Have you ever thought about developing a relationship with your surf wax? You might have never imagined that could be even remotely possible, but “The Long Goodbye,” a short movie by Patrick Henry Tom, invites us to explore it.

Patrick Henry Tom is a commercial film director and creative director in the advertising industry.

His name is relatively new in the surf movie scene, but his 2025 short titled “The Long Goodbye” introduced simple yet new and fascinating elements into the ever-elitist universe of surf culture.

SurferToday was curious to learn a bit more about who’s behind such an intriguing flick that puts surf wax in the center of any surfer’s memories.

Patrick lives in Redondo Beach and surfs primarily around the South Bay of LA, from Manhattan Beach down to Redondo.

Depending on the swell direction and the sand bars on any given day, he admits to finding a fun peak here and there.

Besides surfing, Tom enjoys spending time with his wife and son, skating occasionally, playing a bit of bass, and watching a lot of films and documentaries.

“I’m a Gen X’er,” he said when asked about his age. Interesting reply, we’d say. But we still have questions for you, sir.

Where does your passion for surfing come from?

Early in my surfing days, I did it to fit in with the cool crowd at school and to try to meet girls. I grew up in San Diego, and it seemed like the natural thing to do.

My older cousins, who I looked up to, surfed, and they were some of the coolest kids in high school. As I got older, I continued to surf to simply stay fit and to be around the culture and vibe of surfing.

But it wasn’t until I was in my late 20s that I started to develop a deeper passion and connection to surfing.

The ocean became an outlet for me to release any tension or negative thoughts. That connection continues to grow and cultivate every time I paddle out for a session.

I love looking at waves even when I’m not in the water. Besides mind surfing, I genuinely appreciate how each wave builds, breaks, and peels differently, with its own energy, flow, and character.

When and why did you start shooting surf movies/videos?

Honestly, I just started. “The Long Goodbye” was an idea that had been stirring around in my mind for a little while, but I just never found the time to make it happen.

As a director in the creative ad business, I tended to simply work on projects for my clients’ brands.

Then, finally, I got off my butt and motivated myself to shoot something for me – something that I wanted to do without committees of approvals.

Which aesthetics and influences are most present in your shooting/editing style?

I am largely inspired by the craft of storytelling.

Because it’s what I do for a living, I always gravitate to how creative or unique a story is told – in how it may have surprised me, made me think about something in a different way, or taught me something.

From action films to epic period films to comedies to documentaries – in every instance, there’s always something I can learn from and be inspired by.

I can appreciate the stylized violence of a Quentin Tarantino film, while loving the symmetry and framing of a Wes Anderson film, and relishing in the humor of a Rob Reiner film.

What has been the reaction to your work?

So far, the reaction has been very positive. Mainly because it’s not a typical surf film. And although the story is surf-related, the concept of letting go and saying goodbye to something you cherish is deeply universal.

How do you describe the state of current surf filmmaking?

I see surf filmmaking today as a blend of cinematic art, raw authenticity, and abridged slices of life. Traditionally, most surf films focus on action, performance, and location.

Now we’re seeing more filmmakers discovering the importance of a story – crafting films that explore more than just waves, but diving in further around the people, cultures, behaviors, and life’s realities that shape surfing today.

Do you feel surf culture is at a stagnant moment in time? And does surf filmmaking portray it and can push it forward?

I think surf culture is experiencing a new renaissance.

Wave pools are bringing surf to people in parts of the world, where previously it was only reserved for those who lived along the coast. And with that comes the culture that surrounds it.

So, as more people have access to waves, we’ll start to see an evolution of surf culture, for good or bad, depending on your views on it.

That being said, surf filmmaking has the power to capture this evolution by spotlighting untold stories and new voices, and exploring new and deeper connections between surfing, its identity, and its transformation.

And if it’s done with intention, it can help push surf culture forward, moving it beyond traditional cliches and groups towards something more inclusive than we’ve ever seen before.

Could you describe the process of creating your own surf movies?

Once I have a story in mind, I’ll sit down and write notes or a rough draft of the idea so I have it on paper.

From there, I’ll start writing a more organized script. Then I’ll walk away from it for a few days and let it percolate, then go back to adjust and refine it.

When I feel good about it, I create a storyboard so I can start visualizing how the story will play out – I’ll think about locations, talent, camera angles and movement, and music.

But in between all of that, I allow room for additional thoughts, ideas, and inspiration that could come into play and help shape the final product.

What were the most challenging conditions you’ve faced while shooting a surf movie?

The weather always has a way of keeping any filmmaker honest. On the day we scheduled to shoot “The Long Goodbye,” there was a pretty thick marine layer covering the South Bay.

So I wasn’t sure if there was going to be enough sun, which was critical to the story. So finding the right sunny moments in between the cloud cover gave us some pauses and delays, but we managed to capture all the scenes we needed.

“The Long Goodbye” is quite poetic and figurative. How did you imagine the story for it? What was the trigger?

As they say in the movies, “The story was inspired by true events.” The talent in the film is really a depiction of me. I have a personal relationship with my wax. I feel it brings me luck.

I like to add layers on my board and naturally see how the wax builds up in certain areas to form textures and patterns that I create.

I know which areas of the wax give me better grip than others. But even more personally, the many layers of wax remind me of great sessions I’ve had at different spots.

Later, I discovered that the great Mark Occhilupo had a “One board, one wax job” theory – thinking that a single wax job becomes part of a board’s identity and performance characteristics.

So you could say this is a little tribute to Occy and all the other surfers out there who love keeping wax on their boards for as long as they can, for whatever their reasons.

Words by Luís MP | Founder of SurferToday.com