Prison Break: A look back (Sona)

This was my last time on set for season two. It was the final episode of the season, and I had a short scene. My journey this season had come full circle. I was originally approached by casting to play a guard in the Panamanian prison, Sona—which, coincidentally, is also the name of the episode. At first, I was a little concerned about taking the role, simply because of how the previous episode in Mexico went. But of course, I said yes. I mean, who would really say no to an opportunity like this?

The scene took place in the worst of the worst prisons in the world: The Federal Penitentiary of Sona, which was loosely based on the Brazilian Carandiru Penitentiary. In reality, "Sona Prison" consisted of three separate locations. We used the old meatpacking plant behind the Fort Worth Stockyards for exterior shots, a youth detention center off Harry Hines Boulevard in Dallas for the courtyard shots, and The Studios of Las Colinas for the cells and interior shots.

I arrived at base camp around six o'clock in the evening. This time, base camp was located in a Fort Worth Stockyards parking lot, not far from one of my favorite spots, Riscky's BBQ. After parking, I checked in with the casting assistant and headed to wardrobe and props. I changed into my uniform and received my prop: an AK-47 machine gun. The cool thing about this production was that they used real guns, modified so they could not be fired.

While waiting for the crew to set up the cameras, I noticed William Fichtner walking around the parking lot. I had been a fan of his since Grace Under Fire. I had only worked with him on two other episodes of Prison Break, and he was usually so busy that I didn’t want to bother him. However, since this could be my last episode on the show, I didn’t want to miss my chance. I asked him if he would sign an autograph.

He said, "Sure, do you have a photo or something?"

I told him it was in my car.

He replied, "Go get it and I’ll sign it before we start."

I ran to my truck to grab the picture, and he signed it for me. Luckily, he signed it right then; the moment I put it back in my truck, we were called to the set.

The set wasn’t very far away, and we easily could have walked. Instead, we all piled into a van and were shuttled over. The drive was short, and when we arrived, director Kevin Hooks came over to break down the scene with us. In the scene, Scofield and Mahone (Wentworth Miller and Bill Fichtner) have been taken into custody and are being transferred into Sona Prison.

Just as Kevin finished briefing us, two massive water tankers pulled up. They parked out of the camera frame. By this time, night had completely fallen and it was pitch black. The crew hooked up the rain rig to the trucks. For the shot, two different "Sona" vans drove up, one carrying Scofield and the other carrying Mahone. They stepped out and caught sight of each other. Mahone was led one way, while Scofield was escorted to the main door. That is where yours truly was waiting, machine gun in hand, ready to open the heavy door and slam it shut behind him.

It was a very quick scene that took only a few hours to shoot. However, with the artificial rain pouring down, it felt much longer. That water was freezing! On the bright side, I did get paid a bump for getting wet.

To pass the time between setups, Wentworth and I peered inside the building. We were only filming on the exterior, so we didn't actually need to go indoors. But while waiting for a camera angle change, we stepped inside a bit to check it out. Because we weren't filming interior shots there, the building had no lights. We could only see as far as the illumination from the outdoor production lights could reach. Man, it was creepy. It was all concrete and covered in graffiti. I got a sudden chill, like someone was watching us.

Eventually, the crew set up to capture the shot of Scofield walking in and me slamming the steel door. (It wasn't actually steel; the sound effects were added later, haha!) Then, the camera panned up to the name of the prison above the entrance. Kevin ran about four takes of that before we finally heard, "Cut! Check the gate."

The shot was good. "Cut the water," Kevin called out, clapping his hands. "Great job, everyone!" The crew brought us towels to dry off, and we headed back to wardrobe. It was another successful day on set.

I will probably only write one more of these entries. The next day I am on set will be for the premiere episode of season three. There is a pretty cool connection between the season two finale and the first episode of season three.

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Prison Break: A Look Back ( Bad Blood)

                         

This was for the exact same episode, but filmed a week apart. When casting originally called, they told me the scene would take place in "Mexico." I thought, Okay, cool. Then they asked if I wanted to play a Mexican police officer. I laughed to myself and said, "Sure, why not?"

While the scene was supposed to be set at the airport in Ixtapa, Mexico, it was actually filmed at Meacham International Airport in Fort Worth. When I arrived, I went to wardrobe to change into my uniform, and then to props to collect my sidearm and badge. It was then that I realized I was the only white guy on set who wasn't playing a tourist!

