Spoiler warning: The following interview reveals key details from Alex Garland and Ray Mendoza’s new film “Warfare,” currently showing in theaters. To make “Warfare” feel authentic, directors Garland and Mendoza drew from Mendoza’s own experiences as a Navy SEAL during a dangerous mission in Iraq in 2006. One of the most intense scenes in the film depicts a harrowing IED explosion, where soldiers fight for survival amidst chaos. To recreate the sounds accurately, the team traveled to the Czech Republic to capture live gunshots and bullet noises. Sound designer Glenn Freemantle explains the attention to detail in capturing the different elements of the explosion’s sound, such as the rush of air and varying impacts. The scene portrays the soldiers’ disorientation after the blast, with some experiencing hearing loss or ringing in their ears. The production designer brought the sequence to life by constructing a 360-degree set, based on satellite images and Mendoza’s memories, allowing for seamless transitions between exterior and interior shots. The team’s innovative approach, including using molds to recreate damaged walls, enabled them to achieve the desired realism and visual impact.
In the eyes of Tristan Versluis, the IED explosion scene was the pivotal moment for the makeup department. One of the most harrowing scenes involved a soldier named Elliott Miller (played by Cosmo Jarvis) who suffered a severe leg injury in the blast. To recreate the silicon leg, Versluis and his team utilized a digital scan to generate a 3D model of the actors, incorporating skin textures and intricate details. They also used real-life photos of Elliott’s actual injuries as a reference point to craft the prosthetic leg.
Describing a critical scene, Versluis explains, “There’s a moment where they have to turn the corner to get into the house and Elliott’s leg snags on the edge of the brick wall. The silicon leg had to be broken and twisted at the ankle to appear realistic. We even created a fake body and dragged it around, which was quite unsettling.”
Having previously collaborated on “Ex Machina” and “Annihilation,” Versluis and Digby seamlessly integrated their efforts with director Garland’s vision, ensuring that each other’s requirements were met. For instance, Versluis notes, “With the prosthetic legs, the actors’ legs were concealed under the set, so we had to ensure there was a gap in the set.”
Although the crew was accustomed to having Mendoza on set and benefiting from his expertise, Versluis recalls the profound impact of Miller’s visit to the set months after filming. “When he arrived on set and surveyed the scene, everyone was tense and somewhat anxious, wondering if we had accurately portrayed the events. It was also emotionally stirring because it was Miller’s first return to that moment,” Versluis shares. “To witness one of the actual soldiers revisit that tragic day — that was a unique and powerful experience I had never encountered before. It was truly a once-in-a-lifetime moment.”
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