From producer Jerry Bruckheimer and Academy AwardЃЦwinning director Gore Verbinski, the filmmaking team behind the blockbuster УPirates of the CaribbeanФ franchise, comes Disney/Jerry Bruckheimer FilmsТ УThe Lone Ranger,Ф a thrilling adventure infused with action and humor, in which the famed masked hero is brought to life through new eyes. Native American warrior Tonto (Johnny Depp) recounts the untold tales that transformed John Reid (Armie Hammer), a man of the law, into a legend of justiceЧtaking the audience on a runaway train of epic surprises and humorous friction as the two unlikely heroes must learn to work together and fight against greed and corruption.
УThe Lone RangerФ also stars Primetime EmmyЃ and Golden Globe AwardЃЦwinner Tom Wilkinson (УJohn AdamsФ) as nation builder Latham Cole; William Fichtner (УThe Dark KnightФ) as Tonto and the Lone RangerТs archenemy Butch Cavendish; Primetime Emmy Award winner Barry Pepper (УThe KennedysФ) as military martinet Captain J. Fuller; James Badge Dale (УIron Man 3Ф) as Texas Ranger Dan Reid, JohnТs older brother; Ruth Wilson (УLutherФ) as DanТs wife and JohnТs former sweetheart, Rebecca Reid; and two-time OscarЃ nominee and six-time Golden Globe nominee Helena Bonham Carter (УThe KingТs SpeechФ) as flamboyant, one-legged saloon owner Red Harrington.
The film is directed by Gore Verbinski and produced by Jerry Bruckheimer and Gore Verbinski. The screen story is by Ted Elliott & Terry Rossio (all four УPirates of the CaribbeanФ films) and Justin Haythe (УRevolutionary RoadФ) and screenplay by Justin Haythe and Ted Elliott & Terry Rossio. The executive producers are Mike Stenson, Chad Oman, Ted Elliott, Terry Rossio, Johnny Depp, Eric Ellenbogen and Eric McLeod.
Eighty years after they first rode into the publicТs imagination, the classic characters of the Lone Ranger and Tonto remain enduring fixtures of the American cultural landscape. УThereТs something about these characters that have appealed to every generation since they were invented,Ф notes producer Jerry Bruckheimer. УI grew up in Detroit, and СThe Lone RangerТ radio and TV shows were part of my youth, and millions of others as well.Ф On radio, television, theater screens, TV animation, comic strips, books, graphic novels, and video games, the perpetual popularity of these iconic American characters represents a continuum that confirms the continuity of the publicТs fascination with them.
The program first made its way onto the airwaves courtesy of WXYZ radio in Detroit, Michigan, on January 30, 1933. The station owner, George W. Trendle, wanted a Western that would appeal to a childrenТs audience. The character he created was wholesome, honest and an authority figure kids could admire. The concept of the Lone Ranger was thus born and handed off to Fran Striker, a script writer from Buffalo, and the stationТs staff director, James Jewell.
Jewell went on to direct УThe Lone RangerФ radio series through 1938, by which time it was a national phenomenon. JewellТs father-in-law owned Kamp Kee-Mo-Sah-Bee in Mullet Lake, Michigan, which became the obvious linguistic inspiration behind TontoТs name for his friend, the Lone Ranger (Tonto was introduced eleven episodes into the series). ItТs believed that the camp was named after an Ojibwe word, Уgiimoozaabi,Ф which has been varyingly translated as Уtrusty scoutФ or even Уsomeone who does not follow the normal path.Ф The name Tonto might also derive from another Ojibwe word, УNТdaТaanh-tooФ (pronounced УNduh-on-toeФ) meaning Уwild oneФ or Уto change.Ф Jewell also suggested Gioachino RossiniТs УWilliam Tell OvertureФ as the programТs theme music.
There were 2,956 radio episodes of УThe Lone RangerФ (the last new one was broadcast on September 3, 1954), a 21-year history that actually overlapped the hugely successful television series, starring stalwart Clayton Moore as the titular character and dignified Jay Silverheels as Tonto. This program, which became an international phenomenon, began airing on ABC in 1949 and continued until 1957.
The huge popularity of the show also spun off into two theatrical feature films, УThe Lone RangerФ (1956) and УThe Lone Ranger and the Lost City of GoldФ (1958). But now itТs time for Johnny Depp and Armie Hammer to put their own indelible stamps on Tonto and the Lone Ranger. As they respect some traditions established over the past eight decades, they also fearlessly interpret the characters for an entirely new generation.
SHAPING THE STORY
As with many ambitious projects, there was a long and winding road to bring the new version of УThe Lone RangerФ to fruition. But neither producer Jerry Bruckheimer nor director Gore Verbinski are men to be easily dissuaded once their hearts and minds are focused. УWe knew that it was time for СThe Lone RangerТ and westerns to be reborn,Ф says Bruckheimer, Уjust as Gore and I knew that it was time for pirate movies to be resurrected when we first developed СPirates of the Caribbean for the screen a decade ago. ThereТs a reason why people have relished these characters and genres for decades, and we knew that if we re-introduced them in a fresh and exciting way, they would fall in love with them all over again.Ф
Verbinski was interested in directing УThe Lone RangerФ only if they could take the classic story and stand it on its ear. УI think if youТre a fan of the original TV series,Ф Verbinski says, УyouТre going to be surprised by the movie, because everybody knows that story, and thatТs not the story weТre telling. WeТre telling the story from TontoТs perspective, kind of like СDon Quixote,Т told from Sancho PanzaТs point of view. I would say that at its core, our version is a buddy story and an action-adventure film with a lot of irony and humor and enough odd singularity to make it distinct.Ф
To write the fresh take on the legendary tale, the filmmakers hired the brilliant screenwriting team of Ted Elliott and Terry Rossio, who had also scribed all four of the hugely successful УPirates of the CaribbeanФ movies, the first three of which were collaborations between Jerry Bruckheimer and Gore Verbinski, and Justin Haythe, who wrote УRevolutionary RoadФ for Sam Mendes.
Commenting on the story, producer Jerry Bruckheimer says, УThis is the story of how John Reid becomes the Lone Ranger,Ф adds Bruckheimer, Уbut in the framework of a СdramedyТ between two characters from totally different backgrounds, who are really at odds at the beginning of the story and through the course of their relationship come to a kind of uneasy bonding. Our version has a lot of excitement, adventure, drama, comedy, spectacle and emotion. And because of GoreТs vision, itТs also huge.Ф
Bruckheimer was thrilled that his УPiratesФ partner Gore Verbinski was onboard the УThe Lone Ranger.Ф УGore is an amazingly talented director, someone who encompasses it all. Sometimes you find a director who does comedy well but canТt do action, or those who can only do action,Ф says Bruckheimer. УGore is one of the very few directors who can do everythingЧaction, drama, comedy, animationЧwith equal brilliance. HeТs highly visual and lets nothing stand in his way to create sequences that have never been seen before, and then he somehow finds a way to shoot them to maximum effect.Ф
CASTING & CHARACTERS
Johnny DeppТs interest in playing Tonto in УThe Lone RangerФ developed early on when it was just germinating as an idea with Jerry Bruckheimer. Depp, in typical fashion, figured that the best way to get the ball rolling would be to get into character as Tonto. He enlisted the help of two close friendsЧmakeup artist Joel Harlow and photographer Peter MountainЧand set about creating his distinctive version of how Tonto would look in the hope that it would convince Bruckheimer and the studio, Disney, to give it the green light.
Depp is, of course, a master of disguise and a brilliant character actor as well as one of HollywoodТs best-loved leading men. He based his СlookТ for Tonto on a painting heТd seen of a Native American warrior and added his own, unique, flourishes.
The result was spectacular and it convinced BruckheimerЧand indeed Disney StudiosЧ that it was time for УThe Lone RangerФ and Tonto to ride back onto the screen.
As producer Jerry Bruckheimer relates, УJohnny Depp creates amazing characters, no matter what movie heТs in. His Tonto will be different than any Tonto youТve ever seen before. He has a whole different look, a whole different feel. We donТt even know until the cameras roll what heТs going to do, but we know itТs going to be entertaining and very interesting.Ф
Depp had definite thoughts how he wanted the character of Tonto to be portrayed. He remembers watching repeats of the TV show when he was a boy and promises that his Tonto will be an equal partnerЧand certainly not a sidekickЧto the Lone Ranger and honor the noble, warrior tradition of his Native American heritage.
УСThe Lone RangerТ was just one of those sort of regular things that you would see on television as a kid. I watched it and I always identified with Tonto,Ф he says. УAnd even as a kid I wondered why the Indian was the sidekick.
УAnd it wasnТt that СThe Lone RangerТ was overtly disrespectful in the way he treated Tonto but I just thought, Сwhy is he the guy that has to go and do this and that? Why isnТt he the hero?Т So that was something that was always on my mind. And I was told at a very young age that we have some Indian blood in our familyЕwho knows how muchЧmaybe very little, I donТt know.
УSo what I wanted to do was play this character not as the sidekick to the Lone Ranger. I wanted to play him as a warrior and as a man with great integrity and dignity. ItТs my small sliver of a contribution to try and right the wrongs that have been committed in the past.Ф
With Johnny Depp already cast as Tonto, the filmmakers searched for the perfect John Reid aka The Lone Ranger. It soon became apparent to Jerry Bruckheimer and Gore Verbinski that the much sought-after role of the Lone Ranger was custom built for a young, impossibly talented and equally good-looking actor named Armie Hammer. Having already made a notable mark in Hollywood with his performance as the Winklevoss twins in David FincherТs УThe Social NetworkФ and starring opposite Leonardo DiCaprio in Clint EastwoodТs УJ. Edgar,Ф Bruckheimer and Verbinski snagged him for УThe Lone RangerФ at just the right moment.
Describing Armie Hammer, director Verbinski says, УWhen you meet Armie, you soon realize that he doesnТt have a cynical or jaded bone in his body. Armie has a great optimism in the way he looks at the world. We really needed someone you could believe would have old-fashioned ideas.Ф
Johnny Depp, talking about his experience working with Hammer, says, УFirst and foremost, Armie is a great guy. HeТs very smart, very quick and clever with a great wit and heТs super talented. He committed to playing the Lone Ranger as an earnest, na?ve, Сwhite manТЧand thatТs exactly right.
УArmie is a young actor coming up the ranks and he looks like a classic movie star and whatТs more, he has the chops to back it up,Ф continues Depp. УSo he fully committed to this roleЧhe played it perfectly, he got the humor, and he didnТt want to play it as the Сcool guyТ as it were. I found him a dream to work with and I feel like IТve made a really good friend in Armie.Ф
The other УLone RangerФ cast members embody excellence. Tom Wilkinson, who portrays railroad and nation builder Latham Cole, is acknowledged as one of BritainТs finest and most versatile actors, and is a two-time Academy AwardЃ nominee (for УIn the BedroomФ and УMichael ClaytonФ) and four-time Golden GlobeЃ nominee, winning for his performance as Benjamin Franklin in the HBO miniseries УJohn Adams.Ф УLatham Cole is, in a certain sense, one of the fathers of America as it is today,Ф explains Wilkinson about his character. УToday he would be called a venture capitalist. For Cole, building the Transcontinental Railroad isnТt just an opportunity to make money, but also his vision for unified greatness. But Cole is not always over fastidious in how he achieves what he needs to achieve, but I guess thatТs always been the case. The people who have the big vision are not reluctant to tread on the legal rights of other people.Ф
William Fichtner took on the role of outlaw Butch Cavendish, the Lone RangerТs archenemy and a character known to all fans of the legend. Through the years, Fichtner has developed a mighty reputation for his versatility and range. Unrecognizable in his makeup as Cavendish, Fichtner nonetheless found a core to the character that makes him more than just a monster. УSometimes I play people rougher in nature, but I always try to find something to make them real. Cavendish is pretty simple in his thought process about what he wants, but heТs smart and focused. I think itТs safe to say that out of all the amazing characters that youТll see in this film, the last person you would want to find in a dark alley is Cavendish. I donТt even think Cavendish would want to run into himself, letТs put it that way.Ф
Emmy AwardЃЦwinner Barry Pepper set his targets on the role of Captain Fuller. In researching the role, Pepper studied such famous УIndian fightersФ of the late nineteenth century as George Armstrong Custer, Ranald Mackenzie and Phillip Sheridan. УThey were very ebullient, egocentric men, who spoke in vainglorious flourishes, with grander purposes in mind. You can almost hear the campaign speeches and slogans stirring in FullerТs mind. I saw him as this preening peacock swept up in the grotesque task of ridding the Indians from the plains, a Cavalier in the masquerade of progress.Ф
The filmmakersТ determination to marry the best possible talent to their specific roles paid off again with the selection of New York CityЦborn James Badge Dale to play Dan Reid, a Texas Ranger whose rough frontier nature is a striking contrast to that of his refined and highly educated brother, John. УDan Reid is JohnТs dirtier, more world-weary older brother,Ф notes Dale of his character. УThere are lots of shades of gray in DanТs worldview, and perhaps in another world and another time, he might have ended up on the outlaw side of things. Right and wrong donТt seem to be that clear to him anymore.Ф
British actress Ruth Wilson makes her American film debut in УThe Lone Ranger.Ф УWhen Ruth came in and read for the part, she just blew us away,Ф says Verbinski. УShe can act circles around most people, and sheТs really got it going in those eyes. SheТs going to be a huge movie star.Ф
Comments Wilson, УWorking on СThe Lone RangerТ has been epic in every sense of the wordЧthe scale of the production, the landscape, the quality of talent involved across the board. YouТll see itТs a Western that swings from absurd humor to deadly serious emotion and all set against a fascinating moment in American history. For me it was an opportunity I couldnТt resist and an experience I shall never forget.Ф
Helena Bonham Carter joined the cast as Red Harrington for a good reason: УThe reason I wanted to do the film is because IТve never actually been offered to play a peg-legged Southern madam in a Western,Ф says the two-time Academy AwardЃ nominee. Another lure to the role might have been the opportunity to work once again with her friend Johnny Depp, with whom sheТs previously acted in five films. Bonham Carter describes the flamboyant, dramatically coiffed, and scrimshaw-legged Red as Уthe proprietor of an exotic establishment that is also mobile. Red follows the railroad as itТs being built, because all her business is from the workers. SheТs a powerful, straight-talking pragmatist.Ф
The huge supporting cast of УThe Lone RangerФ were meticulously selected from several sectors of the American and international acting communities. Two distinguished actors were selected to portray Comanche warriors facing an uncertain future: Saginaw Grant, a greatly respected actor/educator/activist from the Sac and Fox, Iowa, Nation and Otoe-Missouria Nation, portrays Chief Big Bear, still a great leader despite the advance of both his older years and the railroad into Comanche territory; and Gil Birmingham, himself a Comanche, plays Big BearТs war chief Red Knee.
BACK TO SCHOOLЕCOWBOY SCHOOL
The cast and background players of УThe Lone RangerФ discovered that if you want to be a cowboy, gunslinger, or railroad builder on screen, youТve got to go back to school and be properly taught. УCowboy Boot CampФ began three weeks before Gore Verbinski called УActionФ for the first time and was attended by the vast majority of the primary cast at the Horses Unlimited ranch in Albuquerque. Their teachers included stunt men, horse wranglers, prop master, and armorers, and nobody was cut an easy breakЧnot even the guy playing the filmТs eponymous character.
УCowboy Boot Camp is basically all the actors running around like six-year-old boys,Ф says Armie Hammer. УRiding horses for two hours a day, throwing lassos for an hour, shooting guns, riding in a wagon, putting on a saddle and taking it off. It was like an immersion project. After just a few days of boot camp, I did more riding than I cumulatively had in my entire life.Ф
УWhat Gore wanted,Ф explains stunt coordinator Tommy Harper, Уwas to have a Cowboy Boot Camp where we basically teach each actor how to shoot a gun, how to saddle and ride a horse, along with other training. This way we get to know the actors, what their abilities are, and how to keep them safe. The main thing for me is to make sure that at the end of the movie theyТve done as much as they can do safely, and end the movie being completely healthy.Ф Although boot camp started before filming actually began, Harper points out that the actorsТ training went Уall the way to the end. Just when you think you know everything, something backfires on you, so we never let them get too comfortable.Ф
Clearly, it was crucial for the actors to learn the correct handling of firearms, and for that they were under the expert tutelage of armorer Harry Lu. УEven though theyТre shooting blanks,Ф notes Harper, УitТs still a dangerous piece of equipment that theyТre working with, and we have to make sure that they know every bit of handling and how to look correct doing it.Ф
William Fichtner, who as ultimate badass outlaw Butch Cavendish had to feel absolutely secure with his weaponry, was glad to put himself in the safe hands of the experts. УWith Mr. Harry Lu around, IТm comfortable with anything when it comes to firearms,Ф says the actor. УItТs hard . . . the first time you hold that heavy gun in your hand. But every time I would arrive on set and see Harry, I would ask him if I could handle the gun for a little bit, and he would always show me something new to practice, then show me a little more.Ф After a time, Fichtner was doing dangerously cool flips and twirls with the gun, which were captured on film during shooting in Creede, Colorado. УYou know why you try so hard with things like that?Ф asks Fichtner. УBecause as an actor, you want little moments to equal everything else thatТs happening on this film. I wanted that gun move to be as good as the amazing backdrop and set we were shooting on in Creede.Ф
Schooling the talent on horsemanship was the filmТs crack wrangling team under the supervision of head horse wrangler Clay Lilley and wrangler gang boss Norman Mull. УA horseman can look at an actor and know that person canТt ride a horse,Ф says Harper. УYou can just tell by how they walk up to it, or how they mount and dismount. So teaching them how to look correct was really important.Ф Says Norman Mull, УWhat weТre trying to do in boot camp is to get the actors comfortable with horses, pick horses for them, and teach them whatever we need to make sure they can ride. Some of the actors had some previous experience, including Armie Hammer and Ruth Wilson. УIТve fallen off a few horses before,Ф says Wilson with a laugh, Уso I thought this was a good place to start learning properly.Ф Wilson enjoyed being the only woman at boot camp. УYeah, I loved it, surrounded by cowboys, it was quite fun. It was a really nice way of understanding the world of the movie.Ф
The normally fearless Hammer, however, was actually a little nervous. УIТd been on horses before, but I thought, УThis animal thinks for itself, and that makes me a little nervous. What is it going to do if it sees a bunny?Ф But they donТt give you a choice; they just stick you on a horse and say, СGo ride.Т It was nonstop fun for three weeks.Ф
The other principal actors also had a blast at boot camp, although they acknowledged the rigors involved. James Badge Dale, the New Yorker who plays tough Texas Ranger Dan Reid in the film, had to come clean about his riding skills when he first met with Jerry Bruckheimer and Gore Verbinski. УI didnТt have the job yet, and I met with the two of them. Jerry was just sitting quietly, as he often does, observing and listening carefully. Gore asked me if I knew how to ride a horse. I went back and forth with some story, and finally said, СGore, IТm sorry, I have no idea how to ride a horse. IТm from New York City!Т Then Jerry suddenly starts laughing, and said, СYouТre the first person whoТs come in here and told us the truth!Т Then Gore added, СWell, youТre going to learn.Т And I did. I learned things about horses that I never thought I would. These wranglers are very good at what they do. They love their horses and they teach you to respect them.Ф
Also making an important contribution to boot camp was Kris PeckТs prop department, since it was responsible for providing the period-correct tack for the actorsТ horses. They custom made upwards of eighty Western saddles, twenty-five U.S. Cavalry saddles, and thirty Native American saddles. УWe have to teach the actors how to take off all their props and look as if they know what theyТre doing,Ф explains assistant prop master Curtis Akin. УThey have all kinds of stuff that theyТre going to use for the camp scenes, so when they ride up theyТre going to get off their horses, pull all this stuff out, lay their saddles around the campfire, and lay their bedrolls out to make camp for the night.
