| North and South Miniseries |
A couple of years ago while searching "North and South" online I came across an account of someone who was the engineer of the train that James Read
was on before being sent to prison.
The website had his account and three pictures. I printed off the account for my notebook and have sense went back to that site to try to talk to the author
about using the material on this site.
I have received permission from the owner of these photos and story to use them on my website. The kind gentleman's name is Tony Reed and he lives in
Little Rock, Arkansas.
was on before being sent to prison.
The website had his account and three pictures. I printed off the account for my notebook and have sense went back to that site to try to talk to the author
about using the material on this site.
I have received permission from the owner of these photos and story to use them on my website. The kind gentleman's name is Tony Reed and he lives in
Little Rock, Arkansas.
It was December 1985. The film crew arrived on time and I thought all we had to do was shoot some exteriors. We had prepared the locomotive and four
cars for the day of filming and were waiting on the film crew to get ready. Mark Wolper (David Wolper's son) wanted to meet the engineer. After talking
with me about what we had to do that day, he told me I would have a speaking part in the film. Although nervous, I agreed. So, it was off to wardrobe.
Little did I know my costume had been in the bottom of an unheated bus. Then it was off to makeup. Some spray-on grease and dirt was enough to do
the trick. By that time everything and everybody had been loaded on the train. I came out of makeup to see cannons, ammunition muzzle loaders, and
civil war soldiers on the train. We were ready to go. After checking with the director, I whistled off and we were headed deep into the woods. About 2
miles into the trip the director decided this was the place to do the shot. All the camera and sound equipment was unloaded beside the track. The first
order of business was a run-by shot. This consisted of cameras placed in various locations in the woods away from the train. After about 30 minutes I
was given a radio and told they were ready. I backed up about ½ mile and told them "Here I come! ”Unfortunately, it was slightly uphill, the track was
slippery and I didn't get going fast enough. I tried again and again, with no success! They continued to roll cameras, but I was becoming frustrated
because I really wanted to put on a good show. At that point, I talked to the director and explained the situation to him. He told me to do whatever I
thought to get the shot. I climbed back in the cab and backed up about 1 ½ miles down a long straight stretch. There were two Union soldiers holding
muzzle loaders riding on the front of the locomotive, and I told them they had better hold on! I whistled off and told the film crew to be ready.
After reaching considerable speed, the Union soldier on my side of the locomotive grabbed a handrail and looked back at me with considerable
concern! When we reached the main location of filming, I was going about 50 mph and those soldiers were hanging on for dear life! I passed the
cameras, and went around a curve with the throttle almost wide open! I backed up and stopped where everyone was waiting, just in time to here the
director shout "Cut, Print & Save!" He was smiling from ear to ear when he shook my hand. By the way, James Read loved this entire ordeal. He kept
asking questions about the locomotive. They also got a few shots from under bridges as we passed over. Then we did the scariest thing I have ever
been a part of as a steam locomotive engineer. A cameraman laid down tight beside the track with his camera, so they could get a shot of the
locomotive wheels as they passed by. As I approached him at considerable speed, I had to reverse the locomotive, so as to spin the wheels in reverse.
When I reached my mark, he was so close to the wheels I couldn't see him! I sure was glad to finish that scene. Finally, it was lunch time, so we headed
back to the loading area.
On our way back, the director rode with me in the cab. I guess he saw the sound man trying to adjust something, so he grabbed the whistle and
showered down on it! The sound man apparently failed to see the humor in this. He took off his headphones rather quickly and put down his equipment.
While we ate, the horses were loaded and the Confederate soldiers prepared for their scene. Off to the side, the "Bomb Squad" prepared their goodies.
Again we were headed back in the woods. After reaching the main filming location, we waited while the "Bomb Squad" got set up. There were, one in
front of the train, and one behind. These bombs consisted of I gallon of gas, ignited with an electric match. When we approached, they would set off the
first bomb. As we tried to get away in reverse, the Confederates chased us on horseback and a small battle of sorts would take place. I was unaware at
the time that soldiers were falling off the train as they pretended to get shot.
