B2 Capital Journal, Friday, September 27, 2019

FORM 6 Department of Labor and Regulation

Appraiser Certification Program Notice of Public Hearing to Adopt Rules

A public hearing will be held in the Appraiser Certification Program Conference Room at 308 South Pierre Street, Pierre, South Dakota on October 18, 2019 at 9:00 a.m., to consider the adoption and amendment of proposed rules numbered

§§ 20:14:01:01(1); 20:14:04:12.02(1) and (2); 20:14:04:17(3)(a) and (b); 20:14:04:17(7) and (8); 20:14:05:02.00; 20:14:06:01; 20:14:13:01; and 20:14:13:13.

The effect of the rules will be to define appraisal in rule the same as in statute, require state-registered appraisers and supervisors to jointly maintain the required experience log for accuracy, remove language regarding when supervision may begin, reduce the number of joint inspections required, correct a cited rule, establish the length of time the appraiser examination is valid, adopt the new edition of the uniform standards, correct timeframe for completion of the uniform standards update course, and establish criteria for instructors of the Department’s training course.

The reason for adopting the proposed rules is to have the definition of appraisal be the same in rule and statute; ensure that the experience log is accurately maintained by both the supervisory appraiser and the state-registered appraiser; to remove irrelevant language regarding when supervision may begin; adopt a more realistic requirement for number of inspections that a supervisory appraiser and state-registered appraiser must perform together; correct a rule citation; add language setting forth the length of time that an appraiser examination is valid once successfully completed; adopt the 2020-2021 Edition of the Uniform Standards of Professional Appraisal Practice promulgated by the Appraisal Standards Board of The Appraisal Foundation effective January 1, 2020; specify that a credential holder has through June 30 of each even-numbered year to complete the uniform standards update course instead of up to June 30; and provide minimum requirements that must be met by any instructor engaged to teach the Department’s Training Course for Supervisory and State-Registered Appraisers.

Persons interested in presenting data, opinions, and arguments for or against the proposed rules may appear in-person at the hearing or mail them to the South Dakota Department of Labor and Regulation, Appraiser Certification Program, 308 South Pierre Street, Pierre, SD 57501. Material sent by mail must reach the Department of Labor and Regulation, Appraiser Certification Program by October 28, 2019, to be considered.

After the public hearing, the Department of Labor and Regulation, Appraiser Certification Program will consider all written and oral comments it receives on the proposed rules. The Department of Labor and Regulation, Appraiser Certification Program may modify or amend a proposed rule at that time to include or exclude matters that are described in this notice.

For Persons with Disabilities: This hearing will be located at a physically accessible place. Please contact the Department of Labor and Regulation, Appraiser Certification Program at least 48 hours before the public hearing if you have special needs for which special arrangements can be made by calling (605) 773-4608.

Copies of the proposed rules may be obtained without charge from:

Department of Labor and Regulation Appraiser Certification Program 308 South Pierre Street Pierre, South Dakota 57501

Published at the approximate cost of $289.20.

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DAKOTA LIFE

That demand for authenticity also resulted in a major change from the novel. The Native Americans in Blake’s story were Comanche, but became Lakota when the production located in South Dakota.

Pearl Stone, a native of the Rose-bud reservation, was tapped to help recruit Lakota extras because of her connections on various reserva-tions. The production placed a high priority on finding native Lakota to be a part of the film, she said.

“I think they really tried because first of all they had asked me about casting. They made the effort to go to the reservations and actually get people involved,” Stone said.

Through the chamber of com-merce, the production also found Albert White Hat and Doris Leader Charge, instructors of Lakota lan-guage and culture at Sinte Gleska University on the Rosebud reser-vation, to translate the script and serve as consultants and language coaches.

“I was scared about doing this movie at the beginning, but it’s been a good experience. It portrays us as we really are. They’ve gotten it right this time,” said Leader Charge, who died in 2001, in an interview for an illustrated companion book to the film.

In that interview, Leader Charge said because Lakota is a diffi-cult language with many strange sounds, when translating the script she substituted the written lines with ones using fewer, easier words. She also recorded each actor’s part on tape to help them practice on their own.

On the SetAs production geared up, it re-

cruited heavily from the local talent pool for the cast and crew. Twen-ty-five years later these extras and hired hands provide a down-in-the-trenches view of making a major motion picture.

Jeff Mammenga, then the Capital Journal’s sports editor, got a call from a former gymnast he knew who was then working as an assis-tant casting person. The production was looking for thin people and Mammenga’s lanky frame made him ideal for the part.

“I was one of what was called ‘Car-gill’s Men’ or ‘starving soldiers.’ My standing joke is that I was in four scenes in the movie and they were all cut from the three-hour version, so I contributed to one of the seven Academy Awards, but, unfortunate-ly it was one for editing.”

