Abe and Aaron's technical dialogue sound authentic. He took the unusual step of eschewing contrived exposition and tried instead to portray the shorthand phrases and jargon used by working scientists. This philosophy carried over into production design. The time machine itself is a plain gray box, with a distinctive electronic "hum" created by overlaying the sounds of a mechanical grinder and a car engine, rather than by using a processed digital effect. Carruth also set the story in unglamorous industrial parks and suburban tract homes. Carruth chose to deliberately obfuscate the film's plot to mirror the complexity and confusion created by time travel. As he said in a 2004 interview: "This machine and Abe and Aaron's experience are inherently complicated so it needed to be that way in order for the audience to be where Abe and Aaron are, which was always my hope." Filming Principal photography took place over five weeks, on the outskirts of Dallas, Texas. The film was produced on a budget of only US$7,000, and a skeleton crew of five. Carruth acted as writer, director, producer, cinematographer, editor, and music composer. He also stars in the film as Aaron, and many of the other characters are played by his friends and family. The small budget required conservative use of the Super 16mm filmstock: the carefully limited number of takes resulted in an extremely low shooting ratio of 2:1. Every shot in the film was meticulously storyboarded on 35 mm stills. Carruth created a distinctive flat, overexposed look for the film by using fluorescent lighting, non-neutral color temperatures, high-speed film stock, and filters. After shooting, Carruth took two years to fully post-produce Primer. He has since said that this experience was so arduous that he almost abandoned the film on several occasions. Music The entire film score was created by Carruth. On October 8, 2004, the Primer score was released on Amazon and iTunes. Release Distribution Carruth secured a North American distribution deal with THINKFilm after the company's head of theatrical distribution, Mark Urman, saw the film at the 2004 Sundance Film Festival. Although he and Carruth made a "handshake agreement" during the festival, Urman reported that the actual negotiation of the deal was the longest he had ever been involved with, in part due to Carruth's specific demands over how much control over the film he would retain. The film went on to take $545,436 at