<P>It would be interesting if anyone from B&O Museum or California State Railroad Museum's Sierra Railway operation could comment on what a film or tv production company has to do to pass muster with them. That might provide some interesting insight into what should have happened here and has not.<p>I remember years ago when the Colorado Railroad Museum had trouble with a film company not returning artifacts and refused to deal with any future projects.<br>




jimhollis@home.com

<P>Why limit this to just other railroad museums? Why not museums in general?<p>I know from prior experience dealing with media companies is that everything has to be spelled out in detail as to what can and cannot be done. And If the item in question is not listed as being allowed, then it is not allowed to be done. Bonding and insurance are a must.<p>The best horror stories that I can remember are a production company wanting to take a concours grade antique car and dent it up some to "make it look more realistic". The production company just didn't get it when they were told that repairing the damage wasn't acceptable as the repairs would destroy the intrinsic value of the car. Needless to say, we drove off with the cars. The other one was a production company that wanted to nail backdrop framings to a walnut parquet floor that was original and over 100 years old.<p>Any way, my $0.02<br>




floribun@airmail.net

<P>Twenty-some years ago I worked for a scafolding supply firm that serviced the Los Angeles (and Hollywood) area. Among other things, I helped handle inside sales, and credit and collection.<p>We heard some real horror stories from some people inside the industry about cables being dragged and gorging hardwood stairs, etc. Be cautious, many film people seem to have little respect for private property.<p>Another thing to remember is that most movies, etc. are produced by independent production companies. They may have offices at one of the bid studios; but, they are separate.<p>At the scaffold company we got our money up front--no invoicing like we did to the construction industry. And often the rental rate was several times the going rate to the construction industry.<br>




bnorden@gateway.net

<P>Movie production companies today are nearly all set up just to make one picture, and then disappear. That is why the scaffold company wanted its money up front. If they were not paid there would be be no one to sue after the picture was done. Museums and tourist lines should beware and always get their money up front, put the rules in writing in any contract, etc. At the Museum of Transportation we insist that the check clears the bank before any of our equipment leaves the site for movie work. The Illinois Ry Museum has had a lot of experience with film work and they should be contacted for advise BEFORE making any agreement for film work.<br>




rdgoldfede@aol.com

<P>The WNYRHS has had passenger equipment used in three film projects, "The Natural", "Best Freinds" & "Plains, Trains & Automobiles". You need to make sure that you have a solid contract and that all the I's at dotted and T's crossed. You also need to keep close supervision on any and all set & design work that is done. We had a couple of problems, but we able to get paid in full. Words to the wise - Be very careful and know exactly what they intend to do with your equipment before agreeing to anything.<br>




Heritage_ltd@msn.com