SXSW 2009: Not Bradley Beesley’s First Rodeo

The Flaming Lips collaborator lassoes a new doc on the prison rodeo.

There seems to be a tightrope you walk when dealing with the prison system since filmmakers have a tendency to either demonize or empathize too much with their subjects. Were you conscious of that while making this?

Certainly, and we were conflicted — very conflicted — that we were making Danny Liles into a hero and the same with Jamie and yet they murdered people with families out there, and what does this mean for those victims when they see we’re putting these people up on this pedestal? Ultimately, especially in Jamie’s case, she was 17 years old when she committed this crime and as [her lawyer] says in the film, she’s paid for it. If you look at the backstory of all these women that went to prison, it’s all the same. Their mom went to prison, they dropped out of school when they were 12. There’s a reason that they’re there. They’re not privileged people.

One of my favorite moments in the film is when Jamie’s lawyer tells her, “If you’re confident enough to ride a bull, you’re confident enough to stand in front of a parole board.” Although it’s not overtly addressed in the film, did you see the rodeo help with the rehabilitation of these inmates?

I don’t think there’s a lot of rehab going on, but I think they’re building their self-confidence, especially the women. They’ve been beat down by men, whether it was being molested [when they were younger] or the guards talking down to them [in prison], so it was very empowering. And even to be on the rodeo team, you have to be the best of the best and be on good behavior. Then we as filmmakers had somewhat of an effect. Just having someone talk to them like real people, they haven’t had that, in Jamie’s case, for 13 years. So we were just trying to humanize these ladies and make them real people.

I noticed that you were credited as a co-cinematographer on another SXSW doc “Winnebago Man” [about the legendary viral video starring an angry man who attempts to give directions] — how did that happen?

Ben [Steinbauer, the director] was my roommate and I brought home the video of the Winnebago guy and turned him onto it, so late night every night for three years, anybody that came to our house, we would show them this video and then collectively, [we were like] “we’ve got to find this guy!” And kudos to Ben for sticking with it, because I was like I don’t know if it’s worth it, and then two years later, I’m up there with Ben and we’re filming the Winnebago guy.

As for your own career, now that you’ve done this film and “Okie Noodling,” what other Midwestern off-the-beaten-path sport is left for you to document?

I don’t know. I feel like I’ve tapped the odd resources within Oklahoma and I wouldn’t mind branching out. I’m working on a narrative script right now. I’m sure I’ll make another film about Oklahoma, but it’s probably going to be [later]. But right now, we’re just going to enjoy this. I’m looking forward to many screenings with the ladies.

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