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Lego re-creation

 

Descriptions

The opening scene [of the movie Lord or War] depicts the life of a bullet, from its creation in the factory to the moment it blasts through the head of a poor African child (Source: leilapostgrad 2005, np link).

With economy and brutal clarity, the image argues the film’s point far more effectively that the remaining two hours (Source: Di Certo 2005, np link).

The first five minutes are ... a mini-movie that could be called 'The life of a Bullet' (Source: bombelliott 2006, np link).

[It's] an impressively well created (though cartoonish) point-of-view crash course in gun trafficking. The final image in the sequence is the bullet being fired from an AK-47 into the head of an all-too-young African 'soldier.' This seems cruel and overly graphic, but it is done in such a way that it is detached and satiric (Source: Alieniloquium 2006, np link).

Reminiscent of the center-of-(wide)frame-focused opening to The Naked Gun, the knockout title sequence to 'Lord of War' is a first-person narrative where the 'I' happens to be a bullet. We bear witness to the life and death of the little guy (Source: Anon 2008, np link).

... the audience follows the lifespan of a single bullet to the folk vibe of Buffalo Springfield's 'For What It's Worth' (Source: CalRhys 2014, np link).

Utilizing Buffalo Springfield’s instantly recognizable song, ... the segment in this film follows a single bullet from the time it’s a flat piece of metal, through the factory, around the globe to various armies, into a magazine, down the barrel of a rifle, and finally into the unsuspecting head of a human being (Source: Nastasi 2010, np link).

'For What It’s Worth,' a ubiquitous protest-era song, underscor[es] the casual cruelty of the gun trade that forms the backbone of the film (Source: Spiegel 2017, np link).

[The movie] literally starts off with a bang. The films opening credits ... are shot from the point of view of a bullet as it makes its way from a Russian factory … into the brain of an anonymous young African man. He may be a killer himself, or he may be an innocent. The bullet doesn’t care… (Source: Anon 2005, np).

[It's] a roller-coaster ride during which the thrills give way to chills, with which the rest of the film simply cannot compete (Source: Wilonsky 2005, np).

You are a bullet going through the factory being made, inspected, etc. ... you go through all the processes of being made and then are put into a crate in the factory. Then the crate is opened up and you’re at a port. The contents are inspected briefly and then sealed again. Then the crate is opened up a second time and you’re somewhere in Africa. You are thrown onto the floor with all the other bullets then picked up and loaded into an AK-47 (you can hear gunshots in the background). Then the gun you are in begins to fire (still to the tune of 'For What It’s Worth') and all of a sudden you fly out of the barrel and straight into someone’s head, with it going into extreme slow-mo just before the moment of impact so you can look deep into their eyes. The second you hit the screen goes black and the music cuts out and you are given a few seconds of black to regain your composure until the rest of the movie begins (Source: happynoodleboycey 2008, np link).

[The title sequence is] a continuous shot from a camera mounted on the back of a bullet casing - illustrating the lifespan of a bullet. - Gunpowder is poured into a metal casing, lead slug mounted on top. A bullet is born. A perfect 39mm. - The bullet travels along a conveyor belt with thousands of identical siblings in a Ukrainian factory so grey it's monochrome. - The bullet, picked up by a ham-fisted Ukranian factory worker, is tossed into a crate. - The bullet, lying in its open crate, rolls down a chute where it's inspected by a Ukranian military officer holding a manifest. He seems to stare directly at our bullet. Ukranian officer (to his subordinate carrying a manifest, in Ukrainian) Call it 'agricultural machinery'. - The bullet crate rattles around in an open-bed truck along an industrial road, passes a decapitated statue of Lenin. - The crate containing our bullet is placed on a ship in the cold grey Odessa harbor. A container door closes, plunging the bullet into darkness. - The door re-opens. The bullet, still in its crate, now basks in bright, tropical sunshine, surrounded by an azure sea. - The crate is removed by a pair of slim, dark hands, revealing a glimpse of the bustling, weathered port of Abidjan in the Ivory Coast. The crate is one of dozens unloaded from the ship. - Bullet's POV from another open-air truck, now slogging through a mud-clogged road in lush rainforest. - The bullet is unloaded from the truck in Freetown, Sierra Leone - immediately grabbed by the young hand of a RUF [Revolutionary United Front] soldier. - The bullet is loaded into a 30-round magazine which is inserted into an AK-47 machine gun. - The bullet waits - in the gloomy chamber. Suddenly, from outside, the sound of raised voices and gunfire. - The bullet and its neighbors start to rise quickly up the magazine towards the chamber as the Kalashnikov is fired. - Our hero bullet is next. Will it see action? - Smack. The gun's bolt strieks the explosive cap, gunpowder ignited, the bullet driven out of the barrel. - Shed of its casing - now only a slug - the bullet emerges into bright sunshine. It is flying down the main street in Freetown. - The bullet gives us a perfect point-of-view of the bullet ahead of it. They are both flying towards their intended target - a wild- eyed child soldier, a boy no more than twelve, firing an AK-47 almost as tall as he is. - The leading bullet narrowly misses, whistles past the boy's ear, striking the whitewashed wall behind - one more pock-mark in a building riddled with pock-marks. - Our bullet, following close behind, finds its mark, slamming into the boy's forehead just above his left eye - his expression, oddly relieved. - The bullet carves through the lobes of the boy's brain where it is enveloped in blood, finally plunged into darkness - the bullet's final resting place (Source: Niccol nd, np link).

