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?

Was your interest in making the film based on talk of resurrecting the draft in today's society?

How did you get the three main actors together? Did they know each other before? Did one recommend the other?

Many of these characters went through transitions. Was there any time the actors wanted someone else's role?

Could this film work in any other city? Were the relationships between the three characters something that's more exclusive to New York?

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?

Has that lasted though, through the process? Have you maintained a different outlook on that sort of thing?

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?

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?

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?

Last night, were you able to see it without it being a documentary representation of what you went through while shooting it?

And, having had that experience, where does it go now?

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?

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"?

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?