Original subtitles

We are not limited by our capacity.

We are limited only by our imaginations.

♪ Well, I was drinkin' last night with a biker ♪

♪ And I showed him a picture of you ♪

♪ I said, "Pal, get to know her, you'll like her" ♪

♪ Seemed like the least I could do ♪

♪ 'Cause when he's driving his chopper ♪

♪ Up and down your carpeted halls ♪

♪ You will think me by contrast quite proper ♪

♪ Never mind how I stumble and fall ♪

♪ You imagine me sipping champagne from your boot ♪

♪ For a taste of your elegant pride ♪

♪ I may be going to hell in a bucket, babe ♪

♪ But at least I'm enjoying the ride ♪

♪ At least I'm enjoying the ride, yeah ♪

♪ At least I'm enjoying the ride ♪

♪ Yeah, yeah ♪

♪ Now miss sweet little soft-core pretender ♪

♪ Somehow baby got hard as it gets ♪

♪ With her black leather chrome-spiked suspenders ♪

♪ Her chain and her whip and her pets ♪

♪ Well, we know you're the reincarnation ♪

♪ Of the ravenous Catherine the Great ♪

♪ And we know how you love your ovations ♪

♪ For the Z-rated scenes you create, yeah ♪

♪ The Z-rated scenes you create ♪

♪ You imagine me sipping champagne from your boot ♪

♪ For a taste of your elegant pride ♪

♪ I may be going to hell in a bucket, babe ♪

♪ But at least I'm enjoying the ride ♪

♪ At least I'm enjoying the ride, yeah ♪

♪ At least I'm enjoying the ride ♪

♪ You analyze me, pretend to despise me ♪

♪ You laugh when I stumble and fall ♪

♪ There may come a day I will dance on your grave ♪

♪ Unable to dance, I will crawl across it ♪

♪ Unable to dance, I will crawl, yeah ♪

♪ Unable to dance I'll crawl ♪

♪ Yeah, yeah ♪

♪ Whoo-woo ♪

♪ Yeah ♪

♪ You must really consider the circus ♪

♪ 'Cause it just might be your kind of zoo ♪

♪ I can't think of a place that's more perfect ♪

♪ For a person as perfect as you ♪

♪ And it's not like I'm leaving you lonely ♪

♪ 'Cause I wouldn't know where to begin ♪

♪ But I know that you'll think of me only ♪

♪ When the snakes come marching in, yeah ♪

♪ When the snakes come marching in ♪

♪ You imagine me sipping champagne from your boot ♪

♪ For a taste of your elegant pride ♪

♪ I may be going to hell in a bucket, babe ♪

♪ But at least I'm enjoying the ride ♪

♪ At least I'll enjoy the ride ♪

♪ Ride, ride, ride, ride ♪

♪ At least I'll enjoy the ride ♪

♪ Ride, ride, ride, ride ♪

♪ At least I'll enjoy the ride ♪

♪ Ride, ride ♪

♪ At least I'll enjoy the ride ♪

♪ Ride, ride ♪

♪ At least I'll enjoy the ride ♪

♪ Ride, ride, ride ♪

♪ At least I'll enjoy the ride ♪

♪ Ride, ride ♪

♪ At least I'll enjoy the ride ♪

♪ At least I'll enjoy the ride ♪

♪ At least I'll enjoy the ride ♪

♪ Ride, ride ♪

♪ At least I'll enjoy the ride ♪

We explore the infinite.

Following the internet of reality.

From mycelium to the galaxies.

As the earth coalesced out of stardust...

from the rubble of asteroids

and exploding stars...

our planet formed...

as one giant geological unit.

In darkness, creation blooms anew.

Colors and textures. The sun never knew.

Nightfall shifts the rules of sight.

A canvas born of shadowed light.

The sun's absence a liberation,

worlds reimagined,

pure creation.

♪ Walk me out ♪

♪ In the morning dew my honey ♪

♪ Walk me out ♪

♪ In the morning dew today ♪

♪ I can't walk you out ♪

♪ In the morning dew my honey ♪

♪ I can't walk you out ♪

♪ In the morning dew today ♪

♪ I thought I heard ♪

♪ A baby cry this morning ♪

♪ I thought I heard ♪

♪ A baby cry today ♪

♪ You didn't hear ♪

♪ No baby cry this morning ♪

♪ You didn't hear ♪

♪ No baby cry today ♪

♪ Where have all the people gone my honey ♪

♪ Where have all the people gone today ♪

♪ There's no need for you to be worrying ♪

♪ About all those people ♪

♪ You never see those people anyway ♪

♪ I thought I heard ♪

♪ A young man mourn this morning ♪

♪ I thought I heard ♪

♪ A young man mourn today ♪

♪ I thought I heard ♪

♪ A young man mourn this morning ♪

♪ I can't walk you out ♪

♪ In the morning dew today ♪

♪ Walk me out ♪

♪ In the morning dew my honey ♪

We are all part of one giant continuum.

♪ Walk me out ♪

♪ In the morning dew today ♪

We exist today.

We exist yesterday.

We will exist forever in the future.

♪ Guess I'll walk you out ♪

♪ In the morning dew my honey ♪

Our ancestors and descendants smile upon us,

in gratitude and respect.

♪ I guess it doesn't really matter ♪

♪ Anyway ♪

We all will exist forever, together.

♪ I guess it doesn't really matter ♪

♪ Anyway ♪

♪ I guess it doesn't really matter ♪

♪ Anyway ♪

♪ I guess it doesn't really matter ♪

♪ Anyway ♪

♪ I guess it doesn't really matter ♪

♪ Anyway ♪

Together, we push the envelopes of creativity.

