​'"Sewn' came about from several different jet streams; my father was dying of cancer, (he past away in 2010. So, we can see the obvious influence with Li’s father and the contraction and final win of cancer over his life.), my sad, young love relationship with a friend-friend (Miriam, who I wrote the character, Li for), and the youthful, cynical, and lost place I was in at the time grieving. I was in a dark, dark depression; it got so bad, that the environment I lived in played a gargantuan role in the development of the script. It is my learning project; my Fear and Desire; my barely finished Number 13; my Battle Beyond the Sun; yeah, you get the idea. This film has a dichotomy of styles. There are probably so many stylistic homages to art house directors in the film, I couldn't even recount them all; Kubrick, Lynch, Welles, Vigo, von Trier, Coppola, Altman, Hitchcock, Bunuel, to name a few.  There is a bilinear story to spice it up. The amnesia of the main character, Ana, and the present tense discovery of events was heavily influenced by David Lynch's last three films, Muhulland Drive, Lost Highway, and Inland Empire. Initially, Kubrick's films, specifically The Shining, Lolita, and  A Clockwork Orange were films I had in mind for the visual style - apart from my original artwork I had made first, and in conjunction with the first draft of the script. When discussing the cinematography with our C.D., Nathan Naylor, of Nathan Naylor Photography, we decided to use a 50 mm macro lens, to give a very close-up, claustrophobic look, and very lose, handheld, cinema verité style of filming, more like a documentary." - D.R. Mothersbaugh. An excerpt from,  Filming of "SEWN" Diary...