I so enjoyed this interview with Pam! I am the son of Jaime Mendoza-Nava (the film’s composer and whose post production company handled editing, sound effects, etc for the film). I remember well the time when Dad worked with Charlie and Earl on this project. Looking back, I believe these men were meant to come together to do something special and to strike a cord within the world of motion pictures. They each brought unique gifts and experiences to the project, as well as a certain swagger and confidence in their own abilities, risk-taking qualities, and a bit of an anti-establishment bent.

Pam shared her memories of Charlie meeting Earl Smith, the cog in the wheel. Earl, as I recall his story, had been a 17 year old who had enlisted in the Navy during World War II. He bravely fought during one of the major naval battles against the Japanese, firing a machine gun at the enemy as their ship passed alongside his. I remember him saying he could barely make out the other vessel because of the smoke. He would receive a medal for his valor. Later in life, he met my father and the two worked together on several Navy training films at the Pacific Naval Test Center at Point Mugu, California. They became friends and I often saw Earl at the office.

Earl introduced Dad to Charlie and the fun began. As Pam said there was little money, but Dad was accustomed to working with small, independent films after he had left Disney Studios and UPA Studios of America to open his own business. He appreciated and respected Charlie, whose entrepreneurial “chutzpah”, hardworking ethic and marketing skills appealed to my father.

My recollection was that the three developed a good business friendship. Dad brought in an editor and friend, Tom Boutross, who he know from his time at the Walt Disney Studios. Tom had edited the “Wonderful World of Color”, and the men would also work together on other independent films. There were also sound effects editors, including John Post, who Dad hired as independent contractors when they were off season from their regular studio jobs. I recall helping out at the studio as a boy and being asked to transfer a 1/4″ reel to reel tape to 35mm mag-stipe for the sound editors. Charlie’s crew had recorded “wild” ambiance of the swamp near Fouke. What sticks in my memory, even today, were the voices of the men quivering nervously as they ended the recording, saying that they had better get out of there.

Pam mentioned the very talented Ralph McQuarrie who painted the powerful iconic Bigfoot image that became the film’s poster. Ralph had animated CBS News’ coverage of the Apollo space program at the three-man company Reel Three, where he met Dad, who had composed the music for the CBS News coverage of the Apollo missions.

Together this team, under Charlie’s leadership, pulled together a very unique work. Filmmaking in the analogue days was challenging and costly. New technologies have helped out a great deal today such that we see a plethora of independent films produced each year. However, creating something that engages an audience is never easy. I will always draw upon my memories of Charlie, Earl and my father working together and against the odds!

I am very hopeful to attend the premiere of the restored film this June! Thanks, Pam and Mr. Moore.