The boundaries of our knowledge to tap into universal wisdom.

♪ I was born in the desert ♪

♪ Raised in a lion's den ♪

♪ I was born in the desert ♪

♪ Raised in a lion's den ♪

♪ Well, my number one occupation ♪

♪ Is stealing women from their men ♪

♪ Well, I'm a wanted man in Texas ♪

♪ Busted jail and I'm gone for good ♪

♪ Yes, I'm a wanted man in Texas ♪

♪ Busted jail and I'm gone for good ♪

♪ Well, the sheriff couldn't catch me ♪

♪ But his little girl sure wished she would ♪

♪ Oh, she wish she would ♪

♪ Well, now the doctor call me crazy ♪

♪ Some says I am, some says I ain't ♪

♪ See now, the doctor call me crazy ♪

♪ Some says I am, some says I ain't ♪

♪ Well, the preacher man call me a sinner ♪

♪ But his little girl call me a saint ♪

♪ See now, a couple shots of whiskey ♪

♪ Women 'round here start lookin' good ♪

♪ See now, a couple shots of whiskey ♪

♪ Women 'round here start lookin' good ♪

♪ Well, a couple more shots of whiskey ♪

♪ I'm goin' down to Minglewood ♪

♪ I was born in the desert ♪

♪ Raised in a lion's den ♪

♪ I was born in the desert ♪

♪ Raised in a lion's den ♪

♪ Well my number one occupation ♪

♪ Is stealing women from their men ♪

♪ Do it again ♪

♪ And my number one occupation ♪

♪ Is stealing women from their men ♪

Waves of energy emanate throughout the universe.

Whether it's light,

whether it's sound,

whether it's energetic pulses

across the electromagnetic spectrum.

These beautiful forms,

some of the greatest displays of elegance in nature.

All in a giant dance of cooperation.

A symphony of souls that have come together.

The mycelium is listening.

And we should too.

♪ You poured the wine for me ♪

♪ And tightened up my shoes ♪

♪ I hate to leave you sittin' there ♪

♪ Composin' lonesome blues ♪

♪ Goes to show you don't ever know ♪

♪ Watch each card you play and please play it slow ♪

♪ Wait until that deal come 'round ♪

♪ Don't you let that deal go down, no, no ♪

♪ It costs a lot to win ♪

♪ And even more to lose ♪

♪ You and me bound to spend some time ♪

♪ Wonderin' what to choose ♪

♪ Goes to show you don't ever know ♪

♪ Watch each card you play and play it slow ♪

♪ Wait until that deal come 'round ♪

♪ Don't you let that deal go down ♪

♪ Wait until that deal come 'round ♪

♪ Don't you let that deal go down ♪

♪ Wait until that deal come 'round ♪

♪ Don't you let that deal go down ♪

♪ Wait until that deal come round ♪

♪ Don't you let that deal go down ♪

♪ Wait until that deal come 'round ♪

♪ Don't you let that deal go down ♪

♪ Wait until that deal come 'round ♪

♪ Don't you let that deal go down ♪

♪ Wait until that deal come 'round ♪

♪ Don't you let that deal go down ♪

♪ Don't you let that deal go down ♪

♪ Don't you let that deal go down ♪

♪ Don't you let that deal go down ♪

♪ Don't you let that deal go down ♪

♪ Don't you let that deal go down ♪

♪ Don't you let that deal go down ♪

♪ Don't you let that deal go down ♪

♪ Don't you let that deal go down ♪

♪ Don't you let that deal go down ♪

♪ Don't you let that deal go down, no, no ♪

The cusp and the wave of knowledge

that we pursue.

Surfing the mycelial wave.

Incorporating light and sound

and dreaming in consciousness,

opens up the expanse of possibilities,

of nature's knowledge.

We are all part

of one giant web of consciousness.

Fire!

As we emerge from the fire,

we try to remember all that did go down.

Even though, there will be questions

like, if we were ever really there at all.

The story begins with Pythagoras.

His notion was that the whole universe

was a musical instrument, played by the forces of nature.

Fare thee well.

May the four winds blow you safely home.

Listen to the river sing sweet songs

to rock your soul.

This instrument affects our brainwaves.

If you let it engulf you and immerse you,

you will find peace, freedom, joy.

The Beam is a love instrument.

The pulse of life, beneath the skin.

Skeleton speak, connection said.

Binding the living.

The light of the dead.

As the mighty melodies ring down from the sky

and we watch it all roll by.

There is that rhythm that you must find.

And like the tides that ebb and flow,

it will take you home.

The universe... is fused by and full,

and held together of love,

and love is ever expanding as the universe expands.

Let's dive deeply into the well of existence

and co-explore and find new realities,

new dimensions.

We are all one.

One with each other.

One with the universe.

One with sound.

One with light.

One with the molecules that assemble

to create these so many beautiful forms.

We are all one.

♪ I know you, rider ♪

♪ Gonna miss me when I'm gone ♪

♪ I know you, rider ♪

♪ Gonna miss me when I'm gone ♪

♪ Gonna miss your baby ♪

♪ From rolling in your arms ♪

♪ Laid down last night, Lord ♪

♪ I could not take my rest ♪

♪ Laid down last night, Lord ♪

♪ I could not take my rest ♪

♪ My mind was wandering ♪

♪ Like the wild geese in the west ♪

♪ The sun will shine ♪

♪ In my back door someday ♪

♪ The sun will shine ♪

♪ In my back door someday ♪

♪ March winds will blow ♪

♪ All my troubles away ♪

♪ I wish I was a headlight ♪

♪ On a north bound train ♪

♪ I wish I was a headlight ♪

♪ On a north bound train ♪

♪ I'd shine my light through cool Colorado rain ♪

♪ I know you, rider ♪

♪ Gonna miss me when I'm gone ♪

♪ I know you, rider ♪

♪ Gonna miss me when I'm gone ♪

♪ Gonna miss your baby ♪

♪ From rolling in your arms ♪

Water flows, carving the land.

