Issue link: https://digital.copcomm.com/i/1433736
supportive line producer, G. Mac Brown, and an eually savvy studio executive, wame arker, to wrestle with and help bring form to our part of the production. nce we defined our scope of work to a point Kwame and Mac could agree with, Greg and I split our duties. He got to the task of laying out the design team, construction breakdowns and delivery schedules while I got back to designing the film. I knew I didn't have the time or budget to build these towns from scratch, nor did I feel we needed to, as the anta Fe area has a lot to oer for this genre. I needed to use my budget to create character. Each town needed its own unique identity. Redwood; bright, prosperous and active. Jeymes described Douglastown as "Gully"; rough, dark and intimidating. Mayesville; being the only white town, sanitized, tidy and reserved. As with any film, the script comes first. I had to make sure that the chosen towns could fulfill the requirements of the script. Movement of the characters on horseback needed to be considered. xplosions, bank robberies and an epic gunfight needed the space to play out naturally. Interiors needed adequate space for dramatic blocking of scenes. These types of reuirements needed to be fulfilled while at the same time, I needed to gain the confidence that I could transform the identity of the locations to speak loud and clearly to Jeymes' and my vision for the film. After some backandforth, weighing all the pros and cons, including costs of course, the production landed on Ford Ranch for Redwood, San Cristobal, for Douglastown, Eaves Ranch for Mayesville, and Bonanza Ranch for the Redwood Tannery, Cortez Church and Graveyard. First and foremost was Redwood. Our impeccable construction coordinator, Arlen Johnson, and his A. REDWOOD MAIN STREET WITH MAYOR'S MANSION. PRODUCTION STILL. B. INTERIOR MAYOR'S MANSION. ILLUSTRATION BY JAMIE RAMA. A B