American Cinematographer - February 1988 - 30

Wild Horses, Wild Times
by John Howe
races for escape,
close at his heels. Both

The

lion

of

running
at full speed, oblivious to the ter¬
rain. The whirling lariat signals the

jingle of spurs breaks the quiet
early morning. Red clouds
scrape the sky. A murmur. The
sound of hooves. Ever closer. Red
dust

on

rustle.

the horizon. The wind but

a

Pounding hooves hammer

the silence into submission.
Wild horses!

hesitate above a
barbed wire fence. Below a Ver¬
Crows

million cliff, the juniper conceals
the action. Fluffy thunderheads bil¬

low, predicting a storm.

Without

warning, wild horses explode from
the bush running at breakneck

speed. Cowboys follow in fast pur¬
suit careening over boulders, the
thorns of the bush

scraping their

chaps.
The black stallion with the

blazed forehead

lingers at the rear.
The head wrangler whirls, rope at
the ready, flailing the air. The stal¬

the cowboy
are

end of freedom. The horses

are

roped in the confines of an amphi¬
theater naturally formed in the val¬
ley below.
Nothing is more reminis¬
cent

of the American West than
romance of the

As with most

come

The
concept for Wild
Horses, Wild Tunes came from an
earlier
duced

production which was pro¬
by KUED/7 for PBS entitled

Troubled

Waters.

concerns a

American Cinematographer

Troubled

Waters

white water adventure

down the Colorado River and

an

wild horses. The

examination of the associated envi¬

wild horse haunts the deserts and

ronmental issues of the Colorado.

mountains of the West

provoking
nostalgic pictures of simpler, better
times. "Mustang" paints word im¬
ages of freedom and wilderness.
These wild steeds with flowing
manes and swirling tails throw
caution to the wind, running wild

In the

through vast meadows in imagi¬
mountains. But like a western

horses

movie, the distinction between ro¬

that

nary

mance

and

reality is often blurred.

introductory narration by

Edward Asner, aerial footage of
wild horses was used for visual

support. The natural beauty of
these shots initiated

February 1988

an

idea for

a

story about wild horses as a docu¬
mentary. The aerial shots of wild
but

were

dramatic and

exciting

something else was needed and
was

a

sense

of

importance.

Further research substantiated that

importance.

28

things wild in the
be¬

age, the wild horse has
the center of controversy.

current



American Cinematographer - February 1988

Table of Contents for the Digital Edition of American Cinematographer - February 1988

American Cinematographer - February 1988 - 1
American Cinematographer - February 1988 - 2
American Cinematographer - February 1988 - 3
American Cinematographer - February 1988 - 4
American Cinematographer - February 1988 - 5
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American Cinematographer - February 1988 - 29
American Cinematographer - February 1988 - 30
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American Cinematographer - February 1988 - 61
American Cinematographer - February 1988 - 62
American Cinematographer - February 1988 - 63
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American Cinematographer - February 1988 - 77
American Cinematographer - February 1988 - 78
American Cinematographer - February 1988 - 79
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American Cinematographer - February 1988 - 82
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American Cinematographer - February 1988 - 84
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American Cinematographer - February 1988 - 93
American Cinematographer - February 1988 - 94
American Cinematographer - February 1988 - 95
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American Cinematographer - February 1988 - 99
American Cinematographer - February 1988 - 100
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