纪录片自媒体解说素材-新闻动态参考-利兹·加布斯（Liz Garbus）关于雅克·库斯托（Jacques Cousteau）如何向气候变化发出警报：“很少做，这是非常悲惨的”/Liz Garbus on How Jacques Cousteau Sounded the Alarm for Climate Change: ‘Very Little Has Been Done and It’s Quite Tragic’
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0504/0350eoaltzsiebp.jpg利兹·加布斯（Liz Garbus）关于雅克·库斯托（Jacques Cousteau）如何向气候变化发出警报：“很少做，这是非常悲惨的”
Liz Garbus on How Jacques Cousteau Sounded the Alarm for Climate Change: ‘Very Little Has Been Done and It’s Quite Tragic’
雅克·库斯托（Jacques Cousteau）是一位冒险家，电影制片人，发明家，作家，不太可能的名人和保护主义者。但是对于国家地理的“成为库斯托”，导演利兹·加布斯（Liz Garbus）专注于他作为探险家的遗产。加布斯（Garbus）记载了库斯托（Cousteau）的高潮和低谷，作为一名冒险家的一生，他是一个敬业的保护主义者，他是一个敬业的保护主义者，并强调了半个世纪前的气候变化。故事，Garbus与编辑Pax Wasserman合作，通过Cousteau的档案片段梳理，而不是使用Talking Heads，Garbus和Wasserman让探险家讲述了这张及时的纪录片。Garbusand Wassterman与Variety进行了交谈。我在英国长大。但是对雅克·库斯托（Jacques Cousteau）并不熟悉，他对你的成长是什么意思？利兹·加布斯（Liz Garbus）：他当然在英国，我认为在某些方面，这就是我们拍这部电影的原因。对我来说，我认为在70年代和80年代长大的人是我们生活中的固定装置。有三个网络，你会拉每个星期天的椅子上坐在椅子上，从您的客厅里带出其他人向您展示的令人难以置信的海底世界。这是令人震惊的。就像“野生王国”和“雅克·库斯托的海底世界”- 我全部吃了。年以后，我正在读一本书给当时的每个年轻儿子，这是在谈论海底世界，当然还有，雅克·库斯托（Jacques Cousteau）出现了。在我看来，这是一个孩子，我们正在看《鲨鱼周》，所有这些令人难以置信的水下电视节目，我想给他看cousteau。我想告诉他我记得的东西，但你找不到节目在任何地方。我问，“这个男人有纪录片吗”，没有。这就是让我更感兴趣的原因。他的故事是什么？我开始剥去这些层，大概花了三到四年的写作，并希望与庄园交谈。大约两年半前，我最终在巴黎，在这个存储设施中，嘴巴宽阔的OPE看着n在罐子和罐子和罐子和罐装35毫米和16毫米胶片上拍摄的镜头。我不知道他是电影制片人。我的孩子有“谁是雅克·库斯托？”书。一旦我提到我正在这样做，他就把它摘下了架子，他比我10岁的孩子更了解。您如何提早将Pax带到纪录片上？Garbus：我'多年来一直打电话给Pax。不幸的是，许多其他人也在打电话。因此，我很高兴终于有机会与他合作。从非常靠公共的人到更亲密，鲜为人知的库斯托，有很多采访。最终他写的他的期刊和书籍。我们知道我们可以在第一人称讲故事中真正拍摄。在这样做的情况下，在视觉上，我们将能够生活在他的世界中，我们不必为客厅里的人们削减这一点。30年前发生的事情。我们能够留在视觉世界中，以及库斯托和他的工作人员创造的那个华丽的视觉世界。我们要走多远？他周围有这种神话。我知道利兹（Liz）根据她以前的肖像，将超越它。我们最终咬了很多东西，但是您需要双方来看看他的变化。这是一部经验教训的电影。对我来说，借助镜头，它是要挖掘并看到在哪里有足够的材料，我们可以感觉到我们与他同住，以便我们可以将电影锚定在那些时刻。在早期电影中。我们研究了世界各种各样的方式，因为他对很多人来说都是很多事情。他是企业家吗？他是科学家吗？他是发明家吗？还是他是教育家？他都是他们。但是我们去了这是他是探险家。镜头的质量是什么？garbus：质量的范围很大。许多餐厅都是原始的。许多电影都是令人惊讶的。我们与cousteaus进行了很长时间的来回，并试图寻找处于更好条件的镜头。在某些情况下，例如“沉默世界”，库斯托的印刷品不是最好的 - 我们在BFI找到了最好的印刷品。我们还查看了学院的印刷品，状况良好。这是一个混合的袋子。我们与一些令人难以置信的在线编辑，调色师和新的修复软件，尘埃破坏，我们能够恢复很多录像。您如何决定将新闻录像集成到纪录片中？及时的位置感，我们涵盖了很多基础。我们不能持续太久。带有太空竞赛元素，在电影中有点涉及到他的光彩，并感觉到HE是海洋和海洋的探险家，也是宇航员。我认为它最终在历史知识方面可能少得多，因为人们可以很好地遵循，我们需要知道我们在主要观点方面的位置，但是，我们为自己的故事留下来，而不是将其朝着更多的历史文档进行努力。这个结论？加布斯：我们在编辑室中谈论的一件事是我们一直回到的是卡桑德拉的神话，卡桑德拉是先知的希腊神话，他们警告即将来临的厄运，也没人听。她说的是真相，但没人想听。那个神话确实为故事的弧线告知。但是与此同时，我们仍在与气候变化的斗争中。这将比我们的纸吸管更多。这将使民族国家聚集在一起，使政治不受欢迎选择。我们仍然在那场战斗中，但是库斯托有一些希望人类能够进行根本性的转变。我们仍然有很小的机会扭转气候变化最有害的影响。重要的是要结束乐观的注意，但紧迫。1992年，库斯托（Cousteau）感到对里约热内卢公约（Rio Convention）的鼓舞，所有这些民族国家聚集在一起。但是，由于我们在格拉斯哥的同一活动已经有几个星期的时间，因此我们知道几乎没有做到了，这是非常悲惨的。
Jacques Cousteau was an adventurer, filmmaker, inventor, author, unlikely celebrity and conservationist. But for National Geographic's "Becoming Cousteau," director Liz Garbus focused on his legacy as an explorer.
