All language subtitles for Style.Wars.1983.Extras.DVDRip.XviD.AC3.iNTERNAL-AEROHOLiCS

By creating a film
of this type...

it's my personal...

and virtually
undocumentable feeling

that this is only going to,
again, cause people to say,

"Well, gee,
look at that design.

I can do better than that."

And they're going to try.

And that's what
we don't want.

Case:
That's why I'm
letting you know now,

I'm feeling the vibes.

I know how this shit is,
with the program--

it don't pressure me.

This shit is all
over with, to me.

I don't want it
to seem like in the show

like I still do it
or none of that.

It's just I was one of the olden
brothers from way back,

maybe years-- and knowing
what was up with it.

That way I would keep
my reprancy or discrepancy
process real righteously right.

Case:
I don't even think about
this no more, man.

'Cause you see
how it look now anyway, right?

That's what I'm saying,
you know?

Just don't
let nobody know it,
till they see it for they self.

That's what I'm saying.
When they see ours--

our whole car's
always crushing,
you know?

We is the monsters,
know what I'm saying?

- Always the kings of this line.
- Stuff like this here.

We would have
no problem.
You know.

- Burning that up.
- Word, man.

They always came to me
with paint, whatever,

and say, "Yo, Case, man,
hook me up this and that.

Hook me up with style."
I did it, I'd get 'em style.

I had so much style,
from having so much
spark and charisma,

wisdom and knowledge plus
understanding behind it,
you know?

They came to me
for "Style Wise"

and I didn't mind
generating my generosity,
you know, so I did it.

I felt as though if I did this
it's like doing a good thing

in favoritism to myself as far
as good luck-wise or whatever,

you know?
So I done it.

See how I'm always doing
my computers, right?
Like connectors.

See how I got
the smoothness
camouflaged like?

See how that "A"
look like camouflage,

real neat and dipping through
there with the "S" and things?

You know that shows you
the odd-even thing.

- It balances out.
- Yeah.

There go the Fonz.
Look at the Fonz.

- Word. There you go.
- It's the Fonz.

Look at that nigger.
That nigger loves the movie.

Hey, you know it's us,
The Cold Crush.

You said something right there,
that's right.

Tony:
That's the main thing?
Breaking, too?

Yeah, B-Boying,
you know?

That's what I'm saying,
the Rock Steady Crew.

Yeah it come out like,
from the streets, you know?

People hanging out,
they ain't got nothing to do.

I remember, like,
before that...

hip-hop stuff started out,
nigger's banging on the mailbox.

You know,
like Hard-Hands Barretto.

You know
Hard-Hands Barretto?

He's a Latin star now.
He started out in
the ghetto too,

playing on garbage cans.
Well, we used to bang on
the mailbox,

boom, bang, bang, you know,
and start rhyming.

And that's how Flash
and all these niggers--

they come out to the park
with a little DJ set,

and now they're on the radio
and stuff like that.

And that's why, you know,
us graffiti artists,

now we're trying
to get up there, you know?

Still, we ain't getting nowhere,
but we're getting a little
recognition now.

Case:
'Cause we stopped writing,
that's why.

It's like, you know,
we know our potential.

We done got fame,
you know, kick the game
and all type things.

It wasn't no thing,
we just did it and got it
over with,

you know? That's all
there was to it.

Now it be about women, cash,
money and all type things,
you know.

Oh, styles? I just--
I write the way I write.

I got my own style,
that's all.

- Henry: Where'd you get it?
- I made it up.

But it looks something like
other graffiti styles.

- No, it looks like my style.
- I know it looks like
your style, but--

Cameraman:
Hold it, hold it.
Cut, cut.

- Cameraman: Turning?
- Sound man: Yeah. Go.

Henry:
John, where did you
get your style?

I developed it, you know?
I didn't get it from nobody.

Didn't you look
at other graffiti?

Yeah, but just to read it,
not to copy their style.

And these ridiculous fights
that they have about

somebody crossing them out,
which is absolutely ridiculous.

Yeah.
If you mess with us,
yeah, of course.

Nobody walks around with
machine-guns in their pockets.

If you mess with us,
just like regular people,
we're gonna defend ourselves.

And if you mess with us real,
we know we're gonna come
looking for you,

and we're gonna get you too.
We're gonna get you.

( sighs )

You want to film
this fist-fight we're
getting ready to have?

Is that what it is?

