Skateboarding commercials, often a source of unintentional comedy when they feature anything beyond the act of riding, occasionally transcend the norm, becoming memorable pieces of skateboarding history. While skate videos remain the gold standard, these commercials offer a unique glimpse into the creativity and resourcefulness behind the brands we love. This article delves into the stories of three influential filmmakers who shaped some of the most iconic skate commercials, uncovering the behind-the-scenes narratives and innovative approaches that brought these short films to life.
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Eric Noren: The NHS Innovator
Eric Noren, a former director and filmer at NHS, initially envisioned a career mirroring Spike Jonze, blending his passion for skateboarding with cinematic storytelling. Inspired by the film Goldfish, Noren pursued film school, investing in his own equipment with school loans. His ambition led him to NHS, where he leveraged his editing skills, initially gained from an illegal side gig at a software company, to secure a position and begin creating video content for the brand. Noren’s entry into the world of commercials was unconventional. After getting fired from his software editing job, he presented his rendered skateboarding video to Jeff Kendall at NHS and bartered a deal for a computer in exchange for his video production services.
Noren’s approach to skate commercials was groundbreaking, particularly with Krux trucks. He distinguished NHS’s commercials by shooting on motion picture film, elevating the production quality beyond typical skate ads. This allowed him to experiment with narrative concepts and scripts, moving away from standard skate footage. A notable example is the commercial featuring Alex Moul, shot in 16mm black and white, capturing Alex’s entire day on his skateboard. This was a creative risk that paid off, with the commercial leading to a significant sales boost for the small brand.
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Noren’s innovative concepts extended to the “talking truck” commercials for Krux, which featured Giovanni Reda as the voiceover. By focusing on the unique hole in the truck’s design, Noren created a memorable and humorous commercial. He and Ron Whaley also wrote and produced the Cairo Foster handstand commercial, which featured a then-expensive wire system and acrobat training for Cairo. Despite its high production value, Noren managed to keep the budget under $100,000 by leveraging his connections and creative problem-solving, for example by using film ends, or excess film stock resold by bigger movie productions. Furthermore, Noren leveraged his skateboarding connections to negotiate post-production deals with high-end companies, showcasing how resourcefulness and networking could overcome budget constraints. Despite these successes, one idea, a Kenny Reed commercial set in a Hollywood bazaar, remains a storyboard waiting to come to life.
Kevin Kerslake: The Narrative-Driven Director
Kevin Kerslake, known for his music video directing, has a deep background in skateboarding, dating back to the Dogtown era. This personal history, combined with film school training, gave him a unique perspective on action sports filmmaking. Although he shifted towards narrative and experimental projects due to health concerns, his early passion for surf and skate videos heavily influenced his work. Kerslake aimed to emulate Bruce Brown’s storytelling style, appreciating the narrative potential within skateboarding, particularly the pursuit of spots and the dedication required to master tricks.
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Kerslake is renowned for directing DC Shoes’ iconic “The Chase” commercial featuring Rob Dyrdek. The project emerged from his involvement with the X-Dance film festival, where he met Ken Block, DC’s co-founder. Initially, Kerslake and Block developed a TV series called “Pavement,” which was to be set at a large estate with skate features, however this was later scrapped for the movie Grind. The “Chase” commercial was inspired by A Hard Day’s Night by the Beatles. It depicted Dyrdek as a rockstar pursued by fans, set to a catchy tune. Dyrdek personally decided to modify a handrail for the commercial, opting for a square rail, which he nailed on the third take. The custom square cover was likely built by a member of Dyrdek’s team, given the brand’s resources. The shoot involved a substantial cast and crew and required permits for the location. Although the project’s budget was likely in the low hundreds of thousands, it was still notably more expensive than a typical skate video shoot.
Federico Vitetta: The Experimental Visionary
Federico Vitetta, a former filmer and director at Girl Skateboard Films, developed his career by creating innovative commercial skits. After working on Fully Flared, Vitetta was hired by Lakai to develop their commercial approach. His first project, “The Golden Foot” featuring Lucas Puig, was born from a long-held idea to film Lucas performing tricks with a soccer ball. Vitetta pitched his ideas to Lakai informally, and the company gave him creative control, which allowed him to explore unusual approaches with his commercials.
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Vitetta embraced experimentation, using tests to refine his concepts, ensuring only high-quality ideas made it to production. His use of unique technology is notable: The “Twizzler” and “Hangover Flip” commercials were shot with high-speed cameras, often used in scientific and military applications. This enabled the creation of innovative visual effects never seen before in skateboarding videos. For the “Twizzler” commercial, the effect was created by slicing frames of a high-speed kickflip, then rotating the images and giving the appearance of a spinning candy. Similarly, the “Hangover Flip” showcased the motion of a flip trick in a way that was both innovative and visually stunning. One of his most complex projects was the “Out of Control” commercial with Mike Carroll, where Sebo Walker substituted for an injured Carroll. Vitetta also produced the “Venice to Venice” short film with Guy Mariano in Venice, which was partially funded by Lakai in exchange for a commercial version. This project showcases his dedication to storytelling and artistic expression, with every skateboarding shot filmed from a boat on the water. Vitetta’s approach highlights a unique balance of technical expertise, creativity, and storytelling.
Conclusion
These three filmmakers—Eric Noren, Kevin Kerslake, and Federico Vitetta—each brought a unique style and approach to the skate commercial, proving that these videos can be much more than just promotional pieces. Whether it was Noren’s innovative film techniques and narrative risks, Kerslake’s storytelling lens applied to skateboarding action, or Vitetta’s experimental use of technology and creative concepts, they elevated skate commercials to a level of artistry and entertainment. Their stories underscore the importance of vision, resourcefulness, and creative collaboration in the world of skateboarding media. These commercials not only promoted brands but also contributed to the cultural fabric of skateboarding, leaving a lasting impact on viewers.
Interviews by: Nic Dobija-Nootens
Illustration by: Michael Giurato