THE MAKING OF УTHE LONE RANGERФ
With the goal to make a movie that would defy conventions and expectations, but satisfy audiences in ways they could never have expected, producer Jerry Bruckheimer and Academy AwardЃЦwinning director Gore Verbinski began filming Disney/Jerry Bruckheimer FilmsТ УThe Lone RangerФ on February 28, 2012, in Albuquerque, N.M.
The talented castЧJohnny Depp, Armie Hammer, Tom Wilkinson, William Fichtner, Barry Pepper, James Badge Dale, Ruth Wilson and Helena Bonham CarterЧembarked on a seven-month filmmaking journey that would take them across the varied terrains and weather of four states in the American Southwest, making the filming of УThe Lone RangerФ a great adventure in itself.
Capturing the sweeping canvas of УThe Lone RangerФ was director of photography Bojan Bazelli (УThe SorcererТs Apprentice,Ф УMr. & Mrs. SmithФ), with whom Verbinski had previously worked. Says Verbinski of Bazelli, УNobody understands the photochemical process better than Bojan. He understands what happens to your eye when you light a room, he understands whatТs happening at the back of the lens when it hits the emulsion, and now, digitally, when it hits the chip. I think he has a better understanding of that than anybody IТve ever worked with.Ф
Speaking to the visual approach that he and Bazelli brought to УThe Lone Ranger,Ф Verbinski states, УIt was essential to keep it based in reality. We didnТt want to make it so pretty that it felt theatrical in any way. The narrative is epic and operatic by design, but if you adorn that overtly I think you lose any sense of integrity. It had to feel honestЕand a bit raw.Ф
Before the cameras turned for the first time on УThe Lone Ranger,Ф the filmТs Comanche adviser, Wahathuweeka-William Voelker and his associate Troy performed a traditional blessing ceremony on the grounds of Albuquerque Studios. Inside, on three soundstages, the sequences involving railroad cars, a Wild West Exhibition tent and the lavish interior of RedТs Traveling Entertainments were set to be filmed.
Thirty-six miles west of Albuquerque sits Rio Puerco, where the production built the from-ground-up town sets of Colby and Promontory Summit. With the exception of sojourns to Monument Valley and Canyon de Chelly in the Navajo Nation, Rio Puerco would provide the base of operations for the company for the next three months.
On the morning of April 12, the production headed to Monument Valley to begin shooting before sunrise. The sun rose on cue above the ridge known as John Ford Point for a shot of the Lone Ranger and Tonto on horseback, right at the edge of the rim. At the stunning section of Monument Valley known as North Window, the company was honored with a visit of Navajo Nation leaders, who welcomed the first major feature film to shoot in Monument Valley in more than a decade.
From there, the crew headed off for a winding 65-mile drive through the Navajo Nation to Canyon de Chelly. Canyon de Chelly is another deeply historic and spiritual Navajo site, which comes under the supervision of the National Park Service. For six days there, Verbinski filmed the crucial BryantТs Gap ambush sequence deep in the recesses of the locale.
After returning to Rio Puerco for some more filming, the crew followed a dramatic change of scenery as production moved 270 miles north from Albuquerque to the tiny mountain town of Creede, Colorado, for three weeks of filming. The historic and picturesque town of Creede was the last silver-mining boomtown of late 19th-century Colorado. The village has a fascinating rough-and-tumble history, attracting such unsavory characters during its mining heyday as Soapy Smith and Robert Ford. УThe Lone RangerФ took advantage of CreedeТs storied past by building its own Sleeping Man Mine just north of downtown, amid the ruins of the real-life Amethyst Mine.
УItТs really authentic,Ф notes Jerry Bruckheimer, Уjust a beautiful part of Colorado. But to get all our equipment here wasnТt easy, including an entire train. ItТs never easy in small towns to move around and find housing for this big of a company. But when you see the picture, youТll see the authenticity, and thatТs whatТs wonderful about this movie. WeТre in the real locations, not using a lot of CGI. In a lot of films these days, the environments are artificially created. This is the real deal.Ф
The Colorado River in Moab, Utah, would provide the next location, with Johnny Depp, long familiar with water work from the УPirates of the CaribbeanФ movies, getting drenched again (along with the crew). Then back up to the heights, with shooting at two of MoabТs most stunning locations, Fossil Point and Dead Horse Point. And while Fossil Point is also known as Thelma & Louise Point, where the two outlaws drove off a cliff at the finale of the famed Ridley Scott film, the addition of a full-size train, workersТ camp, and 154 costumed extras made it virtually unrecognizable. Dead Horse Point was the site of the tall, edge-of-the-cliff spirit platform on which John Reid awakens after being saved by Tonto. УIt was a rickety structure about eighteen feet tall,Ф recalls Armie Hammer, Уand while I was standing on top of that thing, the platform would sway about three feet. Then, looking down, I realized that it would be a two-thousand-foot drop to the bottom of the canyon floor. That was a trip.Ф
Following a one-day shoot back in the Navajo Nation at Shiprock, a stunning 1,583-foot-high rock formation, the company drove to their next base of operations, Santa Fe, New Mexico. Along with shooting the Hell on Wheels and Reid Farm scenes in nearby Lamy, Verbinski found other ways to utilize the varied and often astounding topography of the region. The forbidding, moonscape-like rocks of Plaza Blanca were appropriately selected for the УValley of TearsФ location for scenes with Ruth Wilson, William Fichtner, and the Cavendish Gang. Meanwhile, the magnificent Valles Caldera National Preserve, a huge 12-mile-wide grass valley in the crater of a volcano, was utilized as the setting of a Comanche warriorsТ village. Also utilized were the Gilman Tunnels, an ideal site for more train road rig work. And the high elevations of Pajarito Mountains provided the dramatic site of a last stand of courageous Comanche warriors.
In mid-August, the company once again packed up and returned to Albuquerque for one week more of shooting, before traveling 154 miles northward, beyond Taos, and 8,600 feet up in the mountains of Angel Fire, New Mexico, for 17 final days of location shooting. This final leg was almost entirely made up of alpine train road rig work as well as a spectacular crash engineered by special effects coordinator John Frazier and his team.
Johnny Depp and Armie Hammer completed their final shot for the film on Thursday, September 28, 2012, and appropriately enough they were together in the same frame rather than being shot separately. As Gore Verbinski called УCut!Ф they waved their arms in a victory salute to the director, Jerry Bruckheimer and the rest of the company.
But there was still one more road trip to go for the rest of the companyЧ177 miles north to the desert of Lone Pine, California, where a second Comanche camp had been erected for two final days of filming.
THE ART DEPARTMENT: REBUILDING THE WEST
The filmТs talented production designers Jess Gonchor (УMoneyball,Ф УTrue GritФ) and Mark УCrashФ McCreery (УRango,Ф УPirates of the Caribbean: Curse of the Black PearlФ) enjoyed a large staffЧcomposed of six art directors, eleven set designers, two illustrators, a scenic artist, several storyboard artists, two graphic designers, two model makers, a research coordinator, an art department production assistant, and 274 members of the construction teamЧbut sometimes McCreery just liked to do things on his own. He hand-carved the Native American petroglyphs that adorn the wooden frame around Old TontoТs diorama in the Wild West Exhibition tent, for example, and personally painted symbols on the walls of a two-hundred-foot-long train tunnel built in Creede, Colorado.
УCrash is a total maverick,Ф says Jerry Bruckheimer, Уwith a limitless imagination and tons of energy. WeТve been lucky enough to work with Crash as a creature designer on several films, and it really was time for him to take a step up and show the full range of his abilities.Ф
Production design challenges on УThe Lone RangerФ included designing several massive sets on which the drama, comedy, and adventure of the film could play out. There were twelve full-size structures comprising the fictional town of Colby built in Rio Puerco, nearly all with four walls, including a train station, livery stable, saloon, rooming house, bank, sheriffТs office, and various shops, with five miles of railroad track surrounding the town built especially for the film.
Built adjacent to the Colby set in Rio Puerco was the set for another town, Promontory Summit, the historic site where the Union Pacific and Central Pacific trains met head-to-head after completion of the Transcontinental Railroad. Promontory Summit, as built for the film, has a very different feeling from the decidedly more ramshackle Colby; it is more solidly built with brick and wood, indicating greater prosperity and a longer history.
The wilder side of Crash McCreery really got a workout with his designs for УHell on Wheels,Ф a moveable tent town, inspired by numerous pop-up towns that actually existed in the 19th century, which follows the workers building the Transcontinental Railroad. The tent townТs highlight is the lavish interior of its largest establishment, RedТs Traveling Entertainments.
The colorful and wonderfully bizarre Hell on Wheels set was prefabricated in the art department warehouse in Albuquerque for five weeks and then, over the course of another six weeks, assembled in the rolling hills of Lamy, New Mexico. The end result is a fantastical cornucopia thatТs akin to a traveling carnival on Wild West steroids and populated by a splendid and weird combination of snake charmers, human oddities, fire eaters, tea merchants, intestinal complaint medics, makeshift dentists, religious fanatics, and railroad workers. All this debauchery is set against a backdrop of lavish tents, stages, and booths anchored by the imposing exterior of RedТs Traveling Entertainments.
УHell on Wheels was kind of the embodiment of every spectacle and every fantasy about the Old West,Ф says McCreery. УNo matter what you wanted and what your desire was, you could find it here. And Cheryl CarasikТs set dressing was spectacular, filling the street from one end to the other with every item imaginable.Ф
The set for the expansive interior of RedТs was actually built and shot months earlier on an Albuquerque Studios soundstage. The ramshackle walls of RedТs riotous saloon are festooned with authentic period postcards, advertisements and bottles of liquor, along with a sign displaying УRedТs House Rules.Ф
A mere stoneТs throw from Hell on Wheels was the much more sober Reid Farm set, a classic slice of Americana with its wood and stone farmhouse and large wooden barn, abutted by stables and animal pens. УItТs one of the most realistic sets that weТve built,Ф notes McCreery, Уand it looks as if it were there for a long time. But it was built in just a few weeks, and we had to burn it down overnight!Ф
Another of the production designersТ most impressive sets was the Sleeping Man Mine, constructed in Creede, Colorado. The set was designed to blend in with the historic townТs actual 19th-century silver-mine buildings, but with elaborate new structures. These included a 200-foot-long train tunnel with a 40-foot-tall faux rock front, a mile of railroad track, elevated tracks and trestles for ore carts, plus mining shacks that, although newly built, looked aged enough to fall apart at any moment.
Supplying the characters with a formidable arsenal and a huge number of accouterments was prop master Kris Peck and his associate, armorer Harry Lu. From the Lone RangerТs famous pearl-handed pistols loaded with silver bullets to Red HarringtonТs ivory leg and Latham ColeТs pocket watch, these relatively small objects all played crucial parts in the story. Peck also wanted to make certain that key УheroФ props were properly aged, consistent with VerbinskiТs approach to the filmТs entire rustic design scheme. УThe history is in the prop when you look at it,Ф notes Peck. УGore told me up front that there would be four or five props that weТre going to see 80 feet across the screen, and the Lone RangerТs badge and silver bullet are two of those. They had to look as if they were made by hand, and not in a prop house.Ф
Curiously enough, TontoТs main prop is probably the beaded leather bag in which he keeps various totems and, even more important, seed for the crow that adorns his headdress. He carries no firearms, just two knives, one of which is fashionedЧironically enoughЧfrom a railroad spike, as if Tonto is turning his enemyТs tool against him. But very possibly, PeckТs most remarkable propЧcertainly the most originalЧis Red HarringtonТs ivory prosthetic leg, which includes some hidden firepower. УRed is the living definition of how to turn a minus into a plus,Ф says Helena Bonham Carter, who portrays the colorful character. УPut a gun in your prosthetic leg and protect your girls. SheТs empowered by her loss, not disabled by it.Ф
STUNTS: HARPERТS WORLD
The seven months of filming would see stunt supervisor Tommy Harper and his team accomplishing impossible stunts, many of them inside and on top of trains for the spectacular action sequences that bookend the film.
УThe trains are amazing in that theyТre real,Ф says Harper. УWe never did anything on those trains slower than thirty miles per hour, and usually somewhere around forty miles per hour. We put special tracks on the top of the train cars so that the stunt players could run along the top but always tethered to the train on a limit line, which you canТt see, so that if something should happen, they wouldnТt fall off.Ф
Harper and his team were constantly doing safety checks and ensuring that, to the best of their abilities, the action, though inherently perilous, would be within certain boundaries.
In addition to his great team of stunt players, Tommy Harper was blessed with two stars and several supporting players who absolutely loved doing as many of their own stunts as possible. For Johnny Depp, that meant running on top of moving train cars and plenty of work on horseback. УJohnnyТs fantastic,Ф says Harper. УWhatТs so great about him is that you tell him something, and he says, СOkay, yeah, I get that.Т And Johnny will go and do exactly what you say.Ф
With his youth, athleticism, and adventurous spirit, Armie Hammer was pretty much up for anything as far as stunts and riding were concerned, and Tommy Harper took full advantage of the actorТs enthusiasm. УI told him that if the whole acting thing didnТt pan out, he could come work for me anytime because he did a fantastic job with all his stunts.Ф
Another principal actor who got a major stunt workout was William Fichtner as Butch Cavendish. УBill really embraced that character,Ф notes Harper, Уone of the best movie bad guys IТve ever seen. In one scene, he jumps from a moving train onto his horse, and he really did that.Ф
Strangely enough, Fichtner found that incredible stunt considerably less intimidating than the road rig work. УAll I can tell you is that jumping out of a 20-mile-per-hour train onto a full galloping horse and landing on an empty saddle was not nearly as nerve-wracking as standing on top of a moving train when itТs flying around the bend!Ф
And it wasnТt just the boys in the cast who were having all the fun. УRuth Wilson is amazing,Ф confirms Harper. УSheТs another one who could be a stuntwoman. SheТs fearless and very smart. She doesnТt just throw herself out there but asks all the right questions. I had Ruth hanging off the side of the train upside down with her head right next to the wheels. She saw what the parameters were and felt safe with us rigging her.Ф
ON TRACK AND OFF: THE TRAINS
What happens when a producer and director need three 19th-century American trains for several of the most ambitious action scenes ever committed to film? УWe build them,Ф states Jerry Bruckheimer, Уjust as we built several full-size ships for the СPirates of the CaribbeanТ movies. ThereТs no substitute for reality, and given what we needed to do with those trains, the real thing was the only way to go.Ф
The dilemma Bruckheimer and Verbinski faced in preparing УThe Lone RangerФ was how to accomplish the mighty task of shooting what was in the screenplayЧnothing less than some of the most complex and hair-raising train action ever devised. Possibilities included creating miniatures, using CGI, or utilizing extant period trains, but the trains in the screenplay were so well defined and such an important element of the drama and action that only the real thing would do.
УWhen you go into the exacting mind of Gore Verbinski, who knows camera angles, speeds, tilts and duration of shots, then it becomes very technical and specific,Ф explains production manager Tom Hayslip. УAs the trains became a more important element of the movie, we started worrying about how they could do what they were needed to do. How can they go fast enough? How can they stop fast enough? In a way, the trains became characters, much like the СBlack PearlТ did in the СPiratesТ movies. They lived, breathed, worked, and failed us. Sometimes they would be great and other times not. There was a lot of head scratching as we got into the specificity of what Gore needed out of those trains.Ф
The train department of УThe Lone RangerФ was coordinated first by Jim Clark, who brought years of traditional knowledge to the task, and then by Jason Lamb and assistant train coordinator Luke Johnson, with their contemporary engineering and logistics knowledge. The building of the two 250-ton trains, and the tracks on which they rolled, was a remarkable collaboration between several of the filmТs departments and a major engineering feat by any standard.
Originally, the production planned to utilize existing track in a different part of New Mexico. Explains Hayslip, УThey had already started construction on Colby down in the southern part of the state, which was chosen because there was already some railroad track there that could be used. But upon scouting it, we found that we would have to upgrade that track in order to travel up to thirty miles per hour on it, as well as build extra track and share it with the mining company that owns it. We immediately shifted gears and started the process of building our own track and trains.Ф
The towns of Colby and Promontory Summit were built with five miles of track surrounding them in an oval, along with a couple of miles of double track so Verbinski could shoot side-by-side train sequences. The construction of these tracks required sixteen weeks of building by Gandy Dancer, an Albuquerque-based railroad and excavating service company under the supervision of Joey Hutchens.
Gandy Dancer hauled in 3,889,425 pounds of the 33-foot rail, bars, tie plates, and ties on 82 flatbed truckloads from Blythe, California. A whopping 60,429 pounds of bolts, washers, and turnouts were sent on two flatbed trucks from Kansas City, and 402,000 pounds of ties and spikes from Stockton, California. Once the materials were collected, the company set to work building something akin to a whole new railway line in the dusty Rio Puerco desert, and another mile of track also had to be laid for the Sleeping Man Mine location in Creede, Colorado, for the additional train work there.
Back in a Sun Valley, California, workshop, Academy AwardЃЦwinning special effects coordinator John Frazier (УSpider-Man 2,Ф УOz The Great and PowerfulФ) was busy building two full-size trains to run on the new tracks, the historic Jupiter and what came to be known as the Colby train, which was later converted into Latham ColeТs train, the Constitution. The trains were period authentic down to the last detail, except for two important elements: first, the locomotives would work on modern hydraulic power rather than steam, and second, the railway cars were all built like shipping containers, so that they could be lifted on and off the train chassis or the flatbed trucks that comprised the road rigs.
