The only purpose of the visuals, in any film, is to serve the story.

But I had never drawn on a tablet before. I've been doing pencil and paper and film for almost 20 years. I wanted to try something different. I wanted to teach myself some digital stuff in advance of a bigger feature project that's coming up, and I took to it really quickly.

Both the writing and the visuals in that sense are very exploratory. It goes back to my rule for myself [in] making it.

I'm still learning. I've never done a digital project before. And I'm pretty sure I did things to the software that weren't supposed to be done.

The design is a really flat primary color with all sorts of abstract geometric shapes, just implying something. And then you'd have your characters running from something with guns. It was very expressionistic.

So much of the writing is not conscious, in the sense that it's not calculated. I remember in film school we had so many studies with big fancy words where you could dissect a movie and make charts of all of the characters' complicated inner relations and themes and what does this mean? And it's overwhelming as a student. It's great for a student, but as a writer, it's paralyzing.

To me, that's where memories are very interesting because what happens when we start losing memories? What happens when you can't take your memories with you? Who are we without our memories, without our past?