你的出於本真的所作所為，總是能勾出人們從心底流出的淚。
來源：mjjcn.com 2010-08-21 翻譯:URthere
工作人員回憶：邁克爾•傑克遜也曾握住我的手我應該多年前就講出這個故事的•••很久很久了它一直是我的珍藏的小秘密。但是現在我決定打破沉默首次向公眾說出：邁克爾•傑克遜也曾握住我的手•••
這件事發生在“環球”錄音室，那是在拍攝“scream”的MV時期，由MJ和他的妹妹Janet出演。在這不久之前我已經見過MJ當他準備舞臺工作和為“危險”巡演彩排時。
毫無疑問這是個巨大的工程。3個舞臺，超多的裝備，20天的拍攝日程。
拍攝第一天我們早上7點接到電話，但是邁克爾耽擱到半下午才來。（眾所周知，MJ是個夜貓子）接著是做頭髮和化妝，把他帶到現場我們開拍前已是下午4:30.很明顯接下來的20天左右的拍攝都會是晚上。就是這樣，因為Michael喜歡晚上工作。
終於我們開始工作。Michael走進來會見到Mark向他解釋拍攝的事。我們拍攝的第一個腳本是Michael在短片中多處出現的白色地板上跳舞。Michael找准自己的位置，大概是距攝像機6英尺遠，做了一系列動作後提出來說地板很滑﹙乙烯基地氈﹚。我帶著工具走進去——極好的鋼絲絨，碎布料以及裝有特殊液體的噴灑瓶把地板整的不那麼平整後又退出來。Mark從攝像機後面走出來看著我手裏拿的工具然後把Tom叫道跟前問我是不是我們的“光澤塗料”是不是沒了。我回答說“沒有”然後迅速地噴了下瓶裏的特殊液體，它馬上幹成了一個火花狀。當我從跪著的地方站起來時Michael正朝著我微笑說“我記得你，在巡演彩排的時候”我回答道“是的”，然後他又問我的孩子們怎麼樣，我說“很好，好得很”。接下來一切照常，Michael做完他的那部分然後我們下班準備又一個好的開始。
和預料的一樣，工作人員打電話來說工作時間從原來的早上7點改為下午4點，接下來的日子我們每天徹夜工作到早上4到6點。
在結束拍攝的那個晚上的前幾個小時，我們轉到 “禪”那一場﹙如圖：scream裏MJ坐在那裏冥想的那一幕﹚。就是那樣，最後一天，最後一場，最後一系列的拍攝。藝術部在把MICHAEL帶到舞臺中央他的靜坐臺上前已經準備好了最後的潤色。Michael察看了這一場景後評價說這一幕真美。他看起來非常放鬆而且很明顯他很喜歡坐在舞臺中央那個臨時的塔上。
當Mark大聲叫喚說天花板上的一塊需要鋸掉，我抓住一把12階的梯子爬到頂層開始鋸。一個不幸的時刻那把可擕式的鋸子割斷了我左手的第三個手指。我沒做聲，在後面的口袋裏掏出一塊碎布把手指包起來然後從梯子上下來出了舞臺。在出去時我從Tom身邊經過給他看，告訴他發生了什麼。Tom護送我走到舞臺的邊緣然後我躺下了。不久後整個拍攝組的工作人員在我身旁圍成半圈一齊看著我。一些人嚼著口香糖。好像是淩晨3點？
http://veniceartsclub.wordpress.com/2009/09/06/michael-jackson-held-my-hand-too/ Michael Jackson Held My Hand, Too
Posted by The Venice Arts Club on September 6, 2009
I should have come forward with this years ago…it’s been my little secret for too long but now I’m breaking my silence and going public with the fact that Michael Jackson held my hand, too…
The incident took place at Universal Studios during the filming of the music video, Scream, featuring Michael and his sister, Janet. Not too long before this I had met Michael while working on the stage production and rehearsals for the Dangerous tour.
