Five just dropped

haha figures first trick is one of the cleanest lip 2's to switch ever. No need for brogan to come back now

but holy shit this is one of the best urban parts ever, easily
 
13193255:CrutchKiller said:
haha figures first trick is one of the cleanest lip 2's to switch ever. No need for brogan to come back now

but holy shit this is one of the best urban parts ever, easily
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haha yeah, he one upped that, and the lip 450 too on the dfd elbow. and the last shot is on the back of mission hill, i used to see that rail when i lived in boston and wonder if anyone might tackle it. there's still one more on mission hill that's even gnarlier too but im not sure that'll ever get hit
 
God damn. I would have loved to see those shots as a part of Ten and Two, especially since it is Stepts last movie, but nevertheless, that was fucking nuts.
 
Every single shot was a banger. The back story was easy to follow but yet the way he used just a teddy bear and the hot girl was really sick. Just like The Recruitment, this is another example of how ski films are going to develop into more than just ski porns. Skiing, mixed with an interesting plot or backstory is the new wave of filmmaking in the ski industry! Clayton did a really nice job on this film and I love the direction people are taking the ski films that are being produced every year.
 
Amazing skiing.

Initially, I was pretty frustrated with the use of the woman--this is skiing, not soft core. Women's bodies aren't simply props to keep people interested in skiing.

But after finishing the flick, I find myself more intrigued by the plot. This isn't simply urban and chauvenism. There's a lot to think about, and it's really heartening to see that skiers and filmmakers want to add both complexity and backstory to what they're doing. In pieces like this, finishing a ski segment becomes not just about digesting the level of skiing, but also interpreting the statement made by the whole film as a piece of art. Hell yeah.

Personally, I see the plot as allegory: the woman represents the attraction and sexiness of what skiing urban can mean--the cool image, the gritty lifestyle, the confidence of riding out something difficult. But as the film develops, so does the relationship with that seductivity--it becomes violent towards the beholder, and fights back. Perhaps the encounter with the bear means that the capriciousness of what the woman represents encounters forces that are much more stately and powerful in skiers who are committed to urban--determination, endurance, etc. The masks could allude to the dual nature of how professional skiers are seen, and how that can feel like wearing a mask.

I don't have a film degree, so I'd be curious to hear other people's thoughts about the story and what it means.

Props to Vila for pushing the story and the skiing. This is the sort of segment that pushes skiing and ski filmmaking forward.
 
Too much firey free content being put out.

And holy shit, so many incredible hardways, wallrides, that gnarly tall ass close out pressed out, fuck. Banger.
 
13193383:Literature said:
Personally, I see the plot as allegory: the woman represents the attraction and sexiness of what skiing urban can mean--the cool image, the gritty lifestyle, the confidence of riding out something difficult. But as the film develops, so does the relationship with that seductivity--it becomes violent towards the beholder, and fights back. Perhaps the encounter with the bear means that the capriciousness of what the woman represents encounters forces that are much more stately and powerful in skiers who are committed to urban--determination, endurance, etc. The masks could allude to the dual nature of how professional skiers are seen, and how that can feel like wearing a mask.

I don't have a film degree, so I'd be curious to hear other people's thoughts about the story and what it means.
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I think you're right on with your analysis, but let's be real here: I don't give half a shit.

The skiing was as good as any I have ever seen. Clayton's tech game is pretty crazy, but it's nicely balanced by a really clean style and eye for big shit. Props. Not much creativity, but who needs it when you're that fucking good.

I just really don't care for all this artsy side-plot bullshit. If you guys want to pursue filmmaking, do so, but don't waste my time with some over-the-top hollywood music video filler, pushing the length of the video to almost 10 minutes and slowing the pace, when it could have been banger after banger for 4 minutes. If I wanted to watch a girl stab a teddy bear and think "waoww, this is so creative and thought inspiring," I would watch an electro house music video.

Final grade: A-

I was really pleased with the skiing, filming, and editing of the skiing sections. (the fight with the security guard; fuck yes!!) The extra shit was just sort of sexy and erotic and didn't really add much to the skiing in my opinion. I did like the Bill Strobeck-esque double-P.I.P. though in the first scene. Either way, cut out the extra shit, and you've got a 100
 
13193383:Literature said:
Amazing skiing.

Initially, I was pretty frustrated with the use of the woman--this is skiing, not soft core. Women's bodies aren't simply props to keep people interested in skiing.

But after finishing the flick, I find myself more intrigued by the plot. This isn't simply urban and chauvenism. There's a lot to think about, and it's really heartening to see that skiers and filmmakers want to add both complexity and backstory to what they're doing. In pieces like this, finishing a ski segment becomes not just about digesting the level of skiing, but also interpreting the statement made by the whole film as a piece of art. Hell yeah.

