纪录片自媒体解说素材-新闻动态参考-马克·考辛斯（Mark Cousins）如何在过去十年的最边界播放电影上创建他的史诗般的锁定文档/How Mark Cousins Created His Epic Lockdown Doc on the Most Boundary-Pushing Films of the Last Decade
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0507/1221trxvamuqx00.jpg马克·考辛斯（Mark Cousins）如何在过去十年的最边界播放电影上创建他的史诗般的锁定文档
How Mark Cousins Created His Epic Lockdown Doc on the Most Boundary-Pushing Films of the Last Decade
在制作了他的史诗般的15小时系列“电影的故事：奥德赛的故事”之后的十年，马克·库辛斯（Mark Cousins）创建了另一场对荷马族比例的电影调查。销售作家和电影制片人在电影院的最后十年中应用了宽阔的镜头，询问电影制片人在哪里推动讲故事的语言，以及他们完全吹捧它的位置。使用好莱坞和宝莱坞的摘要，例如“蜘蛛侠：蜘蛛侠：：来自诸如“ The Dreded”之类的VR杰作，以及叙利亚的“ Sama for Sama”等紧急文档的VR杰作，进入Spider-verse”和“ PK”和“ PK”。 .Cousins将在周二的特别戛纳电影节放映中推出“新一代”，但在此之前，他赶上了综艺节目，讨论了在大流行中制作电影的挑战，并分享了他的Tho。关于是否对戏剧发行造成了无法弥补的损害。在锁定期间拍摄和编辑这部电影的过程有何不同？我通常看起来像是一个背包客，当我拍摄时，我有一个背包，我确实有一个很小的工具包，这确实是一个很小的套件，这是一个很小的套件，即使我以4K射击。出去拍摄东西会很高兴，但是第一个真正的区别是我有思考的空间。我们很多人都认为，如果我们幸运地不生病，那么在锁定下。第二个是编辑它非常容易，因为我的编辑居住在30英里外，不必每天来。我们只是使用了Zoom和共享屏幕，因此这部电影的编辑过程以及锁定下的许多电影都在解放。我认为这将继续对未来的电影制作产生影响。当您坐在九到六个套房中时，有些人的大脑无法正常工作，您只是想我想去酒吧。但是由于变焦，您可以编辑三个与您的编辑数小时，然后单击。您可以最大限度地发挥创意能量，因此编辑非常短，大\u200b\u200b约一个月。您需要进行任何类型，地理领域，您需要刷新吗？我绝对必须弄清楚我所知道的，我不知道的东西，我所知的差距在哪里，并且存在相当大的差距。我不得不尽力将其插入。我会对我的制片人说：“我听说过这部电影，你能得到我吗？”或者我会看着世界上的部分想法，我最近看过叙利亚或黎巴嫩的好电影，如果没有，为什么不呢？是因为没有更多的可能性，因为我没有给予足够的关注，所以我在那个时期尝试并注意。进行十年电影的分析是一种高度主观的练习，如果您担心人们的期望使它成为现实？我所看到的，这项工作是关于讲故事，创造语气，并保持在观众领先。我觉得当人们认为这是拉斯的历史时T十年的电影院，他们会期望某些东西会在那里，他们期望的很多东西会在那里。但是希望有一些您不会期望的事情，也许是过程，这些年来的蜿蜒并不是您预期的。我的工作是要保持领先地位并以某种方式实现他们。我认为您确定了一些可能使人们感到惊讶的结缔组织。我们从“小丑”开始这部电影，然后我们跳入“冷冻”。也许其他一些人将这些电影连接在大脑中，但也许没有。我的工作是看到这两部电影之间有一点火花飞翔，这些电影在许多方面都被视为非常不同，它们的人口肯定不同。真正看到像这样的电影之间的联系很有趣。您将电影分为两个部分：“扩展电影的语言”和“我们一直在挖掘什么？”谈论这个决定背后的想法。我从以前的工作中知道我想专注于创新，t他在电影院做新事的电影制片人。我并不是说这些是过去十年中最好的电影，但它们是创新的。当您进行创新时，您可以将事情推得很多。上半年是关于将事情推动的电影，涉及恐怖类型或喜剧类型的电影，并试图进入内容或形式的新领域。第二部分是关于更具爆炸性的东西。在电影中，您看到我的相机从字面上掉进了一条湖中，我不得不将其拉出，我想如果您洗澡了，然后洗眼睛并正确地看到了呢？下半年的电影就是这样做的。 Apichatpong 的“ Splendor墓地”是另一个。这就是戴维·林奇（David Lynch）在他关于钓鱼的书中谈到的，这部电影实际上是关于跳水的。它显示出很大的不同T人，一个老妇，是一名护士和士兵，他们跳下来。他们共同梦想，在下面相遇。从某种意义上说，电影院就是这样，所以这两个人几乎是我列表的顶峰。在过去的十年中，您如何培养电影院的重大技术变化？很多人说，技术比以往任何时候都更加巨大我总是对此有点怀疑。当下的人们认为这是最动荡的时期，通常不是。您可以查看GoPro的和无人机拍摄以及VR，并看到发生了很多事情，并且以奇怪的，富有想象力的方式使用。但是我想保持谨慎，并不是说我们在新的时期，因为我不确定自己是否。车轮又有点旋转了，因此必须承认，当轮子旋转时有新的故事和情感可能性。听说人们会离开去电影院的习惯。但是我认为这不是一种习惯，这是一种仪式。它具有更深的含义，您这样做是因为它具有意义或兴奋或欣快。我们去图片的原因是深层对那些认为Covid-19带来的变化和彩带的兴起的人说，这是对电影拍摄的生存威胁？我真的很强烈，大型流媒体需要理解和欣赏戏剧体验。我认为Netflix必须将其CinePhile凭据稍微增加一点，而独自留下戏剧性的窗户肯定不会造成伤害。人们将要等两个星期，如果他们是家人，但是我们其他人将在屏幕上寻找东西。我经常在电视上也可以在电视上流媒体上花钱生病只在大屏幕上完全看到它。我认为彩带不是坏人，但他们需要改进。总的来说，我会争论相反。人们坐在沙发上呆了一年半，吃了比萨饼，看着Netflix和Amazon Prime，但这对我们作为人类并不完全满意。有时我们想要一些荒野，更大，更侵犯的东西。我们想感到安全而不安全，感受到电影院提供的所有这些东西。我不认为我很乐观，我认为我对此很现实。
