The Magic of Hollywood!

The Magic of Hollywood!
They paid to use the driveway last week.
And we got Craft Service access and a FREE lunch!

grip truck

Load In: Grip and Camera Trucks

It’s a beautiful day in the neighborhood.
They were filming next door again.
Hollywood is in my driveway today.

They filmed a “riding lawnmower” commercial with 65 people and staged the Grip and Camera truck, along with the Honeywagon and Craft Service on our street. We met the Location Manager last week and negotiated the use of our driveway for lunch with her.


Lunch for 65 People (with tables, chairs, and shade structures)

Location filming is BIG BUSINESS for the City of Los Angeles and the other cities in the “Studio Zone” aka the “Thirty-Mile Zone”: a 30 mile radius centered at Beverly Blvd and North La Cienega Blvd used by union projects to determine per diem rates and driving distances for crew members and actors. The City of Los Angeles makes a lot of money on Film Permits! There are also requirements for Police, Fire and other City personnel to be employed by productions filming within the city and in public spaces.

NOTE: “Thirty-Mile Zone’ is the namesake of TMZ, the online Hollywood gossip rag.


A FREE Catered Lunch on a Union Commercial Shoot with salmon, chicken & rice, vegetarian lasagna, salad, vegetables, a coke, and 2 sugar cookies for dessert

Shoutout to the hardworking CREW! Shoutout to the Caterers and Craft Service People who keep the Crew fed and hydrated on set (sometimes for 14 hours or more!).
And they also feed the neighbors too when required.

On the Menu: A FREE catered lunch with salmon, chicken & rice, vegetarian lasagna, salad, vegetables, a coke, and 2 sugar cookies for dessert. And a few BONUS trips to the Craft Service table during the day, because they had a pretty good spread.

Screen Shot 2020-02-14 at 14.10.20

Striking the Caterer’s Table, Chairs and Shade Structure

The Magic of Hollywood! An hour later and they made it all disappear.
This was a UNION JOB and the Crew was totally professional!
If you need a great Craft Service person, Location Scout/Manager or Caterer DM me.

Read all about Locations on the California Film Commission (CFC) website
(also information on permits, contracts, fees, tax credits and more):

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Have you seen my IMDB?

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joshwilltravel promo


“It’s A Mad, Mad, Mad, Mad World”



“Rockin’ Good Times!” A Cable Television Variety Show for $100!

“Rockin’ Good Times!”
starring Stan Davis and The Congregation

Produced by Joshua Weisel for Cable Access Television


30 minute Variety Show
Shot LIVE in 1997 at TCI Cable Studio in Sherman Oaks for under $100.


Opening Number “Underwater” followed by the Host’s monologue (standup comedy performed by Stan Davis), 2nd musical number “Lemondrop” and the interview and introductions with the band followed by the closing number “Turn It Out”.

The Congregation “Underwater” performed on “Rockin’ Good Times!”

The Congregation “Lemondrop” with interview and introductions by Stan Davis

The Congregation “Turn It Out” performed on “Rockin’ Good Times!”

NOTE: The program was shot LIVE on tape without any interruption or break. Unfortunately, most of the “technical details” were beyond our control and we were at the mercy of the Cable Access Television crew and their equipment for the video and audio.

SECOND NOTE: Unfortunately, the Host Monologue/Stand Up Comedy portion of the show starring Stan Davis was not uploaded with the musical numbers and interview.


Once upon a time the giant cable companies were mandated to provide facilities and airtime for Public Cable Access. Pro and Con Productions decided to use this avenue to produce and shoot a “Demo” for a 30 minute variety show we called “Rockin’ Good Times!” and hosted by our talented management client at the time Stan Davis. We enlisted The Congregation and their manager, who we had met when we worked at Warner Brothers Records A&R, to be the musical guest.

Studio time and equipment was provided for FREE by TCI Cable in Sherman Oaks (which would later become Time-Warner and now Spectrum) after attending an orientation and training class. The equipment was far from “state of the art” (and so was the crew) but it was free, functioning and able to produce adequate broadcast quality video. Our studio time was also very limited, so we set-up, blocked, shot and struck the show in about two hours without any time for in-studio rehearsal.

We paid for the 3/4″ mastering and VHS videotapes. We also provided refreshments for our cast, crew and very limited audience. Total cost was under $100 for the entire production.

Public access studio time: $0 , two 3/4″ & two 1/2″ videotapes: $48, finding your vids posted on YouTube 14 years later: PRICELESS! (found it online in 2012)

“Rockin’ Good Times!” is currently available for airing on 3/4″ Video Master or VHS video.
Contact me if you would like to view the entire program and/or fund the next episode.

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Big Thanks to Stan, Katy, TCI Cable, the Crew,
Kevin, Andrew and all the Guys in The Congregation!

William Stanford Davis at

Kevin Sandbloom – Red Llama Music:


Throwback Thursday! Freddy’s Dead, the Final Nightmare

Throwback Thursday! Freddy’s Dead, the Final Nightmare

Freddy's Dead Screen Shot

Yes, those are my feet! That’s me wearing the Freddy Krueger costume and “playing with power!” in “Freddy’s Dead, the Final Nightmare – Nightmare on Elm Street, part 6”.

I graduated from UCSC with a degree in Theatre Arts in June, 1987. I moved to Marin county and lived in Novato before moving back to Los Angeles in 1988. I began my Hollywood career working as a P.A. (Production Assistant) at Highlight Commercials. Their office was on the Hollywood Center Studio lot and the first job I worked for them was the original “Rock the Vote” PSAs shoot on the Chaplin Stage at A&M Studios (you can read about that shoot in a previous blog).

