“There’s more than one way to shoot a bull” John M. Stephens on his Hollywood career.

In Part 2 of Stories From The Staff, a series highlighting stories of former Sun Valley Resort employees, guest blogger Jennifer Tuohy discusses celebrities, Hollywood action flicks and meeting his wife on the Snowball Special, with former Sun Valley photographer turned Hollywood cinematographer John M. Stephens. Read Part 1 “Marilyn and Me, John Stephens on filming Bus Stop in Sun Valley” here

Jan McCloud, left, posing in front of the first Snowball Special. She met and married Sun Valley publicity photographer John M. Stephens on the famous train.

As the 1958/59 ski season in Sun Valley came to a close, John M. Stephens left behind his role as the resort’s photographer to pursue his dream job as a cinematographer. But he didn’t leave the mountains of Idaho empty-handed. Alongside a burgeoning Hollywood career, Stephens also picked up a wife.

“Do you remember the Snowball Special that came into Ketchum from L.A.?” Stephens asked. “They sent me down to pick up the first train in, I guess it was Twin Falls, and take pictures of the Snowball Queen. I rode up in the boxcar. Man what a party. And they’d been partying all the way from L.A.”

The Snowball Special was a dressed up Union Pacific train providing service from Los Angeles’ Union Station to Ketchum. Outfitted with a dance floor with bar cars on both sides and two dining cars, the Snowball was a non-stop party train, entertaining its celebrity passengers for the entire 1,100-mile, 26-hour trip to Sun Valley. It was once called “the world’s biggest sanctioned wingding.”

“Anyway, I met the Snowball Queen,” Stephens said. “Her name was Jan McCloud. I took pictures of her and we got married and have two beautiful children.”

Clearly, Stephens made the most of his time in America’s Shangri La.

John M. Stephens worked from 1955 to 1959 as a Sun Valley publicity photographer before embarking on a hugely successful career as a Hollywood cinematographer

Once in Hollywood however, Stephens was able to fully embrace his passion for adventure. “There’s more than one way to shoot a bull,” said John M. Stephens in this interview with the Los Angeles Herald Examiner in 1967 titled John Stephens Makes Danger His Business. “Over the horn or under the stomach.”

This theory proved to be correct, propelling Stephens into the realms of Hollywood legend over his 5 decade-long career in movie-making. If you’ve ever watched a golden oldie on Turner Classic Movies and wondered how on earth they got that shot, the chances are, it was first shot by John Stephens. In the golden age of filmmaking, before CGI and green screens, Stephens was the man directors sought out when they needed unusual and exciting action sequences.

His big break came on the Oscar winning Grand Prix. “The picture won an Academy Award for its special effects and it was the electronic pan and tilt head camera I invented that got those close ups of James Garner driving around the track at 160mph.”

It was 1965 and the director John Frankenheimer refused to shoot slow cars and speed the film up, as had been the norm. He approached Stephens and said “How would you like to be the cameraman going 180 miles per hour in a specially built camera car while photographing the actual drivers on the Grand Prix circuit?”

“It would scare the hell out of me,” replied Stephens. Instead he devised the first radio-controlled remotely operated camera head, which captured the thrill of the race from inside the race, capable of producing never before seen shots, such as panning from James Garner’s face to Brian Bedford’s coming up right behind him while speeding along at close to 200 mph. All the while, Stephens was able to view the footage via a remote monitor in the relative safety of a helicopter hovering a few hundred feet above the racetrack.

It’s hard to describe just how breathtaking those hair-raising race scenes are, and you’ll just have to check out the movie (available here) to appreciate the full extent of Stephens’ ingenuity. It’s easy to connect the dots between Stephens’ time on skis barreling down Bald Mountain with camera in hand, to the incredible action shots he devised.

Stephens posing with one of the special cameras he rigged up to catch the thrilling race shots in 1966's Grand Prix starring James Garner.

“It was totally a new process and it turned out very well,” Stephens said. “They did a lot of stories [on the new technique]. Popular Mechanics wrote a story about it, I was in all the magazines and I started to get more publicity than the director.”

