Inevitably it's always a set-up; you go somewhere, bring your own expectations, you think you have an idea of what you want to do but then the minute you get there everything changes, so trying to work with people who are able to ride in a lot of different conditions, sub-par conditions, people who are able to make the most of any situation.

I knew I wanted to shoot in Japan early on. Years ago, we did a Japan segment in "The Community Project," and at the time I felt it was one of the better Japan segments ever captured.

We pretty much had crazy weather, historically speaking, in every location we filmed [The Fourth Phase]. Nothing has been normal in the past three years.

We were looking at weather and our relationships with weather. It goes to a few other places, and I don't want to spoil anything, so I won't go into it, but it's about a willingness to expose oneself a little bit more and share something openly and honestly. It's more than just landing tricks. Moving forward, this is just another stepping stone.

The whole goal with this thing [Ultra Natural] from the start was to really let rider's style define them and their line choice.

Sometimes storms come through with wind and blow the features off or sometimes they come in heavy and grow the features to the point where we have to shovel them off again. Leading up to the window for our event we try to get everything lined up and safe for the riders.

It’s not the destination but the adventure along the way.