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On June 30, 2010, principal photography for Cowboys & Aliens beganat Albuquerque Studios in New Mexico.One of the filming locations was Plaza Blanca, also known as “The White Place”, where Western films like The Missing, 3:10 to Yuma, City Slickers, Young Guns and The Legend of the Lone Ranger were also filmed.[22] Sound stage work took place in Los Angeles, with additional location shooting at Randsburg, California.[27] Filming finished on September 30.
A scene in which Craig’s character rides a horse alongside a ravine and jumps down it onto a spacecraft emulated many scenes in American Western films where cowboys rode along a moving train and jumped on it. Favreau said the scene referenced the one in the 1981 film Raiders of the Lost Ark where Indiana Jones chases a truck and noted that a similar scene existed in the 1939 film Stagecoach, saying “We’re constantly referencing back to our roots.
A Universal release presented with DreamWorks/Reliance Entertainment presentation in association with Relativity Media of an Imagine Entertainment/K/O Paper Products/Fairview Entertainment/Platinum Studios production. Produced by Brian Grazer, Ron Howard, Alex Kurtzman, Roberto Orci, Scott Mitchell Rosenberg. Executive producers, Steven Spielberg, Jon Favreau, Denis L. Stewart, Bobby Cohen, Randy Greenberg, Ryan Kavanaugh. Co-producers, Chris Wade, Dan Forcey, Karen Gilchrist, K.C. Hodenfield. Directed by Jon Favreau. Screenplay, Roberto Orci, Alex Kurtzman, Damon Lindelof, Mark Fergus, Hawk Ostby; screen story, Fergus, Ostby, Steve Oedekerk, based on Platinum Studios’ “Cowboys and Aliens” by Scott Mitchell Rosenberg.
Scott Chambliss was hired as the production designer based on his work on Star Trek, produced by Orci and Kurtzman. The visual effects were created by Industrial Light & Magic, represented by Roger Guyett as the visual effects supervisor.
Favreau noted that Cowboys & Aliens focused on a specific aspect of the alien genre which mostly revolved around the films of the eighties. “And although we have quite a bit of CG – I like the way they told stories before – before you could show everything with CG. And it was a real unveiling of the creature, little by little, and using lighting and camera work and music to make it a very subjective experience. And so we tried to preserve that here,” he pointed out.
Cowboys & Aliens will not be shown in 3-D. When approached with the idea by DreamWorks, Favreau was not interested, stating that Westerns should be shot only on film (as opposed to being shot digitally, which is required for modern 3D technology). “That would be like filming in black and white and colorizing it,” he reasoned.
A quick tour through Favreau’s credits reveals a helmer who has managed to spin hearty entertainment from ever more anemic sources — first a bedtime story (“Zathura”), then a comicbook series (“Iron Man”), and now a mere illustration, intended to be the cover of a then-unpublished graphic novel. Still, of all the directors to work in exec producer Steven Spielberg’s shadow (including J.J. Abrams and Michael Bay), Favreau has emerged the most immediate heir to the master’s heartfelt showmanship. (Besides, what was “Raiders of the Lost Ark,” if not a prototype for such a B-movie mash-up?)
“Cowboys & Aliens” begins like a 19th-century Bourne movie, with Daniel Craig playing a stone-cold killer who wakes up in the middle of the New Mexico desert, his memory a blank. He reaches for a bloody wound at his side and discovers a strange manacle cuffed to his wrist and a lovely stranger’s tintype photograph lying in the dust at his feet — and so begins the mystery of how this loner will come to save humankind from a battalion of unidentified, unfriendly and most unwelcome flying objects.
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