Tag: Kathryn Bigelow

Posted on

Behind The Scenes On Zero Dark Thirty

Thomas J. McLean is an AwardsLine contributor. This article appeared in the Dec. 19 issue of AwardsLine.

Fast and furious is perhaps the best way to describe the making of Zero Dark Thirty, something Jessica Chastain found out the day after attending last year’s Oscar ceremony.

“I flew 25 hours to Chandigarh, India. I got off the plane and I called in, just kind of joking, ‘I’m here guys, ready to go!’ ” Chastain recalls. “And they said, ‘OK, come on in!’ I didn’t go through hair and makeup—nothing. They put me in a robe, they sent me to a market, I had no idea what time of day it was, and they just started shooting. And it was like that from the get-go.”

Rarely are movies put together as rapidly and with as much timeliness as Zero Dark Thirty, which recounts the decade-long hunt for Osama bin Laden and culminates in the May 1, 2011, U.S. Navy SEAL raid that killed the 9/11 terrorist leader.

Kathryn Bigelow's Zero Dark Thirty closely follows the real-life raid on Osama bin Laden's hideout in Pakistan.
Kathryn Bigelow’s Zero Dark Thirty closely follows the real-life raid on Osama bin Laden’s hideout in Pakistan.

Director Kathryn Bigelow, who became the first woman to earn the best director Oscar for 2008’s Iraq War drama The Hurt Locker, says the story was too compelling to not do. “I suppose there were certainly a lot of options out there, which I was grateful for, but I really felt that this was the story to tell,” she says. “It’s a mystery, it’s a story that was out there, and I think has touched many, many, many lives the world over, and I felt it was a great opportunity to tackle this.”

Bigelow also relished the chance to continue working with Mark Boal, who wrote the Oscar-winning screenplay for The Hurt Locker and tapped into his experience as a journalist to uncover and write the story behind the raid. “I appreciate the scope and the challenges that he writes into his screenplays,” Bigelow says.

Boal and Bigelow originally planned to shoot a movie about bin Laden eluding capture in the mountains of Tora Bora in 2001, and were close to starting principal photography when the al Qaeda leader was killed in Abbottabad, Pakistan.

Starting from scratch, Boal dove into researching the events that lead to the raid. Working with the public-affairs offices of various government agencies as well as tapping into contacts he had accumulated as a journalist covering America’s post-9/11 wars and the veterans who fight them, Boal assembled the script quickly from first-hand accounts.

The energy Boal put into the script was perfect for Bigelow. “He was certainly reporting this story as it was unfolding, and there’s a kind of urgency and timeliness to that,” she says. “And at the same time, I think we both felt a responsibility to tell it in a certain way, to tell it responsibly, and to be faithful to the research.”

Backing the production was producer Megan Ellison, who funded the movie through her Annapurna Pictures shingle. Bigelow says Ellison was tremendously supportive of the project and the filmmakers’ desire to get it right. “We were fortunate that she agreed to finance the movie and enable us to retain creative control,” she says.

Jessica Chastain stars as a relentless CIA agent pursuing bin Laden in Zero Dark Thirty.
Jessica Chastain stars as a relentless CIA agent pursuing bin Laden in Zero Dark Thirty.

The script ended up with more than 120 speaking roles and 112 sets, with the lead role of Maya—a CIA analyst who unapologetically and obsessively tracks down bin Laden in order to kill him—requiring an actress who could portray steely resolve while navigating the labyrinthine world and linguistic gymnastics of real-life espionage.

Chastain, a first-time Oscar nominee for The Help, was Bigelow’s first choice for the role. “I just felt that her intensity, her focus, her innate intelligence was something that would give the character an incredible amount of credibility,” she says.

Among the keys for getting into Maya’s head was learning the reality of life as a CIA analyst—including the importance of status in that world, which is essential to Maya’s character arc. “Maya is at the very bottom end of it and as she actually starts to fight back against it, she claims her own status to get people to listen to her,” Chastain says.

