纪录片自媒体解说素材-新闻动态参考-“ 9/11：美国的一天”电影制片人展示了“人类的最佳和最糟糕”/‘9/11: One Day in America’ Filmmakers on Showcasing the ‘Best and Worst of Humanity’
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0505/3025exfuepnaoe1.jpg“ 9/11：美国的一天”电影制片人展示了“人类的最佳和最糟糕”
‘9/11: One Day in America’ Filmmakers on Showcasing the ‘Best and Worst of Humanity’
在9/11发生悲惨事件发生二十年后，很难想象任何人都没有双子塔的图像，无论是着火还是倒塌，永久地刻在他们的大脑中。但是一天中还有其他事件 - 来自在五角大楼坠毁，到宾夕法尼亚州萨默塞特郡的一处田野中建造的联合航空公司93号航班，讲述了逃生，生存和勇敢的个人故事 - 这可能已经退缩到了回忆的背上。对于Z世代，这些故事只是故事 - 根本不是记忆。《美国一天中的一天》背后的电影制片人，这是一部在Tribeca电影节上首映的新的六部分纪录片，但正领先于里程碑。正如制片人卡罗琳·马斯登（Caroline Marsden）所说的那样，周年纪念日（8月29日）在《国家地理》（National Geographic）上，因此知道他们必须“坚定不移但尊重”。这意味着纪录片，共同制作有了9/11纪念馆和博物馆，不会在美国航空11号航班的重复图像或联合航空公司飞行175号飞机上驶入塔楼，也不会跳过被困在窗户挥舞着窗户上的上层的人们的特写直升机镜头为了帮助或跳跃 - 至少可以说，对于那一天过着的人来说，这是令人不安的图像。但是马斯登认为，这些图像不断被分享是对那些幸存者的利益。但是我认为，在不知情的情况下，这对我们采访的人来说也很尊重，因为他们中的许多人都在谈论20年后的自杀想法，我认为您不完全理解为什么这是为什么，除非您了解什么他们经历了 - 除非您了解他们目睹的恐怖，”她解释说。“ 9/11：美国有一天”是唯一的马斯登继续说：“专注于那些幸存者，放弃了名人配音，以确保“您唯一听到的声音是当天的人”。但是，也有意忽略当时的名人政客，例如当时的鲁迪·朱利安尼（Rudy Giuliani）或当时的总统乔治·W·布什（George W. Bush）。 ，他们的叙述在许多方面都被它的政治劫持了。因此，我们想剥离所有这些，然后回到证词。”马斯登说。 “我认为不管乔治·布什怎么说，他的存在都是政治的。”执行制片人丹·林赛（Dan Lindsay）补充说：“目的是尽可能广泛地了解当天的一系列经验，而不仅仅是专门关注某些团体像急救人员或建筑物中的特定故事。因此，有多种人和经验的意图，然后还有一个意图在这六集中，他们的纪录片包括诸如第一位FDNY的首席首席执行官，这是第一位回应世界贸易中心的呼吁，他们的纪录片包括“我们能找到“我们能找到以某种方式相互联系的故事）的想法？”的想法。那天失去了他的兄弟，以及美国武装部队的希瑟·“幸运”彭尼（Heather“ Lucky” Penney），他们上空停止了其他被用作武器的飞机。但这还包括每天担任英雄的人，包括前海军陆战队的杰森·托马斯（Jason Thomas）和前EMT的查克·塞雷卡（Chuck Sereika），他们俩都去了堆中寻找幸存者，并帮助救援了港口管理局警官Jimeno和John McLoughlin。它还以罗恩·克利福德（Ron Clifford）为特色，罗恩·克利福德（Ron Clifford）只是去世界贸易中心（World Trade Center），这是命运的日子参加会议，但最终帮助烧伤了受害者詹妮安·玛菲（Jennieann Maffeo）。（Maffeo在2001年10月因受伤而死亡。）如果这些名字听起来很熟悉，则应该。这些人以前讲了他们的故事。但是是因为电影制片人在如此重要的周年纪念日为此努力，“我们当然不想超越任何人，因为他们以前讲述了他们的故事，”马斯登说。她认为执行制片人戴维·格洛弗（David Glover）说，他们只需要制作“这个史诗般的版本，只有所有这些故事并将它们都融合在一起。出生于。每个情节都有来自在这个较大日子的背景下分享相同微观体验的人们的多次访谈。他们单独讲述自己的故事，但正是他们的共同帐户塑造了更大的景象。导演丹尼尔·博加多（Daniel Bogado）告诉每个主题，请休假一整天，接受他们的采访。他与他们坐了几个小时，这样他们就可以讲述他们不间断的故事，其中有些人从头到尾说，“两个小时的长度”。他的方法是使他们尽可能地“保持”。我们试图成为身临其境和今天。在第一次旅行中，新鲜的情绪会产生。”他解释说。 “他们对我们很客气和热情；他们是热情的贡献者，想参加。而且我认为这有助于定下基调，这与我们只需要说A，B和C（故事点）的其他纪录片不像其他纪录片。我们想取得比这更深刻的事情。”关于勇气的行为，即使结果不是100％积极的。尽管有许多贡献者与他们同住，但纪录片并未真正讨论当天的长期健康影响。但是博加多不想回避一天的全部真理，他称之为“人类最好和最糟糕”。虽然大多数最坏的情况来自恐怖袭击本身，但还有其他一些故事他说：“作为纪录片制造商，您的第一个承诺必须是事实，撒在那些选择不提供帮助的人身上，只出于恐惧而拯救自己。”他说。 “因此，原始的音调确实是，'这将是一个系列，它将显示人类最糟糕的人和人类的最佳状态。'在进行非常深入的研究中，我们确实熟悉了许多爱情的故事我们可以。很明显，您看到的许多人在系列中强调了许多团结，英雄主义，英勇，勇气和善良的故事，它们并不例外。他们并不难找到。我们必须找到平衡，因为我对制作一系列恐怖目录不感兴趣，因为我认为这很难看。 ，与华盛顿特区或宾夕法尼亚州的地面上发生的事情。这系列采用了时间表的方法，但大部分关注纽约，这是其情节标题所证明的。 （首映是“第一回应”，从AA 11击中北塔开始，故事继续进入“南塔”，“崩溃”，“云”，“一切都消失了，孩子”和“”的故事。兄弟，我要为你而来。”）博加多承认该系列最大的挑战之一是弄清楚五角大楼和United 93上发生了多少事情，因为这些事件发生在The The The The与世界贸易中心的重大发展（最著名的是它的崩溃）同时，他们想讲一个“一分钟的故事”。他们主要依靠采访，例如爱丽丝·霍格兰（Alice Hoagland）的儿子马克·宾厄姆（Mark Bingham）从曼联93号打电话给她，以讲述一天中的那部分。“这是一个棘手的过程，”博加多说，“因为有时您需要做出一些牺牲[[在您可以包含的内容中]。这些是45分钟的[情节]，您仅使用最强大，最重要的作品。对于如此重要的巨大故事，您希望所有这些都是必不可少的。这就是指导原则。尽管马斯登说，博物馆在特色录像中没有人拥有“否决权”，但她强调了他们合作的重要性，无论是从档案馆的角度还是一个个人。在建筑物中，然后在博物馆找到了一份工作，在纪录片的最后一集中，谈到了空间对地面上失落的人的重要性。我们去了博物馆，我们参加了展览，”马斯登说。“借助档案材料，这是他们极大地帮助我们的，因为他们多年来一直在收集档案材料。他们会帮助我们处理更敏感的问题，因为这些问题不是我们轻易做出的决定，而这些是他们开始自开始的事情。我们认为这可能是北极星的创造性。关于国家地理。
