纪录片自媒体解说素材-新闻动态参考-大卫·奥耶洛（David Oyelowo），迈克尔·布朗（Michael Brown Sr./David Oyelowo, Michael Brown Sr. and Mobolaji Olambiwonnu Explore the Impact of Michael Brown’s Killing in ‘Ferguson Rises’
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0508/1942vzkqiztye0j.jpeg大卫·奥耶洛（David Oyelowo），迈克尔·布朗（Michael Brown Sr.
David Oyelowo, Michael Brown Sr. and Mobolaji Olambiwonnu Explore the Impact of Michael Brown’s Killing in ‘Ferguson Rises’
迈克尔·布朗（Michael Brown Sr.）的父亲迈克尔·布朗（Michael Brown Sr.电影制片人Mobolaji Olambiwonnu对布朗家族的故事的看法是“弗格森的起床，”这让我们感到不同。“这给了我们父亲的声音，”布朗告诉《综艺》，由奥兰皮旺努（Olambiwonnu）和电影制片人的制片人戴维·奥耶洛（David Oyelowo）加入。 “媒体向女人奔跑 - 没关系，这就是他们所做的 -[父亲]应该是力量并接受它，接受，接受，它。这就是为什么布朗说，他很荣幸成为这个关于儿子的生命，死亡以及2014年8月9日的事件的新叙述的中心物质运动吸引了全国和世界各地的人们的注意力。“我的意图，尤其是随着迈克尔·布朗（Michael Brown Sr. Doc在星期二在Tribeca首次亮相，是电影节Junteenth阵容的一部分。“不幸的是，电影院在描绘三维黑人男性方面并没有做得很好，”他继续说道。 “因此，我的意图是制作一部与人类交谈的电影，并延伸与所有居民的人类交谈。”找到一种使这个黑人儿子，他的黑人父亲以及结果的方法使人化的方法将军是奥耶洛（Oyelowo）签署在他和他的妻子杰西卡（Jessica）的Yoruba Yoruba Saxon Productions Banner下制作这部电影的重要原因。吉吉·普里兹克（Gigi Pritzker）担任纪录片的执行制片人。“很少见到一个黑人父亲在他的痛苦中心，并且在许多人发现自己的情况下进步了N，” Oyelowo说。 “我真的非常为这部电影感到自豪，这对我们来说是一个巨大的荣誉，因为它讲述了一个故事，我认为需要以一种更全面的方式来讲述它，而不是被告知。六到七年前。”屡获殊荣的演员和制片人已经对布朗队的故事感到非常了解。实际上，奥耶洛（Oyelowo）刚刚拍摄了拍摄Ava Duvernay的“ Selma”，他在Brown被杀之前的几周里扮演Martin Luther King Jr. “我们刚刚制作了这部电影，讲述了为投票权和边缘化，征服，残酷和受害黑人的边缘化，历史上历史上的边缘化，残酷的和受害，” Oyelowo说。 “我们以为我们正在制作一篇历史文章，当然可以照耀着今天，但我们于7月3日结束了，小迈克尔·布朗（Michael Brown）于8月9日被谋杀，这是一场谋杀案，非常类似于我们在电影中与吉米·李·杰克逊（Jimmie Lee Jackson）看到的东西。我们刚刚经历了这一过程，即展示了美国在历史上已经存在的黑人，我们又在这里又又陷入了困境。正如演员和电影制片人在电影的新闻巡回演出时，平行的曲目是为了支持黑人和反对种族不公正的声音。当奥兰皮旺努（Olambiwonnu）与最早的纪录片打电话时，世界完全相交了，而奥耶洛（Oyelowo）渴望帮助塑造这部电影的故事。他也将自己视为激进主义者。”他谈到要约时说。 “只是感觉就像是某种东西，我不仅无法逃脱 - 我并不是特别想逃脱 - 但不知何故，有一个神圣的呼吁，要成为继续展示这种不公正现象的一部分。” Olambiwonnu来了在类似情况下制作纪录片Ances说，他觉得在看到布朗死后不久后不久就被打电话到弗格森，尽管没有人在该地区，我的妻子当时已经怀孕了七个月，我们的儿子现在已经六岁和六个月半年后，这向您展示了我们从事这部电影的工作时间，”电影制片人解释说。 “不幸的是，这确实引起了我的共鸣，因为我19岁那年就被警察逮捕和框架。然后。”“即使我能够从我的记录中删除这些指控，但这给我留下了不可磨灭的印记，”他继续说，这是他意识到世界视为非裔美国人和所有人的时刻该名称随附的污名和刻板印象。 “我忍不住想，迈克尔·布朗（Michael Brown因此，作为准父亲，奥兰皮旺努（Olambiwonnu）决定为他的儿子描绘出关于黑人未来的新叙事。在悲剧中找到希望，爱与美丽。您可以在痛苦中找到目的。”他说。 “我实际上只是和我的一个朋友，摄影师杰里·亨利（Jerry Henry）抓住了相机，一旦我的妻子允许，我们尽快飞出。与弗格森公民进行采访。他最早的电话是布朗的基金会，但试图到达布朗家庭进行采访的尝试不断干燥。取而代之的是，这两个人在当地的一家炸餐厅偶然遇到了偶然的事。“我们的关系的开始是在炸鱼周围，” Olambiwonnu笑着说。 “我跳下座位，跑了起来并与他们交谈，他们允许我获得第一个间隔IEW。这些年来，这导致了所有其他随后的访谈，并与他们共度时光。与迈克共度时光真是一种荣幸和荣幸。他解释说：“我真的在情感上感动了，因为我无法想象家庭经历了什么。” “对于他们来说，要说，‘嘿，您可以与我们共度时光。您可以进入我们的房子。’他们让我在这一切中拍摄他们的拍摄，这确实是向我搬到我家中，也是一份宝贵的礼物。对于Doc来说，Olambiwonnu的相机跟随Brown和他的家人，父亲在那里谈论他的儿子，还将他带回了儿子被杀的地方。布朗谈到现场时说：“除非每年纪念一次，否则去零。 “我在坟墓上得到我的和平。我去哪里没有人去。当我和他放心时，我坐在坟墓上。我能够说话，拿出我想在个人层面上说的话。他在媒体上如此普遍的人。“似乎唯一的动作针对人们的始终如一，人们坚持不懈地认为，人们再对我们的人性有了真正的洞察力和对我们的人性的实际见解。” “我能做到的唯一方法就是在塞尔玛桥上，因为金博士及其同伙们在准备好将我们的野蛮化的摄像机策划在那里。当乔治·弗洛伊德（George Floyd）被谋杀时，摄像机碰巧发生了。这就是我们的人类突然在您脸上足够的重点，以至于您感到需要移动。我们对这部纪录片的做是对同一件事的另一项尝试。”“不幸的是，这使我们被视为残酷，”他继续说道。 “需要片刻的人看起来像我们，谁不是我们来自哪里，也没有我们不得不忍受的衰弱历史，因为他们看到了父亲，而不仅仅是一个黑人，而且父亲 - 应对失去儿子。他们看到一个成年男子被一名愤慨，反抗的白人警察慢慢谋杀，他随便膝盖脖子上膝盖。这还不包括美国妖魔化黑人的历史。“如果您看不到我们被谋杀，折磨，私刑或边缘化或残酷化，那么您得到的就是我们被犯罪，”他解释说。 “小迈克·布朗（Mike Brown）被谋杀后发生的第一件事是将他定为犯罪。乔治·弗洛伊德（George Floyd）被谋杀时发生的第一件事是将他定为犯罪。因此，我们必须始终如一地做的就是人性化。”“人性化是WH事件发生在埃德蒙·佩特斯桥（Edmund Pettus Bridge）事件发生后不久之后通过了《投票权法》，”他继续说道。 “通过那九加之后看到乔治·弗洛伊德被谋杀的时间使自己人性化，这使德里克·沙文（Derek Chauvin）被定罪。在我们从未见过正义的情况下，我们看到了那段视频和全球大流行，让我们看到正义。从他的角度来看，小迈克·布朗（Mike Brown）没有正义，因为这与他的被谋杀方式有关。 “我学会了如何接受[记忆]，而不是如此生气以至于他们结束了。但是，我的回忆太多了，我无法耗尽，所以直到死亡，我会好起来的。”他解释说。 “他改变了世界，我仍然为他而战。他的目标和遗产对这个家庭意义重大。我只是在做我应该作为父亲做的事情。” 2014年，眉头n建立了迈克尔·布朗（Michael Brown）选择的变革基金会（Michael Brown），该基金会在纪录片的一个特别有力的场景中展出，因为其他在种族暴力事件中被杀的儿童的父母聚集在一起以纪念他们堕落的家庭成员。但是，只是团结起来，或者与理解的人在一起总是一种好感觉，”布朗解释说。 “他们说我帮助他们，他们只是不知道他们已经帮助了我。因为很多人认为我还好。我想这就是我的脱身方式。”他补充说：“但是我一直告诉他们，对于世界来说，将我们视为一个单位，我们仍然站在一起，我们仍然站着很强仍然为我们的孩子争取正义。黑人。美国有机会他解释说：“真的通过看黑人的痛苦和苦难来唤醒自己。” “美国必须学习和需要学习的是黑人的韧性。尽管所有这些黑人仍然设法崛起并做了很棒的事情。”“我们刚刚在塔尔萨大屠杀的100周年纪念日 - 黑人在100年前建造了一些令人难以置信的东西，而且它被摧毁了，我们看到了那个一遍又一遍地建造和破坏，但我们继续建造。”他继续说道。 “我认为，如果人们真的将黑人视为人类，他们会说，'哇，一群令人印象深刻的人，可以经历所有这些，并且仍然能够崛起，建立，祈祷，相信相信并且仍然能够信仰。这就是美国需要看黑人的方式，而不是像罪犯或不应该在这个国家的人。ugh弗格森的缩影，因为我们都重新评估了我们对创造一个更美好世界前进的承诺。世界各地与我们站在一起的人。” Olambiwonnu说。“这种团结范围超出了种族的界限，有些人知道人类应该得到尊严，应有的权利并应得到相应的对待。这是关于我儿子和其他人的孩子的真正证明。”
