I should have come pasulong with this years nakaraan ... it’s been my little secret for too long but now I’m breaking my silence and going public with the fact that Michael Jackson held my hand, too...
The incident took place at Universal Studios during the filming of the music video, Scream, featuring Michael and his sister, Janet. Not too long before this I had met Michael while working on the stage production and rehearsals for the Dangerous tour.
Both Mark Romanek, the director of Scream, and Tom Foden, the Production Designer, are uncompromising perfectionists. It’s been a real pleasure to work with both of them on numerous projects. In the film business, working with people who maintain a vision is significantly better than working for those who lack the big picture. On this particular job I was working with the art department headed sa pamamagitan ng Tom Foden. Other members of the art department included Dana Garman, Richard Berg, Jamie Vickers, Paulie Pietsch, Mark Brooks, to name a few.
The Scream video may be the most expensive music video ever made, I believe the total production/post production budget was somewhere near 8.3 million dollars. And I can tell you the art department budget took a good chunk of that, maybe half. The sets took up three full sized stages at Universal Studios in Los Angeles, with over a dozen sets placed on these three stages. Once shooting began, my role was the ‘on-set dresser’, basically the ‘art department representative’ who remains on set at all times as the ‘face’ of the art department. sa pamamagitan ng the very nature of the position, the on-set dresser has close interaction with the talent while on the set.
This was a crazy big job, no doubt about it. Three stages, over a dozen sets, twenty shoot days.
On the first araw of shooting we had a 7am call, except Michael was detained until mid-afternoon. Then hair and make-up, get him to the set and it’s 4:30 pm before we roll. It became clear that we would be shooting nights for the susunod twenty or so days. It was also clear that Michael liked it this way…working at night, that is.
Finally, we get down to business. Michael makes his entrance and is met sa pamamagitan ng Mark who explains the shot. The first footage we shoot with Michael is of him dancing on one of the many white floors seen throughout the video. Michael finds his position, about six feet from camera, does a couple of takes, then mentions how the floor (white vinyl linoleum) was feeling slick. I ilipat in with my tools, a fine grade steel wool, rag and a spray bottle with the ‘special sauce’ and scruff up the floor a bit with the wool then step back. Mark comes out from behind the camera, looks at my handiwork then calls out for Tom before asking me if we Nawawala the ‘gloss’. I say no, give it a quick spray with the special sauce and it dries to a sparkle. When I get up from my kneeling position Michael is smiling at me and says, “I remember you from the tour rehearsal”. I say, “That’s right”, and he asks me how my kids are doing, I say, “great, amazing.” And then everything is back to normal, Michal does his bit and we’re off to a good start.
As predicted, crew call switched from 7am to 4pm, and we worked throughout each night until 4-6am.
In the final hours of the last night of shooting, we had moved to the ‘zen’ set. This was it, last day, last set, last series of shots. The art department had prepped the set with final touches before Michael was brought in to take his place on the zen podium in the center of the set. Michael surveyed the scene and nagkomento on how beautiful the set looked. He was very relaxed and it was obvious he enjoyed sitting in the middle of this temporary temple.
When Mark called out for a piece of the ceiling to be trimmed, I grabbed a 12-step (ladder), scrambled to the tuktok and began sawing. In an unfortunate moment the portable saw kicked back and amputated a third of my left ring finger. Without word, I reached in my back pocket for my rag, wrapped my finger with it and stepped down off the ladder and exited the set. I passed Tom on the way out and showed him what happened. Tom escorted me to the edge of the stage and I laid down on the concrete. It wasn’t long before an entire film crew of towering bodies was in a half bilog looking down at me. Union guys chewing gum. 3am. Right?
Suddenly the crowd parts and Michael appears and stands there for a moment, leaning over me, looking down. He looks at my left hand held in the air then he looks at me. Then just like that he is on his knees sa pamamagitan ng my right side and he picks up my right hand and holds it in his. He looks me straight in the eye and tells me how sorry he was, he kept repeating how sorry he was, and then he had tears in his eyes and he held my hand until the ambulansya came and took me away.
