You are currently browsing the monthly archive for November 2007.
I have a favorite movie – Army of Darkness – which I love for a number of reasons. First off, I’ve seen too much and frankly when I come home after a bad day I don’t want to watch something deep and meaningful because I’ve experienced all of that angst, violence, bitterness, screaming, hatred, love in a past life as a news photojournalist. Other people’s lives. I know what the wail from deep within the guts of a parent who has just lost a child sounds like, thank you. With the exception of Private Ryan, war and horror movies are weak imitations…I’ve seen it all from guts and brains spread over hundreds of feet of railroad track to body parts and what folks do to each other in the real world. It should come as no suprise that I crave humor…of a somewhat skewed type. Army of Darkness is a perfect teaching tool…with the sound effects, match cuts, tons of foreshadowing, bad acting, and spoofs of a dozen other movies. And it is also funny. But I was meanering thru my local BigBuster store the other day and saw “Being There.”
What a memory trip…I recalled this Peter Sellers movie as very slow and very understated. It might not attract an audience today…the main character is slow, the plot and pacing even slower. But it’s a touching story of a man who may (or may not be) special needs…and how the world around him reacts. Sellers is a simple man who loses his home when “the old man” who owns it dies. He is thrust out in a world he only knows through televison – he has been isoloated his entire life from the real world. He speaks simply and literally. He means exactly what he says…but those around him take him figuratively (what an English lesson there is here). No one knows who he really is – not even he knows. And he doesn’t care…he just “is.” I wish I could explain the ending without giving it away…but what I expected did and didn’t happen…all I was left with was speculation.
Two very different movies…one makes me laugh…one makes me wonder. What are your favorites and why?
I read Mindy McAdams and at times worship at her alter. She embodies the new journalism, blending technology with all that is good from traditional journalism. Sound like a buncha BS? I’m a feeder…I train (or attempt to train) students who will feed into local community colleges or four year colleges like hers. She has a lot to say about the state of journalism education in this post.
The industry itself has been shockingly slow to adapt, and even today, many experienced journalists will admit they “don’t get it” vis-à-vis online and are struggling to educate themselves.
You might say the journalism educators ought to be one step ahead of the profession. There’s merit to that idea, but here is a reality check: For six years I sat in a room with my professor colleagues and members of our advisory board — editors and even some publishers of some of the top newspapers in our state — when they came to advise us about what’s going on in newsrooms and what we ought to be teaching the students.
Her reality check? The advisory board didn’t think online was important for six years…then suddenly changed their tune as both they and the college faced the reality that online was not only important – but it was already being consumed by increasing numbers of the audience. Even today educators are trying to catch up and stay at least even with the curve of teaching technology and being able to afford it.
My reality check is pretty much the same. I’m woefully lacking in skills in some areas (I’m a department of one) and have a minuscule budget. Plus, my school district does not allow easy online access to information (I’ve been refused access to sites because they are educaitonal) – don’t even think about creating blogs or communicating online. The snail I’m stuck with is HUGE and SLOW and TRADITIONAL. In a situation like this, how can educators even begin to catch up with industry requirements?
But there is hope. The occassional administrator and IT person who sympathizes and is willing to work with me. The fact that kids are doing stuff on their own – posting videos and communicating online. I want to feed my kids enough so they can enter college with a rudimentary understanding of online journalism. I definitely don’t want to feed the snail that is slowing our progress…if possible I’d like to smash the damn thing to keep it from sliming the future (or perhaps boil it and serve it in a light butter and garlic sauce). Mindy, I feel your pain – just hope that high school educators can keep up with you. There’s a lot to learn and high schools should at least send you students with a solid platform you can build from.
While the struggle progresses, the students still have to sign up for courses, accumulate credits, learn how to report and how to write like a journalist, learn ethics and law, find internships, work for the student newspaper and the radio and TV stations in the college, and graduate.
The skills ought to be taught in every single class, in every single course, right now. There’s no denying that. It’s just that getting it done takes a heck of a lot longer than “getting it.”
Thanks for letting us know we’re not alone in the struggle.