The intensity of shooting on a very tight schedule in such distant places as Jordan and India also informed Chastain’s take on Maya. “Being a woman in that part of the world, it changes your energy and your physicality,” says Chastain. “It desexualizes you because you don’t want to be seen as a woman.”

Among the most challenging scenes were the realistic portrayals of torture, including a sequence in which Dan, a CIA interrogator played by Jason Clarke, waterboards a suspected al Qaeda informant.

“As an actor, I was relieved that Mark and Kathryn were telling the whole story. These things happened,” says Clarke. “We shot it quite quickly. It was set up in an environment that was as realistic as possible. (With) the other actor, we established the bond we needed to trust each other.”

The logistics were a big and satisfying challenge for Bigelow to tackle. “We were shooting on and prepping on two continents simultaneously, in India and in Jordan, and we had to choreograph the entire raid early in preproduction, which meant you had to have figured out that whole section of the movie, which is arguably the most difficult to shoot, when you’re probably eight weeks out,” she says.

For the raid sequence that is the climax of the movie, the production re-created bin Laden’s Pakistan compound as completely as possible. The model had to not only look as accurate as possible, it had to accommodate the shoot—including having a strong enough foundation to withstand the rotor wash from the Black Hawk helicopters that were going to hover over it, says Bigelow.

“That had to all be choreographed—all of our shots, everything about that structure, how we were going to shoot it—well before we started principal photography and well before we were to shoot the raid in the first place, which was not going to be shot until mid to late April,” says Bigelow.

From the start, the subject matter drew unexpected political attention, with pundits and pols assigning partisan motives to the movie before it even had a script and inaccurately reporting that the production was given inappropriate access to classified material.

Even with the film finished, the political reactions are unexpected. “People seem to be misreading the film as advocating torture, which is just preposterous,” Boal says. “If you actually look at the film, we show the torture not yielding information and not preventing an attack—that information is coughed up over a civilized lunch. I guess this is par for the course of making something that touches people’s political turf.”

Posted on

Q&A: Mark Boal on Zero Dark Thirty

Thomas J. McLean is an AwardsLine contributor. This article appeared in the Dec. 12 issue of AwardsLine.

As both a journalist and a screenwriter, Mark Boal is no stranger to writing about modern soldiers and the wars they fight.

Zero Dark Thirty reunites Boal with director Kathryn Bigelow—both won Oscars for The Hurt Locker—to chronicle the hunt for Osama bin Laden. It’s a subject that made the movie infamous long before its release as pols and pundits accused the White House of trying to bolster its image by granting Boal and Bigelow improper access to classified information about the May 2011 raid that killed the Al Qaeda leader.

While Boal denies the charges—the released documents fail to prove improper access—the movie itself has at last emerged to defy political pigeonholing and throw a surprise shock into awards season. Eschewing policymakers and presidents, Zero Dark Thirty relies on first-hand accounts of events and focuses on CIA analyst Maya, who spends a decade obsessively hunting bin Laden. Like all the characters in the movie, Maya, played by Jessica Chastain, is based on a real person—though not so much so that anyone can identify the real agent.

Speaking with AwardsLine less than a day after Zero Dark Thirty first screened, Boal reflected on the intense process of putting together a complex film under such unusual pressures.

AWARDSLINE: You’ve been telling stories about today’s soldiers and modern wars. What do you find so attractive about these subjects?

MARK BOAL: 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. As a screenwriter, I’m fascinated by people that put themselves at such great risk. And there’s so many inherently dramatic components—for example, the intelligence community—that make fertile ground for a dramatist.

AWARDSLINE: You were working on a movie about bin Laden’s 2001 escape into the caves of Afghanistan. How far had you gotten on that project and what kind of state was it in when bin Laden was reported killed?

BOAL: We were planning to shoot late that summer.

AWARDSLINE: What was your first thought about the movie when you heard he had been killed?

BOAL: I was thinking about friends I had lost on 9/11, to be honest with you. But eventually I came around and started thinking about it narratively, as a screenwriter, and it occurred to me that I had a lot of work to do and that I’d probably have to throw out years of work.