Both Mark Romanek, the director of Scream, and Tom Foden, the Production Designer, are uncompromising perfectionists. It’s been a real pleasure to work with both of them on numerous projects. In the film business, working with people who maintain a vision is significantly better than working for those who lack the big picture. On this particular job I was working with the art department headed by Tom Foden. Other members of the art department included Dana Garman, Richard Berg, Jamie Vickers, Paulie Pietsch, Mark Brooks, to name a few.
The Scream video may be the most expensive music video ever made, I believe the total production/post production budget was somewhere near 8.3 million dollars. And I can tell you the art department budget took a good chunk of that, maybe half. The sets took up three full sized stages at Universal Studios in Los Angeles, with over a dozen sets placed on these three stages. Once shooting began, my role was the ‘on-set dresser’, basically the ‘art department representative’ who remains on set at all times as the ‘face’ of the art department. By the very nature of the position, the on-set dresser has close interaction with the talent while on the set.
This was a crazy big job, no doubt about it. Three stages, over a dozen sets, twenty shoot days.
On the first day of shooting we had a 7am call, except Michael was detained until mid-afternoon. Then hair and make-up, get him to the set and it’s 4:30 pm before we roll. It became clear that we would be shooting nights for the next twenty or so days. It was also clear that Michael liked it this way…working at night, that is.
Finally, we get down to business. Michael makes his entrance and is met by Mark who explains the shot. The first footage we shoot with Michael is of him dancing on one of the many white floors seen throughout the video. Michael finds his position, about six feet from camera, does a couple of takes, then mentions how the floor (white vinyl linoleum) was feeling slick. I move in with my tools, a fine grade steel wool, rag and a spray bottle with the ‘special sauce’ and scruff up the floor a bit with the wool then step back. Mark comes out from behind the camera, looks at my handiwork then calls out for Tom before asking me if we lost the ‘gloss’. I say no, give it a quick spray with the special sauce and it dries to a sparkle. When I get up from my kneeling position Michael is smiling at me and says, “I remember you from the tour rehearsal”. I say, “That’s right”, and he asks me how my kids are doing, I say, “great, amazing.” And then everything is back to normal, Michal does his bit and we’re off to a good start.
As predicted, crew call switched from 7am to 4pm, and we worked throughout each night until 4-6am.
In the final hours of the last night of shooting, we had moved to the ‘zen’ set. This was it, last day, last set, last series of shots. The art department had prepped the set with final touches before Michael was brought in to take his place on the zen podium in the center of the set. Michael surveyed the scene and commented on how beautiful the set looked. He was very relaxed and it was obvious he enjoyed sitting in the middle of this temporary temple.
When Mark called out for a piece of the ceiling to be trimmed, I grabbed a 12-step (ladder), scrambled to the top and began sawing. In an unfortunate moment the portable saw kicked back and amputated a third of my left ring finger. Without word, I reached in my back pocket for my rag, wrapped my finger with it and stepped down off the ladder and exited the set. I passed Tom on the way out and showed him what happened. Tom escorted me to the edge of the stage and I laid down on the concrete. It wasn’t long before an entire film crew of towering bodies was in a half circle looking down at me. Union guys chewing gum. 3am. Right?
Suddenly the crowd parts and Michael appears and stands there for a moment, leaning over me, looking down. He looks at my left hand held in the air then he looks at me. Then just like that he is on his knees by my right side and he picks up my right hand and holds it in his. He looks me straight in the eye and tells me how sorry he was, he kept repeating how sorry he was, and then he had tears in his eyes and he held my hand until the ambulance came and took me away.
That next week, recovering at home, the gifts began arriving from Michael and Janet, tasteful and cool things like great soaps, a bathrobe, incense, a card. Anyway, that’s my story. Michael Jackson held my hand, too. Michael, if you read this, thanks for caring.
Photos by Richard Berg.
The incident took place at Universal Studios during the filming of the music video, Scream, featuring Michael and his sister, Janet. Not too long before this I had met Michael while working on the stage production and rehearsals for the Dangerous tour.
