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What Happens in Post, Stays in Post
The end of principal photography hardly marked the final leg of "The Lone Ranger" journey. Rather, it was the beginning of a new, and perhaps just as challenging, race to a finish line that wouldn't come into view until July 3, 2013, when the film would finally open in theaters around the world. The post-production schedule was about to ensue, with the millions of puzzle pieces created during the shoot needing to fall into just the right place.

Editing bays were prepared in Pasadena, California, where film editors Craig Wood ("Rango") and James Haygood ("TRON: Legacy") set to work on assembling the vast amount of footage shot over the previous seven months. There would be sound mixing, looping, and dubbing to be accomplished. Up in the Bay Area, visual effects master Tim Alexander would oversee an ever-growing team of artists to create the necessary magic, while across the Atlantic in London, the Moving Picture Company's Gary Brozenich would be doing the same.

Longtime Verbinski and Bruckheimer musical collaborator Hans Zimmer ("The Dark Knight Rises," "Pirates of the Caribbean: On Stranger Tides"), who gave Captain Jack Sparrow his unforgettable theme, would now be doing the same for Tonto and the Lone Ranger. And of course, there was the ubiquitous "William Tell Overture" to deal with. "We're going to hold back on it, and perhaps deconstruct and dissect it for a while," says Verbinski. "It's like foreplay for most of the movie, because John Reid hasn't quite yet become that guy. Then, at a certain point, he wears the mask in a slightly different way. It fits better, the white hat fits better, the attitude's better, and then we boldly break out the 'William Tell Overture' in our last reel. Ultimately, we're going to deliver 'The Lone Ranger' in the classic sense -- we're just going to get there in a completely different way."

Ruth Wilson, who plays Rebecca Reid, sums up best the experience for everyone involved in the production of "The Lone Ranger" when she says: "Gore [Verbinski] has such amazing passion and energy; he cares so much about what he is trying to create and works tirelessly to achieve it. He sets a standard that is infectious; everyone wants to be bold, brave, and interesting in his or her choices to match what Gore is trying to achieve. It's a wonderfully creative, loyal and exhilarating environment to work in."

The journey to make "The Lone Ranger" is testament to the art of filmmaking, where creative vision translates to a movie of unmatched scale and adventure -- and a legacy is reborn in a fresh, new way with both drama and humor.


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