TNOT Inferno - Behind the Scenes

[Nydiva]

The Night of the Inferno
(Behind the Scenes)

There I was, fresh off the plane from a cold December in NYC, being hastily pinned into heavy western skirts. Just what I needed in the unaccustomed California heat. Ouch, ouch! I wanted to ouch a lot more, but I was painfully (in more ways than one) aware of the need to get on set and through the scenes as swiftly and as smoothly as feasible.

Due to my last-minute substitution, I had missed being introduced to company, participating in the table read, and watching the initial scenes. Henceforward, I was determined to be on set for EVERYTHING and learn as much as possible as quickly as possible. With many thanks to my lucky stars for the fact that I was a fast study, I was led onto the set.

I was first introduced to the director, Richard Sarafian, who was very kind when he saw what must have been a “deer in the headlights“ expression. He gave me a few helpful notes; and feeling slightly more reassured I was ready to meet my fellow performers. Richard then introduced me to the show’s two stars. Oh. My. Gawd!

Robert Conrad was simply stunning. That chiseled face, those piercing eyes - and that butt! Yes, I snuck a peek! Okay, a few!! I knew my theatre pals back in New York would turn green with envy. He gave me a dazzlingly perfect toothpaste smile; and said sotto voce to Richard, “Okay, she’s short enough.“ Then Ross Martin turned around. My only hope was that no one heard the sound of my tongue hitting the floor. That irresistible dark wavy hair, those heavenly deep crinkly eyes, and that slightly crooked grin - ulp, aimed at me. It took all of my professional willpower not to melt on the spot. I’ve always been attracted to the mature character type, and Ross was both character AND a hunk - a devastating combination.

I was given my marks, they blew dry ice over the train platform, and we were off and running. Bob seemed to tend more towards the “wing it“ method. On the first take, he caught me off guard by swinging me around so hard for the brotherly greeting that my shoe flew off. I still wish they had kept that in.

While they re-shod the embarrassed filly, Ross took the opportunity to quickly run lines with me. He appeared to be passionate about preparation and rehearsal - which suited me just fine. Though I already devised a hasty backstory for Lissa (for myself), I wasn’t sure where my character was headed at the time. Working collaboratively on character interaction is always a plus. Even at this early stage, it seemed Ross would be an enthusiastic collaborator and I was more than willing to be guided by his experience.

Ross wasn’t thrilled about the rag doll prop, which kept flopping backwards on top of him; but he played perfectly into the humor and the meeting of Artie and Lissa felt very natural and “in the moment”. One scene in and I already knew I’d learn a lot from working with him. When the scene ended, Ross presented me with the doll. Though the naughty (unspoken) thought crossed my mind that it wasn’t dolls that I wanted to play with Ross.

After a fast lunch break (which I spent working on the script) and even faster blocking, it was on to the next scene. The interior of the private train (“The Wanderer”) was ingenious and gorgeous, though somewhat of a challenge to maneuverability. Thankfully, I managed not to trip over the closely-packed furniture - or my own feet. This time.

The scene went very smoothly. I particularly liked Lissa’s sassy attitude (which mirrored the theatrical role that won me the part). I saw her as an intelligent, confident young woman who knew when to follow orders and when to follow her own judgment. I sent silent but fervent thanks to Michael Garrison (the series’ creator) and Gilbert Ralston (the angel of a writer who so quickly adapted the original, more femme fatale, role into the kind of character I loved to play and could grow with).

Before I knew it, “cut and print” was called. Two takes plus the pick-up (close up and angle) shots. Impressive. I can only give credit for my part of the performance to the sheer adrenaline still coursing through me. They were almost back on schedule. For the first time in days, I had a little breather and could simply observe the next scene (with Bob Conrad).

I was amazed as I watched Bob “load up” for action. The sheer volume and cleverness of all those weapons - both hidden and on display. Apart from the sleeve derringer getting stuck during one take, it was like watching choreography with weapons. Bob liked the scene, too - no dialogue except for a word to the pigeons.