I guess it's
pretty much like

anything I would do on a train,
I would do on canvas,

or whatever I choose
to paint on.

I'm still using spray-paint.

I'm still using
the same basic technique

as painting trains--
just about.

I think it's pretty much
the same thing,

it's just been
scaled down much smaller.

- Dondi: Let's go to work.
- Marisol: I hear you.

Marisol:
This shit is bad.

And this one's called
"Sands of York."

It's...

it's a letter "B."

There's a painting
under this

that I went over,
that I did in 1980.

I didn't actually like it.
It was called "I Love New York."

I decided to paint
this over it.

I like it much better now.

I can scale down letters,
like pretty easy.

I did pieces probably...

almost this size
on a train with Aaron.

We were doing
some real small pieces,

looked like they were
chiseled into the subways

because of the way
I had the 3-Ds going down.

Actually way below
the window.

I have really no problem
in scaling them down to canvas.

Compared to a piece
on a train

this is like--
this is like a miniature dude.

And this one...

me and a fellow
named Rammellzee did.

This one is
the armored letter "E."

And he sort of has his own
beliefs about that...

why he arms letters.

- What, to arm a letter?
- Yeah.

Just so it could
defend itself, actually.

'Cause he says...

the Christians put
a Catholic symbol on a letter

and the only way to destroy
a symbol is with a symbol.

So in order to destroy a symbol
you have to arm a symbol.

And he thinks
by arming letters

this Christian symbol
will be destroyed.

I hate getting into
Rammellzee's religion and shit.

It's like too deep
for me and shit.

Rammellzee would smack me
for even saying something
like that.

This is an arrow,

which actually fires.

And this is like...

some type of like,
maybe machine-gun
you would have--

that shoots rays.

And this thing is also
like a machine-gun.

And this piece right here,

this is like
a gauge or hinge.

And this thing is
supposed to actually do

a full 360 so it could even
defend itself from behind

or the side, or whatever.

If it was actual,
if it was real,

this would be a weapon.

This would be
a tank actually,

as he would put it.
And this particular letter

would be able
to defend itself.

From writing graffiti
on trains

and trying to take an art class,
you know, it's like--

Well, I just couldn't
do it, you know?

I couldn't see myself
doing it.

So I never really
took an art class.

But then, okay, see like--

then there's like a graffiti--

it's not really a law, but--

if a dude is using your style
and you definitely know it,

and everyone else
knows it, you know?

But in our class

it seems like that's
accepted or something,

to like use
other people's ideas.

Most of the other writers
who write now,

have been busted
once already.

Or twice or what have you,
you know.

As before like in old writers,
if you got busted you just quit.

You didn't want to be out there
getting busted, you know,

that was like, I mean--

that was like--
you didn't know the yard

or you just didn't know what
you were doing or something...

if you got busted.

That's how, like, old writers
look at it actually.

Well actually,
my art teacher started me.

Although she didn't know it.

She asked us
to do a project

dealing with graffiti
on a train station wall.

Or a truck or whatever.

I gave it my best shot.

Then one day I was writing
on the lunchroom table.

A kid comes over to me
asking me what it was.

I started bragging about
the graffiti I was doing.

He pulled out
a Pilot and showed me what
real graffiti was all about.

From that point on I was just
more intrigued by it,

and didn't know
that it was wrong to do,
being a kid and all that.

Naturally you're inspired
to do something secretive

and against rules
and regulations.

There was always that
mischievous thing about it.

Knowing that it was against
rules and regulations

but still knowing you can
get away with it secretly--
secretively,

and still gain
recognition on it.

A lot of people
didn't care for it

but there was a handful
of people that still did,

and those are the people
that kept it alive.

People like Cliff
and Vinnie,

and like Superstrut,
Stem and Tee.

I could go on forever like
naming old names.

It's like...

you know, ask Blade.
I mean, why does he still write?

I mean he's been writing
longer than me, you know?

Crazy Legs:
The Bronx.

It started from 183rd Street
and Creston.

Then like, you know,
it was like...

there for around two years,
three years, right.

Then they stopped breakin',
right?

So the pres of everybody,
his name is Jimmy Dee,

he told me to make
a visit to Manhattan,

so then I made one
over here.

Like most of the people stopped
from the Bronx already,

but some of them are trying
to come back now

because they hear that people
are making money doing it.

( hip-hop music playing )

I went to the Bronx,
to a party.

