Movie Makers (Jan-Dec 1949)

259 * Meisel TroTn Monkmeyer REELING THE RODEOS A CAMERA POSITION near the incoming gate may be permitted at smaller rodeos, but for the big shows use a telephoto in the stands. I OOKING a gift horse in the mouth is the only occasion \^ when a wide angle lens might be needed to record your impressions at a rodeo. A telephoto lens, on the other hand, is invaluable equipment in the wide open spaces, where men are men and even the women wear pants. At nearly any rodeo, the spectators sit across the field from the chutes, from which explode the challenging bulls, the furious broncos, the fleet, tricky calves. If the rodeo is a noted one and attended by thousands — like Cheyenne's Frontier Days this month or the Pendleton Roundup in Oregon in August — a telephoto lens is necessary to get good action shots of the show. But if the rodeo is a relatively small one, like those held at county fairs all over the Rocky Mountain West during July, August and September, you should be able to get along with your regular lens by sidling over to the area near the chutes and filming the action from a nearer point of vantage than the grandstand. To be sure, only those with business near the incoming chutes should be there. However, at a small rodeo, if one is careful to stay out of the way (as much for his own safety as for the tempers of the straw bosses) ; and if one carries a tripod (which he should do anyway whenever he uses a telephoto), surely no true western heart will be stony enough to turn him away — unless he takes up a potentially dangerous position. If the rodeo filmer is a sensitive person, he will close his eyes — but keep his camera running — during the Brahman bull riding contests. Riding these bulls is only part of the cowboy's problem. The big risk comes when he gets off, whether voluntarily or involuntarily. The Brahman is not content to run away when rid of its rider. He craves vengeance, and he sometimes gets it. Unless the bull's attention is distracted quickly by the clowns, who are on hand for that purpose, he will turn and attack the dismounted rider with murder on his mind. However, the action of the show is only a part of a rodeo film subject. Too much energetic film action loses dramatic effect if quieter scenes are not inserted judi ALEXANDER HEALY, J R ciously and often. The filmer should not fail to get some scenes of the cowboys lounging around in small groups while they wait their turns in the arena. The clothes, gestures, postures and movements of these performers show best to a movie camera their background of a hard life on the range. The audience, also, should be a very real part of any rodeo film. Not only are most rodeo spectators dressed with startling individuality and imagination, but they react cinematically — and sometimes violently. Most rodeos last more than one day, and the serious cinematographer will attend at least twice: first to have his fun and to establish the scene and the planning in his own mind, as he enjoys himself; second for work, trying his mightiest to make a good rodeo reel he can show with pride on his return home. This serious cinematographer will recognize the need of a good introduction to establish the locale and the mood. To my mind, the best introduction possible is a film of the parade that precedes the rodeo, catching it from a variety of camera angles and distances. Again, don't forget the value of reaction shots of those watching the parade. They are as much a part of the event as those loping along the line of march — and they are easily as colorful. But let us suppose that the filmer missed the parade. He did not arrive in town in time. He had a flat tire, a previous engagement, or he did not know about it until too late. There are many methods of introducing the subject to a film audience. Double expose the name of the film, plus desired credits, on a closeup of a cowboy hat. Then let the camera tilt down to show that the hat is being worn by one of the family, who grins, flourishes the hat toward the camera, and blocks out the light from the film. Then make a dye fade into the first rodeo footage. Then there is the writing-a-letter-home technique, in which the letter, as it progresses, forms the titles for the rodeo movie. Using some western props and western clothes to key your character, this too can be done at home. Probably the best reaction shot you can get at a rodeo is one showing the cowboys scampering up the fence when a Brahman bull heads their way. If you don't have enough reaction shots, and you are home again from the rodeo, tog out the family in western style and head for some grandstand nearby, or for the open country, for a low camera angle against the sky. East or west, the sky can be pretty much the same. Film your subjects reacting to a rodeo. Let them cheer, wave and peer under their palms to see more clearly; let them drink pop, eat popcorn, roll Bull Durham cigarettes, mop their brows, laugh, yawn and fidget. Have a friend take some reaction [Continued on page 273] Action and reaction, says this western expert, make up your movie of the bucking broncos