Category Archives: Barry’s Posts

Barry Weitz: A Day In Production on Movin’ On

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Barry Weitz in the Kenworth cab

Barry Weitz in the Kenworth cab

In answer to a question posed in our Facebook page feature, “Ask Barry Weitz”, Barry laid out what a typical day might be like during production on Movin’ On:

Getting Up To Speed  –

Let’s say the production schedule is such that we have a day shoot…12 hours… relatively easy stuff… a couple of long dialogue scenes with Sonny and Will and then a rather complicated chase scene with our trucks. The director has rehearsed the dialogue with the actors that morning and made some script changes based on what the location suggests and what the other cast members can handle. I’ve watched the rehearsal, made some suggestions, and released the script supervisor to type up the changes and get them to the various cast and crewmembers. Keep in mind that most of the crew has only read the previous version of the script. They are ready to “rock and roll”, but after the changes we need to update the crew and get them on the same page with the director and actors. As it’s an early call, the caterers have put together breakfast for the cast and crew and we go off to the truck for a delicious burrito and coffee, and to get the rest of the cast and crew up-to-speed.

Non-stop Meetings –

Once final rehearsal and blocking of the morning dialogue scenes are done, shooting begins. When I’m satisfied that all’s going well, I’ll drive to the chase scene location. I’ll meet with the stunt coordinator, drivers, and additional production crew to see if the “chase scene” is ready for the director and cast when the morning’s work is completed and it’s time to move on. As we had a flawless crew, all would naturally be in order and the conversations and decisions of our earlier production meeting would be coming together like clockwork. Satisfied with the progress, I might drive back to the office and perhaps meet some of the local casting options that our 1st. Assistant Director has assembled. I’ll make necessary casting decisions, and then meet with the location people to discuss what the next week’s locations look like and what problems they may be encountering trying to get the right look for the next episode.

Then it’s time for a meeting with the Unit Production Manger for a review on how the costs of the episode are going. Happy with that conversation, and curious to know how shooting is going…. and not having the pleasure of cell phones… I’ll drive back to the location and watch the First Unit do their thing. I’m probably driving while First Unit is taking lunch, so I hope they put aside something for me.

Company Move –

After we wrap the dialogue scenes the whole company: actors, crew, makeup, props, costumes, catering, and craft services – all move on to the chase location, joining the stunt drivers and show trucks.

I love watching the drivers move our monster trucks around like sports cars. I’m fascinated how our gaffers, grips and camera people rig camera mounts and lights on our Kenworths and chase vehicles. And I’m always surprised to see the sound guy hidden in the sleeper in order to record Will’s and Sonny’s off the cuff dialogue that’s always heard so clearly in the final print. The stunt comes off beautifully. I’m thrilled and promise to buy a round of beer when we all return to the hotel later that day.

The Finish Line –

Back at the office (again), I call the editors in LA to check how the previous days dailies looked, and was there anything additional that we need to film to make a particular scene work. If so, I would get those notes to our director and production crew and schedule a time to have that work done. Finally, the department heads and I will have conversations about the next days work.

I’ll often eat in the office while on the phone to LA or talking to the department heads. If not, I may join one or more of the crew for a bite. In any case, we’ll gather at some watering hole later where I’ll make good on my promise to buy a round. We all raise a glass and toast another day of work well done!!!!

Then I crawl into bed!!!

Barry Weitz at The Movin’ On Museum –

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The Movin' On Museum Banner

Barry’s Emotional Visit To The Movin’ On Museum

Barry visited The Movin’ On Museum that Bill Bazen opened recently. The Museum is located at 14917 Creedmore Rd. Wake Forest, NC 27587. It is open Saturdays from 12 pm to 3 pm and Monday – Friday by appointment. Sorry, we are closed Sunday. For appointments to visit the museum on a weekday please email MOVINONFAN@YAHOO.COM or call Bill at 919-282-2372 and leave a message.

