How Samuel Bayer travelled through time

In this visually striking short film that feels both universal and deeply personal, renowned director Samuel Bayer explores the innocence of new life, the inevitability of death, and all of the pain and joy that we feel along the way. 

With the help of Arcade Edit's Matt Laroche, Bayer combined content from his archives with footage shot specifically for the film, to paint a spellbinding picture of the fundamentals of human experience in an exquisitely crafted montage. 

The film, which is titled TIME and was produced through Untethered Content, has a strong political message. Material from a Trump Rally and Black Lives Matter protests counterbalance colourful imagery of hope and community, highlighting the ever present divide in society. 

With beautiful time lapses, an immersive soundtrack and touching themes, Bayer’s reflective and visceral interpretation of life, love and morality is guaranteed to touch hearts no matter what the viewer’s journey through life may look like. 

I believe that who you love and who loves you is what means more than anything else in the world.

We caught up with Bayer to find out more about his inspiration for the film, his creative process, and the experience of reflecting on his archives. 

Still from Time, Samuel Bayer

Can you tell us more about the concept for the film and how it evolved?

I am proud of the years I've spent making commercials and music videos. And, I have had some incredible experiences. I was inspired to make a personal film that wasn't about selling anything. I wanted to make a 90-second film about life itself using a short, commercial format. The concept is that no matter who you are, we are all faced with mortality. I believe that who you love and who loves you is what means more than anything else in the world.

In the film, I put some of that passion, pain and perhaps a touch of joy for how beautiful life can be.

The quote at the opening of the film, where did it come from and how did it inspire you?

I was thinking of starting the film with quotes from Einstein or Shakespeare. But at the end of the day, we found this quote attributed to no one. It seemed kind of perfect.

Still from Time, Samuel Bayer

How does the process of creating a film from archival footage vary from directing a film from scratch?

Using archival footage gave me the creative freedom to do what I wanted. There is a mix of new footage shot specifically for this film, along with material pulled from my archives. It was daunting and exhausting trying to navigate my way through these projects. Some stuff worked and some just didn't. What was exciting is that most of that footage was from aborted film projects I never completed. It was very satisfying to finally give it a home.

What’s my message? Racism f*cking sucks.

Looking back on your own footage with the theme of time in mind must have been quite a reflective process, was this a very personal project for you?

Yes, very personal. My mother was an artist who died at a young age, in her mid-thirties. She never saw her children grow up. It is a weight that I have carried with me my entire life and it has influenced all my art. She was literally painting up until the time of her death. In the film, I put some of that passion, pain and perhaps a touch of joy for how beautiful life can be.

Still from Time, Samuel Bayer

The film has a strong political undercurrent that feels especially relevant at the moment. Was there a particular message you were trying to convey?

Maybe I was naive enough to think that when America elected an African-American President, things had really changed in this country. Then, the pendulum swung the other way in the next election. You only have to look at the news to see that racism is rampant. 

There is an unrehearsed, beautiful intimacy in their dance that could never be faked.

My good friend, Mischa Meyer and I filmed a Black Lives Matter protest and a Trump Rally in 2020. America is in a cultural civil war as is much of the world. This reality isn’t going away any time soon. So, that footage seemed to work pretty well telling a story about a life lived and where we are as a society. What’s my message? Racism fucking sucks.

Still from Time, Samuel Bayer

Can you tell us a bit more about Odom and Betty Williams and the role their story plays in the film?

I wanted a real married couple for this film. Through my friend Boomer in South Central, we found Betty and Odom Williams. Odom is a Korean War Vet. He and Betty ran a jazz club together. Both are in their mid '90s and have been married for 75 years. There is an unrehearsed, beautiful intimacy in their dance that could never be faked.

I was an abstract expressionist painter before I became a filmmaker, so I would describe the film as an abstract, expressionist, free-form painting using film.

Were there any particular influences for the montage format?

I was influenced by Koyaanisqatsi, Nicolas Ray's We Can't Go Home Again, and a myriad of other influences that are probably buried a bit in my subconscious. I was an abstract expressionist painter before I became a filmmaker, so I would describe the film as an abstract, expressionist, free-form painting using film.

Samuel Bayer / Matt Laroche

Can you tell us more about the soundtrack choice?

I always loved Louis Armstrong's rendition of We Have All The Time In The World. He was dying when he recorded those vocals and was too sick to play the trumpet. Making great art in the face of death is noble and inspiring. A gorgeous song, perfect for this film.

Making great art in the face of death is noble and inspiring.

You gave your Editor Matt Laroche at Arcade a lot of creative freedom. How did you both go about balancing your creative visions for the film?

Matt was rock star being able to find a spine for this film. I would let him talk about his process. But, I will say that as much as I talk about all my influences and what I wanted thematically, it was an intense task for any Editor to go through hours and hours of my footage and make sense of it. Without Matt, there is no film.