“ Wojnarowicz”：电影制片人克里斯·麦金（Chris McKim）如何在艺术家的录音带中找到宝藏
‘Wojnarowicz’: How Filmmaker Chris McKim Found a Treasure Trove in Artist’s Audiotapes
纪录片制片人克里斯·麦金（Chris McKim）正在寻找使他在特朗普政府六个月内感觉良好的东西，他想有所作为。虽然他知道纽约市中心的酷儿艺术家和激进主义者戴维·沃尼洛维奇（David Wojnarowicz），直到他开始潜入艺术家的作品直到他才意识到有一个紧迫的故事要讲述。这是与他的同时代人的评论一起编辑的，为《奇迹电影世界》（World of Wonder Film）竞争纪录片专题的考虑。麦基姆说：“在他的论文之上，还有这个人生的故事，以及他的许多论文，与艾滋病打交道，谈到了我们当时正在处理和管理的内容。” Wojnarowicz对政府如何无法控制这种流行尤其发声。麦金与艺术家伸出援手他的房地产解释说他想制作纪录片。事实证明，曾是纽约的一部分的制片人和电影制片人兰迪·巴巴托（Randy Barbato）和芬顿·贝利（Fenton Bailey），东村风光知道录像。麦基姆说：“我认为这有助于使每个人感到轻松自在。到包括音频期刊，接听机磁带，乐队排练和街头声音的200卷磁带。那时，麦基姆意识到这就是他可以将Wojnarowicz带入生命的方式。Mckim呼吁编辑Dave Stanke（两者以前曾在“ Out of of of Iraq”上合作）将这种材料编织在一起。斯坦克说，他最大的发现来自答录机磁带。“他们确实以我感到惊讶的方式使故事栩栩如生。如今，我们只是互相发短信，但是您学会了一颗宝石以摄影师彼得·侯贾尔（Peter Hujar）的形式出现，他也是沃伊纳洛维奇（Wojnarowicz）的导师，以及与他建立创造性伙伴关系的人。斯坦克说：“有彼得和戴维的姐姐帕特（Pat），他们存在于第一人称中，他们通过答案机录像带在电影中说话。”这些片段帮助叙述提供了进一步的见识，但也有助于继续叙述。斯坦克（Stanke）让观众瞥见了沃伊纳洛维奇（Wojnarowicz）的生活，以及他从前卫到惠特尼（Whitney）艺术博物馆（McKim）的表演的关注时，他的知名度和他的知名度。大卫是因为写作，以及他通过这些元素讲述自己的故事的方式。 wi它。诊断正在推动他的艺术，这是他意识到的。“这给了他目的，”斯坦克解释说。“有彼得及其写作的图像，一切都在一起。关于他对这种情况的愤怒有强有力的话，公众似乎不在乎，但也使他人性化。他说：“我们正在展示他正确地在哪里并列。但是他也以多种方式害怕，他与她谈论过，她会为此而接受吗？”
Documentary filmmaker Chris McKim was looking for something that would make him feel good six months into the Trump Administration and he wanted to make a difference. While he was aware of downtown New York City queer artist and activist David Wojnarowicz, it wasn’t until he started diving into the artist's work that McKim realized there was an urgent story to be told.
McKim found a treasure trove of Wojnarowicz’s audio journals, which were edited alongside commentary from his contemporaries, for the World of Wonder film vying for documentary feature consideration this awards season.
Wojnarowicz’s installations and performance art drew attention to the AIDS epidemic when it was at its height. “There was this life story on top of his essays, and so much of his essays, dealing with AIDS spoke to what we were dealing with and managing at the time,” McKim says. Wojnarowicz was particularly vocal about how the government was failing to control the epidemic. McKim reached out to the artist’s estate explaining that he wanted to make a documentary. As it turned out, producers and filmmakers Randy Barbato and Fenton Bailey, who were part of the New York, East Village scene knew about the footage. “I think that helped make everyone feel at ease,” McKim says.
His storytelling style was inspired by “I’m Not Your Negro,” which McKim says did a great job of using James Baldwin’s actual voice.
In total, there were close to 200 tapes of Wojnarowicz that included audio journals, answering machine tapes, band rehearsals and street sounds. It was then that McKim realized that was how he could bring Wojnarowicz to life.
McKim called on editor Dave Stanke (the two had previously worked together on “Out of Iraq”) to weave together this material. Stanke says his greatest discovery came through the answering machine tapes. “They really brought a story to life in a way that I found surprising. Nowadays, we just text that kind of information each other but you learn so much about who David's friends were and the emotions behind what they're going through.”
A gem came in the form of photographer Peter Hujar, who was also Wojnarowicz’s mentor, and someone with who he formed a creative partnership. Stanke says, “There was Peter, and David’s sister Pat, who exist in the first person, speaking for themselves in the film through the answer machine tapes.” Those snippets helped the narrative provide further insight, but also helped to move the narrative along. Stanke gave audiences a glimpse of the arts coming into Wojnarowicz’s life and a sense of his popularity as he goes from avant-garde to receiving attention for a show at the Whitney Museum of American Art.
Says McKim, “It felt like we were collaborating with David because of the writing, and the way he was telling his story through these elements.”
One key moment comes towards the end of the film, when Hujar has succumbed to AIDS, and Wojnarowicz is aware of this diagnosis, and he’s coming to terms with it. The diagnosis is fueling his art, and it’s something he realizes. “It’s giving him purpose,” Stanke explains. “There are images of Peter and his writing, and it’s all coming together. There are powerful words about his rage boiling over about the situation and the general public doesn’t seem to care, but it also humanizes him.”
Stanke intercut this moment with his sister Pat calling and leaving another message to check in on him. He says, “We were showing that juxtaposition where he's rightly so really angry. But he's also scared in a lot of ways and he has kind of talked to her about it, and will she accept him or not for that?”
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发表于 2022-7-5 03:01:23
发表于 2022-10-21 10:17:03