While a few other guys and I were waiting for our scenes, I walked over to watch the filming from behind the director. I caught William Fichtner shooting a scene down one of the corridors. I believe his scene was supposed to be set in Chicago. He was on the phone talking to his on-camera son, but in reality, he was speaking to a production assistant off-camera. What amused me was that whenever he wasn’t actively filming, he was having a conversation on his personal phone. The moment a take came up, he would slide his real phone into his pocket and nail his lines. As soon as the director called cut, he was right back on his phone. Color me impressed.

Later on, it was time for my scenes. I was supposed to be at the Mexican airport chasing Sucre and Maricruz down the hallway. The other guys and I were in position and ready to roll. At the very last second, however, the director decided not to use us. Damn! Again, that’s just how showbiz goes.

I wasn’t too bothered because I got to hang out with Amaury Nolasco (Sucre) and Camille Guaty (Maricruz) between scenes. When Amaury first arrived, he walked right up to me, shook my hand, and gave me a hug. He said, "Hey, what's up, man? How was your New Year?" We chatted for a little while. I hadn't worked with Amaury since episode one, and even then, we didn’t share any scenes—we had just grabbed breakfast and lunch together.

That morning, I asked Amaury if he could sign an autograph for me when he had a free moment. He said, "Sure, would it be okay if I do it later?" I told him it was no problem at all and to just let me know whenever he wasn't busy.

Fast forward to the end of the day, and the crew called a wrap. I walked around to say my goodbyes. When I approached Amaury and Camille, Amaury remembered the autograph. He said, “Hey, let me sign that for you. Do you have a photo or something?” I told him all I had was an index card, so he signed that. Then he said, "I'll see you again. Talk to you later, bro." Next, I handed a card to Camille, and she signed it before giving me a hug. I wrapped up at wardrobe and props and headed home. Even though I didn’t end up doing any acting, it was really cool to see everyone again and watch the episode shot from the director’s perspective.

About a week later, I got the call to come back. It was for the same episode, just a different scene. Since my face hadn't been seen in "Mexico," they were able to use me again. This time was an especially cool experience. My call time was 11:00 AM. I arrived at base camp and went straight to wardrobe. For this setup, I was playing a chef in a members-only cigar club, which was actually filmed inside The Old Warsaw restaurant. What was really neat was that when I arrived at base camp, everyone was waiting for me, making sure I had everything I needed.

After I got dressed and propped, they drove me over to the set. I sat around for a little while before legend externalized as Warden Pope in season one, actor Stacy Keach, walked in. His character had been fired at the beginning of the second season. I waited a few minutes and then approached him to start a conversation. I told him I had been a fan ever since I first saw him perform as Sergeant Stedenko in Cheech & Chong’s Nice Dreams. He expressed his gratitude for the support. I then asked if he would sign an index card for me. Like everyone else, he graciously said, “It would be an honor.” He signed it and shook my hand. About an hour later, we broke for lunch.

After lunch, we returned to shoot the scene. I was working alongside Wentworth Miller and Sarah Wayne Callies. The scene went well, but somehow production always seems to shorten my parts! I did make it on screen, but if you blinked, you would have missed me. Still, it was a fun, albeit short day. That was a wrap for me. I was the last one to arrive on set and the first to leave, but I still had a great time. Until next time!

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Prison Break: A look back ( Orientación)

This was my first day on set for season three. Even though I did plenty of episodes after this one, this will be my last post about Prison Break—well, maybe! Honestly, I think people might be tired of hearing about them by now, haha.

This production day picked up right after the finale of season two. At the end of that finale, I slammed the door behind Scofield, locking him inside Sona Prison. Season three opens right on the other side of that very door. It shows Scofield walking down a corridor filled with all kinds of people: huge brutes, druggies, and transvestites. As he walks by, he spots a bloody, half-naked Bellick on the floor. He then moves into the courtyard, where a crowd of prisoners is watching a fight that is about to break out under a crazy downpour of rain.

The premiere episode is called "Orientación." We shot multiple scenes for it that day, meaning we didn’t film in chronological order. Most of the time, productions aren't shot in order anyway, but let’s not jump too far ahead just yet.

