Travel Reference
In-Depth Information
30 nations. Huge collections of flags seemed to be common in Iran—perhaps because it
provided a handy opportunity to exclude the Stars and Stripes. (The only American flags
I saw during the trip were the ones featured in hateful political murals.)
A van with an X-ray security checkpoint was permanently parked outside the en-
trance, carefully examining the bags of each visitor. It was interesting to see that Iran, a
country we feel we need to protect ourselves from, had its own security headaches.
Back in my room, I nursed a tall glass of pomegranate juice. My lips were puckered
from munching lemony pistachios from an elegantly woven tray—the best I've ever
tasted (and I am a pistachio connoisseur). I cruised the channels on my TV: CNN, BBC,
and—rather than shopping channels—lots of programming designed to set the mood for
prayer. One channel showed a mesmerizing river with water washing lovingly over shiny
rocks. Another featured the sun setting on Mecca, with live coverage of the pilgrim action
at the Kaaba. I was a long way from home…and ready to explore.
The nuts and bolts of filming in Iran were challenging. Our 12-day Iran shoot included
Tehran, Esfahan, Shiraz, and Persepolis. I traveled with my typical skeleton crew of three:
Simon Griffith (director), Karel Bauer (cameraman), and me. We also had the help of two
Iranian guides: One was an Iranian-American friend who lived in Seattle. The other was
appointed by the Iranian government to be with us at all times. This combination was in-
teresting…and tricky.
