This is part of an interview Series for the National Film and Sound Archive Aural History Programme by John Fife.
My name is John Fife (JF) and I have with me Morrie Pilens (MP
JF: And that applies back home I guess, with press conferences and things like that?
MP: Not necessarily, no. Press conferences are different things, because you have a bunch of people trying to get something out of a personality. So the personality has to consistently remain a personality. So whatever the character they portray, it has to be sustained. One to one, it’s a different story altogether.
JF: But at a press conference, what I was trying to think about, was – how do you work in as a team between you and all the other camera men in those days. Did one of you say I’ll light it, or mike it, or…
MP: Whoever was in first would put some lights up or what have you, and as far as the mike was concerned we’d just put them up so we don’t disturb each other. Film cameramen never got into each other’s way. BUT – oh, tell you a story!
In Sydney there was a diplomat from one of the Phillipines or somewhere, that had disappeared for two weeks and no one could find him. So they finally found him, apparently he’s been shacked up with some call girls. So there is a press conference scheduled at the airport lounge which has some room for a meeting.
I got sent to Sydney by myself, so I arrive and set my camera up. The next one arrives and sets up next to me, the next one arrives and sets up, lights are there, and then of course the journalists arrive. And *the press conference has started… Gordon Bennett from 7 was next to me, and his journalist, Brian Joyce, was late. He’s going to be right in front of my camera. If he sits down, there’s no problem. But he decided to be excited, starts getting up. So as he gets up, of course he blocks my view completely. So I just say psst psst Brian, psst psst. Of course, nothing happens. So I got some money. Some two shilling pieces and kept hitting him on the head (laughs). So finally he got the bloody message that he had to sit down!
With the camera crews, we knew we had to assist each other. It was the journalists and sometimes the still photographers that were interfering. See with a camera, you need a continuation of shots for 30 – 40 seconds or what have you. With a still camera you just take one shot and bang, you’re right. So what they do is take one shot, and then they just turn around walk in front of the person they just fought about, and the cameras can’t get any pictures. That was when we had 25 mil and 60 mil. Once the 10 mil lens was available and we fitted the cameras with them, we thought ‘FIX YOU!!’ So we stand about 3 feet away from the guys and we walk backwards! And of course the still photographers are ‘Oh oh, we can’t get any pictures.’ And we’re like ‘Stiff, mate!’
We either working together or not working together. They come to the party eventually. It’s just the sort of thing that’s developing a relationship, that’s all.
JF: Do you know it still goes on today.
MP: Oh shit I know that (laughter).
JF: No change from 50 years ago. Those still photographers – those buggers…
MP: Except they haven’t got still cameras now. They’ve got the movie… Oh, wait a minute, they’re back at digital now aren’t they. Which means they can take ten thousand pictures. And they just take pictures poppoppoppoppoppoppoppoppop… What are they going to do with them all?
JF: The cameramen would get to a press conference, and it’s first in best dressed?
MP: Yeah, whoever gets there first sets up in the best spot. And the next one takes the next best. You know. With the movie cameras we never had any problem. Ah, once or twice couple of guys came in and thought they were going to set the world on fire and be the best – they’re very young or what have you, but they still come to see it’s not working that well.
JF: And when you’re on the road, would you lend equipment to another crew if need be? For arguments’ sake, is someone forgot some film stock…