This season introduced a totally different dynamic than season two. I played the same character in every single episode of season three: a Sona prisoner.

I arrived at base camp around 8:00 AM. This time, base camp was located right in the parking lot of our set location. The set for the prison courtyard was actually an old youth detention center near the corner of Harry Hines Boulevard and Market Center Boulevard in Dallas, Texas. As soon as production wrapped on the season, the entire building was leveled.

When I arrived, I found the casting assistant, and she took me to wardrobe. I collected my costume, which consisted of shorts, a shirt, and a pair of low-top Vans. Next, one of the makeup artists opened a jar of "movie dirt"—which, to my knowledge, is just specialized makeup formulated to look like actual mud—and applied it to my hands, arms, and face. I remember it feeling incredibly soft. They also spritzed my back, pits, and neck with water to make it look like I was trapped in a scorching hot environment. Anyone from Texas knows it really was that hot outside! Some of the actors brought their own little spritz bottles to spray their faces to mimic sweat. I didn’t have one, but Laurence Mason kindly gave me one of his. You might remember Laurence as Tin Tin from the movie The Crow.

All of our scenes that day took place in the courtyard, which was actually the detention center's old basketball court. The crew brought in tons of sand and even constructed a second story onto the structure. They even hired a professional graffiti artist to tag the walls. It looked absolutely awesome.

I got to work with some incredible people that day, including Wentworth Miller, Wade Williams, Robert Knepper, Robert Wisdom, William Fichtner, Laurence Mason, and Sala Baker. Yes, the Sala Baker who played Sauron in The Lord of the Rings—and he is truly one of the nicest guys you will ever meet. I really wish I had gotten his autograph, as I probably will never get that opportunity again.

There was so much happening on set that day that it would take way too long to break it all down. Because of that, I will just share the specific part that bridges the season two cliffhanger with the season three premiere.

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If you remember, at the end of season two, I slammed the door to Sona Prison behind Scofield, locking him inside. On the other side of that door, the season three camera follows Scofield down the hallway. After walking past the crowd of people I mentioned earlier, he comes to a door that leads outside into the courtyard. Since it was raining outside Sona at the end of season two, it was naturally raining when he stepped into the courtyard.

As soon as he opens the door, he sees a massive crowd of prisoners running around in a circle and yelling. Inside that circle, Laurence Mason (playing Sammy, though you may know him as Tin Tin from The Crow) and another guy are about to throw down. Sammy throws down a chicken foot—and when the chicken foot hits the ground, it’s time to rumble. Between the pouring rain, the fight, and the cameraman right in your face, it was an awesome night to shoot. And all of that action happened before the opening credits even rolled!

Prior to filming the brawl, we actually shot what happens after the fight. The losing guy was dead on the ground, and everyone was either walking around him or stepping right over him, until they finally threw his body out the back door.

So, to make a long story short, here is how those episodes tie together through me: If you were to watch the season two finale and the season three premiere back-to-back in one continuous loop, you would see me as a guard locking Scofield into Sona, and then you'd immediately see me as a prisoner out in the courtyard! I also managed to make it onto the DVD menu for disc one, haha.

Thank you all for your time, and I hope everyone has an awesome day. I really hope you enjoyed reading about this small, unforgettable blip in my life!

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Prison Break: A Look Back (Rendezvous)

This was my fourth day on set, and it was a little crazy and a little funny. There were two different sets—which is usually the case—but this time, I actually got to work on both.

I arrived at base camp at 6:30 AM. Usually, this is where I would collect my wardrobe and props, but on this day, I wasn’t playing a correctional officer or anyone specific. I was just a regular person, so I brought my own clothes. The crew did provide me with a suitcase to use as a prop, though. Since I didn't need to go through wardrobe, I went directly to catering and had breakfast and a ton of coffee. I just sat around and shot the bull until it was time to head out. I actually ate my breakfast next to Paul Adelstein, who played Special Agent Paul Kellerman. Paul was a really cool guy and a pleasure to talk to.

About an hour later, I was walking to my car and noticed Paul sitting in his. As I walked by, he started talking to me. We chatted for a few minutes, and then I asked if I could get a picture with him and an autograph.

He said, “Sure man, do you have a photo or something?”