УThe trains have hydraulic hoses going up into the coal cars, known as tenders, where we hide two one-thousand-horsepower Cummins diesel motors,Ф explains Frazier. УWe have special effect steam and black smoke to give the illusion that theyТre period trains.Ф Frazier built the locomotives for the trains, while the art and construction departments designed and built the 15 period railroad cars. Since the locomotives were not actually powered by steam, he had to be concerned about realistic smoke effectsЧand how to control them.
The trains were driven from a computer inside of the cab, and if Verbinski was filming inside of the locomotive, the controls were moved back into one of the cars. However, a real train engineer was needed to control the braking system, so that in case of an emergency he could override the safety brake, which was the only control not computerized. And although Frazier engineered the trains to go 30 miles per hour, when more power was necessary, modern diesel locomotives were put in play to either tow or push the period trains. УOur trains are basically movie props, so we didnТt want to wear them out,Ф notes Frazier. УSo we used our trains in big, wide shots, and when the camera was tighter or inside one of the cars, the diesels were put into play.Ф
In terms of design, production designer Crash McCreery points out that the trains in УThe Lone RangerФ are Уbuilt bigger than they actually were in that time period, because Gore wanted to give audiences a sense that these things were beasts tearing through the country. The Colby train was a utilitarian passenger train, but ColeТs train, the Constitution, was much more elegant, and it was fun to design his lounge and dining carsЧit had to be a very opulent, masculine environment.Ф
Art directors Domenic Silvestri and Naaman Marshall were assigned to work only on the trains, and they took their inspiration both from history and the needs of the fictional film. As such, they definitely took liberties with the two vehicles that met head-to-head at Promontory Summit for the Golden Spike ceremony on May 10, 1869. As Silvestri notes, the filmТs Jupiter train, a.k.a. Central Pacific No. 60, Уis relatively close to the real thing,Ф but the Constitution diverges from the historic train simply known as Union Pacific No. 119. УThe Constitution is tied to the character of Latham Cole, so itТs more about his character than being historically accurate. We looked at a lot of photographs of the period when designing the Constitution, and Gore wanted it to be big and mean looking, a black and silver coal-burning villain as opposed to the wood-burning Jupiter.Ф The locomotives of the Jupiter and Constitution were authentic down to the last detail, including the plaques adorning their exteriors.
Set decorator Cheryl Carasik made certain to decorate the interior of the railroad cars with objects that would swing to the motion of the train, even down to curtains with trim on the edge especially chosen for their movement. As for Latham ColeТs personal train cars, Carasik admits, УTheyТre a little over-the-top for a man, but Cole is over-the-top.Ф
The final, massive action sequence of the film also required specially designed trucks to tow railroad cars during the road rig work. УThe third act train sequence traverses many different looks,Ф explains Hayslip. УIt starts in the desert, then goes to high scrub, then down to low hills, then foothills, and on to alpine. Of course, we werenТt able to find rail track traversing all those looks, so we thought early on that we could instead bring our train into those environments. The road rigs are our actual train cars, lifted off and placed onto flatbed trailers, some of them up to seventy-five feet long.Ф
With extensive need for actors and stunt players to perform on the roofs of the trains, platforms had to be built on the sides of the railroad cars, with camera-mounted Technocranes capturing the action. УBut once we got all that stuff on,Ф Hayslip continues, Уwe still had to get down the road. So weТve got a ten-foot-wide train, six-foot-wide Technocrane platform on one side, and ballastЧusually big water barrelsЧto keep it steady on the other side. Meanwhile, some of those rural roads we shot on were only twenty-two feet wide, so we would be clearing the trees by maybe two inches.Ф
To Armie Hammer, working or even observing the road rigs was nothing short of awesome. УWhen you see the rigs working their way down a highway, almost one hundred feet long and followed by support vehicles and police cars behind them, itТs breathtaking. After about an hour of shooting, all the townspeople are lined up on the side of the road, never having seen anything like it. Just the magnitude of it is amazing.Ф
All that was needed then were actors crazy enough to actually stand on top of trains moving upwards of 40 miles per hour down mountain roads with hairpin curves and long drops below. Luckily for Gore Verbinski and Jerry Bruckheimer, they found them. Says William Fichtner, УIТll tell you one thing . . . it gets your heart rate going. ItТs great, thrilling, takes your breath away, but yeah, a little scary.Ф In one scene, Ruth Wilson, as Rebecca Reid, is dragged by Fichtner as Butch Cavendish to the top of the train. УBill spins me around and threatens to push me off the side of the train,Ф she recalls. УSo IТve got one foot on and one foot off the train, going about thirty miles per hour. It was incredibly exhilarating!Ф
Adds Barry Pepper, who plays the filmТs eccentric Captain Fuller, УJust driving up and down through the mountains and forests, seeing this amazing scenery, doing all these gunfights as the trains are careening around these cornersЧit was absolutely incredible. You get the real rush of wind coming in, branches hitting the side of the train, people bouncing and rattling all over the place, lanterns swinging, and itТs just alive and electric. ItТs something you just canТt create on a soundstage. It was incredible what Gore pulled off. I mean, he had Johnny Depp running on top of the train, with me shooting at him through the ceiling. It was a testament, too, to what Disney was willing to do to change the paradigm of the cowboy movie. The Western will forever be changed after this; it will set the gold standard much like СPirates of the CaribbeanТ did with that genre. ThatТs what Jerry, Gore, and Johnny do, and itТs amazing to be a part of it.Ф
THE LOOK OF 1869: DESIGNING THE COSTUMES
For British costume designer Penny Rose, the devil is in the details, and no detail is too small to escape her discerning, uncompromising eye. Rose may have helped create the distinctive threadbare threads of Captain Jack Sparrow in all four УPirates of the CaribbeanФ movies, the glamorous costumes of the Argentinean dictator in УEvita,Ф and the battle gear of the Roman and Near Eastern warriors in Jerry BruckheimerТs УKing ArthurФ and УPrince of Persia: The Sands of Time,Ф but she has never before tackled a Western. УIt was quite a challenge,Ф says Rose, Уas I always do the costumes as authentically as possible and then give them a bit of fun.Ф
Rose was well aware of the iconic Lone Ranger and Tonto costumes from the classic television show, but neither she nor Bruckheimer nor Verbinski had any inclination to revive the campy ensemble Clayton Moore wore. УOne of the things I observed watching Westerns from the 1950s and Т60s was that they were quite often indicative of the time in which they were made,Ф observes Rose, Уwhereas we decided that we were definitely going to make this as authentic to 1869 as possible.Ф RoseТs gigantic wardrobe department operation would include upwards of 1500 costumes, and hundreds of hats, shoes, and other accessories, either created especially for the film or rented and altered according to need. Ensconced in a gigantic warehouse at Albuquerque Studios, Rose worked alongside small armies of costumers, cutter/fitters, seamstresses, stitchers, and agers/dyers, creating and assembling the costumes for УThe Lone Ranger.Ф
Joining Rose were numerous longtime collaborators, including assistant costume designer Charlotte Finlay, associate costume designer John Norster and costume supervisor Stacy Horn, all attuned to the designerТs whirlwind style of working. УI like to call her Hurricane Penny,Ф says Jerry Bruckheimer, who utilized the formidable designer on six previous films. УThereТs really no one like Penny in her field; sheТs incredibly creative and has a supernatural energy level.Ф Rose would need that energy level for УThe Lone Ranger,Ф as at one point she and her crew needed to do an astonishing seven hundred fittings in one day for a scene with a large number of background players.
The designer, as much as possible, tries to use fabrics authentic to the time and place. УI donТt like anything man-made,Ф she confesses, Уso everything is wool, cotton, and silk. I might cheat a little and use a fabric that looks like wool but would be more comfortable for the actors in the kind of extreme heat weТve been filming in, but I never use anything fake. There are no zippers, the buttons have only two holes per that period, and every single female background player is wearing a corset.Ф
There are basically two costumes for the Lone Ranger, one early in the film when heТs introduced as young law school graduate John Reid, the second when heТs made a Texas Ranger by his brother, Dan, and joins the posse in search of Butch Cavendish. УJohn Reid is a lawyer coming from a big city in the East in a three-piece suit, very proper, so when he morphs into the Lone Ranger, we decided that he shouldnТt just become an instant cowboy,Ф says Rose. УThere should be a kind of transition between the two. Also, when you are given an actor who is six-foot-five inches tall, as Armie is, it kind of changes things. He couldnТt wear chaps, or a duster coat; he had to have an iconic look of his own. ThatТs why weТve gone for a really quite smart, tailored look, although throughout the film it becomes more and more distressed.
УHeТs a kind of a СGQТ Lone Ranger,Ф continues Rose. УThis guyТs naturally got style.Ф Rose designed period-correct pants, a linen vest, a jacket of English wool, a white linen shirt, and, in a subtle nod to Clayton MooreТs costume, a neckerchief and white hat, which was custom-made by Stetson and authentic right down to the period label inside the brim. УThey very kindly gave us more than thirty hats,Ф notes Rose, Уwhich is a good thing because of all the wear and tear in the action scenes.Ф
Penny RoseТs long association with Johnny Depp meant that another exciting collaboration was at hand for his Tonto costume. УWe have quite a good shorthand at this point, and Johnny is really good about costume,Ф she says. УHe knows immediately what works and what doesnТt, so there arenТt long-winded sessions. I offer him up a selection of things, and the decision-making goes quite quickly.
УThe story indicates that Tonto is a sort of rogue member of the Comanche tribe,Ф she explains, Уwandering around by himself for years. Joel Harlow, the key makeup designer, developed the crow on TontoТs head and JohnnyТs wonderful body makeup, so my work has really been from the waist down, except for the native breast piece IТve given him. The concept is that Tonto has picked up different pieces on his journey, bits and bobs of his own personal history.Ф
Butch Cavendish, as played by William Fichtner, is Уa bit of a dandy,Ф according to Rose, although a particularly terrifying one. УWilliam is just spectacular because heТs such a wonderful actor. Once Joel had designed BillТs facial makeup, we just immediately got the essence of the man. We put silver epaulets on his shirts, because it says something about how Cavendish sees himself.Ф
For Rebecca Reid, the frontierswoman played by Ruth Wilson, Rose notes that УI designed her authentically as a frontier wife, which rather has a СGrapes of WrathТ flavor, but luckily, later on in the story sheТs given a gown that is a beautiful purple silk taffeta; so for a good portion of the film Ruth is looking really glorious.Ф
Rose describes the deliciously extravagant Red Harrington as Уobviously, the most fun. Nothing can be too over-the-top when youТre designing for Helena Bonham Carter! There is not enough ribbon and beading and embroidery or anything else for Helena. I decided that she should be dressed in red, and Helena was happy about that.Ф
To accommodate RedТs ivory leg, Rose and her team Уmade a rather amusing pair of bloomers that is sort of high-thigh-length on one side, and knee-length on the other.Ф RedТs girls, Rose notes, Уare rather glamorous in that period and had to look welcoming to the gentlemen of the railway, so I did them all slightly tongue-in-cheek. A few of them have wonderful sort of dressing gown peignoirs on, with lots of feather and lace. And others are in once-glorious evening gowns that had sort of lost their glamour and were rather faded and slightly shredded. With the wonderful makeup from Joel HarlowТs department, and fabulous wigs from Gloria CasnyТs hair department, it was a good collaborative moment between the three teams.Ф
Finally, Penny Rose says that the Hell on Wheels sequence Уwas almost like the filmТs gift to the creative team, because we could just really let go, and we did! I did Hell on Wheels almost exclusively with fabrics, which was very challenging because there were acrobats, contortionists and little people, but it was all great fun. I know that it was a bit cheeky for a Brit to do a Western, because itТs not my culture, but it was exhilarating to try something new.Ф
CREATING CHARACTER: THE MAKEUP & THE MASK
Academy AwardЃЦwinning makeup artist Joel Harlow (УStar Trek,Ф УAlice in WonderlandФ) has previously transformed Johnny Depp into the iconic Captain Jack Sparrow in all four УPirates of the CaribbeanФ films and into the Mad Hatter in УAlice in Wonderland,Ф among others. Now Harlow and Depp have worked together to completely reimagine Tonto for УThe Lone Ranger.Ф УJohnny and Joel are kindred spirits,Ф observes Jerry Bruckheimer, Уwith a love of the offbeat and unusual. They always seem to visually find a way into the heart of the characters Johnny plays.Ф
Harlow, who took home an OscarЃ for his imaginative work on J. J. AbramsТs УStar TrekФ was also the filmТs makeup department head, leading a talented department of some 25 workers. And whether attending to the filmТs stars, or inventing fantastically bizarre creations (Уgoat skeleton marionetteФ or half-man, half-womanФ) for the Hell on Wheels sequence, Harlow and company worked to the very limits of their capabilitiesЧand beyond. He and his team were responsible not only for Depp but also for the entire cast, right down to the background players. The look for Tonto began during the filming of ФThe Rum DiaryФ in Puerto Rico during the hot summer of 2009. УI came across a really interesting painting by Kirby Sattler titled СI Am Crow,ТФ recalls Harlow. УI showed it to Johnny, who thought it could be a great inspiration for the character and look of Tonto. Johnny then showed the image to Jerry and Gore, which really got the fire going.Ф
SattlerТs painting shows a Native American warrior with very strong features, face painted white with four vertical black stripes on either side of his nose, long hair adorned with eagle feathers, and most striking, a crow atop his head.
In addition Harlow wanted to incorporate a cracked-earth feel. Notes Harlow, УThe idea being that Tonto has smeared this earth on himself and itТs dried over a period of time, and has cracked almost like a mud mask. I could have smeared a kind of mud mask material on JohnnyТs face and let it crack naturally, but thereТs no way that would have held up and waiting for it to dry would be ridiculous. So what I did was to take a life cast of Johnny, and smear molten clay on it; in that state it has the same texture as mud. Then I took that off his life cast, molded it, cast it in plaster and scribed crack marks into it, to turn it into a silicone prosthetic.Ф
As Harlow relates, there were times when Depp would wear his prosthetic Tonto makeup over multiple days without removing it at wrap, not only because it would save time for the hour-and-a-half makeup process each day, but also because Уthis makeup specifically looks better the longer you sleep in it, as long as itТs not more than three days.Ф A prosthetic nose in conjunction with four body pieces and four facial pieces comprised the look of Tonto, painstakingly manufactured and applied in a process Harlow eventually managed to refine to just ninety minutes.
DeppТs numerous tattoos were also a challenge for the makeup artist. УSome were period-correct and we were able to leave them,Ф says Harlow. УTonto is a nomad, in exile from his Comanche tribe, so we could take some liberties with his look based on the journey he had undergone since he was a boy. The tattoos that didnТt work were covered with the same sort of mud that covers JohnnyТs face, which keeps his look consistent.Ф In one case, a tattoo that began as a temporary makeupЧthe jagged lightning bolt on TontoТs handЧbecame real when Depp had the design permanently tattooed partway through production.
The ever-present crow that straddles TontoТs head was also a responsibility of HarlowТs department. Some 15 different versions of TontoТs crow were created from a combination of taxidermic, imitation, and sculpted birds in a subsection of the department known as Уthe Lab,Ф run by shop supervisor Steve Buscaino and his team. As for TontoТs long mane, hair department head Gloria Casny fabricated the elaborate wig, mysteriously streaked in the back with what looks suspiciously like bird droppings. Finally, Comanche technical adviser William Voelker provided the beaded feathers that are knotted into TontoТs hair.
Armie Hammer didnТt require quite so much attention in his role as the Lone Ranger, but the heroТs all-important mask was also under the supervision of HarlowТs department. УThe shape was very important,Ф says Harlow. УI worked very closely with Gore and Crash McCreery on that because just a little bit of difference in the contours of the mask and you go from the Lone Ranger to a superhero. Once we got the shape, it became a question of material, because Tonto uses the murdered Dan ReidТs vest to make the mask for his younger brother, John. The material of the mask needed to match the material of the vest, but also needed to look like its own element. In the script, the eye holes are cut from bullet holes in the vest, which I thought was genius.Ф
In all, getting the mask to the right place required some ten different designs and seven fittings with Armie Hammer. УItТs not as easy as just tying a piece of leather to a guyТs face,Ф continues Harlow. УThatТs an iconic image, and you want to make sure that itТs correct through the whole film.Ф As a result, the actual fabrication of the Lone RangerТs mask had to be every bit as painstaking as its design. УThe mask is made out of very soft goat skin leather,Ф explains Lenny MacDonald, who fabricated the masks in the Lab. УIt was vacuum-formed right over ArmieТs face so that it fits nice and skintight. The leather is heated with warm water, which makes it pliable, and wrinkles are forced into it so it hopefully looks natural.Ф As always with such designs, there was a period of trial and error. УItТs very similar to the iconic look,Ф MacDonald continues, Уbut we wanted to make it more realistic than the original, which was pretty much what you can buy in a costume store.Ф
УThe first time I put on the mask,Ф recalls Armie Hammer, УI was in a tailorТs back office in Burbank. It was the first version they made, which didnТt fit right. Two or three days later, they came back and said, СWe finished the mask, come on in.Т So I showed up, and it was vacuum-formed and fit my face perfectly. I remember putting it on and just thinking, СDamn, this is badass. This is actually going to be very cool.ТФ
Another actor that Harlow and the makeup department unrecognizably transformed was William Fichtner as Butch Cavendish. УAt first, I messed with the design of ButchТs nose tip, and just kept going and sculpted a piece that had a cleft lip,Ф explains Harlow. УThen, in conjunction with that, we created an effect where we grafted a piece of wire onto a denture with a silver tooth, then forced up the lip, which reveals the tooth.
УThen, since Gore talked about how he wanted Butch to be reptilian, on the morning of the first day that Bill started, we got a rattlesnake tail and stuck it in ButchТs hair,Ф Harlow continues. УGore and Bill both loved ButchТs look, and based on that, we decided that each member of the Cavendish Gang would have their own distinctive physical signatures. For example, Ray, who is played by Damon Herriman, probably has the most extreme signature of the gang, because he was a victim of a failed hanging. So we sculpted a prosthetic that cuts across his neck and up the side of his face rather than the back of his head.Ф
Fichtner himself was deeply impressed by his makeup, along with everything else he encountered during his time on the film. УIТve never been more inspired by a first day on a project. Two days after I talked to Gore about playing Cavendish, I got off the plane in Albuquerque, went right to Horses Unlimited to get on a horseЧwhich I hadnТt done in thirty-eight yearsЧonly to be told that the first thing they were going to ask me to do was to jump out of a train onto a galloping horse. Then I went to see the incomparable Joel Harlow, who created a look within a matter of two hours to which I could only respond, СWow!Т ItТs what happens when you have a group of people who are at the absolute top of their game.Ф
The extravagant look for Helena Bonham CarterТs Red Harrington was the result of collaboration between HarlowТs makeup department and hair department head Gloria Casny. УWe tried to find our own color and tone for HelenaТs character, and this went on for a while,Ф says Casny. УHelena had her own ideas about the color of the wig, and she has a great sense of the character she was playing. The wig that we finally settled on is thirty inches long, and there are extensions that are probably another 25 to 30 inches.