I met up with him
after a long time.

I asked him if I could use
the name "Rock Steady"
and he said, "Yeah."

But now I don't know
where he's at.

He disappeared.
So for now, he left me
in charge.

And I started going all around
getting different people,

and like certain people
who have been working with me,

you know,
keeping things organized.

( hip-hop music playing )

Master Float.

Flow Master-- they call him
Master Float, though.

He taught me how to float.

He taught me
pop, pop, lock it.

Pop and move
like a robot, you know?

I like, just learned it
about two weeks ago.

I'm getting gooder
by the minute.

Tony:
Where did it
come from originally?

California.

Like LA. LA.

LA.

Is it hard breaking?

Nah, it's like--
it's called electrical boogie.

It's like the robot.
And it's pop locking.

You do a move
and you like hold it.

Then you move back
and then you start floating.

Then you come back.

Then you stop,
do the lean or something.

Then you just float, stop
and then you pop.

When you pop, you lock it.
You hold it there...

like that.

- Where'd you learn to do it?
- I learned from him.

We had another guy in our crew
that used to do it

but he's no longer with us
so I just learned from him.

Once you get to know it,
it's easy.

- Who is he?
- This guy is called Mr. Freeze.

- Where's he from?
- He's from Paris.

Everything pretty
is getting dogged.
Have you seen that?

Cap:
You're proving that
at Graphiti Productions--

that going over people
is not the only way
to get fame.

So you have your side, too.
I'm just doing my own thing.

But who's gonna tell
these little toy writers
that that's--

that this is one way
to get fame?

The other way they see
to get fame is to go
over people.

Yeah, but I go
over them, too.

What do you plan
to do in the future?

You going to keep, like,
going over the people

you've been going over,
or you gonna make peace
with some people?

Well, I don't know.

People start with me
or they start with my crew,

I start going over
everything they have.

I'm not like people--
you go over one of mine,
I go over one of yours.

You go over one of mine,
I go over everything you're
gonna do, ever.

Anywhere I can find it.
And when I catch you, I'll just
beat the shit out of you.

We always outran the cops
and scaled them fences.

But we can't-- but we can't
outrun each other.

We can't play with
each other's heads anymore.

We'll be the end
of our own graffiti.

At one time we had information
that these kids,

about four or five kids,
were going to go

to a layup area
and do some painting.

So we went there.
It was night time, it's dark,
there's no moon out,

in dead of winter
and we're waiting and waiting.

Finally we hear a little noise
coming up through the bushes

and here come the kids.
There are about 20 kids there.

If you can visualize it,

we're stuck inside the train,
the doors are closed,

the kids are on the outside
and they're painting away.

And the fumes
from the aerosol cans
are coming up,

seeping under the door
getting into our nostrils.
We're getting dizzy.

We're ready to pass out
and we're saying to ourselves,
"We better do something now

or it's gonna be too late.
We'll have to go to a hospital."

We open the doors, jump down.
We grab two or three kids.

We let it be known to them
at the time

that we want the rest
of the people to give us a call.

And we gave them our number.

The next day, the phone
was constantly ringing
off the hook,

just waiting
to just about surrender.

I know where you live,
I'm gonna pick you up
sooner or later,

might as well give yourself up.
They're well known for that.

What gives you away
is ink in your hands,

if you're doing
insides, right?

So you would try to-- like you
would try to talk it out.

"No, like I dropped
something in the track,

and I went down there
to get it," and all that.

You're trying to keep
your hands in your pocket,

not show your hands.
Then he'll tell you,
"Let me see your hands."

When you show your hands,
if they're inked up

they got an arrest
right there for graffiti.

It's up to him.
He can comply,

or he doesn't
have to comply.

He can come with me,
or he doesn't have to come
with me.

One way or another,
he's going to come,
with me.

I have a job to do.
He has fun to do...

doing his trains.
I have a job to do.

Unfortunately,
I don't think

they have anything to fear
from the courts.

They have to fear
the system itself.

The train system.
It's dangerous, very dangerous
out there.

The courts are backlogged

with such numbers
of violent crime.

Graffiti, itself,
is not a violent crime.

It's not a crime
against a person.
It's against property.

And it has to take--
it has to sit on
the back burner.

They know the yards,
and the layups.

They know the system.

( trains rolling )

Usually I do my pieces
in between the lanes,
if anything.

You only got a four-foot
distance in-between.