I told him it was in my car and ran to get it. He signed the photo, signed my index card—though he accidentally put the wrong date on it, haha—and let me take a picture of him. I thanked him, and he replied, “No problem at all, man.” Right after that, a production assistant came to take him to the set. I headed back over to base camp and waited for my turn to be shuttled over.

We loaded up in a van and drove to Union Station in downtown Dallas. For this episode, Union Station was temporarily standing in for a bus depot in Tribune, Kansas. This was our first set of the day. If you look closely at the episode, you can see a newspaper machine inside the station where the crew just put a black piece of tape over the word "Quick." At the time, Quick was a free, small-format newspaper distributed by The Dallas Morning News.

I spent half the day there, shooting a lot of exterior scenes that ultimately did not make it into the final cut. The main shots used in the show were filmed inside the station. While there, I worked with Wade Williams (Captain Brad Bellick) and Matt DeCaro (Roy Geary). Wade remembered me from previous shoots, so we shook hands and talked for a couple of minutes between takes. I complimented him on the blog he was writing for the TV Guide website at the time. He seemed really proud of it and was genuinely happy that I was reading it. After that, we filmed some additional exterior shots in the back of the station featuring just me, another background actor, Wade, and Matt. They ended up cutting those scenes out of the final broadcast. That took up most of our day.

Around four o'clock in the afternoon, we headed to Dallas/Fort Worth International Airport. DFW was supposed to be O’Hare International Airport in Chicago, and this is where we filmed with Paul Adelstein again. This led to the funny situation I mentioned earlier.

We had most of one of the terminals completely shut down for filming, but a small section was still operating. The actual airport workers would stop dead in their tracks just to watch us film. At one point, a traveler walked through the door, and a production assistant told him we were filming and asked him to use another entrance. The guy got absolutely furious and stormed off, passing right by me while dropping f-bomb after f-bomb. He went over and got into a line to check in, but what happened next really set him off. He lost his mind when he discovered that the entire check-in line he had just joined was actually made up of background actors! It was total karma biting him in the butt for being such a jerk to the crew.

We shot for a couple more hours, including a scene involving the character Maricruz, Sucre’s girlfriend. The actress who normally played Maricruz (Camille Guaty) couldn't reprise her role for this specific episode, so they had replaced her with a stand-in. We filmed a few scenes with her before the crew finally called a wrap.

It was a tiring day that lasted a little over thirteen hours, but I can't wait to do it again. A massive amount of footage was filmed and an even larger amount was cut—including the entire alternate Maricruz scene—but that’s just how it goes in television. Even if I get cut out again, it's always worth it.

Prison Break: A look back (Buried)

 

This was my third day on set. It actually wasn’t as eventful as the others, but it was probably my most disappointing day—though I wouldn’t know that until much later when the show finally aired.

My call time for this episode was a little later than usual, at 11:00 AM, so I arrived early at 10:00 AM. This time, base camp was set up in a downtown parking lot at the corner of Ross Avenue and Field Street. After parking, I located the casting assistant and checked in. Afterward, I went directly to wardrobe to change into my uniform, and then it was off to props. I collected my gun belt, service revolver, and everything else I needed to look like a correctional officer. This time, however, I wasn’t a Fox River guard; I was a C.O. for the Arizona Department of Corrections. This particular episode was titled "Buried."

Not long after I got suited up, the crew called for lunch. They shuttled us over to The Adolphus Hotel in downtown Dallas, where we ate. I know I probably sound like a broken record always talking about how good the catering was on this production, but what can I say? It was awesome. After grabbing my food, I took a seat next to Marshall Allman. For those who don't know, Marshall played L.J. Burrows, the son of Lincoln Burrows (Dominic Purcell). Marshall was a pretty cool guy. He, myself, and a couple of others chatted through the entire lunch hour. When lunch wrapped up and it was time to head back, I asked Marshall if I could get a quick picture with him. He said, "Sure, no problem." I then asked if he would sign an autograph, and he again replied, "No problem." However, he added, "They’re calling me right now, so catch me when we get on set."

Once I arrived on set, the crew was getting ready to shoot my scene. In this setup, L.J. Burrows had been arrested by the police and transferred to the Arizona Department of Corrections. I had a great scene with Marshall, playing the C.O. who escorts him into the facility to be checked in. In fact, I was originally going to be credited on screen for this scene.

