纪录片自媒体解说素材-新闻动态参考-“华氏11/9”制片人卡尔·迪尔（Carl Deal）和蒂亚·莱辛（Tia Lessin/‘Fahrenheit 11/9’ Producers Carl Deal and Tia Lessin Follow the Money in Climate Profiteering Doc ‘Sink or $wim’
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0501/32435zyczbgcqso.jpg“华氏11/9”制片人卡尔·迪尔（Carl Deal）和蒂亚·莱辛（Tia Lessin
‘Fahrenheit 11/9’ Producers Carl Deal and Tia Lessin Follow the Money in Climate Profiteering Doc ‘Sink or $wim’
“华氏11/9”制片人和奥斯卡金像奖提名人卡尔·迪尔（Carl Deal）和蒂亚·莱辛（Tia Lessin）（“麻烦水”）正在开发一部纪录片，探索气候富裕世界的世界，以及地球上最富有的人计划如何在未来的世纪中度过不确定的世纪。将在CPH：论坛上推销他们的项目，这是在3月23日至4月3日举行的哥本哈根国际纪录片电影节（CPH：DOX）期间举行的国际融资和联合制作活动。麦肯齐·芬克（McKenzie Funk）的畅销书《衰落：全球变暖的蓬勃发展》，详细介绍了越来越多的公司，高风险赌徒和企业家在气候危机中赚钱。“我们都看过很多有关气候变化的电影。而且有很多电影提供解决方案，” Deal告诉《多样性》。 “我们认为是时候讲一种新的气候故事了，将观众带入故事的一面他们可能不知道正在发生 - 遵循这笔钱进入现在正在发生的反乌托邦未来。”他补充说：“气候正在改变，我们正在造成这种情况，有些人正在杀人。”目前正在开发中，“接收器或$ wim”将遵循多彩的气候探矿者，掠夺者和他们的超级顾客，他们的相互关联的故事情节将阐明少数人将如何生存和繁荣，以牺牲那些没有经济或政治权力的人，以牺牲那些没有经济或政治权力的人，莱辛说，只要自由市场继续决定世界对全球气候危机的反应，这与安装太阳能电池板或架设风车以使世界燃料瓦斯燃料的世界上的绿色能源倡导者的肖像相去甚远。 “这与如何构建解决方案无关。在某些情况下，这会使危机恶化。在某些情况下，仅仅使气候变化获利。房地产开发商建造豪华的浮岛；企业家将冰山拖到烧烤城市（或将其融化成高级瓶装水）；世界末日房地产经纪人出售豪华的掩体和防气候庇护所；私人消防员与保险公司合作，以保护豪宅免受野火。“这是一根精美的针头，因为我们没有侮辱这些人。我们想看看他们，并诚实地从他们的工作中学习。” Deal说。“我们并不总是与创造这个世界的人们的观点，而是我们会从他们那里学到自己，我们希望看到他们成功或失败的乐趣。这家总部位于布鲁克林的电影制片人因其2008年的首次亮相而获得奥斯卡金像奖提名“麻烦水”，这是一部纪录片，研究了卡特里娜飓风对新奥尔良的影响和后果，从暴风雨期间留在家里的家庭的角度来看。他们还指导和制作（与吉利安·考德威尔（Gillian Caldwell））“公民科赫”（Citizen Koch），记录了茶党的崛起，该茶会为唐纳德·特朗普（Donald Trump）的选举奠定了基础，并在圣丹斯电影节上首映。莱辛（Lessin）和艾玛·皮尔德斯（Emma Pildes）也与今年的圣丹斯（Sundance）选择共同指导，讲述了女性人手的地下服务的故事，该服务为1968年至1973年之间有需要的女性提供了11,000多个非法堕胎。迈克尔·摩尔（Michael Moore）的几部电影，包括“华氏9/11”，奥斯卡金像奖得主“哥伦比恩的保龄球”，“资本主义：爱情故事”和“下一步在哪里入侵”。交易称赞这位狂欢，民粹主义电影制片人和激进主义者的信息，煽动和娱乐的能力 - 常常是同样令人眼花类似的方法会使“下沉或$ wim”动画。“您不想告诉别人他们想知道什么。这是我们与迈克尔的合作中的一件事，他总是做得很好。” Deal说。 “他实际上是在与观众交谈，并挑战观众他们认为自己的身份。但是他以一种如此有趣的方式来做这件事，这很有趣，这很削减，您甚至没有意识到这有时会发生。”这是一种嘲笑深渊的策略去年，某个星光熠熠的Netflix盛会 - 比较Lessin并没有回避。“我受到了'不要抬头'的启发，”她说，“还有他的工作，他的工作，他的工作，他的工作，不寻常的能力，可以采取这些悲惨的情况并利用幽默和讽刺来制作一个有趣的故事。”尽管麦凯（McKay）的分裂气候变化寓言寓意，但一些批评家指控这使气候危机降低了，但Lessin bel bel believes笑通常是面对对我们星球生存威胁的理想工具。 “我们现在都感到很多愤怒。有时表达愤怒的方法是用幽默来表达愤怒的。”“下沉或$ wim”到目前为止已经获得了一些发展资金，正在作为长篇电影或有限的系列开发。 “我们对两者都开放，” Deal说。 “我们的目标是找到分享我们的愿景并希望帮助我们实现这一愿景的合作伙伴或合作伙伴。我们想找到像我们一样受到这个想法的启发的人。 - 选择了Eco-Doc“大绿墙”和Noam Chomsky纪录片“美国梦的安魂曲”。 Deal补充说：“贾里德（Jared越来越破坏我们日常生活的危机 - 占据了我们的屏幕。“有很多令人鼓舞的电影，他们的英雄正在与之抗争。有一些电影警告我们所有的忧郁和厄运。而且有很多关于受害者的电影。”他继续说道。“最终，归根结底：（a）您想招待人们，并且（b）您希望人们以某种方式进行转变。我们不是电影制片人，他们告诉人们该怎么做。但是我认为我们正在努力指导人们思考更多。”
"Fahrenheit 11/9" producers and Academy Award nominees Carl Deal and Tia Lessin (“Trouble the Water”) are developing a documentary that explores the world of climate profiteering and how the planet’s wealthiest are planning to weather the uncertain century ahead.
