Issue link: http://digital.copcomm.com/i/1011062
32 • THE ARTISAN SUMMER 2018 Our first task would be heading up to Durango, Colorado, to film the train sequence before it arrived in Creede. We would be shooting some- thing that wouldn't even be in the schedule for months. You know how that is—shooting something before you even know what the big picture is. It was the first thing we did in prep, weeks before principal photography. When we returned to Santa Fe, we started to get the influx of our cast. Scott required them all to go to Cowboy camp. Each cast member would go to riding lessons, shooting lessons and rehearsals for the next five weeks. This was also when we began to have access to them. As we worked closely with Betsy Heimann, our costume designer, we started to define each character with distinctive costume choices, make-up and hair designs specific to the period. Every actor's individual character and personal- ity started to evolve. Betsy was so collaborative with us at every step. Research is key. Geordie and I have tons of research material from our past projects of the same time period. It definitely came in handy. It would be imperative to Betsy, Geordie and me to have consistency and continuity through- out the six-month shoot. We needed to be incredibly detailed so that we could evoke the feeling of the past and to include the audience so that they would feel they were truly back in time. If there was one thing out of place with any department, it could take you out of the moment. We were allowed and encouraged to come to the rehearsals, which really made a difference. Everything was storyboarded and meticulously planned ahead. As the Griffin gang began to trickle in for make-up and hair tests, we set up a special FX make-up trailer. We brought everyone in for dental casting. Casting up the positive dental stones, recast with a base plate, then vacuform a pair of Invisaligns, trimmed, polished and hand- painted. We would use the special FX make-up trailer for the duration of the show setting up a mini-lab so we could create all of the smaller projects in-house. Justin Raleigh (Fractured FX) and his team would be in charge of the larger projects, i.e., Jeff Daniels' arm and the wrap-around prosthetic Tarra Day (left) and Geordie Sheffer on location. Photo courtesy of Tarra Day