纪录片自媒体解说素材-新闻动态参考-“犯罪现场”导演乔·贝林格（Joe Berlinger）在时代广场杀手，重现场景和他的灯泡时刻/‘Crime Scene’ Director Joe Berlinger on the Times Square Killer, Recreating Scenes and His Lightbulb Moment
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0502/5352pgwrgd0a2si.png“犯罪现场”导演乔·贝林格（Joe Berlinger）在时代广场杀手，重现场景和他的灯泡时刻
‘Crime Scene’ Director Joe Berlinger on the Times Square Killer, Recreating Scenes and His Lightbulb Moment
乔·贝林格（Joe Berlinger）的“犯罪现场”纪录片的第二个季节，于12月29日首映，以所谓的时代广场躯干开膛手为中心。“犯罪现场：时代广场杀手”将集中在纽约的危险和堕落方式上1970年代末和1980年代初的时代广场允许连环杀手理查德·科廷汉姆（Richard Cottingham）犯下令人发指的谋杀行为13年。科廷汉姆（Cottingham）以及《时代广场》（Times Square）和纽约自称的色情国王马丁·马蒂（Marty）霍达斯（Martin Marty）霍达斯（Martin“ Marty” Hodas）都是第2季的关键人物，分为三部分。 ”于2月推出，并探索了现实生活中的神秘失踪，随后在洛杉矶市中心塞西尔酒店（Cecil Hotel）围绕旅游者Elisa Lam的死亡和阴谋论。 Netflix说，有4500万家庭在首次亮相的前四个星期中检查了第1季。随后，流媒体将纪录片续签了三个季节。柏林格（Berlinger）以与联合导演布鲁斯·辛弗斯基（Bruce Sinofsky）在“ Paradise Lost”三部曲上的作品而闻名，他导演了第2季的所有三集，该剧集由Brian Grazer和Ron Howard的Imagine纪录片《激进媒体》和Berlinger的第三张眼睛电影公司制作。 “丢失天堂”三部曲有助于向阿肯色州最高法院施加压力，要求将新的DNA证据反对西孟菲斯三人，这一举动导致他们从监狱释放。 2011年发行的第三部分被提名为Oscar的Doc特色。伯林格还赢得了两个艾美奖。他的其他荣誉包括“兄弟的守护者”，“怀特：美国诉詹姆斯·J·布尔格诉”，“粗略”，“与杀手的对话：泰德·邦迪录音带”和“ metallica：Metallica：某种怪物”。 ，Berlinger与综艺节目谈论地理如何影响犯罪行为，他希望第2季将产生并使用纪录片中的娱乐活动的社会影响。想法？想象一下，我想到了将Cecil Hotel作为Doc主题的想法，然后我们一起说：“不。让我们拉开镜头以调整真正的犯罪类型。”因此，让我们使用塞西尔（Cecil时代广场和我们在街上，我正在看（该地区）的迪斯尼缺乏，我转向女儿说：“当我年龄的时候，您会带您的生活进入时代广场。那是一个非常不同的地方。’那是灯泡熄灭的时候。我知道理查德·科廷汉姆（Richard Cottingham）的故事，对我而言，科廷汉姆（Cottingham），时代广场发生的事情是我们在演出中试图做的事情的完美封装。有很多社会力量在发挥作用，导致在曼哈顿建立了这个区域，这几乎是无法的当时，警方不在乎许多掠夺性行为。这是犯罪现场的照片，您在“时代广场杀手”中使用了许多娱乐活动来捕获科廷汉姆杀戮。您为什么要使用娱乐活动而不是实际照片？我认为犯罪现场的照片不唤起正确的娱乐活动可以唤起的情感。（照片）是平坦的艺术，我也认为在某些方面使用一些更灰白的犯罪现场照片对受害者来说更不尊重。我认为娱乐不适合一切，但是在这种类型和这种讲故事的情况下，我认为娱乐活动有效。实际上，我对（第二季）最高兴的一件事是外观，因为我非常努力地使用调色板和真实的Super 8电影来发展娱乐语言。我希望它感觉像是这个富有纪录片的纯粹主义者批评美国的那个肮脏的16毫米。在非小说类电影中的娱乐活动？如果您在20年前或15年前接受了我的采访，我会告诉您：“娱乐是没有办法的。”因此，我在思考娱乐活动的思考中发展了。除了科廷汉姆谋杀案外，该系列还集中于时代正方形的演变成红灯区，以及使这一现实的人 - 马丁·马蒂（Martin Marty）霍达斯（Martin“ Marty” Hodas）。您能否描述您如何构建该系列以封装所有这些故事情节？这是一个像往常一样不断发展的过程。该节目的早期剪辑尤其是时代广场的历史，这是性业务如何从（性）杂志到窥视节目的历史，再到偷窥到舞台上的性爱。在节目的原始编辑中，人们对这个历史有了更深入的了解，但是那时候感觉到了这个男人对女性所做的事情的可怕故事。因此，我们将其拨回了，重点完全是为了讲述什么社会力量和经济力量使像科廷汉姆这样的人存在。因此，任何不在该重点之外的东西都会让人感到有些无缘无故，并且有声音。