Issue link: https://digital.copcomm.com/i/1490572
Step one was to build a complete Corsair in the shop and deconstruct the plane to match what we determined the level of damage based on the logical crash path. The plane was masterly crafted by the plane foreman Scott Warner, propmaker Bill Waxler and sculptor Alex Sherrod, who crafted the Corsair's tail and stabilizer out of foam that was coated with a fiberglass epoxy resin. James Passanante's team once again stepped in and applied the color, some damage and military markings. That was the "easy" part. Next was solving the cockpit damage, which by accounts stove in on Jesse's leg and ultimately trapped him in the plane. This had to make sense visually of course, but also had to trap in the actor E. CORSAIR CRASH IN PROGRESS. F. CORSAIR CRASH. SET PHOTO. Wynn Thomas, Production Designer Jeremy Woolsey, Super vising Art Director Danny Brown, Erik Robert, Art Directors Nealy Orillion, Lead Set Designer Diana Bredin, Chris Hand, Set Designers Karl Shefelman, Stor yboard Artist Alexandra Miklos, Graphic Artist Merissa Lombardo, Set Decorator safely while also allowing for a quick release. After many tests and presentations and problem solving, the vessel was ready to dress into the location. SFX blanketed the quarry with snow and Matt Butler, the lead greens, applied the appropriate debris to sell the crash. These were just two key builds on a project filled with challenging sets—additional plane bucks with full cockpits, the interior of the Leyte, the Hagaru Basecamp on the Chosin Reservoir, the French Riviera and a Cannes casino. But all crew and cast alike were happy to be back making a film, especially one with such a powerful true story of friendship and bravery. ADG E F