Paint Announces Theatrical Release for 11:11

Paint has announced that they will premier their experimental sci-fi short 11:11 at the Royal Cinema in Toronto on September 11.

The screening will be accompanied by a Q&A session with the cast and crew hosted by Dan Gorman, Greg Legros, and Casey Lyons of film+music podcasts Time Bandits and See You Next Wednesday.

The short is part of the “Paint Cinematic Universe” based around four new interconnected songs taken from the band’s Based on Truth and Lies EP.  The film chronicles a young man’s downward spiral following the end to a love affair, drawing inspiration from the films of David Cronenberg, David Lynch and Jim Jarmusch. It’s also influenced by the Who’s Quadrophenia as well as U2’s collaborations with Anton Corbijn.

11:11 was directed and produced by Toronto film and music director R. Stephenson Price and Paint frontman Robb Johannes wrote and produced the film. It stars Zac Che as the film’s protagonist Trevor and Victoria Urquhart as Taylor. The film follows Trevor over the course of four seasons over four years as he begins a downward spiral into oblivion where nothing is as it seems.

11:11 began as an experiment in creating a minimalist black-and-white visual accompaniment to four Paint songs as we ventured into the uncharted territory of doing an EP instead of an LP,” Johannes said in a statement. “Anton Corbijn’s collaboration with U2 on the film Linear turned what could have become a forgettable album (No Line On The Horizon) into a unique way to experience music through a multifaceted marriage between songs and visuals. 11:11 [initially] took its cue from Linear to be a 16-minute real-time set of moving pictures to accompany Paint’s Based on Truth and Lies EP.”

The film was produced for $6000 and was partially funded by an IndieGogo with FACTOR providing funding on the Based on Truth and Lies EP.

“[We ultimately] ended up using each scene of that original screenplay as a framework and really digging into each one to find what was buried beneath the surface narrative as we continued to add new elements into the fold throughout production,” Price said in a statement. “Obviously this might be the reason why the project inflated to five times the initial project size, but we like to think that the film needed — or wanted? — to become what it ultimately did.”

“What was seemingly a simple story of an illicit relationship-turned-marriage gone wrong … became something significantly more grand and altogether creepy, unsettling, and touching,” Johannes added.


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