纪录片自媒体解说素材-新闻动态参考-Garrett Bradley在Netflix的Naomi Osaka纪录片上，她决定退出法国公开赛/Garrett Bradley on Netflix’s Naomi Osaka Documentary and Her Decision to Withdraw From the French Open
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0506/3835zqgnjubivjs.pngGarrett Bradley在Netflix的Naomi Osaka纪录片上，她决定退出法国公开赛
Garrett Bradley on Netflix’s Naomi Osaka Documentary and Her Decision to Withdraw From the French Open
加勒特·布拉德利（Garrett Bradley）关于日本网球轰动的三部分组成的Netflix纪录片Naomi Osaka在运动员职业生涯中特别充满活力的时刻出现在彩带上。简单地称其为“ Naomi Osaka”，它在Tokyo Olympics开始前一周首次亮相，在Tokyo Olympics开始前23年，最近从法国公开赛和温布尔登撤军后，Old将参加比赛。布拉德利（布拉德利这是首位赢得世界上大满贯和最高薪水女运动员的日本出生的球员，当她在拒绝参加强制性赛后新闻发布会后辞去法国公开赛时面临全球批评。随后，她为《时代》杂志撰写了一篇文章，捍卫她退出比赛的决定，专注于自己的心理健康。大阪Ose父亲是海地人，从很小的时候就一直在美国生活，并且在她的运动生涯中提出了有关她的种族身份的疑问。Bradley与Variety谈到了使她委任的第一届系列赛的决定，大阪决定退出该系列赛。法国公开新闻发布会，并最终担任导演。在您的2020年纪录片“时间”中，主要的主题福克斯·里奇（Fox Rich）与娜奥米·大萨卡（Naomi Osaka）相比是一个外向的，他似乎是个内向的人。作为董事，从遵循一个糟糕的主题转换为保留主题的情况是否具有挑战性？直到这个项目迄今为止，我与社区和生活中的人们都建立了现有的关系。这是我第一次进入空间并与我完全没有关系的人一起工作。Naomi也是一个非常深刻，沉思的实习生al人。她一直处于观察状态，这并不是被动的。对我来说，这就像像福克斯这样的人一样活跃，她的思维过程似乎更外在化。这确实是关于通过Naomi是谁的思考，但也通过网球思考，这是一项精神运动。从某种意义上说，这也是一项独特的运动，您真的可以身体健康，但是如果您的头部空间不是需要的，它确实会影响您的游戏和游戏。作为电影制片人的挑战是，我该如何说明？如何说明顶空？我如何制作内在内部的视觉效果？这是我第一次（在委托电影中）工作，这令人兴奋，真的很恐怖，完全不在我的会议上。而且，真的很酷。您什么时候开始拍摄？2019年在美国公开赛上，我们在2021年初完成了电影制作。该系列的特色是几个新闻发布会S方程。其中一个是大阪在2020年澳大利亚公开赛上输给可可·高夫（Coco Gauff）。观看特别痛苦，因为您可以告诉她不想在那里。该系列中的新闻发布会场景是否包括强调Naomi最近不参加法国公开新闻发布会的决定？没有考虑到最近发生了什么（在大阪的个人生活中）。您在本系列中看到的是Naomi最近几周发生的事情的基础。作为一名电影制片人，我自然而然地看到她与这些空间抗衡是我所吸引的，因为为了让我们了解她的头部空间，就是要看到她的环境。环境是次要角色，（听众）并不总是有特权看到这些房间。因此，从一开始就重要的是，我们看到她的日常工作和结构，因为这是她的一部分。S发生了：“您是说当人们看到这个系列时，他们可能会更好地理解大阪决定在法国公开赛上跳过新闻发布会的决定吗？是的。确切地。我希望在观看系列赛时，我们有更加同情的立场。一个善解人意的镜头，为什么有人想坚持自己的声音。这可能真的是压倒性的，您周围有很多意见，很多人不一定是您的生活，一生。 Naomi在没有很多先例的情况下试图驾驭这一点的工作非常出色。Osaka是世界上收入最高的女运动员。据报道，她在2020年获得了超过5500万美元的奖金和认可。您是否必须向每个品牌展示认可她的电影以获得认可？她的形象显然对每个赞助商非常重要。我不必向她的任何赞助商展示削减。感谢上帝。该系列特色是娜奥米拍摄的序列。你为什么决定给她是一个相机？为什么我要给她那个相机是双重的原因。一方面，当我们身体上不能和她在一起时，尤其是在大流行期间，这真的很想和她在一起。但这也是我知道作为电影制片人，作为黑人妇女的真实事物，如果您不创造自己的叙述，那将为您建立叙述。那是我从福克斯学到的东西。就黑人家庭档案而言，这是我们本质上知道的，这是我们自己的代表，主流媒体经常忽略了自己。因此，我希望这是她所知道的东西，她希望她能在系列赛之外随身携带她。第二集。这部电影对变化没有任何解释。尽管大阪的男友科迪（Cordae）出现在电影中，但听众没有被告知他是她的男朋友。为什么不呢？首先，Cordae是艺术家，我从不对强加和定义人员感兴趣。这就是他看到自己的方式，这就是我想向世界展示他的方式。他们的关系是私人的，这是两者之间的关系。就我而言，实际上，这两个令人难以置信的人以自己的方式主导着自己的领域，我们如何才能看到他们以表面上的价值看待他们？我对事物的本质更感兴趣。在某些方面，技术和细节可以避免唤起情况的整体精神或时刻。运动员有很多不同的团队成员在不同季节的一生中旋转，而（詹金斯）就是其中之一。我觉得要进入兔子洞，因为发生这种情况的情况实际上不如我们有一个新赛季重要，而我们有一个新的团队。这部电影有很多宣传T勒布朗·詹姆斯（LeBron James）和小牛·卡特（Maverick Carter）在内的执行制片人。您是否对该系列的最终剪裁？Yeeeaaaah。我的意思是，这是我们团队进行的对话。在大多数情况下，我所做的是我的意图，但这是一个不同的过程。这是一个新过程。我真的很开放和兴奋。作为艺术家和电影制片人，我真的在这里玩一些不同的形式，就像我有机会的机会一样。我不会太紧密地对任何一种特定的形式或过程，这是新的。大阪还制作了这部电影吗？不。她不是生产者。但是她确实看到了剪裁的不同版本。这对我来说总是很重要的是，电影中心人物的人拥有代理机构，并在进入世界之前就看到了作品。我很高兴她有时间看几次。虽然尴尬地看着自己，但她对结果的方式感到满意。这是一个敏感e过程和一个协作的过程。为什么是时候制作有关大阪的电影的合适时机？这个问题是我真的很敏感，因为她还很年轻，所以对我来说，不（拍摄某些东西）很重要试图以任何方式定义她。这确实是她一生中这一刻的快照。我认为，关于她和她的纪录片将会有更多的纪录片看起来完全不同，并且感觉完全不同。但是，人们渴望展示她的旅程，最终的旅程最终会是什么样，我们都不知道。当您签约进行该项目时，您应该跟随Naomi参加2020年的奥运会。为什么不画电影以包括今年的奥运会，她将在哪里参加比赛呢？归根结底，Naomi将继续在她的生活中做惊人的事情，并且像所有纪录片一样，您必须决定何时您将停止，因为生活继续下去。她将继续达到许多不同的里程碑，就我而言，我们可能会一直在拍摄多年。这个系列完整的圈子真是太好了 - 我们开始了美国公开赛，然后我们在美国公开赛上结束了，对我来说，这是她的旅程的一个非常美丽的结论。。
