American - Director | October 2, 1942 - September 18, 2012
We would get 20 different angles and then cut them all together. That's what I called it at the time - the 'cubistic' treatment of shooting football. It was the same thing Picasso did except we did it with a football play. It's taking a single image and looking at it from multiple perspectives.
Steve Sabol
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I remember when we were making 'They Call It Pro Football,' which was our 'Citizen Kane.' The first line is 'It starts with a whistle and ends with a gun.'
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When my father bid $5,000 for the 1962 Championship Game, that was a huge amount. It was double the bid the year before. Pete Rozelle was flabbergasted. Who was this guy who was willing to spend so much money on what seemed like relatively worthless rights to the NFL Championship Game?
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I was kicked out of school one year for streaking.
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I don't go to games as much as I used to because of the NFL's Sunday Ticket. So I'll watch the games, take notes.
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How about that? You can hear NFL Films music on everything from 'SpongeBob SquarePants' to 'Deep Throat.'
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Covering a Super Bowl is actually one of the easiest things we do because our most experienced people are there. We'll have 25,000 feet of film and there's no way you're going to miss anything.
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Football is a sport of emotions, and we have to capture that in our films.
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All this technology has not changed the way NFL Films does business and our process. Yes, with one touch of a button now you reach millions of people but it is still the same approach that my father and I started out with.
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NFL Films has had one continuous, creative vision for 47 years. These are timeless things; timeless stories that we capture just like people go back and read Greek mythology.
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