Postaccident

Arguably, this was part of Weir's directorial style even before it became part of the international mainstream--in his gripping work in The Last Wave (1977), for instance, which is recalled in some of the early hallucinatory moments depicting Max in his postaccident mode.

The postaccident research, Peterson says, amounted to "a few collections of dead things that washed up on the shore and a few other odd data sets."