I actually think every war movie is an antiwar movie in its own way - with the exception of some of the propaganda movies.
So to be standing here, this was really, truly, honestly never part of anything we even imagined in our wildest dreams.
I had an eye-opening experience in Baghdad at the end of 2004 and I thought that the story of these guys who have one of the most dangerous jobs in the world would be an interesting way to look at the war in a broader sense.
Ever since 9/11, I found myself interested in chronicling the war and the war on terror and the way that this giant machinery was affecting individuals.
For weeks after 9/11 you could smell the dust and pulverised concrete in New York, and the National Guard came in, so there was a military presence on the streets. It was intense. Overwhelming. Heartbreaking.
The fact is that war films, by their very nature, are pitched at a high dramatic range.
I write on a computer, on a laptop or whatever.
You're trying to dramatize events to tell a story most effectively. That doesn't mean the events aren't true, it just means you're making them as dramatic as you possibly can.
For better or worse, most of my writing life has been about people that work behind the scenes. I'm interested in finding extraordinary moments in otherwise normal people.
I think as a filmmaker you try not to have any expectations other than that the film have a fairly substantial beginning, middle and end.
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