|  | What was it like seeing your work on the big screen in front of so many people, in New York where the film was shot? |
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| | Was your interest in making the film based on talk of resurrecting the draft in today's society? |
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| | How did you get the three main actors together? Did they know each other before? Did one recommend the other? |
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| | Many of these characters went through transitions. Was there any time the actors wanted someone else's role? |
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| | Could this film work in any other city? Were the relationships between the three characters something that's more exclusive to New York? |
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| | Aaron Feller, Elijah Wood's character, created a Top 10 list of things he wanted to do before going off to war. Did reading the script and going through the process make you create a Top10 list? |
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| | Has that lasted though, through the process? Have you maintained a different outlook on that sort of thing? |
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| | The whole New York thing - the Empire State program, "Made in New York" - how much of that did you take advantage of? Would you have been able to shoot in New York without those programs? |
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| | How did you go about shooting the protest scenes? How did you create this sense of a mass of people - did you use any archive footage, or was it all created? |
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| | Do you feel different, on that subject of you being a documentary filmmaker switching to narrative? Do you feel more like a storyteller in one element than the other? |
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| | Last night, were you able to see it without it being a documentary representation of what you went through while shooting it? |
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| | And, having had that experience, where does it go now? |
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| | The end of the film is ambiguous, especially with respect to George's character. Did you face any creative pressure in making George make a decision; did you have long battles about that? Also, what do you want people to talk about when they leave the theater? |
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| | While you were shooting the film, during that process that not only brought back people that weren't supposed to be brought back, so, did you ever think, "Uh-oh, here we go; it's going to happen while we're shooting"? |
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| | Given the history of Vietnam-era war films, did you ever go back and watch them? Did any of them impact you and influence your film? |
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