The fact is that war films, by their very nature, are pitched at a high dramatic range.

Ever since 9/11, I found myself interested in chronicling the war and the war on terror and the way that this giant machinery was affecting individuals.

I think as a filmmaker you try not to have any expectations other than that the film have a fairly substantial beginning, middle and end.

You're trying to dramatize events to tell a story most effectively. That doesn't mean the events aren't true, it just means you're making them as dramatic as you possibly can.

I had an eye-opening experience in Baghdad at the end of 2004 and I thought that the story of these guys who have one of the most dangerous jobs in the world would be an interesting way to look at the war in a broader sense.

I write on a computer, on a laptop or whatever.

For weeks after 9/11 you could smell the dust and pulverised concrete in New York, and the National Guard came in, so there was a military presence on the streets. It was intense. Overwhelming. Heartbreaking.