After Grand Prix and all its related publicity Stephens was in hot demand, an Arctic action flick with Rock Hudson followed and Stephens’ Hollywood status was set in stone.

50 years and over 100 films later, 80 year-old Stephens is slightly overwhelmed by his resume (here‘s the full list). When I ask for some  favorites, he replies, “You’ll have to remind me of some of the names!”

Six Days and Seven Nights, one of the last before I retired – with Harrison Ford and Anne Heche – that was a favorite. We shot a lot of the pictures up in Hawaii for the plane crash, it was a great location. Harrison Ford was great to work with.”

He had worked with Mr. Ford previously, on the classic action flick Indiana Jones and Temple of Doom. “I did all the ski action shots. When the life raft came of out of the airplane and they jumped out and landed in the snow, racing down through the trees and off a cliff into the water. I photographed that. It was about a 6 rating in heavy water. That was quite a challenge, trying to get those pictures in the boat. It was quite a bumpy ride.”

Speaking of water and boats, there’s a little film on his resume that stands out to a history, disaster-loving, romantic such as myself. “There’s a movie called Titanic on there,” I said. “That must have been quite the experience.”

“Yes,” he chuckled in remembrance. “I had just got back from Europe where I had been shooting commercials for Mercedes Benz. It was about midnight and I get a phone call from the production manager of Titanic. He asks what I was doing, I said ‘Sleeping.’ He said ‘Well get dressed and join us down in Mexico we need you on Titanic.’ James Cameron, the director, had been called back to Fox because the studio had pulled the plug on him and he wanted me to finish up for him.

“I get down to Rosarito beach at 6 a.m., half asleep. Jim came out and shook my hand. ‘Hi Mr. Stephens, I’m glad you’re aboard with us. I’ve been through all the film clips of the shots you’re going to pick up and finish for me.’ And that was it. That was my meeting.”

He worked on the multi-Oscar-winning flick for 5 weeks, shooting over 160 sequences, mostly concentrated around the famous ship submerging beneath the icy water. Which wasn’t icy, he pointed out. “It was a big heated swimming pool, the size of two football fields, down on the beach. It’s still there.”

“At the preview, Jim came up to me and thanked me for my work. Never heard from him again. When I heard about Avatar I sort of wondered…”

Stephens on the set of A Fine Madness with Sean Connery, the first movie he did after Dr. No. The inscription reads "To John, For the one shot you got right. Sean." "We played pool all the time on set," Stephens said, referring to the dedication. "He was quite the practical joker, he always had fun on set."

Speaking of working with groundbreaking directors. What was it like working with Steven Spielberg on E.T.?

“Spielberg was very adamant about the particular type of shots he wanted and we’d have to stick exactly to the storyboards,” Stephens said. “There was this one scene where the kids were being chased by the police, they had E.T. in a basket and they were on bicycles going off these plateaus. I figured out, well maybe I could do something a little extra.

“I had my small camera and I thought I could fasten it to the back of the bicycle, right behind where the kid pedals. So I’m building this mount, and I’m down on my knees attaching it to the frame and this gentleman is looking over my shoulder. He says ‘Hmm. That’s an original idea. I don’t remember putting that on the storyboard.’ It was Steven Spielberg.”

“He looks at me and says, ‘That’s a very good idea, I’m anxious to see what it looks like in the dailies.’ And well, we went ahead with the shot. It turned out to be a very exciting shot and he used it in the picture. Later he told me he appreciated what I was able to add over and above what the story boards called for. That meant a lot to me.” He went on to work with Spielberg on other movies, including the first Indiana Jones.

Stephens carved his career out working in the 2nd unit cinematography (traditionally the unit dedicated to high-speed action sequences or other difficult location shooting). He constantly strove to go over and above what the storyboard called for, get something just a little more exciting, something more unusual.

“I really loved doing 2nd unit work, because it’s where most of the excitement is,” Stephens said in a 1995 documentary by Jeff Coffman about his career. “It was the opportunity for doing the type of filming I used to do in the Navy. We do dangerous things, that’s part of our business. 2nd unit photography is very exciting. You never know what’s going to happen.

