A Tribute to Guy Travers
Guy started working in the industry in the early 1970's, first as a 3rd AD in episodic television, before moving up and into the independent feature sector as a 2nd AD (Time Bandits, Nijinsky), then as a 1st Assistant Director, on such groundbreaking films as Brazil and A World Apart and more domestic projects like A Private Function and Sammy & Rosie Get Laid.
At the time 1st Assistant Directors were often regarded as "sergeant majors", but Guy was a people person who loved his job (which he never regarded as work). Whilst always supporting his directors his focus was also to ensure that all the technicians on the floor were given the space & time to do their best work. He was not a "shouter", rather believing that the way to get results was to respect everyone, have fun along the way, and sort out grumbles over a pint in the bar at the end of the day. In addition to bringing this very different style to the industry he was a meticulous and gifted scheduler; regularly requested as the returning 1st AD of choice by directors such as Terry Gilliam, Stephen Frears and Billle August. As Bruce Beresford once said to him - "I could just wave a coloured handkerchief in front of you Guy and you'd collapse laughing" - he brought enjoyment, style and effortless organisation to all the projects he worked on.
Many of Guy's films were on location in Africa (The Kitchen Toto, Windprints, Mr Johnson, Dust Devil), a continent he loved, and where he was much loved by the local crews. One driver who had worked with him on a previous film, when sent to pick him up from the airport, came back into the production office beaming saying "my heart lifted when I saw Guy coming through the arrivals door - I was so happy to see him again".
Guy Travers was a gentle man, a great 1st Assistant Director & someone who made a big difference to our industry. We will miss him.
Tribute by Rupert Ryle-Hodges (Producer)
In 1987 Guy worked as The First Assistant Director on ‘Sammie and Rosie Get Laid’, a Working Title Production written by Hanif Kureishi and Directed by Stephen Frears. I was fortunate enough to be Guy’s Third Assistant Director on the project and found that I was working with an AD who did not always need to raise his voice to be heard, although Guy did use a megaphone during riot scenes created for the Film. Those were heady days when for a crane shot, armed with a walkie talkie and a fluorescent jacket, the AD’s were expected to wade in and pause the traffic in both directions on the M40 Flyover above Paddington, so that a group of cast and supporting artists called the ‘Straggly Kids’ could cross and descend into a wasteland. For Guy we would try anything.
Guy brought out the best in others by being an example to follow for calm even in the most trying circumstances. Guy would never leave set on wrap empty handed and often returned for another load, partly to make sure that everyone was alright. Guy appreciated the amount of work that went on before call and after the last set up, thereby winning the loyalty of all the departments involved.
Later the same year Guy was working in Zimbabwe on ‘A World Apart’ and I received a last-minute call to join Guy’s team as a Crowd Assistant Director for the last few weeks of the shoot. I remember sitting with Guy and Chris at lunchtime, trying to fathom some sort of order to the unachievable workload for the following day. Even when things were not going to plan it was rare for Guy to lose his sense of humour.
We kept in touch and occasionally I would meet for a pub lunch with Guy and Chris Thompson 2nd AD on ‘A World Apart’, also much missed, without the need to discuss a Call Sheet.
I am sure there are many who would like Guy’s Family to know how much he was appreciated by many in our Industry, and especially by the Assistant Directors who were fortunate enough to work in his team.
Rupert Ryle-Hodges