Throughout the production Joel Harlow was impressed by how much creative leeway he and the other department heads were given. УI canТt express how much I appreciate both Gore and Jerry Bruckheimer,Ф adds Harlow, Уbecause when you have a free flow of ideas, their ideas feed my ideas; itТs a back-and-forth creative process. YouТre not stifled, and you can push the envelope. We were allowed to go crazy.Ф
VISUAL & PHYSICAL EFFECTS
The spectacular special effects in УThe Lone RangerФ were the result of separate but often collaborative efforts between visual effects supervisors Tim Alexander and Gary Brozenich, and special physical effects supervisor John Frazier. The latter handled the stunning Уin cameraФ mechanical effects, while the former was the magician tasked with the creation of digital effects. These subtle CGI wonders included transferring landscapes shot in Monument Valley to the background of shots filmed in Rio Puerco, and digitally extending the physically built town sets like Colby with a few extra buildings.
Tim Alexander, one of Industrial Light & MagicТs young geniuses, had already worked with Gore Verbinski on a film that was all virtual reality, the rule-breaking УRango.Ф In doing so, Alexander helped create a degree of realism theretofore unseen by audiences, raising ever higher the bar that had been set by VerbinskiТs previous films, from his more modestly scaled breakthrough movie УMousehuntФ to his three УPirates of the CaribbeanФ films, where digitally animated characters like Davy Jones blend in seamlessly with the live action. VerbinskiТs overriding philosophy for visual effects is that they should never be used for the sake of it. УThatТs something that was drilled into my head during СRango,ТФ confirms Alexander, Уthat it had to be about the point of the shot, that CGI needs to be part of the story. On УThe Lone Ranger,Ф Alexander would oversee a department of approximately 30 members during filming, which would grow in the all-important post-production phase to more than 100, with his work ending only a short time before the movieТs July 2013 release date.
For УThe Lone Ranger,Ф Alexander explains that УGore, myself, and the others came up with a philosophy that we called Сthe 50 percent rule,Т where we wanted to always try to get at least half of something real into the camera frame to maintain as much realism as possible. Sometimes you can get stuck in a mode of just shooting blue screen on a soundstage, and you think everything is going great, but in the end all you have is a bunch of blue screens without anything real to grab on to.
УThe other thing we did, along the same philosophy,Ф continues Alexander, Уwas not to shoot blue screen on a soundstage. All our blue screens were shot outdoors in real sunlight so that they would match the rest of the film. Once you get on stage, itТs often easier because itТs more contained, but youТre lighting for the sun instead of in the sun, and often it looks fake.Ф
Tim AlexanderТs marching orders from Gore Verbinski were to make the visual effects not look like visual effects. УThe effects are actually very big and extremely complicated in this film,Ф notes Alexander, Уand I think the trick for us will be in not allowing audiences to think of СThe Lone RangerТ as a visual effects movie. ItТs about the story, not a big summer visual effects blockbuster.Ф Not an easy task when one considers that the climactic train action sequence is one of the more complicated in recent film history. УItТs huge,Ф admits Alexander. УIt requires about 350 visual effects shots, including rendering full or close-up trains. Gore wants the sequence to be a wild ride with two trains that are almost dueling each other, twisting, turning, crashing, and it just keeps going and going. And weТve got to make it look real. So, all the real live-action footage that Gore pulled off gives us a basis for that, and we need to make sure that our CG stuff looks just as good.Ф
The requirement for approximately 1,300 visual effects shots in УThe Lone RangerФ meant that in addition to ILMТs work, Tim Alexander would also be supervising other contributing vendors as well, including the effects houses Moving Picture Company (MPC), based in London, and Lola, based in Santa Monica. As MPCТs visual effects supervisor, Gary Brozenich, explains, his company is responsible for the Comanche attack at the Sleeping Man Mine sequence. УFrom the beginning to the end of that sequence,Ф says Brozenich, УweТre doing any number of things from set extensions, to adding a million Comanche arrows, to creating CG doubles getting hit by arrows, to face replacements and explosions. WeТre also doing CG scorpions and some backgrounds and landscapes that will be peppered throughout the film.Ф
Brozenich says that working with Gore Verbinski and production designer Crash McCreery Уgave us a strong vision from the start. Gore will do anything he can to get it real. ThereТs a holistic vision for СThe Lone Ranger,Т which guides us into working within the structure of the vision of the film. ItТs very clearly laid out, although thereТs also room for creative breathing.Ф One of the methods Verbinski and his team used were detailed pre-visualization (pre-vis) animatics to map out the more complex sequences. These essentially function as moving storyboards (another technique the meticulously prepared Verbinski relied on heavily), although Brozenich points out that Уit technically guided the work rather than dictated it.Ф
At the end of the long shoot, both Alexander and Brozenich knew that some of their most consuming work still lay ahead of them, but they were ready to take the bull by the horns. УIТm definitely really tired,Ф said Alexander two days before wrap, Уbut IТm excited to get into the next phase now, because I can get back to ILM and start looking at the work everyone has been doing there for almost two months. I know itТs going to be hard, with long days and nights, but with so much material to work with, itТs time to start implementing.Ф Added Gary Brozenich, УYou can already tell that weТre working on a great film, which is why motivating everybody to put in those late hours is not going to be a problem for me.Ф
THE RETURN OF SILVER
There was Tom MixТs Tony, Roy RogersТ Trigger, Dale EvansТ Buttermilk, Hopalong CassidyТs Topper and Gene AutryТs horse Champion, but arguably, no equine hero of classic Westerns ever equaled the fame of the Lone RangerТs Silver. Although that Уfiery horse with the speed of lightФ was beloved by millions on the radio programs and television shows, Gore Verbinski and Jerry BruckheimerТs УThe Lone RangerФ gives the horse something he didnТt really have in past versions of the tale: a distinct personality.
In fact, in the new movie, Silver possesses a beguiling combination of mystery, humor, majesty, eccentricity and heroism. This Silver is a horse that suddenly appears in treetops and on the roof of a burning barn; a horse who recognizes something special about John Reid, even when heТs already buried after being УkilledФ at BryantТs Gap. УSomething very wrong with that horse,Ф notes Tonto to the Lone Ranger, puzzled by some of the animalТs behavior. But Tonto also knows that the animal is John ReidТs Уspirit horse,Ф a being that recognizes the young man as a УSpirit Walker,Ф one who has been to the other side and returned. УSilver is a scene-stealer,Ф confirms Gore Verbinski. УHe shows up in the most unexpected places.Ф
With Silver featuring so prominently in the film, it was incumbent upon the production to find not only the best animal for the role, but also the best person to train it. In that respect, the path was absolutely clear, and it led straight to Bobby Lovgren, acknowledged as the finest in the world at his very specialized profession. The South AfricanЦborn Lovgren, who grew up in an equestrian family, was a stable manager and rider in his home country before moving to Los Angeles and learning the ropes under legendary movie horse trainers Glenn Randall Sr. and Corky Randall.
Lovgren is now perhaps best known as the head trainer on Steven SpielbergТs УWar Horse,Ф but previously he devoted his skills to the likes of УSeabiscuitФ and УThe Mask of Zorro.Ф The key to his success is that Lovgren loves and understands horses, and that feeling seems to be mutual. УWe have to find out what horses understand,Ф says Lovgren. УAre we communicating with them properly? And then making sure theyТre comfortable and enjoying it? We always try to make it easy for them, and thatТs why I do short lessons. IТll do a lot of them in the day, but never so that itТs strenuous for them. That way they pay more attention, just like a little kid.Ф
Lovgren notes that when seeking the perfect horse to portray Silver, Уyou have to find ones that play and look the part. You have to find out what their personalities are, what they can and canТt do, whether they jump well, stand quietly for a long time. All these things are very important.Ф Luckily, the УheroФ horse Lovgren chose to play Silver is also, incredibly enough, actually named Silver. Lovgren had already worked with the ten-year-old ThoroughbredЦquarter horse mix a few years back. УIt was nice going in with a horse that I knew and could rely on,Ф he says.
Although Silver performed most of the actions the role required, Lovgren also cast several other white horses, among them Leroy, Parrot and Cloud, for specific actions. ItТs Cloud who races across the rooftops of Promontory Summit, a sequence that took weeks of preparation with Lovgren, the horse wranglers, and stunt rider Lyn Clarke. УThat whole sequence was an unknown,Ф admits Lovgren, Уbecause that had never been done before, to my knowledge. Our biggest concern, as it is every day, is the animalТs safety, making sure there was no room for error. We had a lot of rehearsals on lower containers, and for that sequence, we patterned the horses so that whenever they went up there they did exactly the same thing over and over again, which normally on a film set never happens because things change from scene to scene.Ф
TontoТs mount, known as Scout in the classic television series, was played by two American paint horses, one called Sergeant and the otherЧbelieve it or notЧcalled Scout! Lovgren began training Silver, Scout and the other horses four months before filming began at a facility called Horses Unlimited, a few miles from Albuquerque Studios. УItТs always the slower things that are much more difficult,Ф notes Lovgren. УRunning, jumping, those are relatively easy. But standing there doing a certain behavior, like picking up a hat, or a bottle, many times in a row, you find out how patient a horse is. The question is how many times the horse can do it before I have to switch to the double, because everything we do is backed up by another horse.Ф
Sometimes Lovgren was challenged by not only the horsesТ limitations, but his own as well, particularly for a shot of the Lone Ranger and Tonto sitting on their horses on the edge of a cliff at John Ford Point in Monument Valley. УIТm not fond of heights, so that was scarier for me than it was for the horses,Ф he confesses.
And yes, there is a classic УHi-yo, SilverФ moment where Silver rears up with the Lone Ranger on his backЧimbued, of course, with a Verbinski-esque twist. УHonestly, that was one of the easier things,Ф says Lovgren, Уand it was really nice because Armie Hammer did that himself. Armie was really awesome. I was lucky enough to work with him on СMirror MirrorТ as well, so going in knowing him made all the difference in the world.Ф
Easy for Lovgren, perhaps, but not so much for Hammer. УItТs very counterintuitive to rear on a horse,Ф explains the actor, Уbecause youТd think you go backward, but in reality you have to throw all your body weight forward, because that horse knows where the tipping point is.Ф
LORDS OF THE PLAINS
Unlike previous incarnations of the legend, in this new version of УThe Lone Ranger,Ф thereТs no mystery regarding which Native American nation Tonto belongs to. As Jerry Bruckheimer notes, УIt made complete sense to us geographically, historically and culturally that since the Lone Ranger is from Texas, Tonto should have been born into the great nation that had lived on those lands for generations: the Comanche.Ф
At the height of its power, the Comanche Empire ranged from present-day eastern New Mexico to southern Kansas, all of Oklahoma, and most of northwest Texas. Known historically as being among the fiercest warriors in protecting their lands from the waves of outsiders who encroached upon them, and some of the greatest horsemen to traverse North America, the ComancheЧwho call themselves the NumunuЧhave survived culturally and linguistically against unbelievable odds. Although reduced in number by some thirty thousand from their population in the late eighteenth century, the Comanche today, based in Lawton, Oklahoma, remain strong and committed to their powerful history and promising future. Wahathuweeka-William Voelker, one of the greatest living repositories of his peopleТs traditional knowledge, interpreted the ComancheТs extraordinary way of life for the film. As the founder of Sia (the Comanche word for feather), the Comanche Nation Ethno-Ornithological Initiative conservation program, Voelker has bred more than 400 eagles in captivity (many of them through revolutionary methods of artificial insemination) and restored their place in the natural order of Numunu spirituality.
Working on УThe Lone RangerФ as a technical adviser along with Troy УThe Last Captive,Ф his longtime associate at Sia, Voelker served as a close consultant on the film to ensure historical and cultural accuracy on many levels. VoelkerТs wide range of responsibilities included coaching Depp on the Comanche language and assisting the production with accurate representations of Comanche Numu kahni (teepees), clothing, and weaponry. At the same time, however, he was also mindful that the film is a work of entertainment that occasionally takes dramatic license with the past. УBecause of our lifeТs work in cultural preservation, the movie industry at times will come knocking when thereТs an effort to involve historical accuracy,Ф says Voelker. УOur primary work is preservation of culture and the eagle as a historical, spiritual, and ceremonial entity. But when it seems appropriate, we look at the project and agree to come on board, as we did with СThe Lone Ranger.Т
УWeТre not making a historical document with the film,Ф continues Voelker, Уbut the production is committed to historical accuracy, to the extent to which it works for the film. We know we have to try to take a cooperative point of view on this. Not that we will compromise our culture, but we are focused on entertainment of the masses, done with sensitivity to our way of life. Unfortunately, weТre living in a time where the Comanche people have fewer traditionally knowledgeable people, so anything of historical accuracy we can get before our young people is the primary reason we are involved.Ф
On УThe Lone Ranger,Ф Voelker and Troy worked closely with numerous departments, particularly production design, set decoration, and props, to find the middle ground between historical accuracy and the needs of the fictional film. УGore has a very specific vision,Ф confirms Voelker. УHeТs played these scenes over and over in his head many times. What weТve been able to arrive at is a happy medium between whatТs absolutely historically accurate to us and what works within the palette that he has in mind. ThereТs been a little bit of compromise, but not to the point where itТs something we canТt live with. WeТre making it work.
УWe brought all the different departments together so that they could understand a little better about what we do and the living culture that we bring,Ф Voelker continues, Уand in dealing with them I can say with absolute certainty that they were all committed to working within an authentic historical framework.Ф As a perfect example, Voelker and Troy worked in close collaboration with set decorator Cheryl Carasik, leadman David Manhan and their team to develop and create accurate teepees for the Comanche camps in the film. Voelker proudly notes this is the first time such dwellings will be seen in a film. УWe Numunu always get stuck with Northern Plains teepees, but this is one of the things that we got accurate in СThe Lone Ranger.Т Our Numu kahni had a four-pole foundation put together in a very specific way, and everything was built up from that. When you take into consideration that our villages were situated on the Southern Plains where there is nothing to break the wind, it was essential that our Numu kahni were set up in a way that fought back against the elements.Ф
Throughout production, Voelker and Troy were also pleased to develop a close relationship with Johnny Depp, advising him throughout the shoot on all manner of issues. УJohnny quickly revealed what a sensitive person he is, and a quick bond developed between us,Ф says Voelker. УAs a result of JohnnyТs great interest in who we are culturally, he has added words in Numunu that were not part of the original script where it seemed appropriate to call on our language. ItТs gratifying that heТs so committed.Ф
Indeed, it was Voelker and Troy who presided over the ceremonial adoption of Depp (himself of partial Cherokee heritage) into the distinguished Tabbytite family of the Comanche Nation, УtakenФ in the old tradition by LaDonna Harris, the legendary activist who has spent the better part of her eight decades working tirelessly to improve the lives of indigenous peoples in the United States and around the world. The Comanche name chosen for Depp and announced by Voelker at the ceremony was Mah-woo-meh, which in an approximate translation, means УHe Can ChangeФ or, perhaps in the vernacular, УShapeshifter.Ф
As one who has devoted years to the propagation of sacred birds, Voelker is uniquely qualified to address the most talked-about aspect of Johnny DeppТs Tonto costumeЧthe inanimate crow that adorns his head. УThe crow is probably second only to the eagle in the level of medicine or power that the warrior would aspire to,Ф explains Voelker. УWe had an elite group of Comanche warriors, and the English translation of their name is the СCrow Tassel Wearers,Т of which IТm a direct descendent. The large cluster of crow and raven fathers on the head symbolize the fact that that the individual was a member of this elite warrior society. The use of a whole bird or major parts of a bird on the head is something that transects many different tribal boundaries. It just so happens that with the Comanche, it is even more pronounced. So itТs fitting that the Tonto character is one of us. A crow or feathers on the head is heavy-duty medicine, or spiritual energy, for our people.Ф
The relationship between Wahathuweeka-William Voelker, Troy УThe Last Captive,Ф the Comanche Nation, and Johnny Depp continued beyond wrap. Just two days after completing seven grueling months of filming, Depp flew to Lawton, Oklahoma, on September 29, 2012, to participate in the Comanche Nation Fair, fulfilling a promise he had made months earlier to the late tribal chairman Johnny Wauqua. In one very rainy and busy day, often in the company of Comanche tribal chairman Wallace Coffey, Depp rode side by side with his adoptive Comanche mother, LaDonna Harris, waving to cheering crowds in a soggy but joyous parade. He spoke eloquently in a gymnasium filled with Comanche children and teens along with Harris and Gil Birmingham, who portrays Red Knee in УThe Lone RangerФ and is himself a Comanche. He also visited the beautiful Sia facility in nearby Cyril, Oklahoma, and paid his respects to the grave of the great Comanche chief Quanah Parker in a cemetery at Fort Sill, just across the road from the fairgrounds.
The love and warmth with which Depp was greeted by the Comanche people was returned to them in kind by the humbled and grateful actor. During his talk to those assembled in the gymnasium, Depp reminded the young people of their incredible heritage, saying that they could accomplish anything they wanted because they have the Уwarrior spiritФ within them. The survival of the Comanche is testament to a people of enormous inner strength and dignity who, unbowed, find their hopeful future in their proud past.
WHAT HAPPENS IN POST, STAYS IN POST
The end of principal photography hardly marked the final leg of УThe Lone RangerФ journey. Rather, it was the beginning of a new, and perhaps just as challenging, race to a finish line that wouldnТt come into view until July 3, 2013, when the film would finally open in theaters around the world. The post-production schedule was about to ensue, with the millions of puzzle pieces created during the shoot needing to fall into just the right place.
Editing bays were prepared in Pasadena, California, where film editors Craig Wood (УRangoФ) and James Haygood (УTRON: LegacyФ) set to work on assembling the vast amount of footage shot over the previous seven months. There would be sound mixing, looping, and dubbing to be accomplished. Up in the Bay Area, visual effects master Tim Alexander would oversee an ever-growing team of artists to create the necessary magic, while across the Atlantic in London, the Moving Picture CompanyТs Gary Brozenich would be doing the same.