Working freelance production for film, television, video, commercials, theater and live events in Hollywood is real hustle! You have to find the jobs and then you have to do the work while trying to find the next job. I worked film, video and commercial jobs for Highlight, the Oil Factory, O Pictures, The End Productions, Gun-For-Hire, Crystal Sky (Preferred Productions), ITC, AIP, Touring Video, Arnold Shapiro Productions, MPCA (Motion Picture Corporation of America), Concorde-New Horizon Productions, Stargate Films, Alive Enterprises, Nightmare Inc. and many other companies during my production days.


I got a call one day from a friend I had met on another job. She was working for Patty Whitcher and New Line Cinema and they were hiring a Third Unit for pickup shots because they were behind schedule on “Nightmare on Elm Street, part 6”. They offered me a week of work as a Production Assistant which I happily accepted, and they let me bill them under my company name at the time Pro and Con Productions Entertainment Production.

There were two units night shooting in and around a warehouse stage in Van Nuys/North Hollywood in the San Fernando Valley and they hired me for the small third unit and the pickup shots. It was a big “Low-Budget” shoot and they were working on a lot of the special effects segments with fire, smoke and practical prostethics while I was on set that week. The third unit shots were pretty simple: lighting effects simulating a helicopter over the truck cab, close-ups on hands and specific items, and then insert shots of Freddy playing a video game. Third unit was very small, just the essential crew: director/dp, cameraman & assistant, 2 grip/electricians and me. Since they hadn’t hired a double for Freddy, they sent me to wardrobe, and they dressed me in the Freddy Krueger costume! And this wasn’t the first time I had been called from behind the camera to fill an acting role (I was previously “instant cast” as a Crew Member on “Eternity” and as a double for Chris Lemmon in “Firehead” while working on the crew, as well as performing the role of The Emerson Penguin Team Mascot in “Zapped Again”).

When Third Unit was lighting or wasn’t shooting, I was often called to assist First and Second Unit, so I got to meet some of the cast and crew. If you look at the credits, you might be surprised by the strength of the talent, both in front and behind the camera. It was the first film written and directed by Rachel Talalay (a woman director), written and executive produced by Michael De Luca, and produced by Aron Warner, all of whom went on to bigger things. Aron won a Best Animated Feature Academy Award and a BAFTA Best Feature Film Children’s Award for “Shrek” in 2002. Rachel has 54 IMDB director credits and is currently directing “The Flash”. Michael is the former President of Production for New Line Cinema and Dreamworks with Academy Award nominations for “The Social Network”, “Moneyball” and “Captain Phillips” who recently moved his producer’s deal from Sony to Universal. Patricia Whitcher is the executive producer and unit production manager of “Avengers, Age of Ultron” and currently executive producing “Captain America, Civil War” for Marvel. Check out their IMDB pages for other credits and awards.


My featured scene, which was shot on set by the Third Unit, features Johnny Depp and Breckin Meyer in addition to Robert Englund as Freddy, and plays out on screen to the tune of the Iron Butterfly’s “Inna-Gadda-Da-Vida”. Weird coincidence, because my father was the Iron Butterfly’s Manager. I had met the guys in Iron Butterfly and grew up with the gold and platinum records for their albums on the wall in my house. Other weird coincidences: Breckin Meyer and I went to the same private high school, and I would later work for Alice Cooper who was shooting a cameo for the film with another actor who would later become my client when I became a talent manager years later. Also, Iggy Pop won a 1992 Razzie Award for Worst Original Song “Why Was I Born (Freddy’s Dead)” and I worked with Iggy on my first “Hollywood” job the first series of “Rock The Vote” PSAs.

I didn’t think very much about doubling for Freddy at the time. Just some insert shots, I thought, not knowing that they would be part of a key scene in the film resulting in the death of a main character. I sat in the chair, put my booted feet up and followed direction. Afterwards, I returned the costume to wardrobe without even taking a polaroid (no cell phones in 1991) for myself and went back to work. It wasn’t until I saw the film later that I realized how lucky I was to be part of the franchise (even though I’m uncredited and totally anonymous in the film). And I don’t even have a P.A. production credit because I was Third Unit (probably paid off the books) and I billed them as my company and not in my own name.

Watch the video clip: (RIGHT CLICK AND “OPEN IN NEW WINDOW”)


“Now we’re playin’ with power!”

READ THE BLOG> “Rock the Vote”

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And a very young Johnny Depp (aka Oprah Noodlemantra) as The TV Guy


Born November 2nd 1984…Dies September 1991
They saved the best for last.
Evil has finally met its match.
Take him home in a box.
You think you know about dreams…You know nothing!

“One, Two, Freddy’s Coming For You!”


My Crew T-Shirt from “Freddy’s Dead, The Final Nightmare”

Q: Are there any location scouts here?

Q: Are there any location scouts here? (a short conversation from facebook)

JoshWillTravel: Why do you ask?

Q: I’m curious as to how all of that works. Let’s say I’d like to do a shoot with a model or shoot a low-budget commercial in a corporate skyscraper, how would I go about getting permission to check out the place to see if it fits my requirements?

A: Contact the Building or Property Manager/Management Co. and ask them if they’ll let you use it as a location. You may not need a permit if it’s private property and you don’t need city access or services. Some buildings and most hotels have a person who coordinates all their “Hollywood” filming requests. You may be able to negotiate a location based on the exposure they can get from your project.

Start Here: FilmLA (EIDC)

“FilmL.A. is a private 501(c)4 not-for-profit organization established for the public benefit. They coordinate and process permits for on-location motion picture, television and commercial production under contract to an ever-increasing roster of public-sector clients in the Los Angeles region.  All permits are issued by the authority of and in accordance with the policies of each client jurisdiction.”