Stump branches out - ValleyCitizen - Teton Valley's Local News SourceJuly 07, 2010 By Mike PolhamusLocal extreme ski cinematographer produces historical documentary.
LEFT: Gregory Stump in his Victor studio, where for the past three years he has labored to create his magnum opus. COURTESY PHOTOAfter spending his early years on the world cup freestyle ski circuit before traveling the world to document what was then the sport’s most extreme limits, legendary filmmaker Greg Stump has settled down in Victor, where he is currently working deep into the night on his first new ski film in over a decade. Stump’s later work runs the Hollywood gamut, from music productions for Willie Nelson to Superbowl commercials for Disney, but he said he needed to make one final ski film before he can move on.
Legend of Aahhhs (the name comes from the most widely hailed work in his oeuvre, Blizzard of Aahhhs), slated for release this fall, is Stump’s parting tribute to the ski film genre, he said. Reputed to have introduced extreme skiing to the American lexicon, Stump is once again attempting to redefine ski cinematography, this time with a historical documentary of the ski film itself.
“I’m trying to create a piece of entertainment,” he said. “Something enjoyable to watch. Something you want to watch. That’s goal number one. The second thing is to tell the history of this particular story – the story of ski movies. For the most part, it’s true.”
As if to clarify the point, he explained that the movie’s byline is “A true fable.” The film is largely historical footage (particularly if you consider the 1980’s to be ‘historical’), from the 1930’s to the present. Stump said he shot little new action footage, in part because skiers sent him footage of their own, and in part because Stump has lost his zeal for the genre he helped invent.
“I have no desire to go out and shoot extreme stuff,” he said. “One of the reasons I got out of it was because it was just a matter of time before someone got seriously injured or died through my lens.”
“The only reason no one got hurt on my shoots was because we were lucky,” he said.
Stump said he decided to stop filming dangerous stunts after an incident involving ski legend Scot Schmidt and snowboard icon Craig Kelly.
“I’ve only been really, truly afraid three times while filming,” he said. “Those have been when I hear Scot Schmidt on the radio, and he’s afraid.”
Stump said he was filming Schmidt and Kelly (who was killed in an avalanche five years later) in British Columbia in 1995, when the skiers were trapped beneath a cliff by persistent rockfall.
“I made a pact with God,” Stump said. “I said, ‘If you get these two off this cliff safely, I will never film another ski or snowboard movie where somebody’s life is in danger’… They got down safely, and I was like, ‘That’s it, I’m done.’”
Though ski cinematography today sometimes depends on footage of risky behavior, Stump said he doesn’t need it to make a compelling ski film.
“The action, the cinematography today, it’s incredible – it’s far superior to anything I was shooting,” he said. “But the presentation, the music, the narration, the structure, as a piece of entertainment, I think has been really stagnant. The stunts are incredible, but I don’t care about the people in the movie – it’s just vapid bro-speak.”
In contrast, Stump said, The Legend of Aahhhs “is really about the story.”
Stump said he hopes the story in Legend of Aahhhs will transcend the ski movie category and gain respect as a film on its own merits, similar to the surf movie Riding Giants and the skateboard movie Dogtown and Z-Boys.
“I’m not even sure what this is, it’s so far off from a typical ski movie,” he said. “It’s sort of like sitting and having a conversation… but with the way the music is, the thing’s almost like a rock album.”
Edited from 150 hours of interviews with such historical figures as Warren Miller, Otto Lang, Dick Barrymore, Dick Durrance and John Jay, the film’s musical score showcases modern musical talent like Lukas Nelson, Hall and Oates, and Death Cab for Cutie.
“I’m old enough now that I’m not working for any other reason than to make it perfect,” Stump said.
To make it perfect, Stump has been producing the film out of his home studio in Victor for the last three years (originally slated for release last year, Stump said it’s “one of those things where you open one door and there’s ten more doors, then you open one of the ten and there’s ten more doors”); and he plans to release it this fall.
“I’ve been thinking how fortunate I am to be in a work situation like this,” he said. “I’m sitting in beautiful, pristine Victor, I don’t bother the neighbors, I go to the store, take a run, ride my bike and work here. Most projects don’t have that luxury.”