When William Eubank made his first film "LOVE," it was a personal obsession filmed in a set that he built on his family's property and left standing for years. It was funded by the band Angels & Airwaves, and their score was also their third album, a big double-album release. When I saw the film, I thought it was remarkable mainly as an example of just what is possible when someone sets their mind to it. The film didn't really work on a script level, but it suggested that Eubank is capable of great things visually, and that he could stretch a dollar well past the breaking point.
His new film "The Signal" made its premiere as a midnight entry at Sundance this year, and I've been chewing on it since seeing it. I have some issues with the film as a narrative, but I am fairly sure at this point that Eubank is a guy who is going to be making big studio event films in the very near future. He creates some remarkable images and moments in this movie, and his sensibility leans towards a sort of painterly love of quiet and sustained imagery. He juggles some pretty big shifts in tone here, and doesn't always pull it off, but it's really interesting to watch him try.