Unseen Terrors: Co-directors Tim Aslin and Shane Cibella Share it All About Crafting ‘5.7 Seconds’.

Filmmakers Tim Aslin and Shane Cibella have collaborated as co-directors for the thrilling psychological short film “5.7 Seconds“. Their film captures some of the challenges that many women face from perverse predators. And it does this with a unique blend of suspense and emotional depth.

Both Aslin and Cibella contributed their distinct creative backgrounds to the project, resulting in a collaboration that is as seamless as it is impactful.

In this exclusive interview, the co-directors share insights into their creative process, the inspiration behind the story, and the challenges they faced in bringing this gripping narrative to life.

1.Can you tell us a bit about yourselves Tim Aslin & Shane Cibella?

 TIM ASLIN (TA) – I was born in Indiana and raised in Rochester NY. From a very early age I became obsessed with movies and in particular Horror films as I had an older brother who could convince my mom that I would be able to handle the scary movies he rented from Video Barn. Since moving to Los Angeles, I have found as many ways to be on a film set as possible, whether acting, writing, working in production, or directing and producing my own films, it’s what I love.

SHANE CIBELLA (SC) – Born and raised in Cleveland, I graduated from Ohio State University before making Los Angeles my permanent home. I created the acclaimed action-comedy series Devil’s Couriers, and co-directed the award-winning neo-western    2 Timers, executive produced by Jamie Lee Curtis and starring Jane Kaczmarek, Steven Weber, and Amber Stevens West.

2. What was it like coming together and collaborating on this film?

 TA – Shane and I have collaborated on a number of projects, so we have formed a shorthand that makes the process much easier. Not that it’s without its challenges, for me filmmaking is just such an inherently collaborative process that I can’t help but enjoy the act of people coming together with a common goal and making something great.

SC – We really went back to the basics and were hands-on with every aspect of the filmmaking process.

3. What would you say is the inspiration behind the story of “5.7 Seconds”?

 TA – Over the past several years I simply was overwhelmed by the incredible number of women who had shared with me their experiences of moving through the world, and the considerations they absolutely have to make on a daily basis to stay safe. I wanted to explore that through this film and hoped that people who don’t realize the realities women face might come to understand them better.

SC – Tim approached me with the initial draft, and I was immediately drawn to the powerful themes and the opportunity to bring a unique blend of action and emotional depth to the story.

4. Why the choice of the title “5.7 Seconds”?

TA – We loved that moment in the film and felt that is really spoke to the absurdity of what some people view as “powerful” and how much importance they give to their need to exert that power.

SC – Having the male character brag about how fast the car goes 0 to 60, which isn’t even a fast car, fit into the story and encapsulates his fragile ego.

5. The film explores the concept of unseen threats in a clever way. Can you share with us how this idea was developed during the writing process?

TA –I had been watching a lot of Twilight Zone episodes when I started writing, and love the tension in that type of mysteriousness. I thought that keeping things unseen served two purposes. One, it helped to build suspense leading up to the reveal that this is just a typical day, in a regular place that we are all familiar with. Two, it built off of that reveal as a statement on how often threats are only unseen if we choose not to look at them. I think that was a trend in how a lot of the women I spoke with felt about their experiences in the world.

SC – Tim had that initial concept from the beginning, from there it was raising the stakes and expanding the characters.

6. A lot of the film’s intense scenes are shot inside of the car. Can you tell us what that process was like and what some of the challenges you were faced with trying to achieve this? 

TA –Well, as you can imagine it was pretty cramped in there. There was a lot of contorting our bodies to get certain shots. Finding ways to shoot with a small gimbal helped but had its own set of challenges. In spite of being a little sore at the end of the day, it was still a blast rolling around and finding creative ways to execute shots that seemed near impossible.

SC – In addition to the physical constraints, we also had to ensure that the claustrophobic setting didn’t limit the emotional and narrative impact. The action shots were filmed sequentially; we only had one take to get many of them, so they were thoroughly mapped and rehearsed.

