People habitually invite me why I’ve become so consumed with the topic of PTSD and why I wanted it to be the centre of my first idiosyncrasy film. My answer is that I wanted to use my knowledge, in whatever comportment I could, to shed come across on this crippling disease. In 2004, I purchased a replica of Nina Berman’s PURPLE HEARTS BACK FROM IRAQ, a book of essays and tragically superior photographs which tells the thriller of 20 servicemen and women who were wounded in the Iraq Campaign and their hardened
thongtaccong technique to recovery. I decipher the work, inundate to embody, that evening, and was forever changed. I forthwith began to be after old hat men and women in the military to interview. I had no verified ambition other than to impress a sense
thong cong of why and how they did what they did. I had considerable hopes that someday the “engagement”, whatever it was to be, would set itself. It was during these months of interviews and encounters that I began to peruse about the perils of PTSD.