AWARDSLINE: How did you gather your first-hand accounts? Were you going through official channels or were you tracking down people on your own and using your own contacts?

BOAL: It was a combination of all three of those methods. I certainly went through official channels, the public-affairs offices of the relevant agencies, as any reporter would do. I also did independent reporting, and you just kind of follow your nose and you build what you know one interview at a time.

AWARDSLINE: How quickly did the script come together?

BOAL: I felt like I was working with a gun to my head because I felt a lot of competitive pressure to do it quickly. It was a couple or three months of writing, and another three months of research. I was researching while I was writing.

AWARDSLINE: How much did the script change through production?

BOAL: We shot the first draft, more or less, but I was always tweaking scenes on set. There were no conceptual revisions, really, but once I get a sense for an actor and how the dialogue sounds coming out of his or her mouth, I like to craft the character to what I perceive to be their strengths. Probably not a day went by when I didn’t churn out revisions of existing pages.

AWARDSLINE: A lot has been made in the media of the production getting assistance from the government in researching the movie. How did you approach the government and what kind of assistance did they provide?

BOAL: If you’re trying to do your homework, as I was, the first thing you do is you go directly to the offices that are set up and designed to work with reporters or book authors or screenwriters. That’s what their job is: Communicate the facts and the goals of whatever agency they work for. That relationship between people seeking information and government agencies sharing the information is one of the foundations of this system that we have. What was unusual in this case was we got caught up in an election year and our movie became a chew toy, a talking point in a presidential election campaign. There were all sorts of things that were said about the film that were just not true.

AWARDSLINE: How fictionalized is the Maya character and what are some of the challenges of writing this kind of character?

BOAL: It’s what screenwriters do all the time when they work from life. Part of what astonished me in my research is there were a lot of women involved in this hunt that played a big role, and I just wasn’t aware of that side of the CIA. I chose to tell the story through her eyes because that seemed to be to me the most dynamic and interesting way to do it. You’re also 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. Then there were also things that I did to the character that I’m not going to discuss for obvious reasons to make sure that nobody would be able to watch the movie and draw a dotted line between a character in the film and somebody in real life.

AWARDSLINE: Was it a conscious choice to steer clear of putting politicians in the film except for brief glimpses of TV news reports?

BOAL: That was a creative choice. 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. Not to say there couldn’t be a great movie about the White House—I’m sure there will be some day, and somebody should write that movie. It just won’t be me.

Posted on

Past Oscar Winners Vie For Director Noms

Pete Hammond is Deadline’s awards columnist. This article appeared in the Dec. 12 issue of AwardsLine.

If you are getting a sense of déjà vu from this year’s director race, you aren’t far off. Several past Oscar winners in the category are back competing for another go at the gold. Even one of the frontrunner-newcomers, Argo’s Ben Affleck,is a past winner in the original screenplay category (Good Will Hunting),as is two-time directing nominee Quentin Tarantino (Pulp Fiction, Inglourious Basterds) going for a third try with Django Unchained. Two of the best director winners in the past three years, Kathryn Bigelow (The Hurt Locker) and Tom Hooper (The

Director Tom Hooper, left, and Hugh Jackman on the set of Les Misérables.
Director Tom Hooper, left, and Hugh Jackman on the set of Les Misérables.

King’s Speech), are already back in the thick of the race trying for a matching Oscar for their followup film, a rare feat if either one can pull it off. Then there are the likes of Steven Spielberg, Ang Lee, Peter Jackson, Robert Zemeckis, and Sam Mendes—all past winners attempting to make room for another Oscar on their mantel. Some prominent past nominees are also back trying for a first win including Paul Thomas Anderson, David O. Russell, and Gus Van Sant. And could this be the year Christopher Nolan finally gets some love from his peers in the small Academy directing branch with his final Batman flick, The Dark Knight Rises? Here’s a rundown of the top contenders for best director.

