Just standing in line making memories.

            "It’s funny how photos can help you remember details of events just by looking at them—especially photos from sci-fi and comic conventions from years past. For everyone else, this photo is just of me meeting Brent Spiner, a fellow Texan who is best known for portraying Lt. Cmdr. Data on Star Trek: The Next Generation. But for me, this photo provides a few more details.

The first is the shirt I was wearing. It was just a shirt I’d picked up from Old Navy that featured some random BBQ restaurant in Texas. Whether it was a real place or not, I honestly didn't know. Well, when it was finally my turn, Brent Spiner started asking question after question about my shirt and the restaurant on it—asking if it was good and where it was located in Texas so he could go there.

The second memory I have about this photo is of the guy and his wife who were standing behind me. At most conventions, I usually go by myself and keep to myself, especially back then. But we all started talking about this and that, passing the time while waiting in line. Afterward, they went on their way, and I went on mine.

At that time, Facebook hadn’t really taken off yet; I don’t even think it was around. But the convention had message boards (I miss those days) where you could post comments and photos about the shows, and you could actually keep up with the conversations without them getting lost in an algorithm. I had commented on the board about the show, and a person replied saying he had taken a photo if I wanted it. Sure enough, it was from the couple behind me.

Who’d have thunk it? On October 23, 2004, at Dallas Comic Con, when a random photo was taken of a random person, a friendship would start. And even though we don’t hang out as much now, I still consider both of them really good friends. Here’s to another 20 years, my friends."

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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 (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.

John Lydon aka Johnny Rotten

               I have been a Sex Pistols fan for as far as I can remember. I actually can’t remember exactly when I first started listing to them. It was probably on Z-Rock or something on Crankin’ Craig’s show. From the first time I heard them, I was a fan. Of course they were long disbanded when my fandom started up. Nonetheless, I was still a hardcore fan. Like any other fan, I had to have as much as I could get of the band. This was obviously long before the thought of the internet. So actual merchandise wasn’t easy to come by from a band from another country and a band that had broken up when I was a little over a year and a half years old. There were a few record stores that I could always count on to supply me with my import fix. One being Last Beat in Deep Ellum. From hard to find vinyl, tapes, posters, books, movies & patches. I had (and still have most) it all. I loved the music, the lyrics, and Johnny Rotten’s voice. And even though he didn’t really actually play that much, I was even a huge fan of Sid’s. Sid Vicious was the epitome of “punk” at the time.
                As I grew older, the fandom I had of Sid’s turned to sadness. Sadness because he was a product of his environment. The people around him made him the way he was by taking advantage of his naivety and low self-esteem. He was fed the constant b.s. from McLaren  and his cronies that he had to act a certain way and do certain things that eventually he believed it himself. Which led to his suicidal demise at the age of 21 due to a heroin overdose (later revealed that it was his Mom that gave him his lethal last shot).

                I also fell in love with Lydon’s project after the Pistols called Public Image Ltd. aka P.I.L.. I didn’t have a lot of their merchandise. But I had most of their music. They were more new wave/alternative as opposed to punk the Pistols were. Fast forward a little to about 1992 and their album “That What is Not” came out. I loved this album. It easily became my favorite by them. And on the song “Acid Drops” there was even a sample of “God Save the Queen”. Which made it even cooler. I remember after that record came out, PIL took a hiatus. The rumor at the time was, they had broken up. So I figured that was it. Bands break up all the time. Fast forward once more to 2012, 20 long years after the release of “That What is Not” and guess what I find out, PIL is coming out with a new record. To put the proverbial cherry on top, they are doing a tour to promote said album. I thought to myself “If only they would come to Da…Holy Crap they’re coming to Dallas”. As soon as tickets went on sale, guess who bought his ticket. That’s right, this cat. It was at the Granada Theater off of Greenville Ave. I had been there a few times before and thought that it’s going to be an awesome show. It’s a small venue and there’s not really a bad seat. Well to make my story a little sweeter (to me at least), I find out that PIL is doing a free signing at a local record store the day of the concert. HOLY SHIT!! (Sorry for expletive, but that’s how excited I was) It was in the middle of the day and I had the PT at work, so naturally I took off early. I was excited and bummed out at the same time. Excited that I’m going to get to meet Johnny Rotten himself. Bummed because it was only one item you can get signed and he wasn’t signing Sex Pistols items.                  

                Well I went into a quick panic mode. All of my PIL stuff had been converted to digital. I had one thing of John’s that wasn’t Sex Pistols. I had a vinyl single of World Destruction “Time Zone” he did with Afrika Bambaataa. I had that record since it came out. So it wasn’t in the greatest shape. But it was all I had. I get to Good Records super early. Damn it, I’m going to be first in line. And damn it, I was. Lol I was talking to the owner of the store and he told me that it was changed to three items per person. But still no Sex Pistols. So I bought their new album on vinyl and “This is what you want, this is what you get” on cd. As time is slowly going by, about 30 minutes before the time, I see John outside smoking. He comes in greets the fans and starts signing early. He sits down and I go up to the table and Rambo starts talking to me while he gets ready. So I go up to him with my items and he shakes my hand and introduces himself to me and asked my name and thanked me for coming. He first grabs my Afrika Bambaataa record. His face kind of lights up then goes on with this story of the album and how he invented rap with this song. Huge fan John, but three words, The Sugarhill Gang. Lol. He signed my other items and asked if I was coming to the show. “Of course” I answered. He took a photo with me (Thanks again Scott) and said see you at the show. And there I was front row, right up against the stage. It was such an awesome show and awesome day.  Seems like only yesterday.