“I’ve been in this business quite a few years and its been very good to me. I’ve been on many, many major motion pictures, the credits are quite exciting. It’s been a good career.”

After Titanic came Bandits with Cate Blanchett and Bruce Willis (I wonder if they chatted about Sun Valley?), Conspiracy Theory with Mel Gibson, The Peacemaker with Nicole Kidman and George Clooney in Slovakia, and many more. “I was mostly brought in to do the special shots,” he explained. “When they needed something unique.” One such assignment was Field of Dreams. “I just did the final scene,” he said modestly. Arguably, the most famous shot in the whole movie, the camera does a gravity-defying sweep from watching Kevin Costner pitch a ball to a ghostly Shoeless Joe Jackson, to seamlessly panning out and high up into the sky above the farm-turned-baseball field to reveal a line of cars snaking off into the distance.

For the farm boy from Boone Grove, Indiana, the shot was a fitting tribute to his origins. And speaking of origins, he did manage to make it back to the place he credits for his long and successful career.

“I took Barbara [his second wife] to Sun Valley on our honeymoon. We wanted to retrace some of the steps I had taken. It was incredible going back to where it all started. All the memories. To see some of my pictures hanging on the wall there in the Lodge. It was quite an experience.”

Jennifer Tuohy

Stephens skiing in Sun Valley, the place he gives credit for starting his career in Hollywood.

Sun Valley Movie History: How Gone With The Wind Shaped Sun Valley’s Debut

This week the second annual Sun Valley Film Festival comes to town. In honor of the event and the enduring bond between Hollywood and Sun Valley it represents, The Valley Sun blog is running a series of movie history posts by guest blogger Jennifer Tuohy. For more on the festival, which ends tomorrow, March 17, visit sunvalleyfilmfestival.org.

“Sorry to hear you are still set on ‘Sun Valley.’ I am not sure whether Irene wired you her latest suggestion – ‘Ski Haven.’”
David O. Selznick to Averell Harriman, November 4, 1936

David O. Selznick was a unique figure in the golden Hollywood studio era. Producer of arguably some of the greatest movies ever made – from Hitchcock’s Hollywood debut, Rebecca, to the enduring classic, Gone With the Wind - Selznick was a force to be reckoned with. A close friend of Sun Valley’s founder Averell Harriman, Selznick responded with his usual gusto when his buddy asked him to help sprinkle a little star dust on the opening of his grand palace in the snow.

As reams of telegrams and letters between the two friends attest, Selznick set to work immediately, “producing” the arrival of a trainload of celebrities at the resort for New Year’s Eve. Varied reports from the time indicate that the “Sun Valley Special” carried with it an assembly of Hollywood’s shiniest stars. The celebrity choo choo was an inspired idea, agreed Harriman. “This expedition should have good publicity value and help to keep the place full for the rest of the season.”

Arguably the origin of the type-A-Hollywood-producer stereotype, Selznick was anxious to control tightly the publicity generated by his scheme, and consequently drove Harriman’s publicity guru Steve Hannagan slightly mad with his customary pages of memos, including this one sent in early December 1936:

Dear Steve, For the love of Pete please don’t let anyone send out anything about Sun Valley Special without my first seeing and initialling it for if wrong thing goes out I will have to leave town. Am confident wide publicity can be obtained indirectly counting on your good taste to see to it this isn’t handled like a Billy Rose special to the Dallas Exposition but rather as casual photographs of stars en route and at American St. Moritz etc. Not trying to tell you how to run your business but am trying arrange this as favor to Averell and I must be careful it doesn’t boomerang at me or Sun Valley.

