50 to 1
Underdog racing story about Mine That Bird hits theaters March 21.
by Chris Irwin
The Evolution of Horsemanship More Frame of Body = Frame of Mind
Jockey Calvin Borel (as himself) races Mine That Bird (Sunday Rest) at Churchill Downs.
Mine That Bird, the underdog racehorse that won the 2009 Kentucky Derby, is the focus of a new Hollywood film, 50 to 1, that opens in theaters March 21. The news was announced by 50 to 1 director, producer, co-writer and racehorse owner Jim Wilson (Oscar®
-winning producer of Dances
With Wolves). Skeet Ulrich, Christian Kane, William Devane, Todd Lowe and newcomer Madelyn Deutch star in the film alongside real-life jockey Calvin Borel, who plays himself in the picture. Faith Conroy co-wrote the script with Wilson. The film, which is rooted in New Mexico and shot in over 30 locations throughout the state, from Santa Fe to Las Cruces, will kick off the theatrical release with the world premiere in Albuquerque at the historic KiMo Theatre on March 19.
Let’s begin with a quick review: As I mentioned in my last column, the language of horses is body language. I can never emphasize enough that it’s not just what we do with a horse that is important but how we use our bodies when we are with our horses that needs to be kept first and foremost in mind. I say this because how relaxing and enjoyable the training is for any breed of horse of any age, or, conversely, how stressful the experience is for the horse, depends entirely on how the trainer behaves.
This is not a matter of perception or beliefs in specific techniques. This is not about english or western preferences in riding. This is not about recreational or show horses. All horses are physiologically hard wired in the bio-chemistry of their central nervous system so that their body, mind and spirit work together as one. The frame of the body of the horse is also the frame of the mind. So, the truest definition of training the horse should literally mean that we use our body language to shape/sculpt our horses into a frame of body that corresponds to their feeling good in the mind. Now, having reviewed all of the above, these are just words that I have said so many times before in one context or another. So, now let’s look at four different photos that illustrate very clearly how frame of body = frame of mind. In these images we can see how, with knowledge and awareness, we can use our body language to help our horses be the best that they can be. Or, just the opposite, how, with lack of awareness, we can inadvertently be stressing and alienating our horses when we do not know what we do not know about our own body language.
Chip Woolley (Skeet Ulrich) has a heart-to-heart talk with Mine That Bird (Sunday Rest).
50 to 1 is about a misfit group of New Mexico cowboys who find themselves on the journey of a lifetime when their crooked-footed racehorse qualifies for the Kentucky Derby. The cowboys face a series of mishaps on their way to Churchill Downs, becoming the ultimate underdogs in a final showdown with the world’s racing elite. “I had been waiting for a great racehorse story for a very long time,” Wilson says, noting that he had read numerous horse racing scripts over the years. “When I watched what unfolded at the 2009 Kentucky Derby, I was stunned. I’ve always been a fan of true underdog stories and, after meeting the owners, trainer and finally Bird himself, I was hooked. This story had all the cinematic elements you could ask for. It’s been a real adventure and one I am proud to share with the world.” In addition to Dances With Wolves, Wilson also produced The Bodyguard, Wyatt Earp, Swing Vote and several other films, plus the critically- acclaimed documentary about renowned jockey Laffit Pincay, Jr., Laffit: All About Winning.
60 California Riding Magazine | March 2014 |
www.ridingmagazine.com
Author Chris Irwin is an internationally renowned horseman, best-selling author and a leading pioneer in the equine assisted movement. It was discovering how to transform BLM wIld Mustangs into18 calm and collected U.S. National Champions in english, western and driving competitions, that first showed Chris his greatest insights into learning how to learn. To connect with Chris Irwin visit his website at
www.chrisirwin.com.
In photo 2 we now see that Walter has taken up contact with the reins and that Flip is no longer inverted. And since her back is lifted and rounded she is no longer feeling the distress of a hollowed or inverted spine so her tail is visibly curled and relaxed. However, Flip is “behind the bit” and if we look closely we see that Walter is not using his contact to block what he does not want but he is using his left hand to gently PULL what he does want - a turn left. However, his center, his seat and navel, are still pointed straight ahead instead of into the turn. Therefore, Walter is saying “go straight” with his seat while his left hand is pulling Flip into a left turn. His lovely mare is therefore “going behind his hand” like a turtle pulling its head back into its shell - in an attempt to avoid being pulled by the hand into one direction while being pushed from the seat in another.
In this first photo we see my good friend Walter riding his young Arabian mare Flip. Flip is clearly distressed. Her back is hollowed out, her eyes have a worried expression while her focus is out in the distance instead of into the turn that Walter is asking for. Her tail is also swishing in annoyance as I have asked Walter to ride like so many people do; with braced legs pushed away from the horse, a stiff seat while leaning back in the saddle and with slack reins. Obviously the mare does NOT like how she is being ridden - and once again, this awkward frame of body is stressing her mind.
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76