![]() ![]() ![]() The movie was actually more inspired by place than it was by movies. They had to do a lot to make it look like that. It looked like they turned around and just found all these locations, which they didn’t. I thought that was probably the best movie of that year-it just grabs you by the throat and doesn’t let go, and that was part of the structural identity of Vast of Night: How can we make something that feels really neat like that? I hadn’t seen a movie where it just looked like they shot in available light, which they didn’t. You can see that we totally ripped that off. Patterson: By far, the number one visual key to this movie, in terms of lighting and color palette, was this movie from 2014 called ’ 71 Yann Demange. What were some of your other reference points or influences, both in terms of the script and the style of the movie? And then, it would be absolutely fucking terrifying.” I wanted to see what we could do with that.įilmmaker: Obviously, you’re referencing The Twilight Zone right from the start with the show within the show. I’ve never seen a genre movie about science-fiction ’50s Roswell stuff, where it was like, “Oh, that’s actually how people talk, and this will be exciting for a while. But I had never seen that simple logline taken seriously, where it felt more like the movies I connected with, which are about real human emotions. That isn’t enough to take off and create the characters and dialogue and all that. It was this list of ideas that says, “1950s, New Mexico, black and white, alien landing film”-and that was it. Patterson: Pretty intimately involved: It was my concept, which came to me about 2011 or 2012. How did the script come to you, and what was your involvement at the writing stage? ![]() The movie’s in theatrical release from Amazon Studios this summer.įilmmaker: The credits refer to James Montague and Craig Sanger as writers of the teleplay. Because a great deal of The Vast of Night’s power lies in its secrets, I’ll stop there however, even without spoilers, I found plenty of fertile ground to discuss with Patterson when I spoke with him by phone. Patterson draws the viewer in with a series of unique visual and aural techniques, alternating long, hypnotic blocks of dialogue with technically dazzling set pieces, like a camera move that covers the geography of the entire town in one unbroken shot. Following the clues leads them to a series of eerie and intriguing encounters, most notably with a caller to Everett’s radio show and an elderly woman whose tragic past may hold the key to what is about to happen to Everett, Fay and their families and neighbors. Set over the course of one night in 1950s New Mexico, The Vast of Night tells the story of young disc jockey Everett (Jake Horowitz) and switchboard operator Fay (Sierra McCormick), who discover a strange audio frequency and set out in search of its origin and meaning. ![]() Part Twilight Zone–esque sci-fi tale, part young adult romance, part David Fincher–inspired suspense movie with a dash of The Last Picture Show’s small town poetry, it is most of all a haunting and startling debut feature that teaches the audience how to watch it as it progresses-which means it not only rewards but demands repeat viewings. In Directors, Features, Interviews, IssuesĪndrew Patterson, Spring 2020, The Vast of Nightĭirector Andrew Patterson’s film The Vast of Night, which premiered to great acclaim at the 2019 Slamdance Film Festival, is informed by many genres and influences but beholden to none of them. ![]()
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