纪录片自媒体解说素材-新闻动态参考-``Catch and Kill：podcast磁带''采用惊悚片的方法来编辑和评分HBO系列/‘Catch and Kill: The Podcast Tapes’ Takes Thriller Approach to Editing and Scoring the HBO Series
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0506/5010nq1okwknq5n.jpg``Catch and Kill：podcast磁带''采用惊悚片的方法来编辑和评分HBO系列
‘Catch and Kill: The Podcast Tapes’ Takes Thriller Approach to Editing and Scoring the HBO Series
基于罗南·法罗（Ronan Farrow）的2019年同名书籍的编辑和得分“捕捉和杀戮：播客磁带”的关键，是核心这个故事，并在每半小时的剧集中磨练了关键时刻。 -Episode HBO系列收集了看不见的录像，档案访谈和对Farrow的报告过程的见解，因为他详细介绍了好莱坞制片人Harvey Weinstein的系统虐待背后的努力，后者启动了#MeToo运动。杀人，”以小报媒体经常使用的练习而命名，记载了法row的故事以及他与NBC新闻搏斗时在电视上播出的困难。对举报人，温斯坦幸存者罗斯·麦克高恩（Rose McGowan）和安布拉·古铁雷斯（Ambra Gutierrez）的访谈，这是意大利模特，他戴着一条电线来协助警察来抓住他的模特。卡赫Ler兼作曲家David Benjamin Steinberg在“百万美元上市”，“ Freedia获得了枪”和“ Liberty：Exiles的母亲等项目中，都必须平衡大量的面试镜头和档案材料，以告诉这些材料，以告诉这些材料，才能告诉这些人，以告诉这些材料，才能告诉这些材料，才能告诉这些材料故事并为生活带来强大的视觉效果。我们不得不互相面对面，他会拿出手机供我聆听。这就是如此多的对话。DavidBenjamin Steinberg：它并没有真正破坏我与团队的工作流程。在过去的几年中，我一直在与我的一群音乐家一起工作，与我一起工作的每个人都有家庭工作室。我会发送图表和我的音频参考文件，我们会为会话进行视频聊天，然后他们将他们的文件发送给我的文件CH我将其纳入我的会议。我以这种方式与欧洲的小型乐团合作。我的搅拌机在英国，我的编排者在波士顿，因此，幸运的是，我很容易度过风暴，继续写作和工作。由于整个西区剧院区都被关闭，所以我有机会与一些闲置的音乐剧院歌手合作。他们都在自己的家庭工作室中录制，并且效果很好。在第一集“ The Wire”中，我们听到Harvey Weinstein对David的紧张得分的声音。卡赫勒（Kachler）是什么？我们每集都被锁定在30分钟以下，这是一个真正的挑战，因为我们与幸存者，记者和举报人进行了这些亲密，惊人的对话，我们不得不磨练并找到驱动那集的作品。我们必须削减摆脱了我们发现惊人的所有这些东西。但是兰迪（Randy）和芬顿（Fenton）非常擅长寻找使这个故事打勾并摆脱周围其他一切的原因。当您将所有内容剪掉时，您将剩下这两件事，那就是时刻。凭借大卫的得分，它拥有一切。它具有情感和紧迫性。Steinberg：它的语气和您编辑的方式确实为该系列定下了基调。当我们带着美丽的城市景观进入纽约时，您会有这种梦想或噩梦，但是有些东西是近距离的，然后当我们听到我们的故事并进入这条隧道时，它开始变得黑暗，这使我们成为了主题。这样，我的主菜是通过编写主要标题主题来找到基调的。我为标题主题写了一些想法，我们与其中的一个主题写了一段时间。但是随着系列的发展，故事的发展，我认为共识是，这只是太大的规模。因此，我再次看了看它，并提出了这个故事的神秘方面，以使它更神秘和不祥之处。我对我对伯纳德·赫尔曼（Bernard Hermann）的热爱，最终在其方法中略微有些希区柯克（Hitchcockian）。在整个分数中，该图案最终成为反复出现的元素。当我们以图形为主要标题序列听到它时，这是相当有机的。当我们继续这次旅程时，主题会发生变化，变得更加激烈。卡赫勒：如果您考虑的话，这个故事就是一个惊悚片，那就是每个人的最初，“努力”。但是我们仍然必须找到亲密的平衡，关于我们希望它在房间的位置的情感和小小的对话。 - 讲故事的方面。这种得分往往不打对话。当有人的泰利那些亲密的故事，您不想像中国商店那样像公牛那样在那里。该乐谱的另一个方面是一种合成器的杂物，有人可能会说菲利普·格拉斯（Philip Glass）受到了启发。主题的版本变得越来越突出。在很多方面，主题代表了哈维·温斯坦的黑暗角色。那大多数是更重的合成器。关于分数具有这个网络黑色惊悚片方面的对话。当然，我想到了“刀片跑步者”。我认为这些极简主义，环境线索之间的平衡是如此不错的平衡，在中间，这些电动机使事情变得不断发展，最终是大主题。我喜欢那种不错的方法。顾客，谈论节奏并找到切割的地方。卡赫勒：就像我和这些人一起坐在房间里。我会在哪里看？我把自己放在那一刻。但是我们可以访问的东西与这些选择有很多关系。Steinberg：我发现的东西M一起工作是您很多选择，感觉如何？这很直观。您正在确保讲故事。我们在做一些神奇的东西吗？我们在做一些引人注目的东西吗？“捕捉和杀人：播客磁带”在HBO上播出
The key to editing and scoring "Catch and Kill: The Podcast Tapes," based on Ronan Farrow's 2019 book of the same name, was honoring the story at heart and honing in on the key moment that drove each half-hour episode.
