How the West Was Won - crew, film crew
The entire team, the film crew of the film "How the West Was Won"
How the West Was Won (1962)
Timing:
2:42 (162 min)
7.012/10
422
422
6.887/10
1230
1230
7.1/10
25000
25000
Film crew
Director
Producer
Bernard Smith
Producer
Writer
James R. Webb
Writer
Editor
Art Direction
George W. Davis
Art Direction
Addison Hehr
Art Direction
William Ferrari
Art Direction
Costume Design
Ron Talsky
Costume Design
Stunts
Dean Smith
Stunts
Harvey Parry
Stunts
Ted Mapes
Stunts
Boyd 'Red' Morgan
Stunts
Chuck Hayward
Stunts
Joe Yrigoyen
Stunts
Charles Horvath
Stunts
Ronnie Rondell Jr.
Stunts
Jack Williams
Stunts
Autry Ward
Stunts
Troy Ward
Stunts
John Epper
Stunts
Leroy Johnson
Stunts
Ken Terrell
Stunts
Eddie Juaregui
Stunts
Everett Creach
Stunts
Carl Pitti
Stunts
Jack N. Young
Stunts
Bob Terhune
Stunts
Troy Melton
Stunts
Danny Sands
Stunts
Donna Hall
Stunts
May Boss
Stunts
Dick Shane
Stunts
Louise Montana
Stunts
Rick Arnold
Stunts
Al Carmichael
Stunts
Rusty Richards
Stunts
Jerry Vance
Stunts
Stunt Coordinator
Second Unit Director
Set Decoration
Henry Grace
Set Decoration
Jack Mills
Set Decoration
Don Greenwood Jr.
Set Decoration
Makeup Artist
Lynn F. Reynolds
Makeup Artist
John Truwe
Makeup Artist
Original Music Composer
Production Supervisor
Abe Steinberg
Production Supervisor
Thomas Conroy
Production Supervisor
Orchestrator
Leo Shuken
Orchestrator
Jack Hayes
Orchestrator
Stunt Double
Donna Hall
Stunt Double
Director of Photography
William H. Daniels
Director of Photography
Musician
Tommy Morgan
Musician
Robert Bain
Musician
Carl Fortina
Musician
Ethmer Roten
Musician
Louise Di Tullio
Musician
Uan Rasey
Musician
Vince De Rosa
Musician
Camera Operator
James V. King
Camera Operator
Bill Johnson
Camera Operator
Supervising Sound Editor
John Logan
Supervising Sound Editor
Script Supervisor
Michael Preece
Script Supervisor
Set Costumer
Robert Fuca
Set Costumer
Hairstylist
Art Department Assistant
Tyrus Wong
Art Department Assistant
Grip
Pete G. Papanickolas
Grip
Leadman
Matty Azzarone
Leadman
Camera Technician
Painter
Frank Wesselhoff
Painter
Special Effects
Lester Swartz
Special Effects
Special Effects Technician
Charles Schulthies
Special Effects Technician
Bob Overbeck
Special Effects Technician
Hair Designer
Makeup Designer
Assistant Director
Hank Moonjean
Assistant Director
Wingate Smith
Assistant Director
William McGarry
Assistant Director
George Marshall Jr.
Assistant Director
William Shanks
Assistant Director
Robert Saunders
Assistant Director
Second Unit Director of Photography
Harold E. Wellman
Second Unit Director of Photography
Other
Joan Joseff
Other
Conductor
Robert Emmett Dolan
Conductor
Robert Armbruster
Conductor
Music Coordinator
Robert Emmett Dolan
Music Coordinator
Visual Effects
Robert R. Hoag
Visual Effects
Color Assistant
Charles K. Hagedon
Color Assistant
Production Executive
Abe Steinberg
Production Executive
Sound Editor
Van Allen James
Sound Editor
Carl Brandon
Sound Editor
Harold Humbrock
Sound Editor
Kendrick Kinney
Sound Editor
John Lipow
Sound Editor
Milo B. Lory
Sound Editor
Vocals
Sally Stevens
Vocals
Dave Guard
Vocals
Paul Salamunovich
Vocals
Negative Cutter
Mike Henry
Negative Cutter
Lyricist
Johnny Mercer
Lyricist
Recording Supervision
Franklin Milton
Recording Supervision
Editorial Consultant
Charles K. Hagedon
Editorial Consultant
Special Guest Director
What's left behind the scenes
- The film was shot for presentation in cinemas supporting the 'Cinerama' system.
- Three out of the film's five parts were shot by Henry Hathaway, 'The Civil War' by John Ford, and 'The Iron Horse' by George Marshall.
- A more accurate translation of the title is "How the West Was Won".
- In 1997, the film was added to the U.S. National Film Registry.
- James R. Webb's screenplay was based on a series of articles published in Life magazine. Writer Louis L'Amour based a novel of the same name on the screenplay.
- Stuntman Bob Morgan nearly died during filming. Towards the end of the film, a shootout takes place between the sheriff and bandits on a moving train. Morgan played one of the bandits and was near logs on the platform when the chains holding the logs snapped, and Morgan was pinned beneath them. He sustained such injuries that he didn't begin to walk on his own again for five years.
- The film was intended to be shown in cinemas equipped with the 'Cinerama' system (a panoramic cinematic system developed in 1952; its feature was the simultaneous use of three film reels, each of which captured its part of the panoramic frame with a large horizontal viewing angle). Because of this, everything would be visible on the screen down to the smallest detail, so the costumes for the film were not sewn on a sewing machine, but by hand, as they would have been sewn in the time period depicted in the film.
- The 'Cinerama' system's equipment did not allow for close-up shots – except perhaps positioning the main actor in the center and bringing the equipment itself directly to them. This disconcerted and hindered the concentration of many actors, as the large apparatus with three lenses was placed less than half a meter from their face.
- John Ford always sat next to the cameraman and watched the filming, but the 'Cinerama' equipment had three lenses, and Ford constantly found himself in the field of view of one lens or another, until the cameraman, Joseph LaShelle, came up with the idea of building a kind of platform for Ford to sit on.
- The film involved over 12,000 extras from several Native American tribes.
- The film stock was so expensive that the actors were specifically asked to memorize their lines and actions in order to shoot as few takes as possible.
- It was impossible to combine the images from the three lenses so that the dividing lines were completely invisible, and directors had to go to great lengths to mask them. For this, they used objects – specifically trees, lampposts, window frames, railings, building corners, doorways, and wooden crates.
- All three lenses on the Cinerama cameras were positioned at an angle to each other, and it was more difficult for the actors to perform for three lenses than for the usual single one. When their image was projected onto three screen panels, it seemed as if they were looking slightly up or slightly down, rather than at their scene partner. This is clearly visible in an earlier film shot in the Cinerama system—it’s “The Wonderful World of the Brothers Grimm” (Henry Levin, George Pal, 1962). Fortunately, this problem was solved by the time work began on this film. To compensate for the angles at which the lenses were positioned, the actors didn’t look directly at their partners, but slightly to the side, so that when their image was projected onto the Cinerama screen, it appeared as if they were looking at each other. But it wasn’t easy for the actors, which is why the Cinerama system with three images was abandoned after the release of this film.
- A more accurate translation of the title is “How the West Was Won.”
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