I start each video the same way, I pick 2-5 DV tapes (in order) from my Transworld DV drawer. I read my log book and find out what’s in store for the next video. I line the deck up with the time code that coincides with what I have written down, and the memories start flowing. I’ll fiddle with the order depending on just how gnarly the tricks are, BUT these videos are chronological in the sense that I do not skip around to different tapes just to find “gnarlier” tricks to make the edits better. These edits play very closely to how the footage got recorded on each tape and what time frame I filmed each trick.
I remember the apartment gap, but without all of this footage I would never have remembered all of these memories. During this time Seu Trinh and I hung out a lot. I would even stay with him for weeks at a time, I think he was shooting a Mike Carroll interview for TWS, this must be the reason why I was filming with Mike and Scott Johnston so much. I was so excited to be skating with those two legends, and just filming them was a pleasure. In my log book each tape is organized by time code, but there are so many tricks I did not log. During this time in skating I think there was a stigma OR maybe it was just me: I wouldn’t log warm up tricks, sketchy landings, etc… only the “bangers.” Either way, keeping organized was key for editing so at least I knew what tricks were where on the tapes. What Scott says at the end of this episode is on point with the outlook I had regarding spots I found. I was really proud of finding spots and keeping them a secret was a big deal to me. I felt like it was my job (and proved my dedication) to filming that I had all these spots in Los Angeles, in a city where most spots were blown out.
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