Twenty years after the tragic events of 9/11, it's hard to imagine anyone doesn't have the images of the Twin Towers, whether on fire or collapsing, permanently etched in their brains.
But there were other events of the day -- from the crash at the Pentagon, to the hole United Airlines Flight 93 created in a field in Somerset County, Penn., to individual stories of escape and survival and bravery -- that may have receded to the backs of memories. And for Gen Z, those stories are just stories -- not memories at all.
The filmmakers behind "9/11: One Day in America," a new six-part docuseries that premiered at Tribeca Film Festival but is launching just ahead of the milestone anniversary (on Aug. 29) on National Geographic, knew they therefore had to be "unflinching but respectful," as producer Caroline Marsden puts it, in the archival footage they selected to include, as well as the tales they chose to have recounted.
This means the docuseries, produced in conjunction with The 9/11 Memorial and Museum, doesn't skimp on repeat images of American Airlines Flight 11 or United Airlines Flight 175 kamikazing into the towers, nor does it skip close-up helicopter shots of people trapped on upper floors waving out the windows for help or jumping -- images that are disturbing to say the least and potentially re-traumatizing for those who lived through the day. But Marsden feels it is to those survivors' benefit that such images keep being shared.
"When we're looking at footage of people waving from the top of the tower, we had to make sure that those people were not identifiable. But I think in making it unflinching, it was respectful also to the people who we interview because a lot of them are talking about struggling with suicidal thoughts 20 years later, and I think you don't fully appreciate why that is unless you understand what they went through -- unless you understand the horror of what they witnessed," she explains.
"9/11: One Day in America" is solely focused on those survivors, forgoing celebrity voiceover in favor of making sure "the only voices you would ever hear would be people there on the day," Marsden continues. But it was also intentional to leave out the celebrity politicians of the moment, such as then-mayor Rudy Giuliani or then-President George W. Bush.
"We didn't want anything to distract, and I think the people who survived that day, their narratives have been hijacked by the politics of it in many ways. And so, we wanted to strip all that down and just get back to the the testimony," Marsden says. "I think no matter what George Bush says, his very presence is political."
Still, executive producer Dan Lindsay adds, "The intention was to as wide of a spectrum of experiences of that day as possible and not just focus in particular on a certain group like first responders or a particular story in the building. So, there was an intention of a diversity of people and experiences and then also, there was an intention behind the idea of, 'Could we find stories that interconnect in a way?'"