Michael Brown Sr., father of Michael Brown, who was killed in Ferguson, Mo. by a police officer at age 18, has appeared in his fair share of documentaries and recorded countless interviews since his son’s death in 2014. But there was something about “Ferguson Rises,” filmmaker Mobolaji Olambiwonnu’s take on the Brown family’s story, that felt different.
“It’s giving us fathers a voice,” Brown tells Variety, joined by Olambiwonnu and the film’s producer David Oyelowo to discuss the new doc. “The media runs right to the woman -- it's okay, that's what they do -- supposed to be the strength and take it, take it, take, it. But we hurt, too.”
That’s why Brown says he is honored to be at the center of this new narrative about his son’s life, his death and how the events of Aug. 9, 2014 impacted the citizens of Ferguson, before the Black Lives Matter movement grabbed the attention of people across the country and around the world.
“My intention, particularly with the integration of Michael Brown Sr. into the story, was that we have to understand that Black men feel, that Black men have emotions, that Black men are impacted by things in the same way that we all are,” Olambiwonnu says of the doc, which debuted Tuesday at Tribeca and is part of the film festival’s Juneteenth lineup.
“Unfortunately, cinema has not done a very good job of depicting a three-dimensional Black male,” he continues. “So my intention was to make a film that spoke to that humanity, and by extension, spoke to the humanity of all the residents.”
Finding a way to humanize this Black son, his Black father and, as a result, Black men in general was a big part of the reason Oyelowo signed on to produce the film under he and his wife Jessica’s Yoruba Saxon Productions banner. Gigi Pritzker serves as executive producer on the documentary.
“It's very rare to see a Black father at the center of his pain and progress through the circumstances that so many have found themselves in,” Oyelowo says. “I’m really, really proud of the film, and it's a massive honor for us to be part of telling a story that I think needed to be told in its totality, in a more comprehensive way, than was able to be told, six or seven years ago.”
