The Washerwoman Chronicles
~ a The Source set visit report by Ruth Kaufman
 ello!
I'm Ruth Kaufman, the fortunate winner of the PEACE auction's trip
to Vilnius, Lithuania for a visit the set of Highlander: The Source,
and the opportunity to film an appearance in the movie. Auction
proceeds went to Give2asia, link to site below.
A smidgen about me: I've been cast as a paid extra in many movies
and TV shows, such as Ali, Return To Me and two episodes each of ER
and Prison Break. In October I spent 4 days in 40's attire on the
upcoming Clint Eastwood directed Flags Of Our Fathers and this
summer enjoyed several days riding on Vince Vaughn's double-decker
tour bus in The Break Up. Highlander: The Series marked my 50th production, and my 7th
in 2005. Knowing what happens on movie sets and how extras are
usually treated makes me the perfect person to explain just how
fabulous this opportunity was.
How I got involved: As a longtime fan of the Highlander TV series,
the minute I saw a link to "be immortalized in The Source," and read
what was offered, I knew I had to bid. I knew I had to win.
The auction: Two set visits were offered: one free, entered via
e-mail, the second via auction. The web site said winner would
enjoy: a 2 day set visit, one night accommodation and two days of
meals, $1,000 for airfare provided by Davis-Panzer and
Davis-Anderson, the opportunity to film a "special cameo
appearance," and a Source crew jacket.
 I bid a couple of times before the auction closed the morning of
November 1. During the last few minutes, bids flew fast and furious.
I constantly refreshed my screen to see the latest bids and kept
raising my reserve far higher than I'd thought I'd need to. But as
they say, “In the end, there can be only one.” I prayed, "May it be
me, the Highbidder."
And it was!
That day, still jumping with joy, I was at lunch with a friend when
my cell rang. Normally I wouldn't answer, but I didn't recognize the
area code and thought the call might have something to do with the
auction.
Me: Hello?
Caller, in deep, slightly British accented voice: Is this Ruth
Kaufman?
Me: Yes.
Caller: This is Adrian Paul.
Me, thinking: This is SO not AP. It's my brother, playing a joke. He
does stuff like this ALL the time.
Me: You don't sound like you.
Caller: Who do I sound like, then?
Yes, it was AP calling, from Lithuania, to thank me for my bid! He
said he hadn't known what day it was. I answered that the bidders
knew, and had spent the morning hunched over our computers.
Unfortunately I can't remember much of any other brilliant banter I
came up with because I was so surprised he'd called.
It finally sank in. Not only was I going to meet the stars of
Highlander. . .I would have the opportunity to appear in the movie.
Vilnius had never been on my "places I hope to visit" list, but
after some web research I learned about the city and all the fun
places to see. And, my mother informed me that my great-grandmother
was from Vilnius.
Preparing for a Journey full of surprises
 flurry of emails and calls between Carmel Macpherson, President of
Highlander Worldwide; Sharon Jennings, Director of Marketing for
Davis-Anderson and Laura Feingold; the woman who'd won thee-mail
entry trip, ensued. With set visit days scheduled for November 14th
and 16th, Laura and I agreed to stay a couple of extra nights at our
own expense. . .the last thing we wanted was jet lag on the set.
Sharon booked our flights and hotel (and sent some Highlander DVDs
and a baseball cap with our tickets!).
Having been warned about the cold by AP's set diary, I packed my
warmest clothes, long underwear and handwarmers.
DAY 1, November 11
Travel to Vilnius
From Chicago: a 7 hr 45 min flight to Amsterdam. After a two hour
layover followed a 2 hr 30 min flight to Vilnius. So we'd arrive at
around 1 PM the next day. I met Laura, who'd flown in from Kansas
City, at the gate waiting for the Amsterdam flight. We shared our
excitement about the trip in particular and Highlander in general.
Wondering what we might do in the movie, we hoped we'd be in some
glamorous costumes in a flashback.
