It's always awkward to write your own bio...and pretend that someone else wrote it about you. So I won't...I won't pretend. Andrew Bowser is me, and he (I) is (am) a director. He grew up acting and auditioning on the East Coast in a suburb of Washington, DC. He went to The School of Visual Arts in NYC for two years, before he ran out of money and moved back to Bowie, MD. He started directing music videos for small bands and then moved on to short films and comedy videos. He's only ever wanted to be one thing - a film director. Well... that's not entirely true, he also wanted to be a basketball player and a rock guitarist for some time. BUT HE SUCKED AT THOSE THINGS. He made his first feature film "The Mother of Invention" in 2008 alongside his best friend and Co-Director Joseph M. Petrick. He then made his second feature "Jimmy Tupper VS The Goatman of Bowie". That film premiered at SXSW in 2010. "Worm" is his third feature film as director, and he couldn't be more excited and honored to have it premiere at SIFF 2013.
"Worm" is an exercise in restrictions. I wanted to make a movie that only allowed one angle of the world to be shown. What tension could be found due to that restriction? What story elements would be heightened? It would have to be one take. Why jump-cut through the same angle? If it's one angle, it's gotta be one take. That's what my gut said - that's what made sense. So what does one take say? It can't just be gimmick, it has to correspond to something we know about the visual language of cinema. No cuts means real time, pressure, deadline, impending disaster? Doom? No way out. The clock is ticking. One angle, looking at the lead actor and over his shoulder would mean...he's running from something? What did he do? Will the past catch up to him? Hmm...no cuts, one angle, and all Snorricam. You're stuck with him, confined, the world is closing in around him - claustrophobic, small, restricted... Exciting! I was intrigued. The idea of calling ACTION and not calling CUT for 90 minutes intrigued me. Staying in character like you would on stage. The world in essence being the stage - for your film. I initially had the idea, and pursued the idea, because I wanted to make another feature but I didn't want to wait on any "greenlight" to tell me I could do so! "I'll make a movie my damn self! Strap a camera to my chest and make a movie in one take!" And that's...relatively what happened. But it wasn't simply "me". It required an amazing gathering of actors and crew in Oklahoma to align their talents with this idea for a few intensely grueling weeks. It wasn't as simple as I had pictured - rehearse a movie like a play, stage your actors in their locations, and execute it like live theater - only recording a single perspective. It required far more planning and man hours than I imagined - but it was precisely as exhilarating and fulfilling as I'd hoped. I always pictured the concept to be the filmic equivalent to walking a tight rope, one slip - and it was all over. If one vehicle didn't start, if one actor wasn't in their place, if one passer-by gave our camera the middle finger - it would all be over. But the challenges did nothing but entice me and my crew! The actors loved the "experimental" side of it, and my crew thrived under the pressure. The locals in Guthrie, OK couldn't have been more supportive - and because of their hospitality and dedication we pulled it off. With restraints, yes, but also - with many a helping hand and open door. I couldn't be more proud of what we did.