While talking to press about this historical upcoming mini-series at the Television Critics
Question: When you were making Saving Private Ryan, did you have a sense that you were establishing a visual template for war and war depictions that were going to be carried over for 12 years now?
Spielberg: In Saving Private Ryan, I had a sense that I was establishing a template, based on the experiences communicated to me by the veterans who fought that morning on Dog Green, Omaha Beach, and their experiences, and the very few surviving photographs of the great war correspondent, Robert Capa. I combined those photographs to try to find a 24-frame-per-second equivalent for how I can show that kind of terror and chaos without making a movie that looked elegant and beautiful and in full living color, very much like war movies had been made in the past.
Given how pervasive that look has become in subsequent movies, when you do a project of this scale, do you try to get away from that and give it a different look?
Spielberg: We did give The Pacific with a different look. There was a very strong, desaturated quality to Band of Brothers. In The Pacific, it was blue skies. They weren’t fighting in overcast weather. Sometimes monsoons would come in and it was terribly rainy and muddy and you couldn’t see the hand in front of your face, but it was a blue-sky war. It was a hot, dry, humid blue-sky war. So, there are more vivid colors in The Pacific than we ever had in Band of Brothers because that was the way it was, when you read the books and talk to the survivors of those campaigns.
How tough is it to sell a project like this?
Spielberg: Thank goodness for HBO. They gave us this opportunity to put the stories of these very brave men and women on the network. We’re very beholden to HBO for making room on their schedule for something like this.
Read the rest of the interview here - http://www.collider.com/2010/02/04/steven-spielberg-interview-hbo-the-pacific/