After a couple of minutes of shooting, they would set off the other bomb behind us, and I would bring the train to a sudden stop. It was within this scene,
that my interior scene with James Read was to take place the next day. The director asked me how fast could I go in reverse. I told him that I could
outrun the horses. He said, "No No" the horses have to catch the train. Just before we began, he came to me again and said that if I missed my mark for
reversing the train; I might just "barbecue" the soldiers on the front of the locomotive! We did this scene many times to get different points of view. We
must have set off 30 bombs that day! I don't know how the soldiers on the front of the locomotive took it. When those bombs went off you could really
feel the shock and it would scatter fire everywhere. I remember many times after the director would signal a "cut", we would all have to run out into the
woods and put out the fires! I don't think there was ever any danger because of the many extras working on the project. After finishing this scene, we
were done for the day. We had filmed from sunup to sundown. I sure was glad to head back with everyone and everything safe and sound. A small
miracle in itself! Finally, I could relax a little bit.
On the way back, the director just had to blow that whistle again. This time, the sound man was ready for him. The next day, it was time to film the
interior scenes. Before leaving out, James Read and the other actors practiced the capture scene at the depot. After going through makeup and
wardrobe again we were headed back into the woods. The first scene begins with James Read (The Union General), my stunt fireman, and myself in the
cab of the locomotive. We filmed several angles of the three of using various locations to get close-ups to be inserted in the main scene later. That was
fine, no pressure. As they prepared for the dialogue scene, I worked on memorizing my lines. I think at first, they were a little worried about me reading
my lines. After all, they had committed me in the film without knowing if I could even act. The director asked me how I felt about the lines. I said that I
could do them, but one of them was not accurate. The script was as follows: James Read gets up from the fireman's side of the locomotive and passes
the fireman to come over behind me. I say, "Clear sailing ahead General, we ought to reach the junction long before dark." To which James Read
replies, "While you're taking on fuel and water, I'll wire General Grant and we'll be on our way." James Read checks his troops over the back of the
locomotive, and then returns to his seat. After a few seconds pass and the first explosion takes place, James Read was to shout over to me, "Ambush,
brakes!" I told the director and James Read that locomotives of that era did not have brakes. They had to reverse the locomotives to slow them down.
He asked what would I say in that situation. I said, "Ambush, back it up." He changed the line on the spot. We filmed this scene many , many times.
I thought each take was pretty much the same, except for one. During one take, after delivering our lines, James Read slaps me on the left shoulder.
This caught me off guard and I felt like I jumped a foot high! Apparently I didn't because that's the take they used. During this scene there were many
crew workers on the locomotive and it was becoming quite noisy between takes. At one point the director became frustrated and ordered everyone who
was not an actor to get off the locomotive. I closed the throttle, set the brake and began to get up to leave. He asked where I was going. I told him, "I'm
getting off the locomotive."
He replied, "No, no, you're an actor!"
After quieting down, it was back to work. While the crew adjusted the lights and sound, James Read and I would sit and chat. He seemed to be very
interested in how a steam locomotive functioned. Once, while I was explaining how something worked to someone else, I turned around and he was right
over my shoulder. Next, was the fight scene. As we are backing up, a confederate soldier climbs up in the locomotive and gets in a hand-to-hand fight
with James Read. This was filmed from several angles in the cab. As the two actors fought, they made their way to the steps of the locomotive. After
struggling on the side of the locomotive, they fall to the ground. James Read did most of this scene. The stunt double did the part where the
confederate soldier pushed him into the side of the tender, (filmed from behind.) and the actual fall to the ground.
One interesting note about the stunt double for James Read: They forgot his beard, so they had to get some wool, die it black and glue it on. It was a
rush job. If you look close, it actually has a blue tint! After the fight on the ground, a Confederate general rides up on horseback. They deliver their
lines, and then James Read is taken prisoner. This scene was originally shot differently than it finally appeared in the series. After the second
explosion, the train comes to a stop (filmed the previous day) and the confederate general rides from the rear of the train to the front on my ride. When
he approaches the locomotive, I am in the cab window with my hands up acting scared. As he passes, he shoots me with his revolver and I fall to the
floor of the cab. This was my big death scene. It was about a four-foot fall to a very hard metal floor, and I didn't have a stunt double! We set up this
shot at least a dozen times. Each time it got a little more painful. The shot was going fine, but in the end they thought it was a little too "cold blooded."
