>>> THE SCENE UP AT THE CHURCH
WAS TO BE DONE.
>> READY, AND ACTION.
>> I LET GO OF THE HAMMER.
BANG, THE GUN GOES OFF.
>> THERE WAS A SHOT.
THERE SHOULDN'T HAVE BEEN A SHOT
BECAUSE THEY WERE DUMMY ROUNDS,
AND THEN THERE WAS A SCREAM.
>> OH, BY GOD, WHAT IS THAT?
HALYNA HAS INSTANTLY FALLEN
BACK.
>> I NOTICE THIS BUNCH OF ROSES
RIGHT IN THE SPOT WHERE HALYNA
WAS WHEN SHE WAS SHOT.
>> NONE OF US CAN PROCESS THAT
THERE WAS A LIVE BULLET EVEN ON
SET.
>> WHERE DID THE LIVE ROUND COME
FROM?
>> YOU'VE ALREADY HEARD ALEC
BALDWIN SPEAK.
NOW, WHAT DO OTHER ON THE SET
AND THOSE IN THE KNOW HAVE TO
SAY.
>> TWO OTHER PEOPLE THAT
INSPECTED THE LOADED FIREARM,
HANNAH GUTIERREZ AND DAVID
HALLS.
>> SABOTAGE IS THE MOST LIKELY
POSSIBILITY.
>> THIS WAS NOT SABOTAGE.
THIS WAS INCOMPETENCE.
>> SO, WHEN SOMEONE DIES ‐‐
>> I HAVE BEEN TOLL IT'S HIGHLY
UNLIKELY I WOULD BE CHARGED WITH
ANYTHING CRIMINALLY.
>> I CAN'T CONTROL WHAT HE SAYS
OR WHAT HE BELIEVES BUT I KNOW
WE HAVE NOT RULED OUT ANYONE.
>> THE SAD THING IS THERE HAVE
BEEN OTHER ACCIDENTAL DEATHS ON
MOVIES.
>> SUCH A HORRIFIC TRAGEDY OF
SOMEONE LOSING THEIR LIFE AGAIN.
>> IT WOULD BE A COLD START ON
THE DAY, BUT WE'LL ALSO HAVE
PLENTY OF SUNSHINE.
HIGH IN ALTITUDE.
56 DEGREES.
>> BONANZA CREEK RANCH IN
SANTA FE, NEW MEXICO, IS A
LONG‐TIME LOCATION FOR SHOOTING
FILMS.
SEVERAL THOUSAND ACRES, A NUMBER
OF BUILDINGS, LOTS OF GREAT
VIEWS ‐‐ ALL THE THINGS THAT
PEOPLE COME TO NEW MEXICO TO
SHOOT FOR.
>> IT'S USED FOR A LOT OF
WESTERNS.
>> IF YOU GO BACK AND LOOK AT
DIFFERENT MOVIES, YOU CAN SEE,
LIKE, OH, YEAH, THAT'S ‐‐ THAT
LOOKS LIKE BONANZA CREEK RANCH.
ONE THING YOU NOTICE JUST AS
YOU'RE GETTING OFF THE HIGHWAY
IS THERE ARE THESE YELLOW
CORRUGATED PLASTIC CREW SIGNS
EVERYWHERE KIND OF DOTTING THE
DESERT LANDSCAPE, LETTING YOU
KNOW THIS PRODUCTION THIS WAY
OR THIS PRODUCTION THIS WAY.
>> "RUST" IS A CLASSIC WESTERN.
>> THE STORY IS ABOUT THIS
GRISTLED OUTLAW NAMED
HARLAND RUST AND THAT WAS THE
CHARACTER PLAYED BY
ALEC BALDWIN.
>> I READ IT AND I SAID, I LOVE
IT.
I LOVE IT.
>> FROM THE JUMP, BALDWIN KNEW
THAT HE WANTED TO BE THE STAR IN
IT, AND HE'S ALSO A PRODUCER.
>> THIS WAS A REAL PASSION
PROJECT.
>> THE RANCH WILL BECOME THE
MEETING POINT FOR 75 CREW
MEMBERS, 22 PRINCIPAL ACTORS,
AND HUNDREDS OF EXTRAS, AND
THEY'RE ALL CONVERGING ON SET
WITH THE SINGULAR GOAL OF MAKING
THE MOVIE "RUST."
>> THE FIRST DAYS ON JUST ABOUT
ANY SET ARE EXCITING.
>> MY FIRST DAY ON SET, I'M LIKE
TRULY LIVING A WESTERN DREAM.
GETTING TO BE IN MY FULL COWBOY
GARB AND RIDING A HORSE AND
WATCHING STUNTS HAPPEN.
>> THREE, TWO, ONE!
>> WE'RE OUT HERE MAKING A
WESTERN.
THAT'S CLASSIC CINEMA RIGHT
THERE.
AND I KNOW HALYNA SHARED THAT.
>> HALYNA HUTCHINS IS THE
CINEMATOGRAPHER.
>> HALINA HUTCHINS WAS BORN IN
UKRAINE 42 YEARS AGO.
>> MAKE SURE WE DON'T SEE PEOPLE
WALKING AROUND, LIKE WALKING
THERE.
>> SHE ORIGINALLY WAS AN
INVESTIGATIVE JOURNALIST BEFORE
TURNING TO CINEMATOGRAPHY.
>> HALYNA'S INSTAGRAM BIO READS,
RESTLESS DREAMER.
ADRENALINE JUNKIE.
CINEMATOGRAPHER.
SHE'S MARRIED AND THEY HAVE A
9‐YEAR‐OLD SON.
YOU CAN SEE THEM ON HER
HUSBAND'S INSTAGRAM.
>> IN 2015, SHE GRADUATED FROM
AFI, AMERICAN FILM INSTITUTE.
AND THEN A FEW YEARS LATER IN
2019 WAS LISTED AS A
CINEMATOGRAPHER ON THE RISE.
>> YEAH, IT'S A PASSION FOR
SURE.
>> YEAH.
>> ONCE YOU GET THE BUG, YOU
CAN'T GET OUT OF IT.
>> I WROTE AND DIRECTED A MOVIE
CALLED "ARCHENEMY," AND HALYNA
WAS MY CINEMATOGRAPHER ON THAT
FILM.
HALYNA'S CONFIDENCE WAS A KIND
OF, LIKE, QUIET SELF‐ASSURANCE.
SHE WOULD LAUGH A LOT.
SHE WAS VERY SORT OF
CALCULATING, COLLECTED PERSON
WHO ALSO HAD A DEEP RESERVOIR
OF EMOTIONS.
>> LET'S CONTINUE WITH THAT.
>> SHE WAS, YOU KNOW, WORKING
REALLY HARD TO ESTABLISH HERSELF
IN THE FILM INDUSTRY AND IN
PARTICULARLY REALLY A
MALE‐DOMINATED BRANCH OF THE
FILM INDUSTRY.
>> SETTING UP THIS ONE HERE.
START A COUPLE STEPS FURTHER.
>> THERE'S THIS ONE IMAGE I HAVE
IN MY HEAD I THINK OF A LOT.
SHE WANTED TO SEE WHAT WAS
BEHIND A VERY HIGH UP WINDOW.
SO SHE SAT ON THE SHOULDERS OF A
TALL CAMERA DEPARTMENT GUY.
IT WAS A SUPERHERO MOVIE.
AND SHE LOOKS ‐‐ SHE LOOKED JUST
A LITTLE BIT LIKE A SUPERHERO
HERSELF.
IN MY MIND THERE WAS ALWAYS,
LIKE, A SPOTLIGHT ON HER
WHENEVER SHE WAS AROUND
EVERYBODY ELSE.
AFTER "ARCHENEMY" CAME OUT, I
WAS GETTING A LOT OF CALLS FROM
PEOPLE SAYING, CAN YOU PUT ME
WE WANT HER.
>> "RUST" WAS A BIG BREAK.
AND IT WAS AN OPPORTUNITY FOR
HER TO JUST SHOW HOW GOOD SHE
WAS.
>> HALYNA WAS VERY GIFTED AND
SHE HAD A VISION AND SHE KNEW
WHAT SHE WANTED.
AND SHE COMMANDS THE ROOM.
>> SHE WOULD SOMETIMES REACH OUT
AND GRAB MY ARM AND PULL ME OVER
IN FRONT OF THE MONITOR AND BE
LIKE, LOOK, LOOK HOW GOOD THEY
LOOK.
SHE JUST SEEMED TO THINK THAT
EVERY SINGLE PERSON HERE WAS
HERE TO CREATE THIS DREAM,
AND THAT EXCITEMENT WAS
INFECTIOUS.
>> ALSO ON SET THERE'S DIRECTOR
JOEL SOUZA AND ASSISTANT
DIRECTOR DAVE HALLS.
AND ALSO FIRST CAMERA ASSISTANT
LANE LUPER WHO MEETS HALYNA FOR
THE FIRST TIME ON THIS PROJECT.
>> WE BECAME FRIENDS PRETTY
QUICKLY.
>> DESCRIBE THAT WORKING
RELATIONSHIP BETWEEN THE HEAD OF
THE CAMERA DEPARTMENT AND THE
CINEMATOGRAPHER OF A FILM.
>> IT'S BASICALLY MYSELF, THE
CAMERA OPERATORS, AND HALYNA ALL
CREATING THE FRAME.
HER FRIEND SERGE WAS THE GAFFER
OF THE MOVIE, HANDLING THE
LIGHTING AND EVERYTHING, AND I'M
THERE TO HANDLE THE CAMERA FOR
HER.
SO IT'S KIND OF LIKE A ‐‐ IT'S A
VERY CLOSE KNIT TEAM.
>> I KNOW HALYNA MAYBE FIVE, SIX
YEARS SOMETHING.
WE UNDERSTAND EACH OTHER.
WE TRUST EACH OTHER.
WE HAVE MAYBE SAME VISION.
>> FILM SETS ARE INSTANT
COMMUNITY.
AND "RUST" WAS MORE TIGHT‐KNIT
THAN MOST FILMS I'VE WORKED ON.
VERY, VERY QUICKLY WE BECAME
EACH OTHER'S FAMILY AWAY FROM
HOME.
>> THIS IS A $7.5 MILLION MOVIE.
IT IS THE CATERING BUDGET ON A
D.C. COMICS MOVIE, OKAY.
>> AND PART OF THE LOW BUDGET
NATURE OF THIS FILM, THEY WERE
TRYING TO DO MORE WITH LESS.
PRODUCERS EVEN COMBINING SOME
CREW ROLES FOR PEOPLE.
>> THEY WERE INSISTING UPON
HAVING ONE PERSON DO TWO VERY
IMPORTANT JOBS.
THE ARMORER ROLE, TAKING CARE OF
THE GUNS AND AMMUNITION, AND
THEN THEY WANTED THAT PERSON TO
ALSO BE AN ASSISTANT PROP
PERSON.
>> AND THIS WAS A WESTERN, SO
THERE WERE A LOT OF FIREARMS
IN THIS MOVIE.
THAT'S A LOT OF RESPONSIBILITY.
>> THE PERSON WHO'S HIRED AS
BOTH THE ARMOR AND THE PROP
ASSISTANT IS A YOUNG WOMAN WHO'S
JUST STARTING OUT IN HER CAREER
NAMED HANNA GUITTEREZ REED.
>> HANNAH WAS ONLY 24, SO BEING
THE LEAD ARMORER ON A MOVIE
IS A BIG ROLE.
HER DAD IS A MAN NAMED THELL
REED, WHO IS A VERY WELL‐KNOWN
GUNSLINGER IN HOLLYWOOD.
HE'S ESPECIALLY KNOWN FOR
SOMETHING CALLED THE QUICK DRAW.
>> HE DEMONSTRATED HIS QUICK
DRAW ABILITY IN A VIDEO ABOUT
THE MAKING OF "DJANGO
UNCHAINED."
>> AS YOU CAN SEE IT DOESN'T
TAKE MUCH TIME TO GET THEM OUT
AND FIRE.
>> HANNAH GUTIERREZ REED HAS
SPENT HER LIFE WATCHING HER
FATHER HANDLE AND OVERSEE THE
USE OF FIREARMS ON ANY NUMBER OF
MOVIES.
>> SHE'S BEEN RAISED AROUND GUN
SAFETY AND ALL THAT STUFF FROM
WHEN SHE WAS A LITTLE GIRL.
SHE'S SO SAFE WITH THE GUNS.
THE WAY SHE HANDLES THEM, IT'S
JUST ‐‐ I DON'T HAVE TO WORRY
ABOUT ANYTHING WHEN I GOT HER ON
THE SET.
>> YOU TRUST HER ON YOUR SETS?
>> ANY SET.
YES, ABSOLUTELY.
>> WITHIN DAYS OF GETTING THE
JOB ON "RUST", HANNAH WAS
POSTING ON FACEBOOK ABOUT HOW
EXCITED SHE WAS TO HAVE GOTTEN
THIS JOB, AND SHE SPECIFICALLY
NOTED, EXCITED TO BE WORKING
WITH ARMORY AND TO STEP INTO THE
WORLD OF PROPS.
BEFORE THE JOB STARTED, ON
SEPTEMBER 29th, JUST RIGHT AFTER
SHE HAD SECURED IT, SHE WROTE ON
FACEBOOK, HOW [ BLEEP ] IT IS
THAT LIFE'S BEEN SO GOOD LATELY?
I CAN'T HELP BUT TO FEEL LIKE
I'M ABOUT TO FALL FROM GRACE.
>> THE TENSIONS WITH THE CAMERA
CREW REALLY STARTED TO GROW.
>> HALYNA, SHE DIDN'T LOOK ‐‐
SHE WASN'T HER USUAL, YOU KNOW,
CALM, FOCUSED, CHEERFUL SELF.
>>> WHEN YOU'RE WORKING ON A
MOVIE SET, EVERY SINGLE MOMENT
COUNTS.
