As his Instagram account brimming with quite the unique combo of tech skills and creativity on and off the board (like they all say) can demonstrate to the layman, Dino Coce has been ripping the streets of Split, Croatia for a long time; and, while his name has been circulating beyond his home region over the yesteryear - after his part in Raul Žgomba's "TABULA RASA" - his own, longtime activity as a filmmaker putting together his personal video project: "FINTA" had mostly remained a secret to everyone but the most initiated and local. In fact, one would have had to be there (and sober) in person at the 2017 edition of the Vladimir Film Festival to catch the public broadcasting of the trailer - but on those who somehow were, it left an impression like no other, foreshadowing Michel Gondry-esque practical effects and a generally inventive editing direction at the service of equally thoughtful, and honest, street skateboarding mostly captured through a simple Canon XM-2.
Fast forward to now, twenty twenty and Dino finally completed "FINTA", after over half a decade of work and just in time for what should have been the tenth Vladimir (turned edition nine-and-a-half due to the pandemic). The corresponding DVD and D.I.Y. screen-printed merch is available right here, right now and as for a sneak preview, today, LIVE is presenting a section of the film dedicated to no one in particular but a specific location in Split: the mishmash of the historic Diocletian’s Palace and Strossmayer Park aka. Đardin, both of which Dino honored with his own reinterpretation all the while openly embracing influences by the likes of Colin Read. Needless to say, the questions for the following interview spontaneously raised themselves...
We already warned you whilst presenting "SUGUS": "GRRRND ZERO" is the new project by Julien Paccard, already the author of "COLOR FOOLS" which LIVE broadcasted half a decade ago, no less. Now, we're talking about an audiovisual production in the most literal sense of the term as in addition to the skate footage, the soundtrack is also home-made by Tommy Buder, and the multimedia aspect of the whole deal also takes a new dimension in how the focus is over the patient documentation of the textures skateboarders use and abuse, over an emphasis on individual prowess with little room for context. In every clip (because yes, this is a series), everybody just skates together - with the type of surface glided over as one common denominator.