Selznick had good reason to be careful about his image, as he was in the early stages of producing what was to be the defining motion picture of his career, a little movie named Gone With The Wind. Just a few months earlier he had picked up the rights to the sumptuous Southern novel set in the midst of the civil war, and it’s hard not to deduce that Selznick’s little trip had some business motivation behind it. In fact, many of the Hollywood power players he rounded up for the 26 hour train ride to central Idaho had key parts to play in his plan for Wind: Samuel Goldwyn, who “owned” Gary Cooper, the star strongly rumored to be Selznick’s first choice for the role of Rhett Butler; George Cukor, Selznick’s first director for the film; and Errol Flynn, also on the list to play the roguish Charlestonian Butler. In the end Goldwyn point blank refused to loan out Cooper, and Warner Brothers terms for the use of Flynn were unappetizing to Selznick. Perhaps to throw a bone to his disappointed pal however, Goldwyn sent the recently widowed Norma Shearer a request to come join them all at Sun Valley shortly after arriving. Shearer was one of many actresses considered for the role of the film’s heroine Scarlett O’Hara. Shearer eventually declined, joking, “Scarlett is a thankless role. The one I’d really like to play is Rhett Butler!” Shearer’s visit to Sun Valley was not fruitless however. She fell in love with the area and returned year after year, eventually marrying one of the resort’s ski instructors, Martin Arrouge.

In 1940, shortly after Wind was released featuring Clark Gable (another star to frequent Sun Valley) and Vivien Leigh in the lead roles, Selznick pulled hard on some strings to arrange to screen the movie at Sun Valley. “At my request,” he wrote to Harriman in February 1940, “[we will] work something out for Sun Valley on ‘Wind’ even though it is a complete violation of our policy.” Sun Valley was considered rather too small and too short an engagement to waste a print of what was fast becoming the biggest movie in Hollywood’s history.

Selznick and his party arrived in Sun Valley on December 31st, 1936, himself and his closest friends occupying rooms 206, 207, 306 and 307 for just four days. According to the account of Felix Schaffgotsch to his boss Harriman (who was unable to attend the opening of his pet project due to the “coming out” of his eldest daughter Mary), the “Hollywood crowd” were “crazy about the place.” They spent their evenings dancing to the orchestra, being entertained by the Austrian ski instructors, playing ping pong, and frolicking in the pool. “Madeleine Carroll and party went swimming last night at six below,” reported Schaffgotsch.

“The warm water swimming pool is obviously a sensational success and quite a novelty,” wrote Selznick to Harriman in a lengthy letter following his stay. He did complain however, about “how easily pneumonia was obtained after hopping out of the pool and running indoors.” “It is pretty cold in Ketchum, believe it or not,” he wrote, “all your advertisement to the contrary notwithstanding, I believe we hit zero a couple of times.”

The much-publicized lack of snow at Sun Valley’s opening has long been proclaimed as a disaster, however for parties unaccustomed to the thrills of winter sports, it was barely an annoyance. With his accustomed foresight, Hannagan, who despised the cold, had arranged for a slew of entertainment and activities to be on hand, and these kept the celebrities and other guests happy. The ice-skating rink was a particular hit. Selznick actually lamented the fact there was any snow at all, “There wasn’t supposed to be enough snow but there was enough for me to make a monkey of myself on skis and skates, and enough for the rest of the party to go wild about winter sports and spend a fortune at the Saks shop…” he said in his letter to Harriman.

The only major blip in the Hollywood crowd’s Sun Valley vacation, where otherwise they had had “a perfectly magnificent time,” and were “simply heartbroken that we had to leave,” was at the big New Year’s Eve bash. Before Selznick left Hollywood for Ketchum, he had received a wire from screenwriter Sidney Howard, who was working on the script of Wind. Howard had wanted Selznick to meet a friend of his named Morgan during his stay at the resort. He duly accepted the introduction, and while Selznick would live to regret the meeting and its tarnishing of his precious image, for Sun Valley it led to the best publicity the resort could have hoped for.

Morgan insinuated himself into the Hollywood party, following them everywhere, stealing dances with the ladies and securing a spot at their table for the New Year’s Eve dinner. During the evening he brought over a banker from Chicago, Charles F. Glore. Presumably somewhat inebriated, Glore approached the table, pushing Selznick out of the way, and plopping himself down next to Lili Damita. When the producer protested, Glore stormed off, sweeping Selznick’s wife, Irene, out of the way, and swiping Selznick on the arm. Selznick, infuriated, demanded an explanation from Morgan as to his friend’s behaviour. Morgan, unruffled by the incident, ignored Selznick’s fury and calmly turned to Claudette Colbert requesting a dance. Selzinck, not known for his calm and restrained personality, screamed at Morgan that he “did not care to know him” and ordered him from the table. Morgan obliged, joining Glore at the adjoining table where the two started stage-whispering about Selznick, with heavy emphasis on the word Jewish. Enraged, Selznick abandoned all pretense at civility, walked over to the gentlemens’ table and planted a punch on the unsuspecting banker, leaving him with a split nose and two black eyes.

