The Crap Show series needs no introduction. Based and filmed entirely around the Laax snowpark, the renowned series seems unstoppable. Full of creativity, banger shots, legends and locals, every edit offers surprises and high-tech filming. The ingredients for success are mixed by the mastermind behind the project: Lukas Rösli aka “Blume”. Known for his magical skills behind the camera, he took a day off from his heavy backpack to show us his stylish skills on the board.

Who is Blume?

Originally you were not a local in Laax, did you grow up shredding and filming before landing in the Laax world?
The long path to snowboarding began in my home resort, Bergün. I used to study at the sports school in Scuol; that was a crucial time because I had the chance to meet up with some snowboarders. Since I was a little rebel and not a perfect student, I headed back to Bergün and snowboarded as much as possible. I started filming and editing a few things with some locals at resorts near home. Around the same time, at the age of 18, I started building up the snowpark for the Bergün/Darlux resort. In 2009, I moved out to Davos, chasing the shapers’ dream. The resort was not focused on snowboarding at that time so I left my position pretty quickly.
During the same period, I happened to get in touch and ride with the Sharpshootaz crew, who brought me to Laax several times. The main connection was Joos Caviezel, who convinced me to join him in Laax. For the first two seasons, we had to split our time between shaping and filming. At some point, I decided that filming was becoming more important, so I fully focused on the camera and became a freelance videographer.

Your work behind the camera shows pure dedication to the sport. When did you fall in love with the digital world?
It was a long time ago; I think everything started around 12 years ago. I used to collect tons of footage with my crew, but then someone has to edit all those shots. I decided to take control by working on our visuals. That is when I started cropping and editing those lost clips in order to create something bigger.

Do you ever miss the old times as a rider?
Yes and no, because I am basically always doing what I love: snowboarding. Even though things have changed over the seasons and I have moved from being in front of to hiding behind the camera. Of course, when we are out filming powder, I would really love to go deep with my board and leave the camera in my backpack. But to be honest, what is important to me is getting home and checking the shots. When I am happy with my work, I am more than stoked to have spent time filming outside! That is my passion.

Let’s talk about the roots of the series: How was the idea behind the Crap Show born?
Basically, it started when I was watching the Bear Mountain show Sunday in the Park. I was a big fan back then. I’ve watched since the first episode in 2008 and got inspired. In 2009, when I met up with Joos Caviezel, the snowpark at Laax was about to build up the first ever p60. To us, it was the perfect chance to start filming and promoting the whole scene up there. The original idea of the Crap Show was to actually show/present the Crap Sogn Gion. Joos was a huge contributor who really believed in this project and pushed it.
In the end, the Crap Show was our little baby that has been growing since the first episode to what is right now.

The edits are famous for their visual approach to snowboarding. Every clip fits perfectly into the final result. How do you imagine every episode?
I don’t imagine it. I always try to do something new and different. It is also about my personal progression and creativity. If I would be keeping the same structure for each episode, editing would be much easier. But I prefer to challenge myself and film a variety of scenes in every episode. To get inspired, I watch tons of snowboarding and other edits. I like collecting what impresses me in these videos and reimagining some of these scenes from a different point of view. My idea is not about copying any other productions — it’s about pushing the beauty of snowboarding to the big screen, focusing on filming, and good and stylish tricks. For me, style is the key to a good edit.

Music plays a central role; without its support videos would not be the same. What is the process for finding the perfect song?
Most of time ideas come up while I am filming on the slopes. It is a really hard process; you can actually spend a whole day digging on the web and looking for the perfect song without any success. The music has to match what I have filmed.
Hip hop music was what I was listening to most back in the day, and it still inspires me, and makes things a bit easier for some shots. At the end, it is a matter of the match between shots and music. I think every snowboard clips lives with its soundtrack.

In the past few years, more and more young riders have been given the chance to appear in the edits. A few of them are now filming with major production companies around the world. How do you know when they are ready to be launched into the big world of snowboarding movies?
I admit that I have a good eye for snowboarding. I have been riding for almost 25 years. In some cases, my experience helps me find new talent. Everything is up to the riders. They decide how much they want to progress and when they feel ready to take the big step toward big movie productions. In a way, I prepare those kids for what filming really is — how it works behind and in front of the camera. Their style and different personalities are the most important things to me. There is a gap between being a good snowboarder for filming and just a normal one.

What is the best part about shooting with so many young minds?
There is a lot of energy. I never feel old with them. That’s what I like about snowboarding: never growing up! Being surrounded by so many happy riders keeps me smiling and inspired.

Over the seasons, tons of riders have been clipped during the show. The most remarkable episode you have loved the most?
I cannot pick out a single episode. I might think back to season one, episode number six, the first show that was published by Transworld magazine. That was a big thing for all of us. At the beginning it was really hard to be accepted by the boardsports community and magazines. Now that the Crap Show is well recognized, it has become really fun to produce it for such a big audience.
In general, seasons two and three had several really good episodes. One of the funniest intros was the one we filmed with James Niederberger and the infamous 20 bucks. The day before shooting for the Crap Show, I was hanging on the chairlift with Jan Stöckli. While we were talking he lost a 20 CHF banknote down next to the slopes. The day after shooting, we rode down with James and found the money. We clipped everything and put it as the intro. Good times! For this season, personally, I loved the second one so far.

My personal playlist:
The Crap Show #8
The Crap Show #3
The Crap Show #19
The Crap Show #14
The Crap Show #29

Worst times as a filmer?
– waiting for the light
– carrying heavy stuff around

Best time as a filmer?
– being in the backcountry
– landing on the first try

Best snowboard movies:
The TB Series…
TB 7 was my first movie I got on VHS (Totally Board from Standard Films)
Robotfood trilogy- Afterbang, Lame, Afterlame.
Love/Hate and Burning Bridges

Blume’s Special Thanks:
I just wanna say thanks to LAAX, especially to Roger Heid. Laax is the place to be for snowboarding. Snowboarding is real and alive. Go snowboarding and do not take it too seriously!

Entertain yourself with the latest episode of the Crap Show
P60 all day, Nicki & Ale

Pictures: Nicki Antognini
Words: Alessandro Pellanda
Location: Snowpark Laax, Switzerland
Thanks to: Blume, Laax, SNowpark Laax