A decade after producing his epic 15-hour series "The Story of Film: An Odyssey," Mark Cousins has created another cinematic survey of Homeric proportions.
In ”The Story of Film: A New Generation,” whose international distribution is handled by Dogwoof Sales, the writer and filmmaker applies a wide lens to the last 10 years of cinema, asking where filmmakers have pushed the language of storytelling, and where they have blown it up entirely.
Using snippets from Hollywood and Bollywood bangers like "Spider-Man: Into the Spider-Verse" and "PK," from VR masterpieces like "The Deserted," and from urgent docs like Syria's "For Sama," Cousins fashions a compelling, ultimately optimistic collage on where cinema has been, and where it's going next.
Cousins is set to unveil "A New Generation" at a special Cannes Film Festival screening on Tuesday, but before that, he caught up with Variety to discuss the challenges of making his film in the midst of a pandemic and share his thoughts on whether irreparable damage has been done to theatrical releasing.
How different was the process of shooting and editing the film during lockdown?
I usually look like a backpacker when I’m filming, I have a rucksack and it’s really a very small kit, even though I shoot in 4K. It would have been nice to go out and film things, but the first real difference was that I had the space to think. Lots of us have felt that under lockdown, if we were lucky enough not to be sick. The second was that it was pretty easy to edit this because my editor, who lives 30 miles away, didn’t have to come every day. We just used Zoom and shared screens, so the editing process for this film and many films under lockdown was liberating. I think that will continue to have an effect on filmmaking in the future. When you sit in an edit suite from nine to six, there are dead points where your brain isn’t working and you just think I want to go to the pub. But because of Zoom, you can edit for three hours with your editor and then click off. You can maximize your creative energy, so the edit was very short, around a month.
Were there any genres, geographical areas of cinema you needed to brush up on?
