I have nothing interesting to say about my own life, particularly as it pertains to skiing, so I’ve decided to poach ideas from fellow BroBombers. This week’s “inspiration” is Mr. Dunfee’s long overdue demand for freeskiing team videos. I sort of want to just copy and paste his article and hope no one notices, but I think Jon actually reads what I send him.
I’ve been thinking a lot about the death of the Pro Movie lately. Frankly, I don’t really understand why people are still willing to pay for ski films. Look, I’ve liked a couple (literally) flicks from this year, but I can’t definitively say that they’re a cut above any number of the dozenish free movies that have trickled onto the internet over the past month or so—particularly, those produced by relatively anonymous Scandinavians. To be sure, the overall quality of riding, features, and locations in the pro films is better, but the movies themselves….well, they just aren’t.
I’ve mulled over the “whys” and I think I have a few of the answers.
I’m good, you’re good, and racial harmony is so hot right now.
If we’ve learned anything from ill-advised musical supergroup collaborations (I’m looking at the Monsters of Folk album cover), it’s that all the talent in the world doesn’t guarantee any sort of chemistry or cohesion. Have you ever seen a Craigslist band? You know, the ones that put up “bass player wanted” ads? Well if you haven’t, they’re usually made up of 4 or 5 incredibly technically proficient musicians with top notch gear and distinct visions. Unfortunately, these visions are often completely at odds with one another, and the result is 4 or 5 middle-aged Guitar Center employees standing on stage waiting for their chance to solo. It seems to me that often times pro flicks have that same feel; everyone’s got chops, but no one is listening to what the other guy is playing. Ditto this criticism for the completely unnatural athlete groupings- the whole is often less than the sum of its parts. And, I don’t give a shit if the titles are fancier and they can afford to license Bob Marley songs. I double don’t give a shit if there’s a shot of a heli taking off while someone rambles about their first trip to Alaska.
When we’re talking amateur flicks, they’re usually the brainchild of one person; two max. The problem of “too many cooks in the kitchen” that has ruined every summer blockbuster this side of Terminator 2 is a non-issue. Also, the filmmakers are almost always bff’s (look, there’s an apostrophe there because “bff” is an abbreviation. Look that shit up.) with the riders, so they already know whether it’s a waste of a day to step out the Pyramid in-run. Bottom line, they just feel organic and more closely mirror that feeling we all get when we’re riding with friends, and they better accomplish what each and every ski filmmaker’s mission statement should be: “We will make our viewers want to go ski”. So, that’s why Montage Inc., Duncan Lake, and 475 random Scando kids are barking with the big dogs.
Secondly—and after a glance at the word count—finally, sometimes less is more. To stick with my barely working music analogy, take a band like the Ramones. There’s not a whole lot going on there musically. Chances are that if you know two bar chords, you’ve accidentally played a Ramones’ song…and, I bet you thought it sounded bad ass. It did, I was there. There’s just something about the whole underdog, DIY, take nothing for granted, make do with what ya got mentality that translates into compelling “art”. If you disagree with the bulk of this, you love Phish and I’ve probably punched you if you live along the I-95 corridor.
Anyway, this “article” was supposed to be about how Scandinavians are always going to out flip and spin us North Amuricans so we should embrace the aforementioned DIY ethos and make guerilla-style sloppy jib/shred flicks. I even downloaded pictures of Oksana Baiul and Ivan Drago (neither of whom are Scandinavians by the way, but I’ll be damned if they don’t embody both what’s right and wrong about those blonde-haired, blue-eyed freak shows) to make this sonovabitch pop! But, I don’t really care. C’mon they train. I don’t really know why they seem to be naturally better at aerial maneuvers, but they are. Jon believes that their socialized healthcare allows them to take more risks because there’s no real fear of bankruptcy. I think he may be right. This isn’t about “spin to win” vs. “style”, it’s about product differentiation.
14 yr. old Klaus Shloben doing some light off-season stretching
Let’s just do what we do best.
And just to prove that I’m not some Scando hater (except Jacob Wester because he wishes he was American…or at least British), here’s what I deem to be a top notch effort from a guy you’ve never heard of named Lars.
here’s something i’ve been thinking about recently that you might also consider as another possible reason you’ve become so dissatisfied with the current crop of pro movies. i’m a pretty good park skier, but the level of park skiing in pro movies over the last year has gotten so ridiculous over the last year with everyone doing the same double flip/cork combos that i no longer can relate to the tricks in the movies. for the first time in ski flicks, not only are there tricks that i don’t think i’ll ever try, but THEY DON’T EVEN LOOK LIKE THEY’D BE FUN TO ACTUALLY DO. this phenomenon sucks a lot of the stoke out of watching this year’s pro movies for me. maybe it’s just cuz i’m not 16 anymore, but perhaps it might also be part of what’s causing me (and yourself?) to gravitate towards AM flicks filled with fun looking tricks.
your thoughts?
I agree with you that there is a certain amount of relevancy that is lost in “pro movies”. That is why skiing in the am flicks and edits is at times better to watch…you can relate to it. On the other hand, people have a natural desire want to push the limits on things, especially in action sports. What would you rather watch, somebody surfing a 2 foot wave on crowded day in San Diego- or one of the legends riding a 30 footer like Jaws? That is the reason why people go to Alaska and/or do mindmelting tricks (which by the way can be fun to do at that level). It’s all about the balance, and presenting it right.
Bret: I think you raise an interesting point, and truthfully, I don’t know if that’s the case with me or not.
But, I will say that I can’t “relate” to any tricks/locations/features from last year’s That’s it That’s All, and I loved the movie. I think for me it simply boils down to the fact that ski porn, in and of itself, doesn’t blow me away anymore. I don’t know if it’s oversaturation or what, but I seem to get way more excited about song choice, shots, flow, editing, etc. as opposed to “Oh shit! Andreas just did a Right side Dub Cork 12!”.
Now, in person, any dub looks ridiculous and infinitely more impressive than a slowmo shot from the knuckle or takeoff.
Freedle: I totally agree with all of that. I’d much rather watch someone surf the Laird Hamilton wave. I’m all for pushing limits, and progression—on an level—but largely I find that the balance and presentation of which you speak is lacking. I see a lot of lazy filmmaking that seems to rely too heavily on the riding talent and doesn’t seem the least bit interested in presenting it in a fresh way.
I’m sure for every person like myself who is clamoring for innovation in filming and editing, there’s another person who wants the skiing to speak for itself…
Now, though it may sound like shameless backpedaling/ass kissing, I loved Refresh. Even if there was a heli take-off first time to AK narration…zing,
Hey I’ll leave it to you to be the ski movie armchair quarterback, it keeps us from getting lazy. I’m on a misson however to keep pushing the limits of helicopter porn. (Helicopters taking off, flying, landing, blades spinning, heli on heli followcams, and everything in between-set to a buttrock soundtrack!)
If you’re going to do all of that, you should at least make sure everyone involved is shirtless.
Have you considered Billy Squire for next year’s soundtrack? Bob Seger, perhaps?
Actually I was thinking more Dio “Holy Diver”…with a potential eurohouse remix.
i agree that the balance must be hard for filmmakers to get right. i actually thought refresh did about the best job of anything this year at striking that balance. i guess i’m just having a hard time figuring out for myself why (for the first time) i enjoyed the alaska segment and that “inna life” seg way more than tom wallisch and the park shoots. must be getting old and out of touch! (or perhaps more in touch with some other facets of skiing.) either way, glad we got to talking cuz this post deserved some commentary for sure.
and “holy diver” eurohouse mix sounds like it would definitely be pushing ski movies in the right direction… yes!
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