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JOHNNY RAD'S

Peralta: Johnny Rad was a really good friend of mine, an actor in Hollywood. His name is Rob Fitzgerald. Shortly after the Animal Chin thing, he got a big contract with Budweiser. He was the Budweiser “I Love you Man” [guy].  That was him. Then he’s been on a million TV shows. He’s on commercials all the time now. He was a regular on Vegas with James Caan.

That club was a car body shop in west Los Angeles that we outfitted to look like a club. We put Johnny Rad in [the skateboarding video] Future Primitive just as a lark, to see what would happen. He was such a hit and people liked him so much, we decided, “Geez, you know we should bring this guy back.” So we figured, “OK, well where would he have a club? It would either be in Hollywood or Las Vegas.” It was like, "Let’s get out of California. Let’s put him in Vegas.” The absurd idea that skateboarders could have their own club in Vegas was just ridiculous, and so we just added to the absurdity. Then it motivated the guys to have to travel further in their search, and the fact that they’re gonna see Johnny Rad will give us an opportunity for an older figure to kind of give them a clue to Animal Chin.

 

It was really late, like three in the morning, and he really wanted us to go and I refused to go. [Laughs.] He pulled me over like, 'If you’re not gonna go, just leave the set,' and I just walked off the set.
—Stevie Caballero

 

Mountain: Stevie and Stacy came to a real conflict the night of the party, the jump ramp scene. Stacy's tired; we're tired; no one wants to skate. As much as we didn't want to skate or film anymore, Stacy had to film too. We don't care what Stacy's going through, like he filmed for nine hours. We're like, “We don't want to skateboard.” No one's thinking about what Stacy's doing. He's laying underneath the jump ramp like, “OK, we're trying to get this shot. Let's hurry it up and pack it up. Let's get outta here, we're done.” Everyone's like serious, “Oh, I wanna get my good jump ramp shot.” Seriously, like we need this. Stacy's like, “C'mon let's go.” Everyone's going like, “Eh, that's a bad angle,” and Stacy says, “Just go.” So, everyone goes, and Stevie refuses to go, just refuses. “I'm not going.” [We were like]
“Stevie we need you.”

“You go, I'm not going. It's a bad angle, I'm not shooting from there.” It was an argument with Stacy laying out on the ground, underneath the jump ramp, and Stevie 100 yards away, not going, to the point where they're like, “Either you go now or you're off the team.”

[He said] “Well I'm quitting.” He quits. He sits down. I don't know if they're gonna talk about it seriously, but I remember the words, “I quit.” [And] "Well OK, you're off.” [Laughs.]

I don't think Stevie has a shot going off the jump ramp in that scene. You won't notice it, and I don't know if anyone else will even admit or even talk to that happening, but it happened. Tony knows. Tony and I were baffled, like, “Whoa, this is heavy.” After that we drove to Vegas for the Chris Borst ramp, and Tony tells a story where we're doing a scene where we're driving in a car and it's up on a trailer. We're supposed to be driving and Stacy is in the front car with Walkie Talkies, we're in the back with Walkie Talkies, and he's filming these scenes of us driving to the desert, and our car is on the trailer. We're losing it. Tommy's singing a rap, and we're jumping on the hood. We were so tired and so irritated, that's where all the funny stuff comes. Tony tells us, “Hey, remember that time we were driving and Lance was like, 'Hey lookit guys, we gotta settle down. Stacy is doing this film for us. He's the one laying on the ground saying 'Hey, let's film.' He doesn't have to do this, he's doing it for us. Just as much as we're tired, and we're annoyed, what is he doing? He's filming. Like, we gotta lay off him, you guys. He's doing it for us.” Tony was telling this story to Stacy, and he said I got on the Walkie Talkie and said, “Stacy” and Stacy said “Yes,” and we're like, “We're sorry,” and he goes “What?” and he didn't even know what we were talking about. Stacy was like “That happened? Really? You did that for me Lance?” No one really remembered that. Tony was the one who remembered it. We go to Vegas, skated, and it was like a it never happened.

Hawk: Stacy wanted to shoot right under the jump ramp. Steve thought it was lame because it was an extreme cam angle, and it was the kind of thing that we used to not like because it was what news crews would do to us, you know, like trick the camera sideways and whatever. I was always like, “Why do you have to try to make it more than what it is? Isn’t this enough?” Whatever Stacy was doing, whatever angle he had, Stevie’s like “I’m not going, I’m not gonna go.” It was just this standoff like, “No, just go. We need you in the shot too.” Then it escalated, I think because everyone was so tired, it escalated to the point of Steve saying, “I quit.” Then it’s “Well fine, then you quit. Someone else go.” We were on both sides of the fence, but at the same time we trusted Stacy’s artistic sense, and he wasn’t even gonna use it if it were that lame.

Caballero: We would film hours, hours, and hours, and we would get pretty frustrated that we had to do things over and over in the late nights and stuff. There was this one scene that Stacy wanted to shoot—it wasn’t really a scene it was more of an angle that he had set up for a sort of launch ramp. It was one of these shots where we’d just be flying over again, and we’re pretty particular how skating looks and we’d always make fun of shots like that where you couldn’t see guys coming and going, just kind of going straight to the end. I was pretty adamant about not shooting something like that. It was really late, like three in the morning, and he really wanted us to go and I refused to go. [Laughs.] He pulled me over like, “If you’re not gonna go, just leave the set,” and I just walked off the set. It was just one of those things where I didn’t feel like they really needed me in there, you know. Just part of me being stubborn and late night irritation. It wasn’t really a big deal. We were over it the next day. [Laughs.]

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