During the spring of 2012, Dash Longe’s ski dream came true. The longtime skier in front of the TGR lens finally got the call to ski and film in Alaska alongside AK veterans, such as Sage Cattabriga-Alosa, Seth Morrison, and Dana Flahr. The product of filming with TGR for nine years, with segments mainly consisting of backcountry freestyle hits and exotic trips to Europe where the focus was almost more on the culture than skiing, the Salt Lake City resident went big in AK, earning a Best Male Performance nomination at the 2013 Powder Awards.

On St. Patrick’s Day this year, Longe’s momentum took a hit when he injured his left knee, skiing out of a landing. In the meantime, he worked with fellow pro skier Matt Philippi to produce his first self-edit, titled “Creature.” TGR shot all the footage from their 2012 release, The Dream Factory. But most of the four and a half minute edit is unused bonus footage from Longe’s 2012 AK campaign. Powder.com interrupted the 27-year-old’s DVR viewing of The Masters to catch up with the switch-landing swingman named after Dashiell Hammett, the author of The Maltese Falcon.

POWDER: Have you released a self-edit before?
Dash Longe: No, but it’s been something I’ve wanted to do for a long time, because there is a lot of footage that hits the floor for whatever reason. It can be frustrating for an athlete when not all of your shots get used and you’ve spent all year working hard and filming. But there’s only so much space in a movie, and they have a particular spot for you in the film because they have so much footage. So the excitement for me is seeing all of my footage get used.

How did Philippi come to be the editor?
Philippi is a homie. He was a part of that Full Circle Project, so he’s had to do quite a bit of editing, putting out a web series the last few years. When I was up in Canada, I dumped all my footage on his hard drive and he started hacking away. I came back a month later, tweaked a few things, and we gave it a unique feel.

Did you have something in mind, like a particular style, that inspired the edit direction?
I grew up watching a lot of skate videos, and I like the format back in the day of athlete segments as opposed to trip segments. You get to see what a dude’s all about—his style and how he does certain tricks. Instead of being in one location, it’s more a compilation of banger shots. And I didn’t want any talking, ’cause it seems the same year after year with a skier talking about skiing. Sometimes, people just want to watch skiing, and I think you can still tell a story without talking.

What about the music? What’s the story there?
My brother got me stoked on this guy named Roky Erickson. I’ve been thinking about using his music for an edit for a while.

Talk about your experience with the editing process. Did you enjoy it?
Editing is definitely not easy, especially when you’re trying to follow a storyline. I can’t imagine how much time the TGR dudes put in to editing their annual film. But sitting down with Philippi, I realized what a process it all is, especially with graphic work. Once we got the timeline down, it was pretty simple to move shots around. But it just felt great to have full creative input.

Dashiell doing it in AK in 2012. PHOTO: MARK FISHER/TGR

Describe your first TGR trip to Alaska.
I’ve been once before to AK, but it was nothing like my trip with the big dogs. I was pumped to be up there, finally, with that crew. It’s something I’ve been dreaming about for years.

Where were you guys exactly and who were you with?
We were in the Northern Chugach with the Silverton Mountain Guides, and I was with Sage and Seth for the majority and then Dana for a week and Daron Rahlves for two weeks.

Did going out with experienced crews like that allow you to ski with more confidence and comfort?
Yeah, once you get there, it’s a way bigger game. It was sort of a compilation of watching several years of big-mountain skiing since I was a little kid and watching Sage and Seth and others crush it year after year. That combined with working up to it from years spent skiing and filming in the Alps, B.C., Squaw, and Utah, and listening to Sage and Seth just talk about the conditions and terrain was key in becoming more comfortable up there. There are just so many things you have to think about, with slough management, cornices, bergschrunds, and stuff. It’s a much bigger world up there.