A look inside the Movin' On Museum

A look inside the Movin’ On Museum

The extensive collection of Movin’ On items at the museum left Barry a little dazed. On the phone to me later in the day, Barry had a difficult time describing the emotions he experienced meeting Bill and finally realizing how deeply Movin’ On, his creation, touched people. Claude Akins had once told Barry that his part as Sheriff Lobo was a job, done for a paycheck; his role as Sonny Pruitt was for love, he’d have done it for nothing! At the Museum, Barry saw a letter Claude had written repeating the same story.

Barry is used to actors saying things like that. He believed Claude completely, but after all, Claude was in show biz. At the Movin’ On Museum, and earlier in the week at The Great Southern Truck Show, Barry was hearing from people – regular people who had been touched by his program. It’s a unique experience for a Producer to be told things like, “What you did was what made me want to be a trucker,” and “Your show made me proud that my Daddy was a trucker.”

Barry was deeply affected by what he saw and heard in North Carolina. Describing it to me he used the words inspirational, touching, tickled. Barry spoke of getting a little “weepy” when he touched items that he hadn’t seen in over 40-years.

Barry Wietz and Bill Bazen

Barry Wietz and Bill Bazen

I don’t expect you will get weepy when you visit the museum. Maybe only the baby’s father feels that way. But, if Movin’ On reminds you of family, pride, and long ago good times, perhaps you will have to fight back one or two tears.

Barry Weitz Attends His First Truck Show –

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Barry in the cab of the Movin' On Kenworth for the first time in 40-yearsBarry Weitz is not a man who tears up. He also doesn’t let his emotions show. This week has been an exception. True, he did not tear up, but for the first time since we began collaborating, Barry’s emotions were evident. He expressed his gratitude to me for reviving Movin’ On. He was effusive in his thanks and appreciation.

What brought this on? Barry is, for the first time, understanding the deep meaning that Movin’ On has for people. Barry visited Brad Wike’s Southern Classic Truck Show in late September. The visit was an afterthought, a short road trip with his wife to fill a Saturday afternoon. Meredith and Chris of Freewheelin’ mentioned that the original Movin’ On Kenworth would be at the show. By chance, Barry was in Charlotte, forty minutes away from Brad’s farm so he went over with no expectations. What Barry found in Brad’s lush field, in addition to many amazing trucks, was his past. Barry also discovered that his past is tied to the people that he made Movin’ On for – but now has he met them face to face.

Barry arrived unannounced and asked for Brad. Understandably, Brad was busy and didn’t like the idea of going back to the entrance to speak to some unknown visitor. “There are two-hundred people that want to see me,” Brad explained to his assistant over the phone. “You’re going to want to see this one,” Brad’s assistant told him.

How right she was. Once Brad understood that the Creator of Movin’ On was standing before him he could not have been happier. He was looking upon a hero of his childhood. He was remembering his father on the roof of their home in 1974, twisting the antenna to pull in a better picture on their TV. It was 8pm Tuesday night – Movin’ On was starting.

Barry wanted to see the Kenworth. But first Brad had to introduce Barry to another of the Movin’ On faithful, Robb Mariani. Robb is the Executive Producer of American Trucker and was attending the show with his Cobra rig. On Robb’s website, Movin’ On is listed as one of his all-time favorite trucker movies, TV shows, and songs. Brad knew Robb would be as thrilled as he was to meet the man who had propelled trucking into the pop culture 40-years ago.

Robb explained to Barry how important Movin’ On had been to him. It’s why he got into trucking.

Barry about to climb aboardFinally it was time to see the big green truck. I imagine Barry must have forced back a tear or two as he gazed on the truck, climbed on board, and sat behind the wheel. The look of joy on his face, looking out through the S. Pruitt side window says it all. The big grin and thumbs up are there to hide the deeper happiness.

The rest of the day Barry was told how important Movin’ On was to people. Every one wanted to thank him and tell how the show impacted their lives. Sure, Barry enjoyed seeing the truck after forty-years, but what really stuck with him were the fans. For the very first time Barry understood how what he had created affected people. They aren’t just an audience anymore. They are not percentages on a Neilson rating. They are people who appreciate what Barry and his team did. They are grateful and after many, many years they were able to express their thanks to the man who did so much for them.