The day was wrapped and it was time to collapse at the hotel the production company had booked. I had lingered a while, introducing myself to staff and crew as they departed; but when I got to the gate, no car. They had dropped off my luggage earlier in the day, but forgot to come back for me! I stood at the nearly-deserted studio gate, exhausted, stomach audibly growling, and close to tears. The guard was leafing through the phone book trying to locate a car service, when Ross pulled up in full armor on a white horse. Okay, it was a tan sweater and a dark blue convertible - but you could have fooled me.

Ross was livid that my travel arrangements had been overlooked. Especially since I looked pretty wilted and upset by that time. But he was so sexy when he was mad - though I’d never want that anger directed at me! He scooped me up into his car and off we drove into the sunset. Didn’t I wish! LA flew by in a blur (he WAS going rather fast) and soon we pulled up at my hotel. As I was trying to thank him gracefully, my stomach interrupted.

“You haven’t even eaten, have you?” I gave a stricken nod. “I know a great little Italian place about 10 minutes from here. Let me give you a proper welcome to LA.” Does anyone for a moment believe I said no?! The restaurant was just like a scene out of Lady and the Tramp - concertina player and all! I wanted to order the spaghetti...and...no, better not.

Ross was a wonderful host and a great raconteur. My tension from the day dissolved in gales of laughter at his stories, told in a dizzying array of dialects. I also had a few “war stories” from the theatre and was thrilled that I had him going at times. It gave us a chance to get acquainted and I think he truly enjoyed having someone with a New York background to kibitz with. (Ross was a transplanted New Yorker himself.)

I was on the verge of nodding off after nursing one glass of wine (I’m pretty much a lightweight), so Ross gallantly escorted me to the hotel door, promising to pick me up the following morning. I fell asleep with the script on my chest and a huge smile on my lips.

Before I knew it, the phone was ringing incessantly. Thank goodness for wake-up calls - if you could call my state of consciousness awake! Ross had a 7 a.m. call and, although I wasn’t in the first scenes being filmed that morning, I assured him that I wanted to be on set to observe and learn. I could also use free time to study lines and make initial calls to check out apartments (if, hopefully, the series got picked up).

Ross had a quick scene with Bob (Conrad) first and they plunged right in. Bob was very straightforward (and perhaps a little stoic) with his role; but Ross was doing small bits of business with a water dipper, which helped me realize how just how effective small nuances on camera could be. Afterwards, Ross disappeared back into makeup with coffee cup firmly gripped in hand. He wouldn’t let me in - said he wanted it to be a surprise.

I ambled over to the set, exchanged pleasantries with Richard (Sarafian, the director) and Bob. Sitting over in the corner, was a large man in full Chinese garb; he had these long nails which really creeped me out. Then Bob told me it was the very fine actor, Victor Buono. Wow! Was I in good company! Regretfully, I didn’t have any scenes with him, but I would have been a fool to miss the opportunity to make his acquaintance. He was charming, funny and perhaps just a bit imperious.

As I found a seat in the background, a woman dressed in period costume emerged from wardrobe. She was so stunning that I longed to race into the makeup trailer and BEG them to do anything they could to bolster my ego. I guessed that she would be playing Lydia Monteran and started dreading the scene we would have together. But Suzanne Pleshette was an utter sweetheart; and after chatting, we decided the contrast in our characters would work well. Nonetheless, I was grateful that hers was a guest role and I that wouldn’t have to be compared to such a gorgeous woman every episode (little did I realize the pattern which would emerge).

The scenes with Bob, Victor and Suzanne proceeded apace. I was so glad I got the chance to watch (particularly Suzanne’s graceful movements in her flowing costume). Some of the extras were also watching, and one in particular seemed to be leering at me. He was a short, stooped, greasy-looking fellow with a sombrero pulled way down over his eyes. He kept sidling closer and closer...and uncomfortably closer. I was about to bolt for safety, when he straightened up, lifted the hat’s brim and winked! Now I KNEW Ross was supposed to appear in disguise, but he was so devious about it, he fooled me.

