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The Ocean Magazine





760.944.6777 | Cardiff Reef photo by Robert Wald ADVERTISING & EDITORIAL INQUIRES • 760.753.7585 • For Eric “Bird” Huffman, owner of Bird’s Surf

SHED and one of this community’s true soul surf- ers, the essence of a good surf film is keeping the surf stoke going. “A good surf film leaves you in awe and a feeling

of how lucky we are to be surfers and to give the mind and soul something to think about,” Huff- man says. “I hope the festival will cut through the commercial crap that people perceive as surfing and expose the amazing spiritual side of it. Bird’s Surf SHED is honored to be able to showcase this massively important part of surfing’s past, present and future.” I n d e e d ,

surf films are not like the pop culture films of today. In a day of mass media consumption, many times you watch a film once and never desire to see it again. Te surf film is so differ- ent then that as you may watch your favorite film 20 times or more. Just ask Ed Lewis, who has seen just about every surf film made -- more than once. “Surf films are one of the most important me-

Ed, Petra & Pierce

diums we have to honor our most beloved past time and lifestyle,” he says. “Te really successful surf film is one that defines a moment in time, and what a culture is feeling and living. It is one that changes you and inspires you in new direc- tions. Surf films should be highly regarded forms of art. In terms of being recognized for their value by the mass film community, I’d have to say they are not. I think they have tried. At least the mass film community has tried to monetize the idea. Te problem with the mass film community is that their measure of success is solely monetary. A really good surf film speaks to the core group who is actually living the experience. It is a love letter to surfing and speaks from the heart. Te mass community doesn’t really get it as it isn’t speak- ing to them. To them we are just a bunch of kids playing in the sand. But that will all soon change.” Encinitas resident Steve Soderberg, known for popular ‘70s surf films such as A Matter of Style,

Ticket to Ride and Ocean Fever, longed for some sort of ‘surf film academy awards’ back in his day. Soderberg remembers those days of working from 7 a.m. to 1 a.m. doing promotion and shows, in- cluding plastering the town with film posters, tearing the tickets and running the projector. “But I have to tell you that having hundreds

and hundreds of stoked, h ealthy surfers hooting, laughing and enjoying your film that you created with your own money, hard work, sweat, blood and tears is a feeling that most ‘jobs’ just won’t give you,” Soderberg says. “I fully realize the op- p or tunit ies that video has given to pro- ducing surfing films today. It has opened the gates for new generations to produce low budget films. Tat’s defi- nitely a good thing. Surf films need a venue for display and the old inde- pendent the-

Mark Bromley Photo

aters are mostly gone. Lucky are the filmmakers of today who are not forced to put their money where their mouth is by having to get there and fight to promote their shows in each area. Tis should give them more time to actually create bet- ter films.” Tat’s exactly what the San Diego Surf Film

Festival is all about—the independent filmmaker on a grassroots level. Tere will be no red carpet, spotlights or pretentiousness. Te festival’s sole purpose is to celebrate the art of surf cinema, leav- ing all the unnecessary trappings behind. “Tis is the main reason we are putting a twist

on the competitive film festival. We don’t want this to be a popularity contest or a way to promote a particular brand so we are actually letting the filmmakers be their own judges,” Petra Kavanagh says. “We want this to be a time to come together, enjoy each other’s company and be inspired by the works of art that these artists and filmmakers worked so hard on.”



Printing Service Established 2007 The Ocean Magazine • February/March 2012 11


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