Actor Earl Billings Remembers Movin’ On

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Phillip Michael Thomas and Earl Billings

Phillip Michael Thomas and Earl Billings

Thanks to Bill “Amazen” Bazen for connecting with actor Earl Billings and getting Earl to share a great story. Earl Billings played the heavy in the episode “No More Sad Songs”. The basic plot is that Sonny and Will unknowingly carry a small time hustler’s loot to Pensacola. The bad guy, Phillip Michael Thomas, promises his boss that he has everything under control but the boss sends Choo-Choo along with him to make sure either he gets his loot or someone pays with their life. Earl Billings, as Choo-Choo, is a very believable enforcer. Ironically, Earl’s story shows what a sweetheart he is in real life. Here’s Earl’s story with an introduction from Bill, and followed by Barry Weitz’s memory of the episode:

“Amazen’s Introduction:

I have a special treat for our Facebook group members today. Mr. Earl Billings, who appeared in the episode “No More Sad Songs” has agreed to share with us his memories from 1975 of working on the Movin’ On production. This is an exclusive interview for Movin’ On fans. As we all remember, Earl’s character was named Choo-Choo and he was Mr. Flick’s bodyguard and henchman. Take it away Earl!…………..

Earl’s Story

There were two things that have stuck with me after all these years. One had to do with the episode’s guest star, Phillip Michael Thomas, and the other with Claude Akins, himself. I had seen Phillip’s work on TV, so I knew who he was. This was long before “Miami Vice” when he became a household name.

I had brought my then wife up from New Orleans where we were living at the time to the location, which was in Mobile, I believe. The night before we began working, the three of us had dinner together and Phillip asked had I read the last scene, the capture scene. During our escape with the loot we drive off the uncompleted freeway into the Gulf. I said that I had read it and thought nothing of it because it was a stunt and all we had to do was surface from the water and get captured. The worst that could happen was that we would get wet.

All week Phillip kept asking me, “Have you met or seen the Stunt Men who would double us?” I said no, that was not my worry. The day of the scene, I went into my dressing trailer and among my clothes was a full wet suit to wear under my wardrobe. Being ex-Navy, I knew that the wet suit was to help us float. There was a knock on the door. It was Phillip holding up his wet suit and frantically asking, “What’s this for?” I explained it was for our safety, in case something happens. He screams, “LIKE WHAT?”

They drove us to the location, which was under the unfinished freeway. A State Trooper and a Diver took us by boat out into the Gulf. For some reason, Phillip brought along a long tree branch. They shoot the stunt, the car going off the freeway. There’s a big splash and then Phillip drops the bomb. “Earl, I can’t swim.” The State Trooper looks at me, I look at the Diver, he looks at Phillip. And from way up on the unfinished freeway the Assistant Director says, “Okay, Phillip, you and Earl get in the water and count to ten, then let the stolen money float up and then you guys surface and that’s a cut.” Phillip sticks the branch in the water checking to see how deep it is but the branch doesn’t touch bottom. Pandemonium!

The Director wants to know what’s the hold up? The Diver and I finally got Phillip in the water and he was holding onto the boat for dear life. Then the Assistant Director called action and the Diver and I pulled Phillip under with us. I let the money go, the Diver pulled away, to stay out of the shot, and Phillip lost his mind. I’m trying to pull him to the surface and he’s fighting like a crazy man. I’m holding him up when the Director calls cut. The Diver comes back and we get Phillip into the boat and we hear the Director say over the bullhorn, “Phil, that was great, you really looked like you were drowning.” The State Trooper, the Diver, and I could not stop laughing.

I had been a fan of Claude Akins ever since “From here to Eternity” and didn’t know his name until “The Caine Mutiny”. During our shoot I got to ride in his trailer to a different location and we talked for about an hour. We talked about how we got started, family and how black actors were now getting good breaks in the business. When I told him that he was big star in black communities, he was taken aback until I told him that he played bad guys and we identified with his guys. They wanted the booze, broads and money, while the guy in the “White Hat” kissed his horse and rode off into the sunset. What the hell was that? His laugh was huge, and warm, and real, and he understood the compliment.

