How to make war directors one of the most dense war films ever (exclusive interview)

There are moments and pictures in this movie very specific. A wounded soldier wakes up and sees his leg on the fire, or that the man looks up and sees the cables extending across the sky. How many of those pictures were pulled from talking to people there and realized that they remembered those very specific pictures?

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Alex Garland: So we used to meet Joe and said: “I sat down and looked down and my leg was on the fire.” You know (Dogme ’95)?

Yes.

Alex Garland: Yes. So this was somewhat similar to the movie Dogme, except for the base of the doctrine, no one was allowed to invent anything and anything that made its way to the movie must be from a direct account. Not only does it limit, but it ends my participation in the narration, as it was. The same with the studio, the same thing with the actors. The actor could not say: “I am motivated to wake up and walk to the window,” because if there is someone there they say, “you did not walk to the window, I sat there,” well, this is the end of the conversation. So we did not invent.

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Also, I don’t want to bull *** about it. You will see things somehow, like someone scratches the back of his head or the fine words used in a little dialogue in the exchange of dialogue. So we know that the exchange of dialogue happened, but you cannot be completely sure that the words have reached this arrangement, if you see what I mean. But this is not exactly an invention, as it is more similar to as much as you can do under the circumstances that happened 20 years ago and not the only one, but The main source of information is the memory. There was actually some other sources, but it was basically a memory.

Was there a moment or details that were especially important to you? Where did you say, “This was what we are entering here regardless of what?”

Ray Mendoza: There is a lot. I mean, I try to hit him for everyone. So when you talk to all the players who were there, there are their moments and I try to put all these there. For me, that was when postpartum and (caso) is pulled in the corridor. There were a few taking, but Elliot was there, and I was there, and there was only one. The sound, the method (he) was struggling, light, and the amount of smoke, and it was perfect – as in, very ideal. This type of division of these feelings and feelings that I was afraid to happen has opened, and this happened. This was a strong moment for me. Therapeutic as well. I think there is with Elliot (was) perhaps the only way I can deal with it because of the intense intensity, and how much this event really changed my life. Not only physically, but just emotionally.

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The way the movie uses the sound to connect Povs is really interestingBecause after explosive devices, sounds are currently kept silent. But when the film returns to a larger scene, with the full band again, we start hearing screaming. We realize that the sound allows us to enter into the heads of individual characters. How did you take this choice?

Alex Garland: One thing I would like to say is that when you get memories, what you get is a subjective condition. We got a very clear account of the subjective situation: “This is what I felt for me.” So, the job is how this self -state appears? And because you have many self -states, it creates a kind of patching inside the movie.

The way you will do something like that. This is how Ray says, for example, he remembers what happened and was close to the explosion of explosive devices. He has been subjected to consciousness, suffering from concussion, and one of the things that happens is that he deals with some extent in cases of consciousness. Well, one can represent this by someone wandering and the sound disappears, but not everyone feels it. How do you intersect, when do you intersect? What are the different vocal spaces that represent this person correctly or represent this person correctly? Who in the aftermath of the explosion has a tinnit type? Who can hear nothing?

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Here is the example that I thought was better and clearer, and then what the film did was tried to reproduce exactly what was said. Ray was wearing headphones. The headphones were broadcasting the gossip all the time. But after the explosion, Ray was not aware of the voice of that radio, but he heard someone screaming. This is what his mind remembers at the present time. So he comes out, in the end, he finds Elliot, withdraws Elliot. While Elliot is pulled back, he is shot and suddenly with awareness of the surrounding areas, which is related to awareness of divorce and awareness – not sound, but Voice awareness – What will come over the cans suddenly returns to his brain, which is part of the memory of this moment. This is exactly what the movie does. This is when the radio sounds, which is a type of CacoPhony of the radio. So we only tried to repeat what we were told, whether it was from Ray, Joe, Elliot, or any of the other people concerned.