A subtlety disturbing rumination on modern technology, “Imaginary Friend,” by director Zach Rubin, gives us a glimpse into the lonely world of an older woman whose only company is an Alexa-type virtual assistant. We asked Rubin how the project started, what the biggest challenge was, and what comes next for him…

1) Can you talk briefly about your background, and how you first got interested in filmmaking?

I studied Film/Video Production at U-Arts in Philadelphia, where I saw some of the first films that really sparked my interest in narrative filmmaking. Vagabond, George Washington, L’Argent. Seeing those films, I wanted to do anything in the industry if it meant I got to work on a movie. After graduating in 2010, I moved to NYC and started PA’ing on whatever gig would have me. A year went by and I got lucky enough to be the camera PA on a feature. That job opened the door for me to start working as a Camera Assistant and eventually join the camera union, local 600. After 8 years of stable camera work, I’m starting to destabilize and focus on my own films.

2) What’s the backstory here - what was the initial idea and how did it evolve from there?

In times of distress, I was always encouraged to write a letter I’d never send.

The film evolved around that idea, but with focus on how augmented reality could replace this method of emotional mending. It got me thinking about human interaction in the process of reconciliation. Do we need actual contact with those involved in a past brutality to mend a relationship, or can that process be just as effective if done internally? I wanted to write a film about how this situation could play out in the foreseeable future. How might someone be able to mend emotional wounds with advances in augmented reality? How is that different than writing the letter you never sent? How is it the same?

3) What was the biggest challenge in making this film? And generally what part of the creative process do you enjoy the best, and the least?

The biggest challenge was admitting that I actually wanted to make the movie at all. I’ve been a Camera Assistant for 8 years, and work about 70 hours a week. It was really hard to say to myself, “Okay, today you’re not an AC. Today you’re a director. If someone calls you to pull focus on a stable gig, you’re going to say “no”. Today you call everyone you know and tell them you’re making a movie, that you need help, and that it’s going to be a freaking blast”.

Hands down, the most enjoyable part of the process for me is being on set. Setting up an environment that allows people to do fulfilling, creative work, so we can all look back at the day and feel like what we did for roughly 12 hours somehow actually mattered.

My least favorite part is finishing something (a script, principal photography, editing), accompanied by the very real fear of never finishing anything… ever… again.

4) What’s a film you’ve seen recently, new or old, that you really loved and why?

I recently watched a few of Kelly Reichardt’s films and saw Certain Womenfor the first time. It’s a beautifully understated film that cuts like a knife right at the very end. I mostly love watching Reichardt continue to grow and master her craft though. She’s one of the only contemporary American filmmakers that still evolves as an artist with each of her films. Lot’s of veterans get stuck elaborating on what they’ve already succeeded at. She continues to dig deeper.

5) What’s next for you?

I have another short script that my producers and I are looking to shoot this summer. It’s way different than this last film, and I’m really excited to make it. In the meantime, I’m AC’ing a project out of town until May. Once that wraps, If someone calls me to pull focus on a stable show, I’m going to say “no”. Then I’ll call everyone I know, tell them we’re making a movie again, that I need help, and that it’s going to be a freaking blast.

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Instagram: @rubinz

5 Questions with Zach Rubin