During the dialogue scene on the ground between the Confederate general and James Read, I got off the locomotive and finally got to watch them film
from behind the cameras. (I also needed a rest!) They would set up differently between every take, change the lines slightly, and then shoot it again. As
the locomotive sat there as their backdrop, it would build up steam pressure and it would get louder. This was causing problems for the sound crew.
The director asked me why this was happening and if there was any way to make a steam locomotive be quite. I explained that because the locomotive
was sitting still with a large fire in the firebox, it was constantly building up steam pressure. So, every few minutes we would delay shooting to release
pressure from the boiler.
The last shot was the fall of my stunt fireman from the locomotive to the ground when he gets shot. This scene was shot from only two angles, from the
locomotive tender, and from farther back on the train. The stunt coordinator and the director agreed that this should be done in one take because of
the danger involved. Before the actual shot, we stopped the train in the area where he was to take the fall. Everyone involved got off the engine and
looked the area over for potential dangers. After clearing all the sticks and debris from the area where he would land, we made a practice run without
the fall. During this scene the director and the stunt coordinator agreed that the stunt man and myself were in charge now. I would have to duplicate my
speed exactly for the actual shot, and the stunt man's timing would have to be near perfect! As we did the scene, the director and stunt coordinator
were riding on the tender behind the main camera. The stunt man wasn't to take the fall, until I signaled the speed was right. I told him to be sure and
clear the locomotive or it would be the last fall he would ever take! As we approached the fall area, the cameras were rolling and the stunt man was
firing his gun. I knew I had the speed right, so I nodded to the director. The director said "Bang" and the stunt man acted as if he was hit, then fell off
the locomotive while we were reverse at high speed. When this scene was actually done there was no one shooting back at him!
One interesting thing to look for in the "backing, up scene": As we begin backing up, we are in a sweeping curve, when the stunt man takes his fall we
are in a straight stretch, as the scene ends we are back in the original curve. All done with editing! Another thing to look for is the ice on top of the
water. Because of the freezing temperatures overnight, there was a thin layer of ice on top of the water. When the shot is over, we immediately go back
after him. As we approach, he is getting out of the water, wet and cold, but unhurt. We did it in one take! As we headed back to the loading area" the
sound man continued recording to get more train sounds.
After arriving, everyone relaxed while discussing the past few days shooting. Everyone began packing up their gear, so I shut the locomotive down for
the day. I turned in my costume and my gloves. It had been another very long day. The shooting had come to an end.
Someone from Mark Wolper's staff told me they would compensate me for my acting work. Thinking that it wouldn't be very much, I said OK. (I would
have done it for free!) I talked to James Read once more and said my good-byes. He was the nicest person you would ever want to meet. I first met him
when we filmed the train scenes for North & South part 1, but this time I got to know him. It's very different when you have an acting part with someone!
Of all the actors in the project, I was glad I got to do a scene with him! He is a CLASS ACT!
About a month later, I received my contracts in the mail. One contract was for my acting, one was for the actual work that I did, and one was for the
Screen Actors Guild. Apparently, I had to be a member of the Guild before they could use my image. A few months later, the local ABC station called
and asked if I would like to see my scene, as it would appear in the series. They were doing a piece on the filming of the series in Arkansas. They gave
me a sneak preview in exchange for an interview. When the series aired, I think everyone I knew was watching. I am really proud of how it turned out.
But, it seems a bit unreal. I guess because of all the things I remember behind the scenes. It's now almost 15 years later, and I still get checks from
Warner Brothers and Wolper Productions when the series runs overseas or on cable. I must say they pay very well, but the most valuable thing I got
from that experience, is the lasting memories I will cherish forever!
This information originally came from on 07/08/2001 http://user.icx.net/`pbaldwin/nsscenes3.html
cars for the day of filming and were waiting on the film crew to get ready. Mark Wolper (David Wolper's son) wanted to meet the engineer. After talking
with me about what we had to do that day, he told me I would have a speaking part in the film. Although nervous, I agreed. So, it was off to wardrobe.