A river's touch.

Nature's hand.

Drops to streams, streams to seas.

Life's rhythms, resilient, replete.

We do not walk alone on this planet.

All life is interconnected.

This is the web.

The pulse. The thread.

Binding all in words, unsaid.

A luminous hymn, an eternal theme.

The story of life, and all unseen.

♪ There's mosquitoes on the river ♪

♪ Fish are rising up like birds ♪

♪ It's been hot for seven weeks now ♪

♪ Too hot to even speak now ♪

♪ Did you hear what I just heard? ♪

♪ Say it might have been a fiddle ♪

♪ Ooh, oh ♪

♪ Or it could have been the wind ♪

I had a conversation with Chris

whether or not we should make a behind-the-scenes piece

about this film because he was like,

"Well, we kinda figured it all out.

Do you think there'll be that much drama?"

I understand there's failure in all this.

We're making art and trying shit

that's never been done before.

I don't want people to play it safe with this project.

I want everyone to push their limits.

I keep coming back

to how we're gonna get all of our equipment

in and out of here, human-powered.

There's emotional and physical distress.

I mean, we don't wanna shoot, do we?

There's all the difficulties

that you'd face in any group environment.

I mean there's a lot of things that could go wrong.

I mean, you're filming in pretty tricky locations

to get equipment to, equipment damage.

Whoa, whoa, whoa!

I've hand selected my band

and we're all in rhythm to make this thing come to life.

Wow.

This is quite an experience.

Let's go. Camera speed.

When you talk about it,

it sounds like the weirdest thing ever.

I think, in many conversations that I had with you

before I saw anything, I was just nodding my head

but not having any idea

of what you were really talking about.

But then you see it and it makes...

It terrifyingly makes sense, where you're like,

"Oh, wait. That's everything he was saying."

So I'm just wondering,

Where did it come from?

A lot of these pieces I'm experimenting with colors

that I wanna see on the mountains,

representations of this project

that we're gonna be doing.

Lots of chaos of lasers and lights and storms.

This whole project is ambitious.

He's able to, like, manifest these things

that he wants to do that,

for normal people, are not achievable.

Chris is a visionary

and he dreams really, really big.

Almost so big that, like, for me as his close friend,

who I think I dream big, I'm always like,

"Dang. You've got some other shit going on for sure."

Suit check.

Chris has described it as an abstract art piece,

which is totally accurate

and really resonates, honestly.

I think at the root

of why we're all doing this in the mountains,

there's the sport aspect of it and profession aspect of it.

But I think at the end of the day, like

it's all an expression of personal art.

To have this artistic concept

that brings together mountain sports, watersports,

plant life with all this crazy lighting and music,

to bring it all together into one,

in a way I feel like I understand less of it

every time he talks about it.

I'm just a hippie with a camera.

And these guys are like epic men and women

that are outdoors climbing rocks with cameras and lighting gear.

I mean, this is pretty much the Indiana Jones

of the film industry out here, making this film with Chris.

And this is the moon flare. Oh, my goodness.

The real answer, is I don't think

I actually know it's coming from something bigger than me.

And that's... Catching downloads.

It's catching downloads.

It's a culmination of every single person

I've met in my life or my past life.

Like, it had to all come together

at the right time to lead me into this thing.

We just wanna look like we're in outer space.

We want to look like we're on the moon with,

you know, skeletons floating in—on rocks.

You know, just trying to create cool art.

What did Robert Plant say?

I am the golden god of bouldering!

Music, I think,

is probably the most expressive art form that there is.

So it's about body language, right?

So, you know, arms at angles

or, even, yeah, just like...

You can't help but feel emotions

when listening to music.

Oh, yeah.

What was it about this project

that, for you as the legacy steward,

you're like, "Hmm, this could be a thing?"

Because on paper,

these worlds are diametrically opposed.

What was it for you and for the band that said,

"Ooh, these things can layer?"

They're very different, but they both

at their core, it's the sense of adventure.

If you look at Rob surfing

or you look at the way Chris skis, and you listen

to Grateful Dead music, it's going for it.

The Dead will play and they'll make mistakes.

And Deadheads love that—well, we don't love it,

but we accept it, and because they know they're going for it.

When they make a mistake

maybe because they're pushing it a bit hard

and so they kind of crash and burn for a few seconds,

but then they get back on that surfboard,

or they get out of that snow pile and they're back up.

And then they hit that frenzy point.

I would go to Grateful Dead concerts

and dance wildly and commune

with the psychedelic spirits

and the music the band was playing.

And when it all clicked, it was magic.

Isn't that what we're all looking for in life,

is a little bit of magic?

It looked really cool, actually.

I asked you if you had storyboards.

And you're like, "No, it's in my head."

If I forced people to follow a specific direction,

we're never gonna think about that.

You're letting everybody think outside the box

instead of keeping them in the box.

But that's what's great about this crew:

Everybody's bringing stuff.

Mickey has said this, you know, no risk, no reward.

In this case, I'm like assembling

the best camera operators, the best lighting team,

the best athletes,

and just trying to assemble a band,

we relate it to the Dead of, like, the best people I know

at each of those things.

There's so many people in this project

who just have a one-of-a-kind energy.

Sick. -I've had hot sauce on my face

for two days straight, and no one's told me.

Tyler, the chief Zinger Flinger.

