纪录片自媒体解说素材-新闻动态参考-丽兹·加布斯（Liz Garbus/Liz Garbus Dissects Parallels Between ‘The Handmaid’s Tale’ Season 4 Finale and ‘I’ll Be Gone in the Dark’
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0508/3018ya5qnbipl0d.jpg丽兹·加布斯（Liz Garbus
Liz Garbus Dissects Parallels Between ‘The Handmaid’s Tale’ Season 4 Finale and ‘I’ll Be Gone in the Dark’
扰流板警报：如果您还没有看过“ handmaed's Tale”的第4季大结局，请不要阅读，现在在Hulu.Writer，制片人和导演Liz Garbus宣布反对死刑，她在此类纪录片中探讨了这一点作为“ Wanda Jean的处决”，其历史可以追溯到2002年。然而，对于她的脚本电视导演的处女作，Hulu的《 Handmaid's Tale》的第四季大结局，她发表了一个句子，虽然这一想法。我拥有更大的原则，”加布斯告诉各种各样的“它们非常不同。”当然，最大的区别是“女仆的故事”是虚构的，并且在某些方面是梦幻般的 - 并没有着手验证这种情况报应犯罪。在这一集中，前吉利德指挥官弗雷德（约瑟夫·费恩斯）题为“荒野”，削减了一项协议，以解决有关新“政府”如何运作的秘密，以回报他认为这将是他的自由。相反，他是在没有人的土地上放下，现在是名义上的，现在是前女仆June（Elisabeth Moss），Emily（Alexis Bledel）和吉利德（Gilead）的其他许多难民。六月希望他能像她穿过树林试图逃脱吉利德时感到害怕，告诉弗雷德跑步。他这样做了，但他只在远离，跌倒和妇女躺在他的情况下才赚到几百英尺。“国家批准的谋杀案有趣的是，由于我们的司法制度，死刑必须经过如此多的上诉当一个家庭能够体验它的时候，无论宣泄应该是多年后，他们都不会为他们做到这一点。”加布斯说。 “我认为，当您谈论六月的圣经复仇时，这是完全不同的，这是非常直接的，这是对她的。”她的脚本电视导演在“女仆的故事的故事”季节中首次亮相，遵循她的脚本片段，去年，Ebut（“失落的女孩”）。她回忆说，“女仆的故事”项目在2020年秋天到达了她，尽管事实上，这让她沉迷于幸存的创伤的故事，这让她感到兴奋。我将在黑暗中走。 。她还涉及“全力以赴：民主之战”，关于选民镇压努力，当时发起并正在研究“阴谋”，关于反犹太主义。她广泛的纪录片Résumé包括有关该主题的其他此类真正的犯罪项目，包括“农场：美国安哥拉，美国”，谁杀死了加勒特·菲利普斯？”和“无罪档案”。进入“女仆的故事”是一个探索的机会，“足够了？”在康复过程中。 Garbus从经验中知道每个真实的人的答案都不一样，也不是“女仆”上的每个虚构人物。它在您的生活中拥有更多的力量。那是Moira的方法，”她说。 “对六月和艾米丽来说，足够了。来到她的面前。但是，由于节目主持人布鲁斯·米勒（Bruce Miller）在页面上没有写很多舞台指导，因此她还观看了第四季的镜头，以真正研究角色前往新位置时风格变化的微妙变化。她能够获得前三集，但随后，她会看着日报。总部位于多伦多的直接设置意味着到达加拿大后有必要的14天隔离期（由于19号大流行健康和安全方案）。在那段时间里，她与各个部门举行了很多缩放会议，从制作设计和服装到与摄影总监交谈，与米勒举行“预先”的语调会议，并与莫斯和菲恩斯交谈，讨论他们俩都会成为他们的繁重。在情感上，当被问到这一集中。尽管这项工作对于沉浸在节目的世界中很重要，但由于她在HBO系列中有关金州杀手的工作，她精通了主题材料。威尔说，我对“我将在黑暗中走开”的经历与强奸犯，他们的幸存者对这些对话非常有帮助。” “该节目的顾问正在谈论有关创伤和幸存者的这些问题 - 该节目在那里为任何董事提供了所有这些资源 - 但我刚刚来的事实f了解所有这些幸存者并理解他们的触发点以及创伤表现出意外的方式[像]，道歉感觉如何？实际上，Garbus实际上在进行了“我将在黑暗中走了”（6月21日在HBO上首映）的特别后续插曲，同时准备在“女仆的”中。 （“当我结束隔离时，我们对HBO进行了粗暴对待。”她说。）这一集探索了约瑟夫·詹姆斯·迪安格洛（Joseph James Deangelo）的犯罪的幸存者的发展，并利用他的判决内的录像，他道歉并承认内gui。 “在某些方面，”加布斯说，这几乎更糟。如果他所做的只是走进那儿说：“我在听到声音，他们告诉我要这样做。我一生的一部分。”但是，如果您实际上看到他的行为像是一个对不起的人，那真是太糟糕了，可能会重新塑造。我要说的是，我确实与Lizzie分享了我认为对我们俩真的很有帮助的一件事。在这样做时，他告诉她，因为他现在要当父亲，他了解她失去自己的女儿一定是什么样的。他自己的温和试图道歉为他的某些罪行道歉，最终有助于六月巩固她的计划。“六月正在寻找她将要做的事情和适合她的事情，我认为这是她知道的时刻，'你不持久。我要弄清楚如何使您失望。” “考虑到我与幸存者的经历，并不是所有人，而是一些。”在情感上，这在情感上是真实的。”为了使这个故事围绕幸存者，即使在弗雷德的最后时刻，加布斯也确保加布斯确保将6月和艾米丽的脸重点放在现场。 “希望在那里有片刻，您会感到弗雷德的辞职，例如，‘是的，我有这个g。’深处知道他为自己制作了这一弧线，他认为他正在创建一个更善良，更温和的指挥官，但是知道您必须成为这也意味着您也知道您已经委屈，因此应受到惩罚。这是弗雷德（Fred）性格的重要时刻，但对我来说，有一种狂喜的脸，对我来说，这完全放弃了，完全解放，完全自由。”她说，这也部分是，因为这一集也以“控制和抛弃”为主题，所以加布斯继续进行。首先是闪回六月在吉利德（Gilead）的时间，当时她不得不和弗雷德（Fred）在耶洗别尔（Jezebel）跳舞，好像没有错。 Garbus指出，她还必须控制自己的情绪，但她也必须控制自己的情绪，这是“与弗雷德（Fred）末尾的挽救相反”的时刻。 “这些是控制和抛弃的极线，它们牵着手；这两个场景本质上是心理联系的。”Garbus指出，有人会经历这种创伤，实际上可以采取行动或对此采取行动，可能会有另一种损失，“您已经做到了，现在剩下什么？现在怎么办？”那是“女仆”的第四季离开六月的地方，因为“这不再是关于'我该怎么办？ ”是为幸存者而言。迪安格洛（Deangelo）被判处多次判处无期徒刑，没有假释的可能性，希望他所碰到的生活最终可以感觉到一种正义感。这是加布斯高管（Garbus Executive）产生的特别情节，但Ep Eper Elizabeth Wolff被指挥，也挖掘了Digs digs digs。更深入地研究了伊利诺伊州橡树公园（Oak Park）的凯瑟琳·伦巴多（Kathleen Lombardo）的1984年未解决的谋杀案，这就是使麦克纳马拉（McNamara）开始对她真正犯罪的兴趣开始的情况。 '加入它。我们不断挣扎并将其粘在这里，将其粘在那里，但想要更多的时间。因此，我们认为我们可以在播客中做到这一点，但是后来我们确实与凯西的兄弟[克里斯]建立了这种关系，我们只是想：“米歇尔想要什么？”，而米歇尔会想要 - 就像她对gsk一样 - 这个案件要宣传并说“继续前进”。我们确实知道这个故事还有很多 - 这些其他相关案件仍未解决，可能还有更多的受害者。”相关案件是格蕾丝·普塞蒂（Grace Puccetti）的案件，她距离她的家仅数分钟路程，但他的故事讲述了她的故事。她的家人一开始不想讨论它，但是多年来情况发生了变化，Puccetti与“我将在黑暗中”团队坐下来参加特别情节的采访。“有这些互锁的主题在格蕾丝·普切蒂（Grace Puccetti）和抛弃羞耻和公开谈论这种创伤的想法之间。只是感觉，‘好，这是ho我们可以讲凯西的故事 - 因为我们也找到了恩典。” Garbus承认，将其他Internet侦探和记者召集其他互联网侦探和记者进行调查的固有目标。“我们知道Michelle在L.A.杂志的故事和这本书中能够完成什么，这只是为了在这些情况下保持压力和聚光灯。因此，这确实是为了继续激发世界上其他米歇尔的灵感。我们知道有很多。感觉就像是正确的敬意，希望它确实为恩典的家人和其他地方带来了更多信息。管道中的纪录片项目既是制片人和董事，包括国家地理的“ Fauci”，《国家地理》和迪士尼的“库斯托”另外，Netflix和Netflix的“ GameStop”。“对于我自己的一些项目，也许那里会有更多的光线。对真实犯罪有很多兴趣，我喜欢这些故事，我致力于这些故事，但是那里还有很多其他故事，还有一些值得庆祝的故事。”她说。
SPOILER ALERT: Do not read if you have not yet watched the Season 4 finale of "The Handmaid's Tale," streaming now on Hulu.
