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Director's statement:
The Forgotten has been an evolutionary process for me both as a filmmaker and as
a person; but, throughout its six years in the making, the story and themes have
always remained consistent. As a storyteller, I wanted to explore a soldier's
emotional journey as he questions his faith in the face of war. As the two sides
of his character come to the surface, William is faced with the challenge of
reconciling his duties as a soldier with his beliefs as a Christian. This duality
becomes the driving force of the film, as his decisions- made at different times
by soldier or saint- impact the lives of his men and the company.
This idea of duality is a common theme throughout the film. It is used to
heighten and maintain the feeling of dread and volatility of war. Each character
displays some level of internal contradiction. The stutterer and dim wit as
communicator, the murderer as healer, the enemy as savior- these traits all
confirm the duality of man. Viscerally, a 30-ton steel tank charging through the
pastoral landscape, the use of both black -and-white and color film stocks, and
the juxtaposition of nature's silence with the calamitous sound of battle, all
help to create the sense of conflict that is imperative in an understanding of a
soldier's experience.
Stylistically the film is a homage to the work of legendary filmmakers such as
Sam Fuller and Stanley Kubrick. Like Fuller's The Steel Helmet & Fixed Bayonets
and Kubrick's Fear and Desire, the minimalist approach to casting and design
helps to focus the viewers' attention on the psychological landscape that exists
within the natural geography. The journey of Cowboy 2 is primarily a journey
through mental states; therefore, the choice to use both black-and-white and
color film is a critical one. The two color-scapes ease the transitions from one
mental state to another and force us to reflect on the importance of detail- the
color of a flower hardly seems important when faced with the inevitability of
death.
This is by no means a light-hearted film, and it doesn't attempt to answer life's
questions of war. It is, as the title implies, about remembrance- the remembrance
of those soldiers who gave their lives in battle; the remembrance of the war
itself, long forgotten in history's long line of global conflicts; and the
remembrance of an era when our perceptions of war began to change forever. This
is the story of a forgotten war told in a manner and style that has long since
been abandoned by Hollywood. It was made as a memorial to both.
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