Pete: How’s it been so far?
SP: It’s been a wild ride.
TA: It’s been mostly people within the film industry interviewing us. It’s really interesting – a lot of these people are really intelligent, they ask good questions and they come at it from a business perspective but they’ve also been really positive, and they’ve tapped into really what we tried to do with this film, which is to get the message across that this was a special era, a time when the revolution of skateboarding kicked in and it’s effect on youth culture to this day, yknow? I think a lot of people tapped into that, plus they’re blown away by the soundtrack, and they’re interested in the fact that Sean Penn is the narrator – there’s so many different things that come up in the conversations, it goes beyond skateboarding.
Pete: so have you been getting the cross over appeal. that’s gotta be a concern to sony
TA: Not just Sony, stacy too – he wants people to see it that don’t really know anything about skateboarding.
SP: Oh absolutely. We just want to share the culture and what’s interesting is we found out at sundance that so many non-skating people really were taking the film, they’d go “I know nothing about skateboarding, I went to your film by mistake, and I couldn’t stop watching it”. So that’s happened so many times already. Now we’re wondering if we’re gonna get the young kids. I don’t know.
Pete: How has it been with Sony. We got an email voicing concern that Sony was editing certain things out of the film in order to get a wider distribution. I know there’s bootleg copies going around of what’s called the Vans version of the film that has less text and graphics and I noticed at the screening we went to that some of the curse words were reversed or something.
SP: There are 7 f words. We had to dip six. That’s all we had to do to get a PG 13 rating. This is the deal: Sony said ‘look’ and this had nothing to do with Vans, strictly sony. They said, look, if this film goes out with an R rating its gonna go out for two weeks and its never going to be seen again. You’re gonna miss so many people. All you have to do is dip these six words and you can even let them say fff, and get rid of the center of it. So they say ff and you can hear the ck, that’s it. There was a huge storm of protest from this – huge, so what we did is exactly what they said and we had a special screening for some of the most hardcore people that live in dogtown today. We showed them the film, and they hadn’t seen it before. When the film was over we said “did we wreck the film?” and they said “the film is not about the word. we didn’t notice a damn thing”. So we overcame that hurdle and as a result of that we are going to be able to present the film across the board to everyone.
And I’ll tell you something else: The rating board actually said normally they’d make us take even more out. There were shots of Tony with Vodka bottles, Jay smoking pot. They said “we’d normally make you get rid of this, but we’re not because we think this is a really positive film. So we thought ‘ok we have to pick out battle’.
Pete: and it definitely explores the consequences of youth without the guidance.
TA: You just have to soften the vowel and the consonant in the f because to get that PG 13 rating because we don’t want to lose the kids, then that’s what you gotta do. Yeah, there was major opposition to it. As a matter of fact the girl that I was dating at the time that worked at centropolis, gracie films, working for Sony, she wrote an email straight to Jake Wilson saying ‘don’t fuck with it, its art. Do you put extra brush strokes on a Picasso?”
Pete: We got an email like that, and that’s why I was expecting whole scenes to be cut out or for it to be re-structured or something like that.
TA: I saw the untouched version in Australia because I went down to promote the film and there was no difference, all they said was the f word.
Pete: There wasn’t much difference.
The rythm of their speech is still there. I will say one thing in sony’s defense, you know, Documentaries notoriously do poorly at the box office. They really believe in this film and they put alot of might behind it. And we as film makers, we want to share this film with as many people as we can and we don’t want it to disappear. So that was the deal.
NK: It’s done so well already, the momentum is building up...

Pete: The soundtrack is impressive. After watching the screening we thought wow most of the budget of this movie must have been getting the licenses to the songs.
TA: Not necessarily, no.
Pete: I noticed that there’s some of the bands that I would expect to be involved like Black Flag, Suicidal Tendencies, some bands that are associated with the scene, but maybe not as much the era.
SP: We stuck to the 70’s dogtown era, and of course there’s a huge connection between skateboarding and the puck scene in the 80’s but we only went there when the movie introduced the team I had and we played the Buzzcocks. Briefly, but that was it. But we do have Henry and Ian in the film.
TA: and Led Zepplin, Jimi Hendrix, Ted Nugent. You know, if there’s anyone here is wants to get mellow then get the fuck out. That was more of what it was about.