Day 2, November 12
Surprise! A driver from the movie awaited us in the small airport,
with a small sign bearing our names and Highlander: The Source. He
didn't speak much English, though he kindly carried our luggage, and
the only Lithuanian I'd had time to learn was:
1) labas = hello, pronounced lah'-bahs
2) aciu = thank you, pronounced ah'-choo (yes, like a sneeze but
most emphasis on the ‘ah')
3) please = prasau, pronounced prash'-ow.
I'd tried to learn “how much does it cost,” but realized I wouldn't
understand the answer.
 On our way to our hotel, we passed through some not so pleasant and
run down areas, stark apartment buildings and lots of graffiti. This
provided a stark contrast to old town Vilnius, with its pastel,
ornate buildings and curving, narrow cobblestone streets. The ride
took less than fifteen minutes.
Arrival at hotel: appx. 2PM
Our hotel was on the main square, currently under renovation. As we
checked in, Carmel appeared and whisked us off to tea in the lobby
restaurant overlooking the square to explain our overall itinerary.
Surprise! Instead of the two days promised, Adrian had decided we
could visit the set whenever we wanted. Carmel had spent all of last
night on the outdoor set, and we could join her in a few hours for
that night's filming!
She said that Monday we'd go to the studio and they'd decide what
crowd scene we'd be in. Hmm. Crowd scene. In my experience, there is
a huge difference between “crowd scene” and that “special cameo
appearance” promised in the auction. ..
Photographer/journalist John Mosby from Leeds joined us. He would be
accompanying us to the set. We agreed to meet in the lobby at 5PM.
Laura and I took a walk around the square, past designer shops like
Escada and in a different area some buildings that looked as though
they had been bombed.
The weather: cloudy but not too cold.
VISIT TO THE SET #1
t around 5, I went into the small bar area off the lobby. Laura was
there. . .having a drink with Jim Byrnes! I introduced myself and we
all chatted.
 Then Peter Wingfield joined us; he sat opposite me at a
tiny table. As a Highlander fan, though one who hadn't been to a
Gathering or posted to any of the boards, sitting in Vilnius with
Jim and Peter was a bit surreal.
Laura drove Carmel's rental car; we followed Peter's driver out of
town to some forest. We took so many twists and turns to get there,
I'd never have gotten out on my own. Through the trees, we saw a
brightly lit area, but we continued up a hill to the trailers, aka
base camp. The first person we see crossing in front of our car: AP,
walking his dog. After Laura parked the car, there was AP again,
sans dog but with plate in hand. Carmel introduced us, and he shook
our hands. He said that his food would get cold, and continued on to
his trailer. Though it was after 6PM, we'd arrived in time for
“breakfast,” and got in line at the craft services truck with other
crew members. We sat at a bench in a tent, not far from the
director, Brett Leonard.
Time to go to the set. We got in the car and drove back down the
hill. The brightly lit forest we'd seen was for the second unit, the
first unit was across the road. I can't reveal what we saw, but I
can say it was cool and the lighting was fabulous. The scene
involved AP, Peter and three of the new additions to the Highlander
universe.
For those who have never visited a movie set, you should know that
filming takes FOREVER. In all my extra experiences, only a few times
have I been wrapped (released from filming and allowed to go home)
before working fewer than 12 hours. And, hurry up and wait is the
watchword of every set I've been on. You might sit in a “holding
area” for several hours, reading or talking on your phone, then be
told to run to the set.
And dozens of crew members are on every set. There are so many
elements to getting each shot right, from lighting to wardrobe, hair
and makeup, props, set, the camera and its assorted tracks, actors
remembering their marks (usually colored tape on the floor), lines
and movement. . .the list goes on. Any one item that isn't just so,
including a plane flying overhead and interfering with the audio,
can require another take. When you add in the multiple takes for
most shots, then the different angles which usually require
resetting lights, capturing one minute of film takes hours.
s the crew made adjustments to the set, Richard Blanshard, who is
filming the "making of" documentary, captured some pictures and
shots of Laura and me at various locations.