The carnage caused by the tens of thousands of guns and millions of bullets is brought home dramatically in one single death (Source: Greek 2016, p.357).

This blunt, virtuosic, and sensational opening effectively makes the same point that the film will explore for the next ninety minutes: that violence round the world begins and ends directly on your doorstep (Source: Hamid 2006, 53).

It makes the point that at every step along the way, arms manufacturers are producing death as their end product (Source: Ebert 2005, np link).

... we’re the bullet. On that street, we’re loaded into a rifle. A kid comes into cross hairs. We whiz through the air (Source: Kennedy 2005, np link).

Inspiration / Process / Technique / Methodology

The title sequence, conceptualized by [Lord of War director Andrew] Niccol and shepherded by Visual Effects Supervisor Yann Blondel with production studio l’E.S.T., is one that is technically and thematically exceptional. In placing the viewer in the position of an inanimate object on the move and pairing it with an iconic protest song, the film immediately sets itself apart, announcing its artifice while introducing its key ideas. The sequence establishes the narrative world of gunrunning, the story’s wry, tongue-in-cheek tone, as well as the film’s primary motif: the lone bullet (Source: Lankedic 2017, np link).

The typography design, angular and clinical, comes care of title design powerhouse Imaginary Forces. It reinforces the detached calculation and cool efficiency of the factory environment and transport journey. The accompanying song, Buffalo Springfield’s 'For What It’s Worth (Stop, Hey What’s That Sound)', plays in cocky opposition to the subject matter. The song was written by Stephen Stills after the Sunset Strip curfew riots in Hollywood, California in 1966 and quickly became a well-known protest song, capturing the general unease spreading across America in the late ’60s, becoming an anthem surrounding civil rights and the Vietnam War. The use of the song in Lord of War’s titles gives the opening a warmth and sense of humour that is otherwise absent on the cold conveyor belt of weapons manufacturing. Much like the opening of Dawn of the Dead (2004), which uses Johnny Cash’s 'The Man Comes Around', the sequence’s horrifying visuals gain levity and texture through powerful music (Source: Lankedic 2017, np link).

[Lankedic:] Was the music in place when you started - 'For What It’s Worth'? When did that song come in? Yann [Blondel]: The music wasn’t there when we started to work on the sequence. Maybe Andrew [Niccol] had it in mind, but when we worked on the previz we didn’t use this track (Source: Lankedic 2017, np link).

We had to build [the footage] from scratch using CGI. No elements were shot. We studied factories but people working at bullet factories might find it incorrect. The process of building a bullet is insanely complicated! So it was more about telling the story than being accurate (Source: Blondel in Lankedic 2017, np link).

We realized pretty early that we won’t be able to fit a cinema camera inside the magazine of an AK-47! So everything is CGI (Source: Blondel in Lankedic 2017, np link).

