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“Triage,” French titled “Eyes of War” – Secrets of Shooting

June 15, 2010

Source: Allocine.fr

This exposé originally appeared in French on Allocine.fr.
Loosely (and bravely) translated here into English.
If you read French, be sure to check it out in the original language!

EYES OF WAR – SECRETS OF SHOOTING

Metamorphosis

To interpret the character of globe-trotting journalist, Colin Farrell consulted with books and photos of the war, watched documentaries about the war and admitted he was surprised at “the speed at which,” after a few weeks, he [the character] hardens. In reading the script, he was struck by the sight of an emaciated character after his stay in the caves of Hariri. Never mind that he went so far as to lose nearly 20Kg [44 pounds] by following a diet of black coffee and Diet Coke to refine his silhouette!

An Obvious Choice

When Kelly Reilly was contacted by Danis Tanovic, her response was immediate: “He’s a terrific director who has a real regard (…). He’s very practical, he knows what he wants but he is neither rigid nor authoritarian. (…) He is extremely generous, it’s great to have a director who knows how to use this experience in terms of intelligence and to serve his art.” The role of Diane she holds dear to heart because it allows a ‘contre-champ’ [countershot] to these women married to photojournalists and who stay home and are “very strong in order to accept what their spouses do for a living.”

A Gala Meeting

It was at a gala dinner that Christopher Lee and director [Tanovic] met for the first time. The actor had already seen No Man’s Land, “a wonderful film” that facilitated much discussion about his character Joaquin Morales. A common thread, rather unique, unites Tanovic and Lee in that they both have known the reality of war. “He knows exactly what he wants (…) and I respect his point of view.”

Exciting Play

It is in reading the script that Colin Farrell had been attracted by the project. The actor knew that such a film would raise “many intriguing questions,” namely “why do the protagonists do this job? What impact does this have on their lives?” This question has been raised and treated – the role of journalists in such situations: “(…) The boundary between theater and life in Europe is becoming increasingly tenuous, and Mark does not even have to go to be at the heart of the war. I wanted to set apart this dimension of character,” he says.

Production History

It was through Colin Farrell that Alan Moloney arrived as the producer on this project. The actor who, speaking from a script he had just read, expressed his enthusiasm to the producer, who was also “immediately captivated.” The project was therefore in place very quickly: “I then wanted to Danis and Cédomir [Kolar] to meet because I had my idea on the implementation of the project (…) it rarely falls on a story whose hero feels extremely guilty (…) I also thought of Marlon Brando in Elia Kazan’s On the Waterfront,” he adds.

Birth of a Project

Sought for the project in 2002, Danis Tanovic was rather impressed by a plot that “exceeded only issues of a war movie.” But at the time he had just come out of the shooting of No Man’s Land and felt the need to change the subject matter of his next film. Yet he was persuaded and fully involved, aware that his position as director with first-hand knowledge “on the experience of war,” would give the subject a breadth and credibility.

Shooting

The film was shot in Spain and Ireland. The production used the art studios in Alicante and other sites in Jijona… All these sets have provided a framework to represent major areas of action namely Kurdistan, Africa and the Middle East. In Dublin, the shooting took place in several neighborhoods of the city such as Capel Street, North Great Georges Street and Kildare Street.

The Eye of Paz Vega

The actress made famous by Spanglish in 2004, confessed to having succumbed to “a wonderful story” and a turning idyllic: “All those who participated in the film have a veritable poem of War. This is felt at every level,” she says.

Music Creation

The Spanish composer Lucio Godoy explains how his work was greatly facilitated by his close relationship with the director. The reflection was thus constructed on the basis of numerous exchanges between the two men and the interests of the musician for the story itself: “I always say that when a film is good, the music I write comes easily. It is as if the partition was hidden, and he just needed to find it.” Tanovic, a musician himself (he also interprets songs from the soundtrack), could give the composer “very specific instructions, while encouraging him to feel free to seek new ideas.”

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