From the creators of The Art of Flight, Red Bull Media House presents The Fourth Phase, a snowboarding epic starring iconic athlete Travis Rice.

A gifted innovator, Rice has always held the keys to what’s possible, yet he still seeks more. While exploring the untapped backcountry of his native Wyoming with mentor Bryan Iguchi, Rice plots a 16,000-mile course to follow the hydrological cycle around the northern Pacific, where snow and ice create dreamlike landscapes on the towering mountains above.
On his journey, Rice is joined by several of snowboarding’s most innovative riders, including Mark Landvik, Eric Jackson, Bryan Iguchi, Pat Moore, Mikkel Bang, Jeremy Jones, Victor de Le Rue, Ben Ferguson and more.
From the Japanese Alps to the volcanoes of Russia and a spectacularly remote area of Alaska, the team is committed to enduring all that comes with immersing themselves in nature’s cycle. But the stakes are high and Rice knows that he’ll be at the mercy of his own decision-making.

Scored by Kishi Bashi, shot entirely in 4K ultra HD and optimized for Dolby Atmos and Dolby Vision, The Fourth Phase carves a fresh path, using an artistic blend of action, story and cinematography to bring this stunning feature to life. A film for anyone fascinated by the possibilities of adventure, of the natural world — of life.

Global premiere is set on October 2, 2016, 9pm only on Red Bull TV. Available on sale from October 3.

In 2011, The Art of Flight became the most commercially successful action sports film of the decade. What can we expect from your latest film?
In The Fourth Phase we’re bringing all of our favorite aspects from previous movies and apply them to this bigger, more intentional adventure. At its essence, it is a movie about water and about immersion, sitting on the backdrop of snow- boarding.

What was it that intrigued you about the journey?
Well, I think all starts with the water; this magical substance that journeys around the planet and which is responsible for supporting life, as well as the medium that we play in, and dedicate our way of life to. The cycle that is responsible for moving this substance around and how our weather works here in North America is what I wanted to better understand. So we set out to attempt to follow it downstream.

Which locations did you visit during the production and what was special about them?
In the beginning of making this film, I set out with the goal of not riding anything that we have ever ridden before. That turned out to be quite an undertaking, especially in my own backyard in Wyoming, as it involved going deeper into the backcountry and accessing terrain that was much harder to travel to. We spent a huge amount of effort in the Japanese Alps, an area known as the snowiest place on the planet, with some of the largest mountains in Japan. The deciduous forests and their leafiess trees really provide an exotic feel to riding deep in winter.
To the Northeast you have the mysterious Russian peninsula of Kamchatka that is the most volcanic region on the planet surrounded by frigid ice covered ocean. Then to the east, like the wind and currents travel, lies Alaska with her glacial cut endless rows of mountain peaks. There with the right conditions, exists the best riding potential on the planet.

How did the crew manage to shoot in these remote locations?
We have one of the most incredible, insane, veteran and professional teams in snowboarding, hand down. The film’s bold vision could not have been approachable if we didn’t have this crew of lmmakers that we were lucky to work with. (In many ways, this film is more of a long year project in the making, as it took all of our previous efforts to get to the point where we were ready to take on what this film became.)
The only way that the crew is able to shoot these locations is their sheer determination to make it happen. Most of the professional camera equipment that we used in this film is not designed to work in the environments where we ride. It takes a lot of experience, skill and know-how, mixed with some great problem solving. Literally, everyone on this project gave 110%.

What was your personal highlight of shooting The Fourth Phase?
There are so many years of hard work to look at in hindsight. But my personal highlight – if I had to sum it up – is that all of our crew and all the riders that came out with us, operating in some pretty dangerous areas made it out. We didn’t have any major injuries over the course of the four years we spent on this project.
Another highlight was getting up into the alpine in Japan. It’s not only a really challenging place to go up into, it’s also such a waiting game. You can go through the month of January without being on the mountain once, because Japan gets so much snow that the avalanche conditions are pretty high and stability low. The fact that we were able to ride the type of terrain that we do is a testament to everyone in the team taking the time to study the region and waiting for the right group and conditions to go up high and operate.
There are so many other highlights, but another stand out moment is riding this line that I have been trying to get for years, it is an arch in Wyoming that I call “Moby Dick‘s Blow Hole”. We spent a couple of years waiting to ride that particular line with the type of snow that it needed to manage to drop into the face over a cliffed out exposure, and traverse over into the panel of the actual blowhole. It’s kind of a technical line, and to get the chance to ride it – and more importantly to grease it the rst time – was defnitely a highlight. It was a great day.