Little did I know my costume had been in the bottom of an unheated bus. Then it was off to makeup. Some spray-on grease and dirt was enough to do
the trick. By that time everything and everybody had been loaded on the train. I came out of makeup to see cannons, ammunition muzzle loaders, and
civil war soldiers on the train. We were ready to go. After checking with the director, I whistled off and we were headed deep into the woods. About 2
miles into the trip the director decided this was the place to do the shot. All the camera and sound equipment was unloaded beside the track. The first
order of business was a run-by shot. This consisted of cameras placed in various locations in the woods away from the train. After about 30 minutes I
was given a radio and told they were ready. I backed up about ½ mile and told them "Here I come! ”Unfortunately, it was slightly uphill, the track was
slippery and I didn't get going fast enough. I tried again and again, with no success! They continued to roll cameras, but I was becoming frustrated
because I really wanted to put on a good show. At that point, I talked to the director and explained the situation to him. He told me to do whatever I
thought to get the shot. I climbed back in the cab and backed up about 1 ½ miles down a long straight stretch. There were two Union soldiers holding
muzzle loaders riding on the front of the locomotive, and I told them they had better hold on! I whistled off and told the film crew to be ready.
After reaching considerable speed, the Union soldier on my side of the locomotive grabbed a handrail and looked back at me with considerable
concern! When we reached the main location of filming, I was going about 50 mph and those soldiers were hanging on for dear life! I passed the
cameras, and went around a curve with the throttle almost wide open! I backed up and stopped where everyone was waiting, just in time to here the
director shout "Cut, Print & Save!" He was smiling from ear to ear when he shook my hand. By the way, James Read loved this entire ordeal. He kept
asking questions about the locomotive. They also got a few shots from under bridges as we passed over. Then we did the scariest thing I have ever
been a part of as a steam locomotive engineer. A cameraman laid down tight beside the track with his camera, so they could get a shot of the
locomotive wheels as they passed by. As I approached him at considerable speed, I had to reverse the locomotive, so as to spin the wheels in reverse.
When I reached my mark, he was so close to the wheels I couldn't see him! I sure was glad to finish that scene. Finally, it was lunch time, so we headed
back to the loading area.
On our way back, the director rode with me in the cab. I guess he saw the sound man trying to adjust something, so he grabbed the whistle and
showered down on it! The sound man apparently failed to see the humor in this. He took off his headphones rather quickly and put down his equipment.
While we ate, the horses were loaded and the Confederate soldiers prepared for their scene. Off to the side, the "Bomb Squad" prepared their goodies.
Again we were headed back in the woods. After reaching the main filming location, we waited while the "Bomb Squad" got set up. There were, one in
front of the train, and one behind. These bombs consisted of I gallon of gas, ignited with an electric match. When we approached, they would set off the
first bomb. As we tried to get away in reverse, the Confederates chased us on horseback and a small battle of sorts would take place. I was unaware at
the time that soldiers were falling off the train as they pretended to get shot.
After a couple of minutes of shooting, they would set off the other bomb behind us, and I would bring the train to a sudden stop. It was within this scene,
that my interior scene with James Read was to take place the next day. The director asked me how fast could I go in reverse. I told him that I could
outrun the horses. He said, "No No" the horses have to catch the train. Just before we began, he came to me again and said that if I missed my mark for
reversing the train; I might just "barbecue" the soldiers on the front of the locomotive! We did this scene many times to get different points of view. We
must have set off 30 bombs that day! I don't know how the soldiers on the front of the locomotive took it. When those bombs went off you could really
feel the shock and it would scatter fire everywhere. I remember many times after the director would signal a "cut", we would all have to run out into the
woods and put out the fires! I don't think there was ever any danger because of the many extras working on the project. After finishing this scene, we
were done for the day. We had filmed from sunup to sundown. I sure was glad to head back with everyone and everything safe and sound. A small
miracle in itself! Finally, I could relax a little bit.
On the way back, the director just had to blow that whistle again. This time, the sound man was ready for him. The next day, it was time to film the
interior scenes. Before leaving out, James Read and the other actors practiced the capture scene at the depot. After going through makeup and
wardrobe again we were headed back into the woods. The first scene begins with James Read (The Union General), my stunt fireman, and myself in the
cab of the locomotive. We filmed several angles of the three of using various locations to get close-ups to be inserted in the main scene later. That was
fine, no pressure. As they prepared for the dialogue scene, I worked on memorizing my lines. I think at first, they were a little worried about me reading
my lines. After all, they had committed me in the film without knowing if I could even act. The director asked me how I felt about the lines. I said that I
could do them, but one of them was not accurate. The script was as follows: James Read gets up from the fireman's side of the locomotive and passes
the fireman to come over behind me. I say, "Clear sailing ahead General, we ought to reach the junction long before dark." To which James Read
replies, "While you're taking on fuel and water, I'll wire General Grant and we'll be on our way." James Read checks his troops over the back of the
locomotive, and then returns to his seat. After a few seconds pass and the first explosion takes place, James Read was to shout over to me, "Ambush,
brakes!" I told the director and James Read that locomotives of that era did not have brakes. They had to reverse the locomotives to slow them down.
