纪录片自媒体解说素材-新闻动态参考-利兹·加布斯（Liz Garbus/Liz Garbus on ‘Closure’ for Golden State Killer Survivors With ‘I’ll Be Gone in the Dark’
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0509/2940gbnrm1o02eq.jpg利兹·加布斯Liz Garbus on ‘Closure’ for Golden State Killer Survivors With ‘I’ll Be Gone in the Dark’
几天前，《我将在黑暗中消失》将在 HBO 首映，这部由六部分组成的纪录片改编自 Michelle McNamara 的同名书，讲述了金州杀手的追捕、幸存者和最终逮捕的故事还没有完成。
“如果他通过刑事司法系统的旅程有一定的结局，那么我们希望能够与我们的观众分享，”执行制片人和联合导演 Liz Garbus 告诉 Variety。
Garbus 和她的导演团队还包括 Elizabeth Wolff、Josh Koury 和 Myles Kane 编织了一个详细的故事，其中一半是在 Joseph James DeAngelo 的世界中，这位前警察于 2018 年因几十年前犯下的罪行而被捕，一半是在麦克纳马拉调查谁是肇事者的世界。麦克纳马拉的故事有一个明确的结局：作者不幸于 2016 年去世，她的书在她的消息来源和她的丈夫、演员、喜剧演员、作家和制片人巴顿奥斯瓦尔特的帮助下完成了。但迪安杰洛的命运仍然悬而未决。也许意外的是，他有望在纪录片首映时提出请求，
“无论 DeAngelo 发生了什么，对于那些好奇的人来说，这实际上只是一个程序元素。我认为这不会转移关注他们故事的六个多小时的重点，”加布斯谈到幸存者时说。“我不知道这些故事中是否有结束之类的东西，但它肯定会结束一章。”
“我将在黑暗中消失”将从 6 月 28 日开始每周发布剧集，因此制作团队有时间在需要时添加更多的结尾卡，这取决于 DeAngelo 是否真的认罪以及他收到的判决。故事没有完成的感觉对加布斯来说肯定并不陌生，她引用她 2003 年的纪录片“少女时代”作为让她觉得“无法停止拍摄”的故事，仅仅是因为它跟随年轻她回忆说，经历过少年系统然后从中出来的女性，“她们的生活变化如此之快”。
最近，她 2019 年的两集纪录片“谁杀了加勒特·菲利普斯？” 也是一个没有确定结局的故事，不是因为当她的相机停止转动时，还有太多的生命在继续，而是因为一个年轻的生命被打断了，仍然没有答案是谁做的。“如果我们有新材料，那里还有更多需要探索的地方吗？是的，我很想去跟进，”加布斯说。
但对于“我将在黑暗中消失”，Garbus 说她确实有一个“情感完整”的句子来回答她想在项目开始时提出的问题，这是对打破技巧的探索。
“这里的很多故事都是关于试图了解你无法完全掌握的人和事。巴顿谈到了他为什么要制作这部纪录片，他说，‘谁不想知道这一切你深爱的人？有很多东西是你无法捕捉的，即使你嫁给了他们。显然，乔·迪安杰洛是他周围的人不认识的人，我认为对于幸存者来说，他们被要求一生保守秘密，”她说。
制作团队深入采访了奥斯瓦尔特以及麦克纳马拉家族的其他成员和她的一些消息来源，以便通过她的报道来了解这位女士，她会如此热衷于调查悬而未决的案件。公民。他们还与 DeAngelo 犯罪的幸存者以及他的几个家人进行了同样深入的调查。
“决定挺身而出的人们，我非常尊重他们的勇敢，”加布斯说，并补充说她认为迪安吉洛的家人是“另一个故事的幸存者”。
“每部纪录片都想要自己的形状。当你接近一个项目时，你会得到一个故事的湿粘土，它并没有真正的形状，而正是通过检查这种粘土以及它的特殊之处，这种形状才变得众所周知， “她继续说。“对我们来说，拥有 Michelle 所做的所有这些采访录音，这确实是我们讲述故事的指导灯塔：我们需要拍摄什么样的视觉效果来支持音频？我认为那，而不是进来说，“好吧，我们将包括这 10 个人和这 10 件事。” 这是关于查看材料并意识到它的特别之处。”
在某些时候，团队将镜头拉回，包括他们自己与采访对象互动的镜头，就像麦克纳马拉在她自己的写作中包含她的个性和对案件的兴趣一样。加布斯说，这进一步有助于展示人们面前经常存在的界限，并打破界限。
“这也揭示了纪录片的技巧的真相，”她说。
但在一个经历大流行病的自我隔离和社会疏离的世界里，它也为一个已经很沉重的故事增添了一层额外的情感。
纪录片制片人必须从他们所扮演的角色中哄骗出私密的细节，而这通常不需要与他们坐在一个共享的空间中，即使不是那么小，交谈和分享。在“我将在黑暗中消失”中的幸存者的情况下，制作团队进入了他们的家，这在最好的一天可能需要一些说服力，但现在感觉不可能。
“我们已经完成了这个节目，我一直在剪辑另一部电影，所以自 COVID 以来我没有回到这个领域，而是采访戴着口罩或手套的人，或者我们将不得不做的任何事情感觉会很不一样，”加布斯承认。“但我确实认为有一种方法可以安全地做到这一点，因为使用文档的工作人员较少，所以我确实乐观地认为纪录片可以以非常安全的方式运行。”
大流行并不是唯一可能影响观众如何看待“我将在黑暗中消失”的真实新闻。还有一个事实是，这个故事揭示了警察部队的失败——即他们如何无法找到 1970 年代和 1980 年代加利福尼亚州发生的三种不同犯罪狂潮的责任方，包括强奸、谋杀和入室盗窃。 - 在警察改革被广泛呼吁的时候。
Garbus 指出，调查暴力犯罪只是警方日常工作的一小部分。“连环杀手是如此罕见，”她说。“而且警察所做的事情并不罕见——对有色人种的歧视如此猖獗——[这是]我们作为一个国家面临的更大问题。”
