‘Ash’ Director Flying Lotus on Dodging the ‘Apple Store’ Visuals of Space Movies and Drenching the Set in ‘Buckets of Blood’

The upcoming film “Ash” by Flying Lotus, opening in cinemas this Friday through RLJE Films and Shudder, is a psychedelic journey through space. In this story, an astronaut (Eiza González) suffering from amnesia discovers her fellow crew members deceased, with no clue about the perpetrator. Suspense heightens when another astronaut (Aaron Paul) appears mysteriously. As they grapple with fear and suspicion, the two characters work diligently to uncover the source of the lethal threat and find a means to leave the perilous planet.

The well-known electronic musician and producer, Flying Lotus, known for his influence outside of movie making, sat down with EbMaster for a chat about the sources of inspiration behind his second film, explaining how “Suspiria” influenced the visual aspects and why González was ideally suited for her role in the picture due to her career stage.

In an interview with EbMaster, Flying Lotus, a prominent electronic musician and producer who isn’t usually involved in filmmaking, discussed the creative forces behind his second movie. He highlighted “Suspiria” as a significant influence on the visual style of the film and explained why González was ideally cast for the role because she was at the right stage in her career.

Flying Lotus, a significant figure in electronic music and production, shared his thoughts with EbMaster on the inspirations behind his second movie. He pointed out how “Suspiria” impacted the visual elements of the film and elaborated on why González was an excellent choice for the role given her career progression at that time.

Flying Lotus, a key player in electronic music and production, talked to EbMaster about the driving factors behind his second movie. He emphasized how “Suspiria” affected the visuals of the film and explained why González was perfectly positioned for her part due to her career trajectory.

What about this project first captured your imagination?

At XYZ Films, there have been several unsuccessful attempts at projects, as we’ve been striving to make something work for quite some time. They would present me with materials, but more often than not, they weren’t suitable for my skills. This was mainly because I struggled to find a unique angle that could elevate the project. For instance, any fresh graduate from film school could have handled a conventional slasher movie. However, when I read “Ash,” I felt an instinctive connection – it seemed as if this project required my specific touch or else it would fall into the wrong hands and not live up to its potential. It was one of those projects that gripped me from the start… I couldn’t stop reading. The usual factors that excite a director are curiosity about what will happen next and visualizing scenes, but for me, this project offered an opportunity to innovate and explore new ideas. The script felt like a puzzle yet also served as more of a blueprint than a set of rigid guidelines. It gave me the freedom to experiment, and I owe this flexibility to Jonni Remmler, the writer, who was open to suggestions and willing to adapt scenes based on our discussions. We brainstormed ideas for over a year before moving into production.

Your star, Eiza González, does such heavy lifting as the solo lead for much of the film. Was there a performance of hers you saw, or a moment when meeting her, when you first knew she’d be a great match for the material?

From the get-go, I had confidence it would succeed due to her nature as an individual. At this stage in her professional journey, she embodied a character with something to prove and a will to persevere. She needed to inject plenty of character into this part, showing both intensity and compassion while carrying the film. Her abilities were evident from my observations, and when we began discussing the project, she was immediately expressing enthusiasm for “Silent Hill” and gaming. I concurred, “Absolutely, that’s exactly what I was thinking too. This is something we should pursue.

The other star of the show is the visual language — the colors and lights are very dynamic. How did you first speak with your DP about what you wanted the film to look like?

The overall aesthetic and feel stemmed from psychedelic cinema, particularly “Suspiria.” This film served as a significant inspiration due to the known limitations, such as a small budget. However, we were fortunate enough to have access to any lighting equipment desired, which led us to deviate from typical sci-fi aesthetics and avoid the usual fluorescent look found in places like Apple stores. Instead, we aimed for something unique. My fascination with music videos from the early 2000s, created by directors like Michel Gondry and Chris Cunningham, as well as movies by Jean-Pierre Jeunet, such as “The City of Lost Children,” with their bold color grading, also played a crucial role in inspiring me. Additionally, I regularly consulted my friend Panos Cosmatos, whose guidance and insights were invaluable during the creative process. Neill Blomkamp served as an executive producer, offering advice and connecting me with essential people while he was working on “Gran Turismo.

How did you first visualize the gore in the film?

Prior to our shooting, I had ample time to compile a robust collection of visual inspiration and personal preferences, along with an impressive appearance concept. Not only that, but I got the chance to collaborate with some incredibly talented individuals. Fresh off their work on “Evil Dead Rise,” they were enthusiastic about my preference for gory scenes. They took immense pride in their craft, expressing, “Sure thing, man! You want buckets of blood?” And I responded, “Let’s push it a step further, let’s go!” Working with such experienced professionals was truly inspiring. They were veterans from “Lord of the Rings” and “Avatar,” adding excitement and simplicity to our project.

You also scored the film. When do you start to conceptualize music for a directing project?

I began composing music as soon as I took on the job. From the start, I had a clear vision for the kind of soundtrack I wanted to create. The same applied to the score. However, when I moved into the editing suite, nothing seemed to fit. I realized, “Oh, it seems we’ll have to start over.” I was excited about my concept, but upon closer examination, it simply didn’t align with the movie that was being presented to me. It’s fascinating to listen to a film and understand its requirements. You must assess what you have and think, “This isn’t quite right, so let me adjust and make it what it needs to become,” rather than pushing ideas that don’t fit the movie’s nature.

How was the original score different?

I’m really eager to share something with you, but I think it’s best to hold off until later. To give you an idea, imagine it’s like “Bitches Brew” by Miles Davis, but with a sci-fi twist.

Since you made “Ash” on a limited budget, what advice would you give filmmakers who are hoping to create their own vision on a low budget?

Pursue the things that matter most to you, but also be open to listening to others’ ideas. Be receptive to advice and feedback. Choose the best opportunity within your constraints, as adaptability is key. Real talent shines when they can adjust to different situations. Each day will require some level of give-and-take, so mastering creative compromise is a clear indicator of authenticity.

For future filmmaking projects, do you see yourself staying in the genre world, or would you want to go in a radically different direction? Could we see a FlyLo rom-com someday?

I’m open to various opportunities, but I prefer to engage in projects that allow me to contribute significantly. I’d rather avoid being confined by specific concepts or franchises, as I value the freedom to express myself creatively. Smaller, self-driven projects seem more appealing to me, as they provide an opportunity to develop my own ideas and worlds.

Are you hoping to focus on music next or filmmaking, or are they both intertwined so much for you that it’s hard to delineate?

I’m consistently seated at my musical chair, and that’s where I create music. That spot will always be there, come what may. If the perfect opportunity arises, I’d be open to doing another film soon. However, I’m not rushing things; I’m still recovering from the intense experience.

Watch the “Ash” trailer below.

2025-03-21 22:47