>> MOVIEMAKING IN SOME WAYS IS A
RACE AGAINST THE CLOCK.
YOU ONLY HAVE A CERTAIN NUMBER
OF DAYS AND A CERTAIN AMOUNT OF
MONEY.
"RUST" IS SCHEDULED TO BE A
21‐DAY SHOOT.
>> WHAT DOES THAT DEMAND YOU DO?
YOU HAVE TO BE EFFICIENT.
>> HALYNA WAS SO INTENSE AND SO
FULL OF ENERGY AND SO
PASSIONATE.
>> SHE WOULD GET IT IN HER MIND
HOW SHE WANTED IT TO LOOK, AND
WE'D WORK TO GET HER WHAT SHE
WANTED.
>> SHE HAD THAT INTENSITY.
EVERY DAY YOU WENT TO WORK, SHE
WOULD SAY, GOOD MORNING.
HOW ARE YOU?
HOW WAS YOUR EVENING?
BOOM.
IT WAS SMALL TALK, GO.
WE WEREN'T GONNA HANG OUT AND
CHIT CHAT OR WHATEVER.
SHE KNEW THAT THE CLOCK WAS THE
ENEMY AND WE HAVE TO MOVE
FORWARD.
>> I FELT LIKE IT WAS A GOOD
PACE FOR THE LEVEL OF THE BUDGET
THAT WE HAD.
IT RAN SMOOTHER THAN ANYTHING OF
THAT BUDGET I'VE EVER BEEN
INVOLVED WITH.
IT REALLY DID.
>> BUT SOME CREW MEMBERS SAID
THE PRODUCTION FELT RUSHED.
>> THE TONE ON SET WAS LIKE,
WE NEED TO GO NOW, NOW, NOW.
IT JUST WAS A BEAT THE CLOCK
KIND OF THING.
>> I ARRIVED ON THE 11th.
I HAD DINNER WITH HALYNA.
>> BALDWIN POSTS A VIDEO OF
HIMSELF ON INSTAGRAM SHORTLY
AFTER HE ARRIVED ON SET.
>> I WANT TO SAY I LOOK AT
MYSELF IN THE REFLECTION OF THIS
AND I'M REALLY KIND OF APPALLED.
IT'S APPALLING.
BUT WE'RE HERE SHOOTING A FILM.
WE START TOMORROW, AND NO, I'M
NOT PLAYING SANTA CLAUS.
ON THE 12th I HAD A SAFETY
DEMONSTRATION WITH HANNAH REED,
THE ARMORER.
WE SPENT AN HOUR AND A HALF
SHOOTING THE PISTOL, HER GIVING
ME ALL HER SAFETY INSTRUCTIONS.
>> WE WERE TOLD BY SEVERAL
MEMBERS OF THE CREW THAT HANNAH
SOMETIMES HAD THE GUNS IN HER
WAISTBAND OR SHE WOULD CARRY
THEM UNDERNEATH HER ARMPITS.
NOW, THIS IS A YOUNG WOMAN WHO
WAS AROUND GUNS HER WHOLE LIFE.
BUT FOR OTHER MEMBERS OF THE
CREW, THIS WAS SORT OF ALARMING.
>> HANNAH'S LAWYER TELLS ABC,
IT'S NOT UNUSUAL FOR ARMORERS TO
CARRY FIREARMS LIKE THIS TO
VARIOUS PLACES ON SET AS THEY
NEED TO.
HE SAYS THERE WAS NEVER A SAFETY
ISSUE WITH HANNAH'S CARRYING OF
THE FIREARMS.
>> DID YOU THINK SHE WAS UP TO
THE JOB?
>> I ASSUMED BECAUSE SHE WAS
THERE AND SHE WAS HIRED SHE
WAS ‐‐ SHE WAS UP FOR THE JOB.
>> AND NOTHING SHE DID RAISED
ANY RED FLAGS WITH YOU?
>> NO.
>> THE SECOND WEEK OF FILMING,
SOME MEMBERS OF THE CREW SAID
THEY WERE STARTING TO HAVE
CONCERNS WITH HOW WEAPONS WERE
BEING HANDLED ON THE SET.
>> SATURDAY, OCTOBER 16th, WAS A
BIG DAY ON SET.
THERE WERE SEVERAL MAJOR
SHOOTOUTS SCHEDULED TO BE FILMED
THAT DAY.
AND IN THE MIDST OF THAT, THERE
WERE TWO ACCIDENTAL DISCHARGES.
>> THE PROP MASTER, SARAH
ZACHARY, WAS LOADING THE GUN.
THE GUN WAS POINTED DOWN,
AND IT WENT OFF IN HER HANDS.
>> IT DEFINITELY CAUSED A
COMMOTION ON SET.
SEVERAL PEOPLE I TALKED TO
DESCRIBED IT AS SOMETHING THAT
UPSET PEOPLE.
THERE WAS, YOU KNOW, A SOUND,
AND IT WAS UNEXPECTED.
>> THERE IS NO PROJECTILE IN THE
GUN.
IT'S JUST A BANG AND SOME SMOKE.
SARAH DID SELF‐REPORT WHEN IT
HAPPENED.
>> THERE WAS ANOTHER ACCIDENTAL
DISCHARGE ON THIS SATURDAY,
AND ALEC BALDWIN'S STUNT DOUBLE
HAD THIS MISFIRE WITH A GUN.
>> WHEN YOU HEAR ABOUT SOMETHING
LIKE TWO ACCIDENTAL DISCHARGES
OF WEAPONS, GUNS GOING OFF,
THAT'S SERIOUS BUSINESS.
>> THE "RUST" PRODUCTION TEAM
TOLD ABC NEWS, THE SAFETY OF OUR
CAST AND CREW IS THE TOP
PRIORITY OF RUST PRODUCTIONS.
"RUST" PRODUCERS SAY THEY NEVER
RECEIVED ANY OFFICIAL COMPLAINTS
REGARDING WEAPONS OR PROP SAFETY
ON SET.
>> "RUST" PRODUCTIONS DECLINED
TO COMMENT SPECIFICALLY ON THE
ACCIDENTAL DISCHARGES.
>> I NEVER SAW ANYTHING THAT
WAS, IN MY MIND, UNSAFE EVER.
>> I FELT SAFE ON THE SET.
EVERY TIME I WAS HANDLING A GUN,
EVERY TIME I WAS ON SET, I FELT
SAFE.
I HAD TO HAVE A GUN IN EVERY
SCENE.
I ALWAYS HAD IT IN MY HOLSTER.
IN EVERY SCENE, 'CAUSE WE'RE
COWBOYS.
>> DURING THE SECOND WEEK OF
FILMING THAT AN ISSUE WITH
HOTELS COMES UP FOR THE CREW,
BECAUSE THEY'RE PULLING WHAT
THEY FEEL LIKE ARE SOME VERY
LONG DAYS ON THE SET.
>> THEY WENT TO THE PRODUCTION,
TO TALK ABOUT THIS SO THAT AFTER
12‐HOUR DAYS, THEY DIDN'T HAVE
TO DRIVE FOR LIKE DOZENS AND
DOZENS OF MILES JUST TO GET BACK
TO SOMEWHERE WHERE THEY COULD
PUT THEIR HEAD DOWN FOR JUST A
FEW HOURS, TO THEN HAVE TO GET
BACK UP AGAIN AND GO RIGHT BACK
TO WORK.
>> MY DRIVE TO SET WAS 75 MILES
A DAY EACH WAY EVERY DAY.
IT WAS NEVER A PROBLEM.
THE WORK SCHEDULE, THE INS, THE
OUTS, WHEN WE WOULD COME IN IN
THE MORNING, WHEN WE LEFT, IT
WAS REALLY NEVER A PROBLEM.
THERE WAS NOTHING ABOUT THE
SCHEDULE THAT WAS GRUELING.
>> THE "RUST" PRODUCTIONS TEAM
TOLD ABC NEWS THAT THEY'RE
CONFIDENT THAT THEY PROVIDED
HOTELS WHEN THEY WERE REQUIRED.
>> THIS ISSUE OF THE HOTEL ROOMS
BECAME SUCH A DIVISIVE ISSUE.
>> ON SUNDAY, THE CREW'S CALL
TIME WAS NOON.
THEY WERE THERE TILL 1:30 IN THE
MORNING.
IT WAS DARK OUT, BUT IT WAS COLD
AND THEY WERE GATHERING UP ALL
THEIR EQUIPMENT.
AND ONE OF THE CAMERA OPERATORS
THAT NIGHT, WHAT I WAS TOLD,
SPENT A FEW HOURS SLEEPING IN
HIS CAR BECAUSE HE FELT IT WAS
UNSAFE TO DRIVE HOME.
AND THAT'S REALLY, I THINK, WHEN
THE TENSIONS WITH THE CAMERA
CREW REALLY STARTED TO GROW.
THEY SHOW UP FOR A 6:00 A. M.
CALL TIME.
IT WAS A LONG, ARDUOUS DAY.
THAT DAY, ONE OF THE CAMERA
OPERATORS ASKED FOR A HOTEL ROOM
THAT NIGHT, AND THE PRODUCTION
SAID NO.
AND THAT ‐‐ WHAT SEVERAL OF THE
CAMERA OPERATORS AND ASSISTANTS
AND CAMERA CREW PEOPLE TOLD ME
WAS THAT'S WHEN THEY FELT LIKE,
THESE PEOPLE DON'T CARE ABOUT
US.
>> LATER THAT NIGHT LANE LUPER
AND SOME OTHER MEMBERS OF THE
CAMERA CREW, THEY EMAIL
PRODUCTION MANAGERS THEIR
RESIGNATION LETTERS.
AND IN LANE'S LETTER, HE WRITES
ABOUT HIS CONCERNS REGARDING
THEIR HOUSING.
HE ALSO LAYS OUT SOME SAFETY
CONCERNS SAYING, DURING THE
FILMING OF GUNFIGHTS ON THIS
JOB, THINGS ARE OFTEN PLAYED
VERY FAST AND LOOSE.
SO FAR THERE HAVE BEEN TWO
ACCIDENTAL WEAPONS DISCHARGES.
>> IT WAS, YOU KNOW, CLOSE TO
9:00 WHEN THESE EMAILS STARTED
ROLLING INTO THE PRODUCTION
OFFICE THAT THEY WERE GOING TO
BE WITHOUT THE CAMERA CREW.
>> FOR A GROUP OF CREW MEMBERS
TO COME TOGETHER AND SAY, WE
NEED TO, AS A GROUP, BASICALLY
STRIKE THIS SET, IT'S NOT THAT
COMMON.
>> THIS WEEK, 25 MEMBERS OF
"RUST" CAST AND CREW RELEASED A
LETTER THAT ALEC BALDWIN POSTED
ON HIS INSTAGRAM, WHICH THEY SAY
WAS NOT SANCTIONED OR INFLUENCED
BY THE PRODUCERS.
AND IT STATED, THE DESCRIPTIONS
OF "RUST" AS A CHAOTIC,
DANGEROUS, AND
EXPLOITATIVE WORKPLACE ARE
FALSE.
IN RESPONSE TO LANE LUPER'S
ALLEGATIONS, THE PRODUCTION TEAM
FROM RUST TOLD ABC NEWS
MR. LOOPERS ALLEGATIONS AROUND
BUDGET AND SAFETY ARE PATENTLY
FALSE AND THEY SAY SAFETY IS
ALWAYS THE NUMBER ONE PRIORITY
IN OUR FILMS.
THE NEXT MORNING, THEIR
DEPARTURE WOULD BE THE BEGINNING
OF A DEEPLY TROUBLING DAY ON
SET.
♪♪
>>> THE DAY GOT OFF TO A BAD
START.
MOST OF THE CAMERA CREW PACKED
UP THEIR GEAR AND THEY WALKED
OFF THE JOB.
THEY WERE MAKING GOOD ON THEIR
THREATS FROM THE NIGHT BEFORE,
QUITTING OVER THEIR CONCERNS,
WHICH INCLUDED THEIR
ACCOMMODATIONS AND SAFETY ON THE
SET.
>> I WAS AS SURPRISED AS
EVERYONE ELSE WHEN FOR THE FIRST
HOUR AND HALF THERE WAS NO
CAMERA CREW ON THE SET AT ALL.
I KNOW THAT PUT A LITTLE BIT OF
A STRAIN ON THE WHOLE
PRODUCTION.
>> THE FIRST PERSON I SAW WAS
HALYNA, AND SHE DIDN'T LOOK ‐‐
SHE WASN'T HER USUAL, YOU KNOW,
CALM, FOCUSED, CHEERFUL SELF.
>> SHE WAS UNDER PRESSURE TO NOT
LOOK STRESSED, TO KEEP
EVERYTHING ROLLING.
AND SHORTLY AFTER THAT THERE IS
A SAFETY MEETING.
THAT DID ADDRESS THAT THERE WAS
GOING TO BE, YOU KNOW, GUNFIRE
HAPPENING THAT DAY.
>> SO BEFORE LUNCH THERE WAS A
SCENE WHERE THERE WERE SOME GUNS
BEING USED.
AT THE END OF THOSE SCENES BEING
DONE, ALL THE GUNS WERE
COLLECTED AND PLACED BACK IN THE
SAFE.
>> THEY BROKE FOR LUNCH AROUND
12:30.
>> WHEN THEY COME BACK FROM
LUNCH, WE GET WORD THAT THEY'RE
GOING TO DO THIS LITTLE INSERT
SHOT OF JUST THE GUN THAT HALYNA
WANTS POINTING RIGHT AT CAMERA.
>> THE SCENE WASN'T SUPPOSED TO
HAVE ANY GUNFIRE.
>> THE SCENE IS THE TWO ‐‐ TWO
GUYS ARE THERE.
THE OTHER TWO ACTORS WHO HAVE
GOT ME, YOU KNOW, CORNERED, AND
I THEN DRAW THE GUN ‐‐
CROSS‐DRAW OUT OF MY HOLSTER,
PULL THE GUN UP LIKE THAT, AND
START TO COCK THE PISTOL.
