On Wearing Two Hats on One Ranger
WRITER/DIRECTOR
JESSE V. JOHNSON
B
orn in Winchester, England, writer/ director Jesse V. Johnson is best known for the action crime drama Avengement, the action war epic Hell Hath No Fury, and the action comedy Debt Collectors. In the white-knuckle action-thriller, One Ranger, a gunslinging Texas ranger (Thomas Jane) tracks an international terrorist (Dean Jagger) set on detonating a bomb in the heart of London. When the lawman's partner is killed, he is drawn into partnership with a British intelligence agent (Dominique Tipper) and her boss (John Malkovich) to bring the outlaw to justice -- dead or alive.
Thank you for taking the time for this interview. What prompted you to write this film? Was it based on reallife Texas Ranger Joaquin Jackson? I did read his book, One Ranger, which was 26 • HOLLYWOOD WEEKLY
fascinating but my film takes a completely different direction and has nothing to do with the Texas riot. When I first came to Los Angeles, I worked on the TV show, Walker, Texas Ranger. We'd fly into Dallas and they had a statue dedicated to Captain McDonald, the most prominent of the “Four Great Captains” of Texas Ranger history. There’s a famous quote from McDonald, who was called in to quell a riot. When he got off the train, the townsfolk asked where the rest of the Rangers were and he replied, “One riot, one Ranger.” I found the Texas Rangers wonderfully fascinating and historically romantic. Because here’s this up-to-date 21st-century law enforcement agency that still wears the 1860s uniform with a white Stetson hat, gun belt, and boots. It keeps them and us in touch with the great frontier of the American West.
By Alex A. Kecskes
As writer and director, you wore two hats in bringing One Ranger to life. What was that like? It's wonderful because I don't offend anyone when I make last-minute changes. I do whatever works in the year-and-a-half it takes to develop it, finance it, produce and direct it. I have to consider the budget and stunts and other things when I’m writing it. But it’s a bit more fun when it’s your script.
Did you storyboard any of the shots? I work from a very detailed shot list, which I generate the night before. Because I know how much time we have, what limitations I’ll encounter, where people are, and the locations I'm dealing with. I can have a seven-page shot list. For action scenes and special effects, where there are a lot of moving parts, I will storyboard. If you're dealing with 30 or 100 people, a storyboard