Marshall and I had actually been talking right before the cameras rolled and decided it would look good if I gave him a little shove through the door. After walking through the entrance, I was supposed to tell him very sternly, “Move it!” It felt great, and the crew shot a lot of close-ups and different angles. After we did the scene about ten times, we finally heard, “Cut. Check the gate.” That meant the director had the shot they liked and were moving on. Since that was my only scene for the day, it was time for me to head home. True to his word, Marshall caught me on my way out and asked if I still wanted that autograph. I absolutely did, so he signed my index card.

I hopped back on the shuttle to base camp, returned everything to wardrobe and props, and had casting sign off on my payslip before heading home. When I left the set, I felt incredibly good. It was a successful day with good people, and I finally had a spoken line on the show, albeit a small one.

When the episode finally aired, I sat down to watch it, only to realize something was very different. The entire Arizona prison sequence had been completely scrapped. Every single thing I did that day was gone, likely left on the cutting room floor. Knowing that I lost out on an actual screen credit made it sting a little bit more. Oh well, that’s just how the business goes. It was deeply disappointing, but there is really nothing you can do about it. I did my job, got paid, and just had to move along to the next one.

Prison Break: A Look Back (Otis)

          This was my second day on set. To say it wasn’t as good as my first day would be the understatement of the year. I don’t even remember the call time. I think it was around 9:00 am. I do know that it was hotter than hell and I got a sunburn in the shade. Being in an all-black Fox River Correctional Officer uniform didn’t help. Little did I know that would set the tone for the rest of the day. After I arrived, I found a couple guys that I knew and we waited to be sent to wardrobe. The casting assistant came over and got us and took us to wardrobe and then to props. Wardrobe happened to be right next to the main “stars” trailers and we got to meet them coming in and out. I saw Bill (Fichtner) again, Sara, Amaury, and guest star John Heard (But I didn’t meet him). 

           I was so pumped about this episode. It was only about a week and a half between my time on set from the first and second episode. Casting called me the day before I was scheduled to be there and asked if I could shave my mustache. I really didn’t have a problem with doing because I was only keeping it because of continuity on the show. But they said it was ok and that if I shaved it there would be a big scene that I would be featured and credited in. So the answer was an easy yes of course I’ll shave it. After I got on set I found the A.D. He told me where I needed to be until they were ready for me. Ok no problem. I was one of the few that would do what was asked of me without complaining. It seemed that some of the others would not do the same. Periodically he would come out and tell us that there was a delay and to hold tight. Most of us didn't have a problem doing that. We knew it was a hurry and wait situation.

           After about twenty or thirty minutes the strangest thing happened. We were all off the path of the sidewalk away from everyone. Then John Heard comes walking up with the AD taking him to set. He is carrying an umbrella blocking the sun. He stops at the end of the sidewalk and whispers in the AD's ear. Next thing we know the AD is coming over to us telling us to stay at least 20 feet from him and don’t look or talk to him or you will be asked to leave. Everyone was just baffled because not one person said a word to him or anything. Then he just walked in. Very strange and really uncalled for in my opinion. I was a fan of his since Big with Tom Hanks. But that has since changed.

 

         So after that were still waiting. Come to find out there was a new director and he must have been in a foul mood that day. He ended up changing up the script , reshooting scenes, and he was yelling at everyone. Before that, I did my part then just patiently waited. About 3:00 pm we broke for lunch, which was just as good as the first time. This time was different. They had the main cast away from everyone else. But Wade Williams and a couple others didn't eat with the others that day. After lunch I was talking to Wade, the man has a memory that is uncanny. Lol. He came up to me and said “Hey Riley, how’s it going?” So we spoke for just a little while as it was getting closer to go back to set. So I asked him if he would sign my index card and take a photo with me. He, just like Philip Van Lear, said it would be an honor. So one of the guys from the crew took our picture with my phone and that was it. He said “I’ll see you later Riley” I said ok and went back to set.

          The rest of the day progressed just like the first half did, long and hot. It was about 7:00pm and they came out and told us we can go home. The AD came out and apologized to me. Most of the day after I did my one scene,  I wasn't doing anything. A lot of the guys were happy to leave and they were saying they should have already let us go home. But I was upset because I really didn’t want to leave. Yea, I got paid for doing almost nothing, but I was there to work, not to hang around and do nothing.  So I made my way back to wardrobe and props to change and turn in my props. What made things even worse, when I went to leave, it was so hot it drained my battery in my truck. Luckily one of the guys from the crew had a battery jumper and gave me a jump so I can go. 