At the beginning of the sequence we dive on a machine. This machine has been created/extended using CGI and some animation has been added to it. That shot had also been accelerated and stabilised. Inside the machinery everything is CGI until we emerge on the conveyor belt. The conveyor belt itself is CGI and the bullets are as well. The background needed to be reconstructed in CGI because the camera was waving a little too much and we wanted a straight trajectory. When the bullet is picked up, the actor and the hand have been shot against green screen and composited on a CGI background. After being tossed back on the conveyor belt we fall in a tube. Here, again, everything is CGI until we fall in the crate full of bullets (which is obviously CGI). We emerge on the second conveyor belt. The background has been retimed and stabilized. Here only the foreground is CGI. It’s exactly the same case when the crate is opened in the Ukrainian Harbor. When the crate is opened again in Africa it’s another story. When the bullet falls and rolls on the ground everything is CGI. We had shot a nice movement but the distance with the ground wasn’t good. We had to recreate the whole background in CGI to gain a couple of inches! And as there were moving elements it wasn’t simple. Then the bullet is tossed in another crate full of ammunitions (all CGI). While being loaded into the truck and travelling through the jungle the crate and the bullets are CGI. In the street, until we get thrown on the ground, only the crates and the bullets are CGI. But when we get loaded in the magazine everything is CGI from background to the magazine and the barrel of the AK47. And then, when the bullet is shot we only added a CGI bullet, some guys fighting in the street, accelerated and stabilized the shot. Software details: XSI, Shake, After Effects, Photoshop and Matchmover for 3D tracking. VFX: L’E.S.T. (visit the link for some major vfx shot breakdowns and stuff) (Source: Blondel in maxdiamondhead 2007, np link).

[The film's director Andrew] Niccol does note that the opening was the last thing he did on the movie, and that he had to call in a lot of favours to complete the complicated shot. 'There are times when people work for nothing on a movie. In this case, people actually paid the production to work on this sequence' (Source: Knight 2006, np).

A malicious wit, this Andrew Niccol: by forcing the audience to take the bullet’s flight, he is suggesting that we are complicit both in arms sales (the United States is a leading exporter) and in eager enjoyment of movie violence, of which this sequence is a startling and admonitory example (Source: Denby 2005, np link).

Discussion / Responses

... the bullet scene rocks (Source: BigBadaBruce 2006, np link).

the beautiful thing about bullets is they have no fear of death (Source: s117godd 2012, np link).

i wish i was a bullet (Source: Ross 2009, np link).

i don't think i want to be a bullet (Jay The Creator 2019, np link).

That bullet cam looks awesome (Source: nnyyaaaaaaaa 2013, np link).

Longest .... Killcam .... Ever (Source: TukTheUndeadKid 2013, np link).

i wish my killcams played for what its worth:( (Source: Lukewuzhere 2012, np link).

Kinda reminds me Naked Gun intros (Source: dikinebaks 2013, np link).

you could ... say that this scene was 'mindblowing' (Source: Dance 2013, np link).

the ending was sooo predictable (Source: Cervera 2012, np link).

Headshot (Source: Giang 2012, np link).

Right between the eyes!!! Brilliant (Source: Neville 2010, np link).

That one gotta hurt (Source: TheRockHBKfan 2010, np link).

why dident that kid move, the bullet was moving so slow (Source: Quiroz 2011, np link).

that f*±ker got good aim, lmao haha i wish they made games like that with Bullet Kill cams (Source: The unchosen one 2011, np link).

YA! I've talked with 100's of Video game players, and only 5 have actually fired a gun (Source: PUM 2009, np link).

I'm glad your sadistic pleasure is over reality of boys like the child getting killed because of what he is forced to join (Source: Gallagher 2009, np link).

... the life of a bullet [is b]reathtaking in the simple way that it showed how the mundane, anonymous business of manufacturing weapons can end (Source: binhthuy71 2005, np link).

It ... gave me that warm glow - knowing that the bullet ended up ending the life of an innocent, as most bullets are destined to (Source: emdoub 2006, np link).

To be fair, most bullets are just sent into the ground or at inanimate objects (Source: Lee 2019, np link).

That's what we will see when we get shot to death, the history of each that went in your body. From the manufacturing plant to moment you got shot. That would awesome (Source: syedsaim 2012, np link).

This gives a very eiree image. The bullet is always facing forward, as if it's been waiting to be fired it's whole life (Source: the socialist state of Venezuela 2019, np link).

Ahhh, the inspiring journey of a 7.62x39 round (Source: Tezcatlepocatle 2011, np link).