Garrett Bradley’s three-part Netflix docuseries about Japanese tennis sensation Naomi Osaka arrives on the streamer at a particularly fraught time in the athlete's career.
Named simply “Naomi Osaka,” it debuts one week before the start of the Tokyo Olympics, where the 23 year old will compete after having recently withdrawn from the French Open and Wimbledon. Bradley, recently Oscar nominated for "Time," examines in the docuseries a two-year period of Osaka's life as she defended Grand Slam titles and became part of the Black Lives Matter movement while simultaneously attempting to come to terms with her overnight fame.
Osaka, the first Japanese-born player to win a Grand Slam and the highest-paid female athlete in the world, faced global criticism when she quit the French Open after refusing to attend mandatory post-match press conferences; she subsequently wrote an essay for Time magazine defending her decision to drop out of the competition to focus on her mental health. Osaka, whose father is Haitian, has been living in the U.S. since a very young age and has fielded questions about her racial identity over the course of her athletic career.
Bradley spoke to Variety about making her commissioned first series, Osaka’s decision to pull out of the French Open press conferences and having final cut as a director.
In your 2020 documentary “Time,” the main subject Fox Rich is an extravert compared to Naomi Osaka, who appears to be an introvert. As a director, was it challenging to make the switch from following a garrulous subject to a reserved subject?
There were so many differences in terms of process with this project. Up until this project so much of my work to date has really come out pre-existing relationships that I have with my community and with people that are in my life. This was the first time I was entering a space and working with someone who I had no prior relationship with at all. Naomi is also a really deep, contemplative, internal person. She's constantly in the state of observation, which isn't passive in any kind of way. To me, it's just as active as somebody like Fox who maybe appears to be more externalized in her thought process. It really became about thinking through who Naomi is, but also thinking through tennis, which is a mental sport. It’s also a unique sport in the sense that you can be really physically fit, but if your head space isn't where it needs to be, it really affects your play and your game. The challenge as a filmmaker was, how do I illustrate that? How do I illustrate that headspace? How do I make something visual that is inherently internal?”
Did Netflix approach you to make this series?
Yes. It was my first time working (on a commissioned film) which was exciting, really scary and totally out of my conference. But also, really cool.
When did you start filming?
In 2019 at the U.S. Open and we finished filmmaking at the beginning of 2021.