You gotta stand on one foot
on one train, one leg
on the other train.

And it's kinda hard to...

envision the whole piece

between four feet,
just to stand back.

You gotta get used to it.

Once you're used to it,
you're able to proportion
your pieces to the right size.

All's I know,
it takes anywhere
between 15-20 cans

to do a full car.

I like to color mine
in solid

so I use approximately
20 cans myself.

In the case of doing it
top to bottom,

you can either open a window
and hang on the windows.

Open the door-- you can hang out
the door and fill in the top.

One time I even used one
of those suction cups,

that the glass people
who carry-- you know--
to put in windows.

Put it on there
and suck it on and you hold
onto the window as you paint.

This train I must have
painted... two weeks ago.

Brand new,
they already painted over it.

One solid silver
paint job.

On the other side
they already have--

I have another
piece on the other side,
as a matter of fact.

See, they paint
right over your work.

They leave your work
in the windows.

I hope they're
not buffing no more,
they're just repainting.

Man, this guy used to be
king of the line.

Two years back.
Sly 108, alias known as MC.

I must have been
in this yard in about '75.

'75?
Yeah, '75 sure.

I met Danko, Danko 1,
who was doing the art in here.

At the time,
he was trying to take over.

Again, he didn't quite do it
but that was the first time,

and I got raided
the first time.

Still come back
for more, though.
It's the excitement in it all.

Tony:
What about the art?

I wouldn't say
too much for that.

Just a matter of how many
pieces I could put up.

I really don't-- I really
can't say that it's art.

It's just...

It just keeps me going.
I don't know what I'm gonna do

after you're not able to go
in the yards anymore.

After they put up
the fences and all.

There's an old guy.
This guy used to be
king of the line,

Puma 107.

Right before--
No, him and Sly 108
were about the same.

Here's another piece.

Two of my buddies.
This is a PJ/Sin.
It's kind of old.

They cleaned the windows.

Dripping from the acid.

Comet...

painted over PJ.

That's what happens, they don't
last more than maybe a week,

if the city
doesn't get them.

It would be so cool
if you could just...

get a graffiti writer,

or a young graffiti writer,
who you think would
be into it.

Or you just think...

he'll be writing
for a number of years,

and just film him
through his stages

of like, you know,
step one, and step two,

or whatever stages
he goes through.

Dondi:
Just him on the way to
the yard that night, you know?

Then, like, him looking
for that first piece.

To have that kind
of documentation

of a graffiti writer.

That would be, like,
a real good film, actually.

It starts in darkness.

That's partly romance
but it's true.

It starts,
it gets made,

the work of art
happens in darkness.

Then it bursts
into the light.

And then,
we see it, right?

Everybody sees it,
hates it, loves it.

Is stunned by it
in one way or another.

And that's
kind of the feeling

I wanted to express
at the beginning
of the film.

Henry is a very
low-key person.

Henry's wife, Kathy,
is an actress

and a very
dramatic person.

I remember we were
having dinner one night.

And we'd been
kicking this around.

What would this film
be about?

And Henry was saying,
"It really is--

there's rap music
and there's..."

We kept thinking,
"Where are the boundaries?

How do we--

how do we write the proposal
to raise the money for this?"

And Kathy...

launched
into this incredible,

unbelievable aria.

I still think of it
as an aria.

About...

the drama of this.

Going into the tunnels,
going into the layups.

Risking your life
to paint a whole car
in the middle of the night.

And I thought,
"Yeah, it's an opera.

That's what
it really is."

The music makes it
an opera.

And the dance
makes it an opera.

This is theater.
And it's theater
that's happening...

in real life,

in my city.

And then I really felt it
as a film.

We all--
we may have forgotten

what terrible condition
the subways were in,

along with the rest
of the city and its
infrastructure.

The subways were
a garbage dump,
essentially.

It was a vacuum
of attention

on the part
of the civic authorities
of the city.

And you could argue

that what graffiti
artists and writers
and taggers were doing

was they were
filling this vacuum
the way they knew how.

And in the course of doing it,
discovered a capacity
in themselves

to make something
that was transcendent.

I didn't only want
rap music in the film.

I didn't only want--
I wanted a lot of that,

but I wanted
another element

that would make it feel
like a movie.

And I had
seen "Excalibur," actually--

John Boorman's--
a couple of years before that.

I had loved the way
he had used Wagner.

( humming )
It was just--
it was marvelous.