BEN AFFLECK | ARGO

Early in his career, Affleck took home an Oscar with cowriter and star Matt Damon for Good Will Hunting in the original screenplay category. But after an up-and-down career as a leading man, he found new respect behind the camera with his first two directorial efforts—Gone Baby Gone and The Town—winning critical acclaim and comparisions to Clint Eastwood. With Argo, in which he also plays the lead role, he has cemented his reputation as a directing force and has been a frontrunner in the category since the film’s debut at the Telluride Film Festival. But can he keep up the momentum all the way to February?

Director Steven Spielberg, left, and producer Kathleen Kennedy on the set of Lincoln.
Director Steven Spielberg, left, and producer Kathleen Kennedy on the set of Lincoln.

STEVEN SPIELBERG | LINCOLN

A two-time winner (Schindler’s List, Saving Private Ryan) and six-time nominee in this category, Spielberg has an Oscar track record that seems almost modest considering his remarkable career. Many think he is still deserving of more. His long-gestating and critically acclaimed Lincoln, a film that almost didn’t happen and one he told me recently he felt “might not have been in the stars for me,” has come triumphantly to the screen and made him another formidable contender for the big prize.

TOM HOOPER | LES MISÉRABLES

Although he already had an Emmy win for Elizabeth I and another nomination for John Adams, British director Hooper was not well-known outside of England when it came to feature films. After a little success with The Damned United, he hit paydirt and won the director Oscar on his first nomination for The King’s Speech just two years ago. With numerous projects to choose from, he has now followed it up with the movie version of the smash musical Les Misérables and instantly stakes a claim for another nomination and possible second win in just two years. But will voters think it is too much, too fast?

Director Ang Lee tackled both 3D and digital effects for the first time in his career with Life of Pi.
Director Ang Lee tackled both 3D and digital effects for the first time in his career with Life of Pi.

ANG LEE | LIFE OF PI

A previous winner in this category for Brokeback Mountain (2005),Lee has another statuette for his foreign-language film winner Crouching Tiger, Hidden Dragon. The virtually unfilmable bestselling book Life of Pi took its toll on a number of directors who attempted to bring it to screen until Lee finally cracked a way to do it and moved the art and science of film one step forward with his dazzling visuals. Fellow directors seem to be awestruck by what he has accomplished, and that should assure him yet another nomination if the movie gods are smiling on him this season.

Director Kathryn Bigelow, right, and Jennifer Ehle on the set of Zero Dark Thirty.
Director Kathryn Bigelow, right, and Jennifer Ehle on the set of Zero Dark Thirty.

KATHRYN BIGELOW | ZERO DARK THIRTY

Just three years after becoming the first woman ever to win the best director Oscar for her Iraq war film, The Hurt Locker, Bigelow, an action-movie veteran, proved she still had the stuff to make provocative, controversial cinema with this film about the hunt for Osama bin Laden. Bigelow and writer Mark Boal started working on the film when bin Laden was still alive and eluding capture, reversing course and turning it into a look at how the world’s number-one fugitive was captured when the news broke. It’s a towering achievement, but considering it took 80 years for Bigelow to become the first woman to win the director Oscar, could it only take three for her to become the second?

Director David O. Russell, center, with stars Bradley Cooper and Jennifer Lawrence on the set of Silver Linings Playbook,
Director David O. Russell, center, with stars Bradley Cooper and Jennifer Lawrence on the set of Silver Linings Playbook,

DAVID O. RUSSELL | SILVER LININGS PLAYBOOK

A director who always seems more comfortable working in the indie world, David O. Russell encountered some tough times in recent years before finding The Fighter and scoring a knockout punch that landed him in this category for the first time in 2010. Now, just two years later, he is in a strong position to go for the win with this quirky, touching comedy-drama that was the sensation of the Toronto Film Festival and winner of the audience award over Argo. But against epic competition, can Russell be driving the little engine that could or is the Oscar just not in his own playbook this time around?