I definitely had to work out what I knew and what I didn’t know, where the gaps in my knowledge were, and there were considerable gaps. I had to plug those as best I could. I would say to my producers, "I’ve heard about this film can you get me it," or I would look at parts of the world thinking have I seen good films from Syria recently or Lebanon, and if not, why not? Is that because there were none or more likely because I wasn’t paying enough attention, so I try and pay attention in that period.
Curating an analysis of a decade of cinema is a highly subjective exercise, were you concerned about people's expectations making it?
The job, as I see it, is about storytelling and tone creation and staying ahead of the audience. I feel that when people think here’s a history of the last 10 years of cinema, they will have expectations that certain things will be in there, and many things they expect will be in there. But hopefully there are things you don’t expect and perhaps the process, the meander through these years isn’t as you expected. My job is to stay ahead of the audience and fulfill them in some way.
I think you identify some connective tissue that may surprise people.
We start this film with "Joker" and then we jump to "Frozen." Maybe some other people connected those films in their brains, but maybe they didn’t. My job is to see a little spark fly between these two films which in many ways are seen as very different, they have different demographics certainly. It’s fun to actually see a connection between films like it.
You split the film into two sections, “Extending the Language of Film” and “What Have We Been Digging For?” Talk about the thinking behind that decision.
I knew from my previous work that I wanted to focus on innovation, the filmmakers who are doing something new in cinema. I’m not saying these are the best films of the last 10 years, but they’re ones that have innovated. When you’ve innovating, you can either push things a bit or a lot. The first half is about films that pushed things a little, that took the horror genre or the comedy genre and tried to push into new territories of content or form. The second part is about something more explosive. In the film you see my camera literally fell into a Loch and I had to pull it out, and I thought what if you have a bath and you wash your eyes and see properly anew? The films of the second half did just that.
Were there any films that leapt immediately to mind before you started?
"Under the Skin" was one, I just thought it was so remarkable, it got under my skin. Apichatpong 's "Cemetery of Splendour" was another one. It’s what David Lynch talks about in his book about fishing, the film is literally about diving down. It shows very different people, an older woman who's a nurse and a soldier, diving down. They dream together and they meet underneath. In a sense cinema is about that, so those two were pretty much top of my list.
How do you broach the significant technological changes in cinema over the last decade?
A lot of people say that technology has changed cinema more drastically than ever before and I’m always slightly suspicious of that. People in the moment think it’s the most tumultuous time and often it isn’t. You can look at GoPro's and drone shots and VR and see there's so much happening and it’s being used in odd, imaginative ways. But I wanted to be a bit cautious and not say we are in a new time because I’m not sure that we are. The wheel has spun again a little, so it is important to acknowledge that when that wheels spins there are new story and emotional possibilities.
Did you always want to ruminate on how the pandemic has changed our viewing habits?
Yes, I've read and heard that people will get out of the habit of going to the cinema. But I don’t think it was a habit, it was a ritual. It has a deeper connotation to it, you do it because it has meaning or excitement or euphoria. The reason we go to the pictures is deep, we want to escape ourselves, we want to encounter the sublime, we want an affordable entertainment art form which will regularly make us feel as if we are elsewhere, either physically or mentally.
What do you say to people who view the changes brought about both by COVID-19 and the rise of streamers as an existential threat to movie-going?
I do feel strongly that the big streamers need to understand and appreciate the theatrical experience. I think Netflix has to increase its cinephile credentials a bit and it will certainly do them no harm to leave theatrical windows alone. People are going to wait two weeks If they're home people, but the rest of us are going to seek things out on-screen. I regularly spend money on a film that’s also streamable on my TV because I will only fully see it on the big screen. I don’t think the streamers are bad people, but they need to improve. In general though I would argue the contrary. People sat on their sofas for a year and a half and ate pizza and watched Netflix and Amazon Prime, but that wasn’t fully satisfying for us as human beings. We want something wilder, bigger, more transgressive sometimes. We want to feel safe and not safe, feel all those things that cinema affords. I don't think I’m optimistic, I think I’m realistic about that.
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谢谢楼主分享，发现宝藏了。 感谢论坛提供了这么多好资源啊
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