He asked what would I say in that situation. I said, "Ambush, back it up." He changed the line on the spot. We filmed this scene many , many times.
I thought each take was pretty much the same, except for one. During one take, after delivering our lines, James Read slaps me on the left shoulder.
This caught me off guard and I felt like I jumped a foot high! Apparently I didn't because that's the take they used. During this scene there were many
crew workers on the locomotive and it was becoming quite noisy between takes. At one point the director became frustrated and ordered everyone who
was not an actor to get off the locomotive. I closed the throttle, set the brake and began to get up to leave. He asked where I was going. I told him, "I'm
getting off the locomotive."
He replied, "No, no, you're an actor!"
After quieting down, it was back to work. While the crew adjusted the lights and sound, James Read and I would sit and chat. He seemed to be very
interested in how a steam locomotive functioned. Once, while I was explaining how something worked to someone else, I turned around and he was right
over my shoulder. Next, was the fight scene. As we are backing up, a confederate soldier climbs up in the locomotive and gets in a hand-to-hand fight
with James Read. This was filmed from several angles in the cab. As the two actors fought, they made their way to the steps of the locomotive. After
struggling on the side of the locomotive, they fall to the ground. James Read did most of this scene. The stunt double did the part where the
confederate soldier pushed him into the side of the tender, (filmed from behind.) and the actual fall to the ground.
One interesting note about the stunt double for James Read: They forgot his beard, so they had to get some wool, die it black and glue it on. It was a
rush job. If you look close, it actually has a blue tint! After the fight on the ground, a Confederate general rides up on horseback. They deliver their
lines, and then James Read is taken prisoner. This scene was originally shot differently than it finally appeared in the series. After the second
explosion, the train comes to a stop (filmed the previous day) and the confederate general rides from the rear of the train to the front on my ride. When
he approaches the locomotive, I am in the cab window with my hands up acting scared. As he passes, he shoots me with his revolver and I fall to the
floor of the cab. This was my big death scene. It was about a four-foot fall to a very hard metal floor, and I didn't have a stunt double! We set up this
shot at least a dozen times. Each time it got a little more painful. The shot was going fine, but in the end they thought it was a little too "cold blooded."
During the dialogue scene on the ground between the Confederate general and James Read, I got off the locomotive and finally got to watch them film
from behind the cameras. (I also needed a rest!) They would set up differently between every take, change the lines slightly, and then shoot it again. As
the locomotive sat there as their backdrop, it would build up steam pressure and it would get louder. This was causing problems for the sound crew.
The director asked me why this was happening and if there was any way to make a steam locomotive be quite. I explained that because the locomotive
was sitting still with a large fire in the firebox, it was constantly building up steam pressure. So, every few minutes we would delay shooting to release
pressure from the boiler.
The last shot was the fall of my stunt fireman from the locomotive to the ground when he gets shot. This scene was shot from only two angles, from the
locomotive tender, and from farther back on the train. The stunt coordinator and the director agreed that this should be done in one take because of
the danger involved. Before the actual shot, we stopped the train in the area where he was to take the fall. Everyone involved got off the engine and
looked the area over for potential dangers. After clearing all the sticks and debris from the area where he would land, we made a practice run without
the fall. During this scene the director and the stunt coordinator agreed that the stunt man and myself were in charge now. I would have to duplicate my
speed exactly for the actual shot, and the stunt man's timing would have to be near perfect! As we did the scene, the director and stunt coordinator
were riding on the tender behind the main camera. The stunt man wasn't to take the fall, until I signaled the speed was right. I told him to be sure and
clear the locomotive or it would be the last fall he would ever take! As we approached the fall area, the cameras were rolling and the stunt man was
firing his gun. I knew I had the speed right, so I nodded to the director. The director said "Bang" and the stunt man acted as if he was hit, then fell off
the locomotive while we were reverse at high speed. When this scene was actually done there was no one shooting back at him!