SP: That was our music.
Pete: Ian Mackaye, Henry Rollins – I really understand them being in the film. They’d been photographed by Glen Friedman, but –uh- the bassist of Pearl Jam, Jeff Ament? I don’t see the connection. How did he get involved?
TA: He’s a skater.
SP: Growing up in Montana, he had a ramp on the farm. And he said the Dogtown articles led him to believe that he could live another way of life, that he didn’t have to remain on the farm.
Narangkar: That’s what he said in the picture, right?
TA: I think part of the reason he’s in there because he’s from so far out there. And now he’s the bass player for this huge... you know.
Pete: Yeah. But Pearl Jam isn’t at all associated with skateboarding. I know that certainly, like, Fugazi.. well I don’t know any skater at all who doesn’t own several of their records.
SP: But again that just shows how wide-ranging it was. It was very important to get those guys voices on film so that the people who don’t know anything about this could go, “Oh, I get it, so it did effect other people.” And they’re significant people, and I thinks that’s very important.
TA: I think that Dogtown, the way we were, just being real and just sticking to our guns, even the entrepreneurial thing Stacy did at a young age – I think Henry Rollins and Ian MacKaye looked at that and go, like, “Fuck that, we can do what we want to do.”
Pete: Well, yeah. They both now own their own publishing companies.
TA: When I go to see Ian we take time to just bond and see each other, and he skates a bit. It’s like, when he sees skateboarding and gets around it, you know, Ian “the Mature MacKaye”, this straight-edge guy that’s so serious about his views on life, dude, he’s like a kid again. He’s just like “Yeah!” He’s all excited and you just see him light up. Ian, he’s a product of the skateboard generation. He was touched by us from 3000 miles away, and still is I think. As we are by his music, too. I love Fugazi, man. Minor Threat, that shit was the bomb. As a matter of fact, if you want to know the truth, I’ll tell you a little story: I met those guys here in San Francisco. I was touring with the Circle Jerks and doing stuff for them. Just basically we were like their security gang or posse of whatever. When I was a punk rocker we totally supported Black Flag and Circle Jerks and all those guys if they needed us to come and move equipment or do whatever. We were there for them. We were doing this thing, this magazine called the X Mag and as we were coming out, the Teen Idles were coming in. They were Ian’s first band. And Henry was with them as a roadie, like we were with Circle Jerks, but he was in SOA. They had these big-ass fucking boots on and these military pants and leather jackets and everything. And they were like, “Hey, man, cool. You guys skate!” And we were like, “Yeah.” and they say, “Can I take a run on your board?” And we had these big wide Alva boards. Now we were just like full-on HB Hollywood Santa Monica project kids, kinda raggedy looking surf-skate punkers, and there were these guys, these East Coast guys. Ian had a fuckin’ pine green, like, flat-top, like, pointy quiff hairdo. Henry had real short hair, almost like a skinhead. And they jumped on our boards with their boots on and just started jamming down the street doing all these surf turns!
Pete: Did they know who you were?
TA: They figured it out. At first I don’t think they did. And they were just skating with these big boots. They were all, “Yeah, this is a cool board!” and then they look at the name on the board, Alva, and they looked at me and my brother. And like, “Yeah, it’s a pleasure to meet you guys. All right. Cool.” And they went to do their interview and we left with them. I think we went to go see their band play the next night at –uh- what was the one? The Mabuhay Gardens. After that we had to check them out. And that was how we met. It was kinda weird.
Pete: Wow. That’s excellent. So, who shot all this Super8 footage? When I hear other people talk about the movie, one of the first things they mention is “the footage is unreal!” A lot of people are already familiar with the photos from Glen’s books, but it just seems like there’s so much footage, and I know, in the movie, it sort of made it seem like you guys had no idea that what you were doing was so revolutionary until the Del Mar contest. So were they home movies or was there some idea that something big was happening?
TA: Most of them are super8 home movies.
SP: The only idea was that we’ve never done this before, no one had ever done this before and we simply wanted to see what it looked like. So we shot the home movie footage and that was it. It wasn’t like we were going, “Now this is very important and is gonna affect kids all over the earth so we’d better start documenting this now.”
TA: No. It was B.V. – Before Video. It’s like when I wore those headphone, that was just rock and roll radio on the headphones I was jamming to. That was B.W. – Before Walkmans.
