Читать книгу Finding the Missed Path. The Art of Restarting Horses онлайн

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Again, the script was pretty specific about how the shot should look, with the camera fairly close to the horse while the filming took place. This would have made things pretty easy from the standpoint of working with Rusty because even though he was to be completely unrestrained—no halter or lead rope—as well as being in the middle of the open desert with no fences for miles in any direction, it meant that I could at least be close enough to him off camera so he could see me, and I could give him direction to help him stand still while the cameras rolled.

But the director once again had a different idea. Instead of starting relatively close, say within 15 or so feet from Rusty, he wanted it to start with what is known as a wide shot. This meant that the camera would be at least 50 yards away from Rusty, which meant I couldn’t be anywhere near Rusty during the filming, otherwise I would be in the frame.

I honestly had no idea how Rusty would feel about all of this. After all, it was dark, we were in the middle of the desert, there were huge lights everywhere shining into big square reflectors to give the impression it was moonlight, and there were strange people coming and going carrying cables and light stands and more lights and more reflectors and more cables. Still, Rusty seemed quiet enough, but then again, I was standing next to him, he was haltered, and I was holding his lead rope.