David Frigerio, co-writer and producer of Land of Bad, had a simple directive during the production of the film: to make an “apolitical, straightforward, intense action movie.” .
And with the film’s box office success, mission accomplished.
“Land of Bad” treats American soldiers with the respect they have earned, but it does not idolize them. It’s not a slice of jingo pie.
“Land of Bad” had little marketing power, but it cracked the top 10 at the box office in its first week on just over 1,000 screens. This is approximately one-third to one-quarter of the revenue of most released films.
“It’s a little engine that does that,” Frigerio told Align, adding that the film had the third-highest per-screen average of his debut.
Liam Hemsworth plays a vivid Joint Terminal Attack Controller fighting for his life after a rescue mission goes awry in the southwestern Philippines. The film showcases the latest in military technology, including a drone piloted by Oscar winner Russell Crowe, who plays the film’s creepiest character, the Reaper.
There are no wake-up lectures. Just four of his soldiers bravely go behind enemy lines and recover assets (with some clever twists for vegans).
The inspiration for “Land of Bad” dates back to 2013. Frigerio and his production partners were fascinated by the work JTACs do in combat situations, coordinating drone strikes and the proverbial eye in the sky to complete dangerous missions.
Frigerio and his team worked extensively with military veterans to develop characters and fact-check story elements, and this collaboration began early in the filmmaking process.
After information about the script leaked, the real-life JTAC contacted Frigelio, and extensive communication began between the narrator and the veteran. The next day, the screenwriter drove to Fort Irwin military base and spent three days “like a fly on a wall,” learning how to “blow things up,” as he put it, at the military base.
Veterans spoke about their war experiences and the trauma they had experienced.
“They’re still salt-of-the-earth guys. That surprised me,” he says. “Listening to their stories helped set the tone for the film.”
Having soldiers on speed dial while writing the script ensured the authenticity of the script. It also gave me a taste of the film’s cheeky sense of humor and brotherly love. Hemsworth co-stars with his brother Luke Hemsworth, as well as This Is Us alums Milo Ventimiglia and Ricky Whittle.
Frigerio brought the word “cool” into conversation about both the film and its filming in Queensland, Australia. The team’s funding was approximately $20 million, which is a significant amount for an indie film, but only a fraction of what studios would provide for the project.
Oscar winner in attendance? Priceless.
Crowe said that when he walked onto the set, his character, nicknamed Reaper, “thought he was Hawkeye Pierce from M*A*S*H*.” He felt chills,” Frigerio said. The actors gave their all to the project, rewriting scenes on the spot and improving their lines all the way to the final cut.
“He’s a master,” says the producer.
“Land of Bad” treats American soldiers with the respect they have earned, but it does not idolize them. It’s not a slice of jingo pie.
“We wanted to honor the military as best we could,” Frigerio says. It also meant an honest portrayal of the frustrating military bureaucracy, as well as a clash of egos.
It wasn’t that long ago that Hollywood produced a flurry of anti-military dramas. “Lions for Lambs,” “Redacted,” “Rendition” and “Green Zone” cast a chilling light on soldiers, the Bush administration’s war on terror, or both.
They all bombed the ticket office.
Since then, his films have ranged from Academy Award-nominated American Sniper (2014) and Lone Survivor (2013) to his underrated role as Miles Teller in Thank You (2017). The industry has begun to show empathy for American soldiers. Veterans suffering from PTSD.
Frigerio acknowledges that films about the U.S. military have clearly changed during this period, and Land of Bad does not disrupt that trend. The filmmakers also received no direction or guidance from the studio to take the film in a certain direction.
“This is a movie we wrote 11 years ago. We were always tinkering with it. …This is our movie,” he says. “We were not influenced by any company or studio.”
