Since the summer of 2005 I’ve posted countless scoops about both movies and television that have been confirmed by the people involved.
The Big Picture Skywalkers: A Love Story might not be related to Star Wars, but viewers will find inspired shots of perilous acts and stunts just as thrilling in Jeff Zimbalist's new documentary.
Main Genre Documentary Release Date January 18, 2024 Director Jeff Zimbalist Cast Angela Nikolau , Ivan Beerkus Writers Jeff Zimbalist JEFF ZIMBALIST: The first time I saw the IMAX version of this movie was in this very room. I was sitting in that chair there. I hadn't felt vertigo in six and a half years working on this film. And then we watched it here, and I had to look away multiple times. It all came back.
ZIMBALIST: I mean, these guys are topping 2000 ft buildings. I was probably going up a few 100 ft. For me, it wasn't about the competition to beat other people to be the first one in the highest building. I didn't even know that people were doing it. I didn't even know it had a name. We just called it trespassing. To me, it was a way of sort of escaping the spaces of the culture bubble where they tell you how to behave, and you're expected to conform.
ZIMBALIST: Yeah, all the time. I mean, we said up front don't do anything for the cameras that you wouldn't do otherwise. But having done this with other films, subconsciously, there's still a motivation to impress the filmmakers or to do something that you think the camera might want so that improves your film.
ZIMBALIST: Yeah, we had 60-plus hours of archival that they shot themselves. And then we had over 200 hours of footage that we shot, which is great. We had a nine-and-a-half-month edit, so we had time to go through everything and do a lot of trial and error, and a lot of the time, we were editing while we were shooting as well, because we're figuring out the story in the edit.
ZIMBALIST: Luckily, those are all, you know, out there in the world and have been seen millions of times. So, I don't remember if we licensed those or if they were fair use. In terms of licensing, the real challenge is that we were never gonna get location releases from any of these buildings. And luckily, that was a conversation that Tamir and I had really early on, like years ago.
ZIMBALIST: They're evolving. I mean, she does a lot of painting, and he makes music, and I think they roofs are their love — that's like that's the essence for them, and it'll always be a part of what they do, but they wanna be able to explore more imaginative ways of incorporating roof topping into other forms of art rather than having to risk their life to, to make ends meet. So, they love the idea of making films.
ZIMBALIST: Yeah, the drone that he went up to Merdeka with is a smaller drone. Like we tested the capacity of that on that big pull out shot when they first get to the top of the building. Unfortunately, our drones wouldn't go high enough. We were on a roof nearby, and we couldn't get our drones high enough to capture.
He said, "There's this scene where I'm playing a pickup soccer match in Thailand, and I scored like five goals in that match, and you're showing some other guy score a goal." And I was like, "If that's the extent of your notes, Ivan, we could definitely put that goal in, and we're gonna be fine." So, yeah, since then, they've watched a lot of feature documentaries, we've converted them.
ZIMBALIST: Yeah, in some ways, it's my preference. I mean, if you can find finance that's willing to wait with you until a natural climax, a natural finish line occurs, that's very rare.
Angela talks about the flier and the catcher in the film and she's referring to her and Ivan. But we also talk about ourselves in relation to them as flier and catcher. And we felt like we were very much the catcher throughout this relationship. They would push further. We would often try to reel them back and say that's a crazy idea.
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