The Blazing World began with a recurring dream and a short film. Carlson Young used that short as proof of concept for the feature she wanted to write, direct, and star in—a surreal horror-fantasy shaped by Margaret Cavendish’s 1666 book, family trauma, and pandemic-era production constraints.
What inspired The Blazing World?
Young has traced the film’s origins to two images that came together: Margaret Cavendish’s 1666 book The Description of a New World, Called the Blazing World, which she read while writing a school paper, and recurring dreams of a black hole in a field. In a 2021 interview, she described turning those images into the idea for a film. DiscussingFilm’s interview with Young and an IONCINEMA.com interview connect her reading of Cavendish to the project’s origins.
The feature follows Margaret, a young woman still affected by her twin sister’s death. Drawn into a surreal alternate world, she hopes to find a way to reach her sister. The film uses horror-fantasy imagery to approach grief and trauma; that framing describes the story, not a claim that it offers clinical guidance or treatment. Screen Queens’ interview with Young discusses the film’s synopsis and thematic context.
How did Young turn the short into a feature?
Young made a same-title short before the feature. It premiered at Sundance in 2018, giving her a way to demonstrate the concept and her directing approach before asking to lead a feature. As she told DiscussingFilm in February 2021: “I got the good advice to make it into a short first because I knew that I wanted to direct it, and I knew that no one would probably let me direct it unless I had good proof of concept.”
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The feature was an expansion, not simply a longer cut of the short. Young and co-writer Pierce Brown spent roughly two years scripting and developing the story, widening its focus on Margaret and her family and deciding which visual ideas to emphasize. In an interview with Fangoria, Young described the work of building out the character and family story. She also called the project a personal statement: “I wanted the first thing I directed to be a mission statement, and more than anything else, [show that] this is what I’m about, this is what I love, and this is what speaks to me on a cellular level.”
| Stage | What it meant |
|---|---|
| Same-title short | A proof of concept for the idea and Young’s ability to direct it; it premiered at Sundance in 2018. |
| Feature development | Roughly two years of writing and development with co-writer Pierce Brown, expanding Margaret’s story and family context. |
| Feature production | Young’s first feature as director, with her also writing and starring in the film. |
What films and visual ideas influenced Young?
Young has named surrealist cinema and 1970s horror as touchstones, including the work of Dario Argento. She also described drawing on Technicolor and treating color as part of the film’s emotional language. In her account, green and red relate to the heart, home, and family trauma. That is Young’s interpretation of her choices, rather than a universal reading imposed on every image. Her discussion of the influences and palette appears in the DiscussingFilm interview.
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How did they film during the pandemic?
Young said pre-production began in March 2020, then paused as the COVID-19 pandemic hit. She rewrote scenes to reduce public settings and make the story more contained. Filming began August 1, 2020, with a limited crew staying in a quarantine camp near locations outside Austin and Dripping Springs. These details are Young’s account in 2021, not an independent audit of the production’s safety practices.
The contained story helped make the plan seem workable to her. “We realized that there’s never any more than four people in a house and with a limited crew, we might be able to safely pull this off,” she told DiscussingFilm. The production changes show how a creative constraint—the ability to keep scenes and crews smaller—became part of the route from concept to finished feature.
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