TB: That’s pretty amazing. Did you know then and there that you had your next project?
DW: Not really, but kind of. I went home with the three boxes. I had my office get me a film scanner and I started to scan a few just to see exactly what it was. Here is another strange part; One year before I found the boxes, I cold called Aaron Chang to introduce myself, as well as share some of my work with him. I was looking to do something with him for his gallery, site, whatever. I was just looking for a surf project. So when I was going through these negatives, I came across Aaron’s name. So, I picked up my phone, I had his number and hit dial. I said to Aaron, “This is Doug Walker, that guy who called you a year ago, I think I found something really amazing.” He said, “Come down for a surf.” I assembled a sequence of stills to music and read an excerpt out an old surf magazine and shared it with Aaron. He looked at me and said “YOU HAVE A PROJECT HERE.” So the project was on, for years.
TB: Am I correct when I say putting this film together took around three years?
DW: It did, but mainly due to my work schedule. I self-funded this and the only way it was going to get done was to build notebooks filled with proof sheets and traveling when I could. I think it also took a while due to people thinking “who is this guy with these negatives?” But I am really proud of this film. It captured pure stories that the images capture as well. While editing the film I found that it had soul, the same soul as surfing.
TB: What were some of reactions you got when you approached them to be a part of this project? Were a lot of them very skeptical? Were there any who declined?
DW: It wasn’t about skepticism. I think as a filmmaker you have to work outside of the box. This was a project about me, my camera and the guys. The other thing is that I always believed that I was doing the right thing and knew if I just kept going, I would win others over. When I first met Dan Merkel he was really tough and now he has become a true friend.
TB: One of my favorite subjects in the film was Larry Bertlemann. I really enjoyed how you made the film not just about the photographers but the subjects in the photos as well. How did you approach him and what was it like to interview him?
DW: Again, you just do it. You get a number and your mission is to do it. I was on the North Shore when Larry said to come on over. He was in Kauai and I flew over. I got a rental car and just showed up. I found that it really didn’t matter between surfer and photographer. What was magical is that I was putting images in front of these guys 30-plus years later. It was an Aloha moment, which is all about sharing.
TB: What was the hardest part of editing this film?
DW: Looking at me in the film. I had cut the film without using me and then handed it off to a girl in my office to look at it fresh. Seven days later she hit play and there I was. Bad haircut, jetlagged, tired. But when I looked at it, I realized that it was the thread. The journey.
TB: Did you find that the film was as well received when you showed it around the world?
DW: I think it’s one of those films that is a part of history. You can watch it now or even in 10 years. I think the more you share and speak your heart, the more the film becomes special. I can get really rad and blah blah blah with it but it deserves honesty.
TB: Now that you have been through the film festival circuit, what are your plans for the film?
DW: I have been talking with Paul Strauch about doing something with the Heritage Foundation as well as show with a few more festivals. In the end I’m sure it will be available soon on DVD & Download as well. And then share the prints for people to see! History should not remain in boxes!
