Albanian Diary:
by Chantal Abouchar

‘... As I film, through the viewfinder it is like a scene from Apocalypse Now... Dots appear on the horizon, set against the majestic mountain ranges which envelope Tirana... they become larger dots in my B&W view of the world... until gradually I can make out the distinctly hornet-like silhouettes of the Apache helicopter with their menacing bull-noses... as they fill the frame, I am reminded of a carefully orchestrated ballet... I hold on one, allow it to leave the frame, it is gracefully replaced by another and another... I am enchanted... then suddenly I am aware of their killing capacity... I am mesmerised by what is probably the most lethal and costly performance I will ever film... ’

Friday 23 April - Day 1

Arrive Tirana Airport, Albania late afternoon... as we land it is as though we are entering a military base... down one side I count 17 helicopters, numerous 'hides' scattered amongst the runways, military aircraft bearing American, Italian and other flags everywhere. The airport is alive with activity, loading and unloading of cargo, military personnel.

40 minutes later we are on our way to Tirana on one of the worst roads I've ever been on... I soon find out Albania is famous for its bad roads. Military jeeps, UNHCR, numerous aid trucks and vans full of journalists' make the road a frenzy of activity. The landscape reminds me of Greece but the houses look poor and the people watching the passing parade, show weariness of a life that is not easy. A child rides past on a donkey, a scarfed woman walks spinning wool on a spindle... normal everyday images that now appear incongruous amidst the military invasion.

Make contact with the NBC contingent... I was expecting a small team... instead what awaits me is a mini-bureau of about 30 people... they occupy the 3rd floor of the Tirana International & more rooms in another hotel... Welcome to the American media experience... meet Howard Smith the cameraman I am here to replace - he has been here about a month, arriving with the initial NBC contingent who came even before the Military. Have a quick look at some of his rushes and realise I have a hard act to follow... beautiful images, economy of shooting etc. Will, the soundman, seems great - energetic, positive and knowledgeable about the job at hand - I feel instantly relieved.

Friday night... the first time everyone has got together... I have arrived at a time when there is a noticeable shift in pace since the beginning of the war... it turns into a party... we eat good food and dance at a local restaurant... the perfect way to meet everyone and break the ice. Being a camerawoman, one never quite knows what sort of reception to expect... I am a new face, the subject of curiosity and am relieved to feel welcome and instantly part of the team. There is one other female... a producer and about 25 blokes... being out numbered has its privileges, one is made to feel very popular!

Saturday - Day 2

First day of shooting. We arrive at the 'Mullet camp', scenically located on a river... an ex-army base, but with the now familiar white tents set back from the bank. My brief... to get some shots... really a chance for me to get a feel for the story and ease into working with everyone for the first time. Mike the producer has the quiet approach of someone with years of experience. I wander the camp and try to stay at a distance not wanting to intrude too much on these people's lives. There seem to be a lot of old people, young people, women and children... not very many young men... this will become a noticeable omission repeated in all of the camps.

With us is our translator, Dash, also a refugee. Like so many other people, his story of escape is extraordinary. Whilst an NBC crew were filming in his camp, Dash stepped forward to help translate - they hired him immediately. Like most of the refugees, he has nothing but the clothes he is wearing... not even a passport... his only form of identification becomes a laminated NBC luggage tag. It looks official & stops him being questioned by officious Albanians. When I finally come to leave Albania, it is Dash I miss the most.

Head to the 'live' location at Tirana airport... 2nd floor of a restaurant facing the runway, from where one has a clear 180 degree view of most of the airport. NBC has taken over the location, there are satellite dishes & microwave links on the roof, editing facilities etc: a mini-television studio has been established, windows have been removed to allow for an unimpeded view of the constant military activity & provide a backdrop for the correspondents as they do live crosses back to the States.

Sunday - Day 3

Dash to the airport - a road I am fast becoming familiar with. Wesley Clark arriving a few hours earlier than planned, the media frenzy is gaining momentum as we line up on the tarmac... The crews scurry & jostle for positions when it is obvious the plane is stopping in a different position... I am on auto & luckily manage a lovely shot which brings him out of the plane & across the tarmac... important, as I am still very much under scrutiny... he is whisked away in a waiting jeep. We are also there to get shots of the Apache helicopters... airport is a buzz with activity, haze and dust set the scene in an atmosphere of surround sound... helicopters chopper above, planes land & depart, trucks ferry soldiers along the runway.