Writer, producer and director Liz Garbus is adamantly opposed to the death penalty, something she has explored in such documentaries as "The Execution of Wanda Jean" dating back to 2002. Yet, for her scripted television directorial debut, the fourth season finale of Hulu's "The Handmaid's Tale," she delivers an episode that carries out such a sentence.
While the idea "does go against a larger principle I have," Garbus tells Variety, "they're very different situations."
Certainly the biggest difference is that "The Handmaid's Tale" is fictional -- and fantastical in some ways -- and was not setting out to validate such retribution for a crime. In the episode, entitled "The Wilderness," former Gilead Commander Fred (Joseph Fiennes) cuts a deal to turn over secrets about how that new "government" works in return for what he thinks will be his freedom. Instead, he is dropped off in No Man's Land, where the titular and now thankfully former handmaid June (Elisabeth Moss), Emily (Alexis Bledel) and a number of other refugees from Gilead await. Wanting him to feel as afraid as she did when she was running through woods trying to escape Gilead, June tells Fred to run. He does, but he only makes it a few hundred feet before he trips, falls and the women lay into him.
"What's interesting about state-sanctioned murder is that, because of our judicial system, death penalties have to go through so many appeals that by the time a family gets to experience it, whatever the catharsis is supposed to be, they're years later it does not do that for them," Garbus says. "I think it's something very different when you're talking about biblical vengeance that June takes, which is very immediate and it is for her."
Her scripted television directorial debut on "The Handmaid's Tale's" season finale follows her scripted feature film directorial debut ("Lost Girls") just last year. "The Handmaid's Tale" project came to her in the fall of 2020, she recalls, and it was something that excited her, despite the fact that it would keep her steeped in stories about surviving trauma.
Garbus had just come off the release of "I'll Be Gone in the Dark," a HBO docuseries about the late author Michelle McNamara's attempts to figure out who the Golden State Killer was, which she executive produced and directed two episodes of (and was soon to receive a special followup episode). She also had "All In: The Fight for Democracy," about voter suppression efforts, launching at the time and was working on "The Conspiracy," about antisemitism. Her extensive documentary résumé includes other such true crime projects on the subject, including "The Farm: Angola, USA," Who Killed Garrett Phillips?" and "The Innocence Files."
Diving into "The Handmaid's Tale" was a chance for explore, "What is enough?" in the healing process. Garbus knows from experience that the answer is not the same for every real person, nor would it be for each fictional character on "Handmaid's."
"Some people's healing is about confronting that evil and beating it, and for other people it's about shutting it away and not letting it have any more power over your life. That's the Moira approach," she says. "What is enough for June and Emily is a very different thing."
To prep for "Handmaid's," Garbus went back and watched all three seasons that were streaming on Hulu, in addition to reading all nine scripts for the fourth season episodes that would come before hers. But because showrunner Bruce Miller doesn't write a lot of stage direction on the page, she notes, she also watched footage from the fourth season to really study the subtle shifts in stylistic changes as characters traveled to new locations. She was able to get the first three episodes, but then for the rest, she would watch dailies as they came in.
Having to travel from New York to the Toronto-based set to direct meant a mandatory 14-day quarantine period upon arrival in Canada (due to COVID-19 pandemic health and safety protocols). During that time she had a lot of Zoom meetings with various departments, from production design and costumes to talking to the director of photography, having an "upfront" tone meeting with Miller and talking to Moss and Fiennes about the heavy lifting they would both be asked to do, emotionally, within the episode.
Though this work was important to immerse herself in the world of the show, she came in well versed in the subject material due to her work on the HBO series about the Golden State killer.
"I will say that my experience on 'I'll Be Gone in the Dark' with rapists and their survivors was incredibly helpful for these conversations," Garbus says. "The show has consultants who are talking about these issues about trauma and survivors -- the show has all these resources there for any director -- but the fact that I had just come off of knowing all of these survivors and understanding trigger points for them and the unexpected ways in which trauma manifests itself , what does it feel like to get an apology? was so helpful."
Garbus was actually working on the special followup episode to "I'll Be Gone in the Dark" (premiering June 21 on HBO) while in prep on "Handmaid's." ("We turned in our rough cut to HBO right when I finished my quarantine," she says.) That episode explores developments for the survivors of Joseph James DeAngelo's crimes, as well as utilizes footage from inside his sentencing where he apologizes and admits guilt.
