"All I can do is interview people who were there and get their take on what happened." "I can't judge it because I wasn't there," Junger says. He hopes there are some lessons learned from Hetherington's death.
Junger says he included the interview with Liohn because the film, while accessible to a general audience, was made in some ways for other journalists. When Hetherington was killed, the group he was with was on the front lines and were grouped together, instead of spread out, so when the mortar hit there were several casualties. They were actually trying to get in front of the rebels," he says.Īccording to the film, Hetherington and the group he was with had pushed into a building earlier in the day that felt unsafe to some of the photographers. "I felt that they were not, you know, paying the proper attention and the proper respect to everything that was happening around. Photojournalist Andre Liohn, who was with Hetherington for part of that day, raises questions about the decisions made by Hetherington and others that might have put them in unnecessary danger. As the film opens we see Hetherington and other photojournalists driving around Misrata and Hetherington asks, "Which way is the front line from here?" At the end of the film, the audience is led through the events on Hetherington's final day. Sections about Hetherington in Libya come at both at the beginning and the end of the film. "I think that if you don’t understand what pulls young men toward war you don’t have a chance of ending it," he told Wired. Junger says Hetherington wanted to understand the relationship between men and violence because he knew it would help his viewers think more deeply about the human consequences of war.
#REAL WAR FOOTAGE 2013 TV#
"The war machine isn't just technology and bombs and missiles and systems and this kind of CNN TV mediated world, the war machine is: Put a group of men together in extreme circumstances and get them to bond together and they will kill and be killed for each other," Hetherington says about his attraction to the quieter moments of war. Why are young men drawn to war? It's something Hetherington first noticed in Liberia but was able to address more fully in Afghanistan.
A camaraderie that shows through in one of his most famous sets of pictures that captures soldiers while they're sleeping.īy highlighting these photos, Junger says the film tries to address a larger question Hetherington posed with his own work. But between the action, he also started documenting the camaraderie amongst the men. troops there he made several important pictures related to the violence, including the photo of an exhausted soldier that won the World Press Photo of the Year in 2007. During the year Hetherington spent with U.S. After Africa, the film moves to Afghanistan.
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