–Earl Billings

Earl also had something nice to say about Barry and Phil, “Weitz and D’Antoni are some of the best in the business. Great guys!”

 

Movin’ On creator Barry Weitz’s memory of “No More Sad Songs”:

I don’t have any special behind the scenes memories of “No More Sad Songs” other than that we never shot in New Orleans or Pensacola. There may have been some second unit done in New Orleans, but we never shot there with Claude and Frank. The opening shot of the New Orleans harbor was stock footage that we bought and cut in to “establish” the location.

I had a vague recollection of shooting in Mobile, AL. Bill “Amazen” Bazen confirmed that we did use Mobile to “double” for New Orleans and Pensacola. Bill also states, and I believe him, that we used Daphne, AL as the location for Aunt Bess’ house. Bill further states that in a later episode, “Sing It Again, Sonny” we again used Mobile to double for Nashville.

After viewing the episode… 40-years later, I’m comfortable talking about what just might be my biggest problem with the series as a whole. It has to do with edginess, or lack thereof. Our pilot, In Tandem, was edgy. It was raw. It was rough and it was tough. We made In Tandem to appeal to a 10pm audience. Network TV in the seventies was a different beast than today. Nowadays, almost anything goes at any time during prime time. In the seventies, raw, adult themed programs did not air at 8pm or even at 9pm. I created and always saw Movin’ On as a 10pm show but NBC wanted it at 9pm and that is when it ran in season one.

To accommodate the more genteel 9pm audience we had to take out a good deal of the edge and grit. In season two, NBC wanted us on at 8pm and all the edge went away. Did someone say Disney Movie? I was happy to have a show on the air, but I sure wish we could have had the 10pm show that I had imagined.

“No More Sad Songs” is an example of the soft, family style content we were forced into by our time slot. You may notice that “No More Sad Songs” is the second story of a precocious, gambling child. In season one we did an episode called “Roadblock” with Mackenzie Phillips. Mackenzie played a similar role to Maggie, the girl in “No More Sad Songs”. Maggie is younger, sweeter, and more innocent than Chessie, Mackenzie Phillips’ character. That’s the difference an hour makes on network television. My preference would have been, if we were doing another child older-than-her-years episode, to do it more like Jodie Foster in Alice Doesn’t Live Here Anymore. But I knew it would never fly with the network.

–Barry Weitz

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Merle Haggard Nails It

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Merle Haggard

Merle Haggard and I spoke a few times after the In Tandem screening. We went over the lyrics and his thoughts about the pulsating sounds for the Movin’ On theme song. I had represented many musicians and singers prior to coming to Los Angeles in my early days at the William Morris Agency and I was very comfortable having these kinds of conversations with him. But after all was said and done, creating the song was in Merle’s hands, and I awaited the “first draft” of the song eagerly.

Well, when we received the tape, I played it for the entire creative team: producers, writers, editors, and our office staff. Without fail, everyone was knocked out with Merle’s work. We laid it into the film and watched it on the big screen in the same room where Merle had seen In Tandem. It was a goose-bump moment. The song worked perfectly with the picture. Were absolutely thrilled. Merle had nailed it…. and so did we!!!!

Judge for yourself. You can hear the theme song while watching the credit sequence at the beginning of every episode at proclassictv.com.

— Barry Weitz

More On Merle Haggard

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Merle Haggard in Sonny Pruitt's semi

Merle Haggard in Sonny Pruitt’s semi

Merle Haggard and his guys came down from Bakersfield, CA to meet with me at the Movin’ On offices at the MGM Studios. We had put together a screening room…. with big, lush, soft cushioned sofas and a great sound system so Merle could sit comfortably and “absorb” our pilot, In Tandem. Our editors, appropriately, had refreshments sent in and Merle and his crew indulged in the libations set before them.