And it was COLD and damp. Not windy, but that kind of chill that
seeps into your very bones. At least we had our coats etc, but the
stars did not. I was also feeling a bit discombobulated from all the
travel/lack of sleep.
At one point, Peter and one of the new-to-Highlander actors came
over and started talking with us. AP joined the group. As you might
imagine, it is an unusual experience to be standing next to and
talking casually with someone you've watched for years on TV and in
movies.
Pictures were taken. I need to get those. . .
By this time, we'd watched them run the short scene a number of
times. . .and my feet were FREEZING. Plus I knew if I didn't get
some quality sleep, the next days would be a challenge. So Laura and
I got a ride back to the hotel.
We later learned that Carmel and John braved the cold and remained
past dawn.
Day 2, November 13
 aura and I met for a buffet breakfast at 9:45. Many options from which
to choose, from smoked salmon to fruit to cooked mushrooms. I now
understand one reason so many Americans are obese. At buffets in the
States, huge vats of eggs and bacon greet us. Here, a medium-sized
platter of eggs awaited, with a small spoon, not an oversized
serving spoon, prompting me to take only a small amount. After
leaving a note for C and J, L and I embarked on a van tour to Trakai,
a small village and castle 28 km from Vilnius. We met a couple from
the UK, one from Oslo, a man from the Netherlands plus our
Lithuanian tour guide. After regaling us with an overview of
Lithuanian history, she asked us all what brought us to Vilnius. Our
story amused our fellow tourists.
We toured the castle, part of which remains from medieval times, and
the museum and small market area featuring booths selling amber,
hand-knitted items, linen goods and wood crafts. Though the castle
stairs were very rocky and the treads uneven, and some doorways
quite low, there were no warning signs. And everywhere we hear
American music. . . usually at least 20 years old in more Muzak-like
arrangements than we are used to. Only once the whole time did we
hear in a store/restaurant Lithuanian music.
Upon return to Vilnius proper, L and I took another walk around
town. We enjoyed a fabulous Sunday brunch at the hotel. J and C
joined us and we exchanged stories of our days. C had the night's
shooting schedule so we made plans to regroup at 7PM, to walk to
that night's street scene only a short distance from the hotel.
Later that night Jim as Joe would sing a song he wrote especially
for the film. I tried to prepare for the weather with 2 pairs of
socks, hand and feet warmers.
VISIT TO THE SET #2
 eneath a misting rain, we could tell they weren't ready to shoot.
So we searched for a coffee shop to warm up. We ended up at a place
called “The Pub”. We were the only women there.
Upon our return, we watched them finish setting up and then film. AP
talked with us about Rottweilers (his dog was on set, very friendly)
and introduced us to Brett, the director, who made time to chat.
Richard interviewed us. By now the chill seeped in. I gave AP, who
had on a warm coat but no gloves, one of my handwarmers. L had
thought ahead and brought a whole box for the crew. AP suggested we
watch the monitor instead of the actual street, so we got our first
look at what exactly was being filmed.
The lady in charge of wardrobe design, told us that we'd be homeless
mothers doing the wash, or something like that. And I think Brett
had mentioned something about a close up? Mr. DeMille, I'm ready!
Because the next
 location, Joe's bar, wouldn't be for a couple of
hours, around midnight we returned to the hotel. Jim was playing for
the bar crowd, so we sat and listened to his last song. Peter joined
us for a bit, then they went off to work. At 1AM, us hungry set
watchers found the only restaurant still open in the vicinity and
had a huge pizza.
At 3:30AM (we are on Highlander time now, not US or Vilnius), we
walked to where Joe's bar would be. The streets were empty and
echoingly quiet. And very cold, but the hand/feet warmers helped.
The set was so small, it didn't look like there would be room for us
to watch. We returned to the old setup. Everyone had moved around
the corner, AP was walking down a hill. They finished that around
4:30AM. Like participants in a parade, we made our way to Joe's bar.
