There are moments and pictures in this film that are so specific. A wounded soldier wakes up and sees his leg on fire, or a guy looking up and seeing the cables stretched through the sky. How many of those pictures were from talking to people who were there and realizing them they remembered those very specific images?

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Alex Garland: So we talked to OEO and he said, "I sat down and looked down and my legs were on fire." You know Movement (Dogme '95)?

Yes.

Alex Garland: Yes. So, this was kind of like a movie of Dogme in a sense, except for the rule of dogma, no one is allowed to invent something and everything that makes its way in the film, it should be to source from the first hand account. So, it not only limits it, it's kind of ending my involvement in the narrative, as it was. Same with the studio, same as the actors. The actor could not say, "I feel motivated to get up and go to the window," because if there is one of the people there, saying, "You didn't go to the window, you sat there," well that's the end of the conversation. So we didn't invent.

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Also, I don't want to bust *** about it. SeeEe see things that are somehow inventions, as if someone scratched the back of the head or the exact words used in little dialogue in the exchange of dialogues. So, we know that the exchange for dialogue has happened, but you can't be exactly sure that the words have arrived in this order, if you see what I mean. But that's not exactly an invention, it's as good as you can do under the circumstances of an event that happened 20 years ago, not the only one, but The primary source of information is memory. Actually had some other sources, but it was mainly memory.

Was there a moment or detail that was particularly important to you? Where did you say "This was the one we enter here regardless of it"?

Ray Mendoza: There are many. I mean, I try to hit him for every person. So when you talk to all the guys who were there, there's their moment and trying to put them all there. For me, when post-ID and (Caso is dragging) on ​​the road. There were several downloads, but Eliot was there, I was there, and there was only one download. The sound, the way (he) fought, the light, how much smoke there was, it was perfect - as in, too perfect. And, it's kind of outdoors these years of dividing these emotions and feelings that I was afraid of happening, and that happened. So it was a powerful moment for me. Therapeutic too. I think being there with Eliot (was) maybe the only way I could handle it because of how intense, how much that event really changed my life. Not just physically, but only emotionally.

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The way the film uses a sound to refer to POV is really interestingBecause after the IED explosion, the sounds are muted at the moment. But when the film returns to a bigger stage, with a complete ensemble, we start to hear them screaming. We realize that the sound allows us to be in the heads of individual characters. How did you make this choice?

Alex Garland: One thing you would say is that when you get memories, what you get is subjective. We have been given a very clear report on the subjective state: "This is what I felt." So then the job is just how do you show that subjective state? And because you have several subjective conditions, then it creates a kind of patchwork within the film.

The way I would work is such a thing. So, Ray says, for example, he remembers what happened and he was near the IED blast. He is omitted unconscious, he suffers from a concussion, and one of the things that happens is that he is a kind of stages in and out of the countries of consciousness. Well, you can present it by someone to stand and sound disappearing, but not everyone feels it. So how do you cut yourself when you cross? What are the different audio spaces that are properly represented by this person or represents that person properly? Who after the explosion has a tinnitus type? Who can't hear anything?

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Here's the example I thought was the best and clearer, and then what the film did was just explicitly trying to reproduce exactly what was said. Ray wore a headset. The headphones were broadcast all the time Radio Jagor. But after the blast, Ray was unaware of the sound of that radio Jagor, but he could hear a screaming. This is what his mind remembers at the moment. So, he comes out, in the end he finds Eliot, he pulls Eliot back. While pulling Eliot back, he was shot and suddenly with awareness of the environment, which is to do with the awareness of shot, consciousness - not the sound, but Awareness of the sound - What is coming above the cans suddenly returns to his brain and is part of the memory of this moment. So, that's exactly what the movie does. Then the sound of the radio returns, the type of co -form of radio sound. So we just tried to repeat what we were told, whether it's Ray or OEO or Eliot or others involved.