CUT.
>> NOW COMES A KEY MOMENT.
ALEC BALDWIN HEARS COLD GUN.
THAT'S THE SIGNAL THAT THE
WEAPON IS SAFE TO USE.
WHAT DOES IT MEAN FOR A GUN TO
BE DECLARED COLD?
>> IT MEANS NOTHING IS GOING TO
HAPPEN WHEN YOU PULL THE TRIGGER
BESIDES THE CLICK.
SO IT'S EITHER A COMPLETELY
EMPTY CHAMBER, OR IT HAS THE
DUMMY ROUNDS IN IT, WHICH ARE
ALSO FAKE.
>> JOEY DILLON IS A HOLLYWOOD
ARMORER.
HE DID NOT WORK ON "RUST."
YOU'VE BROUGHT SOME DUMMY ROUNDS
WITH YOU?
>> I DID, YEAH.
IT LOOKS EXACTLY THE SAME AS A
REAL BULLET.
IN LIEU OF THE GUN POWDER IN
THERE, THEY PUT IN A SINGLE BB
IN THERE AND YOU CAN HEAR THAT.
>> YOU CAN HEAR IT RATTLE.
>> SHAKING AROUND ESPECIALLY ON
THE BELT, YOU CAN ‐‐
>> YEAH, THE WHOLE THINGS
RATTLING.
>> YEAH.
>> BY 1:20, THE SCENE UP AT THE
CHURCH WAS TO BE DONE.
>> ALEC BALDWIN WAS SITTING IN A
PEW.
THEY WANTED TO HAVE THE CAMERA
LOOK DOWN THE BARREL OF THE GUN.
THEY WERE TRYING TO SET IT UP.
>> YOU COULD SEE THE ENDS OF THE
BULLETS.
THAT'S WHY IT WAS LOADED WITH
DUMDUMS, YOU NEED TO SEE THE END
OF THE BULLET.
I'M AT THE FRONT DOOR OF THE
CHURCH, AND I WAS PROBABLY FOUR,
FIVE YARDS AWAY FROM ALEC AND
HALYNA.
HALYNA WAS TELLING ALEC SHE
WANTED TO SEE HIS THUMB WORKING
THE HAMMER BACK TO DO THE SHOT.
SHE WAS PROBABLY ONLY 18 INCHES,
TWO FEET FROM MUZZLE OF GUN.
>> SHE TAKES A MONITOR THAT IS
HIS MONITOR, THE OPERATOR, AND
TURNS IT TOWARDS HER.
AND SHE SAYS TO ME, HOLD THE GUN
LOWER.
GO TO YOUR RIGHT.
OKAY, RIGHT THERE.
ALL RIGHT, DO THAT.
>> I WAS, LIKE, STANDING LIKE
THIS.
THIS WAS HALYNA.
CAMERA WAS MORE OR LESS HERE.
>> I'M HOLDING THE GUN WHERE SHE
TOLD ME TO HOLD IT, WHICH ENDED
UP BEING AIMED RIGHT BELOW HER
ARMPIT.
>> THE CAMERAS WERE NOT ROLLING,
SO THERE IS NOT ACTUAL FOOTAGE
OF THIS TRAGEDY.
>> YOU JUST PULLED ‐‐
>> THE HAMMER AS FAR BACK AS I
COULD WITHOUT COCKING THE ACTUAL
GUN.
>> AND YOU'RE HOLDING ONTO THE
HAMMER?
>> I'M HOLDING ‐‐ I'M JUST
SHOWING.
I GO, HOW ABOUT THAT?
DOES THAT WORK?
YOU SEE THAT?
DO YOU SEE THAT?
AND THEN SHE GOES, "YEAH, THAT'S
GOOD."
I LET GO OF THE HAMMER, BANG,
THE GUN GOES OFF.
>> YEAH, I SAW THAT GUN AND ‐‐
>> ALL OF A SUDDEN, BOOM!
AND IT WAS SO LOUD.
>> I ACTUALLY THOUGHT THAT MAYBE
SOME EQUIPMENT HAD EXPLODED OR
FALLEN.
>> AFTER THE GUN WENT OFF,
PEOPLE IN THE ROOM HAVE
DESCRIBED IT AS JUST BEING TOTAL
CHAOS.
>> AND THEN THERE WAS A SCREAM.
>> AND THEN THEY LOOK, AND
HALYNA HAS INSTANTLY FALLEN BACK
AND SHE'S ON THE GROUND AND SHE
IS BLEEDING FROM HER CHEST.
>> IMMEDIATELY BLEEDING
AND BLEEDING PROFUSELY.
THAT'S WHEN IT GOT REAL.
OH, MY LORD.
>> SHE SAID, SOMETHING HAPPENED
WITH MY S‐STOMACH.
I DON'T FEEL MY LEGS.
HER SKIN WAS SO WHITE, AND HER
LIPS ‐‐
GRAY.
>> AND DIRECTOR JOEL SOUZA IS
ALSO HURT.
HE'S WRITHING ON THE FLOOR IN
AGONY.
IT'S TOTAL CONFUSION.
>> WHEN SHE WENT DOWN, HE WENT
DOWN, AND HE WAS SCREAMING
REALLY LOUDLY.
AND I THOUGHT, WHAT IS HE ‐‐
WHAT HAPPENED?
>> DID YOU GO UP TO HER?
>> I WENT UP TO HER AND THEN WE
WERE IMMEDIATELY ‐‐ WE WERE TOLD
TO GET OUT OF THE BUILDING.
WE WERE FORCED TO GET OUT OF THE
BUILDING.
>> MAMIE MITCHELL, THE SCRIPT
SUPERVISOR, RUNS OUT AND SHE
STARTS CALLING 911.
>> SANTA FE FIRE AND EMS.
WHAT'S THE LOCATION OF YOUR
EMERGENCY?
>> BONANZA CREEK RANCH.
WE'VE HAD TWO PEOPLE
ACCIDENTALLY SHOT ON A MOVIE SET
BY A PROP GUN.
WE NEED HELP IMMEDIATELY.
>> IT DIDN'T TAKE THEM LONG AT
ALL TO BEGIN SENDING UNITS.
BUT THE PEOPLE WHO WERE ON SET,
THE PEOPLE WHO WERE AT THE BASE
CAMP HAD THIS FALSE SENSE THAT
IT MIGHT NOT BE THAT BAD.
>> NOBODY TOLD YOU WHAT
HAPPENED?
>> NO, NO.
>> AND WE JUST WERE ALL SITTING
THERE WAITING AND TRYING TO GET
ANY INFORMATION ON WHAT
HAPPENED.
ARE THEY OKAY?
>> I KNEW THERE WAS NOTHING
SHORT OF SOMETHING CATASTROPHIC
HAPPENING THAT WOULD CAUSE WHAT
I HAD SEEN HAPPEN TO HALYNA
THERE.
I SAID, I'M TELLING YOU RIGHT
NOW, THAT WAS A BULLET.
NO ONE WAS READY TO BELIEVE
THAT.
>>> AFTER THE SHOOTING,
EVERYONE'S TRYING TO GET THEIR
BEARINGS.
HALYNA HAS FINALLY BEEN TAKEN
AWAY IN A HELICOPTER.
JOEL SOUZA HAS BEEN TAKEN TO A
DIFFERENT HOSPITAL.
>> WITHIN 15 MINUTES OR
20 MINUTES AFTER THAT, THE
POLICE ARRIVED AND TOOK THE
CHURCH SET AND PUT THE CRIME
TAPE AROUND IT, THE YELLOW TAPE,
AND FORCED US ALL TO THE
PERIMETERS OF THE PARKING AREA
WHERE WE SAT AND WAITED.
>> NOBODY TOLD YOU WHAT
HAPPENED?
>> NO.
NO.
>> WE GOT THE CALL AT 1:48 P. M.
THAT DAY.
OUR DEPUTIES RESPONDED WITHIN
TWO OR THREE MINUTES TO THE
SCENE ALONG WITH EMS.
SO IT WAS PRETTY IMMEDIATE.
>> ALEC WAS JUST BESIDE HIMSELF.
WE WERE ALL DUMBFOUNDED.
>> WHEN THEY GET THERE, THERE'S
OVER A HUNDRED PEOPLE THERE.
IT'S PRETTY HECTIC AND PRETTY
CHAOTIC.
>> THE PEOPLE WHO WERE IN THE
CHURCH ALL HAD TO BE INTERVIEWED
BY POLICE.
>> I WAS IN MY TRAILER, AND ONE
OF THE OTHER ACTORS TOLD ME,
HEY, YOU SHOULD KNOW, I JUST
HEARD ON THE WALKIE A PRETTY
URGENT CALL 911, AND WE ASSUMED
A STUNT WENT WRONG.
>> I WENT BACK TO BASE CAMP.
WE WERE THERE UNTIL THE POLICE
CAME DOWN AND TALKED TO ALL OF
US.
>> NEWS OF THE SHOOTING SPREAD
QUICKLY.
>> BREAKING NEWS ON A MOVIE SET
NEAR SANTA FE.
>> THE SIGN BEHIND ME DOES SAY
RUST.
WE DO BELIEVE THAT IS WHERE THE
INCIDENT DID HAPPEN, BUT WE ARE
WORKING TO GET THAT CONFIRMED.
>> WE HEARD SOME RUMBLING OUT OF
NEW MEXICO THAT THERE'D BEEN
SOME SORT OF ACCIDENT ON THE SET
OF THE ALEC BALDWIN FILM "RUST."
AT FIRST, WE WEREN'T REALLY
CLEAR WHAT IT WAS.
>> BUT AS THE DAY WENT ON, WE
LEARNED MORE.
>> ULTIMATELY WE FOUND OUT
SOMETHING HAD HAPPENED WITH A
GUN, AND IT WAS JOEL AND HALYNA
WHO WERE INVOLVED, WHICH WAS
FRIGHTENING.
>> A WHILE LATER THERE WAS A
HELICOPTER ABOVE.
THERE WERE NEWS STATIONS AND
PAPARAZZI ALL AT THE GATE, AND
THEN THERE WERE MORE HELICOPTERS
AS ALL OF THE SUDDEN IT WENT ALL
OVER THE NEWS.
IT BECAME THIS HUGE THING, AND
IT WAS JUST SO SURREAL.
>> A SOURCE OF MINE SAID THAT IT
WAS ACTUALLY ALEC BALDWIN WHO
FIRED THAT GUN.
>> NEW DETAILS THAT ALEC BALDWIN
FIRED A PROP GUN.
>> ALEC FIRED THE SHOT.
>> MY MOUTH DROPPED TO THE
FLOOR.
THE STORY JUST BECAME SOMETHING
MUCH, MUCH BIGGER THAN WE
THOUGHT IT ORIGINALLY WAS.
>> WE WERE ALL SITTING THERE,
WAITING, TRYING TO GET ANY
INFORMATION ON WHAT HAPPENED.
ARE THEY OKAY?
>> THE MOOD WAS STILL ‐‐ STILL
OPTIMISTIC.
>> WE KEPT HEARING SHE'S STABLE.
SHE'S STABLE.
>> THE MAIN FOCUS OF THE
INVESTIGATORS IS TO GET INITIAL
STATEMENTS.
GUTIERREZ REED, MR. HALL'S AND,
UH, AND MR. BALDWIN WERE BROUGHT
TO THE SHERIFF'S OFFICE.
EVERYBODY UNDERSTOOD THAT THIS
WAS A MAJOR INCIDENT AND
EVERYBODY WAS COOPERATING.
>> I WAS THERE FOR LIKE AN HOUR
AND A HALF OR SO, AND FINALLY
ONE OF THE POLICE OFFICERS SHE
TAKES HER PHONE AND SHE SLIDES
IT ACROSS TO ME.
SHE SAYS, THAT'S WHAT CAME OUT
OF JOEL'S SHOULDER.
A .45 CALIBER SLUG.
IT WAS A REAL BULLET.
IT WAS UTTER DISBELIEF OVER THE
IDEA.
IT WAS UNACCEPTABLE, THE IDEA
THAT IT WAS A LIVE ROUND.
>> HOW DID A LIVE ROUND GET IN
THIS GUN.
>> THE KIND OF INSANITY INDUCING
AGONY OF THINKING THAT SOMEONE
PUT A LIVE BULLET IN THE GUN.
>> THE KEY GRIP GETS A PHONE
CALL.
AND IT SAID THAT SHE'S GONE.
THEN IT'S JUST TEARS EVERYWHERE.
EVERYBODY WAS ‐‐ UNBELIEVABLE,
BUT THEN IT WAS JUST UNIVERSAL
TEARS ALL AROUND AND JUST A
SENSE OF DESPAIR.
YOU KNOW ‐‐
>> THEY SAID TO ME, WE REGRET TO
TELL YOU THAT SHE DIDN'T MAKE
IT.
SHE DIED.
THEY TOLD ME RIGHT THEN AND
THERE, AND THAT'S WHEN I WENT IN
THE PARKING LOT AND CALLED MY
WIFE TO TALK TO MY WIFE.
>> HE LOOKED DISHEVELED.
HE LOOKED DISTRAUGHT.
>> THOSE PICTURES UNDERSCORED
THIS WAS A TRAGIC ACCIDENT, AND
THIS GUY IS REELING.
>> HER HUSBAND COMES TO TOWN,
HER HUSBAND, MATTHEW.
AND I MET WITH HIM AND THEIR
SON.
AND HE WAS AS KIND AS YOU COULD
BE.
>> WHAT CAN YOU POSSIBLY SAY TO
HIM?
>> I DIDN'T KNOW WHAT TO SAY.
HE HUGGED ME AND HE GOES LIKE,
I SUPPOSE YOU AND I ARE GONNA GO
THROUGH THIS TOGETHER.
