- The Washington Times - Friday, April 26, 2002

It's 4 a.m. Sunday in Georgetown and Stephanie Antosca-Boright arrives at work on a street corner to make sure everything is arranged for a daylong "shoot."
Shuttle vans must be on time, food carts set out on a sidewalk, no-parking signs taped to trees, movie cameras ready to roll and the "techno-crane" working properly.
The techno-crane, a camera fixed to the end of a telescoping arm on the back of a truck, will be crucial during one of the first days of filming for the pilot program of a proposed television series called "Georgetown."
Mrs. Antosca-Boright, 35, a movie and television producer, describes the show as a Washington, D.C., transplant of the former ABC series "Dynasty," but she says it's "not quite that frivolous."
If the pilot pleases CBS executives enough for them to grant approval for a series, Mrs. Antosca-Boright and her company, ThinkFilm, will be behind the scenes arranging the schedules, equipment and personnel needed to film the show in the capital. In the eight years since she joined ThinkFilm, her credits include "The West Wing," "Armageddon," "The Court," "The Contender," "Spy Game" and numerous commercials.
"I make sure everybody has what they need to get their job done," she says.
Here are some hints about the figure who inspired "Georgetown":
The show is about a wealthy Washington family headed by a politically powerful matriarch, similar to Katharine Graham.
The bulk of the family's wealth is derived from media enterprises, similar to Katharine Graham's family.
The family homestead is located not far from Katharine Graham's home in Georgetown.
Katharine Graham's former daughter-in-law has been hired as a consultant to the scriptwriters.
Asked if the show was modeled on Katharine Graham's life, Mrs. Antosca-Boright says, "I'm not supposed to say that."
Paramount Pictures, which is producing the pilot, offered no help on the issue either.
"It's fiction," says Jennifer Weingroff, spokeswoman for Paramount Publicity. CBS executives plan to decide whether to run the series in the second week of May.
About 7 a.m. at 30th and M streets, actress Kristin Lehman shows up, wearing a dark business-style dress and looking like a model ready to pose for a Vogue magazine cover. She plays Alexandra Garrison, daughter of the family matriarch, Annabelle Garrison, who is played by Helen Mirren.
In the scene that will take up the next two hours of filming, Miss Lehman drives a silver Mustang convertible from the intersection of 30th and M streets to a curbside parking position about 150 yards down M Street. There is no conversation, no fights, no explosions, just Alexandra Garrison parking her car in front of the family's (fictional) radio station.
The most difficult part of the scene is maneuvering the techno-crane from a close-up alongside the car to a parting shot as the car moves down the street. Mrs. Antosca-Boright had the techno-crane driven up from Florida, where it is owned by a film equipment supply company.
One of the most surprising parts of the day for Mrs. Antosca-Boright was the small number of things that went wrong.
"I'm not running around freaking out like crazy," she says. In film industry lingo, the set was "buttoned-up."
Sometimes, she is not so lucky. She recalls a fiasco involving an Irish green 1967 Porsche 911 on the set of "Spy Game" last year.
A Robert Redford double was supposed to drive the Porsche through the streets of Washington during a weekend shoot. It had to be a 1967 model and it had to be Irish green to match the car used for different scenes filmed in London.
Mrs. Antosca-Boright called Porsche clubs and searched the Internet to find three cars in North America that matched the description.
One was locked up in storage in Michigan, the owner of the one in Canada was unavailable, but the third one in Connecticut was both available and "in mint condition," the owner told Mrs. Antosca-Boright.
The owner arrived late, only a day before the scheduled filming. "It was a piece of crap," Mrs. Antosca-Boright said.
The bottom was so rusted that the clutch was pushing through the floorboard. The paint job was splotchy. The engine sputtered.
She found a local master mechanic who did a hurry-up overnight repair. As Mrs. Antosca-Boright and the mechanic left his garage to drive to the film set, the car stalled.
"We ended up having to push this thing back to the shop," she said. After the fuel line was cleared and the car driven to the set, the Robert Redford double had to be talked into getting into it after he saw engine parts strewn on the back seat. The director said he wanted a different car.
Mrs. Antosca-Boright found another 1967 Porsche 911 in New York, only it was white. She paid $12,000 for the car and another $3,000 for a quick nighttime paint job.
The car made it to the set, but "I almost got out of the business," Mrs. Antosca-Boright said.
She said she "fell" into film production after failing to find a television news job.
She moved to the Washington area after graduating from Clark University in Worcester, Mass. She is married, lives in Arlington and has a 2-year-old daughter. Her husband is a U.S. marshal who has spent part of his time recently arranging security around Islamic terrorists who will be tried in federal court.
On the set of the "Georgetown" pilot, as Miss Lehman drove back and forth along M Street for takes and retakes, Mrs. Antosca-Boright cruised nearby Dumbarton Street in a van, trying to find a place to set up equipment for one of the other scenes of the day. It was supposed to be a shot of Alexandra Garrison leaving her home at 29th and Dumbarton streets and getting into her car.
Residents' cars filled the curbside parking slots in front of the "emergency no parking" signs taped to trees and signposts. Mrs. Antosca-Boright had procured a city permit to use the spaces.
However, she was not concerned about the cars that took up the spaces she needed.
"We keep a tow truck on with us," she said.

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