L and I returned to the hotel, because clearly there was no way we'd
see anything. I do look forward to hearing the song someday! In bed
by 5AM.
Day 3, November 14 -- Tonight's the night!
 nfortunately noises from the plaza construction woke me at 9AM. My
eyes are red and swollen, my eyelids don't want to stay open.
At 12:30, the four of us met for lunch, again at the hotel. Though
I'm sure Vilnius has tasty restaurants, the hotel is so convenient
and the food good. Then L and I walked down to the market area, near
a castle high on a hill. Prices were surprisingly low; I bought a
pair of shearling mittens for 8 Euro.
At 3:45PM, we met C in the lobby. Off to the production studio,
Lietuvos Kino Studija, to get our wardrobe for our big night on set.
At some point we'd heard we'd be repairing an oven, and that we were
“featured” extras. In movies filmed in Chicago, that means 1) some
sort of special shot 2) you get paid more. (Extras get $65 for the
first 8 hours, then time and half after that.)
Wardrobe had been set aside for us in a private room. C and J will
get to be in the movie too. We could see the other extras gathered
together across the hall. Normally, all extras are treated the same,
even featured ones.
 With much laughter, C, L and I tried on long wool skirts, sweaters
and coats, tights and dirty looking boots. Alex determined that the
brown beret and colored scarf I'd been given were too cute, so the
scarf disappeared and the beret exchanged for a tan close-fitting
hat.
At this point, I'm wearing 3 pairs of socks, plus tights and thick,
over the knee socks, a long black wool skirt, my long-sleeved long
underwear top, two sweaters and a brown coat from wardrobe, and, for
now, my ski jacket. I also have toe and hand warmers. They gave us
plastic shopping bags to hold our clothes; the other extras would
have to return to the studio to get their clothes.
Then we were treated to an AMAZING surprise. AP was at the studio,
on a set in progress, rehearsing a sword fight with his sifu (master
or special teacher), Vernon. We were allowed to watch for over an
hour. And to our left, the second unit was doing green screen work
and we listened to that. AP's opponent would bop back and forth
between the second unit and fight work. How neat to watch them
discuss and choreograph moves, and see how the fight evolves, and
how each contributes to the creative process.
You may have noticed that AP was on set all night last night
filming, and now he's working on a fight during the day before
spending another night on set. . .and I think I'm tired!
VISIT TO THE SET #3
We'd missed “breakfast” while watching AP (when does he eat?)
rehearse. Around 8PM, everyone was making the move from the studio
to the set, about a 15 minute drive. Despite all the kind attention
paid to our visit and how well we'd been taken care of, it seemed in
this hustle and bustle we'd been forgotten. As the place emptied
out, we roamed about the studio seeking a ride. Eventually we found
a van driver to take us.
The "set" tonight is a sort of courtyard in the midst of buildings
in various stages of collapse, with vast ditches all around. They
had to build a wooden bridge so everyone could cross the largest
gap. Scattered about are metal cans with fires to provide most of
the light.
Julian, a Lithuanian crew member, told us that we'd be in the first
shot of the night. While the other extras would take direction from
him, Brett would tell us what to do. Usually some level of assistant
director deals with extras. L and I took pictures with Brett and did
a few more interview snippets for Richard.
C, L and I are homeless washerwomen. John, we decided, would be the
drunk, and had a vodka bottle to console him (no real vodka).
 Brett
told us to react at a certain point to a certain occurrence, then
scurry inside our tiny shanty. But, as often happens, he didn't give
each of us specific things to do. So I assigned each of us tasks to
fill the time before our reaction.
Fortunately we have a garbage basket fire to help keep us warm as we
wait for our shot. Because it's cold; I had to relinquish my ski
jacket.
Some of what you see in movies and on TV about movies is true. They
call “rolling” (or in this case, “turn over”, which I guess is the
UK version) and “action” and “cut” for every take. There is also a
“background” command, which is when the extras start moving.
