I love great locations in movies, and I couldn't believe I'd never seen a landfill on screen before. It was the most haunting place.

I remember when the Berlin Wall fell and suddenly intractable problems get solved.

There's a theory of accidents that I studied when I was making a film about nuclear weapons: you can never eliminate accidents, because the measures you introduce to prevent accidents actually produce more accidents. That's certainly true of this sport; you're flying over 40 feet of what might look like snow, but it's hard as ice, it's as hard as pavement. You're doing acrobatic spins and tricks, 40 feet above pavement, essentially. There's been more accidents since, and there are going to continue to be more accidents, that's the nature of the sport.

I love my work, apart from when it's driving me crazy. But I get to be interested in stuff and think like a filmmaker as I'm buzzing about the world and then see an opportunity to make a film, and then make it happen.

My main trick is to work with amazing people. It's a long and twisty journey and you need people that really are amazing and have this rare gift of honesty and courage and really open up.

I find titles the hardest thing. I was worried that 'Waste Land' was too much of a downer. For me, 'The Crash Reel' confronts what the film is about: it's not just about the reality of a crash, it's about the extremity we all face, and what happens when life crashes on you.

I've always been a fiction filmmaker and I've been heading in the direction of fiction filmmaking, doing documentaries along the way.