Zach Youngs, after reviewing her film, sat down with Deborah Correa to talk about The War Between.
Zach Youngs: Is there a filmmaker or film that inspired you to go into filmmaking?
Deborah Correa: My earliest inspiration actually came from books and reading. There was a time in my life when we had to stay indoors, and during that period, my siblings and I became avid readers; completely obsessed with stories. We were living in Medellín, Colombia, during the height of Pablo Escobar’s reign. Car bombs, kidnappings, and gun violence were part of daily life. That era changed me. It made me resilient, but also guarded. It gave me a powerful sense of perspective that has informed how I live my life. Later, films like Dances with Wolves, Braveheart, Saving Private Ryan, and The Piano opened my eyes to the cinematic power of storytelling and planted the seed of historical dramas. The filmmakers that influenced me early on were Stephen Spielberg and Jane Campion and later, Terrence Malick.
ZY: What are the films that helped inspire the look of The War Between?
DC: Dances with Wolves and Hostiles were my go-to references, especially because of their extensive use of exteriors and how they handled shooting in the elements. We had to be really mindful of continuity with the sun and how that affected our shooting order. I also did a deep dive with Ron into classic Westerns – I used to watch so many of them with my grandfather when I was a little girl. My Darling Clementine, Once Upon a Time in the West, The Searchers…it was such a joy to revisit those films, both as inspiration and as a kind of homage to what we were trying to create. Our cinematographer brought a poetic eye to the landscape. We wanted the Sonoran Desert to feel both vast and intimate, almost like a character itself. We used long lenses for emotional isolation, handheld for moments of tension, and leaned into the necessity of natural light. This helped to ground the film in realism. Every frame was crafted to reflect the inner state of the characters while honoring the scale of the West.
ZY: What is it about Ron Yungul’s script that first piqued your interest in The War Between?
DC: The historical background immediately piqued my interest—The Civil War fought out West? Sign me up! I had never heard about battles happening near Tucson. The most western battle of the entire war, the Battle of Picacho Peak, is actually where our story begins. I was also fascinated by the inclusion of the California Column, a volunteer force from California that pushed the Confederacy out of Southern California and the New Mexico Territory.
I loved the minimalist approach to the setting: a raw survival story unfolding in a harsh desert landscape, where the stakes are incredibly high. But what really stood out to me was how Ron subverted stereotypes, not just of our three leads, but also of the women in the story. It’s a surprisingly progressive take on the mythology of the American West.
ZY: What intrigued you about making a Western?
DC: What intrigued me most about making a Western was the loneliness of the exteriors; man vs. nature, man vs. man. I was drawn to the opportunity to play with how the genre is traditionally expressed. I’ve always loved survivalist films, and blending that with a Western and a war story was really inspiring for me. I wanted to work within the genre while bringing new characters and fresh ideas to it. My goal was to direct an intimate Western, one that gives space for characters to exist in their full humanity, beyond the usual masculine stereotypes or tired binaries.
ZY: How did you cast your leads? Did you have time to do any chemistry screen tests with them?
DC: That was tough at first because we were trying to get famous name actors. None of that worked because this is my first feature and I don’t have those connections or budget. So we worked very closely with Bella Hibbs at Good Faith Casting, based out of Phoenix, Arizona and she found all our leads. It was instant magic with our leads: Damian Conrad-Davis, Sam Bullington and Wayne Charles Baker. We didn’t have time to do chemistry screen tests but we made sure to pair actors who were very different from each other so we could work with that contrast. It was eerie how all three actors were so much their characters. I got a little teary eyed watching their auditions. Then we did call backs but used the time to get to know them and their vibe – I already knew they could deliver. That process was so lovely and fun. They did a great job on their back stories; understanding and creating their motivations.
ZY: What was it like shooting on location in Arizona? Was it hard to get conditions just right?
DC: Terrain-wise, it was incredibly challenging. We were outdoors almost the entire time, and that took a toll on all of us. But it was also a powerful learning experience. The conditions were rarely ideal. We had to contend with extreme heat, remote locations, shifting sun paths, unpredictable clouds, and the tricky task of matching dawn and dusk when time ran out.
That said, I was deeply impressed by our cast and crew. What a team! I loved the spirit of collaboration and how quickly everyone came together. Logistically, it all came together fast and efficiently, thanks to Lenny Mesi at Monsoon Production Services, and Rusty Case and Tamara McDaniel from the Phoenix Independent Filmmakers Group. Lenny assembled a great crew, and since our very first shoot day was our most demanding, we bonded quickly under that pressure.
ZY: What has it been like to screen The War Between at film festivals?
DC: It’s been amazing. Watching The War Between on the big screen with an audience is deeply humbling. I love seeing how the film resonates emotionally and hearing the thoughtful, nuanced feedback it sparks. Each festival feels like a celebration of all the hard work that went into making the film, and I’m incredibly grateful for every opportunity. Festivals continue to be such powerful platforms for sharing the film and building momentum. We’re especially excited about an upcoming screening in Spain, more details to come!
ZY: What are the plans for the distribution of the film?
DC: On September 30th, we’re launching a limited theatrical release in partnership with TriCoast Worldwide. From there, we’ll roll out across digital platforms, following a windowing strategy that includes TVOD, SVOD, and AVOD. We’re also building out our press campaign with a direct-to-audience approach. Ron and I have done a deep dive into the current distribution landscape and how it’s evolving, it’s exciting to see the creative ways indie films are finding their audiences.
ZY: What is next for you?
DC: More films! Ron and I are developing another historical drama, this time set during World War II on the Homefront, a fascinating and little-known chapter of history based on real events, where a German POW and a Japanese-American internee forge a forbidden connection on a Colorado farm, challenging the racial, national, and moral boundaries that imprison them both.
Another project close to my heart is based on the true story of Corporal Ben Kopp, an Army Ranger who gave the ultimate sacrifice—not only through his service, but through organ donation after his death, saving the lives of four people with his kidneys, liver and heart. I’m developing the film in partnership with an Army Ranger veteran who’s writing the script, and with Ben’s mother, Jill Stephenson. Together, we’re working to get the project packaged for pre-production.
Finally, Madame Liberté, written by Miriam Stark. It tells the story of Josephine Bonaparte, known then as Rose, who spent six harrowing months in prison during the French Revolution, separated from her children and facing the daily uncertainty of execution by guillotine. A gripping psychological portrait of survival, motherhood, and transformation.The script is already generating early buzz. I’m thrilled to be working on all of these projects. Unknown stories with huge ripple effects.
