A WOLF AT EVERY DOOR
Early on in my career as a trainer of animal actors I had the chance to work with a wolf on a TV commercial. A hot shot director flew in from Chicago. I located a wolf owner through another animal trainer, and Steve, a man with many years of experience in handling wildlife for film, brought two beautiful wolves. The set was an abandoned farmhouse out in the middle of a recently vacated cow pasture. We did the filming at night. The wolf’s job was to run up to the door and scratch at it as if trying to get in. My job was to entice the wolf.
Steve and my helper, my husband Kevin, met at the back of Steve’s SUV and opened the hatch. Inside there was a large dog crate. Inside the crate was a wolf who initially pulled back and then came forward to check us out. Steve opened the crate and took the wolf’s heavy lead in his hands. He gently coaxed the wolf out. The wolf was a beautiful animal and much larger than I had expected. His head and jaws were powerful enough to cause serious damage if he was so inclined. His coat was silver gray and glinted under the temporary lights the crew had set up at base camp. The wolf, his head held low, eyed us suspiciously.
“He likes woman better than men,” Steve said. “You need to get low and speak to him quietly to show you are not a threat.” Steve then stooped and talked to the wolf in a sweet singsong voice, all the while stroking his head and back. I lowered myself and did the same. The wolf came forward and licked my hand. I was amazed to see such strength and power quietly submissive under my hand.
Steve told us that this wolf had been handled from birth. Although it appeared tame it was nowhere near tame. If provoked, the wolf could attack out of fear. If startled, the wolf might run off the set into the countryside.
There were the usual delays on the set. Spending a lot of time standing around and waiting is the not-so-glamorous part of show business. Finally, the producer came over to us and explained what he wanted the wolf to do. It’s funny how the instructions I receive on the set always involve more or different work than what I agreed to initially. In my initial conversation with the TV people, the wolf was to stand next to the farmhouse door, jump up, and scratch at the door. Now they wanted the wolf to be placed some distance away from the door, to run up to the door, and then scratch at it. For all of this the wolf would need to be off-leash with no handler visible on camera. Then the camera would pan past the wolf to the side to the open field that bordered the cow pasture.
I was skeptical. To my surprise, Steve agreed that he could get the wolf to do it. My husband Kevin was stashed out in the field beyond the farmhouse set. If the wolf was startled or frightened, he would most likely run for the field.
I stood inside the farmhouse door with my hands full of strips of raw chicken. My plan was that the wolf would smell me and my chicken inside the door and then he would jump up on the outside of the door in hopes of getting some chicken. We did a few practice runs, off-leash. The wolf did not run away and he came to the door as hoped, but he didn’t jump up on the door and scratch at it. I guess my strips of raw chicken were not sufficiently enticing.
Steve put the wolf back on his heavy leash and we discussed what to try next. The wolf then pulled Steve to the side of the house where he began to scratch and dig at the ground.
Meanwhile, the director, well known for displays of temper, was growing impatient. His assistant, walkie-talkie in hand, repeatedly came up to us to say nervously, “We really have to get this shot now. We really do.” Steve, having been in the business longer than I, took this in stride. He said the wolf would do the shot when he was ready and not a moment sooner.
The wolf continued to dig for a bit longer and happily pulled a dark slimy object from the ground. I could smell it before I saw it. Steve laughed and said, “This will work.” With his gloved hand, he handed me the putrid object. “What is this?” I asked, quickly pulling on my own leather gloves. “It's a dead raccoon,” he said. “Long dead.” Long dead was right. Its decomposing flesh barely clung to its long skeleton. It was a disgusting object but the wolf wanted it badly.
The nervous assistant popped up again, keeping a safe distance from the wolf, and said again, “We have to get this shot now.”
I, carrying the raccoon carcass, resumed my position behind the door. Steve took the wolf some 25 yards away from the farmhouse door. Inside the dark farmhouse, I could see a grip (one of the fellows that do all the electrical for the lights on the set) standing just outside a window to my right. “Be careful,” he warned. “There is no floor behind you. The cattle broke it all up by using the house as a barn.” I had only a small ledge to stand on. If I moved backwards off it, I would fall into a basement full of cow manure. It was dark inside the house but I didn’t need to be able to see to know that lots of cows had only recently left this house. I clung to the frame of the door, clutching the rotting raccoon.
The assistant whispered “Action!” to me, signaling that the wolf had been released. I held on to the frame of the door and held up the rotting raccoon. I could hear and feel the wolf slam against the door feet first as he scratched and pawed and tried to get to the dead raccoon. Steve was able to collect the wolf and gave him some raw chicken as a reward for being caught. Of course, the director wanted as many takes as the wolf could do and so we did it few more times. Each time I held on to the door frame for dear life so as not to fall backwards into the cow manure. My eyes began to burn from the smell of the raccoon and the manure. I wondered if my chosen career was so fun after all.
Then I heard the director bellow from his seat on the crane: “Who the [insert very bad word here] are you!” I heard my husband’s startled voice call a reply from across the field, “Uh…I’m here…for the wolf.” The director yelled, “Get the [insert another very bad word] out of my shot.” Although I couldn’t see his face, I was sure poor Kevin scrambled out of the field vowing never to work on a commercial with me again.
We did one more take and Steve decided that the wolf had had enough. We were done. The director was none too happy about this, but I deferred to Steve’s expertise. This was his wolf and he knew its limits. “You don’t want us to be chasing this wolf all over the countryside, do you?” he said to the producer. I envisioned a large wolf running down the nearby road surprising the drivers on their early morning commute.
Kevin joined us and moved to give me a congratulatory hug. “What is that smell?” he said, recoiling. “Oh, just a rotting raccoon carcass,” I said blithely, as I tossed a pair of good leather gloves into the trash bin.
all images © Barbara O'Brien Photography Barbara O'Brien Photography is located at White Robin Farm in the beautiful rolling hills of western Wisconsin. Images are available for reproduction. Please e-mail or call with intended usage, size of print run, distribution. Barbara O'Brien Photography 612 812 8788 cell 715 448 3456 home barbara@barbaraobrienphoto.net
Each member of my entourage has his or her specific role to play.
Apple the Aussie cross is my personal assistant. She wakes me in the morning and lets me know when it’s time to do chores. She monitors my health and nutrition: She never fails to remind me of mealtimes.
t, most wonderful person on earth. No matter what I wear, or say, or do, Hawkeye gazes at me with admiration in his eyes.
honest, my groupies are only part-time groupies. They only show up when I sit down to work at my computer and then they’re out of control. They jump on my desk and walk across my keyboard. They block my computer monitor with their bodies, flick their tails across my papers, and say “We love you. We love you…a little bit.” Sometimes I have to shut my groupies outside the office door in order to get any work done.