Shane, the Cosmic Alchemist.

Zac, the Calm Commander.

Kyle, Gradient Guru.

Dan, the Frame Wrangler.

Jeff, he's the Lens Lord.

Then there's Cody, Turbo Cut.

Sean, the Silent Assassin.

Ali, Queen Pin.

JV, he's Laser Daddy, AKA Laser Doctor.

Rapha, Rotor Ninja.

Matty, he's a Spark Plug.

Rachel, the On Wall Wizard.

Jay, the Eyes of the World.

Maxwel, Poseidon basically.

And Bruce, the Grip Ninja.

I love the smell of mushrooms in the morning.

When you talk about the music

and the layers of this sort of endless impromptu,

the frequency and feel that it was taking place

on the stage and the land and the crowd on that day,

producing that performance, you've got all this nuance.

Mm-hmm. You have one song

that can have sort of infinite nuance

in all of these varied performances.

When you're layering to pictures like these

that have never existed before,

I wonder if you could take us through the soundtrack.

You know, Chris' team

had a good sense of what they wanted,

and we kind of made some suggestions to some things.

But everything that they put in was pretty bang on.

We just made sure they had the right versions of them,

because it is nuances.

And there's a very long sequence in the film

with the song "Morning Dew,"

which is a song that goes back to 1967.

It was on their first record.

So the version that was selected

was from what's widely considered

one of the best Grateful Dead shows ever performed

at Cornell University in Ithaca, New York, 1977.

Similar, there's a great version in the movie

of "All New Brand New Minglewood Blues."

The one they ended up using in the movie is from Egypt.

Having a song from Egypt in this movie,

I think is essential, because that shows

the real Grateful Dead sense of adventure.

I tasked Shane with trying to make

a holographic suit

where the skeleton actually sat off of the outerwear.

And how, it would be floating in time and space.

The diagram is halfway built in here,

and then the other half's gonna be built right there.

I'm probably gonna mess up 20 or 30 times

until I get it done.

Yeah.

I think when we started down this

Chris just kinda thought it was gonna be,

"Yeah, I'll talk to them. Let's see."

And then all of a sudden, it's like, "Oh, my God.

It's happening. This is amazing."

It started out snowballing with him meeting with the team.

And then we have the best cut-and-sew team in the world.

This is your back reflective layer.

It captures the light and it's almost like those...

It just disperses it.

More and more people on the design floor here

wanted to be part of it, which was really cool to see.

And many hands made this project work.

It's a massive collaboration.

And it was, you know, him having this crazy idea

and us being able to make it.

Oh, yeah, it's very rewarding.

Every time we look at these it's like I can't help

having a smile on my face all the time.

This came out so cool

and way better than we initially anticipated.

The safety that goes into it, the volts,

the amount of cabling

and the gauges and—it's beyond.

Oh, wow.

What do you think?

Suit's actually pretty comfy.

This is the coolest fitting

I've ever been a part of.

These things are a complete work of art

and a masterpiece.

He put so much time and thought and energy

into the creation of this suit.

Look at that, ladies and gentlemen.

You have this thing in your head.

You start to see it.

So how on earth, my friend,

did you get this unique group of humans

to say yes to you?

I think we're going to find a few challenges.

Logistically, it's as bad as it gets.

But visually, it's incredible.

We gotta figure out how to make it work.

Shooting skiing is inherently difficult during the day.

Once you add a nighttime element to it,

multiply that by...

I'm sure Shane would have a good number

because he's a mathematician.

I don't know, a thousand pounds' worth of gear

we're trying to get up to the top of Hole in the Wall.

Trying to figure out a little color fade.

What feels best in the cave here.

Let's get a 10-second countdown on athletes.

You won't hear

what it sounds like to be there, but it was not easy

and it's very steep.

Five, four, three, two, one...

We lost a suit. Lost a suit.

We had a suit malfunction,

so that's kind of a bummer 'cause

usually what we've got to tell them is, do it again.

There's talk of, if we nailed it,

we'd prefer not to do it again.

They didn't nail it.

The answer to that question from Chris is do it again.

But I'm not gonna say it.

Oh, the shots are amazing.

It looks like deep pow.

But in reality, it's super firm ice.

You know, when you're skiing,

you have what you think it looks like in your mind.

But when you see it, it's, like, otherworldly.

It's really, really special.

Right now I'm zoning,

which is making sure the lasers

only shine in areas where athletes won't be.

That's important because this laser

is about 6,000 times more powerful

than the laser pointer you have at home.

So, the most dangerous area

is definitely a static beam that's not moving,

which is used sometimes for some of the effects.

A glancing blow over there,

I'm gonna be mostly worried about your flash blindness.

This is gonna be like the best location

I've ever used a laptop in.

Like, the laser tech on top

of a ridge up on a mountain.

You look freaking awesome.

You think this is a first?

Oh, it's such a— it's so ridiculous.

Look at this. Yeah. -

I'm learning that this style of a production

is just really about being as adaptable as possible.

Improv, it's a jam band.

Yeah.

The scale, though, of this is much deeper

and a much bigger commitment

for the band and for the legacy.

If the Dead are going to partner with anyone on this,

it's going to be the best,

or they're just not gonna do it.

Talking with Chris earlier and Chris' involvement

with the Grateful Dead and it's...

He's become such a huge part of the Grateful Dead family

and he embodies all of these things.

And having a band member

so involved in this one, Mickey Hart.

Mickey's a busy guy. He's got a lot going on.

Why did Mickey say yes?

The quality of Chris' work.

And I think Mickey recognized it as a cool project

and a project he would love to contribute to.

And boy, did he contribute, both visually and sonically.

Mickey, he scored a piece of the movie.

