Carlos Ferrer's incarnations ran wild during the six years he performed virtually every facet, except acting, in making the thriller "Retina": The producer in him worried about cost overruns; his inner special effects persona loved explosions; his sound editor fixated on footsteps; his composer mingled violins and cellos; his scriptwriter fretted over pacing; his cinematographer summoned shadows; and his director roamed the streets of New York plotting a terrorist attack.
A one-man, movie-making posse, Ferrer is proof that the collaborative nature of filmmaking is, at least in certain circles, being redefined by obsessive savants.
Much of the technical work on "Retina," a tale about mind control and the disquiet of living in post-9/11, was done in a New York apartment on a mixer, a surround sound system, a piano, four monitors and two Mac Pros loaded with special effects and other software packages.