A Quote by Kevin Macdonald
Despite the limitations of the bulky 16mm camera and 10-minute film magazines, 'The Anderson Platoon' feels as spontaneous and fresh as any films that have come out of the Afghan or Iraq wars.
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I don't think there is any advantage to digital unless it's in a case like Slumdog Millionaire, where you have to get a shot and a big bulky film camera is out of the question.
If any overarching conclusion emerges from the Afghan and Iraq Wars (and from their Israeli equivalents), it's this: victory is a chimera.
You used to need a big camera to direct, but now, anyone with an iPhone can tell a story visually. You can film something. You can start off with a five-minute story, then a 10-minute story.
Our military is overextended. Nine out of 10 active-duty Army divisions are either in Iraq, going to Iraq or have come back from Iraq. One way or the other, they're wrapped up in it.
Although 'The Anderson Platoon' was what we would now call an 'embedded film' - with all the ambiguities that term implies - somehow Schoendoerffer got away with showing things as they really were from a grunt's perspective.
I made films with my brothers and my cousins and if any of the films ever come to fruition my career will be in ruins because the acting, writing, and directing is so unbelievably, heinously bad. We once screened one for my grandfather, this film that we had painstakingly made over a couple of days when we were all 10 years old, and he sat there and he said, "This is the worst film I've ever seen." No sympathy whatsoever.
I'm a film guy. I love it. When I read the screenplay, I knew that there would be no HD camera that could achieve the look that I wanted for this film. I wanted it to be dirty, and 16mm provides all of that with the look and the grain. That's what I worked for, and that's what I wanted, and that's how I'd seen the movie in my mind.
WikiLeaks has revealed some hard truths about the Iraq and Afghan wars and broken stories about corporate corruption.
I'm reading a bunch of fiction by Afghan and Iraq War veterans for a New Yorker piece. There hasn't been that much, but it's starting to come out, and some of the fiction is really good.
My dad and I used to shoot little one-stop animations on an old 8mm film camera when I was no more than 7 or 8, and when he was away at work, I would keep shooting nonsensical, short animated films using 'Star Wars' figures or Smurfs - depended what the narrative was.
In terms of the film itself, there was nothing much very new about 'Star Wars.' 'Star Wars' was a trailblazer for the kind of monumentalist pastiche which has become standard in a homogeneous Hollywood blockbuster culture that, perhaps more than any other film, 'Star Wars' played a role in inventing.
Of course, you do not do any research: you have to go there and do your film. It's not that I would travel there before without a camera and spend half a year on one of those volcanoes and then come back with a camera. You have to have some sort of a clear mindset.
I think people were not expecting us [with Robert Ben Garant] to, they were just like, "Well here come the writers," but we both were coming out of a sketch comedy background, so when we pitch a movie, we play every character in the film. You act it out, you perform it - you do a 10-minute performance of the movie.
My dad gave my brother and I a camera to film our football games when we were 10 years old so we could see how we could get better. Then one day, we decided to pick up the camera and film whatever we were doing.
I had acting teachers, and one of the things that was encouraged was to keep it fresh, to be spontaneous. That's the magic of film often.
I want to make sure I have a system that allows me to know that the platoon sergeant and platoon commander aren't going to move at the same time when we come back from deployment. That sounds pretty simple, but it's really about data.
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