With the modest compact rental car with a hatchback and all of our film gear, Pan often likes to do anything for the shot. So as we’re motoring down one of Iceland’s nicer paved roads he decides to strap himself into the hatchback area and hang out the back with the hatchback door open.
As any good producer / director would, Pan asks me to ride behind sometimes gesturing me to get closer, stay back and even pass. At one point he asked that I pass the car but do it slowly and hang in the opposite lane for a bit. I happily obliged, and then pulled ahead of the car. Just as I did this I noticed an Iceland police car pass in the opposite direction.
About ten minutes later the police car is behind the film crew car, with Pan hanging out the back and Jamie behind the wheel. Seconds later the police lights go on and they’re pulled over. I find a place to do a U-turn and head back. Before I even ask what’s going on, I pull my camera out and my “Allan Cam” point of view camera I use for capturing those intimate moments for the show.
Pan is trying to apologize, be serious, and trying to smooth the situation. I knew that this could be easily diffused, so I approach the officers and asked them to give my crew a ticket for dangerous behavior. They laugh, and Pan’s face turns two shades redder. I explain to the officers, one very redheaded man and another silver haired woman, that this would be a good lesson. I do explain that Pan always uses his seatbelt and having done this many times before in Iceland, and never caught, that though dangerous, we are experienced. I finally pull out my “Allan Cam” and begin interviewing and providing commentary for what we’ve comedically refer to “back of scenes” moments captured.
Everyone left with smiles on their faces and a stern warning not to risk life and limb again—even for the shot.