“He had every type of camouflage, and weapons, and uniforms,” said John Lesher, another of the film’s producers, recalling a trip to Mr. Ayer’s man cave in the Silverlake district of Los Angeles.
Through all of it, Mr. Ayer, whose grandfather was serving on a submarine at Pearl Harbor at the time of its attack and whose uncle flew B-17 missions in Europe, learned what some who had made a deep study of the so-called “Greatest Generation” already knew: American fighters were not saints.
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Tom Brokaw, who wrote a book by that title, remembers being told by one veteran of the war, “After the Germans killed my brother, I never took another P.O.W. alive.”
“Remember, they were fighting a hardened enemy that glorified the SS,” Mr. Brokaw wrote in a recent email.
“It was a long, brutal war, up close and personal,” he added. “A number of veterans I interviewed alluded to behavior they weren’t proud of, but neither did they apologize.”
In the last few weeks, Mr. Ayer has been tidying up “Fury,” dropping in the last of his special effects shots and filming some brief inserts.
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Mainly, the film, which cost about $80 million, was shot in Britain. Access to tanks was a prime consideration. Vintage Shermans were more readily available there. Plus, the production was permitted to use a rare, working Tiger tank, lent by the Tank Museum in Bovington.
The fetish for authenticity extended to uniforms. Most were tailor made, and battered, to avoid falling back on rentals that might be familiar to those who had seen them in films stretching back to “Battle of the Bulge” (1965), but which had little connection to the real tankers’ weathered gear, or to the surprisingly sophisticated camouflage worn by the Germans.
According to Kevin Vance, a former member of the Navy SEALs who consulted on the film and appears in it, the bayonet accident occurred when a combat scene got too real. An actor stabbed a stuntman, he explained, mistaken for a dummy lying on the ground.
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