The adventure of the little bullet, who wanted to kill (Source: fightclubmeber8 2011, np link).

I never would have guessed that a bullet can have such a magical journey (Source: TrollDemon 2011, np link).

... an excellent and entertaining clip of source to destination (Source: Scuba-Digger 2010, np link).

I love how it goes from country to country in the viewer (Source: ghettodogaudio06 2008, np link).

That bullet made quite a tour! From soviet russia to some modern african country (Source: zerg0s 2011, np link).

When a bullet has seen more of the world than you (Source: Vaas 2019, np link).

wow bullets have a short life (Source: Raza 2010, np link).

Imagine how many bullets they had to follow and film before they had a interesting one which fitted in with the rest of the story they wanted to tell (Source: STEREOTYPE 2019, np link).

Placing the viewer in the position of the bullet is startling as well as enveloping. It’s like a finger pointing back, making us complicit, implicating us in the events that unfold for our entertainment (Source: Lankedic 2017, np link).

the bullet starts in a white factory and profits all along until it reaches it destination a black mans body (Source: mann 2010, np link)!!!!

If black African children are given any film 'role', it is as a servant of a white protagonist or worse, as part of the nature/natural backdrop of African violence or degredation, such as in ... the 'life of bullet ' opening of 'Lord of War' in which the bullet's journey ends up in the forehead of an African child. This is shocking but not entirely 'unexpected'. ... Such representations of Africa merely 'repackaged entrenched stereotypes' and have resulted in the most common modern cinematic image of the black African child: the child soldier (Source: Olson 2017, p.165-166).

I wonder if the people who watch these bullets go through the factory, ever think of where its gonna end up, or who it might kill (Source: sidthekid87cup 2010, np link).

It's a job to them. It's like working in any other factory, and they usually don't know where it's gonna be shipped (Source: Petrucio 2010, np link).

such a sick intro to a film (Source: proevofan 2011, np link).

this is a very ironic scene playin a hippie song in a view of a bullet (Source: Yi 2010, np link).

whats the song name (Source: nick 2010, np link).

What lesson they were REALLY trying to teach with this intro? That you don't stand up in the open on a battlefield! You'll get shot in the head XD (Source: Nick the River 2011, np link).

In a firefight find cover because standing in the middle of the street is just plain stupid (Source: Hybris51129 2010, np link).

Word to the wise: don't watch this scene when drunk. You will experience motion sickness and probably puke (Source: Lowe 2018, np link).

I was really stoned when i watched this, my mate told me not to laugh at the bit at the end, now all i can do is laugh at it (Source: magget16 2011, np link).

The scene with the bullet in the barrel reminds me of the James Bond movies intro (Source: bursegsardauker 2011, np link).

this episode of How It's made isn't that great (Source: mookie714 2011, np link).

It's bizarre to watch with the How It's Made Theme overlaid on top of it (Source: rumpumpumpum 2014, np link).

In 2004, well before this movie was released over a year later, I composed a poem entitled 'The Bullet's Tale.' The poem was actually an honorable mention in a war poetry contest and can be seen on the website. I don't want to violate the rules of posting here by including a URL, but if you go to Google and type in "Scott Ennis Bullet's Tale" you will find the poem easily enough. The opening sequence of Lord of War is so close to a visual representation of my poem that I have considered challenging the producers on it. Of course, it's entirely possible that someone came up with the same idea as me to show events from the bullet's perspective, but it makes you wonder (Source: scottennis 2006, np link).

This reminds me of the old CBS radio drama: The Bullet. It goes into how each bullet that comes off the factory line like this is made for a certain individual; that meaning each bullet has a designated victim (Source: TheLegionnaire 2014, np link).

the cgi reminds me of the cheesy graphics you see at bowling alleys for getting strikes and spares (Source: TigerMeltz 2014, np link).

This cracks me up. No one obviously has ever seen ammunition being manufactured (Source: Whynot Whynot 2015, np link).

The gunny in me is mad that they forgot multiple steps to bullet production including primers, case trimming, and powder (Source: Benassi 2014, np link).

Well, ... I was on Barnaul Cartridge Plant (big russian ammunition manufacturer, you can google it by yourself) just a couple weeks ago. Saw how cases and bullets are made. I only wasnt allowed to final assemble and testing, since there is gunpowder involved and it can be dangerous. Whole process is actually pretty close to one in the video (Source: Kanashii 2016, np link).

