Issue link: https://digital.copcomm.com/i/987068
26 In a climactic scene of the pilot, sixteen men were on horseback, others rode four-wheelers, police cars lined the road, gun shots were fired and a helicopter flew overhead witnessing the chaos. The scene was shot over three nights and broken up between action and dialog. While it was one of the biggest track days in terms of wired actors for sound, the way it was scheduled allowed them to keep pace. "Logistically, there was a lot of moving parts, but it was just a matter of jumping in and keeping our high standards," says Curley. Realism was a theme throughout the production. Whether it was importing trees from Montana to build the log cabins inside the studios or the fight scenes where stunt men didn't hold back or the extensive aerial coverage that enhanced the scale and scope of the story. Eight episodes were shot before weather curbed production. The final two will be finished this year. "Quality is important to Taylor as a filmmaker," says Curley. "If you watch his other projects, he is very intent on making a real and believable world for his characters to be in. That decision to be authentic doesn't make our jobs easier, but that's not why we are there to do it. We're here to support him and I really lucked out having Knox and Andrew with me. When you start seeing episodes on screen, you get a feeling that all the hard work you've done is worth it." A lofty boom finds its place on set. Thomas Curley, Knox White & Andrew Cier. Photo: Courtesy of Camera Utility Angel Fisher Below, left & middle: Inside Utah Film Studios & Curley's setup. Bear boom operating. Photos this page, courtesy of Thomas Curley, except as noted