WEBVTT

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Margaret, if you wouldn't mind putting your notes up on the table.

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I think it works better that way.

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Thanks.

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Okay, we're rolling. Margaret, come with me.

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Tape number two.

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So you're just going to say that your favorite kind of films were always situation comedies?

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Yes, and always with a happy ending.

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Margaret?

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Oh, sorry about that.

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Take two.

11
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What am I going to say?

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You were talking about situation comedies.

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Well, they were always...situation comedies were usually what we did at the movie club.

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Club...what do we call it?

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Anyhow, the club film, whereby people in the club got together to make it up.

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And one person would be the director. Usually he would be volunteering.

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But of course, everybody in the club knows who was best and who was one of the best.

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And they'd put their...sometimes we would vote, but most usually it was a real slide in.

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Usually it was like Karl Fraser or myself.

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Then the kind of film we usually would make would be usually about a 400-footer,

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something that was really entertaining like the situation comedies.

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But they always had a happy ending.

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And one of the ones that we made was...I guess you would call it mine because I wrote the script.

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And I picked out the actors and the lighting...everybody who was going to do something,

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they always had a report to their director.

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So one of them was the 45.

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And I got the idea of that from my friend Bob Dintol.

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He had a whole big drawer full of guns.

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And I said, gee, what are you ever going to do with all the loans?

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Oh, he said, someday I'm going hunting.

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I said, do you ever go hunting? No.

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I said, well, how would you like to lend me one of those guns?

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What do you call that one?

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And he said, oh, that's my 45.

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So then I thought, well, I'll make up a little story on that one.

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I got one in my head already.

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And I had this big burly guy.

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We went out.

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We were working out in the field house, which was a house made of wooden planks.

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And it looked like a real old-time West Fast Western show.

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So this burly guy comes knocking on the door,

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and the beautiful little wife of a fellow who wasn't home at that time

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opened the door and said, oh, hello.

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He says, is this Joe Bowlin? Yeah.

45
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Well, I want to see him.

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And she said, well, he isn't home.

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He said, I'll come in and wait for him.

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And she got really scared.

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He looked like such a tough guy.

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She got really scared.

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So she lets him in.

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He sits down at the table.

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And she said, can I get you something?

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And he said, yeah.

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So she brings him cake, and she brings him sandwiches, and all that stuff.

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And he eats like a pig.

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He's like, whoa, whoa, whoa, whoa.

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And the worse he eats, the worse he looks,

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and the more scared she gets.

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So she says, are you sure you want to see my husband?

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Yep, yep, he says, yep.

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So then after she feeds him and wines him and dances with him,

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she says she makes some motions like, you know, anyhow.

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She knew just how I told her what makes the motions like you want me to go and follow you.

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And she said she knew just what to do.

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So she did.

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And she goes, hmm, hmm, hmm.

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God's been funny.

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He follows her in the room.

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And when you see him come out, you see him buttoning up his shirt.

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So you're supposed to use your own imagination.

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And then she says, now will you go?

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Now will you go?

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She's watching the clock, and her husband would be home in 15 minutes.

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He says, oh, yeah.

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So then he gets ready to go, and she grabs him home, and she says, wait,

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what did you want to see my husband for?

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And then he puts his hand on her and she says, to return his gun.

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And she's so disgusted with all the things she gave him.

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And we did another one called Mr. E. And Mr. E, Mr. E, you can say it like it's a mystery or it's Mr. E.

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So this was my friend Mary Ann.

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She was a young wife, and she was disgusted that her husband would go out and play cards across the street with the people that live upstairs and not come home.

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And she'd be all alone.

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And she's telling this to her girlfriend.

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And girlfriend says, well, why don't you play a trick on him and make him do something that he will stay home?

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Make him jealous.

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So she says, that's a good idea.

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So she gets a mannequin all dressed up like a man and with a hat on and a suit and everything.

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And she has him in the closet.

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And when her husband goes out, her girlfriend comes over, her husband goes out to play cards, and across the street she's watching them.

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And then when she thinks it's the right time, she pulls up the shade and she and her girlfriend go in and they bring out the mannequin.

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And Mary is putting her arms around him.

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And all of a sudden her husband Stan looks out the window and he looks across and he sees this guy in his house with his arm around his wife.