One interesting thing to look for in the "backing, up scene": As we begin backing up, we are in a sweeping curve, when the stunt man takes his fall we
are in a straight stretch, as the scene ends we are back in the original curve. All done with editing! Another thing to look for is the ice on top of the
water. Because of the freezing temperatures overnight, there was a thin layer of ice on top of the water. When the shot is over, we immediately go back
after him. As we approach, he is getting out of the water, wet and cold, but unhurt. We did it in one take! As we headed back to the loading area" the
sound man continued recording to get more train sounds.
After arriving, everyone relaxed while discussing the past few days shooting. Everyone began packing up their gear, so I shut the locomotive down for
the day. I turned in my costume and my gloves. It had been another very long day. The shooting had come to an end.
Someone from Mark Wolper's staff told me they would compensate me for my acting work. Thinking that it wouldn't be very much, I said OK. (I would
have done it for free!) I talked to James Read once more and said my good-byes. He was the nicest person you would ever want to meet. I first met him
when we filmed the train scenes for North & South part 1, but this time I got to know him. It's very different when you have an acting part with someone!
Of all the actors in the project, I was glad I got to do a scene with him! He is a CLASS ACT!
About a month later, I received my contracts in the mail. One contract was for my acting, one was for the actual work that I did, and one was for the
Screen Actors Guild. Apparently, I had to be a member of the Guild before they could use my image. A few months later, the local ABC station called
and asked if I would like to see my scene, as it would appear in the series. They were doing a piece on the filming of the series in Arkansas. They gave
me a sneak preview in exchange for an interview. When the series aired, I think everyone I knew was watching. I am really proud of how it turned out.
But, it seems a bit unreal. I guess because of all the things I remember behind the scenes. It's now almost 15 years later, and I still get checks from
Warner Brothers and Wolper Productions when the series runs overseas or on cable. I must say they pay very well, but the most valuable thing I got
from that experience, is the lasting memories I will cherish forever!
This information originally came from on 07/08/2001 http://user.icx.net/`pbaldwin/nsscenes3.html
 |  |  |  |  |  |  |
I was an extra in N & S I in 1985 during the filming in Camden, Arkansas. I was City Manager of that City at that time.
I am very visible in Episode 1 in the train scene with Orry and George are on their way to West Point (the tearing the dollar scene). I have about five
minutes of camera time sitting behind Orry. My wife still contends that I overacted but I was following direction.
I was on the set for 3 days. It was in July and incredibly hot. The local extras reported for work at a local school at 4:30 am for wardrobe and we were
on the set until about 6 PM. We were taken to the filming location in school buses. We were paid minimum wage.
I do remember that the catered food on the set was fantastic,
Parents brought their starstruck children to Camden from hundreds of miles away trying to get them in the filming. They were furious when the
producers told them that the children's parts were minimal in the film.
There were many local residents of South Arkansas that I remember that are visible in several scenes, primarily centered around trains and train
stations.
I watched the John Brown raid scene with Johnny Cash being filmed but I was not in that scene.
I did see myself (somewhat cropped) in the train scene in a still on another N & S fan site.
I did meet most of the primary actors in the miniseries in Arkansas. most were very friendly and accomodating, especially Patrick S.
I saw Patrick S. faint a couple of times from the heat on the set. The heat was almost unbearable, especially for the Hollywood folks who were not
used to it.
The primary reason for the filming in Arkansas was the presence of the Reader Railroad, an operating steam locomotive and tourist passenger train
that was authentic and operated just outside of Camden, Arkansas on an old logging track system. The Arkansas Film Commission had a major
influence in convincing Wolper to film in Arkansas. The crew actually built a large plywood train station over the existing tracks. The scenes where it
looked like a train was pulling into a station were filmed there. It didn't look like plywood on the inside.
The production crew did film a couple of other scenes in the Camden area, but I was not present for those.
The heat inside the plywood station on a summer afternoon from the climate, the large number of actors and extras, the heat from the steam
locomotive, the lights, and the very heavy wool costumes was terrific. The crew had set up large fans off camera to cool everyone off and large
containers of ice water and cold lemonade. I vividly remember K. Alley standing in front of one of the fans and pulling up her skirt to cool off.
