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*J| IpjplF *;■■ Steffira « -A §fil P * v '- flfy TfflttsSr £ ''■'•■*" vj-^sSg^sgßjHT■ • - ~■ • • !I rPWI | v ... ■ •«■• . JMj CHIEFS AND WARRIORS playing in movie “The Distant Trumpet." Standing in the back row with Bob Martin, Jr., Jimmie King, Russ Saunders, Unit Director; Raovl Walsh, Director; Bill Clothier, Director of Photography; and Ancil H Thomas, Section Leader is in the front row. m m§mM , »•* ; * ■ ■ . 1 i wr^ I %dIS W; »~™™ p] n ■ rj&j!>%~ . *”■ Nj(HMft| bbl «H^m!^HMß J' 4 :,,; :• •' '.V*** 7 a s'"a , i'-djs*! M * # 'Sr - ■•■ '>&*^BB. RAOUL WALSH, Director, surrounded by Indian Warriors in the Warner Brothers’ production of “A Distant Trumpet" a western, involving fights between the U. S. Calvary and Apaches. (Staff Photo) Oh Location (Continued from Page 1) costume a regal ferocity. They not only look like real “wild Indians," they feel reaL Perhaps wearing the garments and holding weapons of the warrior Apache stirs the ancestral memory, and for the moijient, they actually are early day Indians attempting to stay the encroachment of the “White I WATERMELONS M~ I ARIZONA KLONDYKES O 4ft I NOW RECEIVING 150,000 POUNDS WEEKLY O I _ _ I oTor Bp I JAY’S SUPER MARKETS GALLUP, NEW MEXICO NO.l and NO. 2 STORES I eyes." Pat Nelson, who tops six feet by several inches, and superintends the law enforcement on the 16 million acre Navajo Reservation containing more than 92,000 pe ople, shakes his head unbelievingly at the transformation, and with his hand resting on his service revol ver, says, “I’m glad I know this is just for a movie!" Star Troy Donahue, pulling on his gaunlets for the day’s movie making, breathes deeply of the smog-tree air, and says *'l love this country. . . its healthful and invigorating. After the first few days, when one gets accustomed to the altitude, 1 find I sleep well, and waken refreshed." This lithe 6’3" young actor is regarded as one of the nation's favorite personalities and was named “most popular star" in the Photoplay Magazine's fortieth an nual Gold Medal Awards in March ALL CHIEFS and few Indians are; standing. Billy Yellow, on the horse are Richard Parrish and Herbert Zanna on the right. of 1962. He is well known for his other television roles. Among his movie credits are “A Summer Place,” “The Crowded Sky,” “Parrish,” “Susan Slade” and “Rome Adventure." Veteran actor James Gregory handles tlte role of Major General Quait, a part based upon the real life character of General George Cook. The effervescent Gregory, witli a twinkle in his eye, announces “This is the highest rank I’ve held. In the past year, I’ve been a Marine Corp Sergeant (In President Ken nedy Story—“PT 109”); a full Colonel in the Air Force, ("Dr. Neuman, M. D.") —incidentally this was the other Gregory—Peck, that is." Also, other armedforces ranks. He also portrayed a pro secuting attorney in the recently filmed “Twilight of Honor” op posing TV’s Dr. Kildare, Richard Chamberlain. Localle of this film was in New Mexico. Gregory has been an actor .for» many years. Interpreter Jimmy King, who is a former councilman from Ship rock, volunteered the information that the Navajos playing in "A Distant Trumpet” felt that Gre gory “worked exceptionally well with the Navajo boys,” and that both he and Donahue put in a good word for the JMavajos at every chance. "I can say without reser vation that the Navajos feel these two gentlemen are fine men, de dicated and sincere.” Navajos playing important roles in the film are Joe Williams as Wild Horse, Johnny Stanley as Chief War Eagle and Guy Elit sosie as White Cloud. As action starts in a canyon pocket surrounded by the massive red bluffs, there is a milling confusion of calvarymen, Indians, horses, technicians, cameras, reflectors and other parapherna lia. The onlooker views the scene in bewilderment, wondering how McGaugh’s News Stand MAGAZINES COMICS TOBACCO CANDY NAVAJO TIMES FLAGSTAFF, ARIZONA any sensible or organized result even vaguely resembling a filmed stoi*y can be made from this seeth ing caludron of motion. In the center of this and appar ently oblivious to the surrounding melee are Russ Sanders, who is Unit Manager, Director Raoul Walsh and Bill Clothier, Director of Photography. They huddle in discussion, Sanders glances at the terrain, sights at the sun and then quietly says “We’ll do the ridge scene,” or something of the sort. Walsh agrees, and assumes com plete control all at once, with orders for the dispostion of cam eras and reflectors. The orders go out, “Get Troy! Calvary onthe hill! Indians in the valley!” With amazing speed, order forms out of the chaos. Again a look at the sun, (they will not shoot with the sun behind a cloud) and “Wait! Wait!” and wait some more. Mea nwhile, dry runs are made, positions marked. Jimmy King barking into a microphone in Navajo, relays commands to the Indians. Only when everything is perfect will the scene be shot and the slightest problem—dust, actor error, or anything else—will mean that Saunders and Walsh will shoot the same scene again. So it goes in the glamorous pro duction of the movies, until the sun sinks low in the afternoon, leaving clouds like blossoms of fiery red, bright gold, mauve and laven der and orange, spread lavishly across the evening sky, with the fantastic rocks and red bluffs now purple growing higher and more weird in the onset of twilight and shadows. The white men and In dians ride side by side now, toward a common destination—a night's rest. They are hot and tired and dusty, but they are already plan ning tomorrow's scenes and action, preparing for the work which will start again at dawn.