PBS HAWAII CLASSICS 404 TRANSCRIPT WEB NARRATOR: Today on Spectrum Hawaiʻi.

Ron Croci, a production illustrator for movies and television, recreates his role as a divisor of scenes.

Very Special Arts Hawaiʻi launches its three day arts festival for handicapped children.

But first, E.K.

Fernandez and company display an entertainment forum long known to Hawaiian Islanders.

(Instrumental rock music) NARRATOR: The E.K.

Fernandez shows have been entertaining Island communities since 1903.

(Instrumental rock music) NARRATOR: Kane and Linda Fernandez now spearhead the ever expanding family operation.

KANE FERNANDEZ: I think what's interesting about our company is that we started out so many years ago.

My father was interested in the carnival business and interested in show business, so he brought the first ice show, the first circus, the first Wild West show all this very different, varying different types of entertainment to Hawaiʻi.

And then through the years, the ride aspect of the business became more and more important and E.K.

Fernandez shows has less and less live entertainment, and more and more into the carnival business and rides and games and cotton candy and food booths and everything else associated with the carnival.

But we've been playing the Maui County Fair continuously since 1918 so in 1988 we will have been there 70 years.

It's a long time for one show and one family to play one event.

(Instrumental rock music) KANE FERNANDEZ: This is a Music Express, or sometimes the Himalaya.

The exciting thing about this is they take the ride, and we've turned it into a show.

It's not just the ride that we're selling the public.

It's the whole activity.

It's the lights.

It’s the sound system.

We've got a $20,000 sound system on this ride.

We've got sirens.

We’ve got strobe lights, bells.

I mean it’s the show.

We’re gonna put on a show tonight.

And when the sun goes down, this thing will come to life.

(Carnival noise) KANE FERNANDEZ: To put a carnival together you have to have a collection of equipment that appeals to everybody.

So we have Kiddie Land, which is really for the younger children.

And we have a few rides which I think appeal to the whole family.

And then you have to have something extra exciting for the teenagers.

But you try to put a mix of equipment together to, to appeal to all ages.

I think everybody perceives us as a ride company, and everybody talks about the rides and all the big investment, of course, is in the rides.

But our company is unique in that most of our revenues are generated from our game operations, in our concession operation, our balloons and novelties.

And my wife runs that operation, and Linda's really my, my business partner.

If we are a good ride company, we are a sensational game company.

One of the things that we were able to do in Hawaiʻi, one of the reasons we've been able to grow and achieve some success here is that we were able to own all of the concessions and novelties and food operations ourselves.

We’re very proud of that aspect of our business.

LINDA FERNANDEZ: What nobody really understands about the carnival, okay, it's that we have so many different aspects.

So you can't run all this without support.

It takes 300 people to run this.

So without 300 people, you can't run enough shifts in order to serve the public, because everybody here gets very tired in four hours.

It's an ongoing, hot, difficult, physical operation.

It's not play time.

Everybody may think that it's not hard work.

It's very hard.

What's really exciting about this operation, but also very important, is that without these balloons, all of those games would close down.

So we set up special tables for people to sit at that have the nozzles all down here, and we blow balloons all day long.

So 20 to 30 people do nothing but blow balloons to service those games out there.

This is just one of the facets that makes the carnival run.

A 40 foot container has about 2000 cubic feet in it, and in order to run the Punahou carnival, we need about six containers full of merchandise from the front to the back.

We only have enough space for parking for about three so we fill from the warehouse on a constant basis in order to keep the merchandise level up.

So we will use at the Punahou carnival approximately about $70,000 worth of merchandise in total.

When everybody checks in, this is how they check in here, right with our time card machines.

They get their T-shirts and their caps, and then they are ready to go to work outside.

Go ahead.

And after, over here, this is our this is our scrip operation where they're going to weigh all the scrip that comes in.

Scrip comes in, and bags are picked up each hour.

It is weighed.

And that way we find out instantlyif we have a problem anywhere.

So in case some game is not giving away enough merchandise because someone made a mistake, we alter it instantly.