AND I THOUGHT, WELL, NOT AS MUCH
AS YOU ARE.
YOU KNOW, AND HIS LITTLE BOY
THERE WHO'S 9 YEARS OLD.
I TOLD HIM, I SAID, I DON'T KNOW
WHAT TO SAY.
I DON'T KNOW HOW TO CONVEY TO
YOU HOW SORRY I AM.
>> ABOUT FOUR DAYS LATER, THEY
FINALLY LET US GET BACK IN, JUST
EVEN COLLECT OUR GEAR.
I NOTICED THIS BUNCH OF ROSES
RIGHT IN THE SPOT WHERE HALYNA
WAS WHEN SHE WAS SHOT.
AND IT WAS ALMOST ALSO A
SPIRITUAL KIND OF A MOMENT.
>> THERE WAS REALLY PALPABLE
GRIEF WITH PRETTY MUCH ANYONE
YOU SPOKE TO IN THE FILM
COMMUNITY.
>> THIS IS NOT THE FIRST HIGHLY
PUBLICIZED DEATH INVOLVING
FIREARMS ON A MOVIE SET.
>> IN 1984, JON‐ERIK HEXUM WAS
AN ACTOR.
HE WAS ON THE SET OF A TV SHOW
CALLED "COVERUP," AND HE HAD A
.44 MAGNUM, WHICH WAS LOADED
WITH BLANKS.
HE POINTED THE GUN AT HIS HEAD
AND FIRED.
>> A WAD OF PAPER BURST OUT
FROM THE DUMMY BULLET AND
ACTUALLY FRACTURED HIS SKULL,
AND HE DIED.
A DECADE LATER ON THE SET OF
"THE CROW," WHICH STARRED
BRANDON LEE, BRUCE LEE'S SON ‐‐
>> AND THERE'S A SCENE WHERE
THERE WAS A GUN GOING OFF.
THE TIP OF A BULLET HAD WOUND UP
IN THE CHAMBER OF THE GUN.
AND HE WAS SHOT FATALLY.
>> TONIGHT IS ABOUT HALYNA.
TO COMFORT EACH OTHER AND TO
CELEBRATE A REMARKABLE LIFE
OF A REMARKABLE WOMAN.
>> IF YOU WEREN'T ON THIS MOVIE,
YOU CAN'T POSSIBLY UNDERSTAND
WHAT THIS FEELS LIKE.
AND WHAT IT WAS TO EXPERIENCE
THAT DAY AND WHAT IT WAS TO LOSE
THIS PERSON, YOU CAN'T KNOW WHAT
THIS FEELS LIKE, AND ‐‐
>> THERE'S NOTHING THAT CAN
PREPARE YOU FOR LOSING SOMEBODY
IN A HORRIBLE ACCIDENT THAT YOU
WOULD NEVER IMAGINE.
BEING ABLE TO HAPPEN AT A PLACE
YOU ASSUME YOU'RE SAFE GOING TO
WORK.
>> FOR THE SANTA FE SHERIFF'S
OFFICE, I WOULD SAY THE NUMBER
ONE PRIORITY IS FINDING OUT
WHERE THE LIVE ROUND CAME FROM.
>> THERE ARE SO MANY UNANSWERED
QUESTIONS.
>> EVERYONE IS WONDERING, HOW
DID LIVE AMMUNITION GET IN
THERE?
>>> SOMETHING WENT HORRIBLY
WRONG HERE IN SANTA FE ON THE
SET OF ALEC BALDWIN'S NEW
WESTERN FILM "RUST."
>> THE ACTOR AND PRODUCER FIRED
THE FIREARM THAT KILLED THE
DIRECTOR OF PHOTOGRAPHY, INJURED
THE DIRECTOR.
>> THE IDEA THAT A GUN COULD
HAVE BEEN FIRED AND SOMEONE
COULD HAVE BEEN KILLED IN
2021 ON THE SET OF A MOVIE WAS
COMPLETELY SHOCKING.
>> AND ULTIMATELY, THE BIG
QUESTION IS ‐‐ WHO IS TO BLAME?
>> THERE ARE SO MANY QUESTIONS
THAT INVESTIGATORS ARE TRYING TO
ANSWER ‐‐ THE WHO, WHAT, WHY,
AND HOW.
>> HOW ON EARTH DOES THIS
HAPPEN?
>> IN THE AFTERMATH OF THE
SHOOTING, THE SET WAS SHUT DOWN,
SEARCH WARRANTS WERE ISSUED,
AND THE INVESTIGATION BEGAN.
>> IT TURNS OUT, THERE HAVE BEEN
A NUMBER OF DIFFERENT QUESTIONS
RAISED ABOUT WHAT EXACTLY CAUSED
THE DEADLY SHOOTING TO OCCUR.
>> TONIGHT, AUTHORITIES NOW
CONFIRMING IT WAS A LIVE BULLET
THAT THAT GUN HAD THAT WAS
HANDED TO ALEC BALDWIN.
>> WHEN WE PROCESSED THE SCENE
AND THE EVIDENCE WAS COLLECTED,
AND ALL THE ROUNDS WERE GONE
THROUGH, WE DETERMINED THAT
THERE WERE OTHER POSSIBLE LIVE
ROUNDS THAT WERE ON SET.
>> HERE'S THE REALITY ‐‐ GUNS
HAVE BEEN USED IN HOLLYWOOD
MOVIES FOR DECADES AND DECADES
AND DECADES, BUT LIVE AMMUNITION
IS NEVER SUPPOSED TO BE ON THE
SET OF A MOVIE OR TELEVISION
SHOW.
END OF STORY.
>> OBVIOUSLY WE WANT TO KNOW HOW
THAT LIVE ROUND GOT ON THE SET,
BUT WHAT'S MORE IMPORTANT IS HOW
THAT LIVE ROUND GOT INTO THE
GUN.
>> WE IDENTIFIED TWO OTHER
PEOPLE THAT HANDLED AND/OR
INSPECTED THE LOADED FIREARM
PRIOR TO BALDWIN FIRING THE
WEAPON.
THESE TWO INDIVIDUALS ARE
ARM EARLIER HANNAH REED
GUTIERREZ AND ASSISTANT DIRECTOR
DAVID HALLS.
>> DUTCH MERRICK IS A LONG TIME
HOLLYWOOD ARMOR AND PROP MASTER.
AND THOUGH HE DIDN'T WORK ON
"RUST," HE TOLD US HIS PROTOCOL
FOR CHECKING ROUNDS.
>> WHEN WE'RE DEALING WITH DUMMY
ROUNDS, AS THEY COME OUT OF THE
BOX EACH ONE GETS A RATTLE.
AND IT'S VERY EASY TO TELL WHICH
IS A DUMMY.
IF I PICKED UP A DUMMY ROUND AND
IT DIDN'T RATTLE, I WOULD STOP
AND I WOULD GO, WAIT A SECOND.
I WOULD ISOLATE IT FROM THE REST
OF THE DUMMY ROUNDS.
IF THERE'S ANY QUESTION, ANY
ANOMALY, IT'S NOT GOING INTO THE
GUN.
IT'S NOT GOING ON THE FILM SET.
>> ACCORDING TO A SEARCH
WARRANT, ASSISTANT DIRECTOR,
DAVE HALLS TOLD INVESTIGATORS
THAT GUTIERREZ REED OPENED UP
THE FIREARM THAT WOULD BE USED
BY BALDWIN, BUT HALLS SAID
HE COULD ONLY REMEMBER SEEING
THREE ROUNDS AND THAT HE SHOULD
HAVE CHECKED ALL OF THE CHAMBERS
OF THE GUN, BUT DIDN'T, AND HE
COULDN'T RECALL IF GUTIERREZ
REED SPUN THE DRUM.
HALLS ALSO TOLD INVESTIGATORS.
HE DIDN'T KNOW THAT THERE WERE
ANY LIVE ROUNDS IN THE GUN.
>> AN ATTORNEY REPRESENTING
HALLS HAS SAID IT WAS NOT HIS
CLIENT'S RESPONSIBILITY TO
CONFIRM WHETHER THE GUN WAS
LOADED.
ACCORDING TO A SEARCH WARRANT,
GUTIERREZ REED TOLD
INVESTIGATORS SHE LOADED FIVE
DUMMY ROUNDS INTO BALDWIN'S GUN
BEFORE LUNCH AND A SIXTH AFTER
WHEN THE GUN WAS RETRIEVED FROM
A SAFE.
>> SHE WOULD'VE NEVER IN A
MILLION YEARS THOUGHT A LIVE
ROUND WAS GONNA BE ON THAT SET.
NOBODY DID.
>> HER ATTORNEY HAS SAID HIS
CLIENT HAS NO IDEA WHERE THE
LIVE ROUNDS CAME FROM.
>> THERE'S SCRUTINY ON HANNAH
GUTIERREZ REED'S ROLE.
SHE WAS RESPONSIBLE FOR THE ARMS
AND FOR WHATEVER PROJECTILES OR
BULLETS WENT INTO THE WEAPON.
>> THIS WAS THE SECOND FEATURE
FILM WHERE SHE WAS THE HEAD
ARMORER.
>> SHE HAD PREVIOUSLY WORKED ON
A NICHOLAS CAGE MOVIE.
>> HANNAH GUTIERREZ REED'S FIRST
JOB AS ARMORER WAS ON A MOVIE
CALMED "THE OLD WAY."
>> SHE DID A PODCAST INTERVIEW
IN SEPTEMBER WHERE SHE SAID
BASICALLY SHE DID NOT KNOW IF
SHE SHOULD ACCEPT IT.
>> I WAS REALLY NERVOUS ABOUT IT
AT FIRST AND I ALMOST DIDN'T
TAKE THE JOB BECAUSE I WASN'T
SURE IF I WAS READY, BUT DOING
IT, LIKE, IT WENT REALLY
SMOOTHLY.
>> SHE IS A VERY
SAFETY‐CONSCIOUS INDIVIDUAL.
SHE'S BEEN TRAINED EXTREMELY
WELL BY THE BEST IN THE
BUSINESS.
>> FROM THE GET‐GO SHE SEEMED
VERY COMPETENT WITH THE
HANDGUNS.
SHE SEEMED VERY SAFE.
I HAD NO REASON TO DOUBT HER.
BUT SHE SHOWED ME, IN THE FIRST
COUPLE DAYS ON SET, THAT SHE
KNEW WHAT SHE WAS DOING.
>> ON THAT TRAGIC DAY ON THE SET
OF RUST RUS, THERE ARE NOW LIVE
ROUNDS AND ONE LIVE ROUND HAS
SOMEHOW MADE IT INTO THE GUN.
AND NOW, THE THIRD QUESTION
HERE, WHEN THIS TURNS DEADLY,
IS WHY DID THE GUN GO OFF?
>> I'M HANDED A GUN AND SOMEONE
DECLARES ‐‐ THEY SAY, THIS IS A
COLD GUN.
>> DAVE HALLS?
>> THE FIRST A. D.
>> THERE ARE CONFLICTING
STATEMENTS IN REFERENCE TO WHO
HANDED THE GUN TO MR. BALDWIN,
BUT AT THIS POINT IN THE
INVESTIGATION, I THINK IT'S
CLEAR TO THE INVESTIGATOR AND
THAT WAS MR. HALLS.
IN THE STATEMENTS FROM MR. HALLS
THAT HE DID ‐‐ DID NOT RECALL
HANDLING ‐‐ HANDING THE WEAPON,
OR HE DID NOT HAND THE WEAPON TO
MR. BALDWIN.
INDEPENDENT WITNESSES STATE THAT
HE ‐‐ THAT HE DID.
SO THERE'S A DISCREPANCY THERE.
>> DAVE HALLS' LAWYER WILL NOT
CONFIRM THAT HE HANDED ALEC
BALDWIN THE GUN.
>> IT WASN'T IN THE SCRIPT
FOR THE TRIGGER TO BE PULLED.
>> WELL, THE TRIGGER WASN'T
PULLED.
I DIDN'T PULL THE TRIGGER.
>> SO YOU NEVER PULLED THE
TRIGGER?
>> NO, NO, NO, NO, NO.
I WOULD NEVER POINT A GUN AT
ANYONE AND PULL A TRIGGER AT
THEM, NEVER.
NEVER.
THAT WAS THE TRAINING THAT I
HAD.
YOU DON'T POINT A GUN AT
SOMEBODY AND PULL THE TRIGGER.
>> DAVE WAS THERE WHEN THE GUN
DISCHARGED.
DAVE HAS TOLD ME SINCE DAY ONE
IT WAS AN ACCIDENT.
HE'S TOLD ME THAT MR. BALDWIN
NEVER PULLED THE TRIGGER.
>> THIS IS A REPLICA MODEL.
IT'S VIRTUALLY IDENTICAL, BUT
IT'S A NONFIRING REPLICA OF THE
GUN THAT THEY USED ON THAT SET.
IF YOU DON'T PULL THE TRIGGER,
THE DESIGN OF THIS GUN WILL NOT
LET THE HAMMER GO FORWARD.
IT'S DESIGNED TO STOP AT THE
HALFWAY POINT.
IF I PULL THE HAMMER BACK MOST
OF THE WAY AND LET GO, AS ALEC
BALDWIN SAID, IT'S DESIGNED TO
NOT DROP ON A ROUND.
>> IF THIS GUN HAD BEEN IN
SERVICE FOR MANY, MANY, MANY
YEARS AND HAD WORN PARTS, MAYBE
THAT'S A FACTOR.
A WORN‐OUT GUN OR A BROKEN GUN
MAY BE A FACTOR IN THIS.
>> THE FBI IS CURRENTLY
EXAMINING THAT GUN.
>> THERE WILL BE TESTS AND
ANALYSIS DONE ON THE FIREARM FOR
ITS FUNCTIONALITY.
>> THERE WERE SEVERAL THINGS
THAT WENT WRONG.
>> TWO PEOPLE ACCIDENTALLY SHOT.