“塞西尔酒店的消失”都激发了有关从心理健康到互联网对犯罪调查的影响的全球对话。您认为该系列的第二部分会激发什么对话？今天，并非所有受害者都受到同等对待，这仍然是一个问题。警察部门曾经指的是发现性工作者“无人参与”的受害者，这是委婉的，我们不会对此进行调查。那我认为今天并不强烈地存在，但仍然对性工作有污名。因此，我希望讨论的一部分是，所有受害者都应根据法律得到平等的待遇。所有受害者都应该得到正义。该系列中使用了2014年对科廷汉姆的采访。您是否与他联系并试图让他参与进来？我们确实与Cottin伸出了联系GHAM，但有一个迹象表明必须付款，我们不需要面试费用。一旦付款出现，我关闭。显然，我们不会支付连环杀手。他的档案镜头非常强大，但是我们非常意识到更多地专注于受害者。在“犯罪现场”的第三和第四季节，这种趋势会继续存在吗？我不能说比第3季没有酒店更多的话。这是一个截然不同的景观。
The second season of Joe Berlinger’s “Crime Scene” docuseries for Netflix, premiering Dec. 29, centers on the so-called Times Square Torso Ripper.
“Crime Scene: The Times Square Killer” will focus on how the danger and depravity of New York’s Times Square in the late 1970s and early 1980s allowed serial killer Richard Cottingham to commit heinous acts of murder for 13 years. Cottingham, along with Times Square and New York’s self-proclaimed porno king, Martin “Marty” Hodas, are all key characters in Season 2, which is split into three parts.
The first season of Berlinger’s series, “The Vanishing at the Cecil Hotel,” launched in February and explored the real-life mysterious disappearance, subsequent death and conspiracy theories surrounding tourist Elisa Lam at the Cecil Hotel in Downtown Los Angeles. Netflix says 45 million households checked out Season 1 in the first four weeks of its debut. The streamer subsequently renewed the docuseries for three more seasons.
Berlinger, best known for his work on the “Paradise Lost” trilogy with co-director Bruce Sinofsky, directed all three episodes of Season 2, which is produced by Brian Grazer and Ron Howard’s Imagine Documentaries, RadicalMedia and Berlinger’s Third Eye Motion Picture Company.
The “Paradise Lost” trilogy helped pressure the Arkansas Supreme Court to weigh new DNA evidence against the West Memphis Three, a move that led to their release from prison. The third installment, released in 2011, was nominated for a doc features Oscar that season; Berlinger has also won two Emmys. His other credits include “Brother’s Keeper,” “Whitey: United States of America v. James J. Bulger,” “Crude,” “Conversations With a Killer: The Ted Bundy Tapes” and “Metallica: Some Kind of Monster.”
