We had a couple of incidents shooting Terminal City Ricochet. The first one I’ll tell you about was my fault, and I hope I learned my lesson from it.
The scene called for our heroes to run security in a big old pimpmobile of a car. A guard with a pistol grip shotgun was to stand in front of the vehicle and fire at the windshield, which, being bullet proof, would only sustain a skid mark as damage.
I’ve had a lot of experience with wax bullets from back in my days playing with my Ruger Super Blackhawk 44 magnum with the fast draw club. I would hand load the wax bullets. They were easy enough to make. All it took was loading in a primer and black powder, then pressing the shell casing into nearly molten sealing wax. The result was a non-lethal projectile that would let me see how accurate my shot had been. So here’s my bright idea: I’ll just make a few 12 gauge wax bullets that can be fired at the car windshield, leaving the desired skid mark without penetrating the glass.
Of course we tested this concept on the prop car, and I was really satisfied with the result.
To do the actual shooting I wanted somebody I could trust with a shotgun. So I enlisted my brother, Ed (Bear) Scott, to play the part of the guard. Ed’s day job was as a prison guard. He carried a pistol grip shotgun most days when he was working in the yard. I knew I could trust him to land a shot on the windshield and get out of the way before he got run over.
Comes the day. Everything is all set. The shot goes off perfectly. No problem, until Ed comes on the walky-talky. “You might want to call for an ambulance,” he says calmly. “That bullet went right through.”
Well, holy shit. That doesn’t sound good. We all race for the car, where we find the actors laughing and pointing at the very obvious hole in the windshield. They were splattered with shards of glass, but fortunately nobody was hurt. They certainly could have been. They weren’t even wearing eye protection.
This was the beginning of my aversion to having a real gun on a movie set. It’s not necessary, as I demonstrated quite well using nothing but Final Cut Pro when shooting “Passion”. It’s now a trivial matter to add CGI flame and smoke to the muzzle of a gun that can only go click, completely incapable of sending out a projectile. The result is one hundred percent believable. Actually even better than what you might get with a real gun because you can adjust the look and level of the flash and smoke. But Terminal City Ricochet was shot in the pre-digital days, when adding CGI would have been completely beyond our squeaky tight budget. No longer, and no more. Never again.
That was one of three incidents I can think of where we had a safety issue on Terminal City Ricochet. At one point, my safety officer wrote a letter to his union complaining that I was ignoring safety concerns. That gave me no choice but to fire the man. This was about the time that a helicopter crash killed performers on the set of Twilight Zone the Movie, resulting in criminal charges against the director, John Landis. It was obvious that I, the director, would be in line to take any blame, and with a letter like the one from my safety officer on file, I would have no defense at all. Thinking back on this now, firing the safety officer did nothing to mitigate my legal exposure, but I think firing him for egregious stupidity was certainly justified.
I replaced that safety officer with the head of the stunt man’s union, telling him that he had complete control of the set and that nothing would happen without his approval. He was to sign off on any scene involving a firearm, explosion, or anything else that could be dangerous. None of this would have protected me in the event of another incident, but at least it would give me an argument to make if something else went wrong.
Please stay tuned for two more safety issues on Terminal City Ricochet. It was a scary shoot.
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