"In some ways," Garbus says, that's "almost worse. If all he did was walk in there and say, 'I was hearing voices and they told me to do it,' and he was just abjectly crazy, it's like, 'OK you're crazy, I have no chance, you ruined this part of my life.' But then if you actually see him behave like a human being who says sorry, it so woefully falls short and can be re-traumatizing. I will say that one thing that I did share with Lizzie that I think was really helpful for both of us."
Before June fully commits to killing Fred in "The Wilderness," she visits him in his Canadian cell. In doing so, he tells her because he is going to be a father now, he understands what it must have been like for her to lose her own daughter. His own meek attempt at an apology for some of his crimes ultimately helps June solidify her plans.
"June is searching for what she's going to do and what is right for her, and I think that's the moment she knows, 'You are not lasting. I am going to figure out how to bring you down,'" says Garbus. "And that rung very emotionally true, given my experience with survivors -- not all of them, but some."
To keep the story centered around the survivors, even in Fred's final moments Garbus made sure to focus the scene on June and Emily's faces. "There's hopefully a moment in there where you feel Fred's resignation, like, 'Yeah, I have this coming.' Deep down he knows he crafted this arc for himself and he thought he was creating a kinder, gentler commander, but knowing that you have to become that also means that you know you've wronged and therefore that you deserve some punishment. That was an important moment for Fred's character for me there was an ecstasy that was on their faces, and for me the emotion in that was total abandon, total liberation, total freedom," she says.
This is also, in part, because the episode also deals in themes of "control and abandon," Garbus continues. It begins with a flashback to June's time in Gilead, when she had to dance with Fred in Jezebel's as if nothing was wrong. She was being controlled, but she also had to be in control of her own emotions in the moments, which is "the polar opposite to the salvaging of Fred at the end," Garbus points out. "Those are the poles of control and abandon and they are holding hands; those two scenes are intrinsically, psychologically linked."
But after one experiences such trauma and actually gets to take action against or about it, there can be another kind of loss, Garbus notes: "You've done it and now what's left? What now?" That is where the fourth season of "Handmaid's" leaves June because "it's no longer about, 'What do I do about Fred?'" But that is also in many ways what the special episode of "I'll Be Gone in the Dark" is about for the survivors. DeAngelo has been sentenced to multiple life sentences in prison without the possibility of parole and the hope is that those whose lives he touched can finally feel a sense of justice.
That special episode, which Garbus executive produced but fellow EP Elizabeth Wolff directed, also digs deeper into the unsolved 1984 murder of Kathleen Lombardo in Oak Park, Ill., which was the case that got McNamara started on her interest in true crime.
"The Lombardo case was something we always just really wanted to get into the series and we couldn't work it in. We constantly struggled and stuck it here, stuck it there, but it wanted more time. So, we thought we could do it in a podcast, but then we did make this relationship with Kathy's brother and we just thought, 'What would Michelle want?' And Michelle would want -- just like she did with the GSK -- this case to have publicity and to say, 'Get on it.' And we really do know there's so much more to this story -- these other related cases that are still unsolved and probably more victims out there," Garbus explains.
One of the related cases is that of Grace Puccetti, who was attacked just minutes away from her home but lived to tell her tale. Her family didn't want to discuss it at first, but things have changed through the years and Puccetti sits down with the "I'll Be Gone in the Dark" team for an interview in the special episode.
"There are these interlocking themes between Grace Puccetti and the idea of casting aside shame and talking publicly about this trauma. It just felt like, 'OK, this is how we can tell Kathy's story -- because we also found Grace,'" Garbus says.
While both of these projects can help survivors see themselves reflected and hopefully help with healing, the "I'll Be Gone in the Dark" special does have an inherent goal of calling other internet sleuths and journalists to investigative action, Garbus admits.
"We know what Michelle was able to accomplish with her L.A. Magazine story and with the book -- it was just to keep the pressure and spotlight on these cases. And so, it really was just to continue to inspire the other Michelles in the world. And we know there are many. It felt like the right homage and hopefully it does bring more information to Grace's family and the others that are out there."
As for Garbus, while she says she "would love to keep directing 'Handmaid's,'" she already has quite a few documentary projects in the pipeline as both a producer and director, including "Fauci" for National Geographic, "Cousteau" for National Geographic and Disney Plus, and "GameStop" for Netflix.
"For some of my own projects, maybe there will be a bit more light in there. There's so much interest in true crime and I love those stories and I'm dedicated to them, but there are a lot of other stories out there and also things to celebrate," she says.
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非常不错，感谢楼主整理。。 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！ 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 太好了，终于找到宝藏论坛了！ 谢谢更新，天天学习，天天向上！
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