The music is Grateful Dead music throughout.

Then Mickey has— - He said, "No.

I gotta put this particular sauce into this project."

This is the zone we're calling Mickey Spines.

Okay. -Which would be

like our big reveal.

Mickey's gonna come. We're gonna jump over him.

We're gonna ski down

and orchestrate this whole big thing.

And we'll be able to get on stage

and walk around? 'Cause it's up...

off the snow, right? - Two feet up.

I'm not sure you could've added

another wrench to the toolbox in that one.

I guess this thing is actually gonna happen, right?

I think so.

The conversations Mickey and I had to get him to get here

were very real conversations about safety

and about how we were gonna pull this off.

And he didn't entirely understand my vision

until he got here either.

You really bumped it up.

We did from the last one.

I'll say. -

I think I wanna sleep in it.

Chris even showed him some footage, like, a few days before and he was like,

"Oh, I gotta get one of these suits.

I gotta be playing drums in one of these skeleton suits.

That's super cool."

That was not planned for it either.

And, that sounds easy to give Mickey a suit,

but a hundred man hours

goes into making one of those things.

All of a sudden, added stress on Shane

making sure he didn't electrocute

one of the greatest drummers of all time.

Chris made a good choice,

I'll say, inviting me here

because it's the right thing to do.

It's fantastic. This is awesome.

Let's go to the mountain.

Yeah, you wanna go check it out?

Let's check it out.

Thousands of shows but never one like this.

I played in the wind. I played in the rain.

I played in the cold.

I played in the heat, but I've never played in snow.

So this is a first.

This was made just for this.

Clearly I have a vision to create an ice sculpture

and I drew what that ice sculpture

what I wanted it to look like, and how the hip would work,

and where Mickey would be playing his drums.

Right down here, jumping up.

Yeah. - Yeah.

I've had a lot of drum dreams, but this one I haven't had.

The weight I was carrying on my shoulders,

and the expectation everyone had

and everyone knowing Mickey was coming.

This was my wildest dream.

I never had a dream like this, Chris.

Oh. I did. - Yeah.

I'm happy you're helping me make it a reality.

This is one of your dreams.

I'm in your dream. You are in my dream.

Yeah.

We're trying to do as much

of these visual effects and lighting

and everything in camera,

and I think it's a testament to our action sports background.

Nothing's really fabricated in that space.

There's a lot of zigs and zags, but it's okay.

It's pretty normal. Definitely expected, actually

when you start bringing this many people out.

That's one thing we do here at Mammoth,

we can roll with it.

I was like, "Let's find a snow sculpture guy

10 days before the shoot."

Right behind me, you see the bangs of the mammoth.

It's only the first fifth of what we're carving.

They didn't disappoint, like this huge,

like, 70-foot woolly.

It wasn't like this little, like, snowman on top of the hip.

Here we are a week and a half later

with a massive 50-by-50-foot sculpture

that even blows our minds.

This is now ranking as our number one

largest sculpture we've ever done height-wise

and really neat to be a part of something so large.

For me, it's really cool to see the production up there.

To get to see all that,

like, this shit show running around, it's awesome.

Tell me where to stop.

Looks pretty sweet, eh?

Great job, buddy. -Yeah.

Yeah, we've been hustling.

This better be good.

This better look good.

Thank you, Mickey.

Thank you, Mickey.

Thank you, athletes.

Fine mess you got me into this time, Bill.

How did it go with athletes

when it came to making these calls?

You've convinced your crew that this is a thing.

But athletes,

as much as everyone's a homie and a bro,

time is of value.

Seasons are short.

Everyone's got the things that they need

and have to be doing.

And you come in with some,

"Hey, man. Let me tell you about this thing

I'm trying to do with the Dead,

and we're gonna shoot in the middle of the night.

And there's these skeletons,

"et cetera, et cetera..."

and I wanna expose you into the...

Like, not everyone's gonna be super receptive

and they're gonna need some, you know...

Some coaxing. -Some coaxing.

Who was the easiest ask?

Rob.

The way he looks at the water

and how he shows up in the world,

he is the truest of the true.

So, he's always my first phone call with these projects.

And I'm like, "Okay, Rob. I got another one."

You need people that are like-minded that go,

"Yeah, I understand.

I know exactly what you're thinking. Watch this."

Whoa.

And then when you show it to him he's like, "Ah."

You see his eyes light up, right?

That pool is half a mile long almost.

So lighting that whole stretch up is pretty much impossible.

But if we have a jet ski that's going the full length

hidden behind the wave,

then that at least gives us a little consistency

to keep shooting with a nice colored backlight.

Looks like something out of Mad Max. It's wild.

You guys are rigging out some crazy lighting

for one of the best surfers in the world to surf.

Rob's gonna be in a skeleton suit.

We're pretty psyched, actually.

This is like a really cool project for us to do here.

They flew us back from Abu Dhabi for this,

so hopefully it's gonna be sick.

I'm so scared, man.

I worked till 2 in the morning

went to bed just before 4 last night,

got up at 5:30, and drove all the way here

and they've never even been in the water.

I mean there's always the fear,

I mean, he told me he hasn't slept in three days.

The moment that thing touches the water,

he just has this fear of it just shorting out.

That was the one Mickey played drums in.

Perfect.

What I do is I'm improvising, right?

And I'm like constantly reading something that's changing

and I'm just figuring it out as I'm going.

Sick. Yeah. -

This is what we were talking about,

this being the hero, right?

You see how those...

I should've done the turn there.

I thought I was gonna barrel.

Part of it when you're trying

to get athletes to do crazy shit

or perform, you gotta show 'em what we're trying to do.