Narangkar: Well, was doing super8 movies normal – cuz my mom surfed and her sisters used to take little super8 movies and make little surf movies. Like the guy who made those surf movies...
TA and SP: Bud Brown.
Narangkar: Yeah, Bud Brown – they always went to little shows of his and they were stoked on that.
TA: We did that too when we were kids. We used to meet at the Santa Monica Civic to see all the latest surf movies. And then eventually we were watching ourselves in those surf movies. Before we ever did this we were kinda the skate segment of the surf movie. And all our friends would be there, man, and we’d be stoned and drinking beer and we’d be hootin’ and hollarin’ and going off when they showed us skating, you know. It was rad. We totally became little, like, local heroes through that.
SP: But that’s were a lot of footage came from were those surf filmmakers who were shooting skateboarding at that time. But we drew from 40 different sources to get this footage. It was like, as a filmmaker I had to be as resouceful as possible and just keep turning over stones and meeting people. I’d say, “Check the garage again. I know you gotta have this footage. I know it’s got to be there.” Constantly standing on people. Jeff Ho had footage that he had shot on super8 that he hadn’t even developed!
TA: You just keep finding dusty shoeboxes.
Narangkar: Did you develop it?
SP: Yeah. He gave it to me and we developed it and that was all the shop footage. It was amazing. And when that happened it was like, “Thank you god! Thank you, thank you!” It was, like, so exciting to come across this stuff.
Narangkar: It’s like when you buy a super8 camera at the flea market and there’s already a little cartridge in there. I think I’ll develop it and see what’s on there. Some kid out there may have footage of you guys. And something I was thinking when we thought about all this super8 footage and how it kind of relates to today’s skateboarding scene and how there is such an emphasis on video taping. Like, every session...
SP: Kids don’t skate without cameras these days.
Narangkar: And pros won’t do the trick if it’s not on film. What do you guys think about that?
SP: To be honest with you I think of two things. I shouldn’t say this but maybe I will say this: I think it’s gone too out of control. It seems like these kids don’t even skate for fun. There’s that aspect to it, and also there’s this other aspect to it that I think is really weird and I think it’s kind of jacking with evolution; You get these guys, these professional skateboarders that are shooting these maneuvers that they will only do one time and that’s it. Once it’s on video, they won’t do it anymore. So all they other kids that are seeing this are seeing all these tricks and they go, “Oh wow, that’s a new trick.” But it’s not a new trick. It’s a lie.
Pete: Yeah, and it’s a week of filming for one thing.
SP: Or six months of filming.
Pete: Well, I’m sure you’re aware that a lot of people consider Bones Brigade Video Show and those videos as the starting point of this.
SP: No, I know, but we were simply documenting what was there. I didn’t spend six months to get one trick.
TA: He had a huge team of talent that he was trying to show people, “Look at our team. This is the team that backs our product.” I did the same thing with Backyard Annihilation and Young Guns. We’d make these videos for promotional reasons mostly. But as far as that question you asked – Man, the best sessions go down and there aren’t any fuckin’ cameras around, dude. The gnarliest shit happens when there are no cameras around. And that is skateboarding in its purest form.
Pete: Yeah!

TA: And I got to look at it from both sides. I skateboard for money, man, when the cameras turned on. So it’s like, it kinda takes the fun out of it a little. For me it does.
Pete: Well, it becomes a job.
TA: I mean, it’s cool and all that, don’t get me wrong. Everyday is a good day when you’ve been skating. And you walk away and you’re not hurt, that’s a good fucking day. But the thing is, the best things happen when the camera’s not around. That when the shit really goes down.
Pete: And this sorta leads to the whole topic: Do you guys keep up on modern skating? I know you got Alva skateboards still. So, what’s your opinion on it? Are you really interested in what’s going on? What’s your opinion on the lack of popularity with pool skating? I know that handrails now...
TA: More for us, man. And there are a lot of kids who want to skate pools nowadays. There are even street pros skating the pools these days, like that cover of Bastien [Salabazi] on the cover of Thrasher. Arto Saari and a bunch of kids have been calling me and saying, “We want to go skate pools.” So, there’s a resurgence of all this.
SP: There seems to be a renaissance in skating.