Odd thing I thought about, then went and looked up; though cartridge casings start out as circles stamped out of coils of brass just as shown, they're not made and loaded in one action - it takes three pressings to get the desired length, followed by trimming it, stamping the primer pocket, cutting the extraction groove, tapering it in three more stages, trimming it again, punching the flash hole, annealing the neck and mouth, then finally washing the whole thing in acid to get rid of any contaminants. And that's before adding the primer, filling it with gunpowder and actually loading it with a bullet. That's actually about the same number of steps that went into making a European sword. All for something that in all likelihood will only be used once. Modern industry, ladies and gentlemen (Source: kalaong 2018, np link).

thats pretty cool but they failed to add powder and primers to those cartridges, effectively rendering them dummy / dud rounds I feel bad for the russian federation soldier who loads these into a magazine in a firefight (Source: GodlessMartyr666 2011, np link)!

dont knit pick (Source: MrRubicon420 2009, np link).

TL;DR they used liberal cinematic license on the manufacturing steps (Source: mthoody 2014, np link).

Well, 7.62 x 39 are steel cased ammo and not brass; moreover, they are inserted in cardboard boxes and packed in tin boxes of 1440 rounds. Rounds can be damaged if dumped loose in a box. (affects accuracy and also may jam/explode the breech of an SKS, Dragunov or AK-47 (Source: Scuba-Digger 2010, np link).

who the hell dumps ammo on the ground (Source: wed3k 2010, np link)?

What a bad-ass. To be able to load a round in a mag like that without the mag pushing all the rounds back out (Source: Whipsters Idle 2019, np link).

The round from which we are watching this from is loaded into the clip and 3 more behind it. Assuming there is already a round chambered, the round should be in the barrel by the 4th shot. There are about 6 shots before that happens ... lol Don't mind me, im just being very anal ... lol (Source: emachine310 2013, np link).

Just noticed the guy at the end breaks muzzle safety rules like 3 times in 10 seconds (Source: GoldenColts 2010, np link).

This whole bullet cam is a fun idea, but with many flaws, the worst being the bullet barely making 1/2 of a rotation in 100 meters, when in reality a bullet of that caliber spins at approximately 200,000 revolutions per minute, which would be close to 3,300 revs. per second. the bullet taking .1 seconds to reach its target at 100 meters, means the bullet we saw, should have spun about 330 times while we watched it in slow-mo. just saying (Source: TheEndlessVariables 2013, np link).

because films are realistic right (Source: Mr Me 2015, np link).

Its not a documentary, it's the opening scene of a movie (Source: klez1201 2016, np link).

wow, some of these comments are a little too critical. This is an awesome sequence .... settle down and just enjoy it (Source: Finkel 2009, np link)!

The intro is surprisingly amusing to me because they don't package rifle cartridges like that in the real world. Comical (Source: Webb 2017, np link).

Technically speaking this was the life of a bullet casing. So the ending doesn't really make any sense. It would be like only seeing the the primer go off and fade to black. They should have showed how the bullet itself was made , that would have made it better. But the CGI was sooooooo faAnCy (Source xXventanaX 2017, np, link)!

... this [Winchester factory tour] video shows how factory ammunition is really made (Source: mthoody 2014, np link).

After watching this video, I realized 'hey wait, that winchester plant is really close to me!' But then I went to the second or third google link and read about how much it blows to work there. I'm going to try and steer clear of their products from now on if at all possible (Source: Ottoblock 2014, np link).

How did they get the camera in the gun (Source: This is me 2014, np link).

How does no one notice the bullet with the camera attached to it (Source: Shopworn_Soul 2014, np link)?

Its hard to tell from the vid if its real of cgi (Source: George 2009, np link)?

Did you honestly think that a camera was attached to a bullet the whole time?! What it was, was a well thought out directing job with the camera work with the CGI bullet drawn in later. Pretty kick ass!! :) (Source: gredangeo 2009, np link).