Longtime Verbinski and Bruckheimer musical collaborator Hans Zimmer (УThe Dark Knight Rises,Ф УPirates of the Caribbean: On Stranger TidesФ), who gave Captain Jack Sparrow his unforgettable theme, would now be doing the same for Tonto and the Lone Ranger. And of course, there was the ubiquitous William Tell Overture to deal with. УWeТre going to hold back on it, and perhaps deconstruct and dissect it for a while,Ф says Verbinski. УItТs like foreplay for most of the movie, because John Reid hasnТt quite yet become that guy. Then, at a certain point, he wears the mask in a slightly different way. It fits better, the white hat fits better, the attitudeТs better, and then we boldly break out the William Tell Overture in our last reel. Ultimately, weТre going to deliver СThe Lone RangerТ in the classic senseЧweТre just going to get there in a completely different way.Ф
Ruth Wilson, who plays Rebecca Reid, sums up the experience for everyone involved in the production of УThe Lone RangerФ best when she says: УGore [Verbinski] has such amazing passion and energy; he cares so much about what he is trying to create and works tirelessly to achieve it. He sets a standard that is infectious; everyone wants to be bold, brave, and interesting in his or her choices to match what Gore is trying to achieve. ItТs a wonderfully creative, loyal and exhilarating environment to work in.Ф
The journey to make УThe Lone RangerФ is testament to the art of filmmaking, where creative vision translates to a movie of unmatched scale and adventureЧand a legacy is reborn in a fresh, new way with both drama and humor. Promising to be summerТs most exciting movie event, УThe Lone RangerФ releases in U.S. theaters on July 3, 2013.
ABOUT THE CAST
JOHNNY DEPP (Tonto/Executive Producer) is an award-winning actor who is also producing under the banner of his company, infinitum nihil.
A three-time Academy AwardЃ nominee in the category of Best Actor, Depp was honored with his first OscarЃ nomination for his work in Gore VerbinskiТs 2003 blockbuster УPirates of the Caribbean: The Curse of the Black Pearl,Ф which launched the hugely successful film franchise. He also won a Screen Actors Guild (SAG) AwardЃ and an Empire Award and garnered Golden GlobeЃ and BAFTA Award nominations for his creation of Captain Jack Sparrow, who became an instant screen classic. Depp went on to reprise the role in УPirates of the Caribbean: Dead ManТs Chest,Ф earning another Golden Globe nomination; УPirates of the Caribbean: At WorldТs EndФ; and, most recently, УPirates of the Caribbean: On Stranger Tides.Ф
DeppТs second OscarЃ nomination came for his performance in Marc ForsterТs acclaimed 2004 drama УFinding Neverland.Ф Additionally, he received Golden GlobeЃ, BAFTA Award and SAG AwardЃ nominations for his portrayal of УPeter PanФ author James Barrie in the film.
Depp earned his latest OscarЃ nod for his work in УSweeney Todd: The Demon Barber of Fleet Street,Ф director Tim BurtonТs 2007 screen adaptation of the Stephen Sondheim musical. For his performance in the filmТs title role, Depp also won a Golden GlobeЃ for Best Actor in a Motion Picture Ц Comedy or Musical.
УDark ShadowsФ marks DeppТs eighth collaboration with Burton, which began with the actorТs Golden GlobeЃ-nominated performance in the 1990 feature УEdward Scissorhands.Ф He subsequently earned Golden Globe nominations for his work under BurtonТs direction in УEd Wood,Ф for which he won a London Film CriticsТ Circle Award, УCharlie and the Chocolate FactoryФ and УAlice in Wonderland,Ф and he also lent his voice to BurtonТs animated hit УCorpse Bride.Ф
Depp began his performing career as a musician, before segueing to acting. He made his feature film debut in the horror hit УA Nightmare on Elm Street,Ф followed by Oliver StoneТs OscarЃ-winning war drama УPlatoon.Ф In 1987, he landed his breakout role on the hit television show У21 Jump Street.Ф After starring in the series for four seasons, Depp returned to the big screen in John WatersТ УCry-Baby.Ф
His early film work also includes УBenny & Joon,Ф gaining a Golden GlobeЃ nomination; Lasse Hallstr?mТs УWhatТs Eating Gilbert GrapeФ; УDon Juan DeMarco,Ф with Marlon Brando; Mike NewellТs УDonnie BrascoФ; and Terry GilliamТs УFear and Loathing in Las Vegas.Ф In 1997, Depp made his writing and directing debut with УThe Brave,Ф in which he also starred with Brando.
DeppТs long list of credits also includes such diverse films as Lasse Hallstr?mТs УChocolat,Ф for which he was Golden GlobeЃ-nominated; the Hughes brothersТ УFrom HellФ; Robert RodriguezТs УOnce Upon a Time in MexicoФ; Michael MannТs УPublic EnemiesФ; УThe Tourist,Ф earning another Golden Globe nomination; and УThe Rum Diary,Ф which he also produced. In addition, he voiced the title character in 2011Тs OscarЃ-winning animated feature УRango,Ф directed by Gore Verbinski, and was one of the producers on the OscarЃ-nominated УHugo.Ф
He is currently working with Wally Pfister on a film entitled УTranscendenceФ with Rebecca Hall and Paul Bettany.
ARMIE HAMMER (John Reid aka The Lone Ranger) has emerged as one of HollywoodТs most talented young actors. HammerТs portrayal of Clyde Toson in Clint EastwoodТs J. Edgar Hoover biopic, УJ. Edgar,Ф garnered Hammer a 2012 SAGЃ nomination for Best Supporting Actor. Hammer starred in the film opposite Leonardo DiCaprio from a script by УMilkФ OscarЃ winner Dustin Lance Black. УJ. EdgarФ was also honored at the 2011 AFI Awards for Film of the Year.
His performance as the Winklevoss twins in the award-winning film УThe Social NetworkФ garnered him critical praise and positioned him as one of HollywoodТs breakouts of 2010. Hammer was nominated Most Promising Performer by the Chicago Crix and awarded Best Supporting Actor by the Toronto Film Critics Association. The film received a SAGЃ nomination for Best Ensemble, as well as Best Picture for Golden GlobesЃ. УThe Social NetworkФ was also recognized by L.A. and N.Y. Film Critics, Broadcast Film Critics Association, National Board of Review, and as one of the American Film InstituteТs Top 10 Films of the Year.
HammerТs other credits include УMirror Mirror,Ф directed by Tarsem Singh Dhandwar, where he played Prince Alcott and starred opposite Julia Roberts and Lily Collins.
Hammer currently resides in Los Angeles.
TOM WILKINSON (Latham Cole) is an award-winning actor of stage and screen. Wilkinson received an Academy AwardЃ nomination for Best Supporting Actor in Tony GilroyТs Academy AwardЃ-nominated УMichael Clayton.Ф He received an Academy AwardЃ nomination for Leading Actor for his unforgettable performance in Todd FieldТs acclaimed drama УIn The Bedroom,Ф opposite Sissy Spacek. Wilkinson also received a BAFTA nomination, won the Independent Spirit Award, a Sundance Film Festival Special Jury Prize and a New York Film Critics Circle Award for the role. Prior to that, Wilkinson won a BAFTA for his role in the 1997 British and international box-office sensation УThe Full MontyФ and garnered another BAFTA nomination the following year for his performance in the OscarЃ-winning Best Picture УShakespeare In Love.Ф He received EmmyЃ and Golden Globe AwardЃ nominations for his courageous performance in HBOТs 2003 film УNormal,Ф opposite Jessica Lange. Wilkinson won an Emmy Award and a Golden Globe Award for Supporting Actor for the HBO miniseries УJohn Adams,Ф in which he portrayed Benjamin Franklin. His most recent foray into television was for the History Channel, in the U.S. playing Joe Kennedy in УThe KennedysФ and was nominated for an Emmy for Best Supporting Actor in a miniseries. Wilkinson also starred in the Golden Globe-winning TV movie УRecount,Ф playing James Baker opposite Kevin Spacey and John Hurt.
Wilkinson will next been seen in УFelonyФ with Joel Edgerton and also УBelleФ opposite Miranda Richardson. Tom has also starred in УMission: Impossible Ц Ghost ProtocolФ opposite Tom Cruise, УThe Best Exotic Marigold HotelФ with Judi Dench and Maggie Smith; УThe DebtФ opposite Helen Mirren; УThe ConspiratorФ for Robert Redford; Roman PolanskiТs УThe GhostФ; Michel GondryТs УThe Green HornetФ; Tony GilroyТs УDuplicityФ with Julia Roberts and Clive Owen; John LandisТ УBurke and HareФ; Woody AllenТs УCassandraТs DreamФ with Colin Farrell and Ewan McGregor; Guy RitchieТs London-set crime caper УRocknRollaФ; with Gerard Butler; and Bryan SingerТs World War II-set drama УValkyrieФ with Tom Cruise. His previous film credits include Christopher NolanТs УBatman BeginsФ; УEternal Sunshine of the Spotless MindФ with Kate Winslet and Jim Carrey; УThe Last Kiss,Ф starring Zach Braff; УStage BeautyФ with Billy Crudup; УWildeФ; УThe GovernessФ; Ang LeeТs УSense and SensibilityФ; УSmillaТs Sense of SnowФ; Gillian ArmstrongТs УOscar and LucindaФ; УRide with the DevilФ; УThe Importance of Being EarnestФ; УGirl with a Pearl Earring,Ф starring Scarlett Johansson and Colin Firth; Roland EmmerichТs УThe PatriotФ; УA Good WomanФ; УRipley Under GroundФ; УThe Exorcism of Emily Rose"; and Separate Lies, with Emily Watson and Rupert Everett.
On the British small screen, Wilkinson received BAFTA TV Award nominations for his roles in УCold Enough for SnowФ and the award-winning BBC miniseries УMartin Chuzzlewit.Ф His other notable television credits include such long-form projects as the HBO movie УThe Gathering StormФ and the BBC telefilm УMeasure for Measure,Ф to name only a few.
An accomplished stage actor, Wilkinson has played the role of John Proctor in УThe CrucibleФ at the Royal National Theatre; the title role in УKing LearФ at the Royal Court; the role of Dr. Stockmann in the award-winning West End production of УEnemy of the PeopleФ with Vanessa Redgrave; a London Critics Circle Award-winning performance in УGhostsФ; and David HareТs production of УMy Zinc BedФ with Julia Ormond.
In the past year, WILLIAM FICHTNER (Butch Cavendish) has completed starring roles in Neill BlomkampТs УElysium,Ф opening August 9, opposite Matt Damon and Jodie Foster for Sony Pictures; writer-director Todd RobinsonТs thriller УPhantom,Ф opposite Ed Harris and David Duchovny; and director-producer Danny DeVitoТs thriller УSt. Sebastian.Ф
In 2012, Fichtner starred in the John Stockwell-directed УSeal Team Six: The Raid on Osama Bin Laden,Ф based on the true events surrounding the U.S. Navy SEALS mission to capture Bin Laden. In 2011 Fichtner starred opposite Nicholas Cage in УDrive AngryФ for director Patrick Lussier and alongside Antonio Banderas in УThe Big BangФ for director Tony Krantz. In 2010 he starred opposite Steve Carell and Tina Fey in director Shawn LevyТs УDate Night.Ф
Fichtner co-starred in writer-director Paul HaggisТ Academy AwardЃ-winning УCrash.Ф For his performance in that film, he shared a Screen Actors Guild AwardЃ for Best Ensemble Cast in a Feature Film. His additional film credits include УBlades of GloryФ with Will Ferrell; director Chris NolanТs УThe Dark KnightФ; the remake of УThe Longest YardФ with Adam Sandler; the comedy УThe AmateursФ with Jeff Bridges; two films that premiered in the same Sundance Film Festival season: Rodrigo GarciaТs УNine LivesФ and Arie PosinТs УThe ChumscrubberФ; Ridley ScottТs УBlack Hawk DownФ; УWhatТs The Worst Thing That Could HappenФ; Wolfgang PetersonТs УThe Perfect StormФ; УDrowning MonaФ; УUltraviolet and Equilibrium,Ф both for writer-director Kurt Wimmer; УArmageddonФ; Michael MannТs УHeatФ; Robert ZemeckisТ УContactФ; Doug LimanТs УGoФ; Katherine BigelowТs УStrange DaysФ; УPassion of MindФ; Steven SoderberghТs УThe UnderneathФ; УSwitchbackФ; Agnieszka HollandТs УJulie Walking HomeФ; УThe SettlementФ with John C. Reilly; Kevin SpaceyТs directorial debut УAlbino AlligatorФ; and УFirst SnowФ with Guy Pearce.
Segueing between television and feature films, Fichtner most recently completed filming the international television series УCrossing Lines,Ф created by Edward Allen Bernero, co-creator of УThird WatchФ and an executive producer of УCriminal Minds.Ф Fichtner stars in the series opposite Donald Sutherland. Fichtner had a recurring role on HBOТs УEntourageФ from 2009-2011. He played FBI Agent Alexander Mahone for three seasons on FoxТs hit drama series, УPrison Break.Ф He also starred with Paul Newman and Ed Harris in HBOТs critically acclaimed adaptation of Richard RussoТs УEmpire Falls.Ф Other television credits include roles on NBCТs The УWest WingФ and ABCТs УInvasion.Ф
As a member of the Circle Repertory Theatre, Fichtner won critical acclaim for his role in УThe Fiery Furnace,Ф directed by Norman Rene. Other stage credits include УRaft of the MedusaФ at the Minetta Lane Theatre, УThe YearsФ at the Manhattan Theatre Club, УClothes for a Summer HotelФ at the Williamstown Theatre festival and УMachinalФ at The Public Theatre.
BARRY PEPPER (Capt. Fuller) gained critical attention for his portrayal of Private Jackson in the Academy AwardЃ-winning feature УSaving Private Ryan,Ф and since then he has been sought out for compelling roles with award-winning filmmakers.
Both a television and film star, Pepper has starred alongside some of todayТs most respected fellow actors and directors. Recently released films include УBroken CityФ for 20th Century Fox with Mark Wahlberg and Russell Crowe and Summit EntertainmentТs УSnitchФ with Dwayne Johnson and Susan Sarandon. He starred with Jeff Bridges, Josh Brolin and Matt Damon in the Coen BrothersТ remake of УTrue Grit.Ф He starred opposite Kevin Spacey in УCasino Jack,Ф the story of disgraced lobbyist Jack Abramoff. For his performance in this film Pepper was the recipient of the Hollywood Spotlight Award from the 14th annual Hollywood Film Festival. He also starred in УLike Dandelion Dust,Ф which won more than 30 national and international film festival awards, including Best Actor at the 2009 Las Vegas International Film Festival and 2009 NY Vision Festival. He was seen opposite Will Smith in Columbia PicturesТ УSeven PoundsФ; worked with Clint Eastwood in the World War II epic УFlags of Our FathersФ for DreamWorks/Warner Bros; and starred alongside Tom Hanks in the Academy AwardЃ-winning feature УThe Green Mile.Ф He also starred in У25th Hour,Ф Spike LeeТs compelling view of post-9/11 New York City, starring Ed Norton and Philip Seymour Hoffman. His film УThe Three Burials of Melquiades EstradaФ for Sony Pictures Classics marked Tommy Lee JonesТ directorial debut and was shown in competition at the 2005 Cannes Film Festival, and Pepper received a nomination for Best Supporting Male in the 2006 Independent Spirit Awards.
His other feature credits include the Bruckheimer/Scott thriller УEnemy of the StateФ with Will Smith and Gene Hackman; the critically acclaimed Paramount PicturesТ УWe Were SoldiersФ with Mel Gibson; and the New Line feature УKnockaround GuysФ opposite John Malkovich and Dennis Hopper.
Pepper starred as Robert Kennedy in the Reelz Channel 8-hour miniseries УThe KennedysФ with Greg Kinnear and Katie Holmes. In recognition of his outstanding performance, he won the 2011 EmmyЃ Award for Outstanding Lead Actor in a Miniseries or Movie and the 26th annual Gemini Award for Best Performance by an Actor in a Leading Role in a Dramatic Program or Mini-Series.
Pepper has also made his mark as a producer. He executive produced and starred in the title role of the ESPN feature 3: УThe Dale Earnhardt Story,Ф a biopic of the NASCAR star who died in a crash during the final lap of the 2001 Daytona 500. His performance garnered a nomination for the 11th Annual SAG Award for Outstanding Performance by a Male Actor in a Television Movie or Miniseries. He also executive produced and starred in УThe Snow Walker,Ф which he received a Best Actor nomination for the 24th Annual Genie Awards in Canada as well as eight other nominations for the film.
PepperТs starring role in the HBO feature У61*Ф earned him nominations for a Golden GlobeЃ, an EmmyЃ and a CriticТs Choice Award. The film tells the story behind the competition between the New York YankeesТ Roger Maris (Pepper) and Mickey Mantle (Thomas Jane) to break Babe RuthТs single season homerun record in 1961. The critically acclaimed film was directed and executive produced by Billy Crystal.
JAMES BADGE DALE (Dan Reid) is gearing up for an impressive 2013 as his work will be seen in three other major pictures in addition to УThe Lone Ranger,Ф adding four completely different characters to his already complex list of roles played.
In Shane BlackТs УIron Man 3,Ф starring opposite Robert Downey, Ben Kingsley, Guy Pearce, Gwyneth Paltrow, Don Cheadle and Jon Favreau, he plays the unique villain Eric Savin. In Marc ForsterТs УWorld War Z,Ф based on the highly successful novel by Max Brooks, Dale appears opposite Brad Pitt, as the character Speke, a soldier struggling with his humanity during the zombie apocalypse.
Dale recently completed УParkland.Ф The film recounts the dramatic true story of the chaotic events that occurred at Parkland Hospital in Dallas on the day President John F. Kennedy was assassinated on November 22, 1963. Dale plays Robert Oswald, the brother of Lee Harvey Oswald, in the ensemble cast alongside Jacki Weaver, Paul Giamatti, Billy Bob Thornton, Zac Efron and Marcia Gary Harden.
Dale was last seen in ParamountТs УFlight,Ф directed by Robert Zemeckis and starring Denzel Washington, as the memorable character The Gaunt Young Man. Within the past year, Dale starred alongside Michael Fassbender and Carey Mulligan in УShame,Ф the controversial and sexually charged drama directed by Steve McQueen. He followed with Joe CarnahanТs УThe Grey,Ф starring Liam Neeson, a film centering on the survival of eight men in the wilds of Alaska hunted by a pack of wolves. His other notable film credits include Robert RedfordТs historical drama УThe Conspirator,Ф starring Robin Wright and James McAvoy, and Martin ScorseseТs Academy AwardЃ-winning film УThe Departed.Ф
In television Dale starred in AMCТs critically acclaimed series УRubicon,Ф constructed in the vein of the political thrillers УParallax ViewФ and УThree Days of the Condor.Ф His most recognized role in television was his lead performance as Robert Leckie in the EmmyЃ and Peabody- awarded HBO epic miniseries УThe Pacific.Ф Dale is also remembered as Chase Edmunds, Kiefer SutherlandТs younger partner in the hit television series У24.Ф
Dale is the son of late Broadway, film and television star Anita Morris and two-time Tony AwardЃ-nominated director/choreographer, Grover Dale. He followed his parents onto the stage making his Off Broadway debut in 2003 with The Flea Theatre Company. Since then, he has returned to the New York stage to work with The New Group and New World Stages.
