I’ve seen it a lot of times, this picture. Even Andrew Patterson’s enigmatic 1950s-set Patricio Guzmán understands the totemic power of the long strip of Andean mountains that runs between Chile and Argentina, effectively severing the former from the rest of the world. But the thing is, when you’re making a film, you’re in an absolute black hole of that film. And, as a viewer, that was Bill speaking to the cinematic intention. It had to feel unadorned, it had to be without affectation, it had to just be the world as it is; light had to be as it was. My wife’s mother passed away earlier this year, and her uncle, actually. It wasn’t a movement, it was only three persons. But, in all my pictures, I was searching for something. An eraser is the dominant mechanic of For those of us who’ve been playing video games since a young age, there’s something comforting about sitting with a great game and realizing that the medium has grown with us.

I mean, it’s got to!TR: We’re as curious as you are.

We understand that if we intend to keep making films for theaters, then they have to earn that right to be in a theater. I Bill Ross IV: In some ways, it was nicer to be confined to that space because that limitation was what it was. We love that cut, but nobody else did! What are they?

Maybe, yes. I thought people would. And the Mexicans told me it was dangerous. By this she means that each magazine at the kiosk stokes a different fantasy, from a supermodel body to a nation without Arabs. No message, no meaning. And also the fact that this void, that is described by this black screen in this place where she takes these men, is just…there’s nothing there. I need to have Buñuel in Hollywood and that would be good. So, yes, we did a lot when it come to the framing of that world.

I’m in a science-fiction film. I’m very bad at detecting themes in my work. That’s in parallel to our interest in these spaces in general, and as a visual and cultural space, but also as a useful space. I was lucky enough to convince Sean Durkin to produce my film, and he ended up being somewhat of a mentor to me, giving me the confidence to make a horror film that didn’t have many jump scares. I try to respect that.We definitely make some films that are geared more toward a big-screen experience, in our minds at least, and some we are much more comfortable with that not being the experience.
We were feeling sort of divided as a country and in terms of perspectives, and we were feeling pretty lost and like we should be able to do better than our vote on Election Day allowed. This being the perfect example of one of those! And, so, if we can all share a drink and have a conversation, what does it sound like? I respect very much the industrial movies. Let’s watch these [orbs]. I use tarot to do that.

Or pieces of themselves throughout. The artist needs to be inside the play, for example, inside what you’re shooting or playing. I’m privy to all of the things in a way that even the people within the bar [aren’t].” The omniscience is in favor of the viewer.BR: There was one cut of this where we would just stick with Pam and Bruce for, like, eight minutes uninterrupted and not bounce around the room. We can’t create an artifact and then share it with an audience to have them have their experience. We are there.

What is the state of people and what are they saying to each other? Very aesthetical.I am very old. If we weren’t there, there wouldn’t be a film. While at first your biggest challenge may be manipulating large or oddly shaped furniture through tortuous hallways, the increasingly outlandish assignments soon become full-on obstacle courses that not only require players to optimize their routes, but to nimbly move in unison across collapsing walkways. I’m not a psychoanalyst, so nobody paid me. On the one hand, the themes in the film are still relevant and resonant. Photographically, I wanted everything to feel like it was witnessed.

So we’d move elsewhere.
And then I decided to make an experience.