My father moved out to Park City in in the mid-'70s and lived in a Winnebago behind a hippie joint called Utah Coal & Lumber that was one of only two or three restaurants at that time. Park City was a sleepy little mining town, with not a condo in sight.
I conveniently was not accepted to film school, which I applied to in 1987, and so I decided I would become a filmmaker instead of a student.
Suspense films are often based on communication problems, and that affects all of the plot points. It almost gives it kind of a fable feeling.
Secrets make for good drama, and revealing the hidden truths and contradictions of life is, for me, one of the most exciting aspects of making movies.
What's interesting to me is the distinction between my old life and my present life.
Being an artist is in part an act of rupture.
