"... a nice little mind-f@#%, with a grim ending and a terrific visual sense ... one of the better visual depictions of a cracked psyche that I have seen in some time.'" Brian Collins, HorrorMovieADay.com

Stealing a scene in traffic: Working on a micro-budget without permits, the film's traffic jam scene was "stolen" in an active intersection – well, mostly.

 Norm Lee (Shaun O'Rourke) is haunted by possibly real or imagined visions of burying a murdered man in the woods, so much so that in one scene of the film he even zones out in the middle of traffic. As the synapses in his mind fire, showing him a partially exposed face, an accusing eye peering out at him from a ripped garbage bag as the body is covered with dirt, Norm sits in front of a green light on a six lane thoroughfare, traffic whizzing by him while those behind him lay on their horns curse him with obscene epitaphs.

 So how was this scene - featuring a camera dolly move no less - pulled off with no permits in the middle of traffic? A bit of sleight of hand and a bit of civil disobedience. All of the wide shots were indeed filmed in an active intersection. But director Jack Daniel Stanley and director of photography Macgregor devised a way to minimally impact traffic by creative use of the protected turn lane. Basically, O'Rourke would be the first in line at the light but in the left turn lane. This would allow the light to be green in the lanes next to him while he was in fact waiting on a turn signal. Next, we planted three background performers in cars behind him and had them lay on the horn. With the back of the traffic signal light facing the camera, it appears that the light is green for all three lanes and that O'Rourke's vehicle is obstructing traffic.

But what about the dolly shot and close-ups? Here's the sleight of hand. After the wide shots were filmed in the actual intersection, the filmmakers hurried to the large parking lot alley behind a chain grocery store. There, the same cars - O'Rourke's in the front with the background cars behind it - were positioned in the same relationship to the sunlight. The dolly was set to move from an angle featuring an angry horn honker behind O'Rourke and then move to feature O'Rourke's character taking a handful of pills. As the dolly moved, producer Barry Green drove behind the vehicles in O'Rourke's lane, roughly in sync with the dolly move, to mask the grocery store's brick walls in the background and to give the sense of traffic moving in the far lane.