The new Flying Lotus movie, “ASH”, which opens in theaters on Friday via RLJE and Shudder films, is a drug that follows the Eiza González, who finds the rest of its dead crew, without any idea of doing so. Tensions rise when a mysterious astronaut appears, Aaron Paul plays. The duo descends into madness and panic as they try to determine what is deadly power and how they can escape from the dangerous planet.
Flying Lotus, a musician and an influential electronic producer when he does not make movies. diverse About inspiration on the advantage of his student, how “Suspiria” formed the visuals and why González was on the ideal point in her career to photograph her in the movie.
What about this project took your imagination for the first time?
There were a few wrong beginnings with projects in XYZ movies. We have been trying to get something for a long time. They sent me some materials, and often the right thing will not be. It was mostly because I could not find what I could bring to. Why am I? You can get anyone directly from the cinema school to do Slasher. When I read “ash”, you were like, “no, no, this Needs I, or will be placed in the wrong hands, then it will not be good for anyone. “I had a feeling that it was already precious. The Bible.
Your star, Eiza González, is lifting like a single lead in most of the movie. Was there a performance to see her, or a moment when she met her, when she knew for the first time that it would be a great match for the material?
I knew that he would work directly from the gate, just because of the type of person it is. I felt as if at this stage of her career as well as the character: She had something to prove it, and she is trying here to survive. She had to bring a lot of character to this role, and she had to be only and be fierce and care, carrying this movie. I saw her work, and I saw what she was able to. When we started talking, she was talking to me about “Silent Hill” and video games directly from the gate. I said, “Yes, this is exactly what I think. We see the same. I think we need to do so.”
The other star of the show is the visual language – the colors and lights are very dynamic. How did you first talk to Dubai ports about what you want to look like?
The appearance and vitality eventually started with a narcotic movie. I was really in “Sumpiria”. Now, “Sumpiria” was a great source of inspiration in this because I knew we had a lot of restrictions. I knew that we had no big budget. But we had any lights I wanted, and I wanted to travel on the road less with science fiction, not the usual type of the fluorescent apple store. I wanted to try to do something a little different. I am also a big fan of music videos from the first first decade of the twentieth century, from people like Michel Gondry and Chris Cunningham. All of these things are still largely inspiring, and this era, such as Jean -Pierre Gionte, of the “city of missing children”. Those films he made have very strong colors. Also Panos Cosmatos, he is a friend of mine and we will strike him all the time and choose his brain and complain about the process and be like “The Mastery, Will it always be this way?” So, yes, it was very good to have him and some of the other experienced director friends as bright lights in this. I had Nile Bloomagb as an executive product. He was someone I would strike all the time while “Gran Turismo”. It was very useful in linking me to some people and providing little wise tips when you needed it.
How did you first imagine in the movie?
After spending a lot of time before we were filming, I managed to collect a strong look book and reference points for the things I love. I was also lucky to work with these great artists. They just came out of the “height of evil” immediately before we started. So they were like, “Yes, Man, you love blood buckets.” They were very proud of their work. I said, “Let’s do one better, brother. Let’s go!” Just be with these very experienced people: They are the old “Lord of the Ring”, the veterans “Avatar” who came and worked in this project and made it fun and easy.
I also recorded the movie. When do you start to imagine music for a guidance project?
I started writing music as soon as she was bound to be annoyed. I knew exactly what I wanted to be soundtrack. I knew exactly what I wanted to record it to look. Then when I entered the editorial room, none of them worked. I thought, “Oh … so we should do it again. Well, great.” I had this great idea, but when it was related to it, it was not the movie that was shown to me. It’s great when you can listen to the movie. You have to see what you have and think, “Well, it was not so, so let me adapt and make it what it should be”, in exchange for trying to impose things that are not intended to be.
How was the original result different?
I want to tell you very bad, but I want to save it for another day. I will only say as a reference point I felt as “Bitches Brew” by Miles Davis, but science fiction.
Since you made “ASH” with a limited budget, what advice you give to directors who hope to create their vision for a low budget?
Fight for all the things you love and want, but at the same time, listen to the people around you. Be ready to advise, and be ready to take on the comments. Find the best project of your borders. I think the ability to adapt is really to invite the director. This is when you know the real facts of the fake. Every day you will have to settle a little, so how to create creatively and wander is the mark there.
As for future filmmaking projects, do you see yourself residing in the world of gender, or do you want to go in a completely different direction? Can we see Flylo Rom-Com?
I will never say no. I don’t want to put myself in my own box here, but I think I prefer to stay in the places that I can bring to the project. I do not want to do anything associated with the concepts of another person or another concession as I cannot be free to play and do something. Even if they are smaller projects, I think I prefer focusing on my thoughts and worlds that I can create.
Do you hope to focus on the following music or filmmaking, or are both of them intertwined for you so that it is difficult to determine?
I am always on the chair to do music, and the chair in which I sit is the chair in which I make music, so this will always be there whatever it is. I would like to make another movie soon if the right thing happens, but I am certainly not in a hurry to return to it. Birth pain is still new.
Watch the “ash” trailer below.