It's almost like we're getting a view into Chris' brain

and he's really kind of laid it out.

It's been really neat to look at the footage

and be able to go, like, "Oh,

wow."

Boom. Yeah. -That is so sick.

We get these really rad recap reels every day,

which is incredible.

I've never, ever been on a shoot where you

get to see your footage the next day.

That shot's insane.

We're actually seeing dailies

and we're able to make changes for the next night

and pick up what we miss.

Good job, Cody.

You do fast work.

I think the thing that really blows me away

is the depth that suddenly appears.

When you see things in the daytime

they almost look small. - Mm-hmm.

But there's something in watching the footage

that I've seen from this film and the shadows

and the light that like just give a depth

to the terrain. - Mm-hmm.

In a way that I've never seen before.

I think for however many years,

making films in the daylight, you're limited by the sun.

Where you're looking at terrain

is dictated by where there's light,

and where you can actually get a shot

that's worth getting in backlight

and all of these important things

that make action sports and film beautiful

and what they are.

And so, being able to control the sun

to control that environment

and put shadows wherever you want,

and you can take a seemingly blank canvas

and turn it into a piece of art

just with putting lights on it.

Lighting up.

And this is kind of how I carry it always.

That means the diffusion's up.

I think the reason something like this

never had happened before

is because no one had a good enough reason to say,

"Hey, we're gonna get a five-ton gene package

"and a whole crew," just to shoot climbing, right?

Because you can just shoot it in the day for free, more or less.

These places are so grand

that you wanna do them justice,

and it's difficult to just light up one little face

when you're in this amazing place

and how do you bring that to life at night.

For me, I think the reason that I've pursued light,

I've always had an interest in the energy of place,

how the energy of an environment affects people

and how you can control that

to sort of have the end result of affecting people

in a certain way.

And you're defining an energy

that people want to experience.

The common ground here is beauty and art,

and the natural environment and music.

That lens, I think, is...

you know, maybe it'll be lost on some folks,

but I think it has the potential

to hit on a whole 'nother frequency.

Now we're getting spicy. Look at these moves.

When you're shooting outdoor sports,

it takes a lot of specialists to get the job done.

We're ready to haul now.

The thing about shooting climbers is,

they have only so many bullets in their gun.

They can only give the problem so many burns.

I feel a little like crunchy in the movement,

but it kind of makes sense given I'm wearing this

and I'm not warmed up too much.

There's a lot of people that can climb Evilution

to the lip,

but there's not a lot of people that can do it 10 times

with a 10-pound light suit on

and with a bunch of weird directions

getting thrown at them, in the middle of the night.

That recruitment of those athletes was

genius on Chris' part.

Just tell me like...

Slower. - Slower.

Give me .

In all honesty, shooting for this project

has felt very labor intensive.

In Mammoth, I was on the night schedule

for 15 days, you know,

and it just throws off your body clock.

And I'll be honest, rolling out of that,

I was like, "Okay, we'll see."

Knowing what it takes out of me, I was a little bit hesitant

to commit to this shoot, just with the timing.

Fortunately though, I got to go to the Sphere

and see the shots while watching Dead & Co,

and see all of it come together on the big screen,

and that totally turned the page on it for me.

I walked out of there being like, "I'm in. I'll do it again.

I'll do three more shoots like that."

Going back to some of my concepts

of this film of our human existence

with existing also comes death,

it's hand in hand.

It's a part of the process.

And obviously, losing Bill

and honoring and representing him in the film

and we unfortunately lost Mike Gardner as well.

Right after the climb shoot, he was headed to Nepal

to do a climb that had never been done before

and he left us far too soon as well.

And so honoring his life,

honoring Bill's life, honoring death

in a greater sense

of this whole overall human existence

is an undertone that was really important in the film.

He's going to the monsoon. Get ready.

You know, I think with his passing,

I've contemplated

life and death and risk

and what it truly means

to be alive more than I ever have.

And Mike definitely lived

more lifetimes than most of us can hope to.

You guys got to howl.

I think he brought so much

to so many people

and sometimes I think, like,

these brightest lights that depart us too early,

like they get called to do something else.

You've also I think, low-key,

made a very strong case

for the environment in this film.

Mm-hmm. -Like, it is a—it's a sneaky

environmentalist film

without telling people how to think

or giving any stats,

but, like, you can't help

but be like, oh, Earth.

It creates a different type of connection

to nature than I... - Mm-hmm.

...than I think I've ever experienced.

Mm-hmm.

I just got a phone call

one day from a guy named Chris.

And when he called me and started talking

about this vision and this project,

It just— there was something

so refreshing about it.

There's a lot of layers to my inspiration.

Jellyfish in particular,

they seemed like the mushroom of the sea.

Every bone in my body just said yes.

Like yes, I want to do this. Yes, I want to do this.

She wasn't just putting on a suit and taking direction.

She was actually helping me paint

the brushstrokes of this project.

It'd be cool because we don't really have anything

where it's backlit as well, you know, so that will give

the light from both sides. - Yeah.

Maxwel, who I've worked

with quite a bit out here in different shoots,

came to me and explained

very little about what this project was really about

other than it was gonna be at night,

there's gonna be some divers,

and a whole bunch of people and lights and jellyfish.

And I was like, "Sold. I'm done. That sounds right up my alley."

It's working.

Found jellyfish and we have light.

This shoot's very different compared

to any other shoot I've done before.

We're not going out to shoot a particular shot list.

We're going out and seeing, you know, what looks really cool.

Being underwater and being in the ocean

is the closest thing to space that we have here on Earth.

And it's that sense of unknown

and that sense of exploration

that just makes it feel like absolute magic.