Two-time Olivier Award-winning actress RUTH WILSON (Rebecca Reid) will next be seen in Focus Features УAnna KareninaФ alongside Keira Knightly, which will be released on September 7th in the UK and November 9th in the U.S.
Wilson has proven her versatility on stage, in film and on television. She is best known for her stunning portrayal of УJane EyreФ in the 2006 adaptation, which led her to a BAFTA nomination for Best Actress in 2007 and a Golden GlobeЃ nomination for Best Actress the following year. Jane Eyre was WilsonТs first role out of drama school. Following УJane Eyre,Ф Wilson found herself quickly in demand and became Stephen PoliakoffТs muse, playing the lead in two of his critically acclaimed films, УCapturing MaryФ and УA Real Summer.Ф Wilson then went on to play the female lead in УSmall Island,Ф the critically acclaimed adaptation of the beloved book, which formed the centerpiece of the BBCТs Autumn 2009 season. In 2009, she starred in ITVТs miniseries УThe Prisoner,Ф the remake of the cult classic film, alongside Ian McKellen. That same year, Wilson starred in the BBC 1 critically acclaimed series УLuther,Ф in which she portrayed an unnervingly intelligent sociopath Alice Morgan, opposite Idris Elba.
WilsonТs theatre work began in 2007, while appearing in Maxim GorkyТs УPhilistines,Ф at the National Theatre. The play, set in 1902 Russia, depicts the life of bigoted patriot Vassily and his bullied children. Wilson portrayed the character Tanya, a depressed teacher bullied by her father. Her second appearance on the London stage was in 2009, playing the coveted role of Stella opposite Rachel Weisz in the sold-out West End production of УA Street Car Named Desire,Ф a role for which she won her first Olivier award for Best Supporting Actress and earned plaudits from the critics. In 2010, Wilson starred in an adaptation of Ingmar BergmanТs, УThrough a Glass Darkly,Ф which premiered at the Almeida Theatre. Earlier this year, she starred alongside Jude Law in Eugene OТNeillТs УAnna Christie,Ф which garnered her second Olivier nomination and win in the Best Actress Category.
Wilson currently resides in London, England.
HELENA BONHAM CARTER (Red Harrington), a two-time Academy AwardЃ nominee, earned her latest OscarЃ nod for her performance in 2010Тs true-life drama УThe KingТs Speech,Ф directed by Tom Hooper. Her portrayal of Elizabeth, the wife of King George VI, also brought her Golden GlobeЃ and Screen Actors Guild (SAG) AwardЃ nominations, and won BAFTA and British Independent Film Awards. Additionally, the stars of УThe KingТs SpeechФ won a SAG AwardЃ for Outstanding Motion Picture Cast.
She was honored with her first OscarЃ nod, as well as Golden GlobeЃ, BAFTA Award and SAG AwardЃ nominations for her work in the 1997 romantic period drama УThe Wings of the Dove,Ф based on the novel by Henry James. For her performance in that film, she also won Best Actress Awards from a number of criticsТ organizations, including the Los Angeles Film Critics, Broadcast Film Critics, National Board of Review and London Film CriticsТ Circle.
Bonham Carter also garnered a Golden GlobeЃ nomination and won an Evening Standard British Film Award for Best Actress for her performance as Mrs. Lovett in Tim BurtonТs 2009 screen adaptation of the Stephen Sondheim musical УSweeney Todd: The Demon Barber of Fleet Street,Ф opposite Johnny Depp in the title role. In 2010, she re-teamed with Burton and Depp for the fantastical adventure hit УAlice in Wonderland.Ф
In 2011, Bonham Carter appeared as the evil Bellatrix Lestrange in the blockbuster УHarry Potter and the Deathly Hallows Ц Part 2,Ф reprising the role she played in УHarry Potter and the Order of the Phoenix,Ф УHarry Potter and the Half-Blood PrinceФ and УHarry Potter and the Deathly Hallows Ц Part 1.Ф More recently Bonham Carter stars in Tom HooperТs Academy AwardЃ-nominated, big-screen adaptation of the musical УLes Mis?rables,Ф playing the duplicitous Madame Th?nardier.
In 2012 Bonham Carter was honored with a CBE from Buckingham Palace. She also received a BFI fellowship. In January 2013 The Critics Circle honored her with The Dilys Powell Award for Excellence in Film.
Bonham Carter made her feature film debut in 1986 in the title role of Trevor NunnТs historical biopic УLady Jane.Ф She had barely wrapped production on that film when director James Ivory offered her the lead in УA Room with a View,Ф based on the book by E.M. Forster. She went on to receive acclaim in two more screen adaptations of Forster novels: Charles SturridgeТs УWhere Angels Fear to TreadФ and James IvoryТs УHowardТs End,Ф for which she earned her first BAFTA Award nomination. Her early film work also includes Franco ZeffirelliТs УHamlet,Ф opposite Mel Gibson; УMary ShelleyТs Frankenstein,Ф directed by and starring Kenneth Branagh; Woody AllenТs УMighty AphroditeФ; and УTwelfth Night,Ф reuniting her with Trevor Nunn.
She went on to star in David FincherТs УFight Club,Ф with Brad Pitt and Edward Norton; the Tim Burton-directed films УBig Fish,Ф УPlanet of the ApesФ and УCharlie and the Chocolate FactoryФ; and the actioner УTerminator Salvation,Ф directed by McG. In addition, she has starred in such independent features as УNovocaine,Ф УThe Heart of Me,Ф УTill Human Voices Wake UsФ and УConversations with Other Women.Ф She also lent her voice to the animated features УCarnivaleФ; Tim BurtonТs УCorpse Bride,Ф in the title role; and the OscarЃ-winning УWallace & Gromit in The Curse of the Were-Rabbit.Ф
On the small screen, Bonham Carter earned both EmmyЃ and Golden Globe AwardЃ nominations for her performances in the telefilm УLive from BaghdadФ and the miniseries УMerlin,Ф and a Golden Globe nomination for her portrayal of Marina Oswald in the miniseries УFatal Deception: Mrs. Lee Harvey Oswald.Ф She also starred as Anne Boleyn in the British miniseries УHenry VIII,Ф and as the mother of seven children, including four autistic sons, in the BBC telefilm УMagnificent 7.Ф More recently, she starred as Mrs. Potter in the adaptation of Nigel SlaterТs autobiography УToastФ and in the BBC biopic УEnid,Ф playing renowned childrenТs storyteller Enid Blyton.
Bonham CarterТs stage credits include productions of УThe Woman in White,Ф УThe Chalk Garden,Ф УThe House of Bernarda AlbaФ and УTrelawny of the Wells,Ф to name a few.
Bonham Carter is currently filming the role of Elizabeth Taylor in УBurton and Taylor.Ф
ABOUT THE FILMMAKERS
Academy AwardЃЦwinning filmmaker GORE VERBINSKI (Director/Producer) has enjoyed tremendous box-office success as the innovative director to both character-driven franchises, and thoughtful genre-bending fare.
In March 2011, Verbinski released his first animated film, the smash hit УRango,Ф starring Johnny Depp. Grossing over $240 million worldwide, the film won the Academy AwardЃ for Best Animated Feature Film and the BAFTA Award for Best Animated Film and also earned Golden GlobeЃ, PGA and Annie nominations, as well as featuring on numerous Critics lists. Verbinski previously helmed the hit franchise УPirates of the Caribbean,Ф directing the first three films starring Johnny Depp and Keira Knightley. The films have collectively grossed nearly $3 billion worldwide since release. He made his directorial debut with УMouse Hunt,Ф starring Nathan Lane, followed by the road movie, УThe Mexican,Ф starring Julia Roberts, Brad Pitt and James Gandolfini. He also directed the smash hit, УThe Ring,Ф starring Naomi Watts.
Verbinski is also a successful award-winning commercial director. He has been honored with four Clio Awards and a Cannes Silver Lion Award for his work on an assortment of memorable advertising spots such as NikeТs У100 Foot Hoop,Ф featuring Michael Jordan, and the first of the popular Budweiser УFrogФ spots. In addition, Verbinski directed music videos for bands, including Bad Religion and Crystal Method.
A graduate of the School of Theater, Film and Television at UCLA, Verbinski resides in Los Angeles with his family.
JERRY BRUCKHEIMER (Producer) has for 40 years produced films and television programs of distinction and quality, in the process becoming the most successful producer of all time in both mediums. His productions, with the familiar lightning bolt logo, have not only delighted audiences all over the world, but greatly impacted popular culture over the decades.
BruckheimerТs films have earned worldwide revenues of over $16 billion in box office, video and recording receipts. In the 2005-6 season he had a record-breaking 10 series on network television, a feat unprecedented in nearly 60 years of television history. His films (19 of which exceeded the $100 million mark in U.S. box office receipts, three of which are on the all-time top ten list and two of which surpassed a billion dollars in international box office) and television programs have been acknowledged with 41 Academy AwardЃ nominations, six OscarsЃ, eight Grammy AwardЃ nominations, five Grammys, 23 Golden GlobeЃ nominations, four Golden Globes, 113 Emmy AwardЃ nominations, 22 Emmys, 30 PeopleТs Choice Awards nominations, 15 PeopleТs Choice Awards, 12 BAFTA nominations, two BAFTA Awards, numerous MTV Awards, including one for Best Picture of the Decade for УBeverly Hills CopФ and 20 Teen Choice Awards.
But the numbers exist only because of BruckheimerТs uncanny ability to find the stories and tell them on film. He is, according to the Washington Post, Уthe man with the golden gut.Ф He may have been born that way, but more likely, his natural gifts were polished to laser focus in the early years of his career. His first films were the 60-second tales he told as an award-winning commercial producer in his native Detroit. One of those mini-films, a parody of УBonnie and ClydeФ created for Pontiac, was noted for its brilliance in Time Magazine and brought the 23-year-old producer to the attention of world-renowned ad agency BBD&O, which lured him to New York.
Four years on Madison Avenue gave him the experience and confidence to tackle Hollywood, and, just about 30, he was at the helm of memorable films like УFarewell, My Lovely,Ф УAmerican GigoloФ and 1983Тs УFlashdance,Ф which changed BruckheimerТs life by grossing $92 million in the U.S. alone and pairing him with Don Simpson, who would be his producing partner for the next 13 years.
Together the Simpson/Bruckheimer juggernaut produced one hit after another, including УTop Gun,Ф УDays of Thunder,Ф УBeverly Hills Cop,Ф УBeverly Hills Cop II,Ф УBad Boys,Ф УDangerous Minds,Ф УCrimson TideФ and the cult satire УThe Ref,Ф which Entertainment Weekly magazine named one of УThe 50 Best Movies YouТve Never SeenФ in July 2012. Box office success was acknowledged in both 1985 and 1988 when the National Association of Theater Owners (NATO) named Bruckheimer Producer of the Year. And in 1988 the Publicists Guild of America chose him, along with Simpson, Motion Picture Showmen of the Year.
In 1996, Bruckheimer produced УThe Rock,Ф re-establishing Sean Connery as an action star and turning an unlikely Nicolas Cage into an action hero. УThe Rock,Ф named Favorite Movie of the Year by NATO, grossed $350 million worldwide and was BruckheimerТs last movie with Simpson, who died during production.
Now on his own, Bruckheimer followed in 1997 with УCon Air,Ф which grossed over $230 million, earned a GrammyЃ and two OscarЃ nominations and brought its producer the ShoWest International Box Office Achievement Award for unmatched foreign grosses.
Then came Touchstone PicturesТ megahit УArmageddon,Ф starring Bruce Willis, Billy Bob Thornton, Ben Affleck, Liv Tyler and Steve Buscemi. Directed by Michael Bay, it was the biggest movie of 1998, grossing nearly $560 million worldwide and introducing legendary rock band AerosmithТs first #1 single, УI DonТt Want to Miss a Thing.Ф
By the end of the millennium, Bruckheimer had produced УEnemy of the State,Ф starring Will Smith and Gene Hackman and УGone in 60 Seconds,Ф starring Cage, Angelina Jolie and Robert Duvall, both grossing over $225 million worldwide; УCoyote Ugly,Ф whose soundtrack album went triple platinum; and the NAACP Image AwardЦwinning УRemember the Titans,Ф starring Denzel Washington. His peers in the Producers Guild of America acknowledged his abilities with the David O. Selznick Award for Lifetime Achievement in Motion Pictures.
He began the 21st century with triple OscarЃ-nominee УPearl Harbor.Ф Starring Affleck, Josh Hartnett and Kate Beckinsale and directed by Bay, the film was hailed by World War II veterans and scholars as a worthy re-creation of the event that brought the United States into the war. In addition to multiple award nominations and the Oscar for Best Sound Editing, it earned over $450 million in worldwide box office and has topped $250 million in DVD and video sales.
УBlack Hawk Down,Ф the story of the 1993 Battle of Mogadishu, starred Hartnett, Eric Bana and Ewan McGregor and was directed by Ridley Scott. The adaptation of the Mark Bowden bestseller was honored with multiple award nominations, two OscarsЃ and rave reviews.
Turning his hand toward comedy in 2003, Bruckheimer released the raucously funny УKangaroo Jack,Ф a family film that won an MTV Award for Best Virtual performance for the kangaroo.
And later in 2003, Bruckheimer unveiled УPirates of the Caribbean: The Curse of the Black Pearl.Ф Starring Johnny Depp, Orlando Bloom, Geoffrey Rush and Keira Knightley and directed by Gore Verbinski, the comedy/adventure/romance grossed more than $630 million worldwide, earned five Academy AwardЃ nominations and spawned three sequels: УPirates of the Caribbean: Dead ManТs Chest,Ф УPirates of the Caribbean: At WorldТs EndФ and УPirates of the Caribbean: On Stranger Tides,Ф all of which were to become even bigger hits than the first.
Following УPirates of the Caribbean: The Curse of the Black Pearl,Ф Jerry BruckheimerТs films have included УBad Boys IIФ; УVeronica Guerin,Ф starring Cate Blanchett as the Irish journalist murdered by Dublin crime lords; and УKing Arthur,Ф with Clive Owen starring in the revisionist re-telling of the Arthurian legend.
In 2004 УNational Treasure,Ф starring Nicolas Cage, Diane Kruger, Jon Voight, Justin Bartha and Sean Bean in a roller-coaster adventure about solving the mystery of untold buried treasure, directed by Jon Turteltaub, opened to cheering audiences and grossed more than $335 million worldwide.
УGlory Road,Ф the story of Texas Western coach Don Haskins, who led the first all-black starting line-up for a college basketball team to the NCAA national championship in 1966, debuted in early 2006 starring Josh Lucas, was honored with an ESPY Award for УBest Sports Movie of the YearФ for 2006, while the writers received a Humanitas Prize for work that Уhonestly explores the complexities of the human experience and sheds light on the positive values of life.Ф
Summer 2006 brought the theatrical release of УPirates of the Caribbean: Dead ManТs Chest,Ф which sailed into the record books by becoming not only BruckheimerТs most financially successful film, but the highest-grossing movie opening ever in the history of the medium at that time: $132 million in its first three days. Shattering projected estimates, the film earned $55.5 million the first day of release. The final worldwide take of $1.07 billion placed УDead ManТs ChestФ in third position among the highest-grossing films of all time, and is still one of only six films to ever top the billion dollar mark, and creating a true worldwide phenomenon.
Teaming for the sixth time with director Tony Scott, Bruckheimer released УD?j? VuФ in late 2006, the story of an ATF agent who falls in love with a complete stranger as he races against time to track down her brutal killer. The film starred Denzel Washington, Jim Caviezel, Paula Patton and Val Kilmer.
In May 2007, УPirates of the Caribbean: At WorldТs End,Ф third in the blockbuster trilogy, opened around the world simultaneously. Shattering more domestic and international records in its wake, УAt WorldТs EndФ became the fastest film in history to reach half a billion dollars in overseas grosses. By early July, the film had amassed a worldwide total of $960 million, giving УAt WorldТs EndФ hallowed status as the number one worldwide movie of the year, and, at that time, the sixth biggest film of all time in total box office receipts.
Released on December 21st, 2007, УNational Treasure: Book of SecretsФЧthe follow-up to BruckheimerТs 2004 hit, again starring Nicolas Cage and directed by Jon TurteltaubЧopened to a smash number one weekend of nearly $45 million, almost $10 million more than the first film. УNational Treasure: Book of SecretsФ remained in the number one box office position for three consecutive weeks, with the combined box office total reaching $440 million. In addition to reuniting Cage with УNational TreasureФ stars Jon Voight, Diane Kruger and Justin Bartha, Academy AwardЃЦwinning actress Helen Mirren and four-time OscarЃ nominee Ed Harris were also welcomed to the cast.
Next up from Jerry Bruckheimer Films in February 2009 was УConfessions of a Shopaholic,Ф a romantic comedy based on the best-selling novels by Sophie Kinsella, starring Isla Fisher and directed by P.J. Hogan (УMy Best FriendТs WeddingФ). This was followed by the international box office hit УG-Force,Ф a technically innovative 3D adventure film which combined live action and computer imagery under the innovative direction of Academy AwardЃЦwinning visual effects wizard Hoyt Yeatman. The film featured the voice talents of Nicolas Cage, Penelope Cruz, Tracy Morgan, Sam Rockwell, Jon Favreau and Steve Buscemi, and live-action performances by Bill Nighy, Zach Galifianakis and Will Arnett.
Jerry Bruckheimer FilmsТ 2010 productions for Walt Disney Pictures continued the producerТs tradition for quality. УPrince of Persia: The Sands of Time,Ф an epic fantasy adventure directed by Mike Newell (УHarry Potter and the Goblet of FireФ), starred Jake Gyllenhaal, newcomer Gemma Arterton, Sir Ben Kingsley and Alfred Molina. A worldwide success, УPrince of Persia: The Sands of TimeФ is now the highest-grossing film based upon a video game. УThe SorcererТs Apprentice,Ф an imaginative comedic adventure partially inspired by the classic animated section of УFantasia,Ф marked a reunion for Bruckheimer with star Nicolas Cage and director Jon Turteltaub following their УNational TreasureФ successes, with the cast also featuring Jay Baruchel, Alfred Molina and Teresa Palmer.
