PARKING LOTS I'VE EATEN IN
Hardcover, 248 Pages
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Owen Marsh spent his childhood on movie sets of his cinematographer father Oliver T. Marsh, ASC and his violinist mother who played mood music just off camera during the silent movie era. Small acting roles as a child, military service in Korea, followed by work at the film labs in Hollywood later led to production work as a Visual Effects artist, Camera Assistant, Director of Photography — and then a long career as an award winning Camera Operator. Owen's career spans some of the most iconic movie productions in the world, from "How The West Was Won" and "The Greatest Story Ever Told" to the ever-popular TV series' "The Brady Bunch" and "Beauty and The Beast." Within these covers Owen describes the people, places and situations he had experienced firsthand — and with a sense of humor, wit and truth that is undeniable. One our industry's premiere storytellers, Owen Marsh, SOC.
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May 11, 2018Reflecting on the feature film Looking For Love on which he worked at MGM in 1964 Owen Marsh, SOC laments, “Hard as it is to believe, there was a time in this industry when the entire production department had only four warm bodies; the producer, the production secretary, the production manager, the assistant director and the second assistant director.” Marsh who is one of the founders of the SOC (Society of Camera Operators originally called the Society of Operating Cameramen) takes the reader on a sometimes lawless (even dangerous) but always entertaining look at his six-decade career in the industry. The author is the son of cinematographer Ollie Marsh, ASC and grew up in the industry (he played a little boy in the movie San Francisco). Marsh worked on the largest-ever standing Western set for the Hanged Man as well as disaster epics like The Towering Inferno. And that tale feels tame compared to Marsh’s shooting handheld with no safety line while riding on a sidecar and a horse,... More > backward! Or a story about a young Debbie Reynolds doing a five-minute striptease to bolster morale, and when there were no bunks available on a tugboat, she jumped into the nearest bed and said to Marsh, “Shut up and go to sleep.” Or the time when the crew discovered the coffee can full of marijuana in Durango (a dry town) and learned that it was okay to use is much as you wanted but that can was to be left full for the next crew. Hijinks, on and off the set, are replete throughout Marsh’s book -- from drunken parties to golf cart races -- as are the outrageous paybacks to directors and actors who got out of line. After reading PARKING LOTS I’VE EATEN IN I get the distinct sense that as crazy as the industry was during Marsh’s heyday there was (once the cameras rolled) a degree of professionalism and pride in the craft that may actually be missing from more corporate-run sets today. I dare in the reader not to have a twinge of envy for a time when the movies were creatively lawless, and really fun. Pauline Rogers (excerpted from ICG magazine May 2018)< Less
Mar 16, 2018This book piqued my interest because its author was the camera operator on 'Alice Doesn’t Live Here Anymore,' one of my favorite Martin Scorsese movies. Then I found out that he had also worked on classics like 'How the West Was Won' and 'The Brady Bunch,' and I was even more intrigued. No ghost writer to make the prose more generic and palatable here. The book has lists, poems, enthusiastic punctuation, onomatopoeias, aphorisms and industry jargon, and that’s a big part of why I loved it. On pre-Internet movie sets, the cast and crew didn’t have much to do in their downtime so they would entertain themselves by learning the local customs, pulling pranks on each other, and generally wreaking havoc. Marsh’s stories of racing golf carts into hotel swimming pools, finding creative ways to order a drink in Utah, and indulging a director who requested to be rolled up in a rug in order to “feel” the scene (among many, many others) really brought the era to life for me, and made me wish I... More > had been there. Anyone with an interest in film history should pick up this collection of priceless Hollywood anecdotes< Less
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- Owen Marsh, SOC (Standard Copyright License)
- SECOND Edition
- Owen Marsh, SOC & Michael Frediani, SOC (Lulu.com)
- March 14, 2018
- Hardcover (casewrap)
- Interior Ink
- Black & white
- 0.91 lbs.
- Dimensions (inches)
- 6 wide x 9 tall
- Product ID
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