The famous Grateful Dead line, “nothing left to do but smile, smile, smile,” feels abundant moving in the mountains. It’s also the energy skier Chris Benchetler channels in his newest sport film, “Mountains of the Moon,” featuring skiing, mountain biking and climbing. It’s all set to the music of the world’s most famous jam band. The screenings at the Center for the Arts featured an immersive art installation in the lobby and a live scoring of the movie by guitarist Ross James and members of the Terrapin Family Band, a revolving lineup of musicians sometimes led by late Grateful Dead co-founder and bassist, Phil Lesh. Bentchetler and James discussed their connections with members of the Grateful Dead, the underlying artistic vision behind backcountry skiing, and how the film evolved into a multi-media, visual and auditory experience
This interview has been edited for length and clarity. -Ed.
Support for this arts and cultural coverage comes from the Wyoming Arts Council
Evan Ballew: What was the original spark behind this ski film built around the music of the Grateful Dead?
Chris Bentchetler: The spark is art for sure. Obviously the music plays a massive role but I tried to create an extension of me that brought in all the layers. We dive into mycology and it’s narrated by Paul Stamets. I did a previous film called “Fire on the Mountain” where Bill Walton [pro basketball player and close Grateful Dead Fan. – Ed.] narrated it. I was working with Bill for this film and we sadly lost Bill during this process, [this is to] honor him. We should honor [musicians] Bob [Weir] and Phil [Lesh] and everyone really, but the music was a huge spark and inspiration that set me on this journey. I love the Dead, listened to them a lot, and the way I ski is very improvisational. It’s the same way they play music. And the way that I paint is moving colors and compositions, so the ability to make something fully at night and control the sun and paint landscapes with colors and composition and textures and then bring in mycology and how everything is connected. I can go on and on.
EB: Do you remember the first time that you heard the Grateful Dead?
CB: The very first time, no. My father was a classic rock enthusiast and so it was certainly part of his soundtrack. He was not a Deadhead, he was more Stones, Led Zeppelin, Neil Young, those things which are still a big part of my life. I call him an uncle, he’s a dear friend, but he left home at 16 and went on the road with the Dead. He’s in his 60s now, so for many, many years. And once he started becoming a regular figure in my life, it was just always on in his car and it was a slow burn.
Ross James: My story’s a little different. I grew up not really digging the Grateful Dead a whole lot. I was more into the Stones and Neil Young and punk rock and country music. And then the first time I really heard it, really listened to it, was when I had to learn the songs playing with Phil at Terrapin [Crossroads]. And since then, every time I hear [the music], it hits me in a different way and even harder than before. So, slow burn for me too.
EB: Chris, you’ve balanced being a skier with being an artist. How do those two sides of your life feed into each other when you’re making a project like this one?
CB: Luckily this project is an art project, so they feed each other really well. Skiing is an artwork form. I ski primarily in the backcountry. The mountain is often referred to as a blank canvas. You can turn wherever you want, jump wherever you want, paint whatever lines down the mountain that you want. And in my studio it’s very much the same. I don’t ever have a real plan. When I go into the studio, I move around colors and compositions and with this film, I surrounded myself with a team of people that I’ve built over 20 years and trust implicitly. They’re all artists in their own rights – the lighting guys, the camera operators, everyone has a creative vision. I try to keep a 30,000-foot view or if I’m orchestrating, I’m the lead orchestrator. And just trying to make sure that we lean into the artistry of it all and focus on everything – every aspect, not just the tricks that are being performed or the sports specifically, but immersing ourselves in these environments, in the natural world, which shapes my skiing and my art.
RJ: It’s cool hearing you talk about skiing and comparing it, or pointing out similarities to the Dead music. There’s so many parallels in everything, and I learned that over the last 15 years and I’ve learned it more every day, like things Phil used to say, ‘There’s no mistakes, only opportunities. ‘Never play the same note once’ was one of my favorite things that he said. Just be in the moment and it sounds like that’s kind of what you take to both skiing and art. It makes sense that this is all so connected.
EB: Chris, could you tell me a little bit about how the connection with Mickey Hart [Grateful Dead percussionist] came about for this project?
CB: Yes, it’s all accredited to Bill Walton, another beautiful soul in my life. He narrated the first film I did back in 2019 and he invited Mickey to our world premiere of that film which was in New York at the world of McIntosh. They had a really cool space in Soho where we premiered the film. Bill came and invited Mickey and his wife, Carol. The next day, Dead & Company were playing at Nassau Coliseum, and the next day happened to be Bill’s birthday, so he had a bunch of NBA friends and Dead friends that all came to this showing. Mickey and I chatted and hit it off, we went to the show together, and I built a very meaningful relationship with Bill, that built into something for ESPN. Mickey got involved then they announced their final tour for 2023, before they announced in 2022, Mickey reached out to use footage from “Fire on the Mountain” for the final tour for “Drums and Space.” I had been conceptualizing, turning the lights back on and making another film, but that was around the time I had a wife with cancer and lots of other things that were my primary focus. And so I just put making a film on the back burner and then the universe aligned.
EB: Is there anything that folks coming should expect or perhaps not expect?
CB: Come with an open mind, don’t have too many expectations, but know that you’re coming to experience art for the sake of art. And we’re working with [creative agency] Treatment, working with Ross and his band that he put together, which is an unbelievable group of musicians and being able to live score the Dead is a huge honor. Honoring their legacy has been a massive focus for this entire project. Being able to play those tunes in the way that they’re going to play them with members that have all played with Bobby and Phil and those guys is another “pinch me” moment.
Support for this arts and cultural coverage comes from the Wyoming Arts Council.
