“The war machine became a big theme, how it eats up these kids,” the director says of his film. “How the machine recycles life, and life becomes meaningless.”
When Edward Berger talks about the impulse to make the World War I saga “All Quiet on the Western Front,” he says he can speak only as a German filmmaker adapting a classic German novel about the horrors a Germany-waged battle inflicted on its youth. Something in him wanted to add to an international conversation about war’s fruitlessness.
Berger’s film, which he co-wrote, includes its own visual take on the gruesome grind of war — an opening sequence that coldly shows the system that turns a dead soldier’s bloodied uniform into the “new” kit that wide-eyed protagonist Paul will wear as the next innocent charging into battle. With budgetary constraints putting a premium on rigorous preparation, Berger storyboarded everything with trustedin advance, holing up in a hotel room as they covered walls with drawings and acted out battle scenes with an iPhone. By the end they had a 300-page image bible. Then, in the midst of shooting, as doubt crept into Berger’s mind about the task at hand — especially when battle-filming days took their toll — the collaboration proved more than strictly artistic.
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