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 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.

I'm not an expert on how to configure the sport, but I can observe and say that accidents seem to be a part of it. The athletes are incredible, with the courage that they accept the risk of death, paralysis, and brain injury. These are really life-changing, life-threatening injuries, and the risk is extremely high.

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

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.

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.

Some documentaries are made by people who are driven more by one particular story, or have different backgrounds or ambitions, but I'm always looking for projects that let me be the best filmmaker I can be, and to be stretched and grow further.