“They said (filming) would prob-ably take two days, but two days turned into four days and by then people were getting kind of tired of it. I said I was done, but they said they wanted me to come out again. And by that time the scene we were shooting involved the second unit and I said I would do it – and peo-ple ask how much we got paid and it was about $40 a day – so I said I would do it for $50 and a Dances with Wolves cap. And they gave me the money, but I never got the cap.”

Bill Stevens, who left state govern-

ment shortly before filming started, spent months working as a produc-tion assistant. His main assignment was driving cast and crew between Pierre and wherever filming was happening, but he gladly pitched in whenever a spare set of hands was needed. The experienced thrilled him, but it was not all play.

“It was an exhausting time. It was the hardest I’ve worked, physically. It was 12 to 14 hours a day, six days a week. And for me there was always at least an extra hour or so to bring people to the dailies and see the dai-lies every day. So it wasn’t like a whole lot of sleep, which I’ve always been used to,” he said.

But one of the perks of a full Hol-lywood production is the craft ser-vices – the food – available for any-one working those kinds of hours. “Dances with Wolves” brought along a caterer that still causes people to remark on the bounty provided.

Jim Wegner, co-owner of Wegner Auto, which donated and leased 30 to 40 vehicles to the cast and crew, was one of several people to mention the up-scale restaurant experience out on the prairie.

“We got to go out to the set and they served their food with the fin-est china and silverware, white table clothes. And the special, this is what we ate that day, was gril led salmon, barbecue pork steak, mashed squash, spaghetti primavera.”

Movie MagicThose lucky enough to be on the

set, such as Mammenga, also ob-served the detail and planning that went in making a movie, along with some of the film trickery involved to get scenes just right.

“The thing I learned the most was probably all the intricate detail that goes into making a movie. If some-

body’s hair is blowing in the wind, more than likely there’s somebody standing six inches away from them with a little fan that makes their hair blow. One of the movie mantras, as you probably know, is ‘hurry up and wait.’ So lots of time it was standing around waiting for the conditions to be right to film,” Mammenga said.

According to Stevens, waiting for the right conditions in the Black Hills at the end of September almost moved the last bit of production out of state.

“If we didn’t get snow at a certain time, their back-up place to shoot the winter scenes, which is right at the conclusion of the film, was in New Mexico. And if they went to New Mexico that meant we locals that had been with them, there was less reason to take us to New Mexi-co. They not only needed fewer crew members, but they would just hire people there. My joke always was I would watch where the location manager Tim Wilson was. He was in Rapid City waiting for snow in Spearfish Canyon. If he was there I knew he wasn’t in New Mexico scouting. We ended up getting snow within a two- or three-day period that absolutely worked. It was just enough to have the winter scenes.”

Dave Hansen, who builds fencing at the Triple U Ranch, recalled that one of the biggest and most difficult shots in the entire movie involved corralling the ranch’s bison for the hunting scenes.

“That buffalo reveal scene in-volved so much preparation. It’s not there very long in the movie, but it was days and days of arduous effort and work and set up. And scanning

the place to get it right and to bring (the buffalo) in.

“I built a fence down in the val-ley just out of sight from the view of the camera, hidden, and the buffa-lo then were chased into that enclo-sure, which was temporary at best, made out of old wire. They knew they would get about 10 minutes of captivity before those things burst out somewhere.”

Even then, the Houcks’ bison weren’t quite enough for the scale the director wanted.

“(In the shot) this batch in the foreground is the actual captive group that we had on hand. And then, in the olden days before com-puter-enhanced photography, they didn’t have a way to just Photoshop in a thousand buffalo… All those buffalo in the background that don’t move are painted, by hand, on (a) backdrop. So if you watch that movie again, you’ll notice all those buffalo in the front are mill-ing around and it never comes to your attention that ones in the back-ground are just still.”

Something that drew a chuckle out of nearly everyone was how a South Dakota summer into a Ten-nessee fall for the Civil War scenes. The crew painted the leaves and trees with fall colors and imported bags of fallen oak leaves. The newly planted corn was sprayed with Roundup to make it look dry and brown.

To keep the authentic touch they were striving for, the production also scoured the area for props, according to Lisa Etzkorn, whose family property in De Grey was ad-jacent to where the Civil War scenes

DANCESFROM PAGE B1

PHOTO BY DAVID ROOKHUYZEN/CAPITAL JOURNAL

Buffalo grazing on the Triple U Buffalo Ranch northwest of Fort Pierre. The ranch’s pristine prairie and 3,500 bison made it an ideal location for filming “Dances with Wolves.” Ted Turner bought the 46,000-acre ranch, including the buffalo, in 2015, naming it the Standing Butte Ranch. (Capital Journal Staff)

PHOTO COURTESY OF BILL MARKLEY

Kevin Costner (center) directs a scene from “Dances with Wolves.” The Civil War scenes were shot near De Grey, South Dakota.

PHOTO COURTESY OF BILL MARKLEY

Reenactors race across a battlefield in a Civil War scene from “Dances with Wolves.” filmed near De Grey east of Pierre. (Photo courtesy Bill Markley)

See DANCES, Page B6