Jack Winter
An interview with Jack Winter, Co-Producer and
writer of "Pick-Up." by Greg Freeman
Greg Freeman - Give us a thumbnail sketch of your
writing career.
Jack Winter - With a journalism degree from
Michigan State, My writing career has spanned more than four decades. Books
"The Language of Pro-Football," "Game Plan," and "Zooiki Caps & Mirrors."
Network television credits as writer/producer, "Countdown to Kickoff" ,
CBS, "The American Sportsman," ABC; "Inside Edition" and "USA Today on TV,"
"Zooing," children's one-hour special nationally syndicated. Various
productions for Washington, DC tv stations and national print media. Pilot
series script sold to CBS. Feature scripts pending.
G.F. - What inspired you to write Pick-Up.
J.W. -Regarding Pick-Up I had long been
fascinated with the myth of Dolph and the Apollo oracle. What better
setting than the Everglades to capture the mythical theme in an ominous
setting? Bernie Hirschenson and I surveyed several locations outside of
Naples. After finding a much needed electrical power source near lush
enclaves, we had the ideal setting. I remember speeding down a back road in
our rented car when Bernie suddenly slammed on the brakes and threw it in
reverse. Glittering fields of silvery vegetation had caught his eye and
this became the backdrop for the film's opening.
G.F. - What's the story about the luxury bus
featured in Pick-Up?
J.W. -A friend of mine who owned a PR firm in
New York had a client, The Chromalloy Corporation. I saw pictures of their
bus which Richard Nixon used for his '72 re-election campaign when he and
Pat stumped through Florida. It was the perfect vehicle – not only for the
story line, but also as a production convenience. A place for the cast to
rest between takes and somewhere we could store cold drinks, snacks and
extra equipment. There was also a john inside for emergency use.
G.F. - How did you and Bernie Hirschenson get
together to make Pick-Up?
J.W. -Bernie and I were friends. He had a great
reputation as a cameraman who shot a lot of quality commercials, some of
which he meticulously directed. In the course of many conversations, the
subject of making a low-budget film began to gain momentum. The story
slowly took shape, first titled "Swamp Lord"' and then "Pazuzu." (Crown
International chose the exploitive "Pick-Up" title after they picked up the
negative costs at Movielab.) Bernie and I concluded that the Everglades was
the perfect location. Also we learned that the bus owned by Chromally was
based in Miami. From the first draft, Bernie began envisioning what was in
the script and we began approaching potential investors.
G.F. - How deeply involved were you in the budget
process and pre-production planning?
J.W. -After the script went through a final
re-write, I had to figure out the bare-bones bottom line of a low-budget
film. Bernie and I had friends who'd make deals on equipment and
post-production editing facilities. I believe we came up with a budget of
around $90,000. In the end, we ran out of money. Bernie and I finished
editing the film (Bernie making all the cuts for the last half of Pick-Up.)
It was a very difficult time. Bernie's cheery, positive outlook , as much
as anything else, brought things to a successful, dramatic conclusion.
G.F. - How did you settle on the three lead
actors?
J.W. -Alan Long was a friend of Bernie's and he
was locked in early on after a single reading. Our attorney, Stan Handman,
familiar with the script, sent over Gini Eastwood when we began casting the
two female leads. Jill Senter was head and shoulders above every other
aspiring actress who read for her part. Bernie and I agreed that our trio
of lead talent would do very well. And they did.
G.F. - How smoothly did things go on location?
J.W. -The term "chemistry" is frequently used to
describe the interaction of actors with one another as well as with the
director and crew. Well, from the very beginning during readings and
rehearsals, Alan and Jill created something of a special off-camera
relationship. This carried through in their
on-camera scenes. Gini, meanwhile, easily slipped into her ethereal role as
if by magic. Nevertheless, we had some trying moments as per the script.
In one highly charged scene Jill was to be attacked in the swamp by a gang
of teenage yahoos. Real tears and fright built up to such a degree that she
fled the set for the sanctuary if the bus. She sat trembling for some
time. To Bernie's directional credit, as well as Jill's young, professional
talent, the ensuing takes were just as scary and beautifully portrayed.
G.F. - How did you cast those teenage "yahoos"?
J.W. -During our pre-production survey, Bernie
and I attended a high school football game outside Naples. With his
incredible eye searching the stands he zoomed-in on a group hootin' and
hollerin' and carrying on. Before the game ended, we took them aside and
told them about what we needed from them if they were interested. They were
gung-ho about doing the parts. We met at a nearby restaurant, got their
names and later sent them release forms for their parents to sign along with
script pages. As I said before, they were so wildly convincing, they sent
Jill Senter screaming in horror to escape their clutches.
G.F. - Were you supposed to play the priest and how
did you get the ok to use the church?