As I recall, it was early afternoon and we planned to take Merle to lunch at the MGM commissary once the screening had concluded. I sat beside Merle in that dimly lit screening room before the movie began and wondered if Merle would find In Tandem exciting enough to write and perform the title song. Our Head of Production, Bill Snyder, chatted it up with Merle while I sat quietly by…. hoping for a good reaction. I know I was nervous because I don’t normally sit quietly by. I remember thinking, “Maybe I shouldn’t have caught so many bass!!!” But what the hell, it’s about the film after all. Either In Tandem speaks to Merle or it doesn’t.

Well, In Tandem did speak to him! Merle and his guys laughed at all the right places and were absorbed in the drama of the movie. They were with it! My secretary quietly came in…. while the film was rolling. She whispered in my ear that I had a call from Larry White, the Head of Production for NBC-TV…. and could I take the call? Well, it’s not smart to refuse a network head’s phone call. I told my secretary to put the call through. The phone was on a small table between Merle and my seats. Also on the table was an intercom to call the projection booth and controls for the lights. I fumbled a little trying my best to not to break Merle’s concentration. I certainly didn’t want to turn on the lights!

I managed to pick up the telephone and talked to Larry in a hushed voice about my plans for the series. When I told him that Merle Haggard was sitting next to me watching the pilot as we spoke, Larry said, “Merle Haggard, No Way!! Do you really think he would do the title song”?

“Yeah, I think he will, but I’ll let you know later, when he’s done watching the pilot.”

“Damn Barry, that would be great if you could get him.”

When the lights came up, Merle and crew applauded enthusiastically and Merle announced without hesitation, “I’m in.”

I was thrilled!

We went to lunch at the MGM commissary as planned. Keep in mind; the MGM commissary was the place…. all the stars that were working on the lot would dine there.  We had made a reservation for the big table at the back of the vast room and when we entered the Maître d’ immediately recognized Merle, as did many others. Many actors, directors, producers came up to him to shake Merle’s hand and acknowledge his enormous talents. A sprinkling of spontaneous applause broke out and Merle was a tad embarrassed…. but was gracious to all that wanted autographs and a handshake.

As you know, Merle did write and record our title song. That song helped put Movin’ On in the world of an iconic truckin’ show…. a world we will always share with Merle…. an icon of the Country and Western world. It was an experience I will never forget. Thanks, Hag…. R.I.P.

–Barry Weitz

Hey Mister, did you lose your dog?

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Claude Akins, Frank Converse and Shadrac the dog

Claude, Frank and Shadrack

The hound is Shadrack.

Claude loved the dog!  Frank loved the dog!! I loved the dog!!! Yet, the director of our pilot, In Tandem, Bernie Kowalski knew the dog was going to be trouble one day. He warned me….. “Livestock can’t be directed, Barry”. It was only a matter of time….. Shadrack would take up way too much production time, actor time, script supervisor time…. and general well being….. way, way too much time to be worth it. Bernie was right. I remember Claude taking me aside and saying, “Thanks, Barry, Frank is a great co-star, but I don’t think I can handle the dog as another “co-lead”. That’s when Shadrack was gone. The idea of Shadrack was better than the reality of Shadrack. 

By the by, one of the reasons we selected Bernie to direct the pilot was that he had done “N.Y.P.D”, a series that starred Frank as a New York City policeman. I thought that Akins, Converse, and Kowalski would get on nicely. They did and the pilot was a big success, which allowed us to make the series, “Movin’ On”…. which makes us all smile!!

The photo is of Shadrack on his best behavior.

— Barry Weitz

Birth Of Main Titles

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Dennis Johnson asked this question:

“I wonder how the opening credits of the show came to be. The song, the split screens, even the font of the lettering is perfect. Very well done! I have never seen another show with such a great opening.”

Great question, Dennis. I’ve rarely been asked that.

It all started with the song!

Once Merle Haggard agreed to write and perform the theme song, I knew I wanted something for the Main Credits that evoked the open road, something that looked like our heroes were traveling down the highway….”big wheels rollin’…. Movin’ On”…. taking them and their big rig all across America.