Personally, I see the plot as allegory: the woman represents the attraction and sexiness of what skiing urban can mean--the cool image, the gritty lifestyle, the confidence of riding out something difficult. But as the film develops, so does the relationship with that seductivity--it becomes violent towards the beholder, and fights back. Perhaps the encounter with the bear means that the capriciousness of what the woman represents encounters forces that are much more stately and powerful in skiers who are committed to urban--determination, endurance, etc. The masks could allude to the dual nature of how professional skiers are seen, and how that can feel like wearing a mask.

I don't have a film degree, so I'd be curious to hear other people's thoughts about the story and what it means.

Props to Vila for pushing the story and the skiing. This is the sort of segment that pushes skiing and ski filmmaking forward.
Click to expand...

Sounds like I need to watch this then. I love stuff where you have to think a little to find the meaning
 
13193383:Literature said:
Amazing skiing.

Initially, I was pretty frustrated with the use of the woman--this is skiing, not soft core. Women's bodies aren't simply props to keep people interested in skiing.

But after finishing the flick, I find myself more intrigued by the plot. This isn't simply urban and chauvenism. There's a lot to think about, and it's really heartening to see that skiers and filmmakers want to add both complexity and backstory to what they're doing. In pieces like this, finishing a ski segment becomes not just about digesting the level of skiing, but also interpreting the statement made by the whole film as a piece of art. Hell yeah.

Personally, I see the plot as allegory: the woman represents the attraction and sexiness of what skiing urban can mean--the cool image, the gritty lifestyle, the confidence of riding out something difficult. But as the film develops, so does the relationship with that seductivity--it becomes violent towards the beholder, and fights back. Perhaps the encounter with the bear means that the capriciousness of what the woman represents encounters forces that are much more stately and powerful in skiers who are committed to urban--determination, endurance, etc. The masks could allude to the dual nature of how professional skiers are seen, and how that can feel like wearing a mask.

I don't have a film degree, so I'd be curious to hear other people's thoughts about the story and what it means.

Props to Vila for pushing the story and the skiing. This is the sort of segment that pushes skiing and ski filmmaking forward.
Click to expand...

I thought it was about how he left his girlfriend at home to go shred & she started to lose it.
 
Not exactly sure what the plot represents to myself, may take a bit of time and another watch or two to get more impressions. However, that being said I thought the film was top notch quality in both skiing and filming aspects. Every shot was a banger, with around 4 or 5 minutes of snow shots that was quite a feat for him to achieve this year. The imagery and styling had great production, you could tell it was planned out well in advanced. From my perspective, I think edits/films like this will be able to open the door for a new type of ski movie in this day and age.
 
I think the fact that Clayton wrote, directed, and produced this himself really says something about how much of an utter freak he is when it comes to the ski industry.

Not only can the guy rip urban better than most any other skier, but he wrote and produced his own segment with an intentionally ambiguous storyline that meshes beautifully with the skiing shots.

So I think Five goes to show Clayton's superiority in multiple aspects of the urban skiing industry. It's one thing to absolutely kill it in the streets, and Clayton not only does that but also conquers the role of a filmmaker. Props. EVERYBODY WATCH IT
 
13193383:Literature said:
Amazing skiing.

Initially, I was pretty frustrated with the use of the woman--this is skiing, not soft core. Women's bodies aren't simply props to keep people interested in skiing.

But after finishing the flick, I find myself more intrigued by the plot. This isn't simply urban and chauvenism. There's a lot to think about, and it's really heartening to see that skiers and filmmakers want to add both complexity and backstory to what they're doing. In pieces like this, finishing a ski segment becomes not just about digesting the level of skiing, but also interpreting the statement made by the whole film as a piece of art. Hell yeah.

Personally, I see the plot as allegory: the woman represents the attraction and sexiness of what skiing urban can mean--the cool image, the gritty lifestyle, the confidence of riding out something difficult. But as the film develops, so does the relationship with that seductivity--it becomes violent towards the beholder, and fights back. Perhaps the encounter with the bear means that the capriciousness of what the woman represents encounters forces that are much more stately and powerful in skiers who are committed to urban--determination, endurance, etc. The masks could allude to the dual nature of how professional skiers are seen, and how that can feel like wearing a mask.

I don't have a film degree, so I'd be curious to hear other people's thoughts about the story and what it means.

Props to Vila for pushing the story and the skiing. This is the sort of segment that pushes skiing and ski filmmaking forward.
Click to expand...

Yes

13193416:unknowndeath said:
I think you're right on with your analysis, but let's be real here: I don't give half a shit.

The skiing was as good as any I have ever seen. Clayton's tech game is pretty crazy, but it's nicely balanced by a really clean style and eye for big shit. Props. Not much creativity, but who needs it when you're that fucking good.

I just really don't care for all this artsy side-plot bullshit. If you guys want to pursue filmmaking, do so, but don't waste my time with some over-the-top hollywood music video filler, pushing the length of the video to almost 10 minutes and slowing the pace, when it could have been banger after banger for 4 minutes. If I wanted to watch a girl stab a teddy bear and think "waoww, this is so creative and thought inspiring," I would watch an electro house music video.