That susunod week, recovering at home, the gifts began arriving from Michael and Janet, tasteful and cool things like great soaps, a bathrobe, incense, a card. Anyway, that’s my story. Michael Jackson held my hand, too. Michael, if you read this, thanks for caring.
The incident took place at Universal Studios during the filming of the music video, Scream, featuring Michael and his sister, Janet. Not too long before this I had met Michael while working on the stage production and rehearsals for the Dangerous tour.
Both Mark Romanek, the director of Scream, and Tom Foden, the Production Designer, are uncompromising perfectionists. It’s been a real pleasure to work with both of them on numerous projects. In the film business, working with people who maintain a vision is significantly better than working for those who lack the big picture. On this particular job I was working with the art department headed sa pamamagitan ng Tom Foden. Other members of the art department included Dana Garman, Richard Berg, Jamie Vickers, Paulie Pietsch, Mark Brooks, to name a few.
The Scream video may be the most expensive music video ever made, I believe the total production/post production budget was somewhere near 8.3 million dollars. And I can tell you the art department budget took a good chunk of that, maybe half. The sets took up three full sized stages at Universal Studios in Los Angeles, with over a dozen sets placed on these three stages. Once shooting began, my role was the ‘on-set dresser’, basically the ‘art department representative’ who remains on set at all times as the ‘face’ of the art department. sa pamamagitan ng the very nature of the position, the on-set dresser has close interaction with the talent while on the set.
This was a crazy big job, no doubt about it. Three stages, over a dozen sets, twenty shoot days.
On the first araw of shooting we had a 7am call, except Michael was detained until mid-afternoon. Then hair and make-up, get him to the set and it’s 4:30 pm before we roll. It became clear that we would be shooting nights for the susunod twenty or so days. It was also clear that Michael liked it this way…working at night, that is.
Finally, we get down to business. Michael makes his entrance and is met sa pamamagitan ng Mark who explains the shot. The first footage we shoot with Michael is of him dancing on one of the many white floors seen throughout the video. Michael finds his position, about six feet from camera, does a couple of takes, then mentions how the floor (white vinyl linoleum) was feeling slick. I ilipat in with my tools, a fine grade steel wool, rag and a spray bottle with the ‘special sauce’ and scruff up the floor a bit with the wool then step back. Mark comes out from behind the camera, looks at my handiwork then calls out for Tom before asking me if we Nawawala the ‘gloss’. I say no, give it a quick spray with the special sauce and it dries to a sparkle. When I get up from my kneeling position Michael is smiling at me and says, “I remember you from the tour rehearsal”. I say, “That’s right”, and he asks me how my kids are doing, I say, “great, amazing.” And then everything is back to normal, Michal does his bit and we’re off to a good start.
As predicted, crew call switched from 7am to 4pm, and we worked throughout each night until 4-6am.
In the final hours of the last night of shooting, we had moved to the ‘zen’ set. This was it, last day, last set, last series of shots. The art department had prepped the set with final touches before Michael was brought in to take his place on the zen podium in the center of the set. Michael surveyed the scene and nagkomento on how beautiful the set looked. He was very relaxed and it was obvious he enjoyed sitting in the middle of this temporary temple.
When Mark called out for a piece of the ceiling to be trimmed, I grabbed a 12-step (ladder), scrambled to the tuktok and began sawing. In an unfortunate moment the portable saw kicked back and amputated a third of my left ring finger. Without word, I reached in my back pocket for my rag, wrapped my finger with it and stepped down off the ladder and exited the set. I passed Tom on the way out and showed him what happened. Tom escorted me to the edge of the stage and I laid down on the concrete. It wasn’t long before an entire film crew of towering bodies was in a half bilog looking down at me. Union guys chewing gum. 3am. Right?
Suddenly the crowd parts and Michael appears and stands there for a moment, leaning over me, looking down. He looks at my left hand held in the air then he looks at me. Then just like that he is on his knees sa pamamagitan ng my right side and he picks up my right hand and holds it in his. He looks me straight in the eye and tells me how sorry he was, he kept repeating how sorry he was, and then he had tears in his eyes and he held my hand until the ambulansya came and took me away.
