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Close Encounters of the Ford Kind
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Close Encounters of the Ford Kind is a 1983 essay by Dianne Smith.
Smith was best known for her detailed, lush portraits and illos for Harrison Ford roles.
This essay is a detailed account of her August 24, 1983 visit to Ford in England while he was filming one of the Star Wars films.
It was printed in the Dec/Jan/Feb 1983/84 issue of Empathy News.
Some Topics Dicussed
- Smith's past success in art shows in professional venues such as film premieres
- meeting Ford and having him sign her art
- breaking the fourth wall, showing him her fanart
- it is an example of the popular topic of fan testimonials about fans on sets
From the Essay
I am sitting in the foyer of Elstree studios, trying to at least appear composed, even if I am not. I can't quite believe that this is me, clutching my briefcase full of artwork and reflecting that 12 months ago I had just begun to draw, but with no particular end or ambition in view. ! had been fairly good at life drawing at school, but that was where it ended until recently - 20 years or so later.
Other people mainly put ideas into my head and by the beginning of October 1982, I did an exhibition at the ABC Film Centre in Leeds to help publicize "Blade Runner" called: The Many Faces of Harrison Ford. EMI Cinemas were the first people to buy one of my portraits; they also commissioned work on a regular basis until they had most of the people they wanted up on the walls, including E.T. This lasted until about Christmas, then it was time to look for pastures new. May seemed a long way off, but I wanted badly to do a really good exhibition for Jedi, and so gradually, amongst other art commitments, I built up a collection of every major character I knew of at the time out of the Star Wars saga.
Then, in good time, I approached the Odeon in Leeds, not really thinking I would be lucky a second time. However, I was. The whole thing was one of my most enjoyable experiences; I sold a lot of pictures and received a few commissions. The management and staff at the Odeon are a wonderfully enthusiastic bunch of people, and my thanks go to Alan Thornton, the manager, and his assistant, Margaret Walker, who within an hour were able to come up with a name and phone number; the result of which I still can't quite believe.
During late winter/early spring of this year, I had a burning ambition to do a really good full colour portrait of Harrison Ford, with lots of detail, that would take ages to do - like a week. In fact, I did two: one from "Raiders" and one from "Empire". I didn't want to part with either - the few people who have seen the "Raiders" one think it was perhaps the best thing I have ever done. I even turned down a lot of money for it because by now I had made up my mind that the only person to have this, apart from me, would be the man himself, and hopefully, if he accepted it, he would sign the other for me to keep.
I am a creature of impulse; if I'm going to do something I have to do it there and then. I was going away on holiday for a few days, and at one stage, I realised I would be about thirty miles from Elstree, and so I slung the portrait in the car at the last minute, not really knowing how I was going to accomplish anything. While I was down there, I rang the Odeon in desperation, and within an hour I had the phone number of the person I needed at Lucasfilm. The rest was up to me. I rang, absolutely terrified, but told them exactly what I wanted, and could they help. They were very friendly and said of course they could, and I went and took the portrait the same afternoon. They were delighted with the picture because it was Harrison as they knew him. Harrison wasn't there; he was back home recovering from his back injury, but was expected back in four weeks to complete filming.
Harrison is back at work and prepared to see me. Opposite the studio was a wine bar. My appointment wasn't until 2 in the afternoon, so I went in there for some lunch and a glass of wine or three, then back over the road and inside. I looked up as I was sitting, staring at the floor, and came face to face with a group of men leaving the restaurant: This assortment of men was led by Harrison, followed by a few I didn't recognise, and then Steven Spielberg, George Lucas and Douglas Slocombe. Before I'd had a chance to recover, Amanda, who is assistant unit publicist, came rushing into the room yelling "Dianne, hurry up, follow me!" and we literally ran down the corridors, outside, inside again, and up lots of flights of stairs. Two seconds to compose myself, and then I was in his dressing room.
He was sitting at a very elegant traditional polished table, signing photographs. I hardly dared to look at him. He got up immediately to shake hands and thanked me for the portrait. I asked him how he was, and I must say he looks very well. The screen doesn't do him justice, he is far better looking in real life. Quite often, when one meets one's heroes in the flesh they can be a bit of a disappointment, but I must emphasise that in Harrison's case it was the opposite in every respect. He was incredibly brown and his eyes tremendously compelling; he looks directly at you when he speaks. I don't know why, but I'm sure every Harrison admirer must have noticed that his eyes appear to change colour every time you see a different photograph at' him. Well, that was something I was determined to find out for myself. They are grey with hazel flecks. He looks incredibly young - about 28 - not a line on his face; very boyish features, and his face is much smaller than it appears on screen. He is also extremely lean and just as tall as he appears on film.
He enquired about how long I had studied at art college; when I told him I hadn't been anywhere, he seemed quite incredulous - he had assumed that I had been studying for 12 months, not just drawing for 12 months. He looked me in the eyes with a typical Harrison expression and said "I don't believe it. I went to art college for three years." - This was something I didn't know about him.
Afterwards, I met Sue, who is the unit publicist. Her office is right next door to Harrison's dressing room. A very pleasant lady who has been in the business for years, we sat and chatted over tea and coffee and she looked at some of my work, then I was offered two portrait stills from the new film and told to feel free to do portraits from them (I now no longer worry about copyright).
It was a wonderful afternoon and I can't quite believe it happened to me, I am not ashamed to say I was awestruck because I was. It was magic, and I realise how lucky I was.