Lloyd Castagnetto, a bridge and building supervisor for the Union Pacific Railroad, later recalled “[there] was blood all over everything that night.” According to his account, the first person to throw a punch was Errol Flynn. Regardless of the facts, the story of Hollywood celebrities spilling blood in Sun Valley was too sensational to ignore. When an employee called Steve Hannagan lamenting the turn of events, he shouted back down the line, “What do you mean your party’s ruined? Not an editor in the country can resist this story!” Then he sat down and penned what became the memorable party headline for the ages: “Sun Valley Opens With a Bang.”

Jennifer Tuohy

For more from the Sun Valley Movie History series click here.

Sun Valley Movie History: The perfect location

In the second in the Sun Valley Movie History series celebrating the Sun Valley Film Festival, guest blogger Jennifer Tuohy compiles a list of movies shot in Sun Valley. The festival opens tomorrow, for more on the event, which runs through March 17, visit sunvalleyfilmfestival.org.

Arguably the most famous movie star to shoot a film in Sun Valley, Marilyn Monroe is pictured here at the North Fork store just north of Sun Valley, where she filmed scenes for Bus Stop.

From standing in as the mountains of Europe to being celebrated as a character in its own right, Sun Valley’s role as a favorite Hollywood shooting location often had as much to do with the stars’ and producers’ wish to ski there as it did its suitability for filming. Following the opening in December 1936, a total of  32 Hollywood movies have been shot in and around Sun Valley. Over 300 have been shot across the great state of Idaho (for that list click here), but for the sake of my sanity I focused the following chronological list solely on Hollywood movies shot in Sun Valley and its surrounding mountains. I also chose to excluded TV specials (such as Lucy Goes to Sun Valley and Raquel Welch’s variety show), promotional videos, documentaries, and independent movies shot in the southern Wood River Valley. I also left out the unique genre of Ski Films, which is a whole blog in itself – for another day perhaps. The resulting list reflects the birth, intense early passion, slow burn phase, and eventual break up of Sun Valley’s relationship with Hollywood location scouts (Shredder? Really?). Hey Hollywood, maybe it’s time to make up and give it another shot?
Jennifer Tuohy

Filmography links and data courtesy of
The Internet Movie Database

Movies Made in Sun Valley

1937 I Met Him in Paris
Claudette Colbert, Robert Young, Melvyn Douglas. Dir:  Wesley Ruggles
The first Hollywood flick to be shot in the newly-christened Sun Valley-area was filmed at Baker Creek in the Smoky Mountains, where a Swiss village, complete with its own grand lodge, was created. Filming began as soon as Sun Valley Lodge opened, with the stars staying in Sun Valley and the crew finding lesser accommodations in the town of Ketchum. (For more on I Met Him In Paris’ Sun Valley connection click here.)

1939 Stanley and Livingston
Spencer Tracey, Walter Brennan, Nancy Kelly, Richard Greene Dir: Henry King, Otto Brower
The head of Twentieth Century Fox, Darryl F. Zanuck (also responsible for Sun Valley Serenade), was a frequent guest at Sun Valley. He arranged for the opening sequences of this movie to be shot in the Boulder Mountains just north of town.

1938 Everything Happens at Night
Sonja Henie, Ray Milland, Robert Cummings Dir: Irving Cummings
Scenic shots of the area were used in this Swiss-set comedy/drama. Ice-skating star Sonja Henie wasn’t to come to Sun Valley until her next Hollywood movie in 1941.

1940 The Mortal Storm
Margaret Sullivan, James Stewart, Robert Yong Dir: Frank Borzage
Sun Valley’s mountains stood in for those of Austria in this WWII film.