WE NEED HELP IMMEDIATELY.
>> IT WASN'T JUST ONE ACCIDENT.
IT WAS A SERIES OF PERHAPS JUST
ACCIDENTS ALL PUT TOGETHER
CAUSED HAD REALLY CATASTROPHIC
BREAKDOWN ON THE SET OF "RUST."
>> IT WAS KIND OF A PERFECT
STORM.
>> ARE YOU PREPARED TO PRESS
CRIMINAL CHARGES ONCE THIS
INVESTIGATION IS IN YOUR HANDS?
>> OF COURSE, IF THE
INVESTIGATION SHOWS THAT
CRIMINAL ACTS OCCURRED.
>> FOR MANY IN THE FILM
COMMUNITY THE "RUST" INCIDENT
BROUGHT BACK MEMORIES OF ANOTHER
TRAGEDY THAT ENDED IN A
FATALITY AND ALSO RAISED
CONCERNS ABOUT SAFETY ON THE
SET.
>> THE FIRST THING I THOUGHT
WHEN I HEARD ABOUT THE TRAGEDY
ON THE SET OF RUST WAS THE
TERRIBLE TRAGEDY OF ON THE SET
OF "MIDNIGHT RIDER."
>> SARAH JONES WAS KILLED BY A
TRAIN WHILE SHOOTING THE FILM
MIDNIGHT RIDER IN GEORGIA.
>> AFTER THE SHOCK, AND ANGRY.
I COULDN'T STOP CRYING.
>> WHEN SARAH DIED WE'D HOPED
THAT HER DEATH MIGHT SAVE
SOMEONE'S LIFE WOULD'VE
PREVENTED HALYNA'S DEATH.
BUT IT DIDN'T.
>> NO ONE SHOULD DIE MAKING A
MOVIE.
>>> ALL OF A SUDDEN, BOOM!
AND IT WAS SO LOUD.
>> HALYNA IS BLEEDING FROM HER
CHEST.
>> THAT FATAL ACCIDENT ON THE
SET OF "RUST" ISN'T THE FIRST
TIME.
IT'S HAPPENED BEFORE.
>> THE FIRST THING I THOUGHT WAS
TO THE TERRIBLE TRAGEDY OF JUST
A FEW YEARS EARLIER ON THE SET
OF "MIDNIGHT RIDER."
>> THEY WERE GOING TO FILM A
DRUGGED OUT DREAM SEQUENCE.
>> THEY DID NOT HAVE PERMISSION
TO BE ON THE TRACK.
>> WILLIAM HURT CLIMB ON TO THE
BED AND ASKED, WHAT DO WE DO IF
THERE'S A TRAIN?
>> ALL I KNOW IS I HEARD THE
TRAIN AND IMMEDIATELY STARTED
RUNNING.
>> SARAH JONES WAS TRYING TO GET
THE EXPENSIVE CAMERA CRIMINATE
OFF THE TRACK.
>> IT WAS RIGHT THERE.
>> THE IMPACT HAPPENED LIKE AN
EXPLOSION.
>> SARAH WAS THE FIRST PERSON I
SAW.
SHE WAS LYING ON THE SIDE OF THE
TRACKS DEAD.
>> FOR THEM TO OVERLOOK
SOMETHING THAT JEOPARDIZES THE
SAFETY IS ABSOLUTELY,
POSITIVELY ‐‐ IT'S UNACCEPTABLE.
>> I SEE MANY SIMILARITIES
BETWEEN SARAH AND HALYNA.
THEIR DEATHS WERE SO
UNNECESSARY.
>>> WE'RE HERE TONIGHT TO MOURN
THIS LOSS AND TO SHARE OUR
COLLECTIVE GRIEF.
>> IN LATE OCTOBER, SEVERAL
HUNDRED FILM INDUSTRY COLLEAGUES
GATHERED IN A BURBANK PARKING
LOT MOURNING THE LOSS OF
CINEMATOGRAPHER HALYNA HUTCHINS
AND TRYING TO COMPREHEND THE
SENSELESS DEATH OF ONE OF THEIR
OWN.
>> HALYNA WAS AMAZING FROM THE
FIRST DAY I MET HER.
SHE'S ‐‐
I'M SORRY.
SHE WAS REALLY GREAT.
HALYNA WAS LIKE A LITTLE BALL OF
LIGHT.
>> BUT EVEN AS THE FILM WORLD
MOURNS HALYNA'S LOSS, THERE'S
STILL THIS ONE BURNING QUESTION
THAT REMAINS UNANSWERED.
>> SOMEONE PUT A LIVE BULLET IN
A GUN, A BULLET THAT WASN'T EVEN
SUPPOSED TO BE ON THE PROPERTY.
I HOPE THAT THE SHERIFF'S
DEPARTMENT DOESN'T GIVE UP ON ‐‐
THAT THEY FOLLOW THIS TO THE
ENDS OF THE EARTH.
>> OUR CONCERN RIGHT NOW IS HOW
THE LIVE ROUNDS GOT ON THE SET,
WHO WAS RESPONSIBLE FOR MAKING
SURE THAT THERE WERE NO LIVE
ROUNDS.
>> I JUST CAN'T UNDERSTAND HOW
ANY LIVE ROUNDS GOT ON THAT SET.
>> DID HANNAH SUPPLY ANY
AMMUNITION TO THAT SET?
>> NO.
>> TO TRY TO TRACE THAT LIVE
ROUND ‐‐
THERE WAS A SEARCH WARRANT
EXECUTED AT THE ALBUQUERQUE PROP
HOUSE THAT PROVIDED FIREARMS AND
DUMMY ROUNDS AND BLANKS.
>> PDQ ARM AND PROP SUPPLIED THE
GUNS, THE BLANK AMMUNITION, AND
50 DUMMY ROUNDS TO THE SHOW.
>> SETH KENNEY IS THE OWNER OF
PDQ PROP AND ARMS, AND WHEN WE
SPOKE, HE ASKED THAT WE NOT SHOW
HIS FACE.
HE SAYS HE WASN'T THE FILM'S
ONLY PROVIDER.
>> IT'S NOT A POSSIBILITY THAT
THEY CAME FROM PDQ OR FROM
MYSELF PERSONALLY.
WHEN WE SEND DUMMY ROUNDS OUT,
THEY GET INDIVIDUALLY
RATTLE‐TESTED BEFORE THEY GET
SENT OUT.
>> I THINK IT'S GONNA BE
APPARENT THAT'S THE MOST LIKELY
THING THAT HAPPENED WAS
SABOTAGE.
THE REASON IS YOU GET A NEW BOX
ON SET THAT DAY.
IT'S GOT 50 ROUNDS IN IT.
THEY'RE LABELED "DUMMY."
SEVEN OF THEM ARE ‐‐ TURN OUT TO
BE LIVE.
SOMEBODY WANTED TO CAUSE A
SAFETY INCIDENT ON SET.
NOBODY WANTED ANYBODY TO BE
KILLED.
>> IF SOMETHING WERE TO COME UP,
SOME SORT OF EVIDENCE, OF COURSE
THAT WOULD BE INVESTIGATED.
BUT NOT ONE PERSON HAS BROUGHT
UP SABOTAGE.
IT DIDN'T HAPPEN.
THIS WAS NOT SABOTAGE.
THIS WAS INCOMPETENCE.
>> IT TURNS OUT THERE ARE
DETAILED GUIDELINES FOR FIREARMS
USE ON SET PUT OUT BY A LABOR
AND MANAGEMENT SAFETY COMMITTEE.
>> SAFETY BULLETIN NUMBER ONE,
STATES THAT LIVE AMMUNITION IS
NEVER TO BE BROUGHT ONTO A FILM
SET.
AND THERE'S 44 DIFFERENT
BULLETINS RIGHT NOW, EVERYTHING
FROM FIREARMS TO HOW TO HANDLE
HELICOPTER OPERATIONS ON SET.
>> THEY'RE RECOMMENDED
GUIDELINES, ADOPTED AFTER THE
TRAGIC ACCIDENT DURING FILMING
FOR THE "TWILIGHT ZONE" MOVIE IN
1982.
>> IN CALIFORNIA THEY WERE
FILMING A WAR MOVIE TODAY WHEN
SUDDENLY A HELICOPTER CRASHED
RIGHT IN THE MIDDLE OF THE
ACTION.
>> ACTOR VIC MORROW AND TWO
CHILDREN WERE KILLED WHEN A
HELICOPTER CRASHED ON TOP OF
THEM.
>> THERE'S NOT LAW GOVERNING HOW
TO RUN A FILM SET.
WE FOLLOW THE INDUSTRY
GUIDELINES.
SOMEONE WHO DOESN'T FOLLOW THE
GUIDELINES IS SOMEONE WHO WILL
FIND IT VERY, VERY DIFFICULT TO
BE HIRED AGAIN IN THIS INDUSTRY.
>> THERE ARE NO LAWS THAT
MANDATE.
IT'S INDUSTRY STANDARDS THAT WE
HAVE TO TRUST INDUSTRY
PROFESSIONALS ARE FOLLOWING.
>> AND AT THE VIGIL FOR HALYNA,
THERE WERE REMINDERS OF ANOTHER
TRAGIC ON‐SET DEATH INVOLVING A
YOUNG WOMAN, ONE THAT HAD ALSO
PUT THE SPOTLIGHT ON SAFETY IN
THE FILM INDUSTRY.
>> AFTER STANDING HERE SEVEN
YEARS AGO FOR SARAH JONES AND
SHARING THE STAGE WITH ANOTHER
FAMILY, WE'RE HERE AGAIN.
>> THE FIRST THING I THOUGHT
WHEN I HEARD ABOUT THE TRAGEDY
ON THE SET OF "RUST" AND THE
KILLING OF HALYNA HUTCHINS WAS
THE TERRIBLE TRAGEDY OF JUST A
FEW YEARS EARLIER ON THE SET OF
"MIDNIGHT RIDER" AND THE DEATH
OF CAMERA CREW MEMBER SARAH
JONES.
>> SARAH JONES WAS AN ASSISTANT
CAMERA OPERATOR, DOING A JOB
THAT HER PARENTS TOLD US MEANT
THE WORLD TO HER.
>> SHE FELL IN LOVE WITH THE
CAMERA.
>> WHY DO YOU THINK SHE WAS
DRAWN TO THE CAMERA DEPARTMENT?
>> IT'S THE CHALLENGE OF IT, I
THINK.
FOR THE MOST PART, IT'S A MAN'S
WORLD, AND I THINK THAT WAS A
LITTLE BIT OF A CHALLENGE.
>> SHE STARTED OUT ON "ARMY
WIVES," THE TELEVISION SHOW.
>> SHE HAD AN INTERNSHIP THERE.
>> SHE WOULD OFFER TO DO
ANYTHING SHE COULD.
>> SARAH WENT ON TO BECOME A
CAMERA ASSISTANT FOR THE TV
SERIES "THE VAMPIRE DIARIES."
>> SKY DOESN'T KNOW YOU'RE A
VAMPIRE.
LET'S KEEP IT THAT WAY.
>> THAT'S IT.
>> FIRST TIME I SAW HER, SHE WAS
LITERALLY RIGHT IN FRONT OF MY
FACE DOING THE SLATE.
YOU COULDN'T HELP BUT NOTICE
SARAH JONES.
YOU JUST ALWAYS WANTED TO BE
AROUND HER.
>> AND THEN SHE GOT HER BIG
BREAK, AND THAT WAS ON "FAST AND
FURIOUS SEVEN" WITH PAUL WALKER.
>> SHE WAS IN THE POSITION SHE
WAS STRIVING SO HARD TO BE IN,
TO GET HER FOOT IN THE DOOR ON A
FEATURE FILM.
>> BREAKING NEWS OUT OF
HOLLYWOOD THIS MORNING.
>> YEAH, PAUL WALKER, ONE OF THE
STARS OF THE ENORMOUSLY POPULAR
"FAST AND FURIOUS" MOVIES DEAD
IN A CAR CRASH.
>> OF COURSE THEY STOPPED THAT
PRODUCTION FOR A TIME.
>> SO, SARAH TOOK HER OWN
FATEFUL PATH, TOOK A GIG BASED
OUT OF SAVANNAH ON THE MOVIE
CALLED "MIDNIGHT RIDER."
>> MIDNIGHT RIDER WAS A BIOPIC
ABOUT THE LIFE OF GREG ALLMAN,
THE BIG, YOU KNOW, SOUTHERN
ROCKER LEGENDARY NOW.
AND HIS BROTHER DUANE, AND IT
WAS TO STAR WILLIAM HURT.
>> INDEPENDENT MOVIE, BUDGET
ABOUT $5 MILLION.
WRITTEN, PRODUCED AND DIRECTED
BY A MAN NAMED RANDALL MILLER.
>> SHE HAD MENTIONED TO ME THAT
IT IS A LOW BUDGET FILM.
AND SHE WAS A LITTLE BIT
SURPRISED THAT SOME OF THE
PEOPLE DID NOT SEEM TO HAVE
THE LEVEL OF EXPERTISE THAT SHE
EXPECTED.
>> IT WAS THE FIRST DAY OF
FILMING ON A HISTORIC TRESTLE.
IT'S JUST AN IDEAL BEAUTIFUL
SETTING IN RURAL GEORGIA.
IT'S ON THE ALTAHAMA RIVER.
SPANISH MOSS AROUND IT.
>> IT'S HIGH UP OVER THE
RIVER.
YOU COULD WALK ALONG THE EDGE OF
THE TRACK THAT'S, AT MOST,
SEVERAL FEET WIDE.
SARAH AND HAIRSTYLIST JOYCE
GUILLARD WERE AMONG THE CREW.
>> I WAS TOLD WE WERE GOING TO
DO A PRE‐SHOOT.
TRYING TO GET A FEW SHOTS OF AN
AREA.
YOU KNOW.
