My approach, for no initial reasoning, tends to tap into an emotional side previously (for the most part) unshown in skating.The obsession, the struggle, the felt euphoria of landing a trick for the first time; these things have ALWAYS been a part of what it's like to be a skateboarder, it's just wasn't often translated well on film. For the most part, if the shot is a moving one (and they often are), it's because I've got my board under my feet. Kilian Martin and I had just wrapped up a two week long shoot throughout the UK, were out grabbing Sushi in LA and had a "well....next? For whatever reason we ended up spending the next few hours scouring images of India and becoming obsessed.

Looking at Brett Novak's work, the most astonishing thing is the beauty of his cinematic gaze.

His videos act both as a reflection of and a medium between capturing the experience of skateboarding and different places and their spatial potential.

Since you're at the mercy of the moment, and especially the location (we basically never have an area "reserved"), you run into normal day life.

People walking in the background, a poster on the wall, garbage on the street, a plane going overhead.

With all of this it's no surprise that most skate media has come out of here, but skateboarding as a whole is absolutely global.

Every corner of the earth in the strangest places you would NEVER expect to find a board - SOMEONE has one.

Can you tell me more about the mix of these different disciplines? We tend to only be shunned by any evidence of our presence from any outsider.

BN: Kay, a brilliant and accomplished artist in his own right, approached me a few years ago with the project in mind. Yelled at for grinding up a ledge, leaving marks on a bank, etc.

JL: One of the fundamental objectives of art is to communicate things, to find the essence of the beauty.