随着 DeAngelo 的案件再次出现在新闻中，由于这部纪录片以及他的潜在请求，Garbus 分享她的团队还将制作一个播客，其中包括更多来自幸存者的消息。目标始终是让他们以故事为中心，让他们掌握自己的叙述和经历。这样做在他们之间建立了同样重要的联系，Garbus 说这是该项目最有价值的部分之一。
有一个“他们聚在一起的花园派对，他们非常开放，能够相互依靠，”她谈到后来“我将在黑暗中消失”一集中的镜头。“那是一件非常美好的事情，他们一直在通过听证会。”
A few days before "I'll Be Gone in the Dark" was set to premiere on HBO, the six-part docuseries based on Michelle McNamara's book of the same name about the hunt for, survivors of and eventual arrest of the Golden State Killer still wasn't finished.
"If there is some finality in terms of his journey through the criminal justice system, then we want to be able to share that with our audience," executive producer and co-director Liz Garbus tells Variety.
Garbus and her directing team that also includes Elizabeth Wolff, Josh Koury and Myles Kane weaved a detailed tale half set in the world of Joseph James DeAngelo, the former police officer who was arrested in 2018 for crimes committed decades earlier, and half set in the world of McNamara's investigation into who the perpetrator could be. McNamara's part of the story has a definitive end: The author unfortunately passed away in 2016 and her book was finished posthumously with help from her sources and her husband, actor, comedian, writer and producer Patton Oswalt. But DeAngelo's fate was still hanging in the balance. Perhaps serendipitously he is expected to enter a plea around the premiere of the docuseries, so Garbus and her team wanted to leave room at the end of their series to include cards with the most up-to-date information possible.
"Whatever happens with DeAngelo, it's just really more of a procedural element for those curious. I don't think it shifts the focus of six-plus hours of following their stories," Garbus says of the survivors. "I don't know if there's any such thing as closure in these stories, but it definitely closes one chapter."
"I'll Be Gone in the Dark" will release episodes weekly beginning June 28, so the production team has time to add more end cards if needed, depending on if DeAngelo actually pleads guilty and what sentence he receives. The feeling of not quite being done with a story is one that is certainly not foreign to Garbus, who cites her 2003 documentary feature "Girlhood" as one that made her feel like she "couldn't stop shooting," simply because it followed young women who went through the juvenile system and then came out of it, and "their lives were changing so rapidly," she recalls.