1941 Sun Valley Serenade
Glen Miller, Sonja Henie, John Payne Dir: H. Bruce Humberstone

This clip featuring the signature song of the movie, “It Happened in Sun Valley,” and showcases Sun Valley Lodge in all its 1940s glory. (Video not displaying? Click here.) While the principle sets for the movie were filmed in Hollywood, the skiing and scenery was all Sun Valley, earning this crowd-pleasing flick almost daily showings at the Sun Valley Opera House, straight through to today.

1941 A Woman’s Face
Joan Crawford, Melvyn Douglas Dir: George Cukor
Sun Valley just provided the snow for this melodrama.

1942 Hedda Hopper’s Hollywood No. 3
Hedda Hopper, Anna Boettiger, Ronald Colman, Gary Cooper, Martha Gelhorn, Ernest Hemingway Dir: Herbert Moulton
“Newsreel-style accounts of the Hollywood Dog Training School where Carl Spitz trains stars’ pets and dogs for films; a hunting party in Idaho with Ernest Hemingway hosting Gary Cooper, Anna Boettiger, poet Christopher LaFarge, and others.”

1942 Northern Pursuit
Errol Flynn, Julie Bishop, Helmut Dantine Dir: Raoul Walsh
“A Canadian Mountie of German descent feigns disaffection with his homeland in hopes of infiltrating and thwarting a Nazi sabotage plot.” The landscape around Sun Valley stands in for the Arctic. Watch the trailer here.

1946 An Old Chinese Proverb: One Picture is Worth Ten Thousand Words (Short Film)
Bob Burns, Ken Carpenter, Jerry Fairbanks

1950 Duchess of Idaho
Esther Williams, Van Johnson, John Lund Dir: Robert Z. Leonard

This trailer for Duchess showcases Sun Valley Lodge and a snippet of Connie Haines singing the praises of Idaho. (Video not playing? Click here.)

1949 Mrs. Mike
Dick Powell, Evelyn Keyes, J.M. Kerrigan Dir: Louis King
A Canadian Mountie marries a Boston-bred heiress, uniquely unprepared for the hardships of life in the Great White North. Mrs. Mike nonetheless perseveres through minor inconveniences and major tragedies. Based on a true story and a bestselling book. Sun Valley pretends to be the “Great White North” in this biopic.

1948 That Wonderful Urge
Tyrone Power, Gene Tierney, Reginald Gardiner Dir: Robert B. Sinclair
“When an heiress finds out that the friendly young man she’s met at Sun Valley is really an investigative reporter, she ruins his career by falsely claiming they’re married.” Another Darryl F. Zanuck movie, shot in his favorite ski locale.

1952 The Wild North
Stewart Granger, Wendell Corey, Cyd Charisse Dir: Andrew Marton
Filmed in the Boulder Mountains, along Trail Creek and on Galena Summit.

1952 The Big Sky
Kirk Douglas, Dewey Martin, Elizabeth Threatt Dir: Howard Hawks
Rock Hudson, Marcia Henderson, Steve Cochran Dir: Joseph Pevney
“In a small village in the icy wilderness of Alaska Captain Peter Keith has to defend himself against two especially mean villains, who are after his wife Dolores and a boatload of precious hides.” Background shooting took place in the mountains around Sun Valley.

1953 How to Marry A Millionaire
Marilyn Monroe, Lauren Bacall, Betty Grable Dir: Jean Negulesco

Sun Valley stands in for Maine in minute 2 of this trailer. (Video not playing? Click here.)

1954 Seven Brides for Seven Brothers
Howard Keel, Jane Powell, Jeff Richards Dir: Stanley Donen
An avalanche scene in the movie was shot at Corral Creek Canyon near Sun Valley.

1955 The Tall Men
Clark Gable, Jane Russell, Robert Ryan Dir: Raoul Walsh
Once again, Sun Valley provided the scenic snow shots for this flick.

