The autumn wind is a pirate. Blustering in from sea with a rollicking song he sweeps along swaggering boisterously. His face is weather beaten, he wears a hooded sash with a silver hat about his head... The autumn wind is a Raider, pillaging just for fun.
Lombardi, a certain magic still lingers in the very name. It speaks of duels in the snow and November mud... He remains for many the heart of pro football, pumping hard right now.
Look at a football field. It looks like a big movie screen. This is theatre. Football combines the strategy of chess. It's part ballet. It's part battleground, part playground. We clarify, amplify and glorify the game with our footage, the narration and that music, and in the end create an inspirational piece of footage.
You know how I came up with the name 'Road to the Super Bowl?' It's an homage to the old Bob Hope - Bing Crosby buddy movies - you know, like 'Road to Zanzibar' or 'Road to Morocco.' Can you tell? All I've done my whole life is go to movies.
I think in the NFL knowledge is power, and you try to get the knowledge by whatever means.
How about that? You can hear NFL Films music on everything from 'SpongeBob SquarePants' to 'Deep Throat.'
The importance of an artist is bringing new signs into a language.
My Dad hated his job. He sold overcoats, but he wanted to make movies. He had a failed career working with the Ritz Brothers - they were like the Marx Brothers, only a tier below. I always had a picture in my mind of him in a straw hat.
If you can show something as complicated as two people falling in love with just music and camera angles, well, just think about what you can do with football.
Football is such a great game, but football players are so dull.
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.
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.
There have been nine Super Bowls in New Orleans, and not all of them have brought the best of luck to NFL Films. We got robbed twice there, got food poisoning, and my hotel room was broken into on the day the Bears played the Patriots in January 1986.
The only other human endeavor on which there's more 16-millimeter film than pro football is World War II, and we're going to pass that in 2013.
When we started NFL Films, there were no focus groups, there were no demographic studies, there were no surveys. Every decision that we made, we made with our hearts, not with our heads. And, in the very beginning, we really didn't even have a business plan.
We see the game as art as much as sport. That helped us nurture not only the game's traditions but to develop its mythology: America's Team, The Catch, The Frozen Tundra.
So they talk about heaven, and I don't know what is waiting for me up there. But I can tell you this: Nothing will happen up there that can duplicate my life down here. Nothing. That life cannot be better than the one I've lived down here, the football life. It's been perfect.
I never thought of what I was doing as a way to sell the NFL. I was making movies about a sport that I loved, about players and coaches that I respected. I wanted to convey my love of the game through film. And most artists convey their love through art. And my art and my love was expressed through film.
To me, football is very personal. Even as a kid, I looked at football in dramaturgical terms. It wasn't the score that interested me, it was the struggle.
When we started in the early '60s, football had a little bit of a tradition. But, they didn't have a mythology. And NFL Films, through our music and our scripts and our photography, created a mythology for the sport.