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And he hurries up home.

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And the girlfriend says, hurry up, put the mannequin back in the closet.

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So they get the mannequin back in the closet.

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And when the husband comes home, he says, where's that guy that was just here?

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Did he want to see me?

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And Mary says, what guy? What guy?

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And then she says, oh, they had the policeman coming too.

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Because oh, that's when Stan came by and he sees, she says, I'll tell you who it was.

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And she shows him the mannequin and he takes the mannequin like this and he goes, throw him out the window and the three policemen come die.

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And then there's clear back to Mary and the husband and wife, Mary and Stan.

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And Stan puts his arm around her and he says, Mary, I won't play cards anymore.

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I didn't know you were so lonesome.

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And that's the end of that one.

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Your movies, like the situation comedies, you said they leave a little bit to the imagination.

108
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Yeah.

109
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They leave a little bit of mischief to the imagination, huh?

110
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Yeah. Yes.

111
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Was that always a sort of goal of your short films?

112
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Well, it's a problem and we have to solve it, I think.

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It's just one of the things I like about your movies is the way that the problem is sometimes, you know, some guy with a gun.

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Yeah.

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And the way you solve it is, you know, some woman showing off a little bit.

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Yeah.

117
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Well, I never showed anything I shouldn't show.

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I have to leave it to your imagination.

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120
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Sorry, go ahead.

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The 45, that was interesting, an ACL contest and it won a first prize.

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Let me see, what did they say?

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They were both first prizes.

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My film and the doctor's film.

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But doctor's film was one that was made to fit a song.

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And I think the fact that they said the fact that it was not original, original script, it couldn't be first.

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So my film was first because mine was original.

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Nobody had ever done that one before.

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And then I remember Oscar Horowitz was the guy who decided that.

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And at that time for prizes, for awards for the contest was camera equipment, like a camera and a beautiful tripod.

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There was a whole bunch of stuff you could pick out of a recorder, cameras, movie camera, all movie equipment.

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But Oscar was able to get that from the New York camera stores.

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He went around and got them all.

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He could have bought them all himself, but he didn't.

135
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So is that all the stuff that we were taking out of your basement, the equipment that you won over the years?

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A lot of it I gave away.

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If I had something and they gave another camera like that, I would see who needed one.

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A lot of the stuff, if something new came out, I had to have it.

139
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And I got it.

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Is that because you like the gadgets or you like the challenge of doing a new thing with the new equipment?

141
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Well, I always liked to try the new equipment.

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Then if I didn't want it, I'd give it to someone else.

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But a lot of the manufacturers would give equipment to award for competitions.

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Bell and Howell was especially good.

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I remember when Bell and Howell, when Glenn Turner won, he had animation too,

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but he had little things that he'd make out of toothpicks and little witches and stuff.

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There was, oh, like these pirates, pirates in little ships that he had in water.

148
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But Glenn Turner, he was the first great guy I knew.

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And he was a teacher at the University of Utah, a Mormon university.

150
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And he was a Mormon. He was really something.

151
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But what they awarded, what Montgomery awarded, no.

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Bell and Howell awarded him a 16 millimeter Bell and Howell film projector, camera, and titler, film titler.

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That was another thing that was really great to have, is there was a film titler.

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I had a Bullock's film titler, and it was really something.

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I think I gave it.

156
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I think you gave it to us.

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158
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The one in the wooden case? All the little compartments?

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It was big. I know we can't get it.

160
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Yeah, it's big, about this big.

161
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I have one of those.

162
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This was a Bullock's.

163
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Yeah, it was made by Bullock's.

164
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Yeah, I had two Bullock's, two Bullock's titlers.

165
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So I gave one away.

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I think I gave you one, Charles.

167
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I think so too.

168
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I think it, did you get, yeah, didn't you?

169
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Maybe. You gave us so much stuff.

170
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Yeah, I did. A Bullock's titler, I'm sure.

171
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And it was brand new.

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You'll have to show him how to use it, because he'll never figure it out.

173
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No, you'll have to teach me.

174
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You know what, it's been 20 years since I looked at it.

175
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That's a long time.

176
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Can you tell me a little bit about Central Cinematographers?

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Oh, that was, Central's, well, let's see.

