It’s kind of funny but there was so much anticipation for Virtual Reality because Questionable was a masterpiece and changed skateboarding. It was almost like how you waited for Empire Strikes Back as a kid.
100%. In an interesting way and not to oversell a parallel, George Lucas got Irvin Kirshner to direct Empire Strikes Back. At a certain point, you level up and want to oversee things to give yourself a breath from the grind of it. Mike was engaged to get married during Virtual, he had a lot going on with the business. He knew if what I was editing was working or not, so he supervised me, which put a lot of pressure on me, but he let me have authorship, which for a 19 year old kid is priceless.
OK, so on that track, did any of your thoughts about music supervision come from your love of movies?
Not at all actually. Not the New H-Street Video (1990) was the breakthrough in music in skate videos to me. The William Tell Overture to AC/DC… when Mike was doing that with Tony (Magnusson), what used to be this narrow funnel blew wide open. I can use Mozart or Beethoven and AC/DC and fucking Led Zeppelin? That video and A Soldier’s Story made Questionable.
Skating was getting more technical so the slow-mo and long lens filming came in and Mike realized that if he put classic music behind it, it felt totally different. Why the fuck wouldn’t we use “It’s a Wonderful World” for Rodney (Mullen) because there’s no fear—you know it’s gonna fucking work. Mike understood that that juxtaposition created a new conversation.
The other thing was that I started this relationship with Epitaph records, just calling them and asking them what we could use. They’d send over NOFX or The Offspring and we had permission to use their songs. Rick Howard loved that first Green Day record, so we had that. Mike would just buy every CD people liked to have it ready. Then with Hieroglyphics, I’m from The Bay Area and those tapes were so sacred so when we got into Questionable, I called the label to forge the relationship and I became friends with Domino and that opened up other relationships and we didn’t just get permission to use songs that people know, we were getting B-sides.
In working with Mike on those Plan B videos and eventually creating the third yourself, what did you learn about editing specifically that informed how you’d work?
I remember I started Rick's (Howard) part, four or five times until I found the right rhythm of how it opened with the beginning notes of “Give It to Me Baby”. You need the right tricks to carry the song. It’s the same with Jeremy Wray’s part in Second Hand Smoke. It starts with that insanely long line at Carlsbad but then ends with a hammer and that gives you permission to go right into “White Room.” It starts a bigger conversation. That entire part and the editing are based on the rhythm and dynamics of the song. If we go back to Questionable, I think Mike realized he had stars on Plan B so choosing footage that showed their personalities framed them as stars. Think about the opening shot of Rick (Howard) in Questionable —it’s super evocative. He looks ominous… like a stud. It’s moody. It’s cool.
If you go back to A Soldier’s Story and think about Sean Sheffey’s part, it’s the template for Questionable. The way he showed the spots before the tricks, the dramatic music… it created tension. Now you have this all-star team and you think about how to start the video and they did that with a sarcastic remark from (Steve) Rocco about the brand. It’s so goofy and all over the place but then you’re hit with Pat Duffy’s part. Mike had refined his language and now he had this new, incredible footage. There’s the shot of the kinked handrail, timed to this bass slide during the song that preempts him fucking up the rail. It’s a call back to what he established in A Soldier’s Story.
I think why Virtual Reality sings is because we had those tools in our pockets and didn’t need to figure anything out. We had the fucking recipe.