The ocean to me is a mother who raised me.

She's somebody who has taught me my biggest life lessons.

She's seen me through all the moments of my life,

through the hardest times I've ever been through,

through the happiest victories I've ever experienced.

And she definitely has humbled me when I needed it.

So your film crew,

they are registered as an ally,

and I want you all to know, you know,

you guys are part of an honourable company,

you guys are doing the right thing

in approaching

how your film is gonna go over this next week.

It gives me so much hope and it really feels

like it's just like the precedent of how

people should come to any land

to do absolutely anything.

We're back at the old ravine here,

checking out a fishing spot.

I feel like in my head.

Yeah. -Your upper half will be normal

and the water is what's grounding you

to the skeletal world still.

We're coming from free dive into surf

and out of the water,

back to the surface, into the sunshine.

We're here mostly because of the relationships we fostered

and with the fish conservation that's been done.

This place, and a lot of places here on the coast,

were logged at a time when there was very little protection

and policy for fish and fish habitat.

Fish habitat is just a byproduct of a functioning watershed

and the big trees were an integral part of that.

Not having the big trees anymore is why we're here.

And so we're here, we're working with our partners

at Tla-o-qui-aht to try and undo some of that damage

and restore those processes.

I was up here for the start of construction,

getting them going, but I didn't see

the completed thing in real life until this fall.

We're here at higher water.

There was hundreds and hundreds of salmon in here,

that was the time of year.

There's fish—adult fish everywhere.

You know there's...

I call it, like, a cellular empathy.

If you're watching sports, and you see someone do something,

I'm one of those people who my body moves with it.

Mm-hmm. -And watching

people move in that, I felt my body

moving cellularly

in a way that I've never felt before

because it—it's new,

like it's just a new appreciation

into the depths of... - Mm-hmm.

...play in nature. - Mm-hmm.

I'm trying to highlight

action sports and how we are quite literally

riding the pulse of the universe, if you will.

It's so hard to explain,

but someone like yourself, on a cellular level,

is feeling that vibration and that rhythm.

We create the painting,

and I have the best of the best

helping me create that landscape.

And then now that it's up to the athlete

to become those brushstrokes, if you will.

I figured at some point

it would get to some level

and someone would be, like,

"You wanna do what?"

We could see temps -20, maybe colder.

We have 20 or 22 people

spending 18-hour shifts all night.

Bringing this to scale, there's so many moving parts

and so much complication,

and then adding more people to it.

We wanna be spontaneous, but with 30 people,

there's just things you can't move quickly enough.

My first thought was,

"Holy shit, that's a lot of work."

Then my next thought was,

"Well, what about the safety aspect of all this

since it's happening at night, and where can we do it?"

The logistics are crazy.

There's so much that could go wrong.

It's not ideal.

Middle of January, out for 18 hours

is just like, it's a lot to ask from anyone.

We'll see by day five or six

if there's any regrets.

It's about 700 pounds for one light.

The vision is just so large

that sometimes it's hard to see the end product.

It's kind of unbelievable that we've been

able to wrangle like 25 people to do this.

Let's do this shit. - Yoo!

Lights on three.

Tonight's gonna be the night for lasers, I think.

It's the falling snow. This is what we want.

We won't see it over the whole slopes.

You'll only see it where the skiers are gonna be.

We've got these layers now.

The lighting has got the whole backdrop.

The suits have this personal, intimate thing

that really glows it up, and then we just get that

right in between there.

Woo!

It's such a trip. It's like

an otherworldly experience.

It's kind of a magical dreamland.

All right. Let's send Sam

in three, two, one.

Woo.

Just being kind of a faceless skeleton,

it allows the viewer to see

all the other artistry that goes into making a film like this.

Sometimes we get hyper-focused on the athlete,

and the skills that they're portraying.

But this one just kind of...

This overarching artistry throughout the whole thing.

I am doing this because I care about the art

and I love creating and making art,

but turns out when you have to produce

and executive produce in conjunction

with direct and ski and make art,

it becomes complicated.

I'm trying to paint,

but my phone doesn't stop ringing.

Spending way too much time on the phone

and I'm learning that the reason production costs

so much damn money is because people

can't make decisions and...

I don't really have...

...the skills or the knowledge

on how to fix this at the moment.

It's a big sacrifice to be here

and obviously we're all grateful for the opportunity, but...

See you.

...there's a cost to all this

and you can pay with money or you can pay with other ways.

And I think he's paying both ways.

However I'm wired,

I think mountaineers in general

have this, the suffering

and the challenge.

You have such selective memory

on what you've experienced in the past

and how hard it's actually gonna be.

And I think I'm inherently optimistic.

I think the hardest part of being in this team

is, I feel like I'm gonna let him down if I melt down.

Seeing if I've got a bad dimmer.

The long answer is I don't ever really feel much

weight off my shoulders when it works.

'Cause I dodged a bullet, but it's still a war zone.

I need to get the suits ready, get the wheels programmed.

I woke up and solved the whole Bluetooth solution

for these things from a dream.

When people are really vulnerable,

I think that's when connection is made,

and I also think that's part of the success

that we've had as a crew.

Here's your step.

It's definitely rainy on the way in.

Not gonna be an easy shoot.

So easy.

There's nothing traditional.

Everything is suffer and adapt

and create

the best possible piece of art you can make.

He has thought of so many things, it's insane.

Oh my God. - Whoa.

This is definitely an upgrade

from what we've done in the past.

I've had nothing but this shit in my head

for a year and a half.

I've like, probably put 500 hours into those wheel designs.

I was a third of the way done

and they doubled the amount of athletes.

Every single aspect of my life has suffered because if it.

I overcommitted and don't know how to quit.