J.W. -The day before we were to shoot the scene
in the church, the actor who agreed to play the priest called from New York
and said he couldn't make it. Bernie turned to me and said, "You wrote the
lines, you're here, and, we have no other option." Having just convinced
the nice priest at the Fort Meyers parish that our film was "wholesome," I
had no choice in the matter. This scene said a lot about spiritual
hypocrisy and there was no way it could be cut or compromised. Working with
Gini made it very easy to get comfortable as she created an innocence and
vulnerability that the priest was called upon to manipulate.
G.F. - What about some of the supporting cast who
did so well?
J.W. -Don Penny, who played the effusive
politician (the tempting Satan), was a well-known comedian who later went to
Washington to become a very successful speech/gagwriter for presidents
(Nixon and Ford) and a number of Congressmen and other power brokers,
lobbyists, etc. He was perfectly cast. He and the other actors loved the
script and this resulted in very few dialogue changes.
G.F. - Were there many problems shooting in The
Everglades?
J.W. -Because Bernie and I laid out a tight but,
doable shooting schedule, and the fact that our selected sites in The
Everglade smacked of desired remoteness even though we were less than twenty
minutes from our Naples base at the Cove Inn, production stress was
minimal. We had electricity available, warm lunches to accommodate even
finicky menu requests– it worked out well and the weather cooperated!
G.F. - From the beginning of the shoot, did things
fall into place like you planned or did you hit some snags?
J.W. -We decided that scene 1 would be shot the
first day for purely psychological reasons, letting our three leads get
comfortable with one another in their establishing roles. From day one, our
cast and crew hung together. Again, a lot had to do with the first rate
accommodations at the Cove Inn and the meals served at the hotel and on
location. Bernie and I worked well together and that meant sometimes
performing tasks separately, like taking care of money transfers, paying
local bills, solving logistical problems with the production manager, etc.
But, back on location, there was one crew member who would come away with a
lasting memory: he had wandered off after lunch one day to relieve
himself. While couched against a tree, pants gripping his ankles, a huge
snake (rattler? ) uncoiled in front of him a few feet away. He managed to
break off a low-hanging branch to fend off the serpent. Upon relating this
story upon his return to camp, everyone laughed – except the still shaking
crew member.
G.F. - How were you treated by the Locals?
J.W. -From the management of the Cove Inn,
local bank personnel and wherever we ventured, out cast and crew were well
received.
G.F. - What was it like editing Pick-Up?
J.W. -Post production was a nightmare! An
editor we had made a deal with quit after several weeks and we were left
with less than half a film in rough shape. Bernie jumped in and we made a
deal for the use of another editing room. For more than two months, we
edited Pick-Up when Bernie wasn't on a commercial shoot. Then came the
music phase where we got some interest from Chuck Mangione whose agent
later nixed his involvement. Eventually, things came together after a lot
of blood, sweat and nail-biting. Honestly, we both had our doubts about
whether our film would ever get done.
G.F. - But it did and you saw it on the big
screen. Any thoughts?
J.W. -The premier screening was held at the MGM
auditorium at Sixth Avenue and 55th Street, New York. Cast,
crew, backers, friends and others gave Pick-Up a warm ovation. By this
time, Bernie and I were glad things had come to a successful end. A year
later I saw Pick-up at a suburban Washington Drive-In and the print quality
was fine. TO this day, I have mixed feelings about what we went through to
make things happen.
G.F. - How did you get Crown International to
distribute Pick-Up?
J.W. -Shortly after our premiere private
screening in 1974, I left for Spain to spend a year or so writing "The Great
American Novel." Our lawyer, Stan Handman, made the deal with Crown
International on our behalf. I can't comment any further about Crown and
their veracity over the past 33 years. The fact that Pick-up is now in DVD
release following many cable showings has raised some legal eyebrows.
Period.
G.F. - What's your reaction to all the buzz about
Pick-Up today?
J.W. -I am totally blown away by Pick-Up's
reincarnation. I am thrilled that a new generation has embraced its theme
and cinematic presentation. I invite your internet following to continue
asking questions and rendering their opinions. Who knows? Pick-UP II may
be in the works.
G.F. - Do you have any immediate plans for another
project?
J.W. -As a writer, your focus shifts from time
to time. As in the past, you ponder a children's book? A memoir? A re-write
of an old screenplay? Local television specials? I think one becomes
revitalized by a re-kindled interest in a project completed so long ago.
There's so much going on with Pick-Up it's hard to bury ones head as to
future possibilities. What's important now is to refocus once again on
some new challenge. Pick-Up deserves to be further complimented with a
follow-up story.
A million thanks to Mr. Jack Winter for taking the
time to do this interview for the PICK-UP tribute page!! A million more
thanks to him for being the man who wrote my favorite film!!
And while you're at it be sure and swing by the tribute page
here
