he was a war photographer, and he and i made a movie together and he did a lot of amazing things. but ultimately, he was interested in human dignity around the world. that was true in the, you know, the destroyed streets of monrovia in liberia where he lived for years after the war. who covers a war and then lives in that country for a few years just as a resident? and then on the streets of new york. he carried this with him everywhere. it affected his work profoundly and made people want to be around him. it s interesting, in restrepo, in his still photographs, even though he s covering conflict and restrepo is a film about the war in afghanistan, it s really a film about people and the bonds that develop between brothers in arms. a lot of his work seems intensely it s focusing on individuals. you really get a sense of the people behind the rifles in a way that you don t in a lot of a lot of other war photographers are covering like
a lot of his work seems intensely it s focusing on individuals. you really get a sense of the people behind the rifles in a way that you don t in a lot of a lot of other war photographers are covering like the bang-bang stuff and tim was there in the midst of it, but his pictures are intensely personal. you know, we realized when we were out there that the actual combat was pretty repetitive. i mean, guys shooting guns look pretty much the same everywhere. it s falsely it s dramatic, but it s only dramatic for a certain amount of time. and then what really is interesting out there is how people connect with each other in that situation. he had this idea, i think it s true, that war is one of the few situations where men are free to really express their affection for each other. i mean, not just the like of each other, but physically, like hugging each other, touching each other. a lot of his work showed that. it showed soldiers with their arms around each other, young
interested in human dignity around the world. that was true in the, you know, the destroyed streets of monrovia in liberia where he lived for years after the war. who covers a war and then lives in that country for a few years just as a resident? and then on the streets of new york. he carried this with him everywhere. it affected his work profoundly and made people want to be around him. it s interesting, in restrepo, in his still photographs, even though he s covering conflict and restrepo is a film about the war in afghanistan, it s really a film about people and the bonds that develop between brothers in arms. a lot of his work seems intensely it s focusing on individuals. you really get a sense of the people behind the rifles in a way that you don t in a lot of a lot of other war photographers are covering like the bang-bang stuff and tim was there in the midst of it, but his pictures are intensely personal. you know, we realized when we were out there that the actual
in that country for a few years just as a resident? and then on the streets of new york. he carried this with him everywhere. it affected his work profoundly and made people want to be around him. it s interesting, in restrepo, in his still photographs, even though he s covering conflict and restrepo is a film about the war in afghanistan, it s really a film about people and the bonds that develop between brothers in arms. a lot of his work seems intensely it s focusing on individuals. you really get a sense of the people behind the rifles in a way that you don t in a lot of a lot of other war photographers are covering like the bang-bang stuff and tim was there in the midst of it, but his pictures are intensely personal. you know, we realized when we were out there that the actual combat was pretty repetitive. i mean, guys shooting guns look pretty much the same everywhere. it s falsely it s dramatic, but it s only dramatic for a
experience. we asked christine spangler to select one image from each of the four other war photographers and have it developed in a famous paris photo laboratory. developing the black and white photos is an art and sunnies specialty the movements of his hands determine how much light goes where. and what i was in a five exposed it s now. going to develop it. when you already. see something in a moment then this black and white photo is of a field hospital in greece and italy on this living in border. for the where he belongs. i don t like it because it s so simple.