I DID NOT EXPECT TO BE SHOOTING
AN ENTIRE SCENE ON THE RAILROAD
TRESTLE.
>> I WENT STRAIGHT OVER TO WHERE
THEY WERE SHOOTING UP.
I BEGAN PHOTOGRAPHING AND ALSO
TAKING BEHIND THE SCENES
FOOTAGE.
WE WERE TOLD THAT TWO TRAINS HAD
PASSED AND THAT WAS THE SCHEDULE
FOR THE DAY AND THAT WE WOULDN'T
HAVE TO WORRY ABOUT MORE TRAINS.
>> IT WAS GOING TO BE A DREAM
SEQUENCE IN WHICH GREGG ALLMAN,
FROM HIS HOSPITAL BED, WOULD
IMAGINE DUANE ALLMAN, THE
GUITARIST, HIS LATE BROTHER,
SOMEHOW ACROSS THE BRIDGE.
>> UNBEKNOWNST TO THEIR CREW,
THEY THOUGHT IT WAS PERMITTED.
IT WAS NOT.
THERE WAS NO MEDIC ON SET, AND
THERE HAD BEEN NO SAFETY
MEETING.
>> I WASN'T AWARE WE WERE EVEN
GOING ON TRACKS TILL I GOT
THERE.
THE DIRECTOR IS THE ONE WHO LED
EVERYONE ON THE RAILROAD TRACKS,
BECAUSE HE WANTED TO GET THE
CERTAIN SHOT WITH THE BED ON THE
TRESTLE.
>> AND SO WILLIAM HURT CLIMBED
ONTO THE BED AND ASKED, YOU
KNOW, WHAT DO WE DO IF THERE'S
A TRAIN?
>> HE ASKED HOW MUCH TIME WOULD
WE HAVE TO GET OFF THE TRACKS?
>> THEY SAY, YOU HAVE 60 SECONDS
TO GET OFF THE TRACK.
I WAS MORE OR LESS, 60 SECONDS
TO GET OFF THE TRACK?
AND I STARTED PRAYING.
I'M MAD AT MYSELF BECAUSE I
DIDN'T SAY SOMETHING.
>> WE HAD ONLY BEEN ON THE
TRACKS FOR FIVE MAYBE TEN
MINUTES AND THAT'S WHEN THEY
YELLED THAT THERE WAS A TRAIN
COMING.
>> I HEARD AND I SAW THE TRAIN.
AND YOU JUST IMMEDIATELY STARTED
RUNNING.
>>> GREGG ALLMAN'S MEMOIR BEGAN
WITH A SCENE ON A BRIDGE BUT
NEVER MENTIONED RAILROAD TRACKS.
THAT WAS AN ADDITION BY
RANDALL MILLER.
IN THE SCREENPLAY THAT HE WROTE,
AND IN THIS CLIP, YOU HEAR HIM
READ ALOUD.
>> SCENE 14.
EXTERIOR.
TRAIN TRACK HIS HOSPITAL BED IS
IN THE MIDDLE OF A TRAIN TRACK.
HE SEES A BRIDGE AHEAD, A TRAIN
TRESTLE.
>> SARAH JONES WAS AN ASSISTANT
CAMERA OPERATOR.
THEY WERE JUST A FEW MINUTES
INTO SHOOTING THE SCENE ON THE
TRESTLE WHEN THEY SPOTTED A
FREIGHT TRAIN BARRELING DOWN THE
TRACK AT AN ESTIMATED 57 MILES
PER HOUR.
>> THEY YELLED THAT THERE WAS A
TRAIN COMING, AND THERE WAS SORT
>> AND I SAW THE TRAIN.
I SAW THE LIGHT OF THAT TRAIN.
IT WAS LIKE THE TRAIN WAS RIGHT
THERE.
SO YOU HAD SECONDS TO FIGURE OUT
WHAT YOU WERE GOING TO DO.
>> THEY HAD TO RUN TOWARDS THE
TRAIN TO GET OUT OF THE WAY, AND
THEY STRUGGLED TO GET THE BED
FRAME OFF.
>> VIDEO CAPTURES THE SCREAM OF
THE FAST‐APPROACHING TRAIN'S
HORN, AS RANDALL MILLER AND
OTHER CREW MEMBERS FRANTICALLY
TRY TO YANK THE HOSPITAL BED OFF
THE TRACKS.
>> IT WAS A TOTAL CHAOS.
SARAH JONES WAS TRYING TO GET
THE EXPENSIVE CAMERA EQUIPMENT
OFF THE TRACK.
>> IT SEEMED TO BE SO FAR AWAY
AND THEN ALL OF THE SUDDEN RIGHT
THERE.
>> WHEN I REALIZED THAT I
COULD NOT GET TO LAND, THAT'S
WHEN I RAN TO THE SIDE AND HELD
ON TO THE IRON GIRDER.
AND I PRAYED I DIDN'T GET HIT BY
THAT TRAIN.
THE PRESSURE FROM THE WIND FROM
THE TRAIN WAS SO STRONG THAT,
HOLDING ONTO THE GIRDER, I
WASN'T ABLE TO.
IT PULLED ME OFF.
>> THE GROUND WAS SHAKING.
EVERYTHING WAS SHAKING.
THE IMPACT HAPPENED LIKE AN
EXPLOSION.
I WAS HIT.
I HAD A VERY BRIEF BLACKOUT.
>> THE TRAIN STRUCK JOYCE
GILLIARD'S LEFT ARM AFTER
SMASHING INTO THE HOSPITAL BED.
>> I COULDN'T BELIEVE WHAT WAS
HAPPENING.
I THOUGHT ABOUT DYING.
AND MY FAMILY GETTING THAT CALL.
>> THE TRAIN'S IMPACT HAD
SNAPPED A BONE IN JOYCE'S ARM.
>> SARAH WAS THE FIRST PERSON
I SAW.
SHE WAS LYING ON THE SIDE OF THE
TRACKS DEAD.
YOU DIDN'T KNOW IT WAS HER.
>> I RECEIVED A PHONE CALL FROM
ONE OF THE ‐‐ HER FRIENDS.
SHE SAID, SARAH'S NO LONGER
HERE.
I SAID, WHAT DO YOU MEAN?
YOU MEAN AS IN DEAD?
SHE SAID, YES, MA'AM.
HOW DO YOU TELL YOUR HUSBAND
THAT YOUR DAUGHTER'S DEAD?
>> IT WAS ROUGH.
I MEAN, IT TOOK THE WIND OUT OF
ME.
>> SARAH JONES WAS JUST 27 YEARS
OLD.
>> RANDALL MILLER CALLED US THAT
DAY.
HE WAS VERY UPSET.
HE, UM ‐‐
>> HE WAS CRYING.
>> HE WAS NEARLY
HYSTERICAL.
>> SO IMMEDIATELY AFTER THE
ACCIDENT, INVESTIGATORS ARE
TRYING TO FIND OUT WHO HAD
FAILED TO PROTECT THE "MIDNIGHT
RIDER" CREW.
POLICE QUESTIONING PRODUCER JAY
SEDRISH ABOUT SHOOTING ON ACTIVE
TRAIN TRACKS.
>> OF COURSE, OUR QUESTION WAS,
"DID YOU HAVE PERMISSION?"
WE GOT THAT, "WELL, IT'S
COMPLICATED," ANSWER.
>> RANDALL MILLER GOT AN INITIAL
EMAIL THROUGH THE LOCATION
MANAGER, CHARLIE BAXTER, WHICH
SAID THAT IT WAS THE COMPANY
POLICY OF CSX NOT TO ALLOW
PEOPLE TO FILM ON THEIR TRACKS.
>> ON THE MORNING OF THE SHOOT,
A REPRESENTATIVE OF THE RAILROAD
ONCE AGAIN REFUSED TO GRANT THE
FILM PERMISSION TO SHOOT ON ITS
TRACKS.
>> TO ME THOSE EMAILS WERE
EXTREMELY CLEAR THAT THEY DID
NOT HAVE PERMISSION TO BE ON THE
TRACKS.
IN FACT, MR. BAXTER WAS
SCHEDULED TO BE AT THE SCENE AND
WOULD NOT COME BECAUSE OF THAT
EMAIL.
>> RANDY KNEW THAT I WASN'T
GOING TO GO IF WE DIDN'T HAVE
PERMISSION.
>> HOW DO YOU KNOW THAT?
>> BECAUSE HE TOLD ME.
>> HE TOLD YOU WHAT?
>> THAT HE WAS GOING TO GO DOWN
AND GOING TO FILM BY THE TRESTLE
WHETHER THEY HAD PERMISSION FROM
CSX OR NOT.
>> MY INVESTIGATION SHOWS THAT
RANDALL MILLER GAVE THAT
DECISION TO TELL EVERYBODY TO
MOVE ONTO THE TRACKS.
>> RANDY MILLER HAD NO
PERCEPTION OF DANGER AND WAS
RELYING ON HIS TEAM THAT HAD
NEVER FAILED HIM THAT HE WAS IN
A SAFE PLACE.
HE'D BEEN TOLD THERE WERE JUST
TWO TRAINS AND THOSE HAD GONE.
>> BUT IN FACT, THE "MIDNIGHT
RIDER" PRODUCTION HAD NO WAY OF
KNOWING WHEN A TRAIN MIGHT BE
COMING.
>> YOU DON'T SHOOT ON A RAILROAD
TRACK UNLESS YOU ABSOLUTELY ARE
POSITIVE THAT YOU HAVE
PERMISSION TO BE THERE AND YOU
KNOW THAT A TRAIN ISN'T GOING TO
COME BY.
>> CSX WOULD LATER TELL
INVESTIGATORS THAT IT WAS THEIR
BUSIEST TRACK.
THEY HAD PROBABLY 27, 30 TRAINS
THAT PASSED THROUGH ON THAT
TRACK A DAY.
PER DAY.
>> THERE IS NO FREIGHT TRAIN
SCHEDULE I CAN RELY ON TO MAKE
SURE THERE'LL BE NO TRAIN ON MY
TRACK.
>> IT'S A DAY TO DAY THING AND
THE VARIANTS CAN BE GREAT.
THERE'S NOT SUCH A THING AS A
FREIGHT TRAIN SCHEDULE THAT
APPROXIMATES WHAT, SAY, A MAJOR
AIRLINE MIGHT PUBLISH.
>> SO YOU'RE GOING TO HELP ME
STAY SAFE WHILE I SHOOT A SCENE
THAT INVOLVES A TRAIN.
HOW ARE YOU GOING TO DO THAT?
>> YOU NEED A RAILROAD EMPLOYEE,
YOU NEED THE AGREEMENT OF THE
RAILROAD, AND YOU ALSO NEED TO
MAKE SURE THAT THE FILM CREW HAS
BEEN TRAINED AND KNOWS HOW TO
OPERATE SAFELY IN THIS VERY
UNIQUE, INDUSTRIAL ENVIRONMENT.
THE LAWS OF GRAVITY AND INERTIA
ARE NOT REPEALED FOR FILM CREWS.
>> AND JUST LIKE WITH THE USE OF
GUNS ON A SET, THERE ARE ALSO
VERY STRICT GUIDELINES WHEN
FILMING NEAR RAILROAD TRACKS.
>> ATTORNEY JEFF HARRIS HAS
FILED A LAWSUIT ON BEHALF OF
SARAH JONES' PARENTS.
>> I THINK THEY SAID, WELL, WE
DON'T HAVE ACTUAL PERMISSION,
BUT ULTIMATELY, WE'RE JUST GONNA
TRY TO STEAL THIS SHOT.
>> IF SO, IT WOULD APPARENTLY
NOT BE THE FIRST TIME
RANDALL MILLER HAD STOLEN A
SHOT.
>> HE WOULD SAY, BUT WE'RE
TRYING TO MAKE A MOVIE HERE.
AS IF THAT OUTWEIGHED THE NEEDS
AND SAFETY OF OTHER PEOPLE.
IT WAS LIKE THAT, SOME KIND OF
MAGIC CARD.
>>> IT WAS SO FAST.
I COULD FEEL THE WIND GOING BY,
AND THEN IT FINALLY STOPPED.
AND IT WAS VERY, VERY QUIET FOR
JUST A MOMENT.
>> AT FIRST, IT WAS LIKE PEOPLE
WERE IN SHOCK.
I REMEMBER HEARING SOMEBODY SAY,
OH, MY GOSH, SHE'S DEAD.
>> WAYNE COUNTY 911.
>> CAN YOU GET MY LOCATION WHERE
I AM?
WE NEED AN AMBULANCE.
WELL, SOMEONE GOT HIT BY A
TRAIN.
>> THE NEWS THAT SARAH JONES HAD
BEEN KILLED ON THE SET OF THE
FILM "MIDNIGHT RIDER" REACHED
HER FRIENDS ON "VAMPIRE DIARIES"
JUST A FEW HOURS AFTER IT
HAPPENED.
>> I GOT THE CALL.
WE JUST SAT IN THE CAR GOING TO
SET, AND IT WAS JUST PURE SHOCK.
>> SHE JUST LEFT TOO SOON.
SHE WOULD'VE BEEN ‐‐
YEAH, IT WAS TOO SOON.
>> I WAS ANGRY.
REALLY ANGRY.
FOR THEM TO OVERLOOK SOMETHING
THAT JEOPARDIZES THE SAFETY OF
THE PEOPLE THAT ARE WORKING WITH
THEM IS ABSOLUTELY,
POSITIVELY ‐‐ IT'S UNACCEPTABLE.
>> THEY WANTED TO GET THE SHOT,
SO WHATEVER IT TOOK TO GET THE
SHOT IS WHAT THEY DID.
>> INFORMATION STARTED TO EMERGE
ABOUT HOW RANDALL MILLER AND HIS
WIFE JODY SAVIN WERE THESE
GUERILLA FILMMAKERS WHO PLAYED
BY THEIR OWN RULES.