“Action” is for the stars. Every command was also repeated in
Lithuanian. After each take, everyone and everything must quickly
reset, and go “back to one” in preparation for the next take.
As for the other extras, there are about 20 of them. . .
all but one a short distance away from us. The one nearest to us is
told to move away at the beginning of the shot. I'm very, very glad
we are not in a "crowd scene."
Brett says to "feel the camera" on us, but we'll also get a cue to
react and move. Because we are prohibited from actually looking at
the camera, and the main one is swooping down on a crane, this is an
immense challenge. The first time, no cue comes, but I can sense the
camera. We react and go. After pulling back the cloth to enter our
“house”, the four of us realize that it's stuffed with piles of
props and trip over each other. Brett said that was good. The second
time, I anticipate the camera move and we're too early. From then
on, we get our cue.
He had also told us not to give too big of a reaction. At one point
someone over reacted, and we were told the next take was better.
With various camera angles and takes (and more tripping over
ourselves), we spent well over an hour loading and unloading clothes
into our round washing machine. I lost track of the exact number of
takes. (I'm not sure why we'd do laundry in the freezing cold, but
we were very busy nonetheless.)
fter that, Julian asked us if we wanted to stay or wrap, it was up
to us. (Note: when to leave is never up to a regular extra here; you
must commit to the entire shooting day or you won't get paid and
probably won't be hired by that extras casting person again). We
tried explaining we'd be happy to stay if Brett thought he might use
us in other shots. Despite the language barrier, we decided to stay.
Brett passed by a bit later and said he'd already given us four
shots with two cameras. I said I hope we met his expectations and he
said we took direction well. Now we must pray the editor doesn't
remove our brilliant performance. AP later told us that because
they're shooting digital, not film, there is no cutting room floor.
. .stuff removed just vanishes. (Can we start a "Save the
washerwomen" petition? At least for the DVD extras?)
One of the new stars showed up and took J, C and I for a drink at a
nearby bar. Getting the chance to warm up was great. He's very nice
and L and I agree will be most popular with the fans.
More waiting ensued. We were cold. L had decided to put her own
clothes on when Julian told us we were needed again. Back to our
washing machine, where we altered our routine for this shot with a
different new character. AP made his way over and talked with us for
a while, discussing swordfighting. More pictures taken.
 Then came "lunch" at base camp at 1AM. The four of us walked to the
nearby parking lot filled with trailers. On the menu was freshly
grilled pork and French fries. The tent was too crowded so we went
outside.
By this point, we looked and even felt a bit like homeless people,
wearing our multiple layers in an attempt to stay warm, eating while
sitting on a parking lot curb with crumpled boxes for tables. But
the pork was delicious! Upon our return to set, we worked a bit more
on the second shot.
At around 4AM, AP was doing a shot. I was frozen by then, and we
weren't sure we were needed. We asked and were told we could change.
So on the street next to a van we exchanged our wardrobe layers for
our own (we all had long underwear or something discreet under our
costumes). As soon as I'd stuffed their clothes into my plastic bag,
Julian ran up and told us we had to do one more shot. We threw back
on the other clothes and ran back, only to wait while AP finished.
 He saw us and asked what we were still doing there. We explained,
then waited.
The wind had picked up. It was FREEZING. In case you haven't figured
it out, we were freezing. AP wore a blue blanket over his coat. My
hand warmers couldn't keep up, so I tried warming my hands on a soup
pot on the snack table.
At this point a snack unusual to me but perhaps common to Vilnius
was handed out: toast fused together with cheese inside. . .and
ketchup.
Our shot started at 7AM. By now the wind gusts were so strong the
fires couldn't help us stay warm. The sky started growing light. .
.and we were wrapped. Waiting in the van to go back to the hotel, we
saw Lithuanians walking and driving on their way to work.
Returned to hotel at 8AM. . ..
