Directing Homeland

Tioram Castle

My first directing experience came in the form of a whirlwind tour of Scotland at the end of season three of Highlander the Series in 1994. I flew to Scotland to get footage that was later used for the title sequences for the series. I realized that this was a great opportunity to also incorporate some footage for the opening episode of season four. I persuaded the producers to give me an outline of the first episode so I could shoot some of the intros and exits for specific scenes. David Abramowitz and I discussed the idea of Duncan MacLeod returning to his homeland. This was my first introduction to a director’s job, making sure that shooting the script was in line with not only my vision but that of the writer and producers. We began as soon as we got to Scotland. It is what I would describe as an induction by fire. It was guerilla film making at its best. Anything that could go wrong, did. Prime lenses had been forgotten in Paris, so others had to be shipped from London.

Wardrobe was mistakenly left at base camp. Props that were needed for a shot were missing and later discovered to have been shipped elsewhere. The weather changed from sunny to pouring rain in an instant. Rain seeped into the camera, which had to be dried by using a borrowed hairdryer from a local pub. These things together with a few others definitely made me have to think on my feet. I realized that a director has to not only have a solid plan before shooting begins, but has to also expect plans to be changed along the way by unforeseen circumstances.

What was my plan

Adrian Paul as Duncan McLeod

What was my plan while filming those two days? Who knows? But I learned one thing: when in doubt, improvise. At one point we were missing a bag and a sword that should have been over Duncan MacLeod’s shoulder for an aerial shot of him walking in the Scottish Highlands, but because it had been ferried by car to the next location we had to adjust his accessories. So we “borrowed” a carry bag that was similar only in color, snapped a pool cue in half, wrapped it in a cream colored cloth and stuffed it inside the bag, making it seem like he was carrying a sword, hoping that no one would notice since it was a helicopter shot from high above. Two months later in Vancouver, I made sure that by the time I arrived to shoot the episode itself I had a good plan in motion.

The story of "Homeland" was about love and honor. It was about passion for one's homeland and roots. I wanted the camera to be part of a mystical fairy tale lulling the audience into another world, another time and place. I think the time I was most successful at this was a shot of Duncan MacLeod ”feeling” an Immortal for the first time. I used a Steadicam spinning around him as he stood in the forest trying to find where this “feeling” was coming from, to give the idea of fear, uncertainty and mysticism.

Images of Glenfinnan

We chose to shoot in the mountains about a half-hour outside of Vancouver. It was early summer, perfect weather...or so it seemed. The terrain made it difficult to move equipment, but we somehow managed. What we hadn't expected were the thousands - if not millions - of gnats and mosquitos that had hatched because of humid weather. Luckily someone brought in netted hats that everyone could wear in between takes.

Sometimes obstacles can be your best friend. I decided to use a smoke machine in a romantic scene between Duncan MacLeod and his first love, Debra Campbell, mainly for no other reason than to keep the flies away. The result made the scene seem mystical, even though there were so many insects that we were choking on them. I remember at one point a mosquito landed on the actress' face mid-take. Not wanting to stop the scene, I tenderly squashed it with my thumb before it could take a bite. On camera this squashing action was not seen as an assassination, but more like a loving gesture between two lovers, an accident that later proved a blessing.

Technically I don't think that "Homeland" was my best directing work, but it definitely had passion,and I think that it showed in
the final result. Another important lesson I learned on this shoot was that the more you love the process, the more the process
gives back to you, allowing your creative mind to be more open
to finding a way to express what you want more clearly.
Intricately crafted shots are great if used correctly, but if they
don't fit with the subject matter, then the emotion is lost in the grand scheme of things.

film strip

	I have been asked how it was to be behind as well as in front of the camera. In this particular case I found it relatively easy to switch between the two, if for no other reason than the fact that I had played Duncan MacLeod for three years already, had prepared well and as a director had passion for the subject matter. But I don't think it is an easy thing to do, nor necessarily would I want to take on both roles at the same time again unless I had a minor role in the piece I was directing. For "Homeland," I was able to pull it off because of the fantastic support I got from the crew and the producers.