Or maybe the other is true, the opposite.

But this is how we do it.

With these electronic scales.

KANE FERNANDEZ: We have a problem that the places we operate at, you know, Punahou School is a is a great example.

These fields are not getting any bigger.

There's there's no more room.

There's no space.

And then I think the as the population of state grows.

We're getting bigger and bigger crowds.

So our problem is, how do we how do we really entertain these people?

Ride these people, and not strictly from a point of view of making money, also from the point of view of servicing the public.

You know, if you come down here with your children and you stand for two hours and try to ride a few rides, and can't because the lines are too long.

In a way, it's a disservice to the general public.

So the answer is to take the same space that we have and add these bigger rides that have greater capacities and greater capability of ride people and therefore better service the public in the same space.

And I think that's, that's one of our real motives, I mean goals in the future, to do that and to and to see if we can afford it.

(Carnival noise) KANE FERNANDEZ: Safety is probably the most important aspect of our business.

First of all, you know, we’re on a, it’s a very big, small community.

So if there were any safety problems it would, you know, be terribly detrimental to our business.

The other point of view is today, one of the real serious problems with our business, with all of our enthusiasm for the business, is that our insurance costs are just escalating beyond our fondest expectation.

We just never expected insurance to do what it's doing today, and it's a real concern to us.

We're driven.

I think what drives our company is we're interested, drives myself, drives my my wife, and the people that work for us is we, uh, we’re out there trying to, trying to make a buck with this operation.

We’re trying to make it financially successful, but at the same time, we're trying to bring exciting amusements to the general public.

And I think, you know, I think we're feeling pretty good about what we're doing right now, and we're hoping that we can really go forward from here.

(Instrumental rock music) NARRATOR: Contemporary entertainment is highly visual.

Various elements must be mobilized before action begins.

Among the first of these is he who illustrates.

Besides the usual accompaniment of actors, directors, producers, cameramen and technicians, a film production can require the talents of a special kind of artist.

RON CROCI: First of all, it's a way of visualizing it.

Why don't you just go out and build an empire state building first?

Well, because you have to start in stages.

And one stage is to draw your pictures first, so that we can, in two dimensions, see what it what it looks like.

An artist usually draws, beforehand, all of the scenes and what the sets look like and what costumes may look like, and what miniatures or effects shots may look like, but it's all conceived on paper first.

NARRATOR: Honolulu resident, Ron Croci, is a production illustrator for the movies, and he helps the directors conceive and present a visual concept for their films.

RON CROCI: I’m just like his wrist and I sketch as a secretary might take shorthand.

And we talk and we find ideas with each other in order to improve on it.

I might say, why don't we do this?

And he'll go, no, no, no, not that.

So, it’s a communications art.

(Instrumental music) NARRATOR: Next, Croci turns these sketches into a sequential series of of storyboards.

These images will give the crew a comprehensive idea of how each scene is to appear.

RON CROCI: So that when you get there in the morning and it's six o'clock and it's ready to roll the cameras, everybody knows what the day's work will entail.

(Instrumental music) NARRATOR: The film can require up to 2400 storyboards.

RON CROCI: Every time the camera or the film cuts to something, it's a sketch first.

NARRATOR: This book holds 1/5 of that number.

Each storyboard is complete with arrows indicating camera zooms and other directions the director wants to make.

RON CROCI: Let me show you an example here, one of these storyboards.

Now this is a World War II kind of film we're working on here.

And there's a man named Martin, and he's looking at this man named Jack.

So we have Scene 120 number 7: a telephoto shot of Jack from Martin’s point of view.

Then we look at Martin’s face.

So number eight there, cut back to the same shot of Martin.

Then, the next scene 121, one, we cut to a boot.

It’s snowy and muddy.

Then we cut to soldiers arriving at the opening in the stone gate.

See how we're telling the story here, and it progresses, but every shot is drawn in first.

The storyboard is like chopping wood.

It's page after page after page, and it's really exhausting.

But the big illustrations, they're kind of like you're more of an artist with your easel and your paint brushes, and it’s a good feeling.

