Archive for David Cairns

The Production Designer

Posted in FILM with tags , , , , , on March 2, 2011 by dcairns

Look out! The result of a long-term plan bears fruit, as the latest issue of The Believer hits stateside newsstands. Cradled within its crackling leaves, a new piece by me, detailing the work of William Cameron Menzies.

You can buy it via Amazon here ~

The Believer, Issue 79: March/April 2011 Film Issue

Thanks to David Bordwell and Glenn Erickson for their trailblazing work here and here and here and here.

I have a cold

Posted in FILM with tags , on December 1, 2010 by dcairns

But the sore throat it started with is fading a bit. Maybe it’ll be a quick cold.

I will just mention that the still above reminds me of a curious fact. While location scouting CRY FOR BOBO, from which the image derives, ace cinematographer Scott Ward and I trekked around Pilrig Cemetery to find the right spot for Bobo’s funeral. Avoiding the nasty office building overlooking one side, I settled on this view because of the big pipe-things jutting from the wall. During the take we actually stuck smoke bombs in each of them, hoping for a little Ridley Scott atmosphere, but you can’t really see it.

What was weird is that the real grave on the left was for somebody called Cairns, and the grave on the right was for somebody called Watson (my partner’s surname). This seemed both deep and creepy.

Years later, I went back there to take a photograph as evidence, belatedly, but both the office buildings and the pipes were gone, removing all landmarks. I was forced to circumambulate the graveyard, like Eli Wallach in THE GOOD THE BAD AND THE UGLY, only with a less fey running style. Yet although I could find several Cairns tombstones and several Watson tombstones, I couldn’t find any together. I suspected they all got moved about during the construction work that had removed the adjoining structures. I pictured a gigantic chess game involving the use of forklift trucks and Google Earth.

My City 4: The Brodie-Snatcher

Posted in FILM, literature with tags , , , , , , , , , , , , , , on January 25, 2010 by dcairns


Miss Jean Brodie and her girls are spied upon by Robert Stephens from his artist’s garrett as they walk through Greyfriars Churchyard. This is a key location in all versions of GREYFRIARS BOBBY (where the wee dug sits by his master’s grave) and also in Val Lewton and Robert Wise’s film THE BODY SNATCHER, which conflates the Burke and Hare story (as filtered through Robert Louis Stevenson’s fictionalization) with that of Bobby, who is disguised under the stage name Robbie. The low-budget Lewton makes do with an establishing shot of some other church and then plunges into the studio.

The real churchyard (or kirkyard, if you want to be sectarian about it) is quite a place, although difficult to capture on film — the real frissons come from extreme details of the weathered stonework, angels and deathsheads with their features eaten away by wind and rain. But it’s also a useful place because you can look in all directions without much chance of seeing anything too modern.

Fiona and I used to live on Forrest Road, overlooking the cemetery just like Robert Stephens, although I starved one flight up, rather than in a garrett. Trilby, Fiona’s then cat, and my current avatar, once escaped out the window, over another rooftop, and into the hallowed grounds. She returned unharmed the next day, which was a relief, since she was a housecat unused to the ways of the exterior. I don’t know what she’d have done if she’d met Greyfriars Bobby’s ghost — and remember, according to the ancient Egyptians (generally reliable) cats can see the spirits of the departed. You know when you catch your cat staring fixedly at nothing…?

A strange feature of the place, just about visible above, is the way some of the grave markers are actually built into the walls of residences surrounding the graveyard. Also, many of the graves are enclosed in little stone buildings with gates that lock, which is largely a protection against body-snatchers. St John’s Churchyard, a short distance away on the corner of Princes Street and Lothian Road, even has a watch-tower to allow a guard to keep an eye out for nocturnal speculators armed with shovels.

The cemetery was used again in BURKE AND HARE: THE MUSICAL, a film I wrote sometime in the last century. Had Burke and Hare ever actually engaged in graverobbing (which is unknown — they were arrested for mass murder, having followed the simpler practice of generating fresh corpses rather than harvesting them from the earth), Greyfriars would probably have been their local place of work.

We were allowed to plant little wooden crosses so we could pretend to dig up a fresh grave. The cemetery is apparently full of unmarked graves, including that of William McGonagall, the world’s worst poet (an influence on both WC Fields and Spike Milligan). It seems likely the grounds may have once been peppered with pauper’s markers. To fake the grave-robbery, a fake mound of earth was erected — no hole was actually dug. The corpse here is played by Simon Vickery, a talented cameraman.

A prostitute who winds up on a slab is played by genius director Morag McKinnon, whose feature debut may be getting released this year (I hope so!). And the director of B&H, Stephen Murphy, now earns a living in special makeup effects, notably on the HARRY POTTER films. Meanwhile, I have a screenplay to write, so —

[sound of echoing footsteps diminishing in the distance]


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