Johnny Depp, in his Academy Award nominated performance, returned as the iconic Captain Jack Sparrow, in УPirates of the Caribbean: On Stranger Tides,Ф released on May 20, 2011 in Disney Digital 3-D. Starring alongside Depp in the spectacular new adventure, directed by Rob Marshall (УChicago,Ф УMemoirs of a GeishaФ) were Penelope Cruz, Geoffrey Rush and Ian McShane. Opening worldwide, the filmТs opening weekend global box office of $256.3 million was not only the best overseas opener for the franchise, but the all-time record-breaker for an international debut. In only its first five days, УOn Stranger TidesФ amassed a staggering cumulative domestic and international box office total of $346.4 million. Among the filmТs milestones were the 4th biggest global opening of all time, the biggest opening day and weekend of all time in the emerging market of Russia and fifth biggest domestic opening in the long history of The Walt Disney Studios. УOn Stranger TidesФ crossed the $600 million global threshold in only 12 days, matching the previous industry record set by УAt WorldТs EndФ in 2007, and in its second week of release, the film remained in first place in more than 50 territories against stiff new summer competition. УOn Stranger TidesФ joined its predecessors УDead ManТs ChestФ and УAt WorldТs EndФ on the all-time top ten box office list on June 20th, exactly one month after its theatrical release.
УPirates of the Caribbean: On Stranger TidesФ became only one of eight films of all time to cross the landmark $1 billion in international box office on July 2nd, less than seven weeks after release, joining УDead ManТs ChestФ among that heralded list.
Collectively, the four УPirates of the CaribbeanФ films to date have brought in some $3.7 billion at the worldwide box office, $900 million from home video and $1.6 billion from merchandise sales, marking it as a truly international cultural phenomenon.
In February 2012, production began on iconic locations in New Mexico, Arizona, Colorado and Utah on the epic adventure УThe Lone Ranger,Ф a spectacular reinvention of the classic tale which reunited the team behind the first three УPirates of the CaribbeanФ films: Jerry Bruckheimer, director Gore Verbinski and star Johnny Depp, bringing his great inventiveness to the role of Tonto. Scheduled for release on July 3, 2013, УThe Lone RangerФ also stars Armie Hammer (УThe Social NetworkФ) in the title role, joined by an international cast including Tom Wilkinson, William Fichtner, Barry Pepper, James Badge Dale, Ruth Wilson and Helena Bonham Carter.
Most recently, filming began June 3rd, 2013 on УBeware the Night,Ф a unique paranormal thriller filmed entirely on location in New York City directed by acclaimed filmmaker Scott Derrickson (УThe Exorcism of Emily Rose,Ф УInsidiousФ) and starring Eric Bana of УBlack Hawk Down,Ф Edgar Ramirez, Olivia Munn, Joel McHale and Sean Harris. УBeware the NightФ is scheduled for release by Screen Gems in early 2015. Also for release in 2015 will be the fifth УPirates of the CaribbeanФ epic, starring Johnny Depp in his iconic role as Captain Jack Sparrow, and directed by Joachim Ronning and Espen Sandberg, whose УKon TikiФ was nominated for the 2013 Academy Award and Golden Globe Award as Best Foreign Language Film.
Bruckheimer brought the power of the lightning bolt to television in 2000 with УC.S.I.: Crime Scene Investigation,Ф starring William Petersen and Marg Helgenberger. It quickly became the number one show on television, averaging 25 million viewers a week, and, along with its two spin-offs, УC.S.I.: MiamiФЧdistinguished as the biggest television series hit on a global scale in 2005 as well as being broadcast TVТs #1 prime-time series for the summer of 2006Чand УC.S.I.: NYФ helped catapult languishing CBS back to the top of the broadcast heap. In June 2012, the Monte Carlo International TV Festival honored УC.S.I.Ф with its International TV Audience Award as the most watched television drama series in the world, having already won that honor previously in 2007, Т08, Т10 and С11, with УC.S.I.: MiamiФ taking the prize in 2006. Emmy and Grammy Award-winning actor Ted Danson took on the leading role of УC.S.I.: Crime Scene InvestigationФ in July 2011 in time for the programТs 12th season.
Jerry Bruckheimer Television broadened its imprint by telling compelling stories and delivering viewers in huge numbers with such programs as УWithout a Trace,Ф УCold Case,Ф УDark BlueФ (the producerТs first foray into cable) and УThe Amazing Race,Ф a nine-time Emmy Award-winner in the category of Reality Program Ц Competition, eight of those won consecutively. JBTV brought viewers another exciting reality competition program, УTake the Money and Run,Ф for ABC-TV in August 2011. Fall 2013 will see the debut of Jerry Bruckheimer TelevisionТs provocative new thriller for CBS, УHostages,Ф starring Toni Collette and Dylan McDermott.
In 2004, Bruckheimer made the УTime 100,Ф a list of the most influential people in the world. Also in 2004, Bruckheimer was named number one in the Power Issue of Entertainment Weekly. Variety selected Bruckheimer as their Showman of the Year for 2006. This awardЧdetermined by VarietyТs top editors and reportersЧis presented to an individual who has had significant economic impact, innovations and/or breakthroughs in the entertainment industry.
Bruckheimer was presented with the Salute to Excellence Award from The Museum of Television and Radio for 2006 for his contribution to the television medium. And, in 2007, the Producers Guild of America presented him with the Norman Lear Achievement Award in Television for his extraordinary body of work in television.
In March 2010, ShoWest honored Bruckheimer with their Lifetime Achievement Award, his fifth honor from that organization following his awards as Producer of the Year in 1985, 1988 and 1999, and Box Office Achievement in 1998. On May 17th, 2010Чthe same night as the U.S. premiere of УPrince of Persia: The Sands of TimeФЧhe planted his hand and footprints into the concrete in the forecourt of the famed GraumanТs Chinese Theatre on Hollywood Boulevard. On the same evening, he was honored by the American Film Institute with a retrospective of five of his blockbuster films, introduced by their casts and filmmakers.
2012 saw Bruckheimer receiving the Outstanding Producer of Competition Television honor from the Producers Guild of America for УThe Amazing Race,Ф as well as the prestigious Humanitarian Award from the Simon Wiesenthal Center.
Another great honor will be bestowed upon Jerry Bruckheimer on June 24, 2013, when he receives his own Star on the Hollywood Walk of Fame, further cementing his show business immortality.
In her 2008 autobiography, УIn the Frame,Ф Dame Helen Mirren recalls Bruckheimer, during the course of filming УNational Treasure: Book of Secrets,Ф as Уgentle, supportive and courageous, proving the saying Сhe who dares, wins.ТФ
Jerry Bruckheimer has been successful in many genres and multiple mediums because heТs a great storyteller, takes daresЕand almost always wins.
Look for the lightning bolt. The best stories are right behind it.
JUSTIN HAYTHE (Screenplay/Screen Story by) received British Academy of Film and Television Arts (BAFTA), Satellite Award and USC Scripter Award nominations for his screenplay adaptation of the critically acclaimed УRevolutionary Road,Ф directed by Sam Mendes and starring Leonardo Di Caprio and Kate Winslet. HaytheТs other screenplays have included УThe Clearing,Ф starring Robert Redford and Helen Mirren, and УSnitch,Ф starring Dwayne Johnson and Susan Sarandon.
Haythe also authored the highly praised УThe Honeymoon: A Novel,Ф published by Grove Press in 2005. The British-born Haythe makes his home in Brooklyn, New York.
Academy AwardЃЦnominated writers TED ELLIOTT and TERRY ROSSIO (Screenplay/ Screen Story by/Executive Producers) wrote one of the most successful franchises in motion picture history, with the Walt Disney Pictures/Jerry Bruckheimer Films productions of УPirates of the Caribbean: The Curse of the Black Pearl," УPirates of the Caribbean: Dead ManТs Chest,Ф "Pirates of the Caribbean: At World's EndФ and УPirates of the Caribbean: On Stranger Tides.Ф They also worked with Jerry Bruckheimer as screenwriters of УG-Force,Ф and received story credit on УNational Treasure: Book of Secrets.Ф Elliott and Rossio also wrote the DreamWorks animated feature УShrek,Ф winner of the first Academy Award for Best Animated Film in 2002.
In 1992, the pair co-wrote the highest grossing film of the year, the Disney animated feature УAladdin,Ф starring Robin Williams. Their live-action feature film credits include: УLittle Monsters,Ф starring Fred Savage; УSmall Soldiers,Ф starring Kirsten Dunst; УGodzilla,Ф starring Matthew Broderick; and УThe Mask of Zorro,Ф starring Antonio Banderas and Anthony Hopkins.
In 1996, Elliott and Rossio became the first writers signed to an overall writing and producing deal at DreamWorks SKG. Their animated projects at DreamWorks include УShrek,Ф with Mike Meyers and Eddie Murphy; УThe Road to El Dorado,Ф featuring Kevin Kline and Kenneth Branagh; УAntzФ (creative consultants), featuring Woody Allen; and УSinbad: Legend of the Seven SeasФ (creative consultants), featuring Brad Pitt and Catherine Zeta-Jones.
Elliott and Rossio have been members of the Writers Guild of America, West since 1986.
MIKE STENSON (Executive Producer) is president of Jerry Bruckheimer Films for which he supervises all aspects of film development and production. Before joining the company, he was an executive in charge of production at Disney, responsible for many Bruckheimer films including УArmageddon,Ф УThe Rock,Ф УCrimson TideФ and УDangerous Minds.Ф More recently, Stenson served as a producer on УBad CompanyФ and УGone in 60 SecondsФ and as an executive producer on УGlory Road,Ф УNational Treasure,Ф УKing Arthur,Ф УPirates of the Caribbean: The Curse of the Black Pearl,Ф УBad Boys 2,Ф УVeronica Guerin,Ф УKangaroo Jack,Ф УBlack Hawk Down,Ф УPearl Harbor,Ф УCoyote Ugly,Ф УRemember the Titans,Ф УPirates of the Caribbean: Dead ManТs Chest,Ф УD?j? Vu,Ф УPirates of the Caribbean: At WorldТs End,Ф УNational Treasure: Book of Secrets,Ф УConfessions of a Shopaholic,Ф УG-Force,Ф УPrince of Persia: The Sands of Time,Ф УThe SorcererТs ApprenticeФ and УPirates of the Caribbean: On Stranger Tides.Ф Upcoming for Stenson as executive producer is Jerry Bruckheimer FilmsТ УBeware the Night.Ф
Born and raised in Boston, Stenson graduated from Harvard University with a bachelorТs degree in economics and a master of business administration. After his undergraduate stint, he started as a production assistant in New York and worked for two years in independent film and television as an assistant director and production manager before returning to Boston to complete his graduate education.
After completing business school, Stenson moved to Los Angeles where he began his tenure at Walt Disney Studios in Special Projects for two years before moving into the production department at Hollywood Pictures as a creative executive. He was promoted to vice president and subsequently executive vice president during his eight years with the company, overseeing development and production for Hollywood Pictures as well as Touchstone Pictures. In addition to the many Bruckheimer films, Stenson also developed several other films and nurtured them through production, including УRush Hour,Ф УInstinct,Ф УSix Days, Seven NightsФ and УMr. HollandТs Opus.Ф
While at Disney, many filmmakers attempted to woo Stenson away from the studio, but not until 1998 did he entertain leaving. With his new position at the helm of Jerry Bruckheimer Films, Stenson spearheaded BruckheimerТs plan to expand the companyТs film production schedule.
CHAD OMAN (Executive Producer) is the president of production for Jerry Bruckheimer Films for which he oversees all aspects of film development and production. Oman produced, along with Bruckheimer, УRemember the Titans,Ф starring Denzel Washington for Walt Disney Pictures, and УCoyote UglyФ starring Piper Perabo and John Goodman for Touchstone Pictures.
His most recent executive producer credits for Jerry Bruckheimer Films include УPirates of the Caribbean: On Stranger Tides,Ф УThe SorcererТs Apprentice,Ф УPrince of Persia: The Sands of Time,Ф УG-Force,Ф УConfessions of a ShopaholicФ and УNational Treasure: Book of Secrets.Ф He also executive produced the critically acclaimed УVeronica GuerinФ starring Cate Blanchett, as well as the blockbuster hits УPirates of the Caribbean: The Curse of the Black Pearl,Ф directed by Gore Verbinski and starring Johnny Depp, УBad Boys IIФ starring Will Smith and Martin Lawrence, УBlack Hawk Down,Ф directed by Ridley Scott and starring Josh Hartnett, УPearl HarborФ starring Ben Affleck, Kate Beckinsale and Josh Hartnett, УGone in 60 SecondsФ starring Nicolas Cage, Angelina Jolie and Robert Duvall, УEnemy of the StateФ starring Will Smith and Gene Hackman, УArmageddonФ starring Bruce Willis and Ben Affleck, УCon Air,Ф starring Nicolas Cage and John Malkovich, УGlory Road,Ф УD?j? Vu,Ф starring Denzel Washington and УNational Treasure: Book of Secrets,Ф again starring Nicolas Cage and both УPirates of the Caribbean: Dead ManТs ChestФ and УPirates of the Caribbean: At WorldТs End,Ф again starring Johnny Depp, Geoffrey Rush, Orlando Bloom and Keira Knightley. Upcoming for Oman as executive producer is Jerry Bruckheimer FilmsТ УBeware the Night.Ф
In addition to his work on JBFТs many motion picture projects, Oman also supervised production on several television projects including ABCТs drama УDangerous Minds,Ф starring Annie Potts, and the ABC drama УSwing Vote,Ф written by Ron Bass and starring Andy Garcia.
Prior to joining Simpson Bruckheimer in 1995, Oman was a founding employee of the Motion Picture Corporation of America. After six years, he left the independent production company as senior vice president of production.
Oman served as an associate producer on УDumb and Dumber,Ф starring Jim Carrey, executive produced Touchstone PicturesТ УThe War at Home,Ф starring Emilio Estevez, Kathy Bates and Martin Sheen, and co-produced УThe Desperate TrailФ with Sam Elliott and УThe Sketch Artist,Ф starring Drew Barrymore and Sean Young. Oman produced УHands That SeeФ with Courteney Cox and УLove, Cheat and StealФ with John Lithgow and Eric Roberts.
Oman graduated from Southern Methodist University with a degree in finance. He also attended the University of California at Los Angeles where he studied screenwriting and New York University where he participated in the undergraduate film production program. He was born and raised in Wichita Falls, Texas.
ERIC ELLENBOGEN (Executive Producer) is the co-head of DreamWorks Classics, formed in August 2012 with the acquisition by DreamWorks Animation of Classic Media, the company that he co-founded in 2000. The company is home to some of the most enduring properties in all of popular culture, including УThe Lone Ranger,Ф УLassie,Ф УCasper the Friendly Ghost,Ф УRichie Rich,Ф УUnderdog,Ф УWhereТs WaldoФ and Bullwinkle StudiosТ УMr. Peabody and ShermanФ (now an all-new feature film from DreamWorks Animation, to be released spring 2014).
Prior to starting Classic Media, Ellenbogen was President and CEO of Marvel Enterprises, now part of The Walt Disney Company. Previously, he ran Broadway Video Entertainment, Lorne MichaelsТ New York-based TV and film company.
ERIC McLEOD (Executive Producer) has a wide range of production experience as a producer, executive producer and unit production manager. He served as an executive producer for Jerry BruckheimerТs blockbuster productions of both УPirates of the Caribbean: Dead ManТs ChestФ and УPirates of the Caribbean: At WorldТs End,Ф which he followed up by producing the highly anticipated summer 2008 comedy УTropic ThunderФ and BruckheimerТs production of УPrince of Persia: The Sands of Time,Ф Tony ScottТs УUnstoppableФ and У47 Ronin.Ф
Previously, McLeod produced the smash hit УMr. and Mrs. SmithФ and was executive producer of УThe Dukes of Hazzard,Ф УThe Cat in the Hat,Ф УShowtime,Ф УBubble BoyФ and УAustin Powers: International Man of Mystery.Ф He also produced УAustin Powers in Goldmember,Ф УThe CellФ and УAustin Powers: The Spy Who Shagged Me.Ф
Earlier in his career, McLeod was co-producer of УFeeling MinnesotaФ and УNow and Then,Ф line producer of УCorrina, CorrinaФ and УEven Cowgirls Get the BluesФ and associate producer of УLive Wire.Ф He also served as unit production manager on several of the above films, as well as on Jerry BruckheimerТs production of УEnemy of the State,Ф УWag the Dog,Ф УWide Sargasso SeaФ and УThe Rapture.Ф McLeod began his work in motion pictures as a production coordinator on УCry-Baby,Ф УDrugstore CowboyФ and У8 Seconds.Ф
BOJAN BAZELLI (Director of Photography) is one of the great image-makers working at the forefront of high profile, visually progressive films today.
УThe Lone RangerФ reunites Bazelli with both producer Jerry Bruckheimer and director Gore Verbinski. Previously, Bazelli lensed both УThe SorcererТs ApprenticeФ and УG-ForceФ for Bruckheimer, and helped to create the spooky, foggy atmosphere of director VerbinskiТs УThe Ring.Ф
Bazelli previously shot the musicals УRock of AgesФ and УBurlesqueФ; УMr. and Mrs. SmithФ for director Doug Liman, starring Brad Pitt and Angelina Jolie; and such acclaimed independent films as УThe Rapture,Ф УDeep Cover,Ф УKing of New York,Ф УKaliforniaФ and УDangerous Beauty.Ф
In 1990, Bazelli received an Independent Spirit nomination for his work on УKing of New York.Ф In 1993, УKaliforniaФ took Best Cinematography at the Montreal Film Festival.
Acknowledged for Best Cinematography in both 1996 and 1998 at the prestigious American Independent Commercial Producers (AICP) show, BazelliТs contribution to shaping the evolution of the art and technique of the American television commercial is profound. He is one of the few cinematographers to have received the honor twice since the eventТs inception. Bazelli also took home a Gold Clio for Best Cinematography in 1998.
After high school, Bazelli trained at FAMU Film School in Prague. Impressed with one of BazelliТs student films, acclaimed director Abel Ferrara immediately offered him the job of shooting УChina GirlФ in New York City. Bazelli leaped at the opportunity and has lived in the United States ever since. The world of TV commercial and music videos embraced Bazelli and became an avenue for experimentation.
Bazelli lives in Los Angeles with his wife and son.
