HBO have been really big on the fact that it’s got to look exactly like it happened. It’s all very much like working on something that’s happening as we speak so it was challenging and very rewarding. It’s not like doing a WWII project where there are streams of documentation of how things looked and happened. I think the biggest challenge is that although it was historical, in the sense that it was five years ago, it’s quite current. While it’s a drama, it’s based on real events and it’s shot in a documentary style. Stuart Partridge: The whole premise of the show is that it had to be completely photorealistic. What did HBO express to you about what they wanted to see from Cinesite for Generation Kill? Tara Bennett: Obviously Band of Brothers was a phenomenal achievement in war storytelling. In 2001 HBO and Cinesite were lauded for Band of Brothers so they worked to recapture that success again on this new project.Ĭinesite Effects Supervisors for Generation Kill, Dave Sewell (episodes 1, 2, 3, 7) and Stuart Partridge (episodes 4, 5, 6) and CG Supervisor Stephane Paris spoke to VFXWorld about the challenges of bringing a current war story to the screen in an authentic way. In order to get the realism of such recent history correct, HBO went back to their frequent visual effects collaborator, Cinesite (Europe) Ltd. The seven-part miniseries follows a reporter embedded with the First Recon Bravo Company Second Platoon during the first wave of the war in 2003. This summer HBO shifts its focus to the present day Iraq War in the adaptation of Evan Wright’s novel Generation Kill. From the Emmy Award-winningBand of Brothers to their latest miniseries Generation Kill, HBO demands authenticity in the telling of their war stories, which makes them such “must see” events. The floor of loose plywood sheeting is piled with crates of rations, gear, and weapons.When it comes to making films and documentaries about our world’s great wars and conflicts, HBO has positioned itself as one of the preeminent networks. The entrance to Fick’s platoon’s tent is lit with fluorescent light tubes suspended from the tent poles. They have more training and experience than the officers commanding them, and they naturally look up to someone like Colbert. The Recon Marines in Fick’s platoon are the most trusted within the company. He was six feet two with light-brown hair and the pleasant, clear-eyed looks of a former altar boy. Fick, who was easily recognizable due to his loping, adolescent stride. I couldn’t tell them apart, except for the commander of my platoon, Lt. The only animals thriving in the camp were the rats that lived under the plywood floorboards of the tents. The desert sandstorms known as shamals began to blow. The Marines were ready to be at the center of a world-changing event, but they seemed far away from it. I meet them in a dingy mess tent, a few guys in their late teens or early twenties killing time in the shade before dinner. The first Marines I meet have other things on their minds. They were never trained for an ambush-hunting role, but that’s what they ended up doing. The men in First Recon were to be Mattis’s shock troops, leading the way through much of the invasion. The Americans would assault through the planned route and continue moving without pausing to establish rear security. The plan for the Marines in Iraq was to disregard sacred American military doctrine tenets. They are trained to stealthily move behind enemy lines in teams of four to six men, observe positions, and avoid contact with hostile forces. Recon Marines are the best and toughest in the Marine Corps. Insights from Chapter 33 Insights from Chapter 1 Insights on Evan Wright's Generation Kill Contents
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