A few days ago I got a call from Martin…the young man who has been working on a video project for more than a decade. Martin is special…I wrote about him last February in the middle of his techological struggles. This was the first call I’ve ever had from him where I could hear emotion in his voice – the movie was done and he sold some DVDs at a local flea market. He was estatic. He had some scenes running on a small TV and people would watch and buy his DVD for a few dollars. He’s considering getting some other merchandize to make a bit more money and attract more passers-by and to help pay for his space at the flea market. He loves to meet people and talk with them, so this was wonderful news. Go Martin! You are one of the most tenacious filmmakers I’ve met and you deserve your success. (And if anyone out there wants to purchase a copy of “Black Dragon”, just give me a shout. It’s a war movie with lots of home-made special effects and props…made by one man with a dream.)
A dilemna I face as a teacher is grading – when I make up an assignment I have specific lessons tied to it. With the Basic Shots Assignment I want students to learn relationships between shots and how to build sequences, as well as how to use the camera, tripod, and basic components of the editing program (iMovie). However, after the first assignment passes over my desk I begin to spot my creative students. Unfortunately they aren’t always the ones who listen to the specifics of the assignment. They manage to do a good to outstanding job on the basic shots…and then they soar…
Now what’s the problem? In a beginning class there must be some semblance of order. Students are there to learn the rules of the game. They can be creative within limits – I want them to learn as much as possible so that they can see what is and isn’t possible and so that they learn as much about technique and technology as I can cram into their heads. The Autobiography Assignment is my bugaboo. What I expect: students will write a script in storyboard form, use at least 8 photos, have both narration and on-camera audio, one interview. In editing they will use titles, mix interview and narration and on-camera segment with the background music…have opening title and closing credits. I want to see how they mix the different elements. What I get are videos that follow my requirements exactly from students who understand and are able to both follow directions and be creative, videos that are thrown together by students who just want to get it over with, videos from students who try but still need help, and in the final category – videos that pull me in and show me all about the person who created them. The latter this year have been from my breakers…some of the students who are in the school break dancing club. They also break rules in a way that makes sense and works. My heartbreak is when I call them in, compliment them on their work and how much I admire it, and then break the bad news…they left elements out….usually the narration or on-camera segments. I can’t give them an A or even a B unless they follow the requirements. These guys are more driven by their passion for dance and accept the grade because they are doing what THEY want to do. We live comfortably together and I wish I could ace them because they have what many students today lack: passion. Due to the anal nature of the everyday student it is hard to give high marks to someone who breaks rules (I’m looking for a way and will do what I feel is right in the end – don’t worry)…because explaining aesthetics and the wonder of art goes right over the heads of many students (yeah…I have way too many freshmen and sophomores). One student will come in with shakey video, driving sound, edgey editing and a work of art and if I give that student an A, another student with shakey video, loud sound, and bad editing will wonder what is the difference between mine and theirs. They refuse to see or feel the difference, which is a value judgment based on experience and knowledge.
So here’s to my breakers…my dancers with passion. You live outside the mainstream not by choice but because you have to. You, of all the students I see, will live life on your terms. It won’t be easy. It will be right for you. Thank you for allowing me to work with you.
By the way, if you want to see them perform, check out the video below I shot a few months back or go to youtube and look up insanebboy209. They began their youtube account using cellphones and now have a ten mp Exilim.
The story of the replica P-38 is complete. There are variations from the script…and I will most likely wait a bit and think about a cleanup, since there are sections I’m still not happy with. But I wanted to get this done before the day was out.
Honor our veterans…
Couple of concluding comments. Yes, there are some audio level issues. One thing I do regret is my (somedays) failing eyesight. Didn’t realize some dirt had hit the lens of the JVC until I got home and saw the soft spots on the interviews. Ah me…but afer a day of veterans’ events and then completing this edit, I go to bed feeling good. Go ahead and post your remarks…I’m willing to learn (and admit the error of my ways).
Okay…here’s the final version. Nothing like sunrise and a good hot cuppa to help refresh one’s skills. I added some nats behind the photos, some more transitions and a bit of motion. If you watch both, you can feel the difference. Try to pick out which shots were done with which camera – I used a combination of JVC GYDV-300U, Canon ZR60, and Exilim Z75 – but mostly the first two. Hint: I had a wide angle adapter on the ZR60.
A while back I mentioned that you really don’t know what you know until you start teaching. My world has been full of pkgs, bites, wraps, drive-bys, and other terms for so long I just figured everyone knew them. So sometimes the simplest things go over with the biggest bang.
Simple tip #1 – cutaways.
Usually this dastardly terms calls up visions of a reporter nodding sagely and listening to an interview subject. Fortunately that’s just the tip. Here’s a couple of cases:
You’re shooting a (very very) long speech and need to use segments which are separated in time and space by numbing minutes of rambling.
