The Black Stallion Challenge Cup; A Salute to Literacy.
Come join us as all five Marion County School Board Members, the Superintendent of Schools, The Mayor of Ocala, and the Sheriff of Marion County compete for the Cup. Coached by world class professionals. Free Admission!
It is a night of community fun designed to showcase literacy. It is part of the Black Stallion Reading Project, a five-year partnership program between the Ocala Horse Alliance and the Marion County Public School System, now in all 31 elementary schools in Marion County. The program uses the power and magic of the horse to promote reading and inspires children to set goals and develop pathways to achieve. All schools have an equestrian farm partner.
2020 AHC Webinar Putting Horses in the Public Eye August 17
(Washington, DC)– If you want to learn, get inspired and go behind-the-scenes with people who excel in putting horses in the public eye in ways that help our industry interest newcomers to horses and lifelong enthusiasts — then join the American Horse Council for a must-see webinar on August 17, 2020 at 1:00 PM ET. Featuring a dynamic panel of experts, from television and film to live performances, they are masters at captivating the public with horses!
Ashley Avis is an American director, screenwriter and producer, who united her passions for horses and films for the upcoming feature film Black Beauty, which she wrote and directed in this modern-day reprisal of Anna Sewell’s classic tale. Scheduled for release in 2020,Black Beautystars Kate Winslet, Mackenzie Foy and Iain Glen. Ashley is currently writing and show running a new television horse-themed series based on the iconic Breyer toy brand for Ron Howard, Brian Frazer, and Stephanie Sperber of Imagine Entertainment. On the release horizon for 2021, is Ashley’s documentary filmWILD BEAUTY: Mustang Spirit of the West.
Kansas Carradine comes from a Hollywood acting legacy, but horses have defined her performing career. As a member of Riata Ranch Cowboy Girls, Kansas appeared across the US and abroad trick riding and roping. Other credits include Disney’s “Hidalgo,” MTV, ESPN, CBS, and worldwide sporting events. Although raised in a rodeo arena, Kansas developed her unique style while touring with the acclaimed spectacle Cavalia, thrilling fans from California to Australia Roman-riding a 4-horse team and more. With a long view on Cavalia’s success, Kansas also worked behind the scenes—acquiring and training new trick horses for the show.
Plus author, journalist, and media consultant Elizabeth Kaye McCall who has been involved on the entertainment side of the horse industry for over 20 years. From writing about horses in film and TV to working with Arabian Nights to the French equestrian theater troupe Zingaro, she became the original horse industry liaison for Cavalia and helped build its reputation in the North American market.
As the national association representing all segments of the horse industry in Washington, D.C., the American Horse Council works daily to represent equine interests and opportunities. Organized in 1969, the AHC promotes and protects the industry by communicating with Congress, federal agencies, the media and the industry on behalf of all horse related interests each and every day.
The AHC is member supported by individuals and organizations representing virtually every facet of the horse world from owners, breeders, veterinarians, farriers, breed registries and horsemen’s associations to horse shows, race tracks, rodeos, commercial suppliers and state horse councils.
Here’s more on the movie that is going to be released on Disney+ soon.
Production Assistant Tim Farley’s Flashbacks on Filming.
“I met director Carroll Ballard when he and my dad were looking for an Arabian stallion to play The Black,” says Tim Farley, who was still in college, finishing a photography degree at Brooks Institute in Santa Barbara, California when his father Walter Farley’s beloved novel, The Black Stallion, began its transformation to the big screen.
“I went to talk to Carroll and to Fred Roos, the producer, to see if I could get a job. Of course, they said I could have a job. They didn’t say they would pay me, at first. I was a 21-year-old kid who knew nothing about making movies,” says Farley laughing.
He would end up skipping graduation ceremonies to start on the film, which began production in Toronto in 1977.
“My first job was working in the office,” Farley recalls. “The film was in preproduction at that point. One of my assignments was to make copies of all the script changes for the crew. However, I also ran off an extra set of copies to send to my dad. So, he would send them back with all these comments on them, of course, and they were like, ‘Where is he getting all this information?’ I was his mole! They weren’t real happy about that, to tell you the absolute truth.”
