: Of all the videos you made over the years which one do you feel was your best and why?

DP: I think that my CLOSE CALLS video that I made in 1986 was very significant. Still is. It dissects the soul and essence of NHRA's #1 racer of all time, Big Daddy Don Garlits and his wife, Pat. He forgot the camera was there and got comfortable enough to open up in areas no one was aware of. 

: Why can't ESPN or seemingly anyone sell any significant numbers of drag racing DVDs?

DP: YouTube, Netflix, DirecTV and OnDemand killed the entire DVD business, drag DVDs included. Who wants to pay for a product that they can get for free? Wanna see the digs? Go to YouTube for a month and you will see everything. There is an overkill of TV entertainment, drag racing included, available to a nation of clickers who rarely watch DVDs anymore.

: What in your opinion is the major problem in bringing drag racing to the TV screen? How do you fix the problem?

DP: By definition, TV is an entertainment medium. You have to entertain to keep viewer interest no matter what the subject. If you don't, you're clicked away. So the rhetorical question is, is drag racing on TV entertaining? This was a major goal for us. To pursue a path to show the sport as fans witness it live. It would take six years to develop the combinations that worked.

: What did you do with the cameras and sound that made your DVDs so popular with fans?

Part of the original Main Event Video crew.

DP: As E-town's cameramen we shot lots of nitro funny cars over many years. This led to the development of unique camera angles Chris Martin, your late editor-at-large, dubbed "swoopy shots." I knew that static shots just didn't do it, but up close, invasive, and motion shots did -- unique shots and angles that pulled the viewer into the action. Whether it was running alongside fuel cars on burnouts or sticking the lens inches from the driver's eyes, the result was images that fans wanted to see and don't see at the races. One media critic put it: "taking you where your admission pass won't".

It was no different than a baseball game. Live, you have one point of view. TV gives you many. So we kept sticking the lens where it never was stuck before.

And it was critical to record the various dynamic nitro sounds. NITRO WARRIORS introduced many firsts for drag racing TV: Crew chiefs interviewed. (Dale Armstrong and Bernie Fedderly), full burnouts, full dry hops, live trackside announcing by Jon "Thunderlungs" Lundberg and Big Daddy, 4-track stereo sound, up-close camera angles, motion shots blended with rock blues music. The show smoked the TV set. 

: Do you believe that a "live" broadcast of professional drag racing is one of the ways to boost ratings?

DP: No! A scripted and edited program has a better chance of success. Six cameras shoot everything. And like a movie, editing is what produces the product. You can select the best shots, apply music in the right places, insert interviews that move the story, and so forth.

Shooting a race for live broadcast is so frenzied it can't be done any different than the way it's been done before because you gotta get it aired pronto.