The British director says Civil War ‘takes its cues from lived experiences or documentaries and news footage, rather than cinematic languages’
Filmmaker Alex Garland arrives for Civil War special screening at the Academy Museum of Motion Pictures in Los Angeles on April 2., a White House is under siege, a country is militaristically divided and the President spews propaganda. The story is a warning against extremism, but it is not just the stars-and-stripes nation that is at risk.
The film’s intent is to do different things. One is using the texture or the grammar of reality. It takes its cues from lived experiences or documentaries and news footage, rather than cinematic languages. Hopefully in some ways it is cinematic, but there’s stuff the film is deliberately not doing that belong to cinema.Yes. With the gunfire, for example, how we recorded it and how we presented it, we avoided things like adding tricksy sub-bass notes to amplify its effect.
The whole thing is about legacy media in some respects. Including the youngest of the journalists, who is using a 35 mm camera, which is a nod to combat photographers such as Don McCullin and many, many others. It is presenting generations of journalists, but they are functioning as reporters.I’m middle-aged. Journalism had a different flavour when I was younger. It had an attempt in news reporting to deliberately remove bias. What reporters would do is prevent a sequence of events.
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