Welcome to the treat. I'm Elvis Mitchell. Director Tadashi Nakamura learned about the art of documentary making from one of its foremost talents at the breakfast table, his father, Robert, who's the subject of Tad's most recent film, Third Act. So it makes sense that Tad's treat would be a documentary about an exploding culture made by someone from the

inside. Hi, my name is Tadashi Nakamura, and this is the treat. The film I wanted to talk about

here is Dogtown and Seaboy, directed by Stacey Peralta.

So I'm also from the west side, from Culver City, Venice area.

So when I saw Dogtown and Z-Boys, you know, it was about the pioneering time that

modern skateboarding was born. In 1975, the second issue of the recently reincarnated

skateboarder magazine would feature aspects of the downhill slide, the first of what would become

known throughout the skateboarding world is the Dogtown articles.

These feature articles chronicled the adventures and exploits of Dogtown's Z-Boys.

But really aesthetically, it was the way they used archival photographs, Super 8 film,

and the way they used music with those archives really, really

inspired me. So I literally, every morning would watch that film and then cut my first film,

Yellow Brotherhood. My first three films were all about the Japanese American social movement in the late

60s and early 70s.

So same aesthetic, long hair, 8mm film, music at that time.

And so that's really how I started falling in love with documentary filmmaking. For me, it was the aesthetics of the visuals.

I mean the content is the main reason why I was making film,

but the fun part was the hairstyles, was the cars, was the music.

And for me, it became a form of time travel because I was able to live and be taken back to a time when I wasn't old enough to remember or when I wasn't even born.

But I was able to time travel and experience that moment.

Just to be there standing on the deck was hardcore,

because you were privy to something that you don't readily see anywhere else.

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