AUSTIN, Texas—Everyone kinda, sorta knows the story of The Vast of Night before they even hear of this movie. Filmmaker Andrew Patterson readily admits he partially based his debut feature on a real-life event—the 1965 Kecksburg incident—and even the initial idea that led him to researching Kecksburg struck Patterson as familiar. “I have a document in my phone of three or four dozen single line movie ideas,” he told Ars. “This one said, ‘1950s, black and white, New Mexico, UFO film.’”
But The Vast of Night ultimately doesn’t hinge on how its plot plays out. This small budget, tightly scoped sci-fi film has wowed festival audiences enough to attract Amazon money largely on its spectacle—individual images you’d gladly frame for the office wall, dialogue that draws you in no matter the subject, sonic flourishes that stick with you long after the credits roll. Talking to the filmmaker after a recent Fantastic Fest screening, it becomes hard to shake the feeling he’ll be managing a much larger studio budget of his choosing in the very near future.
“We knew we were working in a genre that was shop-worn, nothing new,” Patterson says. “We wanted to let people know, ‘OK this is an abduction in New Mexico—we know this story, you know this story. How can we find a way in and do something special, to make something new?' I wanted to make it like the films I enjoy, which are usually about people learning about each other, their dynamics and relationships. So, OK, I want to start this like it’s a Richard Linklater movie… then we get side-swiped into something extraordinary.”