TA: There’s a resurgence of that going on. There’s no doubt.
Pete: Especially in the last few years, the age of the average skater has dropped to about 12. Something like that could be a concern for the movie as well. Kids don’t seem to have much interest in the history of skateboarding. A lot of kids don’t seem to care. Is this a worry for you?
SP: Well, it’s a reality. If they don’t see it, they don’t see it. Maybe they’ll understand it better when they get to be 16 or 17. I don’t know if we’re gonna get those kids. It seems like this movie skewers a bit older.
TA: That the thing about this film and why it appeals to intellectuals and to people that don’t even know anything about skateboarding, and they get so excited about it. It’s something new to them.
SP: They’re seeing a bigger picture.
TA: You kinda gotta have brain to really dig this movie, I’d say. Dumb little kids don’t give a fuck. They’re not gonna care because they don’t have the mental capacity to take it all in yet. They don’t have the mental capacity to see that it is a documentation of something that was never done before. It’s basically where the mold was broken. And it’s basically where, even today, street skaters, vert skaters, everything – where it all came from – the attitude and the radicalness of it and the energy – that’s what’s in the film. They don’t get the opportunity to see it, and they just need to mature a little bit. They need to aquire a taste for something good.
SP: I’ll be honest with you, we didn’t make this film for 12 year old kids. We really made it for ourselves. We wanted to see something we were happy with.
TA: But we want 12 year old kids to see it.
SP: Yeah. We would love to share this with them. But if it doesn’t hit them, it’s gonna hit enough other people. It’s gonna be hitting enough other people, and really inspiring people that, you know, you’re gonna win some and lose some.
Pete: Well, I think a lot of these kids, skating is so new to them that they might be part of the passing fad from a scooter to a skateboard to a pogo stick. They people who are really in it for life...
SP: And another thing too, though, the movie’s not out yet. So once it gets out, if they hear enough buzz about it, hopefully it’ll be one of those things where they feel they have to go see it, and they have to rise to the occasion. Time will tell.
TA: They don’t have to like it. Stacy took the film and showed Crossroads and showed it at this school. And kids had the killer sound system and everything and they got to kick back – man, I didn’t get to do that shit. Then I run into kids, and they got these little Dogtown memorabilia things, talking about, “They showed it at my school man!” and they pull out this Dogtown cross and it’s all glittering and I’m like, “Dude, where’d you get that?” And they say, “We know you man, we saw the movie!” And that’s part of my deal too is to get out there, keep skating, get around, talk to kids. I have a signature shoes model coming out with Vans. I’m trying to tap into that market because I’m a manufacturer of skateboard products as well as, like, my corporate sponsor backed this film. So we want to get the message out. And we want to capitalize off of it, but only to a certain extent.
Pete: But that’s not the total end.
TA: I’m selling boards, basically, and a set of shoes for about a hundred bucks to kids. I mean, that’s affordable, man. That’s not, like, ripping people off.
Pete: And the skating is free once you got it.
TA: Exactly. That’s what I’m saying. We’re not selling shoes for a hundred ten or two three hundred bucks in a golden box with an Air Jordan logo on it. We’re selling Vans with the original gum-rubber sole, the ones that the Z-Boys used. My logo, which has been in skateboarding for 30 years. And then a nice... whatever you need, man. You want a street board, you want a pool board, you want a park board... what do you want, dude? We got some candy for you here.
Pete: And you’re still making the 9 inch boards, and that’s a market that a lot of companies have been ignoring.
TA: Yeah. That’s my forte. That’s what Alva does. We do retro shapes with the technology of the twenty first century. We’re doing good laminations, we got some really interesting concaves. The graphics are simple.
Pete: You’re still using the same logo.
TA: I tried to go to different graphics, but, you know what? They’re like, “We don’t want that. We want the original logo.” So I go, “Ok, ok, ok.” How hard is that? I’ll give you a nice logo, you know. So it’s more about the aesthetics. Just a good board, decent colors, now get out there and wreck it.

Narangkar: My next question you’ve already answered, but; What do you guys think is missing in skateboarding that was part of it before? If you could bring anything back, what would you want to bring back?
SP: I’ll say, first and foremost, that people would simply skateboard. It seems like nowadays the kids, you know, the skaters they ‘do a trick’. They go into the trick, they do it, and they stop. Then they walk back with their skateboard, but they don’t connect anything.