Same with an interview…you’re interviewing a wonderful local man about his life as a volunteer and he takes off on a tangant and you suddenly have ten minutes of remeniscenses about his cat.
Ouch.
Well, you know enough to pull the best sound – what is pertinent and to the point of your story. So go ahead and create those clips – and butt them together.
Now you have several choices. You can leave what is commonly called a “jump cut,” which will show a slight visual jump as you go from one clip to the next. You can toss in a fade in/fade out or flash in/out or even a dissolve. They’re all pretty honest ways of of letting the audience know that you’ve cut down the material.
Or…you can insert a cutaway. In order to do this, you need something to cut away to – so if you’re shooting a speech, get some very wide shots from the rear of the room of the audience. Now, keeping in mind which direction your speaker is looking in your shots (is she looking left or right), get shots of audience listening looking in the opposite direction. What you’re actually doing is drawing an imaginary line (axis) down the middle of your subject and the audience which you do not cross over. If you cross over this axis, suddenly you may have your speaker and listeners looking in the same direction – which defeats the idea of visual conflict or of the audience listening. This can be visually confusing for the viewer.
In the case of the interview…get some shots of what he is talking about…his volunteer works, etc.
Now for the edit, where the magic takes place. I’m gonna do this with iMovie…if you have questions, give me a shout and I’ll see if I can help w/your specific program. As you watch you sound you want a good five to ten seconds to be able to establish who is talking and to put in the identifying title (if you want one). When you hit the point you want to cut away to other material, make an edit/split the clip. Highlight the clip you want to cover with video. Go to Advanced>Extract Audio. This will separate the audio in that clip from the video. Once the audio is extracted, highlight the video and delete it. Now drop in a clip or series of clips – you want the entire replacement to be exactly (within a few frames) of the original. You’ll need to either mute sound on those clips or lower it so you can clearly hear the original interview.
Ta dah! You’re done.
The original purpose of the cutaway is to have visual continuity and probably dates back to Hollywood movie style shooting, where if someone was talking there needed to be a listener…this kinda slid over into news and became a common practice. If you want complete honesty – don’t use cutaways. But if you want your story to flow and you want to be able to communicate on several levels, it can be a powerful tool. You can have your interview talking with natsound and video in the background, adding detail and information that straight talk alone won’t do.
I check out tvspy pretty much daily. Here’s a followup based on my post yesterday on dangers of non-TV types handling Internet sites…but with a twist. Thanks tvspy for the following:
From Louisville and Rick Redding at the LEO Weekly: On Media: A new formula for TV news – Here’s what Andrew Hayward, former president of CBS News, had to say about local TV news during a visit to Louisville. Local stations focus too much on crime and murder, but the reason is that it’s easier to do. It’s one sign of laziness in local newsrooms, he said, because reporters don’t need much local knowledge to show up at a crime scene and tell you what happened. One big reason viewership is shrinking, he said, is that these stories aren’t relevant to their audience. Stories should make people say, “I didn’t know that,” or “That was interesting,” and Hayward said that’s what is missing when local newscasts focus on crime.
Talk about disconnecting from your audience. If you have cloned reporters unfamiliar (or worse yet, who are “just passing through” the area) with the community whose only purpose is to get a story on every night, then you have a disconnected audience. The story could be happening anywhere. A connection MUST be made – crime is not just a statistic or a weeping relative. There is real impact beyond the event. There is the perception by those not in that community. There are the sideline victims – relatives of both the crime victim AND the perpetrator. There are issues which reach back into the past and which will impact the future.
When I worked for A Closer Look, the KQED new program in the 1970s, we did crime stories either as a quick reader or VO…or we did an indepth that went beyond the event. Usually the former. From a visual standpoint, crime and accidents are eye-candy…and frankly you do get an adrenalin rush shooting them. Unless that single crime reaches beyond the event, it is worth at most a mention.
Angela Grant has an intriguing post on her site today: Dangers of non-journalists on web staff. Her take, based on complaints from other journalists, is that folks without journalism backgrounds tended to choose material based on popularity not on legitimate news value.
She thought
it was unfortunate for him and his coworkers, who were frustrated that hard-hitting, important journalism was being passed over by flip user-submitted photo galleries and other silly content.
Howard Owens commented in reply
Where’s the links to prove the urban legend?
In a vacuum, meaning no links, no proof, there’s no way to validate or refute the assertion.