Sadly, the HDR-based CG imagery robs the piece of its realism; it’s obfuscatory where it might be stark. While well intentioned, the execution is incredibly clinical - there is too much message and not enough heart. You want a bulleted reality of war? … The lensing is exquisite but calculated to a fault while the timeless music of Buffalo Springfield serves as a kind of mawkish plea, an unnecessary retread. And the child endgame plays as yet another manipulation; he wouldn’t be standing stiff in the midst of a firefight because he wouldn’t last with the given sight lines. As it - he - stands, the blocking of the actor contradicts a primal predilection towards self-preservation. As this doesn’t make sense, the slick stylization does not serve. The sniper duel in Saving Private Ryan succeeds because of a rooted context which subsumes an implausible end. That context is missing here. We struggled for some time with this post. The first person POV reminds one of a first person shooter video game and never seemed suited to the subject matter. Now I wonder, was the gaming correlation part of the intent (Source: Anon 2008, np link)?

A bullet in the head always seizes the imagination or at least the audience’s attention, but because the African is merely cinematic collateral damage, the image registers both as showboating and as a warning shot for the problems to come. The screenwriter for ‘Lord of War,’ Andrew Niccol, lavishes a great deal of time and many words building a case against guns; unfortunately, the film’s director, who also happens to be Mr. Niccol, enjoys playing with toy guns. His words may say no, but his overworked, overslick visual style says lock and load, baby (Source: Dargis 2005, np).

They should remake the beginning so the bullet goes into the navy seals gun into osama's face (Source: Decety 2011, np link).

An NRA [US pro-gun National Rifle Association] ad played right before the intro to a film which was definitely anti-gun. Cool beans (Source: iamciril 2019, np link).

I hope all of the arms manufacturers and dealers will die in a bullet in their head (Source: zedizdeadbaby 2011, np link).

this should be a commercial to wake people up or something like this about gun control (against it) (Source: 12345678987 2010, np link).

AK[47]'s: Awesome fun to use in games, and on targets, but NOT PEOPLE> Jeesus war is so wrong (Source: NatHarwood 2009, np link).

just to let you know ... [theboy who was shot] had a gun too. it wasn't just a random shooting of a kid. look closer, you'll see the gun flashes. still horrible, but (Source: halfsilver 2010, np link).

I love how people feel bad for the kid but look closer. Uh he has a weapon, not so helpless (Source: Dr Death 2009, np link).

many movies makes war like fun, it's sadly the truth that in real life they turn children in soldiers (Source: Pieper 2010, np link).

This video just showed how soviets made guns/ammo and distributed it to countries to spread communism and revolutions (Source: auroraionaa 2011, np link).

And you can reflect this on the US aswell, how they made guns/ammo and distributed it to poor countries make them fight each others until there's little left. then march in and bring them democracy oh and while we are here we will built some military bases and take your natural resources (Source: Marax 2011, np link).

i think the message is white people manufacture the weapons and us blacks are killing ourselves. Stop following the white man's plan to self eliminate us (Source: keepskatin 2010, np link).

maybe you should be an activist againsed conflict as apposed to blaming 'the white man' (Source: mashersmasher 2010, np link).

It's not about skin color. It's about profiting from war. Instigating conflicts, between peoples and nations, then profiting from indirectly killing people through the sale of weapons. Africa simply has more conflicts because they were the last colonies to break down into 'independence' after the end of WWI. If it had been anywhere else other than Africa - with people of other skin colors - someone, somewhere would still be profiting from their conflict(s) (Source: RaindropBebop 2010, np link).

How does one get into this business? It seems very lucrative (Source: MrElucidate 2011, np link).

