Issue link: https://digital.copcomm.com/i/1433736
5 2 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 1 clearly defined brief, we achieved all builds both in the Maniototo and on stage in Auckland in twenty- six weeks. But as always, there had to be another massive challenge—ain't no ranch without animals. ecreating the brutal farming of the time in an era where rightfully no animal is harmed in the making of a film and there's no GI was no mean (excuse the pun) feat. For this, we have prop designer Justin Buckingham to thank. Justin went to great lengths to sell the practices of 1925, touring local abattoirs to photograph and study real parts to recreate fake versions (think testicles in the castration scene), the resulting in-camera detail being nothing short of amazing. And a tip of the Stetson too, to the dedication showed by the young props team in making rawhide by hand—another job not for the faint of heart. George Hamilton, Art Director: One of the highlights and challenges of this project was building the Burbank ranch on location in the remote high country of New Zealand's South Island. As the primary setting of the film, the ranch and surrounding landscape play a major role in the story. Positioned to make the most of the northern sun and sweeping views up and down the valley, the crew built the first two stories of the grand, craftsman style ranch house, the top oor was left for F extension. The house was largely a shell to be shot as an exterior, with the interior built on a stage in Auckland, however, we did finish around certain windows and doors to allow for scripted comings and goings and key sightlines. Attached to the back of the house was the cowboys' dining room—this had a fully dressed interior, as much of the action scripted in this room connected directly to the yards outside. The crew clad the shearing shed in timber boards and removed the sheep yards to replace them with our own cattle yards, horse corral, fully dressed barn and cowboy bunkhouse. Working largely from reference photographs and in consultation with both the horse and cattle wranglers, the design and build of the yards, corral and barn had to be robust, A. FARM HANDS' QUARTERS AND BARN/STABLES, EXTERIOR SITTING AND WASH AREA. SET BUILD AND DRESS ON LOCATION. SET PHOTO. B. BARN/STABLES INTERIOR VIEW. BUILT ON LOCATION IN MANIOTOTO, NZ. PINE AND CEDAR FRAMEWORK WITH ROOFING SHAKES IMPORTED FROM CANADA, IT WAS A TRAGEDY TO HAVE TO PULL THIS DOWN AFTER FILMING, IT COULD HAVE LASTED A THOUSAND YEARS…! C. BARN AND STOCK FENCING EXTERIOR VIEW. PRODUCTION STILL. D. THE RED MILL RESTAURANT AND LODGINGS, SET BUILD ON THE HOME HILLS FARM LOCATION. THE REMAINDER OF THE VILLAGE OF BEECH WAS ADDED IN POST- PRODUCTION VIA VFX. SET PHOTO. E. BEECH SALOON INTERIOR. SET BUILD AND DRESS IN WALLS ROAD STUDIO, AUCKLAND. THIS SET WAS LATER RE-MADE INTO THE HERNDON COFFIN SHOP FOR ECONOMY'S SAKE. SET PHOTO. A B C