Issue link: http://digital.copcomm.com/i/1512164
6 8 P E R S P E C T I V E | N O V E M B E R / D E C E M B E R 2 0 2 3 ranch. In talks with Marty, we decided to give him a sizable home on his ranch and forego showing the various properties to avoid confusion. Marty referenced Giant (1956), and we built a large stone gate leading to his ranch, just past hundreds of acres of (CGI) oil derricks. A four-square home was built that could withstand the Oklahoma weather, provide room for the shots Marty wanted and tell us more about William Hale. My preference for building on location caused many challenges for our carpenters and painters, working under construction coordinator Bruce Di Valerio and foreman Mike Bailey. Dealing with wind, rain, freezing temperatures and blistering heat, all while building in tornado alley was far different than working on the sound stages and backlots of Atlanta or Los Angeles. Not only were the building sites often far away from fully functioning towns, but the location department had to put in miles of gravel roads for crews to access them. But the vistas were spectacular, and it was easy to get lost in the time period the film was creating. The greens department was headed by Mitch Garrett, and they worked closely with the excellent set dressers building native structures in addition to other duties. Property master Matt Cavaliero is one of the best I've worked with and the talented Graphic Designer Karen TenEyck will have an article on her contributions in the next issue of PERSPECTIVE. A. HALE'S GATE. ILLUSTRATION BY LANDON LOTT. B. HALE'S GATE. SET PHOTO. C. HALE'S RANCH HOUSE. ILLUSTRATION BY LANDON LOTT. D. HALE'S RANCH HOUSE. IN PROGRESS. IT WAS BUILT TO WITHSTAND THE EXTREME WEATHER OF OKLAHOMA AND PROTECT THE DRESSING INSIDE IT. SET PHOTO. E. HALE'S RANCH HOUSE. DIRECTOR'S PLAN. F. GUTHRIE COUNTY JAIL. DIGITAL MODEL BY SPENCER DAVISON. BUILT IN THE BASEMENT OF THE CHURCH USED FOR THE COURTROOM. A B C E D