Garbus chronicled the highs and lows of Cousteau's life as an adventurer who was a dedicated conservationist and was highlighting climate change half a century ago.
To tell this story, Garbus partnered with editor Pax Wasserman to comb through Cousteau's archival footage, and rather than use talking heads, Garbus and Wasserman let the explorer narrate this timely documentary.
Garbus and Wassterman spoke to Variety about their collaboration.
I grew up in the U.K, but wasn’t familiar with Jacques Cousteau, what did he mean to you growing up?
Liz Garbus: He certainly was on in the U.K. I think in some ways, that's exactly why we made this film. For me, and I think people who grew up in the ‘70s and ‘80s, he was a fixture in our lives. There were three networks, and you’d pull up your chair every Sunday and get taken out of your living room into this incredible undersea world that nobody else was showing you. And it was mind-blowing. It was like “Wild Kingdom” and "The Undersea World of Jacques Cousteau" -- I ate it all up.
Years later, I was reading a book to my then-very young son, which was talking about the undersea world, and of course, Jacques Cousteau comes up. It occurred to me that, here was a kid, we were watching “Shark Week,” and all these incredible underwater TV shows, and I wanted to show him Cousteau.
I wanted to show him what I remembered, but you couldn't find the shows anywhere. I asked, ‘Is there a documentary on this man’ and there wasn’t. That’s what made me more interested. What was his story? I began to peel away the layers, and it took maybe three or four years of writing and hoping to talk with the estate. About two and a half years ago, I ended up in Paris, in this storage facility, looking with my mouth wide open at cans and cans and cans of 35mm and 16mm film that Jacques Cousteau had shot.
Pax Wasserman: I'm probably a little closer to you, in that I knew a lot about him, but I hadn't watched the show. I did not know he was a filmmaker.
My kid had the “Who Was Jacques Cousteau?” book. As soon as I mentioned that I was doing this, he pulled it off the shelf, and he knew more than I did -- my 10-year-old.
How early did you bring Pax on to work on the documentary?
Garbus: I've been calling Pax for years. Unfortunately, many other people are also making those calls. So, I was excited to finally get this chance to work with him.
There were so many interviews with Cousteau, from very public-facing ones to much more intimate, lesser-known ones. And, ultimately his journals and books that he wrote. We knew we could have a real shot at first-person storytelling. In doing that, also visually, we would be able to live in his world, we wouldn't have to cut to people in their living room talking about something that happened 30 years ago. We'd be able to stay in the visual world and that gorgeous visual world that Cousteau and his crew created.
Wasserman: I think so much of it was how much of his life are we going to tell? How far are we going to go? He has this kind of mythology surrounding him. I knew that Liz, based on her previous portraits, would go beyond that.
We ended up biting off a lot , but you need both sides to see how he changed. It was a lessons learned movie. For me, with the footage, it was about digging through and seeing where is there enough material that we can feel like we are living in the present with him so that we can anchor the film to those moments.
There aren’t as many outtakes in the early films. We looked at all the different ways that the world has looked at Cousteau because he has been so many things to so many people. Is he an entrepreneur? Is he a scientist? Is he the inventor? Or is he the educator? He's all of them. But we went with this, he's the explorer.
What was the quality of the footage like?
Garbus: The quality ranged hugely. A lot of the outtakes were surprisingly pristine. A lot of the films were surprisingly ill-cared for. We had a very long period of back and forth with the Cousteaus and tried to look for shots that were in better conditions. In some cases, like with "The Silent World," Cousteau’s print was not the best -- we found the best print at the BFI. We also looked at the Academy's print, which was in better condition. It was a mixed bag. We worked with some incredible online editors, colorists and new restoration software, dust busting and we were able to restore a lot of the footage.
How did you decide to integrate the news footage into the documentary?
Wasserman: We knew we had to set a sense of place in time, and we were covering a lot of ground. We couldn't linger for too long. With the space race element, which is touched on a little bit in the film, which he glommed on to, and felt that he was an explorer of the sea and ocean, and an astronaut.
I think it ended up being probably a lot less in terms of historical stuff because people can follow through pretty well, we need to know where we are in terms of major points, but we hewed towards staying with his story, rather than gearing it towards something more of a historical doc.
The ending where he says, “I have great faith in human beings and maybe they’ll begin to care,” how did you decide on that conclusion?
Garbus: One of the things we talked about a lot in the editing room was we kept coming back to was the myth of Cassandra, the Greek myth of the prophet who warns of impending doom, and no one listens. She's speaking the truth, but no one wants to hear it. That myth really kind of informed the arc of the story. But at the same time, we're still in this fight against climate change. It's going to take a lot more than our paper straws. It's going to take nation-states coming together and making politically unpopular choices. We are still in that fight, but Cousteau had some hope that human beings are capable of radical transformation. We still have a small chance to reverse some of the most deleterious effects of climate change. It was important to end on a note of optimism, but urgency. In 1992, Cousteau felt buoyed by the Rio convention, and all these nation-states coming together. But, as we're a few weeks out from the same kind of event in Glasgow, we know very little has been done and it's quite tragic.
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