A new film from Eric Iberg, starring Phil Casabon, Tanner Hall and Henrik Harlaut, called "The Education Of Style," will be available for digital download on Aug. 14. The trailer dropped Friday on Inspiredmedia.tv. The film was shot in Quebec, Salt Lake City, Sweden, France, Whistler, Mammoth and elsewhere and it'll be going on an international tour this fall. The film crew was in Minnesota recently shooting the opening scene for Harlaut's segment and getting in some skating at the local skatepark.
Did you travel together or each do your own thing?
Harlaut: Phil and I traveled the whole season. We didn't really start filming the movie until X Games. We were with Tanner [Hall] until then, then Tanner went to BC. In the spring, all three of us were together all the time.
What was your favorite stuff to shoot? Urban, park lines, powder?
Casabon: All of it. The backcountry is the hardest to go through and learn and to try and get better at. It makes it real enjoyable when you get something. Urban is just dedication. On an urban rail you can just go 100 or 200 times until your body can't go, so that's the difference. With powder you have a limit.
Harlaut: Out in the backcountry it's like, 'Aw, this is the best,' then you haven't skied the park in a while and it's like, 'Aw, this is the best.' It's always very good.
Iberg: They even started to ride the halfpipe this year.
Do you guys have a different approach to skiing pipe?
Iberg: They aren't trying to win.
Casabon: Yeah. I look up to a lot of skiers that do halfpipe. They are all amazing, but I try to think of skateboarding when I ski halfpipe. I try to use the pops as much as I can like noses and tails, nollies and stuff. So it is a different approach.
What was your favorite trip of the year?
Casabon: Mt. Hood.
Harlaut: Yeah, Mt Hood. It was super fun when we got out there. The first five days we were out there we had built and hit four jumps, and that usually doesn't happen with backcountry. You have to build and let it settle for the night. We were able to hit three of the jumps in the first three days. It was so much fun, everything went so well. We camped up there on the mountain. It was a very nice trip.
How was the approach to this film different than other ski films?
Iberg: With all of my films, it's the idea of timelessness. It's not the camera that makes it cool because everyone has an HD camera and they're shooting the biggest tricks their athletes can do. That jump's going to get bigger each year so everything is kind of time-stamped. But my approach is how to make something that people can watch in 10 years and still enjoy.
Casabon: On a music level the movie is different from a normal ski film because it's going to be a mixtape. This year Henrik used NAS, Tanner used Movado, a Jamaican artist, and I used Riza from the Wu Tang. We each have three to five songs each per segment which is different from normal movies where people have one or two song segments. We are playing with scratches and sounds as much as we can.
Harlaut: Our approach was very different with this project. We have realized that in past years it's always been about adding another spin onto a rail. It wasn't as focused on style like it was in the Session 1242 years. I tried, at least in my segment, to have every feature look fun and not to always look for the gnarliest thing. Sometimes when it's the gnarliest, it doesn't make everyone want to hit it. We wanted features that are relatable but we could do our best on the feature.
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