Silvano Zeiter and Willem Jones have a knack for turning snowboarding into something deeper. In “Every Island Has a Name”, they explore the connections between snowboarding, craft, and creativity, with Elena Hight, Severin van der Meer, and Jared Elston bringing their own spark to the mix. Shaped by unexpected detours, bold choices, and a good dose of camaraderie, the film is as much about the ride as the art behind it. Here, Silvano and Willem share the stories that brought it to life.

Text by Stefan Götschl
Photos by Silvano Zeiter

Silvano, returning to your home in the Alps and shooting in familiar surroundings seems both comforting and creatively challenging.
Silvano: After a brief start in the Engadin, we spent almost the entire January in my hometown in Wallis, staying at my mother’s place and spending an extra week at Fredi’s in Saas-Fee in March. Shooting at home was special for me—it’s a place I know so well, yet I needed to find and capture “the extraordinary” in familiar surroundings. Willem was a constant source of help and inspiration; he sees things no one else sees. In March, Jake Blauvelt came over for the first time since “Fruition” in 2016, which was a joy too. It was one of his first trips after his hip issues, and we hit a different resort every day, so it was beautiful to see the dude have a blast.

Willem, how did experiencing Silvano’s home terrain change the dynamic of your collaboration?
Willem: Silvano once told me there are hunters and there are farmers. Because Silvano was the hunter in his own backyard, I could follow and farm, really focusing on just looking and not having to worry about anything else. Every night and morning you would see Silvano and Sevi checking snow conditions in Fiesp. Being the best host Silvano is, he would not stop a single moment trying to find the best zone, best rösti, or best après. He is the best host you could imagine—pulling up photos from zones to home-cooked meals from his mum Yoli. Casa Yolanda rocks.

What mindset did you adopt when plans shifted last-minute from Morocco to Japan, especially since you ended up leading the crew alone?

Willem: You are never alone if you’re traveling with friends. I was lucky to rely on Hillton for the logistics. It’s definitely a switch artistically going from a really fresh, colorful and new experience to Japan—one I was fortunate to have experienced a couple of times. Here, the colors are quite muted. Being adaptive as a filmer is always a handy skill. No excuse needed to head to Japan: Onsen, powder, and great food. Morocco would have been a treat for the eye to capture, but I’m sure it will happen at some point. Luckily, we were guided by Aito Ito, who lives there. Always a good time if the guide takes you to spots he wants to hit himself.

Watching Willem’s footage later, how did it feel seeing how he carried the project forward in your absence?
Silvano: The lack of snow in the desert and some very dry Alps led Willem to head to Japan with Jared [Elston], Elena [Hight], and Danimals. Sevi got sick and stayed home, while I sat out for other reasons. Willem handled the Japan trip almost solo, excelling especially in Tokyo, shooting entirely on black-and-white 16mm film except for the colorful floral works of Azuma Makoto. Japan was a proving ground for Willem; besides filming, he took on roles like organizing, directing, and managing the crew. I’m proud of how he managed everything. And the footage turned out to be stunning, of course.

Black-and-white and 16mm. What inspired this visual approach?
Willem: Being that Japan wasn’t really in the planning, I wanted to try and bring something new to my past Japan experiences. I never dared to fully shoot all the action in black and white, and this seemed the perfect time for it. I shot all the action on Double-X Eastman Kodak. The grain you get from this is so natural and vivid. It complements the snow even more than the colors would in the powder. After the snowboarding part of the trip, I ventured alone to Tokyo to capture some more. Walking around with the Arriflex and a heavy tripod, I got a bit anxious. Standing at the same spot I did a year ago, I couldn’t decide what to film. I put on some music and started walking around with the film camera in Shibuya. Being guided by the music and the anxiety, I found a visual flow where I started pushing the camera handheld toward people. These are some of my favorite frames to date. This, combined with the colorful flowers, is a match made in whatever you want to call it. Our director Achille [Mauri] met the artist the year before, and we knew we wanted to involve him. Arriving there alone in Tokyo with the language barrier was quite tricky. FaceTiming Achille while shooting was a fun experience. Having a flower that is preserved at its peak in resin resonated with me. It felt so accurate to what we as filmers are trying to do with film: capturing a beautiful moment in time.

You’ve mentioned being brought to tears after your first run in Alaska, Silvano. Was that moment about the beauty of the environment, or did it reflect the struggles you’d faced leading up to it?
Silvano: For me, finally making it to Alaska was surreal. I had opportunities in the past with guys like John Jackson and Nicolas Müller, but I wasn’t motivated for such an end-of-the-season mission or thought, “How much better than our beautiful Alps could it be?” I was proven wrong on the first warm-up run; tears of joy were shed. But yes, those tears also might have stemmed from realizing that all the season’s struggles were worth it.I underestimated what it means to dedicate an entire season to a single project. Unlike campaign shoots, where you grind for 2–3 days, or shorter projects, where you’re out there a week here or there, EIHAN demanded constant focus, creativity, and stamina. I mean, in a way I used to do this every season in my early 20s, but yeah, I’m not 20 anymore. In the Alps, I felt added responsibility as we were in my home region, so in Alaska I was also able to let go of that and felt freer in a way. And again, the snow was just so damn good, I almost couldn’t believe it.