What did a day in production look like?
We plan a normal shoot day the night before, once we’d review weather and snow stability. A producer sends out detailed information about where we’re going, the call time, gear that we need, and the general plan. We get up a couple of hours before the sun rises, to get a quick breakfast, pack a lunch, get prepared to be out in the backcountry all day. In the winter, days are short, and we have to take full advantage of the days that we are able to actually go out and operate.
In the eld, everyone has their own task, their own job. That‘s one of the dynamic aspects of our production team. It really is a scenario where you are only as strong as your weakest link. Everyone prepares the gear that we need at the disclosed location. Then it‘s a journey to make it out into the eld and get to our riding location, which can be as easy as riding a chair lift and traversing, or taking a helicopter out, or as hard as hiking or snowmobiling in the dark for hours.
Often times we found ourselves shooting in the morning when the sun is really low in the sky, which is ideal for shooting in snow – unless we are filming somewhere like Japan’s trees. After taking advantage of the morning light, we spend the rest of the day preparing a feature or trying to find what we are going to ride the following day.

There are so many highlights, one stand-out moment is riding an arch in Wyoming that I call Moby Dick's Blowhole: we waited a couple of years to ride that particular line with the type of snow needed

Travis Rice

“The Fourth Phase of Water” is a concept by Professor Gerald Pollack. How does this relate to the film?
I stumbled upon the work of Dr. Pollack and read about his research, watched his TED Talk, and was pretty inspired with his approach in redefining such a basic element, water. I was inspired by his theory of “The Fourth Phase of Water”, because ultimately it is a blaring example that there truly is so much more to seek, learn and understand. And the film ultimately is about water. I really wanted to take a closer look at our relationship with water, specifically me and some of my peers’ way of life revolving around the hydrological cycle. And as Iguchi states, “This process we follow, this cycle we ride”. Not only was I intrigued by the work of Dr. Pollack, but I also feel that his theory is a bit of a metaphor, since it states that with energetic input water changes states.
We wanted to immerse ourselves in our surroundings and see how our energetic input influenced the situations that we were seeking. And of course, the bonus is that it‘s our fourth film: The Community Project, That’s It That’s All, The Art of Flight, and now The Fourth Phase.

You bring some of the world’s best snowboarders on the journey around the North Pacific. Was it tough to choose the fellow riders?
The toughest part about choosing the riders is that there are so many guys that I look up to in snowboarding and we’re only able to select a handful. There are many who are capable and who have done amazingly that quite simply there just wasn’t room for.
I don’t like to take responsibility for necessarily choosing the riders, since they are the ones who, over the course of their careers, have put in the effort, and have put the time in, and really committed to this way of life and this journey. Some of the guys like Mark Landvik, who I’ve ridden with for years; we know what to expect from each other. But, then there’s a guy like Victor de Le Rue who I’ve never met, I have just seen him ride for years and felt that for what we were going up to achieve in Alaska, he was one of the best suited individuals for that mission.

Apart from selecting your crew, you are also known to be involved in the whole filmmaking process – way beyond just shooting in the field. Did you spend any time in the edit this time around?
Ultimately, I was the one responsible for the film’s direction. I really pushed to go down this path of taking a closer look at the hydrological cycle that I am intrigued about and wanted to make a film about water. The crew did too and that’s why I think everyone really put a lot of their heart and soul into this project. A project this large creates so much footage, which means that the edit took almost a year, starting while we were still on location.
This film is so much more in-depth than anything that we tried to do in the past and for me it’s such a personal story that really started with setting off on this physical journey and finished as so much more.