>> IN A PANEL DISCUSSION,
RANDALL MILLER ACTUALLY BOASTED
ABOUT STEALING A SHOT IN THE
NEW YORK CITY SUBWAY FOR HIS
2013 MOVIE "CBGB."
>> YOU ARE NOT ALLOWED TO SHOOT
IN NEW YORK SUBWAYS.
I DON'T KNOW IF YOU KNOW THAT,
BUT YOU'RE NOT ALLOWED TO.
>> AND ON THE DVD EXTRAS FROM
"CBGB," RANDALL MILLER JOKED
ABOUT PULLING OFF SOME
QUESTIONABLE SCENES IN SAVANNAH,
GEORGIA, WHERE MOST OF THAT
MOVIE WAS FILMED.
>> HE ACTUALLY WOULD LAUGH AND
BRAG ABOUT BREAKING THESE SAFETY
PROTOCOLS, WHETHER IT WAS HAVING
A CHILD ‐‐ A LITTLE CHILD
RUNNING AROUND IN A PASTURE WITH
COWS.
>> I MEAN, I DON'T THINK IT'S
DANGEROUS AT ALL TO HAVE A
LITTLE KID RUN THROUGH COWS, DO
YOU THINK?
>> NO.
>> NAH, NO.
>> OR THROWING A PIANO DOWN THE
STAIRS.
>> THIS IS A REAL HOUSE, AND I
DON'T THINK THEY FULLY KNEW THAT
WE WERE GOING TO DROP A PIANO
DOWN THEIR STAIRCASE.
>> WE HAD MORE COMPLAINTS ABOUT
THE ACTIVITIES OF THIS FILM THAN
WE DID IN ANY PREVIOUS ENTIRE
YEAR.
>> JAY SELF, WHO WAS THEN THE
HEAD OF THE SAVANNAH FILM
COMMISSION, SAID THAT DURING THE
FILMING OF "CBGB" A STOP SIGN
WAS REMOVED BY THE PRODUCTION.
ANOTHER WAS PAINTED OVER.
AND CARS WERE PARKED IN FRONT OF
FIRE HYDRANTS OR IN HANDICAP
SPOTS.
>> HE WOULD SAY, BUT WE'RE
TRYING TO MAKE A MOVIE HERE.
AS IF THAT SOMEHOW OUTWEIGHED
THE SAFETY OR THE WELFARE OR THE
BUSINESS OF OTHER PEOPLE.
WHEN "CBGB" WAS OVER, WE WERE
LIKE, I CAN'T BELIEVE NOBODY GOT
HURT.
>> THERE WERE PEOPLE INVOLVED
WITH THIS THAT WERE ALLOWED TO
GET BY WITH THINGS THAT THEY
SHOULD NOT HAVE.
THEY THOUGHT THEY COULD MAKE UP
THEIR OWN RULES, AND THEY ‐‐
THEY PUSHED IT TOO FAR.
>> THE AUDACITY TO PUT SOMEONE
ELSE'S LIFE IN SUCH DANGER.
>> THE ENTIRE CREW WAS PUT IN A
SITUATION WHERE WE ALL HAD TO
BASICALLY RUN FOR OUR LIVES.
>> THERE WERE SO MANY LIVES AT
RISK, AND WHEN RANDALL MILLER IS
PUT IN THE HOT SEAT, HE TRIES TO
PASS THE BUCK.
>> YOU DIDN'T ASK CSX HOW MANY
TRAINS WERE COMING DOWN THAT
TRESTLE, DID YOU?
>> AGAIN, THAT'S NOT MY JOB.
>>> THE CREW HAD NO IDEA THAT
THE FILMMAKER WAS THERE STEALING
A SHOT.
>> FORTUNATELY FOR
INVESTIGATORS, THERE WAS VIDEO
LATER USED IN COURT OF THE
"MIDNIGHT RIDER" ACCIDENT.
>> THE TRAIN COMES THROUGH THE
SET AT ABOUT 58 MILES PER HOUR.
IT WAS PANDEMONIUM.
>> A CAMERA MOUNTED ON THE
LOCOMOTIVE SHOWS THE CREW ON THE
TRESTLE HAD A LOT LESS TIME THAN
THEY THOUGHT TO GET OFF THE
TRACKS.
26 SECONDS BEFORE IMPACT, THE
ENGINEER STARTS TO BLARE THE
HORN CONTINUOUSLY ‐‐
AS MEMBERS OF THE CAST AND CREW
TRY TO FLEE TO SAFETY.
THREE SECONDS BEFORE IMPACT,
IT'S TOO LATE TO GET THE BED OFF
THE TRACKS.
WILLIAM HURT AND WYATT RUSSELL,
THE ACTORS, ALONG WITH TWO CREW
MEMBERS, ARE SCRAMBLING JUST TO
MAKE IT OFF THE TRESTLE.
ONE SECOND BEFORE IMPACT, PEOPLE
COVER THEIR EARS.
THEY'RE CLINGING TO THE BRIDGE
FOR THEIR LIVES BECAUSE THE BED
ON IMPACT BECOMES A DEADLY
WEAPON.
>> THE TRAIN HITS THE BED AND
THE BED FLIES UP, AND APPARENTLY
A PORTION OF THE HOSPITAL BED
STRIKES SARAH AND PUSHES HER
INTO THE TRAIN.
>> THERE WERE SEVERAL INJURIES
ON THAT TRACK THAT DAY.
IT WASN'T JUST THE DEATH OF
SARAH, BUT THERE WERE SEVEN
PEOPLE INJURED.
>> JOYCE GILLIARD, THE
HAIRSTYLIST, SHE NEEDED A PLATE
AND TEN SCREWS PUT IN JUST TO
RECONSTRUCT HER ARM.
>> IT'S NOT JUST MY ARM THAT WAS
HURT.
I SUFFERED SUCH A TRAUMATIC
EXPERIENCE SEEING MY CO‐WORKER,
FRIEND, LOSE HER LIFE BECAUSE OF
SOMEONE ELSE'S NEGLIGENCE.
>> IT WASN'T SIMPLY THE
ACCIDENT.
IT'S A LOT OF THE AFTERMATH.
I DON'T THINK I HAVE TO EXPLAIN
WHAT IT FEELS LIKE TO SUDDENLY
BE A LITTLE MORE AFRAID OF
EVERYTHING.
>> IT'S CLEAR THAT CERTAINLY
THE PRODUCERS AND DIRECTOR,
THEY MESSED AND THEY MESSED UP
REAL BAD.
>> IT WAS A LIVE TRACK.
THERE WERE TRACKS ELSEWHERE IN
THE VICINITY THAT WERE NOT LIVE.
TRACKS THAT COULD HAVE BEEN
USED.
>> RANDALL MILLER VISITED ME IN
MY HOSPITAL ROOM A COUPLE DAYS
AFTER THE TRAGEDY HAPPENED.
HE DIDN'T SAY ANYTHING.
E JUST CRIED.
HE JUST CRIED.
>> IN THE MONTHS FOLLOWING
SARAH'S DEATH, THE AUTHORITIES
IN GEORGIA INDICTED
RANDALL MILLER AND HIS WIFE,
JODY SAVIN, AND ANOTHER
PRODUCER, JAY SEDRISH, AND FIRST
ASSISTANT DIRECTOR,
HILLARY SCHWARTZ, FOR
INVOLUNTARY MANSLAUGHTER AND
TRESPASS.
THEY PLED NOT GUILTY.
>> IF THEY'D HAVE JUST FOLLOWED
THE EMAILS OR FOLLOWED THE
SAFETY REQUIREMENTS BY THE FILM
INDUSTRY, SARAH JONES WOULD BE
ALIVE TODAY.
>> RANDALL MILLER ACTUALLY
WANTED TO GO AHEAD AND FINISH
THE MOVIE "MIDNIGHT RIDER," BUT
GREG ALLMAN FILED SUIT TO TRY TO
STOP THE PRODUCTION FROM GOING
FORWARD, AND IT WORKED.
>> OR HIM TO WANT TO KEEP MAKING
A MOVIE WHERE SOMEONE DIED ON
HIS WATCH.
IT JUST SEEMS SO COLD‐HEARTED.
>> THE SUIT FILED BY
GREGG ALLMAN COMPELLED
RANDALL MILLER TO TESTIFY ABOUT
THE TRAGEDY ON VIDEO WHERE HE
SAID ONE PHRASE THREE TIMES.
>> DID YOU EVEN EMPLOY ANYONE TO
GO DOWN THE RAILROAD TRACK,
MAYBE THREE OR FOUR MILES DOWN,
TO WARN PEOPLE WHEN THE TRAIN
WAS COMING?
>> UNFORTUNATELY, THAT'S NOT MY
JOB.
>> DO YOU KNOW WHERE ANYBODY WAS
DOWN THAT TRACK BEFORE THE TRAIN
ACCIDENT OCCURRED?
>> AGAIN, THAT'S NOT MY JOB.
>> YOU DIDN'T ASK CSX HOW MANY
TRAINS WERE COMING DOWN THAT
TRESTLE, DID YOU?
>> AGAIN, THAT'S NOT MY JOB.
>> THAT IS HIS JOB.
HE'S THE DIRECTOR.
NOW, THE FIRST ASSISTANT
DIRECTOR IS RESPONSIBLE IN THE
INDUSTRY, TRADITIONALLY, FOR
SAFETY.
BUT RANDALL MILLER'S ULTIMATE
JOB IS TO MAKE SURE THAT WHAT
HE'S DOING AS DIRECTOR IS NOT
PUTTING HIS CREW, OR THE CAST
FOR THAT MATTER, IN JEOPARDY.
AND HE DID NOT DO THAT.
>> AS FIRST ASSISTANT DIRECTOR,
WHAT ARE YOUR RESPONSIBILITIES?
>> I AM ONE OF THE PEOPLE THAT
HAVE SAFETY RESPONSIBILITIES
ON SET.
>> HILLARY SCHWARTZ, SHE WAS
RESPONSIBLE FOR HAVING A MEDIC
ON SET.
SHE WAS RESPONSIBLE FOR THE
SAFETY BULLETINS OUT THAT THEY
WERE GOING TO SHOOT ON LIVE
TRAIN TRACKS.
DIDN'T DO THAT.
>> I HEARD THAT IF THE TRAIN
WERE TO COME THAT, AT THE VERY
LEAST, WE WOULD HAVE 60 SECONDS.
>> AND YOU ACTUALLY BELIEVED
THAT YOU COULD GET A METAL BED
OFF THE TRACK AND THE PEOPLE OFF
THE TRACK IN 60 SECONDS?
>> WELL, YES.
>> DID YOU SEE A WRITTEN
PERMISSION FROM CSX TO PUT THOSE
PEOPLE ON THAT TRACK?
THAT'S A SIMPLE QUESTION.
>> I DID NOT DO PERMITS.
>> YOU DIDN'T SEE ANY PERMIT
BEFORE YOU ASKED THOSE PEOPLE TO
GET ON THE TRAIN TRACK?
>> I DID NOT SEE THE PERMITS,
NO.
I WAS IN THE MIDDLE OF THE
TRACK, AND I ALMOST DIED.
>> RANDALL FELL ONTO THE TRACK,
AND SO I DROPPED MY CAMERA AND
GRABBED HIM.
>> RANDALL MILLER'S LIFE WAS
SAVED, BUT SARAH JONES DIED ON
THOSE TRACKS.
>> THE PEOPLE WHO MADE POOR
CHOICES THAT DAY NEED TO BE HELD
FULLY ACCOUNTABLE WHAT THEY DID.
>> BUT WOULD RANDALL MILLER BE
THE FIRST DIRECTOR EVER TO GO TO
JAIL FOR A DEATH ON A MOVIE SET?
>> IN THE "MIDNIGHT RIDER" CASE,
IT WAS CLEAR WHO HAD MADE THE
DECISION TO GO TO THE RAILROAD
TRACKS.
IN THE "RUST" CASE, THE QUESTION
IS JUST, WHO IS RESPONSIBLE FOR
IT?
>> COULD ALEC BALDWIN BE
CRIMINALLY CHARGED?
>>> I'M NOT TRYING TO BE A
MASOCHIST AT ALL, BUT I WANT TO
SEE THAT TRAIN.
>> ONE OF THE HARDEST THINGS FOR
ANYBODY TO DO AFTER A TRAGEDY IS
TO GO BACK TO THE PLACE WHERE
THEIR LOVED ONES WERE KILLED.
AND RICHARD AND ELIZABETH JONES
DID THAT.
THEY WENT BACK TO THE BRIDGE
TO SEE WHERE THEIR LITTLE GIRL
WAS KILLED BY A TRAIN.
>> I WANT TO EXPERIENCE IT.
I WANT TO SEE WHAT IT'S LIKE.
>> OH, MY GOD.
HOW FAST IS THAT GOING?
>> IN A WAY I FELT LIKE
ELIZABETH AND I NEEDED TO DO
THAT.
BUT IT WAS HARD.
AND TO SEE THE SPOT WHERE SHE
LOST HER LIFE, UH, IT ‐‐ IT'S
HEARTBREAKING.
THEY COULDN'T GET OUT OF THE
WAY.
>> THE ARROGANCE OF SOMEONE
PUTTING MY BABY ON THE TRACK ‐‐
AND THE FEAR SHE MUST HAVE FELT,
I CAN'T IMAGINE.
>> SEVERAL OF THE SUPERVISING
CREW FROM "MIDNIGHT RIDER" WERE
BROUGHT TO TRIAL FOR CRIMINAL
TRESPASS AND INVOLUNTARY
MANSLAUGHTER ON THE DEATH OF
SARAH JONES IN A VERY SMALL
TOWN, JESSUP, GEORGIA.
>> IF CONVICTED, MILLER, ALONG
WITH TWO OTHER PRODUCERS AND THE
FIRST A. D., STOOD TO SERVE AS
MUCH AS TEN YEARS IN PRISON.