JESS GONCHOR (Production Designer) received an Academy AwardЃ nomination and an Art DirectorТs Guild nomination for his work on the Coen BrothersТ УTrue Grit.Ф He also collaborated with the Coen Brothers on УNo Country for Old Men,Ф for which he received an Art DirectorТs Guild Award for Excellence in Production Design; УA Serious Man,Ф for which he received an Art DirectorТs Guild nomination; and УBurn After Reading.Ф
Other feature film credits as production designer include Bennett MillerТs Academy AwardЃЦnominated УCapoteФ and Academy AwardЦnominated УMoneyballФ; Sam MendesТ УAway We GoФ; and David FrankelТs УThe Devil Wears Prada.Ф As an art director Gonchor worked on such films as УThe Last Samurai,Ф УThe Siege,Ф УCity of AngelsФ and УThe Crucible.Ф
Gonchor recently completed work on two upcoming films, Bennett MillerТs УFoxcatcherФ and the Coen BrothersТ УInside Llewyn Davis.Ф He has also begun to direct television commercials, most notably the latest campaign for A Partnership for a Drug-free America.
GonchorТs passion for the art began in Mammaroneck, New YorkТs high school theater and lighting department. He attended the State University of New York College at Brockport.
MARK УCRASHФ McCREERY (Production Designer) was born in Colorado Springs, Colorado. Receiving a scholarship to the Art Center College of Design in Pasadena, he graduated with a BFA in illustration in 1988. That same year McCreery met special effects pioneer Stan Winston, establishing a working relationship that would last 12 years. His first design challenge was УPredator II,Ф soon after collaborating with Tim Burton and Johnny Depp for УEdward Scissorhands.Ф Immediately following was James CameronТs epic УTerminator 2,Ф followed by McCreeryТs design of Danny DeVitoТs makeup as The Penguin in BurtonТs УBatman Returns.Ф
Steven SpielbergТs УJurassic ParkФ gave McCreery the opportunity to fulfill a childhood passion, creating concepts for the filmТs dinosaurs as well as serving as an on-set puppeteer through radio-and-cable-controlled performances. He then designed makeups for УInterview With the Vampire,Ф УTank Girl,Ф УThe Island of Dr. Moreau,Ф УThe RelicФ and УThe Lost World: Jurassic Park.Ф
McCreeryТs first collaboration with director Gore Verbinski was on the filmmakerТs debut feature film, УMousehunt.Ф He followed with a string of films for which he served as either concept designer, concept art director or concept artist, including УSmall Soldiers,Ф УInspector Gadget,Ф УEnd of Days,Ф УGalaxy Quest,Ф УWhat Lies BeneathФ and SpielbergТs УA.I. Artificial IntelligenceФ and УJurassic Park IIIФ (the latter produced by Spielberg), УThe Time Machine,Ф УDreamcatcherФ and УHulk.Ф
McCreery and Gore Verbinski once again collaborated on УPirates of the Caribbean: The Curse of the Black Pearl,Ф and the designer lent his prodigious talents to both of VerbinskiТs follow-ups, УPirates of the Caribbean: Dead ManТs ChestФ and УPirates of the Caribbean: At WorldТs End.Ф These also marked the beginning of McCreeryТs long-standing relationship with producer Jerry Bruckheimer. He also worked on УVan Helsing,Ф УThe Village,Ф УA Sound of Thunder,Ф УThe Chronicles of Narnia: The Lion, The Witch and The Wardrobe,Ф УLady in the Water,Ф УGhost Rider,Ф УEnchanted,Ф УBedtime StoriesФ and BruckheimerТs production of УPrince of Persia: The Sands of Time.Ф
In 2011, McCreery advanced to the rank of production designer on VerbinskiТs Academy AwardЃЦwinning УRango.Ф
CRAIG WOOD (Editor) has previously worked with director Gore Verbinski on all of his previous feature films: УMouse Hunt,Ф УThe Mexican,Ф УThe Ring,Ф УPirates of the Caribbean: The Curse of the Black Pearl,Ф УThe Weather Man,Ф УPirates of the Caribbean: Dead ManТs Chest,Ф УPirates of the Caribbean: At WorldТs EndФ and УRango.Ф His other credits as editor have included УForces of Nature,Ф УWe Were Soldiers,Ф УThe Burning Plain,Ф УThe RoadФ and У47 Ronin.Ф
Wood won American Cinema Editors (ACE) Eddie Awards for both УPirates of the Caribbean: The Curse of the Black PearlФ and УRango,Ф with nominations for УPirates of the Caribbean: Dead ManТs ChestФ and УPirates of the Caribbean: At WorldТs End.Ф
JAMES HAYGOOD (Editor) collaborated with famed director David Fincher on УThe Game,Ф УFight ClubФ and УPanic Room.Ф His other credits have included УEternal Sunshine of the Spotless Mind,Ф УWhere the Wild Things AreФ and УTRON: Legacy.Ф
TIM ALEXANDER (Visual Effects Supervisor) previously worked with Gore Verbinski on the directorТs Academy AwardЃЦwinning УRango.Ф He has served as visual effects supervisor for ILM on such films as УHidalgo,Ф УSky Captain and the World of Tomorrow,Ф УHarry Potter and the Goblet of Fire,Ф УHarry Potter and the Order of the Phoenix,Ф УThe Spiderwick ChroniclesФ and УHarry Potter and the Half-Blood Prince.Ф
Alexander shared British Academy of Film and Television Arts (BAFTA) Award nominations for УThe Perfect StormФ (on which he was associate visual effects supervisor), УHarry Potter and the Goblet of FireФ and УHarry Potter and the Half-Blood Prince.Ф
GARY BROZENICH (Visual Effects Supervisor) has served in that capacity for the Moving Picture Company (MPC) on УThe Da Vinci Code,Ф УSweeney Todd: The Demon Barber of Fleet Street,Ф УThe Wolfman,Ф УClash of the Titans,Ф УPirates of the Caribbean: On Stranger TidesФ and УWrath of the Titans.Ф
Brozenich shared a Primetime Emmy AwardsЃ nomination for his work on the miniseries УRome,Ф and shared VES (Visual Effects Society) Awards for УKingdom of HeavenФ and УRome.Ф
JOHN FRAZIER (Special Effects Coordinator) has worked with Jerry Bruckheimer on many previous films, including УArmageddon,Ф УPearl Harbor,Ф УBad Boys II,Ф УD?j? Vu,Ф УPirates of the Caribbean: At WorldТs End,Ф УNational Treasure: Book of Secrets,Ф УThe SorcererТs ApprenticeФ and УPirates of the Caribbean: On Stranger Tides.Ф
Frazier has been nominated for 10 Academy AwardsЃ in his field (including nods for УArmageddon,Ф УPearl HarborФ and УPirates of the Caribbean: At WorldТs EndФ), winning for his work on УSpider-Man 2.Ф
He was born in Richmond, California, but when he was a child, his family moved to Southern California, where he was raised. He attended Canoga Park High School and attended college at Los Angeles Trade Tech, where he studied high-rise construction and freeway design. In 1963 he began designing special effects props at the Haunted House nightclub in Hollywood. The owner recognized his skills, and got Frazier a job at NBC. In 1970, he joined Local 44 and began working on special effects for motion pictures.
Frazier has been the special effects coordinator and/or supervisor on more than 40 films, among them УUnforgiven,Ф УSpeed,Ф УOutbreak,Ф УTwister,Ф УThe Perfect Storm,Ф УSpider-Man,Ф УxXx,Ф УThe Taking of Pelham 1 2 3,Ф УUnstoppable,Ф УThe Amazing Spider-Man,Ф УOz the Great and Powerful,Ф УPain & Gain,Ф УAfter EarthФ and Michael BayТs three УTransformersФ epics.
Frazier also won British Academy of Film and Television Arts (BAFTA) Awards for УTwisterФ and УThe Perfect Storm,Ф and two CLIO Awards for his work in TV commercials.
He currently resides in Southern California.
PENNY ROSE (Costume Designer) has designed the costumes for all four of Jerry BruckheimerТs УPirates of the CaribbeanФ films, the first three of which were directed by Gore Verbinski, as well as for УKing ArthurФ and УPrince of Persia: The Sands of Time.Ф For УPirates of the Caribbean: The Curse of the Black Pearl,Ф Rose received Costume Designers Guild nominations for all three УPiratesФ films, and British Academy of Film and Television Arts (BAFTA) nominations for УThe Curse of the Black PearlФ and УDead ManТs Chest.Ф
Rose had received a previous BAFTA nomination for her work on director Alan ParkerТs acclaimed screen version of Andrew Lloyd Webber and Tim RiceТs musical УEvita,Ф starring Madonna and Jonathan Pryce. Rose is a longtime collaborator of ParkerТs and has designed costumes for three of his other films: УThe Road to Wellville,Ф УPink Floyd: The WallФ and УThe Commitments.Ф
RoseТs additional credits include УThe Sleeping Dictionary,Ф Neil JordanТs УThe Good Thief,Ф УJust Visiting,Ф УEntrapmentФ and DisneyТs hit remake of УThe Parent Trap,Ф directed by Nancy Meyers, and Gore VerbinskiТs УThe Weather Man.Ф Earlier in her career, she designed costumes for Brian De PalmaТs УMission: ImpossibleФ and has twice worked with Academy AwardЃ-winning director Lord Richard Attenborough on УShadowlandsФ and УIn Love and War.Ф Her resume also includes Christopher HamptonТs УCarrington,Ф Vincent WardТs УMap of the Human Heart,Ф Bill ForsythТs УLocal Hero,Ф Pat OТConnorТs УCal,Ф Marek KanievskaТs УAnother CountryФ and Jean-Jacques AnnaudТs УQuest for Fire.Ф
Recently, Rose designed the costumes for the Walt Disney Pictures comedy УWild Hogs,Ф starring Tim Allen, Martin Lawrence and John Travolta,Ф УSt. Trinians,Ф УMade of Honor,Ф УUnstoppableФ and the Steven Spielberg-produced miniseries УThe Pacific.Ф Just previous to beginning work on УThe Lone Ranger,Ф Rose designed the costumes for the epic historical fantasy У47 Ronin,Ф starring Keanu Reeves.
Rose was trained in West End theater and began her career there and also in television, designing for commercials where she first met such directors as Alan Parker, Adrian Lyne, Ridley and Tony Scott and Hugh Hudson.
Rose was born and raised in Britain and is fluent in French and Italian.
Academy AwardЃЦwinner JOEL HARLOW (Personal Makeup Artist to Johnny Depp/Makeup Department Head/Special Makeup Effects) is one of the most innovative makeup and special makeup artists and designers in American motion pictures. Born in Grand Forks, North Dakota, HarlowТs passion to work on film began with his childhood viewing of the original 1933 УKing Kong.Ф Moving to New York City at college age, he studied animation at the School of Visual Arts, but his true passion was special makeup effects. Harlow gained practical experience on such New YorkЦbased, low-budget horror and fantasy films as УThe Toxic AvengerФ (parts II and III) and УBasket Case 2. Harlow then moved westward to Los Angeles, where he worked for several makeup effects houses, finally landing in Steve JohnsonТs XFC, Inc., where he remained for eight years as a makeup effects designer on a number of films.
Anxious to apply his skills on set, Harlow began working on such high-profile films as УHow the Grinch Stole Christmas,Ф УA.I. Artificial Intelligence,Ф УPlanet of the Apes,Ф УConstantineФ and УPirates of the Caribbean: The Curse of the Black Pearl,Ф creating a long-standing relationship with Johnny Depp, director Gore Verbinski and producer Jerry Bruckheimer. Harlow would be the key makeup artist, makeup effects supervisor, prosthetic makeup designer and special effects makeup supervisor on both УPirates of the Caribbean: Dead ManТs ChestФ and УPirates of the Caribbean: At WorldТs End,Ф again directed by Verbinski, and then makeup department head on УPirates of the Caribbean: On Stranger Tides,Ф directed by Rob Marshall.
Harlow shared an Academy AwardЃ with fellow makeup artists Barney Burman and Mindy Hall on JJ AbramsТ УStar TrekФ in 2010. Earlier, Harlow won Primetime Emmy AwardsЃ for the television miniseries versions of Stephen KingТs УThe StandФ and УThe Shining,Ф and received nominations for УMad Men,Ф УCarnivaleФ and УBuffy the Vampire Slayer.Ф
Most recently, Harlow worked as Johnny DeppТs makeup artist on УAlice in Wonderland,Ф УThe Tourist,Ф УThe Rum DiaryФ and УDark Shadows.Ф Additionally, he was key makeup artist on Ron HowardТs УAngels & Demons,Ф key prosthetic makeup artist for Christopher NolanТs УInceptionФ and УGreen LanternФ and makeup department head on УBattle: Los Angeles.Ф
HarlowТs company, Joel Harlow Designs, creates a full range of state-of-the-art makeup, special makeup effects and prosthetics, from lab to set.
HANS ZIMMER (Composer) continues a unique association with Jerry Bruckheimer and Gore Verbinski, which has included him scoring the УPirates of the CaribbeanФ blockbusters (the first three of which were directed by Verbinski), as well as BruckheimerТs productions of УCrimson Tide,Ф directed by Tony Scott and УBlack Hawk Down, directed by Ridley Scott; and the Verbinski-directed УThe RingФ and УRango.Ф Zimmer has scored over 100 films, grossing more than 15 billion dollars at the box office worldwide. He has been honored with an Academy AwardЃ, two Golden GlobesЃ and four GrammysЃ. In 2003, the American Society of Composers, Authors and Publishers presented him the prestigious Henry Mancini Award for Lifetime Achievement for his impressive and influential body of work.
ZimmerТs interest in music began early, and after a move from Germany to the U.K., would lead to playing with and producing various bands, including The Buggles, whose УVideo Killed the Radio StarФ was the first music video to ever appear on MTV. But the world of film music was what Zimmer really wanted to be involved with. Not long after meeting established film composer Stanley Myers, the two founded the London-based Lillie Yard Recording Studios together, collaborating on such films as УMy Beautiful Laundrette.Ф
It was ZimmerТs solo work in 1988Тs УA World Apart,Ф however, that gained the attention of director Barry Levinson, who then asked him to score УRain Man,Ф ZimmerТs first American film. LevinsonТs instinct was rightЧthe scoreТs OscarЃ nomination that followed would be the first of nine.
With ZimmerТs subsequent move to Hollywood, he expanded the range of genres of film music he explored, and his first venture into the world of animation, 1994Тs УThe Lion King,Ф brought him the OscarЃ. УThe Lion KingФ soundtrack has sold over 15 million copies to date and УThe Lion KingФ musical has gone on to win a Tony AwardЃ, and to become BroadwayТs ninth-longest-running show in history.
A number of scores for animated films have followed, including co-writing four Bryan Adams songs for УSpirit: Stallion of the Cimarron,Ф including the Golden GlobeЃЦnominated УHere I Am.Ф Zimmer has also scored УThe Simpsons Movie,Ф УKung Fu PandaФ and collaborated with will.i.am in УMadagascar: Escape 2 Africa.Ф
ZimmerТs career has been marked by a unique ability to adeptly move between genresЧbetween smaller films and comedies (such as УDriving Miss Daisy,Ф Peter WeirТs УGreen Card,Ф Tony ScottТs УTrue Romance,Ф Ridley ScottТs УThelma and Louise,Ф James L. BrooksТ УAs Good As It Gets,Ф Nancy MeyersТ УSomethingТs Gotta GiveФ and УThe HolidayФ) and big blockbusters, including Tony ScottТs УCrimson Tide,Ф Terrence MalickТs УThe Thin Red Line,Ф John WooТs УMission: Impossible 2,Ф Ridley ScottТs УBlack RainФ and УHannibal,Ф Edward ZwickТs УThe Last Samurai,Ф Christopher NolanТs УBatman BeginsФ and УThe Dark Knight,Ф for which he received another GrammyЃ, and Ron HowardТs УThe Da Vinci Code.Ф
It was ZimmerТs unique take on the historical in Ridley ScottТs УGladiatorФ that earned him another Golden GlobeЃ. The album sold more than three million copies worldwide and spawned a second album, УGladiator: More Music from the Motion Picture.Ф
ZimmerТs roots in performing never left him, and in 2000, he performed his film music live for the first time in a concert at the 27th annual Flanders International Film Festival in Ghent, Belgium. With a 100-piece orchestra and 100-piece choir, he performed a number of newly orchestrated concert versions of a selection of his work. The concert was recorded by Decca and released as a concert album entitled УThe Wings of a Film: The Music of Hans Zimmer.Ф
His background in collaboration and mentoring never left Zimmer either, and he created a Santa Monica based musical Уthink tank,Ф Remote Control Productions, in order to build a creative environment to nurture the talent of those new to the composing world. In the process, he has launched the careers of an unparalleled number of film and television composers, including John Powell (the УBourneФ trilogy), Harry Gregson-Williams (УShrekФ), Geoff Zanelli (УDisturbiaФ), Heitor Pereira (УCurious GeorgeФ), Henry Jackman (УMonsters vs. AliensФ), James Dooley (УPushing DaisiesФ), James Levine (УNip/TuckФ), Ramin Djawadi (УIron ManФФ), Rupert Gregson-Williams (УHotel RwandaФ), Steve Jablonsky (УTransformersФ) and Trevor Morris (УThe TudorsФ).
Zimmer has received a total of 10 Golden GlobeЃ nominations, 10 GrammyЃ nominations and nine OscarЃ nominations, the most recent for Christopher NolanТs УInception.Ф His innovative and powerful score was praised as the best by countless criticsТ groups and has earned him BAFTA, Golden Globe, Grammy and Critics Choice Award nominations. His other Oscar nominations include УSherlock Holmes,Ф УRain Man,Ф УGladiator,Ф УThe Lion King,Ф УAs Good As It Gets,Ф УThe PreacherТs Wife,Ф УThe Thin Red LineФ and УThe Prince of Egypt.Ф Zimmer has been honored with the prestigious Lifetime Achievement Award in Film Composition from the National Board of Review. He also received his Star on the Hollywood Walk of Fame in December 2010. Zimmer served as Music Director for the 84th Academy Awards in 2012.
His recent films include УThe Dark Knight Rises,Ф which marked his fourth collaboration with director Christopher Nolan, УMadagascar 3: EuropeТs Most Wanted,Ф Guy RitchieТs УSherlock Holmes: A Game of Shadows,Ф УKung Fu Panda 2,Ф УMegamind,Ф УHow Do You Know,Ф Nancy MeyersТ УItТs ComplicatedФ and Ron HowardТs УFrost/NixonФ and УAngels & DemonsФ and Zack SnyderТs УMan of Steel.Ф Zimmer also scored the title sequence to the hit 2013 History Channel miniseries УThe Bible,Ф created by Mark Burnet.
Portions of the text were adapted from the new book УThe Lone Ranger: Behind the Mask,Ф published by Insight Editions.