After lunch (and this time I grabbed a fast sandwich), I was called over to makeup and costume. I swear, every pin that found its way into me the day before found the same spot again.

My first shot of the day was an easy one. Just stand in the shadows, back to camera. Then came a quick one-on-one with Bob. The director ran over the scene with us. Bob seemed to prefer learning his dialogue on the fly, but it certainly worked for him.

To my chagrin, my dress snagged on a bush at my first entrance. Oh, how I hated to be the cause for a “cut”. Out of habit, I vented my frustration with a phrase from How To Succeed: “Damn, damn, coal burning, dithering ding, ding, ding“. It was so silly that it became a catch phrase with the cast backstage in New York, but it was new to the West Coast. Bob laughed so hard, I thought they’d have to resuscitate him. Fortunately, we were able to go right through the next take. As soon as they yelled “cut”, Bob was off in gales of laughter again. He insisted that I teach everyone the phrase!

During the break to reposition the cameras, I had a quick word with the director, just before Ross came over to get his marks for the shot. As the scene called for, his back was to me and I was to come up from behind and surprise him. Which I did. He turned around and I was wearing his sombrero and mustache. I’m eternally grateful to the director for allowing me to take that moment in rehearsal to give tit for tat!

If I thought Bob was a laugher, Ross was literally (and I do mean physically) on the ground. After he caught his breath, he threw his arm around my shoulders and said “Ladies and gentlemen: I’ve finally found someone as sneaky as me.” The scene went like a dream, with Ross tapping into the moment of surprise and me projecting renewed confidence.

Thus the day ended on a high note. Where had the time gone? We had been there for 12 hours. I bade friendly goodnights, feeling much more assured than on the first day (whenever I can make people laugh I feel better). My car had decided to show up this time (when I called to confirm, I gathered that the service got a good reaming out about their prior lapse - and I suspected Ross had a hand in it).

Another day, and a complete change of sets. There were tunnels, cellars, arsenals; the set was a complete (and impressive) maze. They were trying a push to wrap the pilot that day. As I waited for my makeup and costume call, Suzanne came over and we companionably enjoyed breakfast while critiquing the attributes of the male population of the set.

I hadn’t realized just how much of an athlete Bob Conrad was. The scene called for him to leap up to a beam and swing himself over a snake pit. Bob seemed to relish any excuse to display his physical prowess. I swear he did two extra takes just to show off. Ross, on the other hand, preferred to use a stunt double, as I planned to do for any athletically-inclined scenes. I certainly was willing to do simple feats (as was Ross), but I don’t think anyone could be as fearless (perhaps even foolhardy at times) as Bob. But he certainly was poetry in motion.

The next setup was with Bob and Suzanne. It took a while since Richard (the director) wanted to run over the dialogue with Bob. It was getting close to my makeup/costume call, but I managed to stay through the scene. Especially since it meant seeing Suzanne’s expression when Bob gave her a boot in the rear. That was definitely impromptu.

While getting into my character’s accoutrements, I missed watching the scenes where Bob and Suzanne were captured by Juan Manolo (from what I could hear, played to a fever pitch by Nehemiah Persoff).

Then came the bang, bang, shoot-em-up time. Now, I was very unused to guns; and let me tell you, even blanks are l-o-u-d and scary. Bob was happily dispatching the very talented stuntmen, and Ross and Suzanne were pinned down behind barrels. I was to dash over and throw myself down beside Ross once he got “hit”. We rehearsed the action - once.

I ran down the tunnel to a cacophony of shots. It was so unnerving, that I slid down with too much force, knocking Ross’s head against the barrel. Thank goodness that was the point they were going to cut the scene to apply a fake “bullet graze”.

