Only five people sat in the spacious conference room: Matthew, Helen Herman, and Chris Kyle were on one side, intently reviewing a concise script, while Clint Eastwood, who led the script adaptation, and screenwriter Jason Dean Hall waited patiently.
Matthew flipped through the script quickly, comparing it to the content of American Sniper. The script retained the toughness of the original, avoiding unnecessary reflections or regret, though Clint Eastwood had removed a few overly sensitive details.
The protagonist's character resembled Chris Kyle closely, immediately recognizable as a rugged Texan. Growing up in Texas, the second largest U.S. state, Chris's family owned a hunting ranch, where he had his first rifle by age seven or eight, learning to hunt everything from turkeys to deer.
The script even addressed the often-mythicized special forces training. Contrary to popular depictions of grueling "secret" techniques where super-soldiers can allegedly handle dozens of enemies alone, Chris Kyle admitted that even the best-trained soldiers would struggle against a team with basic military training. For instance, as a sniper, he wasn't as skilled in hand-to-hand combat as some might assume.
Clint Eastwood's script faithfully reflected Chris Kyle's accounts, debunking Hollywood's usual exaggerations of "secret techniques" or invincible warriors. Scenes of "Hell Week" training were subtly portrayed, for instance, showing push-ups under high-pressure water hoses, rowing inflatable boats out to sea only to swim back, or enduring cold sea waters on the beach. Although challenging, these trainings didn't exceed the imagination of the average viewer.
The script also used flashbacks and interspersed scenes to add depth. However, Matthew and Clint Eastwood had already discussed that the narrative style would be straightforward, ensuring clarity for audiences, as this wasn't a film designed to impress with complex storytelling techniques. Clint Eastwood, known for his direct style, wouldn't resort to convoluted methods, which was why Matthew had chosen him as director.
Toward the end, a monologue was added that wasn't in the original book, likely a contribution from Clint Eastwood, giving the protagonist a Texan-style grit:
"There are three kinds of people in this world: sheep, wolves, and sheepdogs. Some people naively think there is no evil in the world. When hatred knocks on their doors, they're helpless; these are the sheep. Opposite them are predators, those who thrive on violence, like hungry wolves preying on the weak. Then, there are a few who are naturally good but are given a talent for killing—they're the sheepdogs, the protectors who face the wolves. In my home, there's no place for sheep. If anyone wants to be a wolf, I won't allow it. We protect our own."
Matthew closed the script, waiting silently for Chris Kyle to finish reading.
"Can I share my thoughts?" Chris Kyle asked. He'd left his wife, Taya Kyle, at home to avoid any distractions or offhand remarks about the script. "About the long-range sniper scene—I took down that terrorist, but we didn't know much about him; we only knew his name was Mustafa."
Clint Eastwood looked at Chris Kyle and replied, "We need to adapt the story for film. As a sniper, you were highly skilled, and while no one might have truly challenged you on the battlefield, as a hero on screen, you need a worthy adversary."
Matthew added, "Creating dramatic tension requires shaping your enemy in a way that heightens the narrative. This makes the story more compelling."
The script introduced a fictional sniper antagonist, Mustafa, a Syrian Olympic medalist fighting for Sunni insurgents and Shiite militias in Fallujah. While only briefly mentioned in the original memoir, the movie developed Mustafa's backstory to strengthen the plot.
Hollywood frequently adds fictional elements to true stories to enhance appeal, as films are ultimately a business venture.
Chris Kyle, who trusted Matthew, agreed to the modifications without further objection. Although there would still be room to tweak minor details, the main plot points were now settled. Like most Hollywood biopics, the film's version of Chris Kyle would remain similar to, yet distinct from, the real man.
People familiar with movies know that Hollywood biopics rarely mirror reality perfectly. Films, especially biographical ones, can only capture certain facets of a person.
Chris Kyle and Matthew had much in common, partly due to their shared Texan roots. Once, Matthew had publicly pledged to donate all profits from Fast & Furious 4 to charity, which he did—albeit with rather limited accounting profits. Similarly, after the release of American Sniper, Chris Kyle had announced on a talk show that he would donate all proceeds from his memoir to support veterans. He then consulted Matthew on how to handle it, who referred him to PricewaterhouseCoopers.
Thanks to strategic tax planning, Chris Kyle ended up donating only $52,000, while pocketing the remaining $3 million himself. Matthew had spent enough time with Chris to know that despite his lack of social experience, Chris bore similarities to himself: he could always find a good reason or excuse to justify his actions.
For instance, Matthew told himself that fighting Harvey Weinstein was a way to protect Hollywood's women from the man's shadow.
To stay motivated, one needs both desire and a powerful purpose. Regardless of whether the purpose is objectively right or wrong, if it feels significant enough, it fuels one's drive.
Chris Kyle was much the same. In his memoirs and public statements, he claimed that he retired to save his marriage and reconnect with family. After all, SEALs deployed overseas endure grueling combat, witness the deaths of comrades and injuries to themselves, which takes a toll on anyone's psyche.
Additionally, with an overseas deployment divorce rate of 80-90%, Kyle's decision to retire for family reasons made sense, and it did play a significant role. However, another detail was that his Navy contract had expired, and despite risking his life in Iraq, he could only be promoted to lieutenant—a status drop that might have contributed to his desire to leave.
In Texas, Matthew wasn't aware of Kyle's life, but since arriving in Los Angeles, Matthew observed Kyle experiencing some difficulty adjusting to civilian life after combat, though not severely. Like many Iraq veterans, Kyle shifted gears and started a private defense contracting firm (another term for a mercenary company) with Matthew and Nebula as business partners.
Later, publishing his memoir and participating in reality TV were also part of his commercial pursuits.
After Chris Kyle excused himself, Helen Herman, who had remained silent the whole time, offered no specific suggestions. Matthew, however, stayed behind to continue discussing the movie with Clint Eastwood.
Neither of them had been on the Iraqi battlefield, so, besides Chris Kyle, the production would hire several former SEALs who had fought in Iraq as temporary consultants.
Matthew had heard stories about Iraq from Brown Williams, who described the war zone as far harsher than most could imagine.
In Iraq, merely using a cellphone near U.S. forces was dangerous, as the user would often be targeted by American snipers, suspected of planning suicide bombings. Similarly, locals walking along roads patrolled by U.S. soldiers, even carrying only shovels, were often fired upon. Such tools were feared to be used for burying roadside explosives, though these people could have just been farmers or construction workers.
Chris Kyle himself admitted this.
Whether or not his victims included innocents, even Kyle couldn't say.
Matthew wasn't naïve enough to take an Iraqi perspective in the film, nor did he expect an Iraqi audience to support it. For a high-budget movie, the primary goal was to appeal to North American audiences.
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