Rodney Mullen: Skateboarding’s Einstein Rides Into the Fourth Dimension

Rodney Mullen hadn’t put out a new video in over a decade, since Almost: Round Three dropped in 2004. It appeared the godfather of skateboarding – responsible for nearly the entire vernacular in skateboarding language – had all but vanished from the sport. Truth be told, he could no longer skate. After years of asymmetrical skating, with his left foot forward and right foot back, the Bones Brigade legend suffered an injury-related fusion of his femur and hipbone, rendering him “painfully crippled and unable to contribute,” says Mullen.

Feeling isolated and impotent, Mullen turned his attention to less physically demanding passions – modified Linux and open-source computing. He discovered a viable connection between computer hackers and skateboarders – that both communities thrive on high-risk innovation, while freely sharing their findings for the betterment of the community. Mullen soon came in contact with like-minded innovator Krisztina “Z” Holly – creator of the first TEDx. In 2012, Holly convinced Mullen to speak at TEDx on creativity and innovation.

Mullen quickly became a sought-after lecturer, sharing deeper concepts at TED Talks, Apple, PopTech and the like, presenting dissertations on risk mitigation and resilience. His revelatory expositions on how outside industries could learn from the culture and habits of skateboarders became a sustainable success. “In the skateboarding community, in order to do that which has never been done before, you have to go into the unknown at your own peril,” explains Mullen. 

But while Mullen’s mind thrived in his second act as a tech talker, his soul suffered, and he became relentless in trying to find a way to get back on his board. He took recovery into his own hands, employing a myriad of brutal, self-myofascial release methods – pounding the butt of a screwdriver into his flesh and torqueing his body over fire hydrants. “I didn’t know if I would ever be able to film again,” says Mullen. But one particular evening, while cranking his body inside the wheel well of his car, his femur bone broke free from its eight-year constraint.

With renewed mobility, Mullen set out to test himself – specifically, his concept of an improved “stanceless” form, erasing the asymmetrical posture that had led to his injury. He connected with musician Dhani Harrison (George Harrison’s son) and filmmaker Steven Sebring. The latter had created something very special – a geodesic dome lined with 100 still-frame cameras that shoot in sequence, a scenario designed to capture what Sebring’s calls “fourth dimension.” It was the perfect platform in which Mullen could rediscover his craft and present something new. The result is Liminal, an exquisite and masterful display featuring Mullen flowing through a series of tricks that you simply have to watch to fully appreciate.

Rolling Stone recently visited Mullen at his home in Redondo Beach to preview Liminal and its presentation of the fourth dimension, discuss his intentions with TED Talks and hear of his brotherly bond with musician and fellow skater Ben Harper and their recent trip to the White House.

Liminal is a technical and technological departure from your previous body of work. What does this film represent to you?
It is different from the rest, not the usual traipsing around looking for spots. This film represents whatever I could do in 14 days, within the confines of this small dark place – this little stealth igloo. It’s kind of cool because of my background, you know? That’s what I did – I grew up skating in a garage. But the quality of this film, what it stands for, and for where I am – it’s like a fusion of eras, combining the oldest of freestyle with the newest of what I have to offer now. Even the old stuff looks so modern and decontextualized by the look of the film, and the fact that it’s all in this little black dome. That’s something special to me.