The series features several press conferences sequences. One is after Osaka lost to Coco Gauff at the 2020 Australian Open. It was particularly painful to watch because you could tell she didn’t want to be there. Were the press conference scenes included in the series to underscore Naomi’s recent decision to not attend the French Open press conferences?
None of the edit was really taking into account what's happened most recently (in Osaka’s personal life). What you see in this series are the building blocks of what’s happened in the most recent weeks with Naomi. As a filmmaker, seeing her constantly contend with those spaces was something I was naturally drawn to, because in order for us to understand her head space, is to see her environment. The environment is the secondary character, and (audiences) don't always have the privilege of seeing those rooms. So that was important from the beginning that we see her routine and her structure because it was a part of who she is.
When you say, “building blocks of what has happened,” do you mean when people see this series, they might better understand Osaka’s decision to skip the press conferences at the French Open?
Yes. Exactly. I hope that in watching the series, we have a more empathetic standpoint. An empathetic lens for why somebody would want to hold onto their voice. It can be really overwhelming, and you have a lot of opinions around you and a lot of people who aren't always necessarily your age, in your life. Naomi has done a really beautiful job of trying to navigate that without a whole lot of precedent.
Osaka is the highest-paid female athlete in the world. She reportedly made more than $55 million in prize money and endorsements in 2020. Did you have to show each of the brands who endorse her a cut of the film to get their approval? Her image is obviously very important to each sponsor.
No. I didn't have to show the cuts to any of her sponsors. Thank god.
The series features sequences of Naomi filming herself. Why did you decide to give her a camera?
The reason why I wanted to give her that camera was twofold. On one hand, it was really practical wanting to be with her when we physically couldn't be with her, especially during the height of the pandemic. But it was also something that I know to be true as a filmmaker, as a Black woman, which is that the narrative will be set up for you if you don't create your own narrative. That was something that I learned from Fox. That was something that we know intrinsically as Black Americans, in terms of the Black family archive being a representation of ourselves in a way that mainstream media often neglects. So, I wanted that to be something that she knew was available to her and that hopefully she can carry with her even beyond the series.
We see Osaka go from being coached by Jermaine Jenkins in episode one to her current coach Wim Fissette coaching her in episode two. The film offers no explanation for the change. And while Osaka’s boyfriend Cordae appears in the film, the audience is not told that he is her boyfriend. Why not?
Cordae first and foremost is an artist and I’m never interested in imposing and defining people. That's how he sees himself and so that's how I wanted to present him to the world. Their relationship is one that's private and that's between the two of them. As far as I was concerned, it was really about these two incredible people that are dominating their own fields in their own way and how can we see them for that at face value? I’m more interested in the essence of things. In some ways the technicalities and the details can get away from evoking the overall spirit of a situation or of a moment. Athletes have lots of different team members that rotate throughout their lives over the course of different seasons and (Jenkins) was one of them. I felt like going into the rabbit hole of how that happened, why that happened was actually less important than we have a new season, and we have a new team.
The film had a number of prominent executive producers including LeBron James and Maverick Carter. Did you have final cut of the series?
Yeeeeaaaah. I mean, it was a conversation that we had as a team. For the most part, the essence of what I made is what I had intended, but it was a different process. It was a new process. One that I was really open to and excited about. As an artist and as a filmmaker, I'm really here to play with as many different forms as I'm given an opportunity to. I don't hold myself too tightly to any one particular form or process and this one was new.
Did Osaka also executive produce the film?
No. She's not a producer on it. But she did see different versions of the cuts. That's always important to me that the people who are the central figures of a film have agency and see the work before it goes into the world. I was really glad that she had time to watch it several times. While it was awkward watching herself in an intimate portrayal, she is happy with how it turned out. It was a sensitive process and a collaborative one.
Why was this the right time to make a film about Osaka?
That question is something that I was really sensitive to because she is so young, so, it was important for me to not (shoot something that) was trying to define her in any kind of way. This really is a snapshot of this moment in her life. I think there will be many, many more documentaries made about her and with her that are going to look totally different and feel totally different. But there was a desire to show her journey, and what that journey was ultimately going to look like and be, none of us knew.
When you signed on to make the project, you were supposed to follow Naomi to the 2020 Olympics. Why not draw out the film to include this year’s Olympics, where she will be competing?
At the end of the day, Naomi is going to continue to do amazing things in her life and like all documentaries, you have to make a decision on when you're going to stop because life continues. She is going to continue to reach many different milestones and we could have, as far as I'm concerned, kept filming for years. There was something really nice having the series come full circle -- we started the U.S. Open and then we ended at the U.S. Open, and that to me felt like a really beautiful conclusion to her journey.
“Naomi Osaka” debuts on Netflix on July 16.
本文资料/文案来自网络，如有侵权，请联系我们删除。
感谢分享啊。谢谢版主更新资源。 感谢论坛提供了这么多好资源啊 太好了，终于找到宝藏论坛了！
页:
[1]