The award-winning actor and producer was already well-aware of the Browns’ story. In fact, Oyelowo had just wrapped filming Ava DuVernay’s “Selma,” in which he played Dr. Martin Luther King Jr., in the weeks before Brown was killed, and he explains that the young man’s death had a profound impact on the entire production.
“We had just made this film about the desperate fight for voting rights and the marginalization, subjugation, brutalization and victimization of Black people historically in America,” Oyelowo says. “We thought we were making a history piece that of course shines a light on today, but we wrapped on July 3 and Michael Brown Jr. was murdered on August 9 -- a murder very akin to what we saw with Jimmie Lee Jackson in the film. We had just gone through this process of showing what to be Black in America has been historically, and here we were again.”
Over the next few months, Oyelowo recalls the rise of the Black Lives Matter movement and the rollout for “Selma” moving along parallel tracks, as the actors and filmmakers spoke out in support of Black people and against racial injustice while on the film’s press tour. The worlds fully intersected when Olambiwonnu came calling with the documentary, which was in its earliest stages, and Oyelowo was eager to help shape the film’s story.
“This journey I had been through as an actor, as a man, and as someone who likes to think of themselves as an activist also,” he says of the offer. “It just felt like this was something, that I not only couldn’t escape -- and I didn't particularly want to escape -- but somehow, there is a divine calling to be a part of continuing to showcase this injustice.”
Olambiwonnu came to make the documentary under similar circumstances, saying he felt called to go to Ferguson shortly after seeing the news of Brown’s death, despite knowing no one in the area.
“My wife was seven months pregnant at the time with our son, who is now six-and-a-half years old, so that shows you how long we've been working on the film,” the filmmaker explains. “Unfortunately, it really struck a chord with me because I was arrested and framed by the police when I was 19. And as an African who came to this country and was unaware of a lot of the dynamics that took place, my big awakening happened then.”
“Even though I was able to get those charges expunged from my record, it left an indelible mark on me,” he continues, explaining that it was the moment when he realized the world looked at him as African American and all of the stigma and stereotype that have come with that designation. “I couldn't help but think when Michael Brown was killed at 18, that that could have happened to me, if my situation had turned in the wrong direction, if my encounter with police had gone wrong.”
So, as a father-to-be, Olambiwonnu decided to paint a new narrative for his son about what the future could look like for Black people.
“I want him to understand that you can find hope, love and beauty in the midst of tragedy. That you can find purpose in your pain,” he says. “I literally just grabbed the camera with a friend of mine, cinematographer Jerry Henry, and we just we flew out as soon as possible, as soon as my wife gave permission.”
Once the men had boots on the ground, Olambiwonnu began the process of setting up interviews with Ferguson’s citizens. One of his earliest calls was to Brown’s foundation, but the attempts to reach the Brown family for an interview kept coming up dry. Instead, the two men met by chance at a local fish fry restaurant.
“The beginning of our relationship was around fried fish,” Olambiwonnu laughs. “I jumped up out of my seat, ran up to and spoke to them, and they gave me permission to get that first interview. That led to all the other subsequent interviews and spending time with them over the years. It was a great pleasure and an honor to spend time with Mike.”
The documentarian gets choked up as he recalls what it was like filming with the Browns. “I get really emotionally moved because I just can't imagine what what the family has gone through,” he explains, near tears. “And for them, to say, 'Hey, you can spend time with us. You can come inside our house.' That they let me film them in the midst of all that, was really moving to me and a precious gift. It's something that I don't take lightly.”
For the doc, Olambiwonnu’s cameras followed Brown and his family home, where the father talks about his son, and also bring him back to the site where his son was killed.
“I really don't go to ground zero unless it's once a year to commemorate on Aug. 9,” Brown says of the scene. “I get my peace at the grave. I go where don't nobody go. I sit at the grave when I get a peace of mind with him. I'm able to talk, get out what I want to say on a personal level towards him.”
Oyelowo emphasizes why scenes like those are so important to include in the narrative -- it’s the unfortunate power of imagery to counteract the dehumanizing narratives about Black people that are so pervasive in media.