More recently, her 2019 two-part documentary "Who Killed Garrett Phillips?" was also a tale which had no definitive end, not because there was so much life being lived beyond when her cameras stopped rolling, but because a young life had been cut short and there was still no answer as to who did it. "Is there more to explore there if we got new material? Yes, I would love to go do a follow-up," Garbus says.
But with "I'll Be Gone in the Dark," Garbus says she does have an "emotionally complete" sentence for the question she wanted to ask at the start of the project, which was an exploration into breaking down artifices.
"A lot of the storytelling here was about trying to know people and things that you can't quite grasp. And Patton talked about why he wanted to make the documentary and he says, 'Who wouldn't want to know all of this about the person you love so much? There's so much that you can't capture, even when you're married to them.' And obviously Joe DeAngelo was somebody that people around him didn't know, and I think for the survivors, they were asked to keep secrets their whole life," she says.
The production team dove deep into interviews with Oswalt, as well as other members of McNamara's family and some of her sources in order to take a journey through her reporting and get an understanding of the woman who would be so driven to investigate cold cases as a citizen. They also went equally deep with survivors of DeAngelo's crimes, and a couple of his family members.
"The folks who decided to come forward, I have enormous respect for their bravery," Garbus says, adding that she considers DeAngelo's family members "survivors of another story."
"Every documentary wants its own shape. When you approach a project, you've got this wet clay of a story that doesn't really have a shape, and it's by examining that clay and what's special about it that the shape becomes known," she continues. "For us, having all of these voice recordings of interviews that Michelle did, that was really a guiding beacon for us on how to tell the story: What kind of visuals do we need to shoot to support that audio? And I think that that, as opposed to coming in and saying, 'Well we're going to includes these 10 people and these 10 things.' It was about looking at the material and realizing what was special about it."
And in some moments, the team pulled back the lens and included footage of themselves interacting with their interview subjects, much the way McNamara included bits of her personality and interest in the case in her own writing. This, Garbus says, further aided the endeavor to show the boundaries that people often have in front of them, and break them down.
"It was revealing the truth of the artifice of the documentary as well," she says.
But in a world experiencing the self-quarantining and social distancing of a pandemic, it also adds an extra layer of emotion to an already heavy story.
Documentary filmmakers have to coax intimate details out of those they are featuring, which more often that not requires hours of sitting in a shared, even if not that small, space with them, talking and sharing. In the cases of the survivors in "I'll Be Gone in the Dark," the production team came into their homes, something which may take some convincing for someone on the best day but feels impossible now.
"We've been finishing this show and I've been editing on another film, so I haven't gone back into the field since COVID, but interviewing somebody with a mask on or gloves or whatever we're going to have to do is going to feel very different," Garbus admits. "But I do think there is a way to do it safely because with docs there are smaller crews, so I do have optimism that documentaries can operate in a very safe way."
The pandemic isn't the only real-world news that might have an affect on how audiences view "I'll Be Gone in the Dark." There is also the fact that the story shines a light on the failings of the police force -- namely how they were unable to find the responsible party for three different crime sprees, including rapes, murders and burglaries, across California in the 1970s and 1980s -- at a time when police reform is being widely-called for.
Garbus notes that investigating violent crime is such a small percent of what police do on a daily basis. "Serial killers are so rare," she says. "And it's the kinds of things that police do that are not rare -- the discrimination against people of color is so rampant -- the larger issues we're facing as a country."
With DeAngelo's case back in the news again, because of this docuseries as well as his potential plea, Garbus shares her team will also be doing a podcast that includes hearing even more from the survivors. The goal was always to center them in the story, to give them power over their own narratives and experiences. And doing so created equally important connections between them that Garbus says was one of the most rewarding pieces of the project.
There was a "garden party where they got together and they were so open and able to lean on one another," she says of footage from one of the later "I'll Be Gone in the Dark" episodes. "That was a really beautiful thing, and they've been keeping that going through the hearings."
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感谢分享啊。谢谢版主更新资源。 太好了，终于找到宝藏论坛了！ 资源真不错，感谢分享！ 资源真不错，感谢分享！
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