1955 Storm Fear
Jean Wallace, Cornel Wilde, Dan Duryea Dir: Cornel Wilde
The movie was shot on location in Sun Valley.

1956 The Miracle of Todd-AO
“A short film demonstrating the new 70mm widescreen Todd-AO system. After a prologue that shows all that the eye can see through the Todd-AO wide angle lens, we take a ride in a roller-coaster, fly over the canyons of the Grand Teton Mountains, ski in Sun Valley, and follow a motorcycle chase through the San Francisco.” Catch scenic shots of the Sawtooths and the Wood River Valley in this clip.

1956 Bus Stop
Marilyn Monroe, Don Murray, Arthur O’Connell Dir: Joshua Logan
“A naive but stubborn cowboy falls in love with a saloon singer and tries to take her away against her will to get married and live on his ranch in Montana.” The scenes of the couple stranded at a bus stop in a blizzard were shot at the North Fork store, north of Sun Valley, which still stands. Watch the trailer here.

1957 Ten North Frederick
Gary Cooper, Diane Varsi, Suzy Parker Dir: Philip Dunne
Location shots only for Sun Valley in this Cooper vehicle.

1965 Ski Party
Frankie Avalon, Dwayne Hickman, Deborah Walley Dir: Alan Rafkin

Great shots of Baldy and Dollar mountains to be found in the trailer for this raucous ski flick. (Click here for the video.)

1977 The Deadly Triangle (TV movie)
Dale Robinette, Taylor Lacher, Geoffrey Lewis Dir: Charles S. Dubin
“A former Olympic ski champion, now the sheriff of a ski-resort town, investigates the murder of the member of a skiing team that came to the resort to train.” Filmed entirely in Sun Valley.

1978 Crisis in Sun Valley (TV movie)
Dale Robinette, Taylor Lacher, Bo Hopkins Dir: Paul Stanley
“Semi-follow up to “The Deadly Triangle” dealing with a sheriff and his deputy in a sleepy ski town involved with a group of urbanites planning a dangerous mountain climb as well as investigating sabotage in a condominium development.” Filmed entirely in Sun Valley

1980 Swan Song (TV movie)
David Soul, Bo Brundin, Jill Eikenberry Dir: Jerry London
“A champion skier who pulled out of the Olympic games because of a mysterious illness decides to make a comeback.”

1980 Powder Heads
David Ferry, Catherine Mary Stewart, William Samples Dir: John Anderson, Michael French
Filmed in Sun Valley, Edmonton and Jasper.

1985 Pale Rider
Clint Eastwood, Michael Moriarty, Carrie Snodgress Dir: Clint Eastwood

Pale Rider revived the both classic Western and Hollywood’s romance with the majestic mountains surrounding Sun Valley. The film crew constructed an entire mining village in the Boulder Mountains, and the opening credits capture the drama of the Sawtooth Mountains. (Video not displaying? Click here)

1996 Champions on Ice
Scott Hamilton, Nicole Bobek, Surya Bonaly Dir: Paul Miller

2001 Hemingway, The Hunter of Death
Albert Finney, Paul Guilfoyle, Fele Martinez Dir: Sergio Dow
“During the Kenyan struggle for independence from the British in the late 1950′s, a scientific safari led by Ernest Hemingway undertakes the ascent of Mount Kenya.” Filmed on location in Sun Valley and Kenya.

2001 Town & Country
Warren Beatty, Diane Keaton, Nastassja Kinski Dir: Peter Chelsom
The last big budget movie to be made in Sun Valley  provides plenty of glimpses of town and slopes. Unfortunately, when the crews arrived there was no snow on the ground and several scenes were filmed with manmade snow. As luck would have it, a foot of the real white stuff arrived the next day, so some of the scenes were re-shot using the “natural” background. But the movie was cursed with bad luck from the get-go and went on to be one of the biggest box office disasters of all time.

2003 Shredder
Scott Weinger, Lindsey McKeon, Juleach Weikel Dir: Greg Hudson
The Tamarack Lodge on Sun Valley Road in Ketchum provides some interior scenes in this ski horror flick set in Kellog, Idaho.

Read the first post in the Sun Valley Movie History series “The Hollywood Connection” here. Coming next, a look at Sun Valley’s Hollywood Godfather, David O. Selznick.