Interview: Screenwriter Robert Malkani (Day Zero)

“I just hope the film finds an
audience among young people (in their twenties). It’s easy for a film like this
to get lost amid all the bigger films – or the festival winners – but I think that
if people find the film, they will be surprised at how it makes them feel – and
I think they will enjoy it”.

– Producer and screenwriter Robert Malkani

The recent handful of Iraq-war themed films–such as In the Valley of Elah and Redacted have done poorly at the box-office. The same thing happened in the 70’s while
filmmakers were releasing Vietnam movies such as Apocalypse Now.
Why do you think that audiences are shying away from war-themed films?
I can’t
speak intelligently about what happened to those films in the 70’s, but today I
think it’s because people go to the movies primarily to be entertained – not
educated. So first and foremost, a movie has to be “good” to do well nowadays.
I haven’t seen In the Valley of Elah or Redacted, but I have seen Rendition and
Lions for Lambs – and frankly – I just didn’t think they were very good movies.
I don’t think people are rejecting war themed movies today. I think they don’t
want to be preached to – they want a good story, interesting characters – and
an escape. Give them that and they will show up whether it’s about war or not.

What specifically inspired you to write Day Zero –as in, are you close with anyone who has gone to the
middle-east to fight or is currently?
I was
inspired soon after we went into Iraq initially. As a storyteller, I’m always thinking about new ideas – or nuggets –
that can turn into films. Soon after the military operation began, I wondered
what might happen if we were there for five or ten years – or longer. Then I
thought we might have to really consider the draft again. Unfortunately, I
don’t know anyone who is or was over there. I say unfortunately because it
means I’m not personally connected to it. For me it’s hypothetical. And I think
that’s the case with most people in large cities like New
York – we find it too easy to disconnect from
what’s happening around the world.

These characters are
unusual in that they differ in backgrounds, social class and interests–yet
remain close friends. were they based on anyone in particular?
No. They are simply composites of
people I have known. Each of the main characters has qualities that I have
known in myself and my friends. But they are unique, original people for the
most part.

If any, what sort of debate were
you trying to set forth in writing Day Zero?
I wanted to force people to plug
back in to the world around them. For anyone not personally touched by what’s
happening in Iraq, it’s very easy to forget that we
are there. You can get desensitized by the news – constant coverage can be a
double-edged sword. So I just wanted the film to serve as a reminder to
everyone that we are still there – and people are sacrificing their lives. So
hopefully people will ask themselves what it means to be there – why are we
there, does it make sense to be there. They answer can be – and is – different
for different people. My goal wasn’t to provide the answer, but just to
encourage the dialogue to continue.

How did the collaboration between
yourself and director Bryan Gunnar Cole come about?
My producing partner, Tony Moody,
was friends with Bryan from many years back. So when Tony
and I decided to make the film, he suggested we meet with Bryan and consider him for the job. I met
with him – and liked him – and thought he would make a great film. Our politics
were a bit different, but I figured that was a positive thing, as long as he
respected the script for what it was. So in the end, I agreed with Tony that Bryan was the guy for the job – and we
hired him. Of course, Bryan liked the script and wanted to work
together – so we did.

Did you have any aspirations to
direct this movie?
Before Day Zero I didn’t have any
directing aspirations – for many reasons. But after Day Zero I have decide to
direct my first film – from a script I wrote. We expect to be in production on
the film later this year. I think all of my experience writing and producing –
and living with films from the moment of conception through final sale – will
serve me well. By most importantly, I am a storyteller – that’s my strong suit.
And that’s what gives me the confidence to know I will make a great film. 

How involved were you with the
picture after the writing process was completed and during production?
Very involved. Tony and I truly
collaborated as producers. So we worked together on every aspect of the film. I
was on set every day and involved throughout post-production. My philosophy is
that there is a certain point at which the film must become the director’s so
that the cast and crew respond to them and believe it is their vision we are
all working towards. So I did my best to do that with Bryan – but he was a first timer. And
having worked with first timers before, I know they need guidance and strong
support system to be able to do their best work. That’s what I tried to be.

You’re careful not to take any
political stance in the story, can you speak about that?
As I mentioned above, the point of
the film for me was to provoke dialogue. Not to preach. Really – what can be
said about the war that hasn’t been said in the past five years? So the story
focuses on the intimate – that is, relationships – so that people can hopefully
ask themselves what they would do if drafted…

What were your thoughts on the
casting choices? Did the actors fill the roles you created to your liking?
Absolutely. I think the cast was amazing. Each actor brought the characters
to life in a way that I could have only dreamed for – I couldn’t have been
happier. And I think we made some amazing discoveries with both Jon Bernthal as Dixon and Chris Klein as Rifkin. We’ve seen Chris
many times before – but I think this is his best work. Bernthal will certainly
go on to much bigger films from here – I have no doubt. And from Elijah we got
the kind of depth and subtlety that we expect after seeing him in so many films
before.

As the film is set in New York, what
was the response like at the Tribeca film festival and were you especially
tense when it screened there?
Tribeca was great. There’s nothing like screening a New York movie for a New York crowd. They were really supportive.
And yes – I was tense. For me filmmaking is all about the audience. I don’t
make films to sit on a shelf – I make them to entertain people – and sometimes
to make them think. So yes – I was tense – but we had a great audience
reaction.

What was the purpose of Alley
Sheedy’s character–the blasé therapist? It almost seems like there was some
cutting done there which might have made a back-story more coherent?
Yes – unfortunately we cut too much
of that (more on that below). Her character was supposed to be a metaphor for
the American public. We too often disengage and aren’t empathetic towards the
people more directly connected to the war effort – the soldiers fighting, their
families. So she – and her behaviour towards Feller – were supposed to be an
indictment of American indifference. As written, I believe that came across.
The character had more of an arc. And her relationship with Feller was more
fleshed out. There was also more closure to their relationship. I don’t really
like how it came together in the final cut.

How did you feel about the final
cut, was it as you had envisioned it?
This is a tough one – but I have to
say no, not really. As a writer I always have a vision of the film in my head.
So far – with all my films – that vision hasn’t been fully realized. Day Zero comes closest so far. But at the end of the day, there were things I would have
done very differently. I think some of the character arcs really didn’t work as
well as they did in the script because things were cut out – and/or move
around. But the reality is that film is a collaborative medium – and when a
writer, director and producer all work together – there will be things done
that make someone unhappy. I think we shot what I wrote – but I would have cut
the film very differently. Part of that I think is Bryan’s background as a documentary
filmmaker. He is used to “finding” the film in the editing room. I come from a
different background – that of storyteller – so to me the movie was found once
we settled on a final script to shoot. Still – the film has to be the
director’s vision after a certain point – and that’s what it became. I’m
directing my first film later this year – so we’ll see if I can have that one
be more reflective of my vision.

Did you (or to your knowledge)
Bryan Gunnar Cole attempt to pay homage to Taxi Driver? (Shaved head, army fatigue coats and
shades, talking in the mirror, peep shows and prostitutes, beating
up a pimp??)
The script was less overtly an
homage. I didn’t imagine Feller in fatigues. Though to be honest I didn’t
specify one way or the other. If anything it’s a mix between Feller and Dixon – Feller shaves the head, gets the
tattoo – but Dixon is the tough guy who beats up the
pimp and has the relationship with Mara. So as the writer, I wasn’t thinking in
terms of an homage. But visually – and with Bryan’s stamp on the film – I can see how
that comes across. We didn’t really talk about it during the shoot.

First Look Studios released Day Zero in theaters on January 18th. Look for it on DVD February 26th.