That susunod week, recovering at home, the gifts began arriving from Michael and Janet, tasteful and cool things like great soaps, a bathrobe, incense, a card. Anyway, that’s my story. Michael Jackson held my hand, too. Michael, if you read this, thanks for caring.
bass note, treble, stereo control, how low you go
Just enough to make your juices flow
Press play, don't stop, rotate, too hot
You feel I'm real
I'm everything you need, so tell me what's the deal
Chorus
2000 Watts, 8 ohms, 200 volts, real strong
Too much of that, fuse blown
Be careful what you say don't overload
2000 Watts, 8 ohms, 200 volts, real strong
Too much of that, fuse blown
Be careful what you say don't overload
3D, high speed, feedback, Dolby
Release two or three, when I reach I can go 'till I hit my peak
Compact steelo, chico, D-Lo, highpost lady
Shorty really wanna be there for me
Chorus
2000 Watts, 8 ohms, 200 volts, real strong
Too much of that, fuse blown
Be careful what you say don't overload
2000 Watts, 8 ohms, 200 volts, real strong
Too much of that, fuse blown
Just enough to make your juices flow
Press play, don't stop, rotate, too hot
You feel I'm real
I'm everything you need, so tell me what's the deal
Chorus
2000 Watts, 8 ohms, 200 volts, real strong
Too much of that, fuse blown
Be careful what you say don't overload
2000 Watts, 8 ohms, 200 volts, real strong
Too much of that, fuse blown
Be careful what you say don't overload
3D, high speed, feedback, Dolby
Release two or three, when I reach I can go 'till I hit my peak
Compact steelo, chico, D-Lo, highpost lady
Shorty really wanna be there for me
Chorus
2000 Watts, 8 ohms, 200 volts, real strong
Too much of that, fuse blown
Be careful what you say don't overload
2000 Watts, 8 ohms, 200 volts, real strong
Too much of that, fuse blown
Here come ol' flat tuktok
He come groovin' up slowly
He's got Joo Joo eyeball
He one holy roller
He got hair down to his knees
Got to be a joker he just do what he please
He wear no shoeshine
He's got toe siksikan football
He's got monkey finger
He shoot Coca-Cola
He say "I know you, you know me"
One thing I can tell you is you got to be free
Come together
right now
over me
He bag production
He's got walrus gum-boot
He's got Ono sideboard
He one spinal kraker
He got feet down through his knees
Hold you in his walang kibo
You can feel his disease
Come together
right now
over me
He roller coaster
He's got early warning
He's got muddy water
He one Mojo filter
He say "One and one and one is three"
Got to be good looking
'cause he's so hard to see
Come together
right now
over me
He come groovin' up slowly
He's got Joo Joo eyeball
He one holy roller
He got hair down to his knees
Got to be a joker he just do what he please
He wear no shoeshine
He's got toe siksikan football
He's got monkey finger
He shoot Coca-Cola
He say "I know you, you know me"
One thing I can tell you is you got to be free
Come together
right now
over me
He bag production
He's got walrus gum-boot
He's got Ono sideboard
He one spinal kraker
He got feet down through his knees
Hold you in his walang kibo
You can feel his disease
Come together
right now
over me
He roller coaster
He's got early warning
He's got muddy water
He one Mojo filter
He say "One and one and one is three"
Got to be good looking
'cause he's so hard to see
Come together
right now
over me
Ben, the two of us need look no madami
We both found what we were looking for
With a friend to call my own
I'll never be alone
And you my friend will see
And you've got a friend in me
(You've got a friend in me)
Ben, you're always running here and there
(Here and there)
You feel you're not wanted anywhere
(Anywhere)
If you ever look behind
And don't like what you find
There's something you should know
You've got a place to go
(You've got a place to go)
I used to say 'I' and 'me'
Now it's 'us' now it's 'we'
(I used to say 'I' and 'me')
(Now it's 'us' now it's 'we')
Ben, most people would turn you away
I don't listen to a word they say
They don't see you as I do
I wish they would try to
I'm sure they'd think again
If they had a friend like Ben
(A friend)
Like Ben
(Like Ben)
Like Ben
We both found what we were looking for
With a friend to call my own
I'll never be alone
And you my friend will see
