Christian Haller set out to create a movie this season that centers on the viewers’ perspective, to give them a closer feeling of snowboarding. From his vision, GLUE, was born. The film provides an eccentric, artistic view of snowboarding, that’s evocative and engaging, and it’s available in its entirety above.
We reached out to Hitsch for his take on this film.
What was the main idea behind your project, GLUE?
The main idea behind GLUE was to portray the feeling of snowboarding in an authentic visual way. Therefore, we filmed most of the footage through follow cam with a legit camera. To me each part of the film represents a different feeling/mood. Sometimes you see two-three riders in one frame just cruising a slope, having fun. The other time you see a tight cropped slow-mo part to really analyze each movement of the rider. Then there’s kind of a mix part where tricks are involved as well, we just wanted to make sure to be really close to the rider to make it sort of more personal. It’s not about a black dot flying through the air but really having a close look at what’s happening right in front of the filmers lens.
Where was it filmed primarily?
We filmed a good amount of time in Switzerland, Laax for example but also travelled to Japan and B.C. to get some diversity. I was blown away by the terrain in B.C!
What was the influence for the name, GLUE?
There are a few reasons for the name GLUE. I like short names and I think the letters look good next to each other, to me it’s a good looking name. But it’s also sort of a joke since our main filmer, Stephan Maurer was following us the whole season and we kind of felt glued to each other since it was always about that follow/leader camera perspective.
What segments of this movie are you most stoked on, why?
To me they are all kind of different, so it’s hard to tell. I really like this one line in Japan during night riding. I can’t believe we did not get any snow on the lens while filming that take. I also like it because it really represents what it was like, it’s kind of raw, quiet and somehow spectacular but then it’s also just cruising a good amount of pow during the night having to time of my life.
What do you hope the viewer gets out of this film?
I hope the viewer understands our feeling of snowboarding better and might be able to see himself doing this. I feel like it’s important these days that the viewer understands what he’s looking at. I don’t want to be some sort of stunt man and do crazy things so people admire me for that. I think snowboarding is fascinating and can be really good looking. To me it’s still really unique and that was what we were aiming for. We aimed to translate snowboarding so people feel like dancing on the snow for themselves.
What was the hardest part about making this movie?
The whole follow camera perspective is a lot of effort, especially in the backcountry. There are just more factors coming into play that can go wrong or influence the shot. You have to imagine that the rider wants a diverse playful terrain to let his riding do the talking. The filmer instead wants a plain smooth surface so he focus on filming as much as possible while he is following the pictured rider. Somehow these two things don’t really match, so you need to find the lines that work, spots that look good and are fun to ride. I don’t know how many times we had a good shot but the lens was full of snow or how many times we crashed into each other. It’s just a total different process of filming and working together.
What are you personal highlights from making this movie?
I’m just really happy to be able to do this film and give it a try. I have a really talented crew that works passionately for this and sort of do me a favor. All the people involved are good friends of mine, which makes it a really fun process.
What are your plans for this season?
I’ll still do some comps but will hopefully work on another project. No precise plans yet though. I hope to spend a good amount of time in the backcountry. That’s the most challenging for me right now.
DAVID BERTSCHINGER KARG