Snowboard cinematography can be a tough business, and few people know the behind-the-scenes work involved in producing even a 30-minute film. Shooting on location in hard-to-reach areas, lugging around a 50-pound pack in inclement weather and variable terrain can be a true test of one’s determination. Add the creative requirements, editing skills, and business legalities, and what you have is a full-time, "real" job. If you’ve ever seen any of the movies in the Whiskey series–full of hell-raising debauchery–you may find it hard to place them in the context of any kind of a job. But somewhere behind the madness of the Whiskey series, are some very creative minds working hard to put it all together.

One of the people leading the charge is all-time loser, Sean Kearns. Along with his partner, tough-guy Sean Johnson, they have built a solid reputation as filmmakers in the snowboard industry. What started out as bottle-breaking, ass-kicking insanity has since refined into bottle-breaking, ass-kicking insanity. The one addition to the mix is now they have some of the world’s best riders eager to get a part in their movies, and they finally figured out how to work their cameras. Their new release, titled The Party’s Over, will be coming out this fall, and you should definitely check it out.

Tell me a little about your new movie.

Oh, uhh, well, it’s about this clown, right ... and he drinks, and like Johnson’s gonna be the clown, eh! Actually it’s gonna be Whiskey Productions presents The Party’s Over. The reason it’s called that is because the party is f–king over. F–k, I don’t know, man, it’s just a bunch of shit.

Oh yeah, right, like a bunch of guys making a hundred-grand a year to jump off ten-foot cliffs and do methods and tailgrabs–yeah, it’s awesome. The pro snowboarders of today are a f–kin’ joke!

I think it’s because they’re disillusioned in thinking we’re fun to hang out and party with, but we’re really just a bunch of bitter shreds.

We run into it all the time, but me and Sean spend way too much time working and trying to make a good movie to ever succumb to some f–kin’ weasely snowboard filmer who came along to just make some f–kin’ loot. We wouldn’t even think for an inkling of a second to give him an ounce of credibility. I wouldn’t like to imagine what would happen if someone told us we couldn’t film because they have some exclusive on this spot or that guy, or f–kin’ whatever.

If someone wants to get into it with us, it’s a no-win situation, because when it comes right down to it, me and Johnson do not give a f–k about anything, and we work really hard. If someone threatens what we work for ... that sounds like such a f–king hero thing to say, but whatever.

I think there are basically three movies that have it covered. Mack Dawg has the technical, skate-influenced movie; the Hatchetts have the extreme stuff covered. The new-school rider would buy Mack Dawg’s movie, the extreme guy would buy Hatchett’s.

The dirtball alcoholic skateboarder who just wants to watch 30 minutes of whatever and doesn’t necessarily want to see a snowboarding movie, but also wants to be entertained. That’s who would buy our movie. We kind of fill the void for those guys. I’m sure there are people who buy their movies and think ours are just hunks of shit. Which is whatever.

[Sarcastically] I’m not in it for the money, man. I just got a big heart, and I’m doing it for all my bros.

We have as much right as anyone. Dawger has done it from the beginning, and as far as I’m concerned he has the most right, if that’s what it comes down to. And whatever about the Hatchetts.

As far as people wanting to film with us, they know that we snowboarded from the beginning, and we were there when no one was making any f–king money and we never did it for money. We still don’t make money, so it’s not like we’d know what that’s like. Whatever ... blow my dog.