>> BUT AS THE TRIAL WAS ABOUT TO
GET UNDERWAY, THERE WAS AN
UNEXPECTED TURN OF EVENTS.
>> IN THE COURTHOUSE, THE
PROSECUTOR CAME TO US AND SAID
THAT IF WE AGREED THAT THEY HAD
A PLEA DEAL.
>> THE DEFENDANT WILL BE
SENTENCED TO A TEN‐YEAR TERM.
HE WILL SERVE TWO YEARS IN
CUSTODY IN THE COUNTY JAIL.
HE WILL PAY A FINE OF $20,000.
>> RANDALL MILLER BECAME THE
FIRST DIRECTOR IN THE HISTORY OF
THE MOVIES TO GO TO JAIL FOR A
DEATH ON THE SET.
>> HE CANNOT SERVE AS A
DIRECTOR, PRODUCER, FIRST
ASSISTANT DIRECTOR OR A
SUPERVISOR ON ANY FILM WHERE HE
HAS RESPONSIBLE FOR THE SAFETY
OF OTHER PEOPLE FOR THE ENTIRE
TEN YEARS.
>> THE FIRST A. D. HILLARY
SCHWARTZ AND THE UNIT PRODUCTION
MANAGER, JAY SEDRISH, BOTH GOT
10 YEARS PROBATION.
>> I BELIEVE IT SENDS A MESSAGE,
FRANKLY, THAT IF YOU DO NOT
RESPECT THOSE THAT YOU'RE IN
CHARGE OF, THAT YOU MAY END UP
BEHIND BARS.
>> SOMETHING WENT HORRIBLY WRONG
HERE IN SANTA FE ON THE SET OF
ALEC BALDWIN'S NEW WESTERN FILM
"RUST."
A YOUNG AND HOPEFUL
CINEMATOGRAPHER IS DEAD.
>> IT HAS BEEN SEVEN YEARS SINCE
THE TRAGEDY ON "MIDNIGHT RIDER"
WHEN SARAH JONES LOST HER LIFE
AND I WAS SEVERELY INJURED.
HEARING ABOUT WHAT HAPPENED ON
THE SET OF "RUST," IT JUST
BROUGHT BACK A LOT OF PAINFUL
MEMORIES FOR ME.
AFTER THE SHOCK, I BECAME ANGRY.
SUCH A HORRIFIC TRAGEDY OF
SOMEONE LOSING THEIR LIFE AGAIN.
>> IT JUST FELT LIKE A KNIFE IN
MY HEART.
WHEN SARAH DIED, WE'D HOPED THAT
HER DEATH MIGHT SAVE SOMEONE'S
LIFE.
WOULD HAVE PREVENTED HALYNA'S
DEATH, BUT IT DIDN'T.
AND IT HURTS.
>> NOBODY SHOULD DIE MAKING A
MOVIE.
>> I WOULD BE ON SET, AND I
COULDN'T UNDERSTAND WHY I WAS
CRYING SO MUCH.
AND THEN, I REALIZED THAT IT WAS
TRAUMATIC FOR ME.
>> PTSD IS VERY DIFFICULT THING
TO DEAL WITH.
I'M SURE THAT JOYCE HAS GONE
THROUGH LOT OF MENTAL ANGUISH
STILL TO THIS DAY.
UNFORTUNATELY, I THINK THE CREW
OF "RUST" WILL ENDURE THE SAME
PATH.
>> YOU CAN'T KNOW WHAT THIS
FEELS LIKE.
AND ‐‐ I DON'T KNOW.
MOST OF US ARE GOING TO BE
DEALING WITH THIS FOR THE REST
OF OUR LIVES, MAN.
>> TO THIS DAY, I STILL AM SO
SHOCKED THAT THIS HAPPENED.
IT'S UNBELIEVABLE.
JOEL SOUZA, THE DIRECTOR WAS
RIGHT OVER HALYNA'S SHOULDER.
HE WAS SHOT.
>> THERE ARE TWO VICTIMS OUT
THERE, HALYNA HUTCHINS AND JOEL
SOUZA, AND THEY DESERVE JUSTICE.
>> JOEL IS STILL RECOVERING,
AND HALYNA'S GONE AND WE CAN'T
GET HER BACK.
>> IN THE "MIDNIGHT RIDER" CASE
IT WAS CLEAR WHO HAD MADE THE
DECISION TO GO TO THE RAILROAD
TRACKS.
HERE IN THE "RUST" CASE, THERE
ARE STILL QUESTIONS ABOUT WHO IS
RESPONSIBLE AND HOW IT HAPPENED.
>> WE WANT TO KNOW HOW THAT LIVE
ROUND GOT ON THE SET.
BUT WHAT'S MORE IMPORTANT IS HOW
THAT LIVE ROUND GOT INTO THE
GUN.
THE FACT THAT IT WAS ON THE SET
WAS OBVIOUSLY A FAILURE.
BUT HOW IT THEN WENT FROM JUST
ON THE SET TO INTO THE GUN
WITHOUT ANY OF THOSE LEVELS OF
PROTECTION WORKING IS THE MORE
IMPORTANT INQUIRY THAT MY OFFICE
IS FOCUSED ON.
>> I'M NOT COMMENTING ON
CHARGES, WHETHER THEY WILL BE
FILED OR NOT OR ON WHOM.
>> THE CRIMINAL INVESTIGATION IS
ONGOING.
CIVIL LAWSUITS HAVE ALREADY BEEN
FILED.
MORE ARE COMING.
THERE'S SCRUTINY ON BOTH THE
FIRST ASSISTANT DIRECTOR, DAVID
HALLS, AND THE ARMORER, HANNAH
GUTIERREZ REED, BUT ALSO ON ALEC
BALDWIN'S ROLE.
>> THIS WAS CLEARLY AN ACCIDENT,
BUT JUST BECAUSE SOMETHING IS AN
ACCIDENT DOESN'T MEAN THAT A
CRIMINAL ACT DIDN'T OCCUR.
>> I'VE BEEN TOLD BY PEOPLE WHO
ARE IN THE KNOW, IN TERMS OF
EVEN INSIDE THE STATE, THAT IT'S
HIGHLY UNLIKELY I WOULD BE
CHARGED WITH ANYTHING
CRIMINALLY.
>> COULD ALEC BALDWIN BE
CRIMINALLY CHARGED?
>> EVERYTHING IS ON THE TABLE
AND NOTHING IS OFF THE TABLE.
>> ENORMOUS QUESTIONS REMAIN
ABOUT WHO WILL ULTIMATELY BE
HELD RESPONSIBLE IN HALYNA'S
DEATH.
>> THE REASON WE STILL USE REAL
FIREARMS ON SET IS BECAUSE WE
HAVE TO.
>> SHOULD THEY JUST STOP USING
REAL GUNS ON SETS?
>>> A CALIFORNIA STATE SENATOR
INTENDING TO INTRODUCE
LEGISLATION IN HUTCHINS' HONOR
THAT WOULD BAN LIVE
AMMUNITION ‐‐
>> PRODUCERS AT THE ABC CRIME
DRAMA "THE ROOKIE" HAS ANNOUNCED
THEY WILL NO LONGER USE LIVE
WEAPONS ON SET.
>> SAYING THEY WILL BAN ALL LIVE
GUNFIRE ON SET IMMEDIATELY.
>> THERE IS A MOVEMENT HAPPENING
IN HOLLYWOOD RIGHT NOW IN THE
WAKE OF THE "RUST" TRAGEDY TO
BAN REAL FIREARMS FROM SETS.
>> ANY MOVIE WE HAVE MOVING
FORWARD WITH SEVEN BUCKS
PRODUCTIONS, WE WON'T USE REAL
GUNS AT ALL.
WE'RE GOING TO SWITCH TO RUBBER
GUNS.
>> IF WE ARE GOING TO SEE ANY
CHANGE IN HOLLYWOOD ABOUT THE
USE OF GUNS, IT'S GOING TO HAVE
TO COME FROM BIG NAMES, AND
DWAYNE JOHNSON IS THE BIGGEST
STAR IN THE WORLD RIGHT NOW.
AND THAT'S A BIG DEAL, BECAUSE
IT'S NOT LIKE THE ROCK MAKES A
LOT OF ROM COMS.
HE MAKES ACTION MOVIES.
THAT COULD START THE PROCESS FOR
REAL CHANGE.
>> ARE YOU KIDDING ME?
>> SHOULD THEY JUST STOP USING
REAL GUNS ON SETS?
>> SOMEONE ELSE CAN DETERMINE
WHAT IS THE SAFEST, BEST THING.
WHAT DO WE COME OUT OF THIS
LEARNING?
WHAT DO WE COME OUT OF IT ‐‐
WHAT CHANGES CAN BE MADE?
IF YOU'RE GONNA WIND UP WHERE
THE GUNS ARE GONNA BE PLASTIC OR
RUBBER.
I'VE USED RUBBER GUNS BEFORE.
YOU'RE GOING TO CGI EVERYTHING
EVENTUALLY.
IF I AIM THE GUN AND I POINT THE
GUN AND GO, "BANG," AND IT CGIs
THE EXPLOSION, THEN THAT'S
GREAT.
>> AT BARNSTORM‐VFX, A VISUAL
EFFECTS HOUSE IN L. A., MUZZLE
FLASHES ARE SIMULATED IN
POSTPRODUCTION FOR SHOWS LIKE
"THE BIG SKY" AND THE MAN IN THE
HIGH TOWER.
>> I WOULD SAY THAT A SIMULATED
MUZZLE FLASH, IF IT'S DONE
CORRECTLY, CAN GET PRETTY CLOSE
TO LOOKING LIKE A REAL GUNSHOT.
A MUZZLE FLASH IS A LIGHT SOURCE
ESSENTIALLY.
I HAVE TAKEN A STOCK ELEMENT
OF A SIMILAR, GUN, MUZZLE FLASH.
I HAVE ILLUMINATED MY KNUCKLES
AND THE FRONT OF THE GUN AND
EVEN MY FACE FOR JUST ONE FRAME.
I'VE EVEN ADDED A REFLECTION OF
THE MUZZLE FLASH IN THE EYES.
THE ACTOR MIMED THE ACTION OF
SHOOTING IT, SLIGHTLY KICKING MY
WRISTS BACK, AND THEN WE
COMPOSITE THAT IN OVER
EVERYTHING ELSE TO MAKE IT
REALISTIC.
>> THE REASON WE STILL USE REAL
FIREARMS ON SET IS BECAUSE WE
HAVE TO.
THERE'S A CERTAIN AMOUNT OF
PHYSICALITY TO THIS PROP, AND AN
ACTOR HAS TO REACT CORRECTLY TO
THE GUNFIRE.
THERE'S REACTION TO THE GUNFIRE,
EYES FLINCHING, THINGS LIKE
THAT.
YOU JUST CAN'T DUPLICATE THAT
WITH CGI.
WE'VE FIRED BILLIONS OF ROUNDS
OF BLANKS OVER THE YEARS, AND IT
CAN BE DONE IN A SAFE MANNER.
>> THERE PROBABLY SHOULD BE LAWS
OR STRONGER RULES THAN INDUSTRY
STANDARDS.
IT CLEARLY NEEDS TO CHANGE
BECAUSE SOMETHING LIKE THIS
HAPPENED AND IT HAS HAPPENED
BEFORE.
AND WE'VE GOT TO PROTECT LIVES.
NOTHING'S MORE IMPORTANT THAN
THAT.
>> NEVER AGAIN LET SOMEONE'S
DAUGHTER DIE, NEVER AGAIN
SOMEONE'S SON.
IT'S NEVER, NEVER WORTH A LIFE.
>> I SEE MANY SIMILARITIES AND
PARALLELS BETWEEN SARAH AND
HALYNA.
THEY BOTH LOVE THE CAMERA AND
CINEMATOGRAPHY AND ALL THAT
COMES WITH IT.
THEY BOTH SHOWED SUCH PROMISE.
THEIR DEATHS WERE SO SENSELESS,
SO UNNECESSARY.
IT SHOULD NOT HAVE HAPPENED.
>> WE ARE.
>> SARAH JONES.
>> WHEN SARAH JONES LOST HER
LIFE SEVEN YEARS AGO, MANY
PEOPLE IN THE INDUSTRY ADDED HER
NAME TO SLATES THAT SHE ONCE
HELD SO THAT EVERY SHOT WAS A
TRIBUTE TO HER.
NOW HALYNA HUTCHIN'S NAME IS
BEING ADDED NEXT TO SARAH'S.
>> HOW MANY MORE NAMES NEED TO
GO ON A SLATE BEFORE THE NEEDED
CHANGES ARE MADE IN THIS
INDUSTRY SO IT JUST WILL NOT
HAPPEN AGAIN?
HOW MANY?
>> I AM HERE TO EXPRESS TODAY
WHAT I BELIEVE WE ARE ALL
FEELING ABOUT THE LOSS OF A
VIBRANT, GIFTED, UNIQUE
VISIONARY THAT IS HALYNA
HUTCHINS.
>> LAST WEEK, AN EMOTIONAL
TRIBUTE TO HALYNA AND HER WORK
AT THE POWER WOMEN SUMMIT IN
LOS ANGELES, WITH HER HUSBAND
MATTHEW IN ATTENDANCE.
>> SO LET'S TAKE A MOMENT TO
TAKE A LOOK AT HER WORK.
>> HER WORK WAS EXQUISITE.
HER FRAMING OF THE SHOTS.
HER COLORS WERE BEAUTIFUL.
SHE REALLY CARED A LOT ABOUT THE
SCENES.
>> FILMMAKING FOR HER WAS REALLY
A HIGHER CALLING.
SHE HAD THE SOUL OF A POET AND
SO MUCH INTEGRITY AS AN ARTIST.
>> SHE WAS AN INCREDIBLE
CINEMATOGRAPHER AND SHE IS A
GREAT FRIEND, A MOTHER, A WIFE,
A DAUGHTER AND SHE IS OUR
SISTER.