Day 4, November 15
nd I slept until 3PM. This is the cast/crew day off so there
won't be any filming. L and I had a leisurely meal.
Another tidbit, apparently common now in Europe: to turn on lights
in hotel rooms, you have to insert your key into a little box on the
wall. This is to ensure no one leaves the lights on!
Day 5, November 16
reakfast around 8. L and I went to Gedimas castle. We wound up
walking around the entire thing before we found the entrance. . .up
an extremely steep, rocky path. At the top you get a fabulous view
of old Vilnius to the left and new Vilnius across the river to the
right. We wanted to go up the tower and in the museum, but they
didn't take Euros, and we hadn't gotten any local currency. Going
back down the rain-slicked, slippery slope was a challenge.
Made some final purchases at a reasonably priced glass shop, and
what we'd chosen as our favorite amber shop. Just outside, and in
front of a church I'd already taken pictures of, were a bunch of
vans from the studio. The shop worker thought it was for Lithuanian
TV.
Off to our studio tour. Friendly studio personnel showed us the
Highlander sets under construction, their vast costume, props and
furniture storage areas. And we got our The Source jackets.
For the first time we see some blue sky.
VISIT TO THE SET #4
At 8:15PM, the fab 4 gathered in the lobby for my last set visit. We
took a cab, and C tried to explain to the cab driver where we were
going. Half an hour later, we still hadn't reached the location,
which was supposed to have been mere minutes from our hotel. Though
we did get a nice tour of a newer part of Vilnius we hadn't seen.
When we finally got there, we realized we were at the church by the
amber shop, less than a 2 minute walk from our hotel. Ha. Good thing
we aren't in The Amazing Race. Met AP's stunt double, who, as you
might assume, could be AP's twin. Up close, those in the know can
easily tell the difference, but from a distance even we were fooled.
We hung out in the churchyard. Bitter cold already. Heard discussion
of upcoming stunt, watched filming of a short scene and AP and
double going over a sword fight. Also got to meet Vernon. When AP
visited, I thanked him for having us and he said, "Thank you for
being a washerwoman."
By 11PM, despite tons of layers, I was again freezing. L and I
decided to say our goodbyes and return to the hotel. C asked AP to
sign our jackets. I'd brought several kinds of indelible markers,
but none of the 3 would sign on the nylon fabric. Or maybe they'd
frozen. AP graciously tried to get his assistant to retrieve one of
his. . . but C took the jackets to be signed later.
Though some people might wonder why I traveled halfway around the
world to be a freezing washerwoman, any Highlander viewer or movie
lover will understand.
How many times in life do you get more than you expect? In the end,
L and I enjoyed:
1. FOUR days (well, nights) of set visits, as close to the action as
we could be
2. all nights of our hotel bill paid
3. amazing insight into the world of moviemaking and The Source
4. the chance to be in the movie, and in more than one shot
5. two days of meals, plus meals with the crew while on set
6. The Source jacket, signed by AP and others
7. Many opportunities to chat w/AP and other stars despite their
crazy busy schedules
8. various Highlander DVDs and a hat sent by Davis-Anderson with our
tickets
Thank you to Adrian and Brett for being so generous with your time
and access to your set, to Carmel, Alex, Sharon, Davis-Anderson,
Davis-Panzer, the production team at Lietuvos Kino Studija and
everyone else involved in making my Vilnius/The Source visit a once
in a lifetime adventure.
~
Ruth Kaufman, aka Washerwoman #1
Assorted Links of Interest:
Info about Lithuania
Map of Vilnius
Map of Lithuania
History of Lithuania
- Link 1
History of Lithuania
- Link 2
Lietuvos Kino Studija
AP/Highlander sites:
Adrianpaul.net, with Adrian Paul's set diary,
Straight from the
Source
AdrianPaulPeace.ORG
Give2Asia, the organization
receiving auction proceeds
The Official Highlander:
The Source website
The Official Highlander Fan Club
Davis-Panzer
|