7. The story has a clear psychological aspect. How did you navigate the line between psychological horror and suspense, particularly with the performances of your actors?

TA –The film is grounded in psychological horror, and the suspense is a byproduct of the characters in these circumstances. So they really go hand in hand. To me that’s often a core element of getting good performances. Your actors must understand the circumstances of the situation, even in simple terms: “You were attacked” “This guy seems creepy” “Don’t let this woman know what you really want”. The broader psychological aspects tend to fall more on us as filmmakers in how we frame the experience of the characters.

SC –Taking what is happening moment by moment with the characters and having them constantly recalculate their strategy created organic and dynamic performances.

8. How did you approach the casting process for the two central characters, and what qualities were you looking for in the actors?

TA – Honesty and intensity were paramount for us in finding the right actors. Like with any casting process, you reach out to people you know can fulfill your needs first. But even if you’ve never seen them, or worked with them before, those two things are what we were asking for in the audition process.

SC – This was my first time casting on Zoom. It was important to have an emotional range, take direction, and continuously raise the stakes. There isn’t anywhere to hide a bad performance inside the car, so casting was crucial.

9. You both had small acting roles to play in the film. How was that like and would you do that again?

TA – Sometimes it’s out of necessity rather than vanity as was the case on this one. With such a small production it just made sense for Shane and I to take on those roles, especially considering that both of us have backgrounds in acting. I would absolutely do it again because it’s fun, but I in no way feel like I have to be in all of my films.

SC – I started as an actor in the industry and worked on stunts in films early on in my career. It was fun to be in front of camera again. I’d do it again in small roles.

10. How would you describe the audience’s reception of the film so far?

 TA – Tense! Which means we were doing something right. It was really exciting to feel the audience tensing up and releasing with a gasp or a shriek or a jolt in their seat. That’s what we wanted to hear and see from an audience.

SC – I could feel the audience’s tension as they watched the film at the premiere; it never let up, which was certainly a goal when creating the film.

11. What are some of the lessons from this film that you will carry into your future projects?

TA – Take the time to plan out your filming days. That seems like it should go without saying but it really is what will keep the ship upright. Also, be uncompromising in your vision. Make the thing the way you see it in your head.

SC – The process of mapping and rehearsing the stunts/action scenes. We only had one take multiple times, and everyone was on the same page when the camera was rolling.

12. Can you tell us a bit about your upcoming projects after “5.7 Seconds”?

TA – I have a few Horror/Thriller features that I am working on in various stages. Furthest along is a story of a group of six friends reuniting for their 20th High School Reunion and the the dark consequences of the secrets that motivate them to act in fear.

SC – I’m currently working on a feature film vengeance thriller trilogy. Part 1 is written and follows a determined CEO, burdened by guilt, who wages a violent crusade of vengeance against the corrupt board members responsible for contaminating her family’s water supply, leading to the deaths of her husband and daughter.

13. What advice would you give to filmmakers looking to explore psychological horror in short films?

TA – First and foremost, don’t be afraid to be weird. You have a wellspring in you that is inherently psychological inside your brain. But really I think it’s all about how we might act in crazy situations and the unravelling that ensues when faced with the uncanny realities of humanity. If you can connect that to some universal truths then you’ll really be off to the races.

SC – Don’t overcomplicate some of the storytelling, give your audience time to catch up. We get so deep into the story, it’s easy to forget the audience is at square one.

Tim Aslin and Shane Cibella undoubtedly would continue to push the boundaries of the horror genre. Their film “5.7 Seconds” serves as a testament to the power of storytelling which can shed light on real-life issues through filmmaking. Their commitment to authenticity, intense performances, and meticulous planning has not only resonated with audiences but also laid a strong foundation for their future projects.

With upcoming features already in the works, these filmmakers are poised to continue their exploration of fear, suspense, and the human condition, which are sure to offer audiences more thought-provoking and spine-chilling experiences.

We will continue to keep an eye on Tim Aslin and Shane Cibella and their future exploits.