Monday - Day 4

The end of day 4: 'War Diaries'... First day of school for a 12-year-old refugee girl... Cradle story... 'Hallo Moms' from US soldiers to their families. I'm totally exhausted - feel like I'm coming down with the cold everyone has had, so much dust in the air especially at the airport. Hit the bed about 10:30 & fall fast asleep. I am dozing but am slowly aware of walkie-talkies in the hallway... dozing again... some time before midnight my phone rings - an Apache helicopter has crashed on a night training exercise... I hurriedly dress & half asleep grab the camera and gear & we race out to the airport... not a lot can be done in the dark, we do live crosses... at 3 am we head back to the hotel.

Tuesday - Day 5

Up at 7 - bleary eyed - back to the airport to hear news of the Apache crash... Frank & Larry the NY crew are already there... they have stayed up all night doing live crosses... I film the various activities happening around us... troops walking on foot head out from the airport, tanks, humvees & jeeps full of soldiers crowd the road. Later, I wonder if this all display of activity is orchestrated for the cameras, to distract from what is the real news of the day and provide alternative pictures...

Wednesday - Day 6

I open my window and look out into the main square of Tirana. As usual it is alive with activity... cars and people mix in a sea of movement. The mountain range becomes a cardboard cut out as the sun backlights the city buildings & the turrets of the mosque... this could be any small European town except for the aid trucks and military vehicles mixed in the throng of the traffic & the giant NATO banner adorning the building facing the square.

About 20 silver boxes and a flack jacket decorate my room... It is quite comfortable... not what I was expecting... thought I would be holed up in a shack on the side of the road... luxurious compared to the camps & almost feel guilty having my clean sheets to return to each night... though this is television & I know that things can change in an instant & I could very well find my shack, so enjoy the luxury while it lasts.

Thursday - Day 7

Bunker story... too tired to write

Friday - Day 8

We try and gain access to the main Tirana hospital - supposedly there are wounded KLA soldiers there. No access - no surprise. Instead we go to a camp to film kids doing art and then into another camp at a disused swimming centre... a bizarre image to see the now familiar white tents set amongst empty pools and a high diving board. Art is being used to renew their spirits... it also renews mine... there is an actor from ER, Maria, I don't recognise her, she is here with Save the Children... I film her playing games and doing art with the children - it is wonderful to see them laugh and be full of life and energy.

Saturday - Day 9

NY crew departs & 2 new crews arrived last night... there are now 6 crews here! Having never worked for an American network before I am astounded at the scale of the operation... this is totally amazing to me!

Sunday - Day 10

We are in a village square... waiting for a convoy of troops, they are not coming tonight... instead a truck full of refugees' pulls up... for the first time I notice young men... We wave & they come over to chat... we learn through our interpreter that they have arrived from Kukes on the border & are heading for a refugee camp that is less crowded. I mention that this is one of the first times I have seen young men... yes they say, we are the lucky ones - at the border 50 or so other young men were taken by Serb soldiers & dressed in Serb uniforms & sent to dig trenches in the front line.

Reuters have a party in their apartment tonight... Ratio of blokes to girls about 20:1

Monday - 11

Today we're at the base working on a story related to the military build up at Tirana airport. The American presence is large... about 5,000 troops, but there are many other nationalities... French, Italian, British, German & Swiss. We are only interested in the Americans... and especially the Apaches. It has already been pointed out to me by Will my sound recordist to not bother shooting military machinery or troops of other nationalities as shots will never get used.

It is exciting to film & be amongst the visual feast on offer... planes, helicopters of many varieties, hum-vees... a scene of non-stop action... a camera person's delight. I am easily seduced, until I remember the context... there is a war going on & these are weapons of destruction.

Chantal spent three weeks in Albania for NBC, working as a camerawoman. She is based in London & works freelance as a Lighting Camerawoman & Producer/Director. She can be contacted via email: chantalabou@hotmail.com

Issue 3
September 1999

• Letter from Paddington
• This is what we're about
• Freelance Realities: Internet Rights are not for free
• Freelance Realities: How the Red Cross can help you
• Albania Diary: by Chantal Abouchar
• The 1999 Rory Peck Awards
• Global Billboard

• Issue 13
• Issue 12
• Issue 11
• Issue 10
• Issue 9
• Issue 8
• Issue 7
• Issue 6
• Issue 5
• Issue 4
• Issue 3
• Issue 2
• Issue 1

The Trust | Awards | Training | The Free Lens | Links | Feedback | Home

Limited Company No. 35524586 Registered in England and Wales
Charity Reg. No. 1071844