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and crowd-control issues. They arrived at the Granite Pass Ranch road, where the day's work began. In the predawn light Kerney stood with the crew and listened as Usher sketched out what he wanted for two scenes that occurred early in the movie. The first one would be a shot of police vehicles on the road to the ranch house. Usher, his assistant director, a young man named Marshall Logan, and the cinematographer, a guy named Timothy Linden, talked about starting with an establishing shot that would show the police cars coming into view, and using a following shot as the vehicle passed by on the way to the ranch. They'd need a camera dolly and a crane to make it work. As the first touch of pink coated the underbelly of the clouds on the eastern horizon. Usher had made his camera decisions and talked to his lighti
ng specLH2 ialists, Buzzy and Gus, about how he wanted the scene lit. Interested to learn that exterior daytime shots needed artificial lighting, Kerney eavesdropped and found
out that the angle and intensity of the sun created problems that had to be controlled in order to get the proper effect on film. In addition, lens filters might be needed to either heighten or dampen the sunrise effect. While Usher was busy with Buzzy and Gus, Roger Ward, the transportation captain, staked out an area for the various equipment vehicles that Would be brought to the location. He told Kerney at least a half-dozen trucks and the police vehicles to be used in the scene would be
M the location several hours before the cast arrived, After the art decorator and construction coordinator selected the placement for a wrought-iron ranch sign that would be erected. Usher did a three-sixty walk around the site. When the sun had fully crested the Mountains, he assembled the group and asked if anyone saw problems that needed to be addressed. "We're going to have problems with dust on this road," the photographer said. "We can dampen it down with a water truck," Susan Berman, the unit production manager, replied. "Maybe we don't need to do that," Usher replied. "The dust could be a nice contra
st to the ser
The long-term testing goals of enity of the opening shot. Emergency lights flashing, cutting through the haze. Sirens wailing. The morning sun cresting the Mountai can best fulfill those needs. Future projects may include testing of engines that use ns." "They wouldn't approach with lights f
lashing or sirens wailing," Kerney said. "Why not?" Usher asked. "To retain the element of surprise," Kerney answered. "So how would the rancher know the cops were coming?" "The dust would give them away," Kerney answered. "Any rancher worth his salt always keeps one eye on the weather." Usher grinned. "Exc
The ellent." He flipped through his shooting script. "Although I think we'll keep the flashing emergency lights for dramati