Talk about overanalyzation. How would YOU film the life of a bullet? Maybe the music was cliche, but this POV treatment makes the weapons a character in the story as much as the actors. / … / I understand what you’re saying with regards to glamorous manipulations, but I agree that this particular example has been over analysed. For a start the credit sequence has to both tell a story and credit the makers of the film, so bumping up the abstraction allows for the narrative to be absorbed whilst not demanding so much concentration as to render the text invisible. … I would also wager that the video game similarities were unintentional. All in all the arms trade is an extremely complicated and unpleasant issue. This sequence was, in my opinion, very competent and capable in it’s compression of that issue. / … Overall the whole title sequence, in a nutshell, follows the same path as the protagonist in the film and summarizes his choice of work. The bullet is created, sold, and forgotten. It just happened to find itself in the back of a child’s head, much like the weapons Cage sells. / When I first saw this opening title in the cinéma, I wept. I suppose at further analysis I allowed myself to be manipulated by the 'mawkish plea' – however, at the time I felt I had seen an incredibly beautiful short film and could have left the theater satisfied. I still think the piece is both literally and figuratively from the bullet’s POV and thus the issues mentioned in the original post actually seem well-motivated. In short, I dig it. / … / …  the game like POV gives it even more character and a feeling of neglectance. Guns and bullets don’t kill people, people do. / … The idea is good. We see the life of a bullet from birth to death, but I just think it’s executed (no pun intended) very weakly. In short I think it’s trying too hard. There are similar 'life of a bullet' sequences in Wanted, but they work a) because they are way better made and b) the tone of the film is ridiculous/fantastical anyway. … As for the music, it’s typical of a Hollywood film; dry, dated and irrelevant. I like the song, but it’s an ill fit here. / … I don’t understand the complaints about the CGI or the clinical execution, though. I’m not sure I would want someone striving for realism, warmth and heart in recounting the life of a bullet from its POV; obviously the simple fact of choosing that viewpoint means there is a specific (and probably anti-war) point to be made, and that’s to the good. Portraying the bullet’s life, its very existence, as a cold and clinical fact is a big part of what gives the sequence its force. / … It’s a good answer for people that deny their responsibility in things that have a clear and obvious end, that means we are all part of a chain, and the last link of it is not the only important one. … / … although those commenting here may be right about what the child is doing, i too remembering being a bit taken out of the sequence by that part. it certainly didn’t have the impact it should have because i couldn’t figure out why anyone would be standing still out in the open. however, i’ve also seen youtube footage of actual firefights in iraq by untrained, barefooted young men who almost got their heads taken off because they’re doing the most idiotic stuff – like standing out in the open firing randomly / ... My gripe is that the music conflicts with the visuals (no pun intended). The industrial creation and journey of the bullet is cold and stark, but the music comes from an era of freedom and protest and humanitarianism. I would rather there be no soundtrack music at all, simply the sound effects of the machinery, the jostling noise of the transport, and a final BANG! at the end. It would have been a lot more dramatic, and would ratchet up the chills and the seriousness of the subject matter considerably (Source: Dan et al nd, np link).

… to analyze a given phenomena, one must ‘trace’ the connections by following them as they lead the social scientist along their own path. Instead of a leap of faith between different levels of reality (local, regional, global), one has to map out the actual conduits through which these areas are connected. One must trace the connections established between global actors and local actors to such a degree that one could, in principle, explain the subjective manifestations of global dynamics. This means, for example, following an innovation as it progresses from a laboratory to a published paper, to a set of colleagues, to a venture capitalist, to a marketing team, to a distributor, to a collection of stores, to the public, and to their friends through word of mouth and advertising. Similarly, with conflict, one may want to (as best as possible) trace the line of a weapons shipment to its embroilment within a particular battle. The opening scene of the movie Lord of War is emblematic here: portraying the creation of a single bullet in a factory, and following it as it is checked for quality assurance, packaged into a wooden container, shipped abroad to a rebel group, loaded into a weapon, and finally used to kill a man in a conflict (Source: Srnicek 2010, p.38).

The UK DVD release of Lord of War includes, prior to the film, an advert for Amnesty International, showing the AK-47 being sold on a shopping channel of the style popular on cable networks (Source: Wikipedia nd, link).

Following the bullet? Yeah OK. Made for good drama, I guess, if you're looking for something to cry over. I think this movie is to superficial, to be informative. Following the money would have made more of a story, and would have been more 'educational'. But that wouldn't be a good career move, would it. Focusing on guns, is always good for a few bucks eh (Source: LawLess38 2005, np link)?

Is there other sequences that follow other products similar to this (not necessarily from movies, from anywhere else)? Like following money from production to through the bank, to the people that use it and pass it to others. Or something like a cell phone, from mining ore to factory production in china to massive warehouses to the local electronics store. Has anyone ever tracked and filmed an Amazon delivery package from source to destination? This title sequence (while stylized) could be applied to so many different things (Source: KonKon Art 2019, np link).

It would be good too applied to the tobacco work, a cigarette 'life' were we could see how it’s done (and the shit they put on them that is not tobacco) until it modify some cell inside the lung so the cancer starts (Source: Dan et al nd, np link).