ROBERT ZEMECKIS | FLIGHT

After 12 years of trying to convince the industry that motion-capture animation was the future, Zemeckis, a past winner for Forrest Gump (1994), returned to his roots and delivers a winning human drama about a pilot battling his own demons even as he accomplished a heroic act in crash-landing a plane and saving most of the passengers. Deferring his own salary and bringing this ambitious adult drama in for just $30 million, Zemeckis could find himself back in the race.

MICHAEL HANEKE | AMOUR

Although Haneke is likely to be a frontrunner in the foreign-language race for his Cannes Film Festival Palme d’Or winner, the film itself is eliciting such powerful response that he could also find himself with nominations for his original screenplay and directing. Certainly nominations for directors of foreign-language films are not unprecedented, and Haneke could be the latest if the film’s subject matter about the problems of an aging couple isn’t just too hard for voters to watch.

J.A. BAYONA | THE IMPOSSIBLE

In only his second film, this Spanish director skillfully navigates the big-scale effects of re-creating the 2004 Indian Ocean tsunami along with the powerful human drama of a family separated by tragedy and trying to survive in almost unthinkable circumstances. It’s an impressive balancing act, marking the arrival of a major new talent. But will this smaller release get swamped by higher-profile titles?

PAUL THOMAS ANDERSON | THE MASTER

Although opinion on the film is wildly mixed, with filmgoers in and out of the industry either loving it or hating it, this is a category where the ambitious film, shot in 65mm at a time when no one is using the classic format, could impress Anderson’s colleagues for sheer audacity and filmmaking skill alone. And with only a single previous nomination in this category (2007’s There Will Be Blood) Anderson seems underappreciated.

QUENTIN TARANTINO | DJANGO UNCHAINED

Tarantino is a directorial maverick who always seems to deliver the goods, but will the ultraviolent western throwback just be too much of a good thing at nearly three hours? Early word is he knocks it out of the park again.

PETER JACKSON | THE HOBBIT

The Academy honored Jackson for his triumphant Lord of the Rings trilogy with Return of the King in 2003, so it’s unlikely they will go there again so soon, and especially for what is the first of another three films.

CHRISTOPHER NOLAN | THE DARK KNIGHT RISES

The Aurora tragedy seemed to unfairly taint this film’s awards chances from the beginning, and the directors’ branch has never embraced the great Nolan, so should we expect them to start now?

WES ANDERSON | MOONRISE KINGDOM

This Cannes Film Festival opener became Anderson’s second biggest hit and an indie breakout, but Oscar recognition seems more likely for Anderson in original screenplay.

SAM MENDES | SKYFALL

This Oscar winner (American Beauty)is the most important director ever to take on the 50-year-old James Bond franchise, and the critics and audiences loved it. It’s the most successful and acclaimed Bond film of all and long overdue for a win, but Oscar voters just don’t seem to get it, do they?

JOE WRIGHT | ANNA KARENINA

Using a bold theatrical framing device, Wright took a big chance in making this Leo Tolstoy classic seem fresh again, but opinion on whether he succeeded was divided and likely will hurt his chances to gain his first director nomination.

BENH ZEITLIN | BEASTS OF THE SOUTHERN WILD

The darling of the Sundance Film Festival, this daringly original indie sensation has plenty of admirers, but competition is just as fierce as those beasts.

GUS VAN SANT | THE PROMISED LAND

Directors love Van Sant, who has been nominated twice before (Good Will Hunting, Milk), but his film is the last to be released in 2012 and might not be seen widely enough to break through.

DUSTIN HOFFMAN | QUARTET

Can a two-time Oscar-winning actor break through as a director with a behind-the-camera debut at the young age of 75? The film is right up Oscar’s alley, but unlikely to be a contender here even though Hoffman did a terrific job.

SACHA GERVASI | HITCHCOCK

The great Hitchcock himself had trouble in this category and never won despite five nominations—including a final one for Psycho, the subject of this film within a film—so wouldn’t it be ironic if Gervasi were able to pull off a win? Despite Gervasi doing a fine job in his narrative directorial debut, don’t count on it.