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This article was published 15/2/2013 (1588 days ago), so information in it may no longer be current.
MONTREAL -- Oscar nominee Kim Nguyen admires the tight structure and esthetic control of filmmakers such as Stanley Kubrick and Francis Ford Coppola.
However, when it comes to his own work, he likes to wing it a little.
That's what he says he did in War Witch, which is in contention for the best foreign-language film Oscar being handed out in Hollywood on Feb. 24.
"We had written all of the script but then when we started filming, I decided to not show the script to the actors and to work through directed improvisation," he said in an interview with The Canadian Press.
"We shot this film chronologically and I had specific expectations but the actors had a lot of freedom to listen to where their instincts would guide them. What's very eerie, when you look at the film and you read the script, there's a lot of similarities (between them)."
It took him 10 years to write the script. Yet when it was time to film, he would simply describe each scene to the actors, explain what he wanted -- and they mainly took it from there.
In one scene, for instance, one of the actors who was a real-life soldier points to a deep scar on his neck from a bullet wound and describes how he got it. The story was true -- he'd suffered the wound in real combat.
War Witch, which is also known by its original French-language title Rebelle, is the compelling -- and often heartbreaking -- story of child soldiers in an unidentified African country.
It focuses on Komona, played by Rachel Mwanza, who is taken by rebels at the age of 12 to join their army after they force her to kill her parents.
Mwanza was living on the streets in Kinshasa. She had never acted before being cast in the film yet her performance has drawn widepsread acclaim.
"She had so much courage," said Nguyen, explaining the novice was able to be herself in front of the camera and exhibit a kind of nonchalance free of excessive self-analysis. Nguyen said that's a quality more experienced actors often lose.
War Witch is a rarity because most films about child soldiers are documentaries. Nguyen managed to avoid being preachy.
Nguyen was originally inspired to do the film by a news story about child soldiers, especially the tale of a nine-year-old Burmese boy who rallied soldiers around him after declaring himself a god.
Besides its scenes of combat, War Witch gives a surreal twist to the traditional coming-of-age story as its characters show flashes of being typical teenagers and blossoming first love amid the brutality of the fighting.
Nguyen didn't have to think long when asked about the biggest challenge of filming in the Democratic Republic of Congo, which is still shaky after years of civil war.
"Getting insured," he said with a laugh. Logistics and security were no picnic, he explained, because the country is still chaotic.
"Sometimes we watched the film and we were amazed we were able to pull through," he said.
And there were a few close calls.
For example, the crew had to warn the public via the media when scenes called for gunfire. The warnings didn't always work.
Within minutes of one scene where volleys of fake bullets were fired, the crew saw clouds of dust billowing toward them.
"It turned out to be about 20 military vehicles with grenade launchers on top of them and real soldiers with AK-47s going to annihilate us because they thought we were rebels.
"Our logistics manager stepped in front of the road and said, 'No, no, no. It's the Canadians!"'
The other tricky aspect was directing the improvised nature of the production.
"Everybody was really free so it makes it even more difficult to kind of guide the herd to make this kind of cohesive thing where it's more organic but at the same time it's headed in the right direction," he said.
-- The Canadian Press