Luke Lafayette Ward
- Art Department
- Camera and Electrical Department
- Location Management
Luke Ward was born in Queens, NY, raised in Wilmington, NC, and began his career in Atlanta, GA. Searching for new experiences, he found access to the film industry. Working alongside his father and his three decades worth of industry knowledge, Luke got his foot in the door, working multiple departments before discovering his love for Greens.
Luke's initial full length film was First Man, where his team re-created Neil Armstrong's house and the Moon's surface. The sets created gave the production the backbone needed for the VFX department to win an Oscar.
His following films gave him more opportunities to create different landscapes and environments. From the plains of Zamunda (Coming 2 America) to the jungles of Argentina (Red Notice), his understanding of the natural ebbs and flows of nature give him the tools and ability to recreate entire landscapes accurately.
Working Greens for Martin Scorsese's: Killers of the Flower Moon, he crafting huts out of Willow branches, laying dirt roads and dressed brush native to Oklahoma's environment. While working and meeting with Osage Natives, he had the chance to understand what 1920's rural Oklahoma was like for the native population. At the time the Osage were the wealthiest people in the country before white Oklahomans took their wealth by force.
He has recently worked in Montana on Yellowstone's prequel shows- 1883 and 1923. With rugged landscapes and a dry atmosphere, it posed many challenges to recreating what the Wild West looked like 100 years ago, while also mimicking present day. Still, those challenges have helped him understand more about the complexities of different environments and how to use them to create the director's vision on the day.
Now living in Tulsa, he ran Greens for the Emmy nominated season of Reservation Dogs and made friendships that will last a lifetime.
Luke's initial full length film was First Man, where his team re-created Neil Armstrong's house and the Moon's surface. The sets created gave the production the backbone needed for the VFX department to win an Oscar.
His following films gave him more opportunities to create different landscapes and environments. From the plains of Zamunda (Coming 2 America) to the jungles of Argentina (Red Notice), his understanding of the natural ebbs and flows of nature give him the tools and ability to recreate entire landscapes accurately.
Working Greens for Martin Scorsese's: Killers of the Flower Moon, he crafting huts out of Willow branches, laying dirt roads and dressed brush native to Oklahoma's environment. While working and meeting with Osage Natives, he had the chance to understand what 1920's rural Oklahoma was like for the native population. At the time the Osage were the wealthiest people in the country before white Oklahomans took their wealth by force.
He has recently worked in Montana on Yellowstone's prequel shows- 1883 and 1923. With rugged landscapes and a dry atmosphere, it posed many challenges to recreating what the Wild West looked like 100 years ago, while also mimicking present day. Still, those challenges have helped him understand more about the complexities of different environments and how to use them to create the director's vision on the day.
Now living in Tulsa, he ran Greens for the Emmy nominated season of Reservation Dogs and made friendships that will last a lifetime.