“The only thing that seems to move the needle is a consistent insistence that people take another look and an actual insight into our humanity,” he explains. “And the only way I can do that is on the Selma bridge, for Dr. King and his cohorts to orchestrate cameras being there at the ready to see the brutalization of us as Black people. For the cameras to happen to be on when George Floyd is being murdered. That's the point beyond which our humanity is suddenly in your face enough that you feel the need to move. Our doing of this documentary is another attempt at the same thing.”
“It unfortunately takes us being seen to be brutalized,” he continues. “It takes a moment where a person who doesn't look like us, who isn't from where we're from, and doesn't have the debilitating history that we have had to endure having to momentarily be in our shoes because they see a father -- not just a Black man, but a father -- dealing with the loss of his son. They see a grown man being murdered slowly by an indignant, defiant white policeman who casually has his knee on his neck.”
Because the examples of dehumanization of Black people are so pervasive, Oyelowo explains, there's a domino effect. And that's not including America's history of demonizing Black people.
"If you don't see us being murdered, or tortured, or lynched, or marginalized or brutalized, the thing you get instead is us being criminalized," he explains. "The first thing that happens after Mike Brown Jr. is murdered is to criminalize him. The first thing that happens when George Floyd is murdered is to criminalize him. So the thing we have to consistently do is humanize ourselves."
"Humanizing ourselves is what got the Voting Rights Act passed soon after the incident on the Edmund Pettus Bridge," he goes on. "Humanizing ourselves through those nine plus minutes of seeing George Floyd murdered is what got Derek Chauvin convicted. It took that video and a global pandemic where the Earth is brought to its knees -- the entire globe -- for us to see justice in the kind of case where we never see justice. And Mike Brown, Jr. hasn't had justice as it pertains to how he was murdered."
From his perspective, Brown feels it’s important to reflect back on the memories of his son, whether for the documentary or by wearing his old clothes.
“I have learned how to accept , instead of being so mad that they have ended. But there’s so many memories to where I can't run out, so I'll be all right til my death,” he explains. “He changed the world, and I'm fighting for him still. His purpose and his legacy means a lot to this family. I'm just doing what I'm supposed to do as a father.”
In 2014, Brown established the Michael Brown Chosen for Change Foundation, which is featured in a particularly powerful scene of the documentary as other parents of children killed in incidents of racial violence gather to honor their fallen family members.
“It's sadly how we met. But just to be united, or be around people that understand, is always a good feeling,” Brown explains. “They say I help them, they just don't know they’ve helped me. Because a lot of people think that I'm okay. I guess that's just how I come off.”
He adds: “But I tell them all the time, it's just important for the world to see us as a unit, us still standing together, us still standing strong with our head up as we still fight for justice for our children.”
It’s that resilience that not only inspired Olambiwonnu while making the film, but that the director says is key to America learning how to move towards real societal progress.
“I think the humanity of America rests with with Black people. America has an opportunity to really wake up to itself by looking at the pain and suffering of Black people,” he explains. “What America has to learn and needs to study is that is the resilience of Black people. In spite of all this Black people have still managed to rise up and do great things.”
“We just had the 100 year anniversary of the Tulsa massacre -- Black people built something incredible 100 years ago, and it was destroyed, and we see that over and over again, building and destroying, but we keep building,” he continues. “I think if people really looked at Black people as human beings, they would say, 'Wow, what an impressive group of people, to have gone through all that, and still be able to rise, to build, to pray, to believe and still be able to have faith. That's how America needs to look at Black people, instead of as criminals or as people that don't deserve to be in this country.”
More than anything though, the filmmaker hopes that audiences will understand the larger message he hopes to tell through the microcosm of Ferguson, as we all reevaluate our commitment to creating a better world moving forward.
“We have an opportunity here to make history, to stand up and transform the way in which we see Black people, and to notice that there are people all over the world who are standing with us,” Olambiwonnu says. “That that solidarity extends beyond the boundaries of race, that there are people who understand that that human beings deserve dignity, deserve rights and deserve to be to be treated accordingly. It was about really demonstrating that for my son and other people's children.”
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感谢分享啊。谢谢版主更新资源。 感谢分享，下载收藏了。最喜欢高清纪录片了。 感谢论坛提供了这么多好资源啊 谢谢楼主分享，发现宝藏了。
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