It would be much more interesting intro if the bullet factory got the raw material from Africa, mined by some cheap labor African kids (Source: O'Brien 2019, np link).

Wow I remember my first time seeing this I was like this is so awesome this is realistic af how did they film it like this? Now I looked back at it ten years later yeah it's bad CG (Source: The 51st Division 2017, np link).

... but the scene still haunting (Source: G2 2019, np link).

The fact that the CGI is awful is irrelevant. They're not trying to impress you with CGI. There's a message behind the opening, especially when the bullets get in the hands of the wrong people (Source: VaguelsTheDopest 2014, np link).

Like [Amnesty's] TeleShop ad, [the 'Life of a Bullet'] use[s] a degree of estrangement to make us see an over-familiar situation with fresh eyes, but the film titles opt to stick closely to the reality of bullet production and use, which is much more uncomfortable. The repeated image of two fingers picking up the bullet, and the blank expressions of men peering at it, underline collective responsibility for the arms trade. Jokes are beside the point here. The sequence compels us to face up to what we already know (Source: Poynor nd, np link).

How about we as people, like, NOT shoot other people in the face ... or really anywhere on them for that matter ... ? That would be like ... good, right (Source: Pinky Mixology 2018, np link)?

No, we have to fight (Source: stein 2019, np link).

Outcomes / Impacts

Experts from Amnesty and Oxfam exposed the failings of international regulations that allow arms dealers and gunrunners to ship weapons into the world's worst conflict zones, and arms those who are torturing and massacreing civilians. Brian Wood, one of Amnesty International's researchers on the international arms trade, said: ‘The sad truth is that [Lord of War] is largely based on facts. Gunrunners really are able to fly and ship weapons into conflict zones where civilians are slaughtered. They can arm some of the world's worst human rights abusers. Yet the lack of legally-binding controls means that, like Nicolas Cage's character, they can laugh in the face of the law. When people leave the cinema a lot of them will say 'that's awful, but Nicolas Cage's character would never get away with it in real life'. But arms brokers and transporters can and do, even in the UK. That's why governments worldwide must bring the international arms trade, including brokers and transporters, under very strict ethical control.’ Anna Macdonald, Head of Campaigns at Oxfam, said: ‘Filmgoers don't have to sit back and accept this. If people are shocked by this film, they can do something about it. Just by visiting www.controlarms.org they can join our campaign and help bring this deadly trade under control. It's the world's poorest people who suffer the most from arms proliferation. An Arms Trade Treaty is desperately needed, to stop the flow of arms to abusers and to help make all our societies safer.’... Amnesty International, Oxfam and IANSA (International Action Network on Small Arms) have joined forces to form the Control Arms campaign, calling for an international Arms Trade Treaty that would introduce tough, legally-binding controls on the trade in deadly weapons. Already [UK] Foreign Secretary Jack Straw has voiced his support for the campaign. But more needs to be done before the treaty gains worldwide acceptance. The organisations are asking people to join their online Million Faces Petition at www.controlarms.org (Source: Amnesty International UK 2005, np link).

I was struck this week by the impact of a simple advert that, coupled with the film it was preceeding, has brought about quite a bit of contraversy and talk with my mates, here and particularly in the USA. ... And the film was Lord of War. I just thought it was good to see two mediums – Amnesty International and Hollywood – complimenting one another in such a powerful way (I’m sure AI gained prestige and LoW increased in sales)… It just struck me as a possible alternative to conferences… mass appeal thru movies coupled with awareness and action available thru related groups (Source: DAMNFLANDRZ 2006, np link).

The Bromley and Orpington Amnesty group are presenting a screening of ‘Lord of War’ (cert 15), in the Wesley Room, at Orpington Methodist Church, Sevenoaks Road, Orpington. The event will be free, but donations would be welcome on the night (Source: Davis 2010, np link).

always when i watch this i want to go outside and go shoot with my bb gun. i never wondert until this how the life of a bullet was before i shoot it. also strange to know that almost all of those bullets are going to be used to kill people (Source: Everyone's favourite neighbourhood nazi 2011, np link).

I like guns. But after watching this intro, I'm anti-ammunition (Source: right_in_two 2014, np link).

Sources and further reading

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Compiled and LEGOed by Ian Cook, thanks to Matthew Clifford & Tommy Sadler (last updated August 2019).