纪录片自媒体解说素材-新闻动态参考-自我制作的项目是亚马逊的“瓦尔”纪录片，回忆录或销售宣传？/Are Self-Produced Projects Like Amazon’s ‘Val’ Documentaries, Memoirs or Sales Pitches?
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0506/1538ocwlnb2k4ji.jpg自我制作的项目是亚马逊的“瓦尔”纪录片，回忆录或销售宣传？
Are Self-Produced Projects Like Amazon’s ‘Val’ Documentaries, Memoirs or Sales Pitches?
甚至瓦尔·基尔默（Val Kilmer）也没有考虑他制作的电影是一部纪录片。“瓦尔”（Val），本月在戛纳电影节（Cannes Film Festival）上首映，并于8月6日开始在亚马逊Prime视频上播放，从他的职业生涯中追溯了他的职业生涯。枪支的突破是最近的健康斗争，将基尔默的庞大个人档案馆的镜头纳入了电影中。他的儿子杰克（Jack）也是一名演员，他补充了父亲的叙述，基尔默（Kilmer）长老的声音几乎无法识别为表演者，这是由于喉咙癌的治疗。我们正在制作一部瓦尔·基尔默（Val Kilmer）的电影，他正在扮演瓦尔·基尔默他们的明星对某些人提出了有关创造性控制和纪录片本质的疑问。最近的例子包括“孩子90”，a huLu纪录片《 Soleil Moon Frye》（Soleil Moon Frye）导演了3月发行的家庭电影。 “粉红色：到目前为止，我所知道的，” 5月在亚马逊Prime上鞠躬；和“奇怪”，肖恩·门德斯（Shawn Mendes Mendes）纪录片Netflix于11月发布。 Lady Gaga，Beyoncé和Madonna以前都制作了有关自己的纪录片。Kilmer作为“ Val”的制片人非常动手，以至于Scott和联合导演Ting Poo没有最终裁员。电影制片人为这部电影绘制了超过1000个小时的材料 - 距离演员的个人档案馆约800小时，再加上200个小时，他们采购或拍摄了200个小时 - 依靠Kilmer来理解所有内容。他们共同说，“在第一人称人中，我们需要的是瓦尔的参与程度要比大多数纪录片像第三人称访谈中的电影相比要多得多。”削减。“唯一的责任他们在制作纪录片方面接受了关于瓦尔自己的经历的真实事物，并希望又能说明生活，艺术以及成为人类的意思。想要关于基尔默在布景或个人生活中的行为的更多看法。同样，有时候，弗莱的“孩子90”可能会对她现在著名的朋友感到沮丧。 Billie Eilish没有获得2月Apple TV Plus她的纪录片的制作人，但Interscope Records的高管和她的管理团队的成员都做到了。他们 - 柔软的不愉快的主题很容易。“ Tina”导演Daniel Lindsay和T.J.马丁坚持认为蒂娜·特纳（Tina Turner）对HBO的艾美奖提名文件没有影响关于音乐偶像的生活，这是她的丈夫埃文·巴赫（Erwin Bach）制作的执行者。然而，林赛说：“老实说，如果我仍然可以找到自己的电影制片人，感觉就像是喜欢的压力，'我们不想生你正在制作电影的人。'”这是为什么特纳的健康斗争，包括2013年的中风，2016年的肠癌诊断和2017年的肾脏移植。 - 由HBO主持的纪录片说，他咨询了Barry Gibb和已故的Robin和Maurice Gibb的遗产，但他们没有最终批准该项目，该项目得到了Capitol Records的支持。“我喜欢与任何人的故事合作工作我在说，”马歇尔说。 “交易的一部分是，我将粗略的削减带给了巴里和家人。如果人们不想说个人的话，那是我的工作说服他们，包括或不包括在内是正确的事情。”作为回报，他们可能会提醒他对没有准确描绘的东西。 “因此，这也是研究过程的一部分。”无可否认，某些Star驱动的文档作为与新专辑发行或电视连续剧相关的营销设备的目标。它们还可以用来恢复职业或在“瓦尔”的情况下向一个致敬。 PBS的“独立镜头”的执行制片人。 “他们听到了'纪录片'一词，他们认为所有人都在审理的某些普遍标准来判断所有这些词。她质疑与主题合作制作的纪录片是否应称为回忆录。沃森指出：“没有人在那里确保我们看到好，坏和丑陋。” “对于那些真正投资于艺术形式的Docume的人ntary是一种讲述我们社会的更深入的真相，这些方式使我们感到紧张，因为这是艺术形式的商业化。在这样的非小说类电影或系列中保护他们的品牌，无论他们最终被称为什么。这些纪录片围绕这些纪录片的模糊性扩展到金钱。名人是否因参与而获得报酬？该信息通常不公开。去年，迈克尔·乔丹（Michael Jordan）因“最后一支舞蹈”（Netflix）和ESPN的共同制作而获得了数百万美元的“最后一支舞蹈”（The Last Dance），并捐出了这笔钱，向慈善机构捐款。迷你剧在纪录片或非小说类系列类别中赢得了去年的艾美奖。 “在我的脑海中，现实明星得到了报酬，”坎托说。 “纪录片主题未支付。所以有这种融合该解释说，这是非小说类电影和电视工作室XTR的负责人Bryn Mooser Bryn Mooser说，这是在说什么，这是事实表的模型和纪录片模型。纪录片形式正在扩大我们是否想要。”穆瑟说。“这些线条变得模糊，这真的很令人兴奋。”爵士乐丹凯（Jazz Tangcay）为这份报告做出了贡献。
Even Val Kilmer doesn’t consider the movie he produced about his life to be a documentary.