I feel like I'm in a position where it can't be delegated.

I've just got to stick it out.

Everything in a forest is meant to suck up light.

I think we have our work cut out for us.

A little bit out of our normal elements

of snow and into the mud.

The fun has just begun.

All the shoots that we did, we left some things on the table

as far as cameras and dynamics and types of shots,

cable cams, follow cams, bike rigs, FPV drones,

moving lights really made an emphasis of,

get it in now, because we didn't get it on other shoots.

I don't know how they're gonna ride this.

They might not have speed.

We just gotta haul ass.

It's a little sticky and slow.

The first night was a mind melter,

like, whoa, this is insane.

We're miserable out there.

Pissing rain, 2 am. We're laughing.

Will I be keeping my wheels

on the ground tonight? We'll see.

If we were shooting right now, it would be good.

Some nights everyone's gelling and you're all together

and you have your three or four objectives for the night.

We're almost there.

And some nights everyone

has a different idea of where to start.

Last night was a big waste of time.

It was shot very similarly by all the creatives

and not abstract

and not anything that we discussed.

He's got a 30,000-foot level of what he wants,

but really, we're the ones down here

thinking critically about how to execute it.

My camera is on right now. What the fuck are we doing?

Okay, Tyler. -So over it.

Definitely the worst night we've had on the shoot,

but I think in the end he was trying to communicate

that we have enough filmers that we can get a good action

also focused on other things. It was a good learning lesson.

I think we had to break through a couple of those walls

to get to the final night and be like very surgical.

Yeah, it's looking good.

Yeah. These things are hot.

There's an overarching agenda

to this that's like, there's a lot of layers.

If it was a normal film session, I'd be like, "That was whack."

For me it feels a little subpar.

I don't feel like I'm riding how I want to.

In between takes there's big breaks.

Because they have to reset the lights and the cameras,

and it's so much production going on.

We're good on fog.

We can't just like, do a couple runs

and get into a rhythm.

It's like, do a run on this short section of trail

and then reset for 15, 20, 30 minutes.

We were honestly riding pretty chill shit.

Ride the smaller stuff

and be able to repeat it a bunch

so you can take risk on the film side

to do stuff that we don't normally do.

How do you problem solve

in situations like that, on a project like this in a way where

people don't end up killing each other?

The thing that makes this thing work is like,

no one really has that big of an ego

where they're trying to burn each other

or, like, come out on top

and make it someone else's fault.

In the grand scheme, I think we all...

We're there to support each other

and lift each other up.

Nice work, buddy. You too.

Chris has an interesting drive.

I do truly believe he's not just making this

as a big ego trip, art project.

I think he really wants to cement himself

as an artist but in a mixed-media format.

I really like the gradient concept that

you and I talked about a bit.

This looks amazing, so it will be worth it.

Am I worried? No.

I trust these guys.

It's part of trusting the process here.

Wow, that's it. That's the last shot

of the movie right there. It's—we're done.

Done. - It's like, emotion.

I don't even know.

Too tired to process what's happening here.

Sick. -Yeah.

Good job, guys. - Good job.

Okay. Shit, that was a night.

I remember when you told me

you thought you could get Paul.

You might be able to get Paul.

And I was like, "Bro, get Paul."

You did. Don't worry about me,

get Paul.

I know. -Would you ever consider

being a voice potentially?

Yeah. Narration of some sort?

I'd love to, I'd love to.

Bill and I were dear friends,

and I'd say, "How are you doing, Bill?"

"Luckiest man alive." -Yeah, right.

And hearing him in the film is just, uh,

it just makes sense. - Mm-hmm.

He sounds like he's

in the room with you. - Mm-hmm.

Like, grounding this thing.

Yeah. It's really powerful.

And our nervous systems are designed

to be these threads of nerves

that create, in a sense,

our ability to conceive, to have consciousness.

I want to represent

the depth and the educational part of this art piece,

and so Paul Stamets, he fit the mold perfectly.

Ship of fools right? - There we go.

The trail that we walked on

is a thread across the rocks.

The mycelium is a thread that goes through the soil.

When you're skiing down the slopes,

you're choosing the threads as you descend.

When you're surfing on a wave,

you're choosing the optimum slope velocity

to be at the cusp of that wave to ride it to its end.

All these are threads.

That's what I think "Mountains of the Moon" does.

It shows these many, many different threads

that we're all following through our lives,

and ultimately the threads create

the great mosaic of universal consciousness.

♪ More than laurel you may sow ♪

♪ More than laurel you may sow ♪

♪ Hey, the laurel, hey, the city in the rain ♪

♪ Hey, hey, hey, the wild wheat waving in the wind ♪

♪ Twenty degrees of solitude ♪

♪ Twenty degrees in all ♪

♪ All the dancing kings and wives ♪

♪ assembled in the hall ♪

♪ Lost is the long and loneliest time ♪

♪ Fairy Sybil flying ♪

♪ All along the, all along the mountains of the moon ♪

♪ Hey, Tom Banjo ♪

♪ It's time to matter ♪

♪ The Earth will see you on through this time ♪

♪ The Earth will see you on through this time ♪

♪ Down by the water The Marsh King's daughter ♪

♪ Did you know? ♪

♪ Clothed in tatters always will be ♪

♪ Tom, where did you go? ♪

♪ Mountains of the moon, Electra ♪

♪ Mountains of the moon ♪

♪ All along the, all along the mountains of the moon ♪

♪ I hold the carrion crow folderolderiddle ♪

♪ I hold, the carrion crow, bow and bend to me ♪

♪ Bend to me ♪

♪ Na, da, da, da, da, da, da, da, da, da, da ♪