Final grade: A-

I was really pleased with the skiing, filming, and editing of the skiing sections. (the fight with the security guard; fuck yes!!) The extra shit was just sort of sexy and erotic and didn't really add much to the skiing in my opinion. I did like the Bill Strobeck-esque double-P.I.P. though in the first scene. Either way, cut out the extra shit, and you've got a 100
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& Yes.

IMO, I think this just proves that this is the next generation of ski edits. It's not just an edit that has 4+ minutes of banger after banger but only has a shelf life of a week until the "next best thing," but rather this is an edit that's got more to offer than just straight up ski porn.

I think Clayton's goal is 100% achieved. Five was both thought provoking (and will definitely generate some discussion) and full of banger tricks. I want to watch it again & again to dissect both the tricks and the plotline. I think people will be talking about this for awhile.
 
I thought that Clayton did an amazing job of integrating the story of the film in a way that truly adds to the skiing. The film is far more then the sum of the skiing shots and the story. Something that really struck me was how the teddy bear's body was destroyed by the girl, something that clearly paralleled the effects of the "sexy" pursuit of urban skiing on Clayton, which went on during the little crash seg. The Recruitment's story is an interesting addition to the skiing, but Clayton is really saying something about what skiing is to him and the state of the sport through his film. Amazing work. I also really enjoyed the soundtrack. This movie is years ahead in every aspect.
 
Great skiing.

Listen, I don't want to be a helmet nazi but jesus christ, how he's still functioning after a lot of those head hits oh man.
 
13193383:Literature said:
Personally, I see the plot as allegory: the woman represents the attraction and sexiness of what skiing urban can mean--the cool image, the gritty lifestyle, the confidence of riding out something difficult. But as the film develops, so does the relationship with that seductivity--it becomes violent towards the beholder, and fights back. Perhaps the encounter with the bear means that the capriciousness of what the woman represents encounters forces that are much more stately and powerful in skiers who are committed to urban--determination, endurance, etc. The masks could allude to the dual nature of how professional skiers are seen, and how that can feel like wearing a mask.
Click to expand...

Opinion obviously...

Urban is the bear in both the teddy and living forms. The girl is the skier. Urban itself is inanimate and constant like the teddy bear yet emotions towards it by the skier hit the extreme of both spectrums. So is it really inanimate if it can make you feel? Of course not, it's alive so it's a real bear.

It's a ski movie. I don't feel the need to show off my vocabulary describing it.
 
13193856:Brocka_Flocka said:
I hope PETA doesn't see this video...
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I don't think PETA gets too upset over the abuse of teddy bears.

my real question is what kind of idiot lights a cigarette like that? it still wasn't even lit at the end.
 
Did anyone else think that that was kinda shitty? I mean, the skiing was next level but overall, that was just too fucking weird. At what point did we decide that we needed a loose plot line that has nothing to do with skiing, to make a sick edit?
 
Notice how the shot at 5:10 we only see it once in the film and he doesn't land it ? Why would he put in in the film then ? Like the shot is gnarly as hell but I don't know is it just me ?
 
I definitely agree with Literature. More opinions, I thought that Clayton embodied the bear, and the girl was his passions/vices aroubd skiing. The more he indulged in them, the more it destroyed him. Maybe the crash seg had more to do with the loss of friends and his "sanity" (in mutiny) than the actual injuries. The teddy growing into the grizzly could show him maturing past those/dealing with them and taking control.

I dont get the masks at all though. Also the "dont..." "Just keep the balance" i cant piece together. "just keep the balance" could be a parallel between keeping balance on rails and keeping balance with his sanity/life but thats a big stretch.

Really crazy movie, everyone should watch it and form an opinion on it. Really cool to see different takes on it.
 
The skiing was so sick the guy kills it, every shot was a banger. That being said, I thought I was a little to weird, I understand it's art and whatever and everyone sees skiing a different way, but wtf was that with the girl and shit, loved the skiing but I was not a fan of the editing
 
dope skiing, no doubt, but this does not motivate me to go out there and ski. i respect the ideology behind it but this doesn't motivate me to go skiing which is the purpose of ski movies in my opinion.
 
Man, can't believe how many people want just ski porn. Go watch any ski movie up until this year and just about every edit on this site if that's what you're looking for.

"One thing I can guarantee is that people are going to think it is very weird, and that’s what I want. I like making people feel weird."

-Clayton

Stop expecting something different.

On another note. I think it's awesome that people have different interpretations of what the story means.
 
13194107:hpbubski said:
Notice how the shot at 5:10 we only see it once in the film and he doesn't land it ? Why would he put in in the film then ? Like the shot is gnarly as hell but I don't know is it just me ?
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I felt sadder about the attempts to 450 onto that rail he dismantled in Mutiny at 4:30 than anything. That was the most ambitious shit I've seen in a long time. It was really rad that he showed his attempts even if he never got the trick... definitely (possibly) fits into the theme of give and take that he's got going through the movie. It's a cool way to show how much effort goes into these parts without some generic interview at the beginning.
 
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