The editors come up big!

Our editors came up with the split screen idea. It was perfect, depicting lanes on a highway – and movement, always movement. When those images and shifting lines were married with the song, it worked beautifully. For the font I wanted something that had a “bold military” feel that said strong and solid.  Again, I credit our editors. They presented me several choices and we selected what you see today. I agree, it’s a title sequence that “pops out” at the viewer.  Thanks Dennis for your enthusiasm. I’m very pleased that you like what we presented.

— Barry Weitz

Merle Haggard Comes On Board

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Merle Haggard Keep Movin On album coverOnce I knew our pilot, In Tandem, had been picked up for series, I began thinking about music. I wanted to come up with a theme song that would work with the plans we had for the show.

I had known Merle Haggard’s music and thought the Bakersfield Sound…. steel guitars…. rough edged…. would be a perfect match for the show. Haggard had that sweet, earthy, gravelly sound in his voice that made me think of heavy trucks rolling through the night. I decided to contact Merle and see if he would be interested in writing and performing the title song for the series. I called him at his home and I told him what I wanted. He laughed and said he had never done anything like that…. but was intrigued enough to meet me and discuss my thoughts.

“So, where should we meet, Merle?” I asked.

“Well, Barry, I love bass fishin’…. so if you like fishin’…. why don’t you come up to Bakersfield and we’ll go out on my bass boat and throw some plugs at large mouth bass”.

What Merle didn’t know was that I loved bass fishin’ and had competed in bass tournaments around California and Texas.

So, I loaded my equipment in my truck, drove to Bakersfield and met Merle and his crew. We had a beer and went to the lake. I started catching fish immediately – hot as a pistol right out of the blocks, while Merle played with the boat and sang “Okie from Muskogee” to himself. I finally decided that since he’s the host, I’d better back off some…. let the star catch the fish. Well, Merle turns it up. Now, he’s on fire and bass are flying into the boat. Merle’s happy, so I start talking Movin’ On with him. He agrees to come to Los Angeles and see the pilot. Now, I’m the one who’s happy.

Merle sees the pilot and loves it. He agrees to write and perform the title song. The song is an instant hit and helps make Movin’ On a success. Merle’s music is a perfect complement to “Sonny”…. “Will”…. and their big, green Kenworth truck and keeps those Big Wheels Rollin’…..

– Barry

Movin’ On’s Beginnings

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During the filming of The Seven-Ups we spent a lot of time at the Bronx Terminal Market. I watched the comings and goings of an endless stream of independent truckers…. dropping their loads…. and movin’ on to other jobs – anywhere in the country – anywhere that someone was willing to pay them to move their goods. It occurred to me that this world would be a great idea for a T.V. series. So, I sat down and created the characters of Sonny and Will and the beginnings of Movin’ On. Once the concept was sold to NBC and the script approved, we were on the way to production of the pilot. Of course, first things first. We needed to have a Sonny and Will. Who would that be?

Working on the concept for the series I had the actor, Ward Bond, in mind for Sonny. As I got deeper into writing the characters, I knew I wanted Frank Converse for Will. I was a big fan of the T.V. series N.Y.P.D. which Converse had starred in. So casting began and my casting director recommended that I meet with Claude Akins. The moment Claude walked into my office I knew he was Sonny and I made the offer to him immediately. He thought the role was wonderful and the possibility of shooting a series which traveled around the country would be challenging and very exciting. I flew to NYC where Frank lived, met with him and made the deal.

Once we had these two very fine actors the fun began. You see, they had to drive very big 18 wheelers and neither of them  had ever done so. In fact, Frank didn’t drive a car…. much less a semi. Truck driving lessons were on the schedule ASAP. Claude took to truckin’ like a fish to water. Frank…. not so much. So our “Movin’ On” adventure began in the cab of a truck…. with Claude and Frank getting to know each other and their way around a 10 speed manual transmission. But most of all, they started learning the characters – “rough and tumble” indy truckers named Sonny Pruitt and Will Chandler.

Barry Weitz