They say life comes full circle, but I prefer to think of mine as a five-part mini-series with each episode set during Cheyenne Frontier Days (CFD).
By the time I hit Phase 5, I wasn’t just riding in the parade or hawking ice-cold soda pop, I was behind the scenes, calling the shots through a camera lens.
Media passes were my golden tickets that got me into all kinds of events. Organizations and events that issue passes all have different criteria. CFD required that I send a letter on official letterhead with a synopsis of the project.
Like most high-profile events, organizers want to weed out the freeloaders who want to get in for free.
Since my projects generally included shots of the rodeo, I also had to get permission from the Professional Rodeo Cowboys Association (PRCA).
Speaking of CFD photographers, in the background is the Wyoming State Tribune, and Wyoming Eagle photographer Francis Brammar, who is pictured taking in the action.
They were more concerned that I wasn’t going to make a movie that was anti-rodeo, like about the abuse of animals.
The PRCA should be more concerned about the bootleg smartphone camera operators in the crowd recording the broncs, steers, and bulls being ridden or thrown to the ground.
I got to know the members of the CFD Public Relations Committee and didn’t have to go through the formal process, and was issued day passes.
My camera crews are always a mobile magnet for the curious. In a small town like Cheyenne, as well as other places around Wyoming, a guy with a boom mic and a clipboard might as well be Spielberg. Venues and cities rarely require permits to shoot.
5. Movie Making: I’ve made a couple of short movies in Cheyenne using CFD as a backdrop. In 1947, beat writer Jack Kerouac made a road trip from New York City to Denver. He was dropped off in Cheyenne.
On the Trail: Jack Kerouac in Cheyenne (2010) is about the night Kerouac’s alter ego, Sal Paradise, spent in Cheyenne during Wild West Week, an homage to CFD. Watch the movie by clicking the image.
I imagined the locations where he may have stopped, and went to the Mayflower, the Crown Bar, and the Plains Hotel, where I grabbed random people to read the script.
I covered the audio with 1940s images of Downtown Cheyenne and CFD. A Colorado PBS producer, Josh Hassel, may you Rest In Peace, introduced me to John Cassady, son of Kerouac’s friend and colleague Neal Cassady. He was the narrator.
The Rose Garden (2012), directed by Pamela Cuming, is a short narrative that had a cast and crew of thousands. The CFD parade and the carnival at Frontier Park are the backdrops. Watch the movie by clicking the image.
I was working on a documentary about the wild horse race, but I’m having a little trouble coming up with a story. It’s not really a race, but more of a battle between man and beast. A team of three men (I’m not sure if women have been involved) must steady, saddle, and ride a rough-stock horse around the arena.
I also worked on a few projects for the CFD Old West Museum and created the CFD Volunteer Crisis Fund’s annual tribute video until the COVID-19 pandemic. Wyoming Lifestyle magazine also produced short CFD videos featuring local businesses.
I’ll be in Cheyenne for Cheyenne Day on Wednesday. I doubt I’ll wear jeans, boots, a long-sleeved shirt, or a hat, which are the required uniform items. I won’t be swinging by the media trailer to pick up credentials. My guess is that all my cronies have aged out, and my colleagues won’t be around.
Incidentally, my CFD handle is “Bud,” which is one of my best-kept secrets derived from John Travolta’s character, Buford “Bud” Davis, in Urban Cowboy (1980).
This phase taught me that filmmaking isn’t just about what’s in the frame. It’s about showing up, staying curious, and knowing when to record life’s unscripted moments.
Even after moving to Boulder, I kept my Wyoming connections strong, proving you don’t have to live in Cheyenne to live for Frontier Days.
Besides, when you’ve got a camera on your shoulder and a story to tell, the world becomes your set, and Cheyenne always gives you willing, spontaneous actors and great lighting.
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