(Left to Right) Martha Raddatz and Carolyn Bernstein After the Army graciously granted permission to set up filming at Fort Hood (where, to wit, the actors lived and worked for the duration of the two-month shoot), it also allowed filmmakers to recreate Sadr City, an undertaking monumental in scope and scale and extraordinary in its verisimilitude. Perhaps one of the most remarkable elements of the production, and one National Geographic was committed to creating in the most intricate detail, was the set-the largest back lot ever constructed in North America. From putting the actors through weeks of pre-filming boot camp with former active-military personnel to check-ins with on-set tech consultants for direction on every nuance, from the proper closure of the Velcro on the flak jackets to the correct application the chinstraps on the helmets.
The long road home series#
This profound level of authenticity is a hallmark of the series and one Raddatz is thrilled to be able to share with audiences. Their neighbors didn’t want them to do it, but they went to work for the Americans because they thought it was the right thing to do.” “To tell that story-it’s a story of so many interpreters-it is so complicated and so deep.
“The interpreters in Iraq, the interpreters around the world, are not talked about enough,” Raddatz says. But it’s the episode that centers on Jassim al-Lani, the Iraqi interpreter who’s embedded with the First Cavalry, that is one of the most profound, for both the producers and Raddatz, who changed his name in the book to protect his life. From the embattled platoon leader Lieutenant Shane Aguero to Lieutenant Colonel Gary Volesky, who orchestrates the extraction of the ambushed soldiers, to their families waiting in a suspended state of anxiety back home, the story unfolds in riveting hour-long episodes told from various perspectives.
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