Both Mark Romanek, the director of Scream, and Tom Foden, the Production Designer, are uncompromising perfectionists. It’s been a real pleasure to work with both of them on numerous projects. In the film business, working with people who maintain a vision is significantly better than working for those who lack the big picture. On this particular job I was working with the art department headed by Tom Foden. Other members of the art department included Dana Garman, Richard Berg, Jamie Vickers, Paulie Pietsch, Mark Brooks, to name a few.
The Scream video may be the most expensive music video ever made, I believe the total production/post production budget was somewhere near 8.3 million dollars. And I can tell you the art department budget took a good chunk of that, maybe half. The sets took up three full sized stages at Universal Studios in Los Angeles, with over a dozen sets placed on these three stages. Once shooting began, my role was the ‘on-set dresser’, basically the ‘art department representative’ who remains on set at all times as the ‘face’ of the art department. By the very nature of the position, the on-set dresser has close interaction with the talent while on the set.
This was a crazy big job, no doubt about it. Three stages, over a dozen sets, twenty shoot days.
On the first day of shooting we had a 7am call, except Michael was detained until mid-afternoon. Then hair and make-up, get him to the set and it’s 4:30 pm before we roll. It became clear that we would be shooting nights for the next twenty or so days. It was also clear that Michael liked it this way…working at night, that is.
Finally, we get down to business. Michael makes his entrance and is met by Mark who explains the shot. The first footage we shoot with Michael is of him dancing on one of the many white floors seen throughout the video. Michael finds his position, about six feet from camera, does a couple of takes, then mentions how the floor (white vinyl linoleum) was feeling slick. I move in with my tools, a fine grade steel wool, rag and a spray bottle with the ‘special sauce’ and scruff up the floor a bit with the wool then step back. Mark comes out from behind the camera, looks at my handiwork then calls out for Tom before asking me if we lost the ‘gloss’. I say no, give it a quick spray with the special sauce and it dries to a sparkle. When I get up from my kneeling position Michael is smiling at me and says, “I remember you from the tour rehearsal”. I say, “That’s right”, and he asks me how my kids are doing, I say, “great, amazing.” And then everything is back to normal, Michal does his bit and we’re off to a good start.
As predicted, crew call switched from 7am to 4pm, and we worked throughout each night until 4-6am.
In the final hours of the last night of shooting, we had moved to the ‘zen’ set. This was it, last day, last set, last series of shots. The art department had prepped the set with final touches before Michael was brought in to take his place on the zen podium in the center of the set. Michael surveyed the scene and commented on how beautiful the set looked. He was very relaxed and it was obvious he enjoyed sitting in the middle of this temporary temple.
When Mark called out for a piece of the ceiling to be trimmed, I grabbed a 12-step (ladder), scrambled to the top and began sawing. In an unfortunate moment the portable saw kicked back and amputated a third of my left ring finger. Without word, I reached in my back pocket for my rag, wrapped my finger with it and stepped down off the ladder and exited the set. I passed Tom on the way out and showed him what happened. Tom escorted me to the edge of the stage and I laid down on the concrete. It wasn’t long before an entire film crew of towering bodies was in a half circle looking down at me. Union guys chewing gum. 3am. Right?
Suddenly the crowd parts and Michael appears and stands there for a moment, leaning over me, looking down. He looks at my left hand held in the air then he looks at me. Then just like that he is on his knees by my right side and he picks up my right hand and holds it in his. He looks me straight in the eye and tells me how sorry he was, he kept repeating how sorry he was, and then he had tears in his eyes and he held my hand until the ambulance came and took me away.
That next week, recovering at home, the gifts began arriving from Michael and Janet, tasteful and cool things like great soaps, a bathrobe, incense, a card. Anyway, that’s my story. Michael Jackson held my hand, too. Michael, if you read this, thanks for caring.
Photos by Richard Berg.
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