NARRATOR: In his career as a production illustrator, Croci has worked on major movies such as Gremlins and the Blues Brothers, Star Trek, Risky Business, and Ghostbusters.

RON CROCI: When the movie, the first film of Star Trek, came out, we were experimenting with different ideas.

What does the interior of the unknown creature look like?

So when you go in there, you see stuff.

And what do you see?

You might see something like this right here, which is nothing that was ever used, but it was an idea of something the crew and so forth might see floating around, doing something, who knows?

The idea there was just to draw a series of things we had never seen before.

NARRATOR: Croci recently worked on a new television commercial for a local savings and loan company.

The assignment was to create a spaceship setting because of costs, the decision was to go with a special effect instead of building an actual set.

RON CROCI: The first thing we start doing is we think, well, what would it be like?

Look like, and where would they be?

Now, the idea is, is there a monitor in front of the spaceship that looks like this?

And does the bat come here with a monitor here?

Or is it something like a wall is back here, and we have a monitor which we can see what's going on outside and instrument panels, and then we have a panel here with monitors for them to look at, and so they might stand just like this.

And then I go, no, I think maybe she should sit.

They should sit, and she should be in front of that.

So we'll go on to another little thumbnail sketch, and we'll have them sitting like this.

Okay.

Now, I know the monitor wants to be behind her head like that.

Now, on this monitor, we're going to see an asteroid star field coming into view.

Now, one of the things this does is detract from the fact that this is a painting using this monitor.

So let's have a console in front, and they're sitting on some chairs like this.

Okay, we know that.

And let's have the corner of the room back like this, and have instrument panels like that.

NARRATOR: Croci rendered two paintings to be used as background and foreground for the actors.

RON CROCI: This represents their spaceship, and you see little holes here which, there's lights behind, which give it a three dimensional effect to add to the painting, with the lights.

And this blue part here is the screen, which has the asteroid belt flying by in it.

And our actress sits right in front with her head there, so that your attention is on this, not so much as on the painting.

NARRATOR: Placing these paintings realistically into the final production is done by the matte process in films and by Chroma key in television.

The bright blue background is electronically eliminated, and other video with the actors is substituted.

The director brings together the elements to create on tape what Croci initially had visualized with pencil and paper.

VO ACTOR: Engineering to bridge, approaching warp factor.

RUSS FRANCIS: Tell me again, what are we doing here, Mel?

MELVEEN LEED: You said you needed more space, Russell.

VO ACTOR: Top speed at 15 and counting.

RUSS FRANCIS: Not space, room.

I need more room in my home.

VO ACTOR: Eleven, ten… MELVEEN LEED: you mean, we don’t have to be here?

RUSS FRANCIS: One of those low cost mortgage loans from American Savings would have done fine.

MELVEEN LEED: Or you could have just called about a home improvement loan?

RUSS FRANCIS: On their 24 hour mortgage rate hotline.

VO ACTOR: three, two, one… RON CROCI: All the imagination that goes into making all the various kinds of movies you, you have work to do on them.

It's like if you were just an artist sitting up in your studio somewhere, drawing pictures, you'd do the same wave all the time, and pretty soon, you know, it's like the same material.

But in being an artist for film work, you draw the underwater Citadel or the spaceship or the mom frying eggs in the morning.

NARRATOR: Do you know what lies in the Windward tidal pools of Oʻahu?

These men do.

They search for the brittle star.

Not food for man, but bait for the parrot fish.

(Wind and waves noises) FISHERMAN: Woah, this is a nice, this is a soft shell one.

FISHERMAN: Their natural bait.

That’s why we (inaudible) get the starfish like this.

Oooh, full icky, though.

Ha ha!

(Okay) We catch a big one, though, then we’ll let you know.

NARRATOR: Children are born not knowing their abilities.

But the guiding hand of an elder helps lead the way to accomplishment, even through disadvantages.

(Singing) In my backyard I found a horse sleeping under a tree.

He yawned and smiled and bowed very low and nuzzled up to me.

You’re nice he said so you can come a be a friend of mine.

