GHOST RIDERS IN THE SKY

JAN DE BONT DIRECTOR – DENNIS GASSNER PD
BLUE TULIP PRODUCTIONS – 97/98

A story about aliens that fly, protecting their Indian friends. After doing a few studies (1) I asked Dennis if I could build a small rough model on an open cave design that I thought could work well on stage. I enjoyed making models as a kid but this was my first pueblo. I developed the plan (2) and the model (3) then a blue pencil (4) showing depth as well as thumbs on possible views from the pueblo. One of wich (5) is seen above. We were also investigating various camera angles (6) of the calvary becoming trapped in a box canyon.

The next three shots were thumbnails on the calvary approaching the pueblo on horseback. The first is a high angle over- looking the pueblo (7) late in the day. (8) is a long shot of some dust moving to a CU of a calvary patrol (9) on the move. I believe because of my efforts on the model and sketches, Dennis was going to move me up to art director to follow through on the pueblo. So, we moved to the badlands where John Ford made Stagecoach. We picked a spot for the pueblo against a very tall butte. We shot photos (10) of the base and made all the elevation and slope calculations necessary to create this multiple level plan (11) and build the set. This was another new experience for me. This study (12) over the elevation and the high angle sketch (13) give a good look at the volume. Next to that is a photo of an amazing job on the final model (14). A painting of the calvary approaching (15) is the product of these studies.

There was an attack by the aliens on a calvary train. The aliens have the ability to freeze objects including people. The train interior (16) is an example of the great research you get on a Gassner film. This study (17) and the three heads (18) were done for a finished painting later that never happened. These three tissue pencils show the overlay process I was taught when working towardsa finished painting. Unfortunately the film was shut down before I could take advantage of being an art director again.