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I'm trying to think of the fellow's name who was from,

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the big film company here.

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Oh, the guy who was from Encyclopedia Britannica.

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Yeah, Britannica.

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Do you remember?

183
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That's not Karl Frazier.

184
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No, no, no. That's...

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Fred Strauss.

186
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What?

187
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Fred Strauss.

188
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Fred Strauss, that's right. That's Fred Strauss.

189
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You know, you have a little film of him, too, called Group of One.

190
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That's Fred Strauss.

191
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And so he started the Central Cinematographers?

192
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Yes. He, this, there was way back.

193
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Well, not that far.

194
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At the Central YMCA, they had classes.

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And they had a class in cinematography.

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And Strauss, he loved film.

197
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He loved film like I did.

198
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And like other others that belonged to Central Cinematographers.

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Film was first, and anytime you could have it.

200
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Well, Fred, he taught film at the Central Y,

201
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and we used to all go, we used to go down there.

202
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Mary Ann and I think there were about 12 of us at the time.

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And we took classes.

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And then they were not going to have their class anymore

205
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because there weren't enough people.

206
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So we decided to have a club.

207
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And Strauss lived in Glenview.

208
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And of course, I lived close to Glenview.

209
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And Mary lived halfway between.

210
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And so we got together and we formed a club called Central Cinematographers.

211
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And we would just make film.

212
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We always did film every night.

213
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And we always would have maybe a part of one film to do one night

214
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and a part to do the next Sunday morning at the racetrack or something.

215
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We always had it very well documented, what we were going to do.

216
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And we never wasted any time.

217
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And when we came right from work, everybody came right from work,

218
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there was Harold Hogan and Hans Thorn.

219
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And...

220
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It seems like one of the things that was different about Central Cinematographers

221
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is that they were all club films, right?

222
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Like it wasn't just people making their own films,

223
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it was everybody working on a production together?

224
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Everybody worked on a production together, but it didn't belong to the club.

225
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It belonged... it was the person whose film it was.

226
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And everybody worked on his or her film when it was their turn.

227
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And if you had to pass up a film because maybe you were going to be away

228
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or you were going for a couple of months or something,

229
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then you get to skip to the next person.

230
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Tim Kennelly belonged.

231
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And gee, I should have written them down, but I can write them down and give them to you.

232
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And we went on for several years.

233
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Some of the clubs were starting to fold, but we were just...

234
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we went every Friday night.

235
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And I remember one time when we were driving in a car

236
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and we were filming... I was filming out the back...

237
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laying in the back of a truck and filming out...

238
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certainly we wanted Santa Claus to come out of the alley,

239
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and I was supposed to catch him.

240
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And I remember that as we went to film, I went to film him.

241
00:19:33.250 --> 00:19:34.990
I said, back up Santa Claus.

242
00:19:35.970 --> 00:19:41.290
And a lady stood on a thing, and an ant man, and they posted Staron.

243
00:19:41.290 --> 00:19:48.190
And I said, oh my God, this is... it's St. Patrick's Day, and here there's Santa Claus.

244
00:19:48.570 --> 00:19:51.670
How did Santa Claus come out on St. Patrick's Day?

245
00:19:52.130 --> 00:19:55.430
And then we had to tell her we're making a film.

246
00:19:57.310 --> 00:20:03.490
It was St. Patrick's Day on St.... finishing up the St.... the Santa Claus film.

247
00:20:03.850 --> 00:20:05.150
That was really funny.

248
00:20:06.590 --> 00:20:11.770
And Central Cinematographers, you're right, it lasted even until video, right?

249
00:20:11.850 --> 00:20:12.250
Yes.

250
00:20:12.550 --> 00:20:15.610
Some people were shooting on film and some people were shooting on video.

251
00:20:15.930 --> 00:20:17.050
How did that work?

252
00:20:20.310 --> 00:20:21.990
Well, they never shot the same film.

253
00:20:22.930 --> 00:20:27.770
I mean, the same...

254
00:20:28.470 --> 00:20:30.150
But you would take turns?

255
00:20:30.770 --> 00:20:32.050
Yes, take turns.

256
00:20:33.750 --> 00:20:36.970
And when it was your turn, you were...

257
00:20:36.970 --> 00:20:39.250
We first, we did it alphabetically.