Let me take this a step further. Go ahead and post those hard-hitting stories. Fill your site with solid content. Balance it with stuff folks enjoy too. But beware what has happened in broadcasting, where the public’s whims are pandered to and news suffers. The bean-counters watch ratings and have discovered that the public likes shallow news, crime news, news without any real depth…and that is what many local news shows now focus on. The online bean-counters are there, just as they are in broadcasting, to make sure the company makes a buck – or as many bucks as they can. And these bucks do pay your salary. But there has to be balance too. The bean-counters must understand that if they morph their media from its foundation, it may totally lose its audience.
8am
Sitting at home with a sore throat (bad for teaching), coughing and unable to keep food down, so I’ve challenged myself to write and edit a story I shot this past Sunday. Went to a radio controlled model airplane field near Modesto to shoot the launch of a model P-38 WWII aircraft. Had a ten foot wingspan. Both the builder and the veteran whose plane this model was a replica of were on hand. It began as a wonderful warm and fuzzy story that ended with irony…during WWII pilot Bill Behrns crashed his P-38, the San Joaquin Siren, into the Burmese jungle. He was rescued the next day and back in the air that same day. At Sunday’s event builder Greg Zola was landing the replica and a cross wind caught the plane and sent it tumbling. Let’s see how this turns out. There are several choices of imagery to tie this to – a group of (older) men who appear at first glance to be holding fishing poles (the controller and antenna)…near a lake. The WWII connection. The passion of a man who spent three years and more than $5,000 building a model – and is now willing to rebuild and fly again this summer. After a cuppa hot tea I’ll sit down and get to work.
11:21
Just finished logging interviews – on to nat sound next. No, they weren’t that long. Word of warning to those who want to do it right. There are several ways to write a story….write and then find the interview and sound to support what you’ve written or log and write to the sound. I’m doing the latter…although I’ve gone the other way when in a rush, I do remember the good sound and am actually writing to what I remember. Logging and then writing is more accurate. I still may make changes as I edit, but most of the hard work is already done. There will be some holes in the story when I initially post it. My main subject – Bill – did not have his collection of WWII photos with him. When I have time to go by his house (after I get over this cold) I’ll copy them.
11:31
Heading back with yet another cuppa tea. And another comment. When logging, you can transcribe every single word or pick and choose. I try to log exactly the words used in the interview segments I know or think I might use. However, when there are segments I know I will use purely for information I summarize or paraphrase…I need the information but not the word for word detail.
4:30pm
So much for plans. I’ve crawled out of bed when absolutely bored and finished off the script. This is more than a news story. Found some non-copyright military photos (thanks to the US Air Force) and will contact my subject once I’m past the danger of infecting him about copying any photos he may have. So it will take a few days – probably until the weekend – to get this up online. Logging pages and script below. My primary camera was my JVC 300 on tripod and hand held. Backup/notebook was the Canon ZR60 with wide angle adapter…shot putting plane together with it and then put it on a minitripod right next to the take-off point and let it roll (not allowed on the airstrip when planes are in the air). Stay tuned to see how closely I stick to it when editing.
B-ROLL LOGGING SHEET/S
JVC Cover Camera
1:17
This is old Nosey – a special two-seater P-38 (old guy w/photo book) pix @ 1:56
Wind bird
Guy w/big yellow & white plane … smaller purple plane taxiing up
JVC Cover Camera w/Crash
Starting planes…flyers turning heads, controls…
3:37 red and yellow plane crashes/picked up by owner
Wind sock…more guys w/controls…good shots red/white plane buzzing airstripe…
5:40…prepping P-38 at end of field
6:46 P-38 taxis out and takes off
9:02 tele shot of Bill
9:14 Greg w/controls
10:41 Bill walks out and watches/quick pan to plane crash (listen to engine failing)
11:07 Too slow for one thing…B: it absolutely looks like that airplane
11:21 Easy come easy go man what are you going to do?
11:24 Yeah the cross wind wasn’t thrilling me we had a little trouble with that but – what ya going to do?
12:02 (in reference to pilot) Look he’s still in the seat!
12:18 Hey not big deal it’s not the end of the world it’s just a model airplane (sound/not a good pix)
12:33 Tara, Bills wife being comforted by Greg: Awww – hey, it was worth it. I coulda worked better but…
13:15 (need to cover) You went all the way to copy my dad – even to the landings, huh? When I went down on the Burma Road this is what happened. Just like this.
