|BRITT LOMOND'S THREE PICTURE PACKAGE
In 1994, when Britt Lomond's Lisada Ltd. Productions had to suddenly deliver breakdowns, schedules and budgets for three multi-million dollar pictures; a contemporary terrorist thriller, a WWII adventure based on a historic submarine attack on British Home Fleet HQ, and the biography of the man who designed German warplanes in WWI, Britt turned to Travis. “It was a thrill to help Britt prep his properties,” Travis says. “He'd been helping me prep mine for years and that previous history enabled us to work together swiftly and accurately, with each checking the other.
It soon became clear that the first production Britt intended to roll out would be Scapa Flow, the suspenseful WWII naval drama about a German submarine's penetration of Scapa Flow, its sinking of the World War I vintage British battleship, Royal Oak, with the loss or more than 800 men, and the submarine's desperate and successful escape out to sea. Travis thoroughly researched records of the event and had helped Britt with the story.
As they prepped the production, Travis kept looking for a useful way to get on the crew. It was during that initial prep that Britt and Travis attended a Show Biz Expo in Los Angeles, and both of them were impressed by the Lightworks demonstration of its new, British-made non-linear digital editing system. Travis researched it further and knowing that Britt would be shooting multi-cam battle sequences, signed up and to take the Lightworks' 16-hour assistant editor's training course, and when he completed that, signed up for the 12-hour editor's course, that included "Heavyworks" multi-cam editing procedures. When Travis reported back to Britt, he decided, to Travis' delight, that he wanted Travis in his location crew for the production, which would be using German crews and equipment in the Ukraine locations -- and Travis spoke pretty fair German.
When Britt's three picture deal fell through, Travis was devastated, but no more than when funding for his productions fell through, leaving his crews, including Britt Lomond, slated to be Travis' line producer, equally frustrated, so Pike turned his attention back to his own properties, particularly Grumpuss, and this time around, he had better luck. He had composed the music and the epic rhyme, wrote, produced, directed, and starred himslef as the bard poet in his teleplay, and had to perform the entire adventure from memory, and in rhyme -- but that's a story for his Grumpuss website.