SXSWorld
Issue link: https://sxsw.uberflip.com/i/427724
S X S W. C O M | N O V E M B E R 2 0 1 4 | S X S W o r l d 2 7 an Austin, Texas-based videographer and filmmaker. "Raw skate- board footage is pushed aside for epic film quality imagery; super slow-motion, green screen, helicopter footage, etc… For skaters how- ever, nothing beats good skateboarding filmed in a classic way." Many amateur videographers have made a living simply filming and editing their friends' skateboarding. For an example, check out Transworld SKATEboarding's The Cinematographer Project, which is a video comprised of 13 filmmakers, with varied appetites in filming mediums and artistic visions. A skateboard video usually consists of "parts," which highlight a skater's talents coupled with the filmmaker's directing style. Since as far back as the '80s, skateboard companies have put out promotional videos consisting of parts from their sponsored riders. There are also independently produced videos showcasing skaters from particular cities or regions, the cliques they raise hell with, or the skate shops they proudly represent. Recent examples include D.R.E.A.M. (Dallas Rules Everything Around Me), a film by Adrian Hodge and Houston, We Have a Problem, by Nick Lavigne. Both were highly anticipated videos not only in their respective skate scenes in Dallas and Houston, Texas, but across the entire state. Internet-exclusive parts are the most recent trend. Another Austin-based videographer and filmmaker, Robert Garcia, or "Rob G," as his peers know him, agrees, "It's all on the Internet now, and there are so many free videos." These clips are frequently promoted and hosted by skateboard magazines such as Thrasher, Transworld SKATEboarding and The Skateboard Mag. By hosting videos on such heavily trafficked websites, a much broader net is cast on the skate- board community and can boost unknown riders into prominence. However, according to Rob G., many independent videographers want to produce their own hard copy of a skate video, simply for the satisfaction of having made something all on their own. "It's one of the greatest feelings in the world," he boasts. From the first commercial skateboard video to the most recent Internet upload, in addition to the talent behind the lens, music has been an integral part of the end product. All videos have a soundtrack playing over each skater's part. The songs, just like the skater's style, change from one part to the next. According to Rob G., "If a skater is going to have their own part, the song needs to reflect their personality." There are endless videos that skate fans can credit for helping them discover a new favorite band or revisit an old band. Skaters and filmmakers also have been inspired by the sounds interlaced within these videos. "I started skateboarding in 1987. My introductions to skate videos were Powell Peralta's The Search For Animal Chin and Santa Cruz's Wheels Of Fire," remembers Michael Sieben, Managing Editor of Thrasher magazine. "While watching both, my main question was, 'Who are these bands, and how are they so awesome?' I was blown away by the level of skating too, but the music was something I could actually acquire at my local record store." "Twenty-seven years later," Sieben continues, "looking at pretty much any popular skate video clip posted online, one of the first com- ments is inevitably, 'Song?' Some things never change. That's kinda powerful." Real skate rats can identify a song and tell you exactly what video it was in and more specifically, who skated to it. Few can go as far as narrating the tricks happening at various points of the song. As with tricks, skaters can usually tell you if a song was used already, whether in a major skateboard video or some lesser-known local video. "ABD!" some might say, which stands for "already been done," as skaters take great pride in their song and trick knowledge database, not to men- tion their originality and creativity. Plus, they get bragging rights for being so immersed in something they love. The creative vision of filmmakers and videographers in the skate- board community has led a natural progression for skateboarders/ filmmakers into the wider film world. The most notable is Spike Jonze, co-owner of Girl Skateboards. Jonze, who has directed movies such as Her, Where the Wild Things Are and Being John Malkovich, also has several skateboard films under his belt. His Video Days, from Blind Skateboards, remains legendary in the skateboard scene despite being 23 years old. Jonze, along with filmmaker Ty Evans, is also responsible for highly regarded skateboard videos Yeah Right! from Girl Skateboards, and Lakai Footwear's Fully Flared. These films showcase both their directing and editing talent, as well as their love of skate- boarding. "Videographers should always strive to follow what they feel and not what they think people want to see," says Ewan Bowan, Thrasher's Director of Videography. "Capture the moment and let that do the talking. Don't try to put words in people's eyes, always break the rules." The authenticity of being a skateboarder has become harder to achieve than its rebellious, outcast roots. Due to the rising popularity of skateboarding, people may dress a certain way, harmlessly unaware that even though they might look the part, odds are they don't skate. Some might say that this is the highest form of flattery, but skate- boarders pride themselves on being part of a culture and camaraderie that most will never know, or understand. "The energy of being with your friends and seeing these guys who seemed untouchable in videos, was the coolest thing ever," says Adams. "To us [skaters] it felt like some- thing so pure ... like you were being shown a secret way of life. Now everyone is in on that secret, and skateboarding is influencing every aspect of pop culture." Still, skateboarding is more than just a style, and its devotees know that it wouldn't be the same without the progression of skaters abilities, colorful personalities, filmmaking advancements, discovery of new music, varied artistic visions and maybe most importantly, the driving force to simply "create." Ry a n H ol loway b o a rd s l i d es t h rou g h t h e co rn e r a n d d ow n . Ph oto cou r tesy of S h a u n M e f fo r d