Bill Strobeck: Directorial Fundamentals
You wouldn’t have seen Bill Strobeck in a skate video, because he would have been the one behind the camera. But the chances are, if you’ve seen edits with Mark Gonzales, you’ve probably already seen his work and just not known it. There is a certain poetic warmth and emotion in the rawness of his work, without ever coming off as contrived or unauthentic. This is mostly due in part to his innate ability to remain remarkably true to the whimsical characters and subjects he portrays. We were recently given a chance to pick the brain of this uniquely authentic filmmaker who has made his name photographing his friends, and staying true to the distinct ‘feel’ and flow of his Super 8 lens.
Maybe a little too predictable, but with all the time you spend shooting skaters, do you still find time to get out and skate yourself? Do you have a favorite spot?
Well, I’m just going to be honest — I don’t skateboard really at all anymore. I use a skateboard to film but that’s about it. Sometimes I use it for transportation, maybe to move furniture or big objects, but yeah my skateboarding days are pretty much over.
Your work has an extremely distinctive aesthetic to it – do you use specific exposure methods or filters?
No I don’t do anything other than use settings that I feel look the best. I don’t color correct or use filters at all — if it looks right to me I’ll leave it.
What is your favorite subject to shoot? And where do you do your editing?
I’ve worked with skateboarders for years. I think working with my friends and especially women these days are really fun to work with. That’s something that was lacking in skateboarding, being on tour with sweaty kids. It was fun, but I wanna go into a new chapter in my life. It’s funny you should ask where I edit — I don’t sit at a desk, usually I lay in my bed and edit. That’s where I feel is a comfortable place to be creative.
So do you typically find more inspiration for your work through imagery or in music?
I get inspiration from older movies I’d say. People were creative in the way I liked, when they didn’t have much to work with. Like for instance, any old Joe Blow can get on iMovie or use an iPhone and make a video and put it online within seconds. The hard work of making a film in the late ’70s and ’80s really shows to me visually when I watch it. As we all know there is too much to see these days with everything going online. I personally can’t tell if I’m used to it yet or not. Guess I’m just going with the flow. I do get inspired by music actually more than anything else. Certain music causes emotion and that emotion allows me to be creative.
Do your prospective projects find you, or do you typically seek out your subject matter?
I usually ask my friends to be in my projects. If anything at all, I want to look back when I’m older and see all the people I was close with in my work. Also what’s better than looking back at an old photo of someone you know? So that’s the vibe for me. I’ll get to look back on everything I did, in the future.
You’ve worked with Jason Schwartzman’s band Coconut Records before – what other bands have you worked with?
Yes, I did work with Jason, he’s a sweet guy. Anyways Mark Gonzales and I are the ones that made the “Any Fun” video. Jason only had a couple of hours the day we filmed him but it was real fun. Mark and I also did a couple of low key videos for this DJ in Paris named Pepe Bradock. You can find them somewhere.
You do a lot of traveling, but if you could only skate, and shoot one city for the rest of your life, where would it be?
I quit skating right this second, during this interview. But if I could be anywhere I ever went for work, it would be San Sebastion, Spain. That place is the “easy life.” My personal paradise.
Do you approach a project with a distinct structure and timeline in mind, or do you let things just evolve from your lens, and edit accordingly?
I think I usually pick people with big personalities to work with. I need that to feel titillated and feel like it’s worth it to put the energy in. I mean I hardly even have to direct anyone most of the time. Even visually, I’m into all these people. How much better does it get than to travel around and work with your friends all the time? I think I point the camera, they do their magic and then I go home and make something out of it. A full collaboration between us.
You’re heading out the door to link up with Chloe Sevigny to shoot the video for “Any Fun” – what’s in your backpack?
What was in my bag was a poncho – the one that she was wearing in the video. That was Mark’s by the way. Also was two Super 8 cameras and 3 rolls for each of them. Maybe a bottle of water. Had to keep her hydrated from doing all the skating as it was actually very hot out that day.
Did you make any New Year’s resolutions this year?
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I actually didn’t. Can you make one up at anytime of the year? If so I’ll do it this week.
One of the sickest technical skate videos I have seen in a while..
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Photographer Julian Bleeker is currently developing his new book project, Hello, Skater Girl.
Julian had raised over $13,000 in order to print a photo book that captures the “spirit, determination and playfulness” of female skateboarding in 2011.
“It mixes image, illustration and text to document the lives of several skaters doing what they love to do: skate — at competitions, alone and together at parks, backyard pools and favorite [sic] skate spots.”
Julian started a Kickstarter project to make the photo book!
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5 weeks, 10 guys, 1 van, 3700 miles, and one crazy accident to end it all.
A cross country skate trip from South Florida to San Francisco with Brad Cromer, Nicky Lamarche, Jake Donnelly, Brian Downey, Brad Miller, Joey Ragali, Serge Murphy, Tony Huffnagle… Also featuring Dave Bachinsky, Ishod Wair, Robbie Brockel, and Jeremy Reeves.
A film by Brandon Kuzma
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HD & Edit : Kuzma
VX : Pang