"If we'd made the film, there would have been a car here. And it would have been a California Highway Patrol car, but era-appropriate. So like a 1960s black cruiser with a white door. This would have all been reenactment, obviously. It's how all these things tend to start now. Like, everything's got to have that sort of rhythm of drama, even when it's a documentary."
"Well, I think - I mean, you know, I've worked in documentary for about 10 years now, and it's certainly not the first time I've had a film fall apart at the first hurdle. But for whatever reason, this one I really couldn't get out of my head. I found myself, you know, just hanging out with friends back in London and describing to them almost beat by beat these scenes that I'd imagined for this documentary that I would never now get to make."
Charlie Shackleton sought rights to Lyndon E. Lafferty's memoir about a Zodiac theory but the film deal collapsed. He retained extensive B-roll, reenactment concepts, and era-appropriate imagery that had been intended for a conventional investigative documentary. Shackleton assembled empty rooms, somber string sounds, cigarettes, shell casings, and imagined reenactments into a new film that documents the unmade project. The resulting work turns absence into subject matter, examining creative frustration, the ritualized rhythms of reenactment in contemporary documentary practice, and how imagined scenes and failure can become cinematic material.
Read at www.npr.org
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