During the summer of 1992, I left my job as a Systems Analyst behind, moved to Wilmington, NC and attempted to work in film or video. Carolco opened studios in Wilmington and the location was drawing a good number of television and film projects. The city ranked third behind L.A and New York. While my old college buddy, Jordan Dawes, joined the Matlock production as asst. propmaster, I had less luck finding steady work.

Not that I didn't have some interesting experiences! I visited the local casting company enough that they hooked me up with the Young Indy project. My job was that of extra, which believe me isn't very glamorous. Heck, the director even referred to me as "the set." The week before reporting to the set, I visited a warehouse filled with props and was fitted with 1920s era suit and hat... A wool suit.

My job as extra was to be a 1920's train passenger traveling from Chicago to New York. Lucky me, the spot was for a two hour made for television, Young Indiana Jones called "Scandal of 1920." From the outside, the "train" wasn't very impressive. It was a rectangular plyboard box sitting on inner tubes. Indy crew members could rock the assembly using simple rods to lend the effect of motion to the cameras when filming inside. Climbing two wooden stairs and stepping into the box revealed an elegant looking passenger car complete with cloth seats, detailed wood trim, crystal light fixtures, and props including luggage from the period. The effect was complete and successful. Certainly the set designers added more details than were necessary or would be visible on screen!

After changing clothes into the very warm, dark wool suit, most of my time was spent sitting with a dozen other extras. We waited patiently while the lighting and cameras were fine-tuned within the train car. Later we were seated on the train by a member of the crew. When filming wasn't in session, cooled air was blown inside to try to offset the heat from the studio lights. However, during shooting the cooled air was replaced by man-made smoke to lend a gritty edge to the scene. During those times, temps in the car probably reached the 90s. But it wasn't a problem; I was watching a Lucasfilm production in the making! The scene featured Young Indy (Sean Patrick Flanery) and his seat partner, Peggy (Jennifer Stevens). Small sets of lines were filmed three to five times from different angles. This later afforded the editors a lot of flexibility in presenting the story. During filming, men ran by the windows with tree limbs. In the finished cut, this effect was replaced with footage of real trees.

To my dismay, I was seated about five rows behind Indy and Peggy which gave me little hope of appearing in the finished film. However, about thirty minutes later the director had me move to a position across the isle and one seat back from Indy and Peggy. A crew member complained to the director that the seating was wrong, but he insisted that I remain in my new location. Luck was with me! This put me just over Indy's shoulder in several scenes while he is first meeting Peggy. I'm the guy with dark hair and without a hat. The editors apparently couldn't maintain continuity because of the seat switch and the finished cut has the passenger over Indy's shoulder switch from a guy in a white hat to me and back again. Oops, but I'm not complaining!

Sean and I talked for a few minutes on the train between scenes. He was a lot of fun and during long breaks he even played with model planes and staged mock battles. We talked about recent films and he asked me if I had seen "Buffy the Vampire Slayer." Without thinking, I replied "No way, I wouldn't go see that." During my reply I was already mentally kicking myself. I don't know where he was going with that, but he paused and then responded, "No, I wouldn't go see it either."

When we broke for lunch, we were treated to a variety of food. There were six or seven different salad choices and even caviar. I was given three choices for lunch, filet mignon, grilled mahi mahi, or pasta. I was impressed and mystified by the amount and type of food served until I sat down and was about to begin eating. Seated waaay down my table was George Lucas. I was too far to engage in conversations with him or the senior crew.

Later, during a break in shooting, George had some promotional photos taken by a photographer in a corner area of the studio. I was within several feet of Mr. Lucas during this time and had plenty of opportunity to speak to him. I mentally prepared a friendly greeting and a thank you for the ILM and Skywalker ranch tour from years earlier. I just couldn't do it for it just seemed rude to accost him.

After lunch we listened to Jennifer Stevens sing "Daisy, Daisy" repeatedly to Young Indy. I think they filmed many, many takes to ensure that her lips were in sync with the prior recording. After about 20 takes I think everyone was tired of that song! We returned for a second day of shooting and more of Daisy, Daisy.