Interview with Tiffany Grant (2004)

                Back around 2004 (wow, I can’t believe it’s been 14ish years since I did this), I was able to do a 10 question interview with actress Tiffany Grant. Tiffany is a voice actress from Houston, TX. To make it a little more accessible for Tiffany’s fans, I have put it here on my blog. It’s also easier to update should links to websites or email addresses change. 

               Riley: Hello, how are you?

Tiffany Grant: Thanks so much for asking :-) I’ve been working quite a lot lately.

               Riley: I’m sure you get asked this a lot. How did you get started in voice acting?

Tiffany Grant: Well, I had been a theatre actor for most of my life. One day, in February 1994, I got a call from a 
friend of mine who knew about my acting background. Who’d also heard about AD Vision’s very vision’s very first 
audition to find voice actors for a project called “Guy: Double Target.” I auditioned on February 12, 1994, and I 
was hired immediately as their very voice actor. I’ve been in the business ever since!

    

               Riley: Let’s say I wanted to be a voice over, how would I get started?

Tiffany Grant: Well, I get that question a LOT, and you obviously cannot do it the same way I did! First, you must 
have a solid acting background or some incredible God-given talent; because ACTING is the most important thing.
Next, understand that there are very few places in the country where this type of work is available: Los Angeles, 
NYC, and Houston, and D/FW here in Texas. You MUST live in one of those areas to work in anime voice acting.
If you want to get work with a particular company, you’d need to find out how they go about auditioning and hiring 
their performers. At ADVF, open auditions are held about every two months. An aspiring actor only needs to call 
and get their name on the waiting list. When your number comes up, so to speak, you get a call. Anyone can get 
on the list, so it’s really open to anyone. People are waiting about six months right now to get their appointments. 
Patience is a virtue. There are voice-over opportunities everywhere though, so there’s always something if you 
LOOK for it.

               Riley: Beside what you’re doing now, what would be your dream job?

Tiffany Grant: I guess I’m a truly lucky girl. I already have my dream job! I am thankful everyday that all those years 
of doing funny voices and imitating people has actually paid off.
               Riley: What do you think of the hobby of autograph collecting?Tiffany Grant: I have to admit that I do it myself!!! Therefore, I would say that it’s a fine hobby to have :-) I’ve been 
collecting autographs since I was a pretty young kid, but I am sure I don’t have as many as a lot of folks. My guess 
would be around fifty or so.
               Riley: What do you enjoy in your downtime?Tiffany Grant: I love to read science fiction and biographies. I also do crosswords, and I enjoy going to the movies 
and watching DVDs.
               Riley: Do you sign autographs through the mail?Tiffany Grant: Yep! People can email me at Asukatoo@aol.com. I can either send a photo, or some people send 
items they want signed (w/ an SASE) which I am happy to do.
               Riley: Do you limit the number of autographs you give one person?Tiffany Grant: That depends. At conventions, I try to be as accommodating as possible, and most people only 
have a few items. I have had rare situations where someone had dozens of items, which is a bit much to take. Also, 
conventions will often limit the number of items in the sessions so more people can be taken care of.
I haven’t had a problem with this through the mail, so I’ll have to address that if it ever comes up. I do pay for my 
own pictures and the envelopes and postage out of my own pocket, so I can’t really mail anything heavy.
              Riley: Do you have an address where a fan can write to you to request your autograph or just say hi?Tiffany Grant:
(Tiffany Grant Fan Club)
Or  Asukatoo@aol.com
              Riley: Do you have any words of wisdom or any other additional comments you would like to pass onto your fans?Tiffany Grant: Gee, I don’t know how wise I am, but to anyone wanting to pursue an anime or acting career, I’d say 
stick with it and stay resolved. It won’t happen overnight. It’s something very few people are able to make a living 
at. It took nine years for me!
Also, thanks to everyone who has supported me over the years, I really appreciate it, and I couldn’t have made it 
for so long without you!
              Riley: Thank you so much for taking the time Ms. Grant. I really appreciate it. Be sure to look for Tiffany at the next anime convention coming to your town. And be sure to check her website out for all the current news and convention schedule.