TA: Just flow. Flow and style. And the other thing would be power. Go fast, man. Go big. Look at John Cardiel. Look at, like, Chris Senn. Look at Geoff Rowley or Tony Trujillo and then you’re gonna see where the future of skateboarding is going. It’s going towards tech mixed with power and style. Like, our deal was, when we were kids, and I said this earlier to a guy that was interviewing us. Talk about “How did we instill style in what we did?” We went for the ultimate, like, the craziest maneuver at high speed with grace under pressure. Make it look good. You could be haulin’ ass on some big bank or something, and just walk to the nose and just arch and hang ten, you know. Somethin’ like that and then back to the tail when your done. That was surf skating. That was were it was at. We didn’t have all the kickflips and pressure flips and all that, but I’m stoked that it’s at that degree because the technology is the twenty first century. I don’t want everybody to just be a pool skater like me. I mean, I skate a little bit of everything, don’t get me wrong. Everybody knows me, “Aw, yeah, he’s a pool skater. He’s a pool skater.” But, dude, I can shoot a hill, I can ride a bank, I can do whatever. But, you’re not gonna see me doing handrails down twenty stairs. You’re not gonna see me doing feeble grinds down handrails.
Narangkar: Me neither.
TA: Hehe. But I’m still out there having fun. And, I say the kids that are into that, more power to ‘em. What Stacy’s saying is: Get a little flow, man. Mix it up a little. Don’t be just a stunt monkey. Get out there and learn how to skateboard.
Pete: That’s what I’ve found is a lot of kids fast forward through the vert section of the video until they try to skate vert. Then all of a sudden...
TA: “Whoa.”
Pete: Yeah. They develop a connection.
TA: When they try to skate a pool it’s even more of a wake-up call. They’re like, “Whoa man!” and they end up on their ass as their board flies twenty feet in the air.
Pete: I have a question to ask. This is a quote from Fuck You Heroes, Glen E. Friedman’s first book. This is a quote in the back of the book: “Banks and pools are skateboarding. Not handstands and kickflips. I wasn’t very excited about that. I grew up skating in the baggy pants style, you know, the kickflip days. It just seems strange because a big emphasis of what you guys were doing was that you took it to the next level. Now, maybe I’m taking the quote out of context, but it seems like, granted, kickflips and that style of skating isn’t something that came out of what you guys did, but...
TA: Is that a quote of Glen Friedman?
Pete: Yeah.
TA: He can be a bit narrow-minded.
Pete: Yeah, I’ve heard that he’s a bit militant in his views.
TA: Glen is not – even though he dabbled in it – Glen’s a photographer, first and foremost. And that’s his opinion.
SP: He’s never grinded a pool.
TA: Hahaha. Don’t get us wrong, he’s a good guy. We love him, but, you know, he’s a bit... opinionated. I was about to say narrow-minded but I think it is more, like, opinionated.
SP: He’s passionate.
Narangkar: Who are you guys most impressed with as far as the skaters of today?
TA: The guys that I mentioned. Tony Trujillo, John Cardiel, Chris Senn, um, even guys like Chad Muska. Just the kids that aren’t afraid to be themselves and just do whatever. And they’re giving back. They might drive the Cadillac Escalade but they got all their homies in the back. And then they’re buying lunch for everybody, too. So it’s all good.
Narangkar: [to Tony] So you MCed the All Girl Skate Jam.
TA: Yeah.
Narangkar: So you must know some girl skaters.
TA: I sponsored Cara-Beth when she was 10-years-old.
Narangkar: So who do you think is coming up? Who are you favorites?
TA: Like I said, I sponsored Lilanei Keyabu (sp?) Cara-Beth Burnside, Kerry Cooper, Vicki Vickers. I’ve sponsored so many girls. Even to the point where I was ready to sponsor. Jen O’Brien when she was 8 months pregnant. Doesn’t matter.
Narangkar: What about right now?
TA: One girl that really impresses me is, who’s the Dutch girl... Jesse Van Rochoudt. She’s pretty cool. She’s got good style and a good attitude. And she’s progressive. I like her style. Another girl from New Jersey that I really liked, she rode for Rookie. She had dark hair, really dark hair...
