Experiencing Interruptions?


Filmed in black-and-white, 11:11 is the latest chapter in the ongoing cinematic universe between Toronto rock band Paint and filmmaker R. Stephenson Price.

Based on four brand new and interconnected Paint songs — from their Based on Truth and Lies EP (2015) — 11:11 is inspired by The Who's Quadrophenia, the collaborations of U2 and Anton Corbijn, Jim Jarmusch's Dead Man, Alice in Wonderland, and the films of Davids Cronenberg and Lynch - resulting in an hour-long experimental sci-fi film that depicts the abrupt end of an illicit love affair that leads 20-something Trevor on a downward spiral - of sex, drugs, and rock-and-roll - while forces beyond his control begin to intervene.

11:11's four-act structure — set in Toronto over four seasons in four years — follows Trevor's journey into oblivion through the colliding of multiple layers of consciousness and reality — where nothing is as it seems, or even as it is: a multi-layered look at our most basic needs gone awry.

  • R. Stephenson Price
    Unbury The Biscuit, (disPLAY), Gratuitous Behaviour, 11:11, Boomerang
  • Robb Johannes
  • R. Stephenson Price
    Unbury The Biscuit, (disPLAY), Gratuitous Behaviour, 11:11, Boomerang
  • Robb Johannes
  • Zac Ché
    Key Cast
  • Victoria Urquhart
    Key Cast
  • Project Type:
    Experimental, Feature, Music Video, Short, Web / New Media, Other
  • Genres:
    Experimental, Drama, Noir, Neo-Noir, Sci-Fi, Music
  • Runtime:
    57 minutes
  • Completion Date:
    May 29, 2015
  • Production Budget:
    6,000 USD
  • Country of Origin:
  • Country of Filming:
  • Language:
  • Shooting Format:
  • Aspect Ratio:
  • Film Color:
    Black & White
  • First-time Filmmaker:
  • Student Project:
  • Theatrical Premiere
    September 11, 2015
    Theatrical Premiere
Director Biography - R. Stephenson Price

Ryan Stephenson Price was born and raised in Timmins Ontario before pursuing a degree in Journalism/Film at Ottawa’s Carleton University — where his childhood love and obsession with film transcended simply memorizing and quoting his favourites (with bad impersonations), and into writing lengthy essays about the evolution of CGI in cinema, Alfred Hitchcock, Batman as quintessential Hero Quest archetype, and why Blade Runner is a twisted (and brilliant!) perversion of the American Dream. In addition to his independently-run STRATASFEAR PRODUCTIONS, Price has been co-producer of Toronto-based multimedia music series THE INDIE MACHINE since 2010, and has held various positions across the production spectrum in print, radio, video, and web. Price’s four years of collaboration with Toronto rock band Paint culminate in 2016 with the 90-minute concert film (disPLAY) (2016), following the hourlong
black-and-white experimental sci-fi film 11:11 (2015) and heist-gone-wrong short BOOMERANG (2013). His two current web series endeavours — Canadian Comedy Awards-nominated GRATUITOUS BEHAVIOUR, and hockey crime drama UNBURY THE BISCUIT — are both available now on YouTube. He is currently in production on a series of character-driven short genre films, including: crime drama MISINFORMED, sci-fi thriller TEMPOR TEMPOR, and the first installment of his bio-punk sci-fi saga: PROBLEM SOLVING 101.

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Director Statement

In August 2013, after we finished filming our initial music video collaboration “Boomerang”, Robb and I had begun talk of what was next in Paint’s bag of tricks. He mentioned he’d been working on a visual accompaniment idea for the band’s next EP - to be called “Based On Truth And Lies” - about a young man’s failed relationship and his subsequent decent into illicit drug use, casual sex, and debauchery: a very “sex, drugs, rock and roll” kind of tale.

Robb sent me a copy of his 16-page treatment, which he had titled “11:11”, and I perused it off-and-on over the weekend while marathoning old episodes of David Lynch’s Twin Peaks: I had a moment of epiphany.

There’s a recent trend in music videos where bands perform in white rooms devoid of any distractions for the viewer: the focus is solely on the band. However, this type of video runs the risk of becoming too generic and getting lost in the crowd: someone else has already done that, so why would anyone pay attention to this one. Robb had illustrated in his 11:11 treatment that Paint would be performing each of the songs in a white room throughout the project’s four acts but was only visible on television sets in the background of the scenes. My thought was: “when our protagonist Trevor overdoses at the climax of ACT II, what if he ends up IN the white room with Paint?”

In the initial production meeting that followed, Robb and the rest of the band were excited - “Is Trevor just hallucinating, or is he ACTUALLY in the white room - like Agent Cooper in The Black Lodge [the ethereal ‘other realm’ in Twin Peaks]?” The David Lynch homages continued alongside a strong Cronenberg-esque vibe of strange drug use (Naked Lunch) and twisted perceptions of reality (eXistenZ), as the references to parallel dimensions, alternate timelines, and hallucinogenics started to overlap to form the convoluted universe that became 11:11.

The project quickly escalated even further as either Robb or I would come up with some new idea on the fly and present it to each other, only for the counterpart to get equally excited about that and piggyback something increasingly strange or ridiculous on top. Robb, myself, and our fantastic leads Zac Ché and Victoria Urquhart 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 — 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.

The small scale of the operation and the guerilla filming tactics made the shoot extremely mobile and much easier to contain than a traditional film set, and the low-budget we generously received from our fundraising campaign meant we all pulled triple/quadruple duties some days on set to stretch the budget as far as it could go: if we were going to do this big, weird thing, we were committing. There were a great many happy accidents throughout the course of making this film: something in the environment shifted in a particular way which changed blocking, a location flooded so we were forced to use an alternate which turned out much stronger thematically, props or gear malfunctioned and we were forced to improvise on the fly - all the good staples of a great indie filmmaking experience. But I think the spirit of the production is best summed up with a quote from Robb one night as we were nearing completion on the pickup shots for the final edit in the spring of 2015: “Let’s grab some beers, light some shit on fire, and film it.”

I’m not sure I could have summed up the theme of our production any better myself.