Over the six episodes, their docuseries includes such first responders as Joseph Pfeifer, the first FDNY chief to respond to the call for help down at the World Trade Center who lost his brother that day, and Heather "Lucky" Penney of the United States Armed Forces, who took to the sky to stop any other planes being used as weapons. But it also includes everyday people who acted as heroes, including Jason Thomas, a former marine, and Chuck Sereika, a former EMT, who both went down to the pile to search for survivors and helped rescue Port Authority police officers Will Jimeno and John McLoughlin. It also features Ron Clifford, who was only going to the World Trade Center that fateful day for a meeting but ended up helping burn victim Jennieann Maffeo. (Maffeo died from her injuries in October 2001.)
If these names sound familiar, they should. These are people who have told their stories before. But because the filmmakers were working towards this release on such an important anniversary year, "We certainly didn't want to out-rule anybody because they'd previously told their story," Marsden says. She credits executive producer David Glover with saying they just needed to make "an epic version of this that just has all of those stories and brings them all together."
And in that the storytelling structure of "9/11: One Day in America" was born. Each episode features multiple interviews from people who shared the same micro experience on the backdrop of this larger day. They tell their stories individually, but it is their shared account that shapes the bigger picture.
Director Daniel Bogado told each subject to take a full day off for their interviews. He sat with them for hours so they could tell their uninterrupted stories, some of which, he notes, when told from start to finish, "were two hours long" on their own. His approach was to keep them "in the moment" as much as possible.
"We tried to be immersive and present day. On that first go, a fresh emotion comes through," he explains. "They were gracious and welcoming for us; they were enthusiastic contributors and wanting to participate. And I think that helped set the tone, which was, this is not like any other documentary where we just need to say A, B and C -- the story points -- and then we go. We wanted to achieve something a bit more profound than that."
Adds Marsden: "The way we're filming it is right down the lens so you have a very intimate feel to them."
Most of the stories are hopeful, choosing to focus on acts of courage, even when the outcome isn't 100% positive. The docuseries does not really discuss long-term health effects of the day, despite many of the contributors living with them. But Bogado didn't want to shy away from the full truth of the day, which he calls "the best and the worst of humanity." While most of the worst came from the terrorist attacks themselves, there are a few other stories sprinkled in about individuals who chose not to help, likely out of fear, and saved only themselves when the opportunity arose.
"As a documentary maker your first commitment has to be to the truth," he says. "And so, the original pitch indeed was, 'This will be a series that will show the the worst of humanity and also the best of humanity.' In just doing very deep research, we really became familiarized with as many many loving stories as we could. It became very clear that the stories of solidarity and heroism and bravery, courage and kindness that you see many of which highlighted in the series, they are not an exception. They were not difficult to find. We had to find a balance because I was not interested in making a series that was just a catalogue of horrors because I thought that would be very difficult to watch."
Another important area to balance was how much of the events in New York to show, versus what was happening in Washington, D.C. or on the ground in Pennsylvania. The series takes a timeline approach but keeps most of its focus on New York, as evidenced by its episode titles. (The premiere is "First Response," starting with AA 11 hitting the North Tower, and the story continues into the tale of "The South Tower," "Collapse," "The Cloud," "It's All Gone, Kid" and "I'm Coming for You, Brother.")
Bogado admits that one of the biggest challenges of the series was in figuring out how much to feature how much of what happened at the Pentagon and on United 93 because those events were taking place at the same time as there were major developments with the World Trade Center -- most notably its collapse -- and they wanted to tell a "minute-by-minute story." They relied mostly on interviews, such as with Alice Hoagland, whose son Mark Bingham called her from United 93, to tell that part of the day.
"It's a tricky process," Bogado says, "because you need to make some sacrifices sometimes . These are 45 minute-long , and you end up with just the most powerful and essential pieces. For such an important, huge story, you want all of it to be essential. And so that's what was the guiding principle."
The team also had the guidance of The 9/11 Memorial & Museum for their docuseries. Although Marsden says no one at the museum had "veto power" when it came to featured footage, she stresses the importance of their collaboration, both from an archival point of view and a personal one.
Tom Canavan, a 9/11 survivor who worked in the building and then got a job in the museum is featured in the final episode of the docuseries talking about the importance of the space being sacred for those lost on the ground.
"When we first started, one of the things we did was, we went to the museum and we went through the exhibition," Marsden says. "With archival materials, that was something that they helped us with immensely because they've been gathering archival material for years and years. And they would help us deal with more sensitive issues because those weren't decisions that we took lightly, and these are things that they had been thinking about since they got going. We thought that it could creatively be a little bit of a North Star."
"9/11: One Day in America" premieres Aug. 29 at 9 p.m. on National Geographic.
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感谢大佬分享。我又来学习了~ 太好了，终于找到宝藏论坛了！ 太好了，终于找到宝藏论坛了！ 感谢大佬分享。我又来学习了~
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