Miracle of St. Anna: All Notes

WORLD WAR II HAD ITS HEROES AND ITS MIRACLES.
A SPIKE LEE JOINT
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ABOUT THE PRODUCTION

BOOT CAMP
Basic Training, Forming Camaraderie
Director Spike Lee enlisted his soldiers-to-be in an intense two-week boot camp led by
renowned military advisor Billy Budd (“Band of Brothers”). The experience enhanced the
authenticity of the battle scenesbut that's not all it did.
“The brotherhood became real in boot camp,” says Omar Benson Miller.
According to Budd, that was the whole idea.”The goal of the basic training was to create
a cohesive unit of men that could confidently act like soldiers, handle and fire all weapons
correctly and react as a soldier would during battle,” says Budd.”It was essential to also create
a strong sense of teamwork amongst the men.”
The military advisor says the 'Miracle' crew did remarkably well.”The men responded
very well to the boot camp. Of course, you get the odd one or two that are so out of their
comfort zone and struggle with what we call 'Day 5 Blues.' But overall, they gelled very
quickly and helped one another, showing team spirit early on. The cast impressed me. I even
gave them their cell phones back by the end of week one.”
Still, the job wasn't easy. Budd cites the terrain as a challengethe region's rivers and
mountains made it tough for the crew. But he says the hardest part was the historical
significance of some of the scenes, particularly the massacre at St. Anna.”We shot it on the
very soil where hundreds of civilians died. I can safely say that those two days were the
toughest in my career.”
Miller had a similar experience.
“It was physically challenging and
really put you in a mindset of what
it was that these guys, the actual
Buffalo Soldiers, had to endure.
They were treated like they were
'less than,' and the physical
conditions that these guys had to go
throughlike crossing the Serchio
River in 30-degree tempsthat
stuff is no joke. But we had phony
bombs going off, and they had real bombs going off. So these guys deserve a lot of respect.
Whatever physical prep I had to do is nothing in comparison to what actually went on.”
SHOOTING A MIRACLE ON LOCATION
Director of Photography Matthew Libatique, Production Designer Tonino Zera
Transport Viewers to 1944 Italy
Shooting the film in Italy was essential, providing unmatched authenticity to the film. Says
producer and native Italian Musini,”The film is shot in a region of our country along the
summits of the Apenninesright at the linea gotica (Gothic Line), which was the major line
of defense in the final stages of World War II. The location is highly representative of what the
war was in Italy, what our resistance was. True dramatic episodes took place there.”
Lee agrees that the location was powerful, but not without its challenges.”We'd never done
24
BOOT CAMP
a World War II film before,” the director explains.”The first ten days were shot in the Serchio
River, covering the battle that opens the film. There was a lot of historical significance. I think
everybody made note and felt that we were shooting on a location where actual battles took
place.
“The massive battle sequences were rough,” Lee continues.”There were explosions, squibs
and choreography; we fought the terrain and the weather, and we didn't have a lot of time.”
Still, Lee came to the set with a vision. He knew what he wanted the end result to feel like,
but recognized it would be tough to achieve.”One of the hardest things to do in this film was
to get the tone right because this is a World War II film that's very brutal, very stark,
gruesomeyet there's a very lyrical, magical, mystical element to it. More than several
miracles happen in the film, so we needed to find the right tone between the stark reality of
war and the magical moments.”
Lee relied heavily on director of
photography Matthew Libatique
and production designer Tonino
Zera to help him achieve his vision.
Lee and Libatique had teamed up
before, working on”She Hate Me”
and”Inside Man,” so the director of
photography understood and
appreciated Lee's process.”Spike is
a library of film history,” Libatique
says.”His use of film reference was
instrumental in getting my mind in a place where I could understand his vision for the film.
He is also a lead-by-example person and demands a performance from not only his actors but
his key personnel.”
Libatique says his approach to”Miracle at St. Anna” was not unlike his approach to every
film he photographs.”My goal was to create a photographic atmosphere andif luckya
language that transports the viewer into the time and place of the story.”
Zera helped achieve that goal.”Ever since we started scouting locations, it was
fundamental for me to have the same artistic vision as Spike and Matty,” he says.”'Miracle at
St. Anna' is full of feelings and emotions. I tried to give that soul to each location.”
Zera was asked to fill sparse outdoor locations with greenery, rebuild building exteriors and
construct the interior of a barn.
Libatique cites the film's climax as his biggest challenge.”It was an intricate undertaking,”
he says.”We were working in this beautiful, but space-challenged village with gunfire, squibs,
wet-downs and weather. We had a great deal to accomplish with limited daylight.”
The solution, according to the DOP, was preparationa lot of it.”We began with
storyboarding all the beats of the scene and then followed that by deconstructing the boards
with Spike, Billy Budd and Mike Ellis (1st AD),” says Libatique.”To maximize time, we
designed coverage schemes that would allow us to get at least two needed angles in a single
set-up. We used a third camera for additional coverage.”
The film's lighting offered a special surprise, though Lee admits he'd been tipped off prior
to arriving in Italy.”Martin Scorsese told me that the light in Tuscany is like nowhere else in
the world,” says Lee.”He was right. Most of our film was shot in natural light.”
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SHOOTING A MIRACLE
Libatique adds that shooting
with so much natural light led to
welcome challenges when it came
to shooting indoors.”From a
lighting perspective I would say my
favorite scenes involved anything
inside Ludovico's house,” he says.
“With a great deal of exteriors in the
film it was a challenge to integrate
artificial lighting into a film in
which we're surrounded by the
theme of natural light.”
But the director of photography says it's another scene that stole his heart.”From a personal

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