14:05 We’d swear that was a plane
Canon WS Camera
Putting plane together
8:00 Greg repeats how he first called Bill
8:44 Red/white checkered plane flying, tele shot guy with controls…folks watching…planes on ground in shade…
13:09 Wheeling it out
Bill Behrns Interview/87 years old
11/4/07
WWII P-38 Pilot
1:17
Didn’t have any idea what it was but when I saw it and gracefulness and everything I determined that this was what I was going to fly.
After flight school sent to Olympia WA on red alert due to leafleting by Japanese. There for six weeks and then sent to Burma. Japanese had taken most of China and come across the Himalayas and taken Burma (and others)…poised to take India. 32 pilots in a squadron on the shore of the Bay of Bengal – 90 miles from Japanese airstrip. We had to kinda watch over our shoulders.
2:26
Of the thirty-two pilots, four of us came home….we had a very large casualty in the squadron.
2:45
I spent 19 months there in combat. Six times I had an engine shot out and I was able to evade the enemy and make it home safely back to our base. Seventh time I did get shot down. I barreled in on the Burma Road just south of Mandalay and I spent the night in the jungle there. I did not get hurt in the flying in. And I spent the night and the squadron came in the next day and which I knew they would do with a small aircraft and an escort and I had a mirror so I could step out and shine it so they could spot me and they came in and landed and I was able to get out.
3:25
When I got back to the squadron the commanding officer and the flight surgeon came up to me and said how are you, any injuries, what happened to you and that. And I said nothing I’m fine I didn’t get a scratch. And the commanding officer said that’s good, there’s a flight taking off right now on a mission and that’s your plane right there and I said well I’m just coming home from yesterday’s mission and he said yes, and you’re going on today’s.
4:04
Burma’s a wild country so we had tigers…we had cobras and boa constrictors and we had quite the most poisonous snakes in the world. We had to watch all these things.
He last flew in 1945…talks about how he and Greg met/on phone. Might be interesting to inter-cut their stories. Also talks about how Greg modified and worked on the plane.
6:22
He loaded it in his truck…drove to California and we wound up here at this beautiful spot today and unfortunately we had heavy cross-winds and (goes into the crash)…
7:00
He did this all the way through right to the crashing the plane.
They had to go back to the air force…back to a Lockheed aeronautical engineer who was the tech rep…my crew chief, me Lockheed.
7:26
Every number had to be identical. Every part had to be exactly the same as the plane that I flew. And that’s his business anyhow – he’s a precision grinding company. And so he took the past three years to make it that way. Unfortunately on his third flight…disaster.
8:08
It’s a very complicated airplane. The P-38 was a workhorse that did everything. First of all, it was a fighter plane. All of the major records set up by the United States were done in P-38s. The plane flew just beautifully – just absolute beautifully. It had twin engines, but they had counter-rotating props so there was no torque in the airplane. It just flew like you were driving an automobile, it steered beautifully. It had tremendous firepower so if you shot anything it was going to wound it or knock it out of the sky.
Greg Zola Interview
11/4/07
Precision grinder
1:30
I’ll never forget it cause I called Bill and I always introduce myself and tell them what I do I model airplanes and I’m going to do a 459th and I asked him I said do you mind talking about it cause a lot of these war guys don’t like to talk about it and he said oh no I don’t mind and I said I was gonna do Web’s airplane and he said what the hell do you wanna do Web’s airplane for? I’ll never forget that.
A little over three years ago..he worked from a plan…had a kit cutter cut it out – there is no real kit. He bought the fiberglass booms, which cut down the time
2:57
Ironically there’s a lot of guys who build P38’s but you never see them – they always become hanger queens because they’re either afraid to fly them because of the amount of money involved or the amount of work that has to go into it – there’s a lot of parts and things – just like a real aircraft to get that thing to work.
3:25
How many hours do you think you put into it?
Gosh – I wouldn’t want to guess. (laughs) Thousands.
3:44
The cockpit – you saw the cockpit you took pictures of that? Just that there’s probably 16 hours in that.
3:57
Right – I stopped keeping track after I crossed five thousand dollars.
4:09
Ya build them to fly them. I don’t build hanger queens.
4:18 (best part of model airplanes)
The enjoyment of seeing something I put together work.
4:26
Oh yeah this is for Bill. This (??) is for Bill.
