Director George Woodard focuses his digital camera in preparation for filming a scene. Photos by Joseph Gresser
BARTON — A boy, dressed in summer clothes — T-shirt and overalls — walked up to the ticket booth. The grandmotherly woman within looked up from counting change and smiled in recognition. The boy leaned against the counter and asked if his brother was inside.
“Yes, he is, Walter, but the movie will be out in ten minutes.”
“Okay if I go in?”
The ticket lady looked doubtfully at Walter and asked if he was planning to make trouble.
“No, I’m not going to make no trouble,” Walter replied.
“You’re not going to throw candy from the balcony are you?” she asked. Walter shook his head and
Director George Woodard squeezes into the Barton Memorial Building ticket booth to consult with actress Clarice Dickinson about a scene from The Summer of Walter Hacks.
the ticket lady’s face broke into an affectionate smile.
“I was just joking, Walter. Go on in.”
As Walter turned toward the auditorium door, the ticket lady leaned out of the booth and confided, “He’s with the Prentice girl.”
The boy grunted in acknowledgment and closed the door behind him.
George Woodard jumped up from behind his camera.
“That was great,” he said, grinning widely. “Let’s do it again.”
Clarice Dickinson beamed from her station inside the ticket booth, and Mr. Woodard’s son Henry strolled back into the lobby.
Saturday the Barton Memorial Building bustled with unaccustomed activity as Mr. Woodard and his crew filmed scenes for The Summer of Walter Hacks.
All the trappings of a Hollywood production were in evidence, albeit in the budget version. Where the location of a big budget extravaganza might teem with producers, executive producers, directors, assistant directors, technicians, technical assistants, and plain old gofers, Mr. Woodard made do with four or five helpful friends. Catering, for instance, consisted of a couple of pizzas and a Cool Whip tub filled with navel orange slices.
Like Steven Spielberg, Mr. Woodard ruled the location, calling for silence, asking for second and third takes, and moving lighting instruments. Of course, Steven Spielberg probably doesn’t have to find someone to take over his chores before he can go on location.
Director George Woodard is seen through a forest of lighting stands as he prepares to film a scene.
Mr. Woodard’s film company, Pasture Productions, plans to spend no more than $6,000 on making the movie. Most of the shooting is being done on Mr. Woodard’s Waterbury farm, in his house and barn. For scenes that cannot be set on his property, Mr. Woodard has sought out places that can be used at little or no cost.
“I remembered this theater from when I toured the Ground Hog Opry,” said Mr. Woodard. The ticket booth and theater interior were perfect for the period look of the film which takes place in the late 1940s. The set design was enhanced by a selection of film posters featuring westerns of the era. Walter’s brother, we will learn, is inside the theater enjoying the Howard Hawk’s classic Red River.
Ms. Dickinson, dressed in a floral print dress with a demure white collar, also contributes to a sense of authenticity. She took great care to conform to the styles of the era down to her white bobby socks.
“It was hard to get stockings then,” she said.
The Barton resident worked patiently, although Mr. Woodard required many takes. She was clearly
Director George Woodard moves his son Henry into position for a close up as Ms. Dickinson looks on.
nervous at first, relying on a script placed out of the camera’s view. As Mr. Woodard filmed, and with his cheerful encouragement, Ms. Dickinson’s performance bloomed. Her exchanges with Walter became noticeably more natural, and by the end of the process she was thoroughly comfortable.
Throughout the afternoon the lobby grew warmer and warmer, heated by the lighting instruments. The younger Mr. Woodard left and returned to the lobby over and over again. Finally the director was satisfied, but the work was not over.
Mr. Woodard had his crew move the lights, asked the woman who handled the microphone to shift her position, and repositioned his camera. He called for quiet on the set, and a boy, dressed in summer clothes — T-shirt and overalls — walked up to the ticket booth.