And you've got a friend in me
(You've got a friend in me)
Ben, you're always running here and there
(Here and there)
You feel you're not wanted anywhere
(Anywhere)
If you ever look behind
And don't like what you find
There's something you should know
You've got a place to go
(You've got a place to go)
I used to say 'I' and 'me'
Now it's 'us' now it's 'we'
(I used to say 'I' and 'me')
(Now it's 'us' now it's 'we')
Ben, most people would turn you away
I don't listen to a word they say
They don't see you as I do
I wish they would try to
I'm sure they'd think again
If they had a friend like Ben
(A friend)
Like Ben
(Like Ben)
Like Ben
Once all alone
I was Nawawala in a world of strangers
No one to trust
On my own, I was lonely
You suddenly appeared
It was cloudy before but now it's clear
You took away the fear
You brought me back to life
Chorus
You are the sun
You make me shine
Or madami like the stars
That twinkle at night
You are the moon
That glows in my puso
You're my daytime my nighttime
My world
You're my life
Now I wake up everyday
With this smile upon my face
No madami tears, no madami pain
Cause you pag-ibig me
You help me understand
That pag-ibig is the answer to all that I am
And I'am a better man
You taught me sa pamamagitan ng sharing your life
Chorus
You are the sun
You make me shine
Or madami like the stars
That twinkle at night
You are the moon
That glows in my puso
You're my daytime my nighttime
My world
You're my life
You gave me strength
When I wasn't strong
You gave me hope when all hope is Nawawala
You opened my eyes when I couldn'tt see
pag-ibig was always here waiting for me
I was Nawawala in a world of strangers
No one to trust
On my own, I was lonely
You suddenly appeared
It was cloudy before but now it's clear
You took away the fear
You brought me back to life
Chorus
You are the sun
You make me shine
Or madami like the stars
That twinkle at night
You are the moon
That glows in my puso
You're my daytime my nighttime
My world
You're my life
Now I wake up everyday
With this smile upon my face
No madami tears, no madami pain
Cause you pag-ibig me
You help me understand
That pag-ibig is the answer to all that I am
And I'am a better man
You taught me sa pamamagitan ng sharing your life
Chorus
You are the sun
You make me shine
Or madami like the stars
That twinkle at night
You are the moon
That glows in my puso
You're my daytime my nighttime
My world
You're my life
You gave me strength
When I wasn't strong
You gave me hope when all hope is Nawawala
You opened my eyes when I couldn'tt see
pag-ibig was always here waiting for me
Smile, though your puso is aching
Smile, even though it's breaking
When there are clouds in the sky
You'll get by...
If you smile With your fear and sorrow
Smile and maybe tomorrow
You'll find that life is still worthwhile if you'll just...
Light up your face with gladness
Hide every trace of sadness
Although a tear may be ever so near
That's the time you must keep on trying
Smile, what's the use of crying
You'll find that life is still worthwhile
If you'll just...
Smile, though your puso is aching
Smile, even though it's breaking
When there are clouds in the sky
You'll get by...
If you smile
Through your fear and sorrow
Smile and maybe tomorrow
You'll find that life is still worthwhile
If you'll just Smile...
That's the time you must keep on trying
Smile, what's the use of crying
You'll find that life is still worthwhile
If you'll just Smile
Smile, even though it's breaking
When there are clouds in the sky
You'll get by...
If you smile With your fear and sorrow
Smile and maybe tomorrow
You'll find that life is still worthwhile if you'll just...
Light up your face with gladness
Hide every trace of sadness
Although a tear may be ever so near
That's the time you must keep on trying
Smile, what's the use of crying
You'll find that life is still worthwhile
If you'll just...
Smile, though your puso is aching
Smile, even though it's breaking
When there are clouds in the sky
You'll get by...
If you smile
Through your fear and sorrow
Smile and maybe tomorrow
You'll find that life is still worthwhile
If you'll just Smile...
That's the time you must keep on trying
Smile, what's the use of crying
You'll find that life is still worthwhile
If you'll just Smile