I feel like flying, hop on my back, we’ll get along just fine.

Up, up just a smile away… NARRATOR: Very Special Arts Hawaiʻi, in its annual three day arts festival, invites artists to share their skills with the handicapped.

(Singing) We’ll get there very soon.. CHARLIE WELCH: It has grown now to having over 1200 children every year.

(Singing) Me and my horse with wings, we fly and fly and fly.

NARRATOR: Charlie Welch is the Director of Very Special Arts Hawaiʻi, which, is a local chapter of a national program.

CHARLIE WELCH: Many children with disabilities had no art in their ed curriculum.

So the Kennedy Foundation gave a small grant to create a national organization which is now an affiliate of the John Kennedy Center in Washington, DC, and has grown from one art program to programs serving over 500,000 children across the nation.

PUPPET (MEL) : Just call me Mel.

PUPPET (WILL): Okay, Mel is a pretty name.

PUPPET (MEL): I guess so.

PUPPET (WILL): Is something wrong with my chair?

PUPPET (MEL): Will, are you sick or something?

PUPPET (WILL): Oh no, I’m not sick, I have cerebral palsy.

PUPPET (MEL): You got what?

PUPPET (WILL): Cerebral palsy, you know, CP.

PUPPET (MEL): Oh, CP, right, gotcha.

CHARLIE WELCH: It is a one-day celebration but it's also an inspiration to demonstrate to teachers that the arts are a valuable learning resource for the kids, and that we want to focus in on their talents and their creativity.

Hopefully, the teachers will carry through, some of the ideas from the festival and continue it throughout the year.

(SINGING) Silver flowers beyond my sun, golden doves flying high Candy curtains and purple panes, sparkling raise to the sky Look through my glasses bright our magic you will see into the world of fairies, the stars, and you, and me.

We will feast on honey cane, sun, and raspberry tea.

We will sleep on feather, leaves, and warm sand from the sea… NARRATOR: Visiting craftsmen are eager to lend their services.

ARLENE HELLINGER: They’re the ones who send back the form, yes, I’ll be coming.

I’ll be doing this.

And they pick their own activity.

NARRATOR: Arlene Hellinger is the Assistant Director of Very Special Arts Hawaiʻi.

ARLENE HELLINGER: Had other plans and okay, I had a limit.

Okay, only 300 people a day.

Obviously, as you can tell, I couldn’t turn anyone away.

So we had over 400 scheduled to come down today to the festival.

STORYTELLER: Well, he said, see this rope around my pants?

It’s magic.

My mama conjured it.

I’ll bet you can’t make this rope disappear.

Mah!

I can make all the rope in this county disappear!

Bet you can’t!

Well the hairy man, he took a deep breath and throwed out his chest and he hollered, all the rope in this county, disappear!

The rope round Wyland’s pants was gone so he held them up with one hand, he held on to the tree branch in the other and he yelled, heeya dogs!

And those three little hound dogs they came a running.

And the hairy man fled back into the swamp.

ARTIST: Everybody look up front for one minute.

Everybody look up front for one minute.

We’re gonna leave a little bit of space around the edge of the kite so… NARRATOR: Very Special Arts Hawaiʻi brings artists to many social service programs, such as Hawaiʻi State Hospital, Hawaiʻi youth correctional facility, and even nursing care homes for the elderly.

(Indiscernible chatter) (Singing) Candy curtains and purple panes, sparkling raise to the sky Look through my glasses bright our magic you will see Into the word of fairies, the stars, and you, and me.

(Singing) In my backyard I found a horse sleeping under a tree.

He yawned and smiled and bowed very low and nuzzled up to me.

You’re nice he said so you can come a be a friend of mine.

I feel like flying, hop on my back, we’ll get along just fine.

Up, up just a smile away we’ll catch up to the moon.

Up, up just a laugh away we’ll get there very soon.

Turning, flying, higher, higher, above the clouds and sky.

Me and my horse with wings we fly and fly and fly.

We travel to far off galaxies around the Sun and back Treasures, magic, and….

[END]