258
00:20:39.750 --> 00:20:44.190
And then when you always knew who was next, who...

259
00:20:44.190 --> 00:20:48.030
And what you'd probably have to do is the first night bring the script,

260
00:20:48.570 --> 00:20:56.330
and then pick out who you were going to have as an actor, and which part they had.

261
00:20:56.330 --> 00:21:03.210
Now, I remember one woman...

262
00:21:03.210 --> 00:21:04.830
She's still with us.

263
00:21:05.250 --> 00:21:06.230
It's outside.

264
00:21:09.030 --> 00:21:10.790
Well, Don was making this film.

265
00:21:11.390 --> 00:21:12.950
Don Peters was making this film.

266
00:21:13.590 --> 00:21:15.170
And he had to have a...

267
00:21:15.170 --> 00:21:20.210
It was very important to have an English woman with an English accent.

268
00:21:21.150 --> 00:21:23.110
And then another woman was American.

269
00:21:23.110 --> 00:21:26.230
And he wanted me to be the American, and he wanted Joan.

270
00:21:26.330 --> 00:21:27.930
Joan, Joan was her name.

271
00:21:28.210 --> 00:21:30.790
He wanted her to be the English girl.

272
00:21:30.810 --> 00:21:31.570
And she was.

273
00:21:31.570 --> 00:21:32.410
She was English.

274
00:21:32.450 --> 00:21:35.190
She was an English war bride.

275
00:21:35.610 --> 00:21:37.630
And she had a definite accent.

276
00:21:39.050 --> 00:21:41.510
And she didn't want to be the English woman.

277
00:21:41.530 --> 00:21:42.810
She wanted to be the American.

278
00:21:43.970 --> 00:21:47.430
We had a little trouble over that one, I remember.

279
00:21:49.710 --> 00:21:50.750
It was...

280
00:21:50.750 --> 00:21:52.450
Where did they get that idea?

281
00:21:52.450 --> 00:21:57.090
They got that idea from a story, I think a Hitchcock story.

282
00:21:58.950 --> 00:22:04.710
You could do a Hitchcock story if you wanted to.

283
00:22:07.890 --> 00:22:13.450
But anyhow, Joan, she didn't want to...

284
00:22:14.050 --> 00:22:16.810
And Ed Synnett, Ed Synnett is one of the...

285
00:22:16.810 --> 00:22:18.530
He was the leader of this group.

286
00:22:18.530 --> 00:22:23.950
We just let him be the president year after year.

287
00:22:25.250 --> 00:22:26.910
And then I became president.

288
00:22:27.910 --> 00:22:31.370
But we didn't have much organization.

289
00:22:32.870 --> 00:22:33.910
Stuff like...

290
00:22:33.910 --> 00:22:36.050
We didn't have dudes and things like that.

291
00:22:37.030 --> 00:22:39.210
Whatever came up, we would take care of.

292
00:22:40.630 --> 00:22:41.630
It's interesting.

293
00:22:41.770 --> 00:22:44.890
You said somebody made a film based on a Hitchcock story.

294
00:22:44.890 --> 00:22:52.430
Was that common for people to make a film based on a story from TV?

295
00:22:52.730 --> 00:22:53.930
Yeah, I think, no.

296
00:22:54.910 --> 00:22:56.110
I think this one was.

297
00:22:56.750 --> 00:23:02.230
This one that...

298
00:23:02.230 --> 00:23:06.370
The reason is she was supposed to come in on a plane.

299
00:23:10.450 --> 00:23:11.050
And...

300
00:23:11.050 --> 00:23:12.510
Let me see, what did she do?

301
00:23:14.890 --> 00:23:19.150
She had stolen some money from somebody.

302
00:23:21.330 --> 00:23:31.010
And then when she got here, they had changed it around that she was going to get killed instead of the other.

303
00:23:33.630 --> 00:23:35.070
Well, that's okay.

304
00:23:35.530 --> 00:23:36.870
It wasn't too clear.

305
00:23:36.930 --> 00:23:38.770
You had to have all the narration to it.

306
00:23:40.430 --> 00:23:42.110
All right, good question.

307
00:23:42.870 --> 00:23:49.950
I was just curious if you were one of the few women cinematographers back in those days when the club started.