So Sam Pollard,
the editor, and l--

we started putting
this opening sequence
together.

And didn't know
if it was going to work.

Sam had a class
and he was teaching them
film editing.

So he brought these kids in
when I wasn't there,

and when I showed up,
he said,

"Tony, I had these kids
in here. "

I said, "Yes. "
He said, "I showed them
what we're doing. "

I said,
"What'd they say?"

He said, "One kid looked
at it and he said 'Excalibur. "'

( laughing )

Oh yeah, that's the music
from "Excalibur."

I though,
"Yeah, exactly.

So to them,
now it's a movie."

Narrator:
In the 1970s,
New York graffiti,

rapping and breaking
became the prime expression...

Tony:
A friend of mine was
a documentarian.

He saw the film
and he said,

"God, you've done things
with music

that nobody's ever done
in a documentary before.

It's astounding
and amazing.

But that awful narration,"
he said.

Yeah, you know--

How could you
do that?

The other thing about
the narration

is that he sounds enough
like me, that--

Really?

I keep--
people assume--

lots and lots of people
assume that it's me.

I moved to New York
in the end of 1972,

I was a sculptor,

and I think
I was on the verge
of a career change

that I wasn't
at all conscious of.

These extraordinary cars
are coming through
the stations,

and I was commuting
every day.

I couldn't wait
to get on the train
and see what was going on.

I thought, "Wow,
this would be great

to try to take
pictures of this.

Somebody should be
documenting it.

And the pictures
that I took

were these segmented
pictures

which I then made
a composite out of
in my studio afterwards,

and I put them
in sections.

As a sculptor,
one of the things
I had to do all the time

was create sites
for proposals.

And you make
your little model,

and you put it
in a diorama,

and you create
the environment around it

by going up to the site
and taking pictures,

panoramic pictures,
and splicing them together.

So, it just came
totally natural to me.

Take a picture, jump.
Take a picture, jump.

Take a picture, jump.
This one I took five.

I would get information.

I would be
told the next day,

when somebody did a piece,

I'd get it
on my answering machine.

Yo, Henry, this is Lask.

I busted out a rooftop
on the 6 line.

- Bright colors...
- That's how I would know
where to go.

I would get there
right away.

It really increased
my chances of getting it,

because it's a big system.

If you go up randomly
waiting for trains,

you spend all day
and you might not
get anything.

So if you know where to go
and what line it's on,
it really helps.

I had taken pictures
for about three years,

before I ever met--

consciously met
a graffiti writer.

I think it was '79,

another kid was on the platform
doing the same thing I was.

He was the one who said,

"Go to the writers bench
because all the writers
hang out there. "

For months they thought
I was a cop.

'Cause who else?
Middle-aged white man,

what's he doing...

up on the platforms
taking pictures
of graffiti?

What's he doing
getting to know
graffiti writers,

if it wasn't
for a major bust?

Intelligence,
and then getting everybody
together in one spot

and then calling in
the troops.

I was doing the fill-in.
I was like the toy.

This was
the apprenticeship.

You'd go out
with an 18-year-old

master of graffiti art.

And that way you would
learn to paint.

After photography
came along,

and began to be used,
especially with my pictures--

I had such a big collection
of a lot of the masters' work--

kids would come to my studio,
and they would be able
to sit and study it.

So it changed the way
the whole process took place.

That's why we talk
about Case and his
camouflaging the letters.

He was determined
to make it so complex,

that even if
you had a camera--

I don't think you'll
even be able to read it.

( laughter )

Koch, Ravitch, and Cap
gave us the plot of the film.

It didn't have a plot
up to that point.

It was just a survey.
I had no idea how it would
come together.

That was fresh.
It was a brand new burner.

It only ran for two days.

He didn't even give it
a chance to run on the line.

Just like, "Pahl"

After one of these
interviews with somebody
complaining about Cap,

Tony would say,
"We can't use this,

unless we have Cap.

This is meaningless,
unless we have Cap.

It's just one side
of a hand clapping.

We need to have Cap."

And so I'm rolling
my eyes I'm going,

"Oh my God.
You know what that means?"

Because I know
what that means.

That's the last thing--
within the subculture--

you want to do is
give him fame.

So, I was against it.

And I was taking
the side of the writers,

and not even mentioning
it to the writers.

Were you also concerned
about the anthropologist

intervening in the activity
of the culture?