Pete: Lauren Mollica?
TA: Yeah, Lauren Mollica. See. I like the girls that are kinda femenine, too though, y’know. Not just like these tomboys all like, “Get outta the way!” with a bad attitude.
Narangkar: Well that’s something that girls kinda have to do.
TA: Well they gotta be tough to be skateboarders.
Narangkar: And now girls are kind of saying, “You know what, I don’t really have to act like a tomboy. I can be active.”
TA: Hell no. There’s one other girl that’s really good in competitions. Not so much as a street skater. I haven’t seen her much except in competition. And she’s been winning contests a lot. She’s only 15 or 16. Canaan I think?
Narangkar: Cnaan Omer(spelling?). I talked to her. There’s a good little group of 16-year-olds that are all together.
TA: Yeah. She’s pretty good. She’s up-and-coming.
Narangkar: Cool.
Pete: There was something I read by [Bob] Biniack in Juice magazine. Is it true that you all sold your life-rights and that there is a fictional Dogtown movie coming? Is this still recording? Is this true? Are you guys involved with that?
TA: Stace, you can lay-down the info on that.
SP: What happened was that that was the whole reason we did this film. Hollywood wanted to make a fictional version and the story-right to the Dogtown film were purchased by a Hollywood film company. It was all from that article in Spin magazine. The story-rights reverted to two different producers about a year ago. One of the producer’s names is Art Linsen. He was a very successful Hollywood producer. He’s produced movie for DeNiro, Pachino, and all down the line. His producing partner is the director David Fincher. So they now own the rights to it. Well after they saw the documentary they said “Wow, we should involve you guys in the making of this.” So now we are all involved in the making of that cuz they don’t want to do what we were fearful they would do; Which is make some stupid, high-school idiotic skateboard comedy.
Narangkar: Gleaming the Cube?
SP: Yeah.
Narangkar: Thrashin’?
SP: Any of them.
TA: Go easy on me now.
Pete: Hey, I saw Skateboard: The Movie. You’re Tony Bluetile.
TA: Ooooohhh! We don’t want that. We’re done with all that 70s-80s cheese. We want a little less cheese on our burger this time.
SP: And the fact of the matter is we made this film that’s now a model for any film that follows it. And they realized this. They realized they’ve got a model to follow and if they screw-up it’s not gonna make them look good. So we’ve given them a blueprint. Visually, it’s a fantastic template for a director or producer to get close to.
TA: And of course they’re gonna have to kinda like spice it up a little. You know.
Narangkar: So, who would you want playing you?
TA: I want, like, the hottest, new, young Gary Oldman.
Narangkar: The new, young Gary Oldman?
TA: There has got to be one out there.
Narangkar: Have you guys thought about that at all?
SP: I haven’t given it any thought. I know Tony has a little.
TA: [Laughs] You know, up-and-coming actors. Like Brad Pitt for Jay [Adams] and Gary Oldman. Anybody that’s intense. Joaquin Pheonix. You know, these intense young guys. LA’s full. The world is, basically. They’re all aspiring to be. They’re all there.
SP: I don’t know enough young actors to say.
TA: Hehe. He doesn’t want to think about that now.
Narangkar: Maybe after this whole thing.

Pete: I guess this has nothing to do with the movie, but I’ve just seen a lot of photos and I’m a bit curious. The Turning Point ramp... what is it? Was that a really bad idea? A good idea?
TA: Oh, it was cool. It would just flex a little bit. It was a capsule they had on a hydrolic. Now what they would do is they would lay it down like a pipe basically, with a capped end. Like a gel-cap with the end cut off. What they would do is they would pump it up on a hydrolic to the angle that they wanted. So what you could do is you could work it like a half-pipe, and then, eventually, you could do, like, a ceiling carve. You’d use the G-forces to push you up three or four seams. It had these seams every three or four feet or whatever. So if you could go three seams you were completely upside down.
SP: It became a greenhouse.
Pete and Narangkar [Laugh]
TA: That kinda makes sense though. It did get hot and humid in there. And I think it ended up in Florida or some place where, like, all you’d have to do is have the dirt and put a little water.
SP: It’s now in Reno somewhere.
Narangkar: That’s really interesting.
TA: That was a pretty cool concept.
