Interview with Kathryn Bigelow, director of The Hurt Locker, about his latest film, Detroit, which depicts a horrifying night 50 years ago.
'The
This work depicts the ' Alger Motel Incident ' that occurred during the largest 'Detroit Riot' in the United States, which left 43 dead, 1189 injured, and 7,200 arrested. This time too, the content is real and bold, but I was given the opportunity to ask how Director Bigelow created this work, so I asked him what he wanted to ask.
Director Kathryn Bigelow who answered the question
Photo / Carolyn Cole / Contour by Getty Images
Q: Q:
You challenged the true story, and some real people appeared, but what did you keep in mind?
Director Kathryn Bigelow (hereinafter Bigelow):
When telling a real story like this time, as a narrator, history and the people involved-both survivors and those who died-need to be prepared to take responsibility for themselves.
Q: Q:
The three victims of the Alger Motel incident (Melvin Dismukes, Larry Reed, and Julie Ann Heissel) are working as consultants, right?
Bigelow:
The most valuable experience in preparing for the film was spending time with people who survived the unfortunate incident. Thanks to them, I was able to clarify the situation on the night of the incident in detail. Fifty years later, it was clear that many of them couldn't hide their turmoil when it came to the incident. That's not surprising.
Q: Q:
I hear that you have thoroughly pursued a realistic sense of reality this time as well. Did you hear that the audition asked you to improvise?
Bigelow:
The casting scenario imitated the script, leaving some parts that had to be adapted to the situation. This is to confirm the agile response and imagination of the actors. I was also able to evaluate how relaxed they were in a fluid situation. This is how I chose the cast. All of the actors who decided to appear this time were people who had deep acting ability without exception and could convey rich and complex emotions through the screen.
Q: Q:
I heard that Will Poulter, who played a vicious policeman, continued acting while crying.
Bigelow:
I was concerned about the emotions that the cast had when performing. Especially for Will, it must have been mentally difficult as a role.
Q: Q:
What was the difficulty in balancing facts and fiction?
Bigelow:
When adding fiction to facts, it is inevitable to be the subject of criticism. I know that my movie is fiction, not documentary, although the search for Iraq for The Hurt Locker and Osama Bin Laden for Zero Dark Thirty actually happened. .. Speaking of Detroit, it should be possible to make July 1967 in the form of a 30-hour miniseries. To make a movie, it is necessary to condense the facts and create a story. It is necessary to research thoroughly, know the facts, and make an accurate judgment from them to create a story. In this case, many records remained. That's why I didn't have to make a big work to fill the facts.
Q: Q:
You have three consecutive political works, but do you want to make another action movie?
Bigelow:
I think I was lucky to have the opportunity to work in this area. However, when it comes to the genre of action movies, I would like to see more action movies come out. For me now, I feel urgent to tackle socially topical themes in movies. I think it's important. As a film director, I am happy to be able to reach a large audience through a medium like a movie, at least to have the opportunity. I think it's meaningful and responsible in expanding the topicality of the subject, whether the film is successful or not. The same is true for journalists. Some responsibility comes to my work. You need to confirm the facts, and you also need to confirm how reliable your writing is. Also, I think it is important to add your own angle to that.
Q: Q:
What are your thoughts on the possibilities of the movie 'Detroit'?
Bigelow:
If the purpose of art (film) is to fight for change, and if people are prepared to speak up to racial issues in this country (USA), we will gladly respond as filmmakers. To go. I hope this movie will help to encourage even a little racial dialogue and heal the long-standing wounds in this country.
G:
You said that it was based on the records of the incident and the testimony at that time, but how long did you continue to investigate and how much material did you compose based on?
Bigelow:
I searched for a lot of photos and documentary videos for research. Those footages were great. Nearly 1000 photos were collected. They were very helpful in making the set as accurate as possible. It was very difficult to find a survivor who experienced that night. While doing research, Mark (
G:
In particular, how
Bigelow:
I've heard that he hasn't talked about it for 50 years. He was really ragged because of that night. It was a painful event. He was physically injured that night. The wound healed, but it wasn't perfect. I still have pain. Talking about that means living the situation again. But he was very strong. Julie and Melvin. They strongly believed that this story should be told. This is a little-known story, and it was important for them to get to know this story. It was an emotional, painful and at the same time purifying experience.
January 26 release movie 'Detroit' special video 'About Rally Reed' --YouTube
G:
What made Bigelow decide to make a movie after learning about the Detroit incident that became the model for this time?
Bigelow:
Mark Bowl has proposed. I don't know this story, and I think a person in Mark's office suggested it to Mark. It feels like we both discovered this story in the early stages. I thought this was a very scary story. The policeman wasn't guilty. However, looking at the story 50 years ago, I thought it was a very modern story.
G:
I felt that the theme was quite universal even if the background of the times and the land were different, but as a result, the scene that I felt that the director wanted to express the most in this work was packed. Where is it?
Bigelow:
There are many, but one of them is the last scene where Larry sings gospel. That scene shows that the artistic spirit survives no matter what. Even if I let him experience such a terrible night, his spirit as an artist did not die. Even if that makes his life change forever. For me, it meant a lot. This is a big tragedy. It's like a war crime. However, the compensation has not been made. They (victims) have been ignored. It has been said to be 'not important'. Even today, police officers are acquitted (Note: In recent years, white police officers have killed innocent blacks, causing police officers to be acquitted). That was the case at that time, and it is still the case. How can I change this? How can we change to a system that takes responsibility?
As you can see in the last two works, 'The Hurt Locker' and 'Zero Dark Thirty', Director Bigelow throws the audience into the world of the work with an overwhelming sense of reality, but as it was in the interview in this work, Shooting is done to the extent that even the cast is driven, and the power is directly transmitted. The 'Alger Motel Incident', which is the largest in the history of the United States, has occurred against the backdrop of the 'Detroit Riot', which makes the parties feel heavy. Be sure to check out what was happening there at the theater.
Released on January 26, 'Detroit' Japanese version original second notice --YouTube
'Detroit' January 26th (Friday) TOHO Cinemas Chanter and other national road shows
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