If you've seen his car or his flamethrower, you know that Evan Glodell is pretty good at turning hunks of metal into roaring, fire-breathing, machines. The same is true of Bellflower, the apocalyptic mumblecore buddy / desert-romance movie he directed and wrote and stars in, with the help of a bunch of close friends and a few thousand dollars. Sure, it's a big mess, but that's what some of the most ambitious do-it-yourself contraptions tend to look like when they're done, with seams exposed and a few missing pieces. And yet Bellflower tends to look like, well, nothing else you've seen.One big reason for that is the camera he cobbled together for the film: a beta-tester version of the Ultra HD SI-2K camera modified with special parts, bellows and lenses. It's called the Coatwolf, named after the production company he and friends started. After years of pooling their money and sleeping on each other's couches, they're looking at a much brighter future: Bellflower was accepted into Sundance, got distributed around the country thanks to Adam Yauch's production company Oscilloscope (he still owes Adam a flamethrower), and even received an impromptu cash injection from P. Diddy (one that was indirectly responsible for, amazingly, the film's only major injury.) Despite their newfound glory, Glodell and his team have no plans to give up their balls-to-the-wall approach to filmmaking, or their ramshackle tools."It didn't look correct. It looked the way I wanted it to look though," he said of the camera. He was driving us through New York City on the way to another interview; Evan, a gentleman who is more gear nerd than film nerd – he considered engineering school before moving to California – was speaking in his excited, rapid-fire way, with the frequent cuss word thrown in."You can do so much cool shit with [that camera] that no one seems to be doing. I could play with it the way no other camera could because of limitations." He added: "It's just a hobby of mine. I've got a whole bunch of others that I want to make."