adidas Skate & Create: Dan Wolfe Eastern Exposure Legend

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Dan Wolfe: Eastern Exposure Legend

A few weeks ago, adidas wrapped up their Skate & Create experience, so for the next few weeks, I’ll be posting up little side stories from the their time in the warehouse, the first one being videographer legend himself, Dan Wolfe, the man most remembered for Eastern Exposure 3 Underachievers. Read on to learn more about S&C, Underachievers and what he has in store for the future.

How’s all this stuff going for you Dan?
Good.

How’s it compare to filming normally?
It can get frustrating to wait. Out on the streets, skateboarding happens and you just start filming. Here, it’s not that easy. Someone will start trying something and then they’ll be like, “Hold on! Gotta fix this light leak or something.”

Were you doing this kind of set work after you made Closure?
No, not really. The only set work stuff I’ve done was for a friend of mine that does skate video stuff. He bought a Red Camera and I’d assist with him—like digital media management.

You’ve been up in SF now for quite a while.
Ten years now.

Have you been filming skating the whole time?
I worked for Nike for two years on Nothing But the Truth. That video could have been great, if it weren’t for the interludes. I didn’t have anything to do with those. Then, I do stuff for adidas a lot and I just got hired on at Deluxe to help with their next video. So, back to skating. You get burnt sometimes, but you always come back.

Where are you originally from?
Pennsylvania.

So that’s how the whole Eastern Exposure vid came about?
Yeah, I grew up in Westchester and then moved to SF.

When did Eastern Exposure come out?
’96. Almost fifteen years ago.

You released it in color not too long ago, didn’t you?
Yeah.

But, it was originally in black and white?
It was originally supposed to be in color, actually. It’s still funny to me because everyone thought it was some artistic statement. But, back then, you’d edit with two decks and as you edited back and forth the quality would drop and the colors start bleeding. I was editing with an old deck that New Deal gave me and I started messing around with it a little. After a while, I noticed that it didn’t bleed in black and white. I didn’t want it that way, but it looked better and, looking at Sturt photos and Tobin [Yelland] photos at the time, which were in black and white, I was fine with it and ended up keeping it like that.

It’s funny, because I remember that being the thing that made it stand out at the time.
[Laughs] Well, I have some friends that called me up when I put the DVD out with it on color and they were like, “F—k, it was so much better in color,” and I was like, “There’s a little button on your TV. If you still want to see it in black and white, there’s the color setting on your TV. Just set it to black and white.”

Look for more interviews/stories from Skate & Create each Wednesday.