The six-episode HBO series collects unseen footage, archive interviews and insight into Farrow's reporting process as he details the efforts behind the systematic abuse by Hollywood producer Harvey Weinstein, which helped kick-start the #MeToo movement.
Like the podcast and book, "Catch and Kill," named for a practice often used by tabloid media, chronicles how Farrow landed the story and the difficulty he had getting it to air on television as he wrestled with NBC News. Interviews with the whistleblowers, Weinstein survivors Rose McGowan and with Ambra Gutierrez, the Italian model who wore a wire to assist police in nabbing him, are also features.
Directors and World of Wonder co-founders Fenton Bailey and Randy Barbato helm, and editor Francy Kachler and composer David Benjamin Steinberg, who have worked together on "Million Dollar Listing," "Freedia Got a Gun" and "Liberty: Mother of Exiles, among other projects, had to balance the wealth of interview footage and archival material to tell the story and bring a powerful visual to life.
Kachler and Steinberg discussed their collaboration process with Variety.
How did you approach the project during the pandemic?
Francy Kachler: Previously, I would go over to David’s studio and listen to things, but this time around we had to Facetime one another and he would hold his phone out for me to hear things. That’s how so many conversations went.
David Benjamin Steinberg: It didn’t really disrupt my workflow with the team. I have been working primarily remotely with my group of musicians for the last couple of years, and everybody I work with has a home studio. I would send the charts and my audio reference files, we’d video chat for our session and then they send me back their files which I incorporate into my session.
I’ve worked with small orchestras in Europe in this way. My mixer is in the UK and my orchestrator is in Boston, so, fortunately, I was well-positioned to weather the storm and keep writing and working. Since the entire West End Theatre District was shut down, I had the opportunity to work with some of the top musical theatre singers who had been idled. They all recorded in their home studios and it worked out beautifully.
In the first episode, “The Wire,” we hear Harvey Weinstein’s voice against David’s tense score. What was your way into that?
Kachler: For ‘The Wire,’ it was the audiotape of Ambra, which I think was Fenton’s choice to start with. We were locked into under 30 minutes for each episode, and that was a real challenge at first, because we have hours and hours of these intimate, amazing conversations with the survivors, the journalists and the whistleblowers, and we had to hone in and find the piece that drove that episode. We have to cut away from all these things that we found amazing. But Randy and Fenton are so good at finding what makes that story tick and getting rid of everything else around it.
So you hear it and it’s menacing but putting those things together, that is the moment. When you cut everything out, and you are left with those two things, that's the moment. And with David’s score, it had everything. It had the emotional and the urgency.
Steinberg: The tone of that and the way you edited really set the tone for the series. You have this dream or nightmare feeling as we come into New York with its beautiful cityscapes, but something is off-kilter, and then it starts to get dark as we hear our story and go into this tunnel which leads us to the main theme.
With that, my entrée into finding the tone came through writing the main title theme. I wrote a few ideas for the title theme, and we worked with one of them for quite a while. But as the series evolved, and the story evolved, I think there was a consensus that it was just a little too large scale. So, I looked at it again and brought out the mystery aspect of this story so that it was more mysterious and less ominous.
I drew on my love for Bernard Hermann and it ended up being slightly Hitchcockian in its approach. That motif ended up being a recurring element throughout the score. It’s fairly organic when we hear it in the main title sequence with the graphics. As we go on this journey, the theme changes and becomes more intense.
Kachler: The story is a thriller if you think about it, and that was everybody's initial, ‘Go for it.’ But we still had to find the balance of intimate, emotional, and small conversations about where we want it to be in the room.
What was in the palette for the score?
Steinberg: I had always envisioned that a certain amount of it would be very ambient, and bringing out that sort of dream-like aspect of the storytelling. That kind of scoring tends to not fight dialogue. When somebody's telling those intimate stories, you don't want to be in there like a bull in a china shop.
Another aspect of the score was a synthesizer kind of arpeggiated -- some might say Philip Glass inspired. There were the versions of the theme that became more and more prominent. In a lot of respects, the theme came to represent Harvey Weinstein's dark character. That was mostly heavier synths.
There were also conversations about the score having this cyber noir thriller aspect. Of course, I thought of “Blade Runner.” I thought it was this nice balance between these very minimalist, ambient cues, and in the middle were these motors that were keeping things going and churning and finally, the big themes. I liked that nice trio of approaches.
Francy, talk about the pacing and finding where to cut.
Kachler: It's like I'm sitting in the room with these people. Where would l look? I put myself in that moment. But what we had access to had a lot to do with those choices.
Steinberg: Something I’ve found from working together is a lot of your choices are about, how do things feel? It’s intuitive. You’re making sure you tell the story. Are we making something magical? Are we making something compelling?
"Catch and Kill: the Podcast Tapes" airs Sundays on HBO
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