>\n

Or the time when McBroom needed to get shots of Joan Crawford for a Universal TV movie. \u201cLenny South, ASC was the DP. He was a friend of actor David Bruce, who was my uncle. Lenny took me over to Ms. Crawford: \u2018Hey, Joanie, there\u2019s someone I want you to meet\u2026\u2019 Even with that introduction, she gave me the stink-eye. So, Lenny and the crew stayed through their lunch, lit her, and helped me get the shot. They didn\u2019t even put it on their time cards.\u201d<\/p>\n

\"\"
On the set of 1975 ABC-TV remake of The Best Years of Our Lives\/ L to R: Richard Rawlings Sr., 1st AC Bob Dawes, Richard Rawlings Jr.<\/figcaption><\/figure>\n

Those free wheeling days are long gone, and according to Rawlings Jr<\/strong>., not necessarily for the better. \u201cTV schedules have always been tight,\u201d he reflects. \u201cBut at least in the old days of single camera episodic we had the time to properly light and refine the shot. Once three-camera sitcoms took over, the writer had a lot more input on the set, including taking up a lot of the director\u2019s time on script revisions. That style of working transferred back into single camera episodic in recent years, and the result was the director had virtually no time to collaborate with the DP to help set the look of the show. Once that collaboration was gone it just wasn\u2019t fun anymore for me. So I moved on to new adventures.\u201d<\/p>\n

\u201cThe fun is gone,\u201d McBroom concurs. \u201cWhen I was on Charlie\u2019s Angels<\/em>, the first thing I\u2019d do is walk into the make-up trailer and say hello to the girls. They would all be there, chatting, having fun as they sat all together in a row, their hair in curlers. There was an ease of working that you don\u2019t find today because there are so many more people on the set worried about their actors.\u201d<\/p>\n

Rawlings Jr. \u2013 who officially retired to his property in southern Oregon a few years back but kept his name on the roster – has passed down his family legacy to his son, Guild loader Matt Rawlings. McBroom, now living in Santa Fe, New Mexico, reports he\u2019s gotten more selective on accepting jobs, adding that it needs to be \u201csomething special\u201d to drag him away from those idyllic Southwestern sunsets.<\/p>\n

Clearly, both men look back with great fondness and delight on a time when network television production was coming of age, and there was a magic in the air that made working on a union production crew the \u201cbest damn job in the world,\u201d Rawlings Jr. laughs. \u201cIt really felt like one big crazy family. We were always having a ton of fun.\u201d<\/p>\n

By Pauline Rogers.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

DP Richard Rawlings Jr. and Unit Stills Bruce McBroom relive the \u201cgood old days\u201d of network television<\/p>\n","protected":false},"author":1,"featured_media":3957,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[10],"tags":[],"class_list":["post-1602","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-web-exclusive"],"acf":[],"yoast_head":"\nTV Generation - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/tv-generation\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"TV Generation - 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