Here Tony and I try to read my hand-writing. The entire script was hand-written on foolscap and sticky notes using an HB2. We carefully planned this shot so that my face had a giant chrome-plated "x" across it. That's Tony's 3rd pint of vodka. During the record I said something like "Hey 'tone', can you try reading like you're heavily medicated? Heavily, heavily medicated? Thanks, Tone." All the guys looked at me like "Why are you calling him "Tone?!?" Then I'd realize that I was just saying it out of habit 'cuz I have a sister named Toni who I basically call "Tone." I felt like such a tool.
I show Tone the following movies in order to show him what the movie is going to look like:Movie 1: click here
Movie 2: click here
Movie 3: click here
Tone like Movie 2 the best because he liked the sound of the servo motors whining as the running-belt grinds against my shoulder removing all flesh. It's possible that I was showing him some of Gil Rimmer's (the movie's art-director) designs and artwork.
Mike McKinlay gives Tony's Boom Boom Huck Jam half-pipe a whirl. Mike was our resident skater/consultant on the movie and basically oversaw all details regarding skateboard culture (fashion, decks, skate-styles and tricks, terrain). He was the motion-capture skateboard director for the movie.
Tony was really interested in watching how his data translated onto the wire-model, moments after the shoot.
The crew: backrow from l-r: guy in red shirt. Alisha Serold (exec. producer), Pat Hawk (Tone's sister/manager), Ben (producer), Viacom guy in white shirt, Mike McKinlay (skateboard consultant), Adam Hansen (mo-cap lead), Tony Hawk (skateboarder), Brett Ineson (mo-cap brain-surgeon/groupie and pal). Front row: me, Casey Kwan (production designer/CG Supervisor), Dr. Marcus Robinson (mo-cap technician).
Look at this beer that I'm holding over this platter of food. Only in America!
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