I don’t know how much of it was the character of Lissa lingering or how much was me, but for a few, brief (delicious) moments, I was holding Ross‘s head, kissing him on the forehead, and apologizing profusely. The knock on the head actually wasn’t all that bad, and Ross said to think nothing of it (though he wasn‘t stopping either my kisses or apologies). But in the future, I intended to be vehement about having MORE rehearsals!

The remainder of the scene (the capture of Juan Manolo) went as planned. I hadn’t gotten much of a chance to speak with Nehemiah, but he was kind enough to throw a bit of attention to Lissa by leering at her while he was handcuffed by Ross (Artie). It must have been my mentioning that I had seen him in Tiger at the Gates on Broadway when I was a child. He was amazed that I had been fascinated by a show about the Trojan War even then.

As much as the director had wanted to finish filming that day, realistically there was a good five hours’ work left to go and it was already past 8 pm. So we broke for the day. Still agonizing about accidentally hitting Ross, I asked if I could treat him to dinner. Thank goodness he didn’t think I was too forward; he agreed (“You bet!“) with flattering speed. We went to that same, lovely restaurant, which I was beginning to think of as “our” place; and talked, and laughed, and completely messed up my equilibrium! Darn those soulful, melting chocolate-brown eyes! And darn that wicked wit. Ross decided to match his dialect to the restaurant and spent most of the evening speaking to me in pidgin Italian. He was amazing.

It was the last day of shooting, all of which was in or near the train. As usual, Richard was on set first, working with Bob. Then Nehemiah, and later Victor (after his huge makeup session), joined them.

A brief (everything was brief and hurried; time is money on sets) run through of the action ensued, and then Nehemiah was duly trussed up for his scene. First Bob accidentally bopped Nehemiah on the head with the globe, the next time it landed on a more personal space. I was stifling giggles and grateful that I wasn’t the only one who could klutz out. Bob. Who’d have thought it? But perfect on the third take.

Victor came on for his scene. For a placid man, he certainly was chilling on camera. It was a rather long (and dialogue heavy) scene. But with the clock ticking, they made sure to get it in as few takes as possible. When Bob threw the cue/sword at Victor, a crewmember was squeezed under the pool table and stuck the truncated sword into Victor’s chest so they could keep rolling. Very clever.

While they prepared the interior of the train for the final scene, Ross, Suzanne and I filmed the exterior shot. To everyone’s frustration, the horse hitched to the wagon didn’t want to stop at the assigned spot. To top it off, he must have had a big breakfast because he left big reminders of it during all the takes. Try acting while you’re attempting NOT to gag! But we finally got through. When the A.D. (Assistant Director) yelled “Cut” and added “That wasn’t so bad”, Ross’s reply was a pithy “Horsepile of excrement!” We were all glad to get back to interior shooting.

Suzanne and I dashed over to wardrobe for a last costume change. They had put us in nearly identical dresses, so why did hers look so much better than mine?! Bob really enjoyed ripping off the high collar on Suzanne‘s dress. He did it with such a devilish gleam in his eyes that I was grateful my dress didn’t have the tear-away top as well. I was definitely attracted to Ross, but Bob wasn’t exactly the ignorable type!

It was so lovely exchanging those amused glances with Ross that capped the end of the scene. We both were thinking back to dinner last night, so it felt very comfortable. Except on my pick up shot (the close-up) where Ross wiggled his eyebrows so furiously, I thought I’d break up for sure. I would have loved to do the same to him, but my eyebrows weren’t nearly as talented!

Cut and print. The last scene was in the can and I felt like crying. What an journey! Despite budding homesickness pangs, I didn’t want it to end. It was an amazing learning experience, a welcome challenge and a wonderful stretch. Exactly what I needed to grow as an actress. To cap off my joy, we were informed that there was room on CBS’s schedule for the show. In a little less than six months, we’d be back on set.

The next few months before filming resumed would be a series of ups and downs (in other words, show biz). But after this, I was game for anything!