Extreme sports tricks are becoming increasingly complex, the courses ever more challenging and crashes all too common.

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 don't believe in objectivity. I observe the observer's paradox every moment I'm filming. Your presence is changing everything; there's no mistaking it. And you have a responsibility.

I love making fiction films as well as nonfiction ones, and hope to keep challenging myself to make better and better work.

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

I think we've reached that point where we understand medically what we are doing to ourselves with these sports. In football, it's kind of hard to get the access that you want for the story and, of course, it's very long-term: the effects of the repeat concussions really don't hit until decades afterwards, whereas the traumatic injuries in extreme sports are very immediate. I realized Traumatic Brain Injury was a fascinating and important story that not had been told very much. I wanted to know more.

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.