Michael Winterbottom, with his ceaseless energy and creativity, has been a formidable presence in the film industry since 2002. This year he brought two unique films to the table. First was the comedic adaptation of “Tristam Shandy: A Cock and Bull Story”, which he co-created with Steve Coogan. This was followed by his most overtly political film to date, the docudrama “The Road to Guantanamo”. This film went on to clinch the Silver Bear at the Berlin International Film Festival.
The film vividly reimagines the harrowing journey of three British Muslims who travel to Pakistan for a wedding. Known as the “Tipton Three”, they face a traumatic ordeal when mistakenly identified as terrorists, leading to a two-year detention at Guantanamo Bay without any criminal charges. Winterbottom, with the assistance of his frequent collaborator Mat Whitecross, brings their tale to life through a blend of interviews, archival footage, and dramatizations.
In an approach reminiscent of his 2003 work “In This World”, which depicted the escape journey of two Afghan refugees, Winterbottom employs novice actors and the versatility of Digital Video (DV) to discreetly shoot in locations such as Karachi and Kabul.
In a recent sit-down with MM at New York City’s Regency Hotel, Winterbottom delved into the making of the film, the influence of politics, and the evolution of digital cinema.
Jason Guerrasio (MM): When did you first become aware of the “Tipton Three”?
Michael Winterbottom (MW): Their story had been in the news since their detention. But it became more pronounced upon their release, which is when we reached out to hear their story firsthand.
MM: What inspired you to make it into a film?
MW: Their tale had cinematic potential. The initial meetings were quite reserved. They were understandably cautious, but over the months, they warmed up to sharing their experiences.
MM: Why did you involve Mat Whitecross as a co-director?
MW: Mat immersed himself deeply in the project from the start. He even lived with the “Tipton Three” for a month, recording their testimonies. Considering our joint efforts in editing, it felt right for both of us to be acknowledged as directors.
MM: Can you shed some light on your casting criteria for the “Tipton Three”?
MW: It was vital to find young actors resembling the real-life counterparts in age, accent, and ethnicity. Moreover, interaction between the actors and the actual “Tipton Three” made the portrayal more authentic.
MM: Your films often don’t focus on seasoned actors.
MW: We prioritize genuine reactions over theatrical ones. For instance, in capturing the essence of places like Karachi or Kabul, it’s more about genuine experiences than dramatic performances. Even so, our actors were so dedicated, they initially considered enduring the real conditions of Guantanamo for authenticity!
MM: Did you face challenges while filming at specific locations?
MW: Filming in Pakistan was tricky without permissions. Locations near the Pakistan-Afghanistan border were especially sensitive due to the ongoing conflict.
MM: Were there any fears about U.S. governmental intervention?
MW: Not significantly. While we did reach out for access to Guantanamo, our portrayal, though intense, is based on standard detainee treatments there, which many know of.
MM: Where would you like this film to have the most impact?
MW: It’s essential for audiences everywhere to watch it, but America stands out. After all, only the U.S. can decide Guantanamo’s fate. In the UK, perceptions of Guantanamo have already evolved. The core issue remains: why does a prison like Guantanamo, intentionally situated outside U.S. jurisdiction, exist without clear legal oversight?
MM: Your films are known for their distinctive DV style. Why is that?
MW: DV offers flexibility. It doesn’t necessarily make us invisible, but it’s less obtrusive than traditional filming equipment. It’s ideal for authentic, on-the-go filming without too much disruption. It provides freedom, letting us shoot more spontaneously.