![]() I got existentially anxious but I didn’t understand what was causing it, because there was no direct antagonistic force. But this freaked me out, and I didn’t know why, and that was the biggest part of it. Gentry: A producer friend of mine sent it to me and I’ll be honest, the main reason was because I read a lot of horror scripts and thriller scripts - this is kind of a hybrid of the two genres - and I don’t ever really get freaked out. Io9: What was your introduction to the script by Phil Drinkwater and Tim Woodall, and what grabbed your attention and made you want to make the movie? So I just find all those things really fascinating - to study the past in order to understand the present. But until a couple of years later, we didn’t even realise how naive we actually were in 1999 there are some things we know better now in hindsight about that time. There’s also paranoia in the air at the time that was very palpable, just in terms of our fears about the turn of the century, Y2K, and what have you. ![]() But at the same time, it’s still close enough to the time when the broadcast signal intrusions occurred that it could potentially still be a fresh thing - there could be kind of a middle ground, where we can find some relevance in something that happened through the experience of someone living. But yeah, I really felt that was a perfect time for, you know, we have high-speed internet, everything is starting to gear up in that way, and cell phones are really starting to proliferate. So it was a really fascinating process to go, “I remember it this way,” and they’re like, “Well, this says that’s not what it was like.” So it’s interesting to see what the historical record in your own memory is. But a lot of the collaborators on the movie had to study information because they were too young to remember. But also it was a challenge in terms of - you know, I’m old enough to remember, I was an adult at that time. Jacob Gentry: The biggest challenge, obviously, was logistical - on a modest budget, trying to avoid cars and things that give away the time period. How did you approach filming a movie so specifically set in the not-so-distant past and what were the challenges with that? At last, it’s arriving in theatres and on digital this week, so we eagerly hopped on a video call with its director, Jacob Gentry (Synchronicity, The Signal ), to talk more about the film.Ĭheryl Eddy, Gizmodo: The movie is set in 1999, sort of right when old technology like VCRs and land-line phones were giving way to a newer wave of tech that was “the future” at the time. Its story - about a grieving Chicago man named James (Harry Shum Jr.) who becomes consumed by a sinister mystery hidden in a series of vintage videotapes - stuck with us. ![]() We first saw Broadcast Signal Intrusion at SXSW earlier this year.
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