What was the hardest part of filming there?
Willem: I felt a bit stressed leading up to it. But then I met Stephan Maurer, and he said: “Just point the camera towards the snowboarders, and you’ll be fine.” Once in AK, I felt really safe with the knowledge that Elena and Jared share. Also, the guides from Crown Mountain Guides were top of the line. I never knew hanging out of a helicopter was a dream that I had until it happened. Silvano and I did a little test run on the dry to see how it would be. Everybody was a bit skeptical of a Belgian guy hanging above them, but from the first moment those doors were off, and we were flying, I knew this was it. This experience of seeing your friends stand on peaks, riding crazy lines, and you’re filming them with a 45-year-old camera was magical. You are so connected to the riders, and it feels electrifying. Alaska always feels like a once-in-alifetime experience, so you definitely take it in more intensely. For the risks, there were some moments I felt quite small. You see your friends taking a beating from an apartment building of a rock, but then they still rode away like royalty. But seeing a long-time friend like Sevi doing his first AK line mesmerized me. I felt it in my heart: “This is what he was made to do.”

Elena Hight’s big-mountain expertise and Jared Elston’s fearless riding were also critical to the trip’s success. How did their skills influence how you shot and structured this part?
Willem: Honestly, I always rely on the rider quite a lot, from where they visualize the trick. We were lucky enough to have enough hours to fly to operate doors off. But having Jonah there with an extra angle made it really smooth. After some days, the crew was so dialed we kind of knew fast from where to shoot, but always keeping the communication open and safe. Silvano was hungry for some more on-slope action, but being that the terrain was so steep, it was a bit harder. It’s a hard place to judge size and distance. A gap could look small from the sky, but then from the top, it would be a new Olympic base jump sport. So, it still baffles me how Nicolas Müller’s part in AK was shot so handheld and close to the action. But I remember being up on a peak with Silvano after the heli dropped us off and seeing it soar away, thinking to myself, “Damn, who let these kids do what they want? This is amazing.”

Silvano: Yes, looking back, those two weeks feel more like a dream than reality. The first week was almost all a waiting game, but then everything exploded into action. Unfortunately, Sevi injured his knee on a down day, but with tape and determination, he pushed through and absolutely killed it. Willem and I were proud of him. Jared pulled some pretty crazy shit, while Elena’s expertise and confidence shone in her element—always choosing the right line, her beautiful and determined turns, and then also dropping 10-meter cliffs at the end of a line. She also helped manage logistics, proving invaluable to the team. It was interesting to see those three different riding styles in this terrain that also complemented each other so well.

Taking on directing, producing, and even mediating the crew sounds intense. How did you keep the creative energy alive
Willem: It’s one of the best jobs, filming your friends dancing on the snow. So I try to remind myself of this as much as possible. Of course, every project has its challenges. This one had quite a lot: changing snow conditions and different riding styles. Directing a snowboard film always feels contradictory, being that a rider needs to express themselves in their riding. It’s up to you to visualize it. Achille Mauri did an amazing job puzzling all the fragments together. And to keep the creative energy alive, for me, it’s music—trying to detach and walk around with music and letting the eye wander. Being a visitor in a space and really paying attention while in a musical bubble gives me so much energy.
Silvano, some people expected “Chroma II,” but you clearly wanted to break away from that.
Silvano: Like with “Chroma”, Sevi, Willem, Hillton, and I were involved in EIHAN, and some people might have expected it to become a sort of Chroma II. But that’s not what it turned out to be—nor was it ever the plan. For one, Alex Tank wasn’t part of it this time, and his unmistakable touch was a defining element of Chroma. This time, the Italian director Achille Mauri took the reins, and I think he did a fantastic job. He was rarely on location during the season and would just let us do our thing a lot, but he brought a fresh concept and beautiful post-production work to the table, creating something truly special and unique with mesmerizing music composed solely for the piece by amazing talents. Besides, EIHAN was entirely shot on 16mm, which “Chroma” wasn’t.

Shooting analog is both a creative and logistical challenge. How did using the Mamiya and 35mm cameras change how you worked and experienced the project?
Silvano: I deliberately started out without much of a concept. Back then with Poly/Chroma, we had a clear concept with the slowshutter follow cams. I absolutely loved that—it was hella fun, totally my thing, and it simplified certain aspects because I could fully focus on that concept and nothing else. But it also limits you in some ways, and that’s partly why I wanted to approach this project as freely as possible. Besides, it feels like lately every other campaign, photo series, or project at least leans in that direction. Maybe that’s also a reason why I tried to focus on simple, genuine photography this time around.I decided to dust off my Mamiya medium-format camera and take it up the mountain, along with two 35mm point-and-shoots tucked into the pockets of my jacket. This wasn’t so much for the beautiful look but more for the workflow that comes with analog photography. You’re simply much more in the moment and shoot more intuitively when you’re not constantly replaying the images on a screen and only have a limited number of shots available. Not to mention the smaller effort required in post-production.