“Val,” which premiered at the Cannes Film Festival this month and begins streaming on Amazon Prime Video Aug. 6, traces his career from his “Top Gun” breakthrough to recent health struggles, incorporating footage from Kilmer’s vast personal archive into the film. His son, Jack, also an actor, supplements his father’s narration, the elder Kilmer’s voice virtually unrecognizable from his heyday as a performer due to treatment for throat cancer.
“Val would say in relation to this film that we are not making a documentary; we’re making a Val Kilmer movie where he’s playing himself as Val Kilmer,” co-director Leo Scott says.
However you classify “Val” — Cannes labeled it a documentary — it is the latest in a series of films self-produced by their star subjects that, to some, raise questions about creative control and the nature of documentaries. Recent examples include “Kid 90,” a Hulu documentary Soleil Moon Frye directed from her home movies that was released in March; “Pink: All I Know So Far,” which bowed in May on Amazon Prime; and “In Wonder,” the Shawn Mendes documentary Netflix released in November. Lady Gaga, Beyoncé and Madonna have all previously produced documentaries about themselves.
Kilmer was extremely hands-on as a producer of “Val,” to the point that Scott and co-director Ting Poo did not have final cut. The filmmakers drew on more than 1,000 hours of material for the film — about 800 hours from the actor’s personal archive and another 200 hours that they sourced or shot — relying on Kilmer to make sense of it all.
Given that the movie was intended to be told in the first person, “we required much more of Val’s involvement than had the film been put together from third-person interviews, like most documentaries,” they jointly say, insisting that they were able to make the picture they wanted even without final cut.
“The only responsibility we took on in terms of making a documentary was to express something true about Val’s own experience and hopefully in turn tell something true about life, art and what it means to be human,” they say.
Still, there are moments when viewers might have wanted additional perspective about Kilmer’s behavior on set or in his personal life. Similarly, there were times when Frye’s “Kid 90” could be frustratingly coy about her now famous friends from the past.
Sometimes the level of star involvement can be murky. Billie Eilish did not receive a producer credit for the February Apple TV Plus documentary about her, but Interscope Records execs and members of her management team did.
Documentary filmmakers concede that there are business realities to working with celebrity talent — music rights and access chief among them — and it can be easy to soft-pedal unpleasant subjects.
“Tina” directors Daniel Lindsay and T.J. Martin insist that Tina Turner had no influence over HBO’s Emmy-nominated documentary about the music icon’s life, which was executive produced by her husband, Erwin Bach. Yet, Lindsay says, “If I’m being honest, you can still find yourself as a filmmaker feeling the pressure of like, ‘We don’t want to piss off the person that you are making the film about.’”
That could be why Turner’s health struggles, including a stroke in 2013, an intestinal cancer diagnosis in 2016 and a kidney transplant in 2017, were not mentioned.
Frank Marshall, director of “The Bee Gees: How Can You Mend a Broken Heart,” another Emmy-nominated documentary from HBO, says he consulted Barry Gibb and the estates of the late Robin and Maurice Gibb, but they did not have final approval on the project, which was backed by Capitol Records.
“I like to work in collaboration with whoever’s story I’m telling,” Marshall says. “Part of the deal was that I would bring the rough cuts to Barry and the family. If there’s personal things that people don’t want to say, it was my job either to convince them that it’s the right thing to include or not.” In return they might alert him to things that weren’t portrayed accurately. “So it was also part of the research process.”
There is no denying that some star-driven docs are targeted as marketing devices tied to a new album release or TV series. They also can be used to revive a career or in the case of “Val,” pay tribute to one.
“The problem that I see is that the audience can’t tell the difference between these films and documentaries,” says Lois Vossen, executive producer of PBS’ “Independent Lens.” “They hear the word ‘documentary,’ and they think all of it is being judged by some universal criteria that everybody is applying. And that’s absolutely not true.”
She questions whether documentaries produced with the cooperation of their subjects should be instead called memoirs. “Nobody is there making sure we see the good, bad and the ugly,” Vossen points out. “For those of us who are really invested in the art form of documentary as a way to tell a deeper truth about our society, these make us nervous, because that’s the commercialization of the art form.”
But at the same time, Vossen understands why star performers — and the companies that work with them — want to protect their brand in such nonfiction films or series, regardless of what they are ultimately called.
The murkiness surrounding these documentary projects extends to money. Are celebrities getting paid for their involvement? The information is not often made public. Last year, Michael Jordan raised eyebrows when he reportedly received millions of dollars for “The Last Dance,” a co-production of Netflix and ESPN, donating the money to charity. The miniseries won last year’s Emmy in the documentary or nonfiction series category.
Michael Kantor, executive producer of PBS’ “American Masters,” considers such payments a worrisome trend. “In my head, reality stars are paid,” Kantor says. “Documentary subjects are not paid. So there’s this convergence of the reality-show model and the documentary model, which is confusing in the sense of what truth is being told or not because people are being paid.”
But Bryn Mooser, head of XTR, a nonfiction film and TV studio, says the interpretation of the documentary form is expanding whether we want it to or not.
“We are seeing a moment of a redefinition of the genre and a breaking of a lot of the old ideas that were perhaps tied to some journalistic idea that are going to be challenged,” says Mooser. “The lines are being blurred, and that’s really exciting.”
Jazz Tangcay contributed to this report.
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太好了，终于找到宝藏论坛了！ 感谢大佬分享。我又来学习了~ 感谢分享，下载收藏了。最喜欢高清纪录片了。 感谢大佬分享。我又来学习了~ 感谢大佬分享。我又来学习了~
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