Still, it brought benefits. “Actually, my dad came up with the sequence in the jockey’s room before The Black races. It became a humorous scene in the movie, because they kept adding weight to this little kid. The way the script was originally written had Alec sneaking weight into his pockets, or putting on a weight belt, or something. My dad said, ‘Nobody would do that. The officials add all the handicap weight jockeys must carry. They would never sneak weight.’ He came up with some helpful ideas.”
Farley smiles when he thinks back on it. “It was fascinating driving to the set daily with Mickey Rooney in Toronto, the location for our 1940s New York scenes. Mickey had been in a long career slump, but The Black Stallion brought him an Oscar nomination and he returned to the stage.”
When the production went overseas, Farley went too.
“From set of the Black Stallion when I was 22. Don’t know the photographer, it was sent to my Dad [Walter Farley] and on his office wall,” says Farley.
“The most memorable days for me were on the island. It took us months to get some of those shots,” he says. “My screen credit was ‘production assistant,’ but with only about 30 of us on crew [there], I did a little bit of everything. It was shot almost like a documentary, with a small crew on the Mediterranean island of Sardinia.
A small crew and not many — make that no — creature comforts: “It was exciting, even though we had to take cold showers!” Farley says. “Working on those beach sequences, there were no hotels. We stayed in an empty school with cold-water showers. Every once in a while you’d see a tourist come through for an hour or two, but we were pretty far out.”
The remote location brought unique challenges. “We had to do a lot of tracking shots, like The Black running down the sand bar, especially when Alec’s learning to ride and keeps falling off. We had to kind of wing it. We couldn’t say, ‘Oh, we need some dolly track here for 500 yards and we have to go 30 miles an hour. So, how are you going to do that?”
The answer was improvise: “They came up with a Citroën 2CV. It’s like a French version of a Volkswagen Beetle. We took the doors off and the seats out. We used that as our [camera] dolly to race down the beach. The horse was going pretty fast.”
Rarely without his own camera, Farley often photographed the star horse, Cass-Olé. “He and Kelly had a good relationship because they spent so much time together before the movie started. But Cass-Olé was kind of like the character of The Black. He was very independent, knew he was gorgeous, and that everybody loved him. He’d take control if you’d let him. On the other hand, Cass was gentle with Kelly. Corky Randall trained Cass for months to be able to work him at liberty and have him listen to voice commands.
” Dad [Walter Farley] editing my pix after getting back. [from filming],” says Farley
“I was one of the lucky people there watching a young Kelly Reno portray Alec Ramsay together with Cass-Olé as The Black. Those scenes on the beach with the magic of the boy and the horse getting to be friends on the island really did happen,” Farley says. “Also, at the end of the movie, where you see that big double rainbow and the horse rolls on the ground and Kelly rolls on the ground — it was totally impromptu. It’s during the credit roll at the very end of the film.”
When filming finished, coming home took some adjustment. “It was almost like in the movie — when Alec arrives back in America — that first sequence when he’s in a real bathroom with running water. That’s kind of what happened to us too,” Farley remembers.
Forty years later, the memories from those months working on the film are still vivid and exciting. “Learning something new every day … you never knew who might show up — Harrison Ford, Matt Dillon, Francis [Ford Coppola], even Scorsese. I met Fellini at Cinecittà [Studios, where the shipwreck scene was filmed in Rome].”
But the best part, Farley says, was “just being part of this small family that included the wonderful horses and horsemen, from cowboys to Hollywood.”
(Lead image) Tim Farley trying his hand at liberty work rearing the Black Stallion that starred in the long-running (now closed) Arabian Nights Dinner Attraction in Orlando. Walter Farley was close friends with the family and gave permission for the black stallion namesake to only be used there. Curious tidbit. Glenn Randall Sr. (Corky’s father) did the original horse training at Arabian Nights.