"I think what I found very surprising in Mark's research was that women were very central to this operation. That's what I found exciting," Bigelow stressed. "It's extraordinary that women were pivotal but it was also that those were the facts. That was the hand we were dealt. That was the lens we chose to tell this story. I thought that the honesty of the piece was the most important element. That's what drove me and motivated me. It's also a testament to the power of Jessica that she found the finely nuanced emotions in a character that has to be so precise. It's a testament to her but also to Jason Clarke and to Kyle Chandler. These are characters who have to work with a tremendous amount of precision, as beautifully written in the screenplay, and the emotion they're able to generate within that precision, is amazing.
The production was shot in the thick of things to get a chaotic kind of feeling, but with subterfuge to avoid spectactors.
"We needed that sense of [a] teeming environment where you're looking for a sharp needle in a very large haystack. This kind of human deluge," Bigelow explained. "These marketplaces in India were exquisite. What happens when you pull a camera out is you get 2000 faces looking at the camera and that would have broken the illusion. So what we had to do was set up these diversionary film sets, where we would have an actor who wasn't in a key scene, and they would be doing something like walking through the marketplace 200 feet away, while the shot I needed was 200 feet in the opposite direction. You don't get all day, it only buys you another 30 minutes. But that kind of life and vitality of those environments, you can't recreate. If we could have gone to Pakistan we would have. We were about 2 hours off the border. Between pre-partition and post-partition Pakistan, the architecture is identical."
"As a filmmaker it was very interesting to stay inside the longitudinal and latitudinal guidelines of history," she said. "And the beauty of this piece for me is working within a sense of naturalism and realism and specificity. There was nothing that was done that didn't come from the research. As a filmmaker, that's thrilling."
Personally this writer doesn't really care so much if the film is 100% accurate or not. At the end of the day, it's a movie. And even a documentary is still the distillation of facts told to a filmmaker who's going to present them in the way he or see sees fit. Marketing it as 100% fact is one thing, but a) I'm not sure that's the case exactly and b), it's marketing. The fact of the matter is that "Zero Dark Thirty" is a terrifically tense procedural and a thriller about the capture and killing of Osama Bin Laden. Whether everything happened the way it's presented isn't something I personally hang on to so much, because there's a massive gulf between the facts of movies vs. the facts of reality (which themselves are still burdened by perception, POV experience, etc. -- you and I may have been at the same event, but is our perception and experience the same?). I personally don't even mind if the filmmakers are convinced they have the story 100% right and don't. At the end of the day, it's still taking thousands and thousands of ideas and putting them into the framework of a 2.5 hour movie and it's executed extremely well. Your take on it? "Zero Dark Thirty" is in theaters now and doing extremely well in limited release. It opens wide on January 11, 2013.