The untitled film, which had been called "Fuzzy Dice" until I failed to find a pair of fuzzy dice for use anywhere in the film, focuses on the dream-like randomness of the hallucinogenic experience, and it was to this end that I created the film as a series of scenes, widely varied in nature, that had little to nothing connecting them.

After an opening credit sequence that featured the word "Vision" moving around in a circle (which was not centered as an attempt to alter your visual expectations), our first scene consists of a discussion of purple. Louis, unseen for the majority of the scene, says that he is the essence of purple, and, upon cutting to him, we see him as a rudimentary visual depiction of the essence of purple, a random object created in FormZ, an extremely powerful 3D rendering program designed for use primarily in the field of architecture.

The scene ends, and the first "music video" segment of the film begins, with Dave Matthews, "I Did It" (a song about hallucinogens) playing as the soundtrack, with visuals consisting of itunes (a program designed to use the waveforms in music as the source of a screensaver), zooms and distorted proportions in the video, and an After Effects sequence in which I animated construction-paper dots covering the walls of the apartment. Then, in true random style, we cut to the trailer for Blow (Ted Demme, 2001), an obvious reference to drugs and a not so obvious (at least on viewing) sexual connection between the two titles, "I Did It" and Blow. Initially I ran the entire trailer at this point, but this ended up making the piece drag on, which, combined with the idea I came up with for my closing credits, influenced me to split it at the midpoint line, "I can't feel my face," and to cut to my brief explanation of the physiological effects of acid. Once again, this cut was designed to create the feel of randomness in spite of the fact that I was explaining the nature of my piece - that it goes in wave-like patterns, similar to an acid trip. From here we move into the "What the fuck is this?" scene (named so for its opening line), the first scene we shot and one of the only links to what remains of a narrative in the piece. The scene dragged on quite a bit in the rough cut, which inspired the decision to "fast forward" past the parts that were no longer important to the plot, now that the plot has been cut to shreds. This fast forward effect does two things: it moves the film along and adds to the trip the film takes us on. The scene also includes a radial blur effect, the slow-motion devil shot, and the ripple/wave effect, all of which combine to help give the impression of an acid trip. The applause leading into Stevie Ray Vaughan's "So Excited" acts as a segue, leaving us with the impression that Louis is getting applauded for the speech he gives Laura at the end of this scene. This sets off the second music video, which contains the bulk of my After Effects work. It culminates with the "guitar choke," which, though really cheesy, is one of my favorites because it was the first shot I digitally manipulated that made it into the film. From here we move back to the road trip, with a somewhat humorous scene taken more or less directly from one of the interviews, followed by another in which they discuss the shapes they see in the clouds. Marc, the actor pointing out the shapes, came up with the bust of Queen Nefretete. What then follows is the Ron montage, which consists of footage from my initial interview with Ron back in February when I was still planning on shooting a feature. Once again, the idea here is random montage. We're talking dreamlike state here. Finally, I inserted the end of the Blow trailer simply so that I could use that special effect that I worked so hard on - replacing the names Johnny Depp and Ted Demme with my own name, a shot that was surprisingly difficult to create. Okay, so that's pretty much a step-by-step synopsis of the film, which was created as nothing more than a series of random images and ideas. I cannot stress this enough, that since dreams and drugs both evoke images that come out of nowhere, I wanted to embrace the idea of transitions, some of which made sense, but most of which were simply an exercise in keeping the audience interested the whole time.