The Making of All Quiet on the Western Front: TIFF Studio Interview
Overview and Film Description
The film is described as a powerful look at the German side of World War I, adapted from the very famous German novel by Erich Maria Remarque.
The story follows a young man named Paul, who is heavily influenced by the propaganda of the era.
Paul and his friends enthusiastically enlist in the war, believing it will be over very soon.
The narrative depicts their discovery of the reality of the trenches, where mud, blood, and terror systematically destroy their souls.
Motivation and Cultural Perspective
Director Edward Berger emphasized that the decision to adapt this material was driven by a distinct German perspective and cultural heritage.
Unlike American or British war films where soldiers often returned home celebrated as victors, Germany's history is rooted in starting two wars in the last century and bringing terror and horror to the world.
The filmmakers wanted to share the specific German emotion of war—characterized by guilt and loss rather than triumph—with an international audience.
The film intentionally avoids the "heroic" soldier tropes often found in Western cinema because of the specific educational and historical background of the German creators.
Cinematography and the Role of Nature
The film features beautiful imagery of a forest and animals, such as foxes, at the beginning.
Nature imagery is used throughout the film as a recurring motif, and the film also ends with nature.
The foxes specifically represent warmth, motherhood, family, and togetherness.
This imagery provides a sense of what is potentially lost in the wake of war's destruction.
The Actor’s Physical and Psychological Preparation
Albrecht Schuch, who plays Kat, described the project as a dream role and a significant physical challenge.
He trained to manage his internal rhythm, noting that when the director shouted "action" and people started working, it was a unique and high-pressure experience.
The technical complexity meant that if an actor messed up, it would take at least to restart the scene with all the extras.
Schuch maintained a deep immersion in the project for months, which altered his sleep patterns and dreams.
He adjusted his lifestyle significantly for the role, including changing his diet and quitting smoking after of habit.
Directorial Philosophy and Influences
Edward Berger stated that he watches all other war movies, including Saving Private Ryan and Full Metal Jacket, multiple times to let them "seep" into his perception.
He chooses not to avoid these influences but rather lets his own upbringing and education dictate the film's unique language.
Decisions regarding camera cleanliness, music choice, and character glorification are all influenced by the director's historical awareness; he feels he cannot make a movie that celebrates a soldier.
The goal was to avoid a "Hollywoodized" feel, opting instead for authenticity where the camera acts as a fly on the wall.
Authenticity and Camera Methodology
The placement of the camera in every scene was dictated by the emotions of the characters, specifically Kat and Paul Böumer (played by Felix Kammerer).
The camera was used to document the performance rather than manipulate the audience, although the director acknowledges that all camera work is inherently manipulative.
The aim was to ensure the audience identified with the characters' emotions without feeling forced by obvious cinematic "buttons."
Albrecht Schuch expressed that his biggest fear was the potential for the film to glorify war, and he was relieved that Berger was interested in the human story rather than an adventurous war movie.
Historical Context, Banning, and Political Relevance
The original book was one of the first to be banned and was famously burned by Nazi Germany.
Though set over ago, the filmmakers believe the themes remain relevant as modern society faces similar issues with book banning and rising political harshness.
While not a direct comment on the current war in Ukraine (as production began before it started), the film addresses the cyclical nature of human conflict and the failure to learn from history.
The director cited the rise of far-right parties in the US, UK (Brexit), Russia, Hungary, France, Italy, and Germany as a motivating factor for making the film now.
Demagogues are seen as questioning the of peacetime, the longest in history, making the story timely.
The Editing Process and Narrative Rhythm
Director Edward Berger described the editing process as horror, noting the initial difficulty of finding the right rhythm, colors, and music while dealing with a vast amount of material.
The first cut of the film was nearly long.
Fearing it was too long, Berger cut it down to .
Feedback from Sasha Bula (Netflix executive) and others indicated that the shorter cut felt rushed and lacked necessary "breath."
The final film length was settled at plus credits, which was felt to be the rhythm the film required.
Production Challenges and Technical Obstacles
The film was shot on an ambitious to schedule.
Massive battle scenes involved tanks, flamethrowers, and yield weapons that frequently jammed, causing resets that took an hour to organize.
One of the most challenging scenes involved the actors eating eggs near a barn. They had to eat an extract of sugar and other substances to for different takes, which caused physical illness for both actors.
The shoot was physically taxing for the crew; one crew member reported walking a "half marathon" in winter clothes during a single night shift on the battlefield.
Conditions were consistently cold, wet, and muddy, which the director noted was the reality of filmmaking, far removed from the glamour of red carpets.
Contrasts in Leadership and Resource Allocation
The film highlights the stark contrast between the starving German soldiers and the luxurious lives of the generals and diplomats.
German soldiers are depicted raiding French lines just to find food like sausages, cheese, and bread.
The higher-ups are shown with ample resources, a contrast the director presents without verbal comment to allow the audience to reach their own conclusions about the disparity.
Questions & Discussion
Steve Weintraub: If you could guest write and direct a TV show, what would it be and what show would you love to guest star on?
Edward Berger & Albrecht Schuch: Succession and Fleabag.
Steve Weintraub: What movie do you think you've seen the most?
Edward Berger: Apocalypse Now.
Albrecht Schuch: Once Upon a Time in America.
Steve Weintraub: What TV show have you seen all the way through more than once?
Edward Berger: Six Feet Under (watched two times).
Albrecht Schuch: The Sopranos (once) and "the derek cinefrance series" (I Know This Much Is True).
Steve Weintraub: If you could get financing for anything, what would you make?
Edward Berger: While All Quiet on the Western Front was a "dream project," Berger expressed a desire to direct a James Bond film next. He also mentioned an interest in a fun action-adventure movie or something with a pop song at the end to allow for lighthearted entertainment after the weight of this project.
Steve Weintraub: Is there anything you collect or obsess over?
Edward Berger: Books, but specifically used ones or paperbacks; he does not care for first editions.
Albrecht Schuch: Stones. He picks them up from locations where he works (including a recent stone from a lake in Toronto) to connect to the place and gives them away as presents.
Steve Weintraub: What do you wish more people knew about making movies?
Edward Berger: That it is not glamorous. It involves working in the rain for , being cold, wet, and dealing with physical discomfort like the "egg-eating" incident mentioned by Albrecht.