They’d never met in person…talked on the phone for three years for three years every week, but I’d never met the man til last night. He was in the army for four years in Germany as a field artillery crewman. His rant: today’s kids don’t understand comradery and esprit.
5:38
It was a cross wind and I’m not real thrilled about cross wind landings anyway even with an airplane in a field I’m familiar with and then the other problem is I let it get too slow. And in the interim with the weather and trying to get it back onto the runway – over the runway – I lapsed the part about adding power and it got too slow and it went in.
6:13 (re Bill’s crash)
Yeah – that had to be something. I mean, I wasn’t trying to mimic that by any means. It just turned out that way.
SCRIPT – WWII Pilot & P-38 Model
BEHRNS
Of the thirty-two pilots, four of us came home…
NATS
Plane
BEHRNS
Six times I had an engine shot out and I was able to evade the enemy and make it home safely back to our base. Seventh time I did get shot down. I barreled in on the Burma Road just south of Mandalay and I spent the night in the jungle there.
NARRATION
Eighty-seven year old Bill Behrns spent 19 months flying a P-38 out of the Bay of Bengal during World War II. He had to watch over his shoulder not only for the enemy – a Japanese airstrip ninety miles away – but also for the denizens of the jungle. Tigers and poisonous snakes.
BEHRNS
The P-38 was a workhorse that did everything. First of all, it was a fighter plane. All of the major records set up by the United States were done in P-38s. The plane flew just beautifully – just absolute beautifully. It had twin engines, but they had counter-rotating props so there was no torque in the airplane. It just flew like you were driving an automobile, it steered beautifully. It had tremendous firepower so if you shot anything it was going to wound it or knock it out of the sky.
NATS/Greg
Talking about his first contact with Bill/inter-cut with Bill’s account.
NARRATION
The result of this conversation was three years’ of phone calls as the two men discussed the details of creating an exact replica model of Behrn’s WWII P-38.
BEHRNS
Every number had to be identical. Every part had to be exactly the same as the plane that I flew.
NARRATION
The passion that drove model builder Greg Zola resulted in a radio-controlled aircraft, complete down to the pilot in the cockpit.
ZOLA
The cockpit –just that there’s probably 16 hours in that.
NARRATION
Zola estimates he spend thousands of hours – and much more than that.
ZOLA
I stopped keeping track after I crossed five thousand dollars.
NARRATION
However, the intense research and building were only the first steps in this distant partnership. The plane had to fly.
ZOLA
Ironically there’s a lot of guys who build P38’s but you never see them – they always become hanger queens because they’re either afraid to fly them because of the amount of money involved or the amount of work that has to go into it.
NARRATION
Zola steered his model through two test flights on a grass field in _______________ and then loaded everything into his pickup truck on Friday, November 3 for the two day trip to Stockton, California – where Bill Behrns lives.
NATS WIND/AIRPLANES
NARRATION
Sunday, November 4 finds both men at a model airplane field near Modesto, putting the model back together.
NATS
(Greg says thanks to a guy who gives him a tool)
NARRATION
The airstrip is on a rise above Woodward Resevoir. It’s a windy day. Members of the ______________________ take turns piloting their models – of all sizes and shapes.
NATS
Plane crash
NARRATION
Greg Zola is now ready for the best part of building a model airplane
ZOLA
Ya build them to fly them. I don’t build hanger queens.
The enjoyment of seeing something I put together work.
NATS
Greg taking plane to runway
NATS
San Joaquin Siren takes off
Montage of shots/folks watching…Greg at controls
BEHRNS (cover with P-38 flying)
…when I saw it and gracefulness and everything I determined that this was what I was going to fly
NATS
Crash
Bill & Greg: Too slow for one thing…B: it absolutely looks like that airplane
ZOLA
It was a cross wind and I’m not real thrilled about cross wind landings anyway even with an airplane in a field I’m familiar with and then the other problem is I let it get too slow. And in the interim with the weather and trying to get it back onto the runway – over the runway – I lapsed the part about adding power and it got too slow and it went in.
NATS
(Greg comforting Theryl) Awww – hey, it was worth it.
NARRATION
Unknown to Greg Zola at the time…
BEHRNS
He did this all the way through right to the crashing the plane.
When I went down on the Burma Road this is what happened. Just like this.
ZOLA
I wasn’t trying to mimic that by any means. It just turned out that way.
ZOLA (cover with plane being carried off field)
Oh yeah this is for Bill. This (??) is for Bill.
Recent Comments