PAGE 14, the herald, Friday, March 17 1978 “Blue Collar” movie on assembly line grind He has the look of an over- age cholrboy, yet in five years Paul Schrader has gained a reputation ag a creator of corrosive studies of human depravity. His latest is Blue Collar, which starts as a funny- bitter movie about workers Everybody makes mistakes. That's a truism, usually applied to harmless incidents. But it becomes a fearful statement when applied to air travel. Fred McClement's book, Jet Roulette, shows why the public cannot be indifferent to mistakes made in the air travel industry. n McClement accuses both the industry and govern- ments of foot-dragging aver Safety measures. He says most airports in the world have inadequate protection for aircraft and that the Planes themselves are death traps, McClement gives detailed accounts of crashes around the world. Although the book becomes repetitive as crash follows crash, the author malntains a high level of tension by frequent use of the actual words of flight and ground crews in the moments before disaster. The style is clear, spare and free from over- dramatization. The events it chronicles need no em- bellishment. SUCKED THROUGH WINDOW Passengers five miles above the ground struggle in vain to prevent a fellow passenger from being sucked out of the plane through a broken window. Hundreds of men, women and children burn to death in seconds when two planes collide on a foggy runway. Awoman walking through caught in the dehumanizing grind of an auto assembly line. Midway, the three workers—Richard | Pryor, Harvey Keltel and Yaphet Kotto—discover the folly of trying to combat their corrupt union. Schrader,32, ls best known for writing Taxi Driver,na study of a would-be assassin, played by Robert DeNiro. Schrader's first film was The Yakuza, about Japanese gangsterism. He also wrote a psychological thriller, Ob- session, and a story of Viet- nam veterans, Rolling “Tet Roulette” not plane reading a comfield sees human bodies rain from the sky after a midalr collision. Most such catastrophes are the result of human care- lessness. MeClement ap- peals for a public campaign to force governments and industry to enact and enforce much stricter safety measures. In ti:2 meantime, for these who must fly, McClement gives valuable advice on what to do in the event of an aircraft emergency. Nobody lost at - awards banquet IGANCOUVER (CP) — The British Columbia branch of the Association of Canadian Television and Radio Artists (ACTRA) honored provin- cial nominees to the association’s national awards competition Monday with a dinner party at which none of the competitors lost. Under the awards system, award-winners are ‘nominated by region, but elected in a natlonal ballot. The awards show will be broadcast by CBC on t . Jack Webster, twice nomi- nated for best B.C. radio public affairs broadcaster, shared the applause with Ann Petrie, host of CBC Vancouver's afternoon AM radia show, who is nomi- nated for the same award. . Also at the dinner wag Laurier LaPierre, host of CKVU TV's Vancouver show. Webster and LaPierre are both nominated for the Gordon Sinclair award, . given annually for outspoken opinions and integrity in broadcasting. LaPierre has also been nominated by the association's Ontario region for the same award for his work there on CBC radio's Ottawa program, the Wat- son-LaPierre report. Nominated in _ less- crowded categories are Bill Reiter, Marlo Gropper, Bill Buck and Norm Grohman of CBC's Dr. Bundolo’s Pan- demonium Medicine Show. The group is vying for the best radio variety show. Peter Ralston of BCTV Is nominated for best children’s TV program for his Pete’s Place production. Anthony Holland of Van- couver was nonminated for best television acting per- - formance for his portrayal of Shylock in Merchant. of Venice, as was Ian Tracey, the young lead character in Dreamspeaker. The two shows have both been nomi- nated for best television show of the year. Thunder. The Grand Rapids, Mich., native now is directing his script of Hardcore for Columbia Pictures. George C, Scott portrays a religious Midwesterner who descends into the world of porno films to find his wayward daughter, n Hardcore sprang from an incident of a missing teen- age girl Schrader had heard about in high school. Blue Collar also had its begin- nings in his Michigan past. KNEW ABOUT PLANTS “My friends’ fathers worked in the Fisher bob- splant so I knew about assembly lines.”” The idea fornthe movie began with a suggestion from another young screen writer, Sydney Glass, whose father had been on a Detroit assernbly line. Using Glass’s source matertal, Schrader wrote the script with his brother, Leonard. Paul Schrader had decided he wanted to direct. His reasoning: "I hadn’t been a writer. I was a screen writer. Aacreen writer is only half a film-maker. I wanted to be in charge." But how to make the break? He decided to ‘‘make my alliance with the talent,” and he submitted the Blue Collar script to Pryor, Keitel and Kotto. All were en- thusiastic. Next he in- terested the Norman Lear- Bud Yorkin company, TAT tially Hinanelag the project. g the project. Schrader then the ee greatest challenge—Detrolit. “I described the seript to the major auto companies and none wouldnallew us to film inside their plants. We also had some troubles with the city, which is run by the major companies,” Two weeks before he was scheduled to start filming, Schrader lacked a factory location as well as the money to finish the film. 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