Here, Berlinger talks with Variety about exploring how geography can impact criminal behaviors, the social impact he hopes Season 2 will generate and using recreations in documentaries.
Was the “Crime Scene” series your idea?
Imagine came to me with the idea of doing Cecil Hotel as a doc subject, and then together we said, "No. Let’s pull the lens wider to tweak the true crime genre." So instead of just looking at an individual crime, let's use the Cecil to launch a series that takes a look at how specific locations and social forces around those locations aid and abet crime.
Then in 2019 I took my daughter to see “Hamilton” in Times Square and we were on the street, and I was looking at the Disneyfication of (the area) and I turned to my daughter and said, ‘When I was your age you would take your life going into Times Square. It was a very different place.’ And that’s when the light bulb went off. I knew about the story of Richard Cottingham, and to me Cottingham and what happened in Times Square is the perfect encapsulation of what we're trying to do within the show. There was a lot of social forces at play that led to the creation of this zone in Manhattan, which was nearly lawless, anything went and there was a lot of predatory behavior that police didn’t care about at the time.
Instead of crime scene photos, you used a lot of recreations in “The Times Square Killer” to capture the Cottingham killings. Why did you want to use recreations as opposed to actual photos?
I don't think the crime scene photos evoke the kind of emotion that the right kind of recreation can evoke. (Photos) are flat art and I also think in some ways it's more disrespectful to the victim to use some of the more grizzly crime scene photos. I don't think recreations are right for everything, but in this genre and for this kind of storytelling, I think recreations work. Actually, one of the things I'm most happy about with the (second season) is the look, because I tried very hard to evolve the language of recreations using a color palette and real Super 8 film. I wanted it to feel like this gritty 16 millimeter that evoked the era.
What do you think of documentary purists criticizing the use of recreation in a nonfiction films?
If you had interviewed me 20 years ago, or even 15 years ago, I would've told you, "Recreation's no way." So I have evolved in my thinking about the use of recreations.
In addition to the Cottingham murders, the series also concentrates on Times Squares’ evolution into a red light district and the man who made that a reality -- Martin “Marty” Hodas. Can you describe how you structured the series to encapsulate all of these storylines?
It was an evolving process like it always is. Earlier cuts of the show had much more of the history of Times Square in particular, the history of how the sex business went from (sex) magazines to the peep shows to live peeps to live sex on stage. There was a much deeper dive into that history in the original edits of the show, but it just felt tonally off to then be intercutting with this horrible story of what this man did to women. So we dialed it back, and the focus became exclusively to tell the story of what the social forces and economic forces were that allowed somebody like Cottingham to exist. So anything that fell outside of that focus felt a little gratuitous and tonally off.
“The Vanishing at the Cecil Hotel” ignited a global conversation about issues ranging from mental health to the impact that the internet has on crime investigations. What conversations do you think part two of the series will ignite?
It's still a problem today that not all victims are treated equally. Police departments used to refer to finding victims who were sex workers as "no human involved," which was euphemism for, we're not gonna investigate this. That, I don't think exists as strongly today, but there is still a stigma against sex work. So part of what I hope is discussed is that all victims deserve equal treatment under the law. All victims deserve justice.
An interview with Cottingham from 2014 is used in the series. Did you reach out to him and try to get him involved?
We did have some reach out to Cottingham, but there was an indication that there would have to be a payment, and we don't pay for interviews. As soon as payment comes up, I turn off. Obviously, we're not gonna pay a serial killer. The archival footage of him is quite powerful, but we were very conscious of focusing more on the victims.
Hotels are featured prominently in both Season 1 and 2 of this series. Will that trend continue to exist in the third and fourth seasons of “Crime Scene”?
I can't say much more than there's no hotel in Season 3. It’s a very different landscape.
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