In THE LOOK, OC friends drop by to try on our favorite new arrivals and tell us about their wardrobe preferences past and present. This week, OC's Lissy Trullie interviews William Strobeck.
William Strobeck has become something of a legend in the skate world. He’s filmed so many all-star skateboarders, from newcomer Sean Pablo to stalwarts like Dylan Rieder, Mark Gonzales, Alex Olson, and Jason Dill, that we've lost count. His candid, lo-fi, '90s-inspired cinematic style captures the rough beauty of skateboarding, making us see concrete cities in a whole new light. In fact, we’ve been lucky enough to have a few of our own exclusive-to-OC Strobeck films, including one featuring his pal Chloe Sevigny.
Recently, Strobeck was approached by skate company Supreme to create its first ever skate video, titled cherry. Basically, it’s a masterpiece of skateboard footage. We sat down with the creative to chat about skating, filmmaking, fashion, and where the three intersect.
LISSY TRULLIE: You're originally from Syracuse, NY. How long have you lived in NYC?
WILLIAM STROBECK: Eleven years now... time flies here.
What look are you into at the moment?
I don't know, but I usually stick to the same clothes when I like 'em. I guess right now... black, plain.
What was your most regrettable fashion moment?
Can't regret a moment—that's the whole point of expressing yourself.
Which came first for you, skating or filmmaking?
Skating for sure, then I got a camera and documented it. The rest is history.
Tell us about your most recent film cherry.
It's my first full-length video that I made for Supreme. All my peeps are in it. Everyone seems psyched. I'm happy with the turnout.
Dennis Hopper is one. Also I see little things online and look at books... still images actually inspire me more because I can make up what happens in the time before or after the still was taken, which can create a film itself.
William Strobeck has become something of a legend in the skate world. He’s filmed so many all-star skateboarders, from newcomer Sean Pablo to stalwarts like Dylan Rieder, Mark Gonzales, Alex Olson, and Jason Dill, that we've lost count. His candid, lo-fi, '90s-inspired cinematic style captures the rough beauty of skateboarding, making us see concrete cities in a whole new light. In fact, we’ve been lucky enough to have a few of our own exclusive-to-OC Strobeck films, including one featuring his pal Chloe Sevigny.
Recently, Strobeck was approached by skate company Supreme to create its first ever skate video, titled cherry. Basically, it’s a masterpiece of skateboard footage. We sat down with the creative to chat about skating, filmmaking, fashion, and where the three intersect.
LISSY TRULLIE: You're originally from Syracuse, NY. How long have you lived in NYC?
WILLIAM STROBECK: Eleven years now... time flies here.
What look are you into at the moment?
I don't know, but I usually stick to the same clothes when I like 'em. I guess right now... black, plain.
What was your most regrettable fashion moment?
Can't regret a moment—that's the whole point of expressing yourself.
Which came first for you, skating or filmmaking?
Skating for sure, then I got a camera and documented it. The rest is history.
Tell us about your most recent film cherry.
It's my first full-length video that I made for Supreme. All my peeps are in it. Everyone seems psyched. I'm happy with the turnout.
As far as skate videos go, you have style and spirit that separates you from the rest. Can you tell us about your creative process?
The editing and everything is based on feeling and the element of surprise—that's what gets me psyched. I guess I wanted to make something that I wanted someone else to make for me.
Were there specific skate videos from your past that helped sculpt your approach to filmmaking?
Yes, two off the top of my head are Tim and Henry's Pack of Lies by Blind Skateboards and Hokus Pokus by H-Street.
Dennis Hopper is one. Also I see little things online and look at books... still images actually inspire me more because I can make up what happens in the time before or after the still was taken, which can create a film itself.