Afterward, the photobook project fell through due to budget issues. How do you reconcile commercial struggles with your artistic vision?
Silvano: One of my main motivations for this project was to turn the images into a photobook and/or an exhibition. Over the course of the season, I realized the images would work beautifully for a classic yet contemporary photobook and even had a great editor lined up, spent hours and sleepless nights drafting. Unfortunately, due to budget constraints, it didn’t materialize. Eventually, Arc’teryx gave us the opportunity to feature the work in an exhibition experience. So, we had about a month to put together an exciting show in Milan. Even though the budget only covered a single evening, it turned out to be a great experience. We were able to present the project with a multimedia approach that aligned closely with what we had envisioned from the start. The crew in Milan really went above and beyond to make it happen. At the same time, we were able to put together a small exhibition for Arc’s film tour stop in Zurich. Since the book wasn’t happening, I figured I’d try to come up with something special for the local crew in Zurich. The evening in Zurich with friends turned out to be a memorable and wonderful way to wrap up the whole journey. Up until the last moment, I wasn’t sure if our installation would work, but everything ran smoothly with the help of some amazing friends. I could literally feel the weight dropping off my shoulders. Sevi and Willem were there, and it all just felt right.I guess it’s gotten rarer to get opportunities like this, and working with bigger companies doesn’t necessarily make it much easier. So, I’m grateful for the trust we were given. At the end of the day, when you put so much effort into a big project so close to your heart, you want to make the most of your work instead of it just ending up on Instagram. That’s also why I’m so thrilled and grateful that you carved out space for us in Pleasure for such a big feature.

Sevi’s surprise tribute to your 10-year friendship clearly meant a lot.
Silvano: Yeah, Sevi got me real good there. When we stood on stage after the final screening, Sevi completely surprised me by presenting me with a bouquet of flowers in front of 200 people to celebrate our 10-year friendship and collaboration with a big hug. That’s when all my emotions came flooding out. I should probably mention I was also pretty buzzed at that point. It was a beautiful and personal moment I’m very grateful for. Looking back, I can say that projects like this are always a challenge for any kind of relationship—real friendships can even be put to the test. But they can also be an opportunity. With good communication, support, and gestures of appreciation, relationships have the potential to come out of such projects even stronger.

So, the Zurich exhibition helped you both close the project emotionally.
Willem: Zurich was magical. Post-production of a film can sometimes cloud your relationship with the end product. The experience is something nobody can take away, but then in this 20-minute window, you want to show all those trips. Never an easy task. During this process, we lost some of our pride. But then in Zurich, I was sitting next to Sevi, and I was transported back to Chroma, where we were sitting on the exact same spot 4 years ago. The first image presented on screen and every doubt flooded away with pride—pride for my friends, pride for the film, and pride for myself. These are moments I won’t ever forget. Recognition in snowboarding is somewhat repetitive. You do the premiere, people pat you on the back, and you party. But seeing it in Zurich felt like it made all those trips even more special.

You’ve both mentioned feeling privileged despite the many struggles. How do you keep that perspective while working on something so personal yet tied to brand sponsorships and budget constraints?
Silvano: It’s huge when you know that the brand funding the project has full trust in what you’re doing. Also, it’s kind of insane to think about—they just let you go to these stunning places and basically do what you’d want to do anyway, and they pay you for it, even though it’s not the big coin. At the same time, it’s marketing for them, and they make money off the work you spent years elaborating, so you have to be careful you don’t sell yourself short. Especially if it’s a project so dear to you, your work should be respected and valued not in spite but because you pour so much of your soul into it. But of course, when you’re standing on a ridge in the middle of absolutely nowhere, the sun is smiling at you, the snow is blower, and you know you’re about to drop in for some of the most memorable pow turns of your life, plus you get to share all that with friends—you know it should be fairly easy to keep feeling privileged, because we are.

What creative motivations drove you to craft something more personal and artistic rather than following the typical actionsports format?
Willem: I guess it’s intuition. It’s the same reason why the riders didn’t choose the classic spots or tricks. Like-minded people who are good at their craft. It was a beautiful year looking back at it—just letting creativity take the wheel. And I’m proud that there is a crowd for this too—people that not only celebrate the action side of the sport but also the beauty that is all around it.

Looking back at your previous projects like “Chroma” or “Get Buck,” how did those experiences shape the way you approach new projects?
Willem: Every project I would start fresh. Always a bit cautious not to repeat the same “visual tricks” and trying to challenge myself. Severin, Achille, and Hillton really trusted me and allowed me to let my eye wander. Forever grateful to have worked this way. Every year it snows again, so you can easily start with fresh tracks. I would love to thank our dear friend Silvano. Without you, I could have never developed the ease on the mountain for a Belgian snowboarder. Time and time again you welcome life with open arms. Thank you, Severin, for involving us in your winter world. Elena and Jared, you are both so true to the sport, and I’m honored to have seen you shine.

Silvano: Love ya, Will

This article was originally published in Pleasure #153. For the complete reading experience, with more photos and the unmatched feel of a print magazine, order your copy of the latest magazine here, or even better, support print by becoming a subscriber!

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