Narangkar: I guess we gotta wrap it up. Is there anything- well, there were more questions. One thing that – ok, I skated when I was 16, in about ‘88-’89. And me and my friends were the only two girls out of a big group of kids. We’d read the magazines and one Powell-Peralta ad we thought was so funny. We hung it up on our wall.
SP: Girls don’t play with dolls?
Narangkar: No. Maybe you can finish it. It goes: “You’ll look great in your brain-dead togs....” Do you remember the other two?
SP: ...
Narangkar: I’m quizzing you.
SP: No, no. Keep going.
Narangkar: OK – ultra-blatant pretend wear, doggie-doo diapers, and brain-dead togs.
SP: Yeah, that’s right.We were making fun of all the other skateboard manufacturers that we felt were making just terrible clothing. Mostly Vision. They were cramming it down skaters throats so we thought, “Ok. we’re gonna make something that is so gay and stupid.” That was a joke on that.
Narangkar: I just wanted to bring that up. It’s inscribed on my brain.
SP: That was just Steckyk and I trying to entertain ourselves. And one of the ways we entertained ourselves was by doing funny ads or stupid ads.
Narangkar: Cool.
Pete: I guess the last thing is; What’s easier for both you guys, frontside or backside?
SP: What’s easier?
Pete: Yeah. Which happened first?
SP: Backside.
TA: Yeah. Backside. Just over the light backside. Backside carve. Backside edger. Just the basics. There were a lot of time you would use backside as the first part of a figure eight. So you go backside and then you switch to frontside and just keep that. The figure-8 line is conducive to keeping your speed going. So the backside came first then to the frontside.
[The press agent comes in, we are out of time.]
SP: So, if you guys have a bunch more questions let’s just do this. We’ll answer them in ten seconds. Rapid fire.
Narangkar: What other documentaries are you into?
SP: I want to do a documentary on the enigmatic surfer of the 60s named Micky Dora.
Pete: He just died, right.
SP: Yes.
Narangkar: Are there any films out there that inspired you to create this film?
SP: No. What inspired us is to not look like any other documentaries. And not to be boring like so many other documentaries. Make the thing like a bat outta hell.
Narangkar: Ok, has it had any impact overseas yet?
SP: It’s gonna open in-
TA: I went to Australia with the film and it does have an impact all over.
Narangkar: Awesome.
SP: It opens in Europe and the UK in June of this year.
Narangkar: Has it opened any doors – well, you kinda already answered that. Anything else you working on?
SP: Well, we’re also working on the Captain Zero project. Which is: We’ve adapted a book, we’ve got a deal at Radar Pictures with Sean Penn, Aggie Orsey (sp?), and myself to put together this film called In Search of Captain Zero.
TA: That’s a cool book if you get a chance to read it.
Narangkar: And do you have any advice to any kids looking to get into barrel-jumping?
SP: Ho-ho.
TA: You’d better get, like, a good leather suit. Hehe. Find a good area to practice it. You need a good area for that and wear leather, man. You’ll take some hard slams.
Narangkar: Wear leather? All right. What color?
TA: For girls I say pink, like Pinky Duscadero. For guys it’s gotta be black.
Pete: So, Injuries. I know you guys only had, like, volleyball pads to go with. So have you lost any ligaments in your knee? It seems like you guys were never hurt.
TA: I had an aurthroscopic clean-up on my knee in the later years just from the beat-up. We both are probably gonna have to get new hips by the time were 50 years old. We’ve had injuries here and there. I think the worst that happened to Stacy was he fractured his arm.
SP: Yeah. Towards the end of my career. When I was putting together the Bones Brigade I broke my arm.
TA: I’ve dislocated my fingers, broke my teeth, got stitches. A lot of little things. Nothing super-major.
Narangkar: I think that’s it.
SP: You got everything?
Pete: Yeah, that’s pretty much everything.
Narangkar: It was kind of random.
TA: Well thanks for the magazine [Swashbuckler issue #2] cuz I want to read the Peggy [Oki] interview. This is cool.
Pete: So is it possible to get a photo with you guys.
SP: No way, man. [laughs]
TA: Make sure you get some stickers. [Hands us giant pile Dogtown and Z-Boys promo stickers].
Pete: So is it possible to get an autograph and all that?
the end.