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

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 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.

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.

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

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