'Warfare: Tiempo de guerra' - Entrevista con Will Poulter, Charles Melton y D'Pharaoh Woon-A-Tai - Vídeo Dailymotion

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00:00I had such an intense experience, I cannot even begin to tell you guys, so first of all, congratulations.

00:06I will just start with something that perhaps might seem superficial at first, but shaving your head for a role,

00:14it always reminds me of that powerful scene in Stanley Kubrick's Full Metal Jacket,

00:19where it feels like the recruits are being stripped of their identity.

00:23So in films where transformation is so crucial, what is it like for you to lose something as personal as your hair?

00:31Does it change the way you connect with the characters somehow?

00:34I'm Native American, and long hair in Native American culture is very significant.

00:39Growing up, my hair was a very big part of my life and a very important part of my life,

00:43so cutting it for this role was definitely a big sacrifice on my behalf.

00:46It doesn't sound like it, but it really is.

00:47And I did that process properly.

00:49Before we came to set and everyone buzzed my hair, I had my partner cut my hair for me,

00:54and what we do in my ceremonies is we burn them, we burn our hair.

00:57So I did that before coming on to set.

00:59And then after that, I had a pleasure, very pleasure, of Charles Milton, Michael Gandolfini,

01:04each taking turns buzzing my hair, which was amazing.

01:08But yes, even besides the idea of, it built our bond very quickly.

01:16I mean, that was one of the first few things we did together, was cutting our hair.

01:20And just going off of, like, what, the building the bond, you know,

01:23Ray did say it wasn't so much stripping the identity from someone,

01:27but it was more so a symbolic expression of, like, we're all starting at ground zero.

01:32And it required a certain humility, you know, and, like, you know,

01:38DeFaro's personal story of just, you know, just going through that process and that ritual to, you know, do that.

01:45It just, you know, it sends a message, you know,

01:48just to the commitment that we all had to do a service to Ray's story.

01:54I love that answer.

01:55Thank you very much for sharing, guys.

01:56Talking about bonding, I believe the film shows a sense of brotherhood that goes beyond just having a good time.

02:03For you as actors, when you're on a set, when you're filming a movie as intense as this,

02:10how does brotherhood manifest between cast members during the making of a film like Warfare?

02:17Quickly, yeah.

02:18I very much believe that this film is, like, not solely, but a very big portion of it is about brotherhood.

02:24You know, it's not, like, loosely on it.

02:26It's very much about these brothers together.

02:28Spend almost years together, several of them, and thrown in this hellhole together.

02:32That's all I wanted to put up there.

02:33But, yes, no, it's about brotherhood, really, in my opinion.

02:37No, no, and I was just going to say, you know,

02:39what's interesting is it's explored in a very, like, natural and, like, largely subliminal way.

02:44Right.

02:44Because there's little to no dialogue that isn't characterized by, you know, technical talk,

02:50you know, military jargon or sort of radio chatter.

02:53Yeah.

02:54And so the brotherhood is kind of just explored in, like, a series of, like, looks,

02:59and it kind of underpins every action.

03:01And I think the brotherhood that we developed, you know,

03:04naturally came about by way of the boot camp process that we went through.

03:08And it also meant that the performance element, when it came to representing that brotherhood,

03:12was sort of taken care of.

03:14Like, all we had to do was fall back on our training, execute what happened that day,

03:18and the brotherhood kind of spoke for itself.

03:20I love it.

03:21I don't know if you guys have seen the final film,

03:24but the experience that I had on the big screen and the amazing sound is unbelievable.

03:29So during the making of the movie, are you guys aware of the sound

03:33and the effect that it's going to have on the audience?

03:35Or does that come later?

03:37How do you guys experience sound during the making of the film?

03:41Yeah, I think, you know, on set, we had speakers set up that would play, you know,

03:48kind of add a textured reality to just the whole immersive process of filming,

03:54whether it be, you know, the jets flying over, the dogs barking outside,

03:59the sound of shooting and whatnot.

04:05That really helped inform the process.

04:07But, like, you know, a part of, like, the whole filmmaking that we see,

04:10which was so brilliant done by, you know, our sound mixing and, like,

04:14the editing and everything is that, you know, we didn't, you know,

04:17Alex and Ray made the intention to, like, you know,

04:20there wasn't any romanticization with the score.

04:25There is no score.

04:26You know, so it really kind of, when you, but the sound mix was so tight.

04:31So you're kind of, you're kind of experiencing this kind of journey on your own.

04:37You're not being told how to feel, you know, when the melody or the chimes come in.

04:41It's very brilliantly done by just, like, the whole creative team.

04:47It really lets the audience decide on what they feel.

04:49Right.

04:50You know, instead of manipulating the audience to feel a certain way for a certain scene,

04:53we really give, you know, if you see Ray standing over Elliot's body

04:56and you don't feel anything, that's you, you know.

04:58But if you look over that scene and you cry, that's, that's on, that's, that's you.

05:02That's, you know.

05:02Yeah.

'Warfare: Tiempo de guerra' - Entrevista con Will Poulter, Charles Melton y D'Pharaoh Woon-A-Tai

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