![]() ![]() I always wanted to shoot it in a way that felt intimate. ![]() I always wanted the film to feel intimate. The giant world changes, to me, is much less emotionally resonant to audiences, and much less impactful than actually telling a story about people wrestling with this crazy machine and the realities they’re creating and the realities of using it. I think, to me, it’s a big story about sci-fi, and then it’s all about the weird things that happen. I was like, “What if we keep this really intimate and have it be a story about a person who uses this crazy invention to try to get back to a life that she feels safe in, that she feels like she can control, where there’s nothing to be uncertain about, where it’s just like, ‘I know this, it’s comfortable,’ and the repercussions of that?” That’s really where the story came from.ĪIPT: How important was it for you to tell that human story? Then, as I was trying to figure out how to do that, I remembered that old gun that could murder people in the past. So, I decided I would try to put it into a story. ![]() I guess, as an artist, sometimes the best way to grapple and wrestle with stuff like this is via art. ![]() It was something I was trying to grapple with, and I really didn’t know how. I felt this overwhelming urge to try to control things, to try to keep him safe, and to protect him from everything out there. I suddenly felt like the world had become a lot more scary and a lot more uncertain. We were finishing The Ballad of Lefty Brown up. So I just had written it down and put it away. I’d had this random idea of a gun that could murder people in the past for a while, and I didn’t know what the hell to do with it because it just felt so big and trope-y. Jared Moshe: The inspiration came from two places, two different things. Listen to the latest episode of the AIPT Movies Podcast! ![]()
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