In the fast-paced world of skateboarding content, where videos seem to drop as quickly as tricks are landed, Shinpei Ueno of Tightbooth Production stands out as a true artisan. His latest project, Lenz III, is a testament to dedication and meticulous craftsmanship, taking a full nine years to complete. This isn’t just another skate video; it’s a 90+ minute epic, a labor of love filled with captivating visuals and a carefully curated soundtrack that reflects Ueno’s commitment to his art. We caught up with Shinpei at the iconic Max Palmer Fountain in Manhattan to delve into the making of Lenz III and his vision for the future of Tightbooth.
A Deep Dive into Lenz III
How many tapes did you go through filming Lenz III?
It’s hard to put an exact number, but I’d estimate around 400 to 500 tapes. We filmed for nine years, and the process of uploading all that footage was a feat in itself. My team and I split into groups, with me directing, and even then, there was so much footage that it was impossible for everyone to see it all. We were dedicated, working on it daily.
The VX1000 is legendary. How many did you use?
We went through about 30 or 40 VX1000 cameras during the production. They are old cameras, and many broke down. About 20 were damaged from collisions, and the rest simply because of age.
With this potentially being the last VX Lenz video, what’s next for Lenz 4?
The VX is finished. We pushed the VX to its absolute limit with this video. It’s time to move on. We are considering the FS5, but I’m still evaluating the best option. There isn’t a perfect 16:9 fisheye solution that I feel matches the VX.
Given your long relationship with the VX1000, have you ever considered a Tightbooth VX1000 sex toy?
[Laughs] That’s a great idea! I could use one. Although, I’m not sure what Sony would think about that. A friend at Sony visited my office and was quite surprised that we were using their logos without permission in our videos.How did Sony react?
They were neither happy nor angry. So, we removed the Sony logos from the Lenz III opening and replaced them with TBPR (Tightbooth Production) logos.
Funding the Dream
How did you manage to finance this project over nine years?
The money comes from selling our clothing line. Skate videos alone don’t generate profit, so we use the revenue from clothing sales to fund video projects. We had some sponsors for the premieres, but the film is entirely funded by Tightbooth.
Did Nike contribute to Yuto Horigome’s clip in the video?
[Laughs] No, there was no payment from Nike for that.If an energy drink company offered funding but wanted their logo on your beanie, would you do it?
Looking at me, you can tell that I don’t have any logos on my clothing. No logos [laughs].
Skateboarding and Fashion
In your view, which influences which: skateboarding or fashion?
Without a doubt, skateboarders influence fashion. Skaters are among the most fashionable people; they create items specifically for skating—it’s a form of art. I create and wear what I like without paying attention to what others wear.
What would be your pitch to a high-fashion brand like Louis Vuitton?
I would propose creating a Louis Vuitton skate plaza. When Gucci approached me for a collaboration, I wanted to design skate-friendly elements. If I were to collaborate with a luxury brand, I would want it to benefit skaters. While there were challenges, which prevented the project from completion, my goal remains the same: build skate plazas.
Evolution of Japanese Skateboarding
What are some of the changes in Japanese skateboarding over the past decade?
The new generation of skaters is incredible, which is why the video took nine years to complete. We had to wait for these young talents to come up.
Some young kids take hard falls in the video. Do you ever question filming them?
I didn’t film any ten-year-olds except for Kotora. His parents are super supportive of his skating and told me, “Whatever happens, happens, just make it look good.” They even provide guardian permission slips for late-night skating. When his mom watched the film, she cried. Parents of many skaters with full parts attended the premiere.
Did any of you get arrested or ticketed while filming?
We had many encounters with the police, but they didn’t escalate to fines. A friend of mine recently got a $20,000 fine for skating in Tokyo. It’s crazy; even just holding a skateboard can trigger security. Most places only allow a couple of tries before you get moved.
Don’t come to Japan! I want to get out of Japan, maybe explore Barcelona, New York, or London.
Does Tokyo need more skate parks?
That’s a difficult question. More parks might make street skating more challenging since Japanese people are generally critical of skateboarding. After the Olympics, someone told me that we were causing trouble for Olympic athletes for skating in the streets!
Lenz III: A Testament to Community
What do you hope viewers will take away from Lenz III, and what did making it mean to you?
In Japan, we view American skating as a standard. I wanted to create something that’s as cool as that, showcasing unique Japanese spots and our style. The VX and MK1 fisheye combination is iconic, and I wanted to make something special with that. Also, the soundtrack was made entirely by friends and community members. This video was a collaborative effort within our community.
What’s next for Tightbooth?
It’s hard to think about it since we have just finished this major project. However, I do have the idea of traveling to other countries to film short clips. But we’re not making a Lenz IV! Making a 90-minute skate video will drive you crazy.
Lenz III is more than just a skate video; it’s a cultural statement, a showcase of passion, and a tribute to the skateboarding community. Shinpei Ueno’s dedication and vision have solidified Tightbooth’s place as a major force in the skate world, and we eagerly anticipate their future endeavors.