I remember attending a cast picnic with some of the stars and crew and all of the locals who worked on the series at a local state park when the
filming was over. I played softball with some of the actors and crew.
Historical acccuracy was a major concern of the producers. During the train scene mentioned above, Patrick S. asked if he and James R. could
remove their heavy wool coats on the train and sit in shirtsleaves. The director had to consult the historical advisor if that would have been
appropriate in the late 1830's for a gentleman to sit on a train without a coat. The answer was "if it was this hot." At that point, all the men on the train
took off their coats. Unfortunately, the women couldn't remove any clothing, because they were dying in the heat. We were on the train about 2 1/2
hours to film that scene from every possible angle. I enjoyed seeing the techniques of moviemaking from the inside.
I was thrilled and excited on the night of the premiere in November, 1985. Of course, I have watched N & S, especially Episode I, many times since.
One of the biggest thrills is in the credits, when the producers express their appreciation to the people of Camden and Ouachita County, Arkansas.
I'll always be a fan of the show since it was part of my life.
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I am very visible in Episode 1 in the train scene with Orry and George are on their way to West Point (the tearing the dollar scene). I have about five
minutes of camera time sitting behind Orry. My wife still contends that I overacted but I was following direction.
I was on the set for 3 days. It was in July and incredibly hot. The local extras reported for work at a local school at 4:30 am for wardrobe and we were
on the set until about 6 PM. We were taken to the filming location in school buses. We were paid minimum wage.
I do remember that the catered food on the set was fantastic,
Parents brought their starstruck children to Camden from hundreds of miles away trying to get them in the filming. They were furious when the
producers told them that the children's parts were minimal in the film.
There were many local residents of South Arkansas that I remember that are visible in several scenes, primarily centered around trains and train
stations.
I watched the John Brown raid scene with Johnny Cash being filmed but I was not in that scene.
I did see myself (somewhat cropped) in the train scene in a still on another N & S fan site.
I did meet most of the primary actors in the miniseries in Arkansas. most were very friendly and accomodating, especially Patrick S.
I saw Patrick S. faint a couple of times from the heat on the set. The heat was almost unbearable, especially for the Hollywood folks who were not
used to it.
The primary reason for the filming in Arkansas was the presence of the Reader Railroad, an operating steam locomotive and tourist passenger train
that was authentic and operated just outside of Camden, Arkansas on an old logging track system. The Arkansas Film Commission had a major
influence in convincing Wolper to film in Arkansas. The crew actually built a large plywood train station over the existing tracks. The scenes where it
looked like a train was pulling into a station were filmed there. It didn't look like plywood on the inside.
The production crew did film a couple of other scenes in the Camden area, but I was not present for those.
The heat inside the plywood station on a summer afternoon from the climate, the large number of actors and extras, the heat from the steam
locomotive, the lights, and the very heavy wool costumes was terrific. The crew had set up large fans off camera to cool everyone off and large
containers of ice water and cold lemonade. I vividly remember K. Alley standing in front of one of the fans and pulling up her skirt to cool off.
I remember attending a cast picnic with some of the stars and crew and all of the locals who worked on the series at a local state park when the
filming was over. I played softball with some of the actors and crew.
Historical acccuracy was a major concern of the producers. During the train scene mentioned above, Patrick S. asked if he and James R. could
remove their heavy wool coats on the train and sit in shirtsleaves. The director had to consult the historical advisor if that would have been
appropriate in the late 1830's for a gentleman to sit on a train without a coat. The answer was "if it was this hot." At that point, all the men on the train
took off their coats. Unfortunately, the women couldn't remove any clothing, because they were dying in the heat. We were on the train about 2 1/2
hours to film that scene from every possible angle. I enjoyed seeing the techniques of moviemaking from the inside.
I was thrilled and excited on the night of the premiere in November, 1985. Of course, I have watched N & S, especially Episode I, many times since.
One of the biggest thrills is in the credits, when the producers express their appreciation to the people of Camden and Ouachita County, Arkansas.
I'll always be a fan of the show since it was part of my life.
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| UPDATE: New Personal Account from an Extra who was at the filming of the scenes on the train where Orry and George make their bet. His name is Mike McDowell. Photos coming soon... |