The duo will be pitching their project during CPH:FORUM, the international financing and co-production event held during the Copenhagen International Documentary Film Festival (CPH:DOX), which runs March 23-April 3.
“Sink or $wim” is inspired by journalist McKenzie Funk’s bestseller “Windfall: The Booming Business of Global Warming,” which details how a growing legion of corporations, high-stakes gamblers and entrepreneurs are cashing in on the climate crisis.
“We’ve all seen a lot of movies about climate change. And there are a lot of movies that offer solutions,” Deal tells Variety. “We think it’s time to tell a new kind of climate story, to take an audience on a rollicking journey into a side of the story they may not know is happening – to follow the money into the dystopian future that is happening now.”
He adds: “The climate is changing, we’re causing it, and some people are making a killing on it.”
Currently in development, “Sink or $wim” will follow a colorful cast of climate prospectors, profiteers and their ultra-rich clientele, whose interrelated storylines will shed light on how the privileged few will survive and prosper at the expense of those without economic or political power, so long as the free market continues to dictate the world’s response to the global climate crisis.
It’s far from a portrait of earnest green energy advocates installing solar panels or erecting windmills to wean the world off fossil fuels, says Lessin. “It’s not about how to build solutions. In some cases, it’s worsening the crisis. In some cases, just monetizing climate change.”
Among the characters staking claims to the new frontier are Wall Street speculators buying up land and water rights; real estate developers building opulent floating islands; entrepreneurs towing icebergs to parched cities (or melting them into premium bottled water); doomsday realtors selling posh bunkers and climate-proof sanctuaries; and private firefighters partnering with insurance companies to protect mansions from wildfires.
Theirs is a world of absurdism and extremes, but one which the filmmaking duo is determined to approach with an open mind. “It’s a fine needle to thread because we’re not vilifying these folks. We want to look at them and honestly learn from what they’re doing,” says Deal. “We won’t always agree with the folks who are creating that world, but we will learn about ourselves from them, and we hope to have a lot of fun watching them succeed or fail. And hopefully they too will learn something along the way.”
The Brooklyn-based filmmakers were nominated for an Academy Award for their 2008 debut “Trouble the Water,” a documentary that examined the impact and aftermath of Hurricane Katrina on New Orleans from the perspective of a family that stayed at home during the storm. They also directed and produced (along with Gillian Caldwell) “Citizen Koch,” which documented the rise of the Tea Party that laid the foundation for the election of Donald Trump and premiered at the Sundance Film Festival. Lessin and Emma Pildes also co-directed “The Janes,” a Sundance selection this year, which tells the story of the female-staffed underground service that provided over 11,000 illegal abortions to women in need between 1968 and 1973.
The duo has also produced several of Michael Moore’s films, including “Fahrenheit 9/11,” Academy Award winner “Bowling for Columbine,” “Capitalism: A Love Story” and “Where to Invade Next.” Deal praised the rabble-rousing, populist filmmaker and activist’s ability to inform, incite and entertain – often in the same dizzying breath – and said a similar approach will animate “Sink or $wim.”
“You don’t want to tell people what they want to know. And it’s one of the things that, in our work with Michael, he always does really well,” says Deal. “He’s actually talking to the audience and challenging the audience about who they think they are. But he does it in a way that’s so entertaining, that’s funny, that’s cutting, that you don't even realize it’s happening sometimes.”
It’s a tactic of laughing grimly into the abyss that might also sound familiar to audiences who followed the debate around a certain star-studded Netflix extravaganza last year – a comparison Lessin doesn’t shy away from.
“I’ve been inspired by ‘Don’t Look Up,’” she says, “and Adam McKay, his body of work, his extraordinary ability to take these tragic situations and use humor and satire to make an entertaining story.” Despite the dust-up around McKay's divisive climate change allegory, which some critics accused of making light of the climate crisis, Lessin believes that laughter is often the perfect vehicle to confront the existential threat to our planet. “We all feel a lot of anger right now. Sometimes the way to express anger is with humor.”
“Sink or $wim,” which has received some development funding so far, is being developed as either a feature-length film or a limited series. “We’re open to both,” says Deal. “Our goal is to find a partner or partners who share our vision and want to help us realize it. We want to find people who are as inspired by this idea as we are."
Already on board is Emmy-nominated director Jared P. Scott, a filmmaker “whose work we have long admired,” says Deal, and whose credits include the Venice-selected eco-doc “The Great Green Wall” and the Noam Chomsky documentary “Requiem for the American Dream.” “Jared brings a global perspective to the table, a great sense of humor, and considerable knowledge and experience with the climate space,” Deal adds.
It's a partnership that he feels will offer a fresh take on a crisis that has increasingly come to disrupt our daily lives – and occupy our screens. “There are a lot of films that are inspiring, that have heroes who are fighting the good fight. There are films that warn us of all the gloom and doom to come. And there are a lot of films about the victims,” he continues. “Ultimately, at the end of the day: (A) you want to entertain people, and (B), you want people to transform in some way. We’re not filmmakers who tell people what to do. But I think we’re trying to guide people to think a bit more.”
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