... looking back it is as if the devil was partaking at the making in the film. We all, crew and cast,  experienced most peculiar things throughout the making of this film. As director and writer I wanted the audience to experience the story in the way the characters would. They never quite reveal one an other's backgrounds as they travel together through time and space in this bubble which the truck nicely represents. The directorial approach was straightforward up to where the truck breaks down for good (the midpoint of the film). From that point on I had to introduce a new character:  the desert. I did so by shooting the three characters from a greater distance, making them appear smaller, revealing the vast boundary of the desert. Later I shifted my directorial  approach again as they started going in loops. I wanted to portray their return to the truck as two-dimensional, leaving no room for a third dimension (their way out of their trap). At the same time the director of photography used filters to shift the colors to warmer tones each time they returned to the truck, making the desert less and less bearable. To me it was important to explore the desperation of the characters, not by stressing their suffering (cracked lips and the water level getting lower), but by revealing the individual approaches they  use to get out of the maddening captivity to escape the trap of the Devil's Playground. Haunted by the devil throughout this production, I got very  familiar with the kind of struggle my fictitious characters had to face. It was as if all of what they had to go through I had to experience too, but on a different level. This allowed me to sympathize with the characters in a profound way. I remember one person stating after a screening that for him, the film reflected the way he looks at life - especially the scene where Billy is planting sticks in a straight line. He places marks along the path to a larger goal, but soon finds that instead of going in a straight line he is actually traveling in a circle.