No, I'm not that pure.

I was intrigued by Cap, too,
because I never met Cap.

I knew people who knew him,
but I'd never met him.

I gave in, basically.

So, through the grapevine
I knew how to get to him,

he had friends who were
playing a double game, too.

Pretending not to know him
but who knew him

and were actually
friends of his.

Friends who shall
be nameless.

Friends who shall
forever remain nameless.

So through
these connections,

I found him,

and he was more than happy
to be a part of this.

But he said
from the get-go,

he said, "You can't
film my face."

I'm telling Tony he's going
to wear a ski mask,

and Tony's going,
"No, it's not working.

It's not going to work.
He can't wear a ski mask."

But we have to do it anyway,
because it's better
than nothing.

So, on the appointed day,

he comes and...
no ski mask.

And when I brought it up,
he said "Don't worry
about it. "

Cap:
People don't know
what I look like until now,

till they start going
to the movies.

They're gonna see my face.
Big deal.

I'm--
I'm glad I got Cap.

I paid a little price,
but I'm glad I got Cap.

People still feel
betrayed by it.

I get that
all the time.

We knew that it was
an amazing phenomenon,

and we knew that the film
that we were making

was showing
the world something,

that the world
generally wasn't aware of.

That this would have
some kind of impact.

I don't thinks we had
the sort of vision

to understand
the extent of it,
what it would become.

Because of the photographs,

it's been like a visa
to another world

that never in a million years
would I have gotten into.

Those photographs gave me
this incredible access,

to meet the most
extraordinary people.

It's a gift to me

that because of Henry,
I got to make this film.

There's so many paradoxes
associated with graffiti,

about whether it's
good or bad for society,

good or bad
for kids who do it.

It's a tangle that can
never be untangled
or reconciled.

And that to me--
finally, those paradoxes

are the most fascinating thing
of all about this project--

that finally there is
no judgment that can be made.

It just is.

And the "isness"
of it is...

its poetry
and its beauty.

"Style Wars" had
a very strong concept.

There was a little question
about how fair it was
going to be.

Did you want to present
both sides of the issue?

I always remember,
very distinctly, Kase.

and I remember the material
of Kase walking into
the projects.

You know, yelling out
to the people,

and then the camera pans up,

and then we're inside
looking at him

as he's creating one
of his masterworks and stuff.

and for me, growing up in
East Harlem, in the projects,

I connected.

Kase and that group,
they really stuck out to me.

Kanefsky:
That was a great scene.
One of the few scenes

that cut very quickly
and very easily.

Well... Tony had me
rework it a few times.

Tony has everything
reworked!

What happened with the guy
with his mother

- that we interwove throughout?
- Kanefsky: That was
incredible.

That's one of the big
structural things that
we came up with

- which worked beautifully,
but it took...
- A long time.

Should it be in front
of this scene or behind it?

Should it be in front,
or behind--?

Mary, who started
as an apprentice,

by the time she
left the film--

which was approximately
one year of working,

roughly from promo on--

was an editor.

I love the Wagner. I love
when the trains come out

and the music is
oh, so powerful and big

and monstrous.

And then that cut,

that cut
to the hip-hop music,

it's fantastic.
That's one of the great
music cuts I ever did.

It was Tony's idea.
It was a great cut.

"Pump, pump, pump it up,
pump me up."

After the old gentleman says,
"It's in his nom de plume--"
"I'm a wanderer. "

We tried so many things
in terms of speed and tempo

and changing music

and cutting different phrases
out of music and stuff

and bringing them together.

There are no rules
that you can follow,

and that's one of the reasons
I like the independent
documentary film.

We would cut something--
I would cut something--

and Victor would re-cut it,
and Mary might re-cut it.

Then it would come back to me
and I'd cut it again.

We went to lunch and I said,
"What do we do now that
the money's run out?"

- Keep going!
- Otherwise we didn't
have a film.

If you don't have a film,
why did we start in
the first place?

When you see the result,

when you see
the reaction to it,

if you go flash forward
19 years later--

and I have students
who I advise come to my class,

and come to me for advisement
and they'll say...

"Did you do
that film 'Style Wars'?"

I say, "Yeah," and they say,
"Wow, that's one of the great
documentaries."

Even my sons, who don't
usually look at my films,

they like that film.

Tony:
What was the biggest
struggle that you had?

The biggest struggle
was always you, Tony.

( laughing )