《纽约时报》如何将其OP-DOCS系列建立在非小说类电影的颁奖典礼上
How the NY Times Built Its Op-Docs Series Into an Awards Pipeline for Nonfiction Films
十年前，《纽约时报》开始了一项实验，将简短的纪录片纳入其意见部分，并迅速成为HBO纪录片的替代品，当时是最突出的简短纪录片分销商，并随着这些短暂的市场而增长在第一个十年中，非小说类电影。ErolMorris，Jessica Yu和Alex Gibney为“纽约时报：OP-Docs”的短裤做出了成立的年份，从那时起，其阵容就扩大到包括Garrett Bradley和Laura Poitras，他们扩大了各自的股份Op-Docs成为了奥斯卡选民受到青睐的功能：Poitras的Oscar获奖纪录片“ CitizenFour”诞生于“ The Program”（2012年），而Bradley的Oscar提名的“ Time”从她的2016年OP-DOC Short中脱颖而出。 “独自的。”过去两年中，有四个OP-Docs短裤获得了奥斯卡提名，包括“步行跑步Cha-Cha”和“协奏曲是一场对话”，该计划的文档也收到了Emmy和皮博迪的认可。最近，本·普罗德福特（Ben Proudfoot）的“篮球女王”（The Beele of Basketball）在第六届年度评论家选择纪录片奖中获得了最佳短片纪录片。。“纽约时报：OP-Docs”与圣丹斯电影节屡获殊荣的短片“不要告诉你的妈妈”在9月发行Short。但是，《纽约时报》的编辑努力解决了它的最佳方法。目的是在保持新闻机构严格的同时增加意见部分的声音。“在我开始之前，有一个问题：‘应该在摄像机上拍摄专栏作家吗？”回忆起纽约时报的观点视频的前委托编辑Jason Spingarn-Koff，他启动和监督该计划从2011年到2015年。他没有让他们阅读自己的专辑，而是提出了另一个建议。“我提出的是，我相信的是，电影制片人可以使用他们的媒介，视觉语言和他们的媒介创造力，贡献非常有影响力的工作，可能像书面的专栏一样令人兴奋和有影响力，但这些都是电影。莫里斯（Morris），海蒂·尤因（Heidi Ewing），雷切尔·格雷迪（Rachel Grady），斯坦利·纳尔逊（Stanley Nelson），露西·沃克（Lucy Walker）和罗杰·罗斯·威廉姆斯（Roger Ross Williams）将具有挑战性。在该计划于2011年下半年发布之前，HBO的纪录片是试图从短裤转变为可以争夺奥斯卡奖的电影制片人的天堂。对他们有什么价值？”他回忆起。 “我们没有那么多钱，所以有一个论点是，如果他们合作ULD有时会改编他们已经为另一个项目制作的镜头，他们可以为《纽约时报》制作独特的电影，吸引大量的观众，这将有助于推进他们的工作。潘妮·莱恩（Penny Lane）和布莱恩·弗莱（Brian L.这部四分钟的电影被归类为实验纪录片，由总统理查德·尼克松（Richard M. Nixon）的助手在赢得难以捉摸的多数席位的竞选期间拍摄的档案录像组成。埃罗尔·莫里斯（Errol Morris）的六分钟“伞形人”（The Umbrella Man）讲述了一个男人在扎普鲁德（Zapruder）电影中出现在总统约翰·肯尼迪（John F. Kennedy）的暗杀期间，是该系列的下一部电影。进行了出色的正式实验，同时还拥有适合《纽约时报》的事物，并且还将具有新闻完整性。RK Times的工作人员，但他们的短裤（而不是新闻，旗帜）像印刷文章一样被审查。正如前OP-Docs的前高级制片人Lindsay Crouse》（Lindsay Crouse）负责事实上检查了一系列这些数组产品。她回忆说，“我们发表的每部电影都与《时报》发表的任何其他作品都保持在同一新闻学上。因此，在我在Op-Docs上的很多时间里，我负责审查每部电影以透明，审查不同人的身份，遍历每个场景。” “每个纪录片制片人都有一个不同的过程。她指出，这是我们真正认真对待的事情 - 将所有这些不同的流程带入时代的标准。真的是Serio她说：” “当我们经历每个场景时，最重要的是要问他们，‘这是真实的吗？’‘这是重演吗？’，并且与听众尽可能透明，以便没有人误解任何东西。这是巨大的自由和许多真正令人兴奋的机会。关于作家和神学家约翰·赫尔（John Hull）不断恶化的愿景的12分钟的简短，在2014年的圣丹斯电影节中被接受。观众。”凯瑟琳·林戈（Kathleen Lingo）说，他从2013 - 2018年开始从事该系列赛的工作，在Spingarn-Koff 2015年出发后运行了三年。 “那是E我们与之合作的Ditors始终坚持 - 人们不应该感到被欺骗。因此，在“失明笔记”的开头，有一张卡说演员的卡。凭借与观众的清晰度，您可以采取巨大的创造力，永远不会失去信任。我认为这是一个很大的差异，在电影制片人正在做出的创意决定的其他纪录片和其他纪录片之间仍然存在很大的差异。电影中没有什么可以揭示出来的。布拉德利（Bradley）赢得了2017年圣丹斯电影节简短陪审团奖的13分钟短标题“孤独”，赢得了2017年圣丹斯电影节简短陪审团奖，遇到了西比尔·福克斯·理查森（Sibil Fox Richardson）（又称福克斯·里奇（Fox Rich）），他花了二十年的时间为丈夫从PRI中释放而战斗了二十年儿子。她将成为布拉德利（Bradley）专题文档“ Time”的主题，该备件已于今年早些时候提名为奥斯卡金像奖。“该计划”，这导致了她获得奥斯卡奖的纪录片“ Citizenfour”。“劳拉正在采访国家安全机构举报机构，我们做了一篇关于这个人提出的关于家庭间谍计划的令人难以置信，令人震惊的启示的文章，”Spingarn-Koff说。“那部电影是由一个叫爱德华·斯诺登（Edward Snowden）的人看的，他与劳拉（Laura）接触，开始了这种关系，改变了世界并导致了'Citizenfour。兰斯·奥本海姆（Lance Oppenheim）做了反面：他从“某种天堂”的文档中左转了有关佛罗里达州一个退休村庄的文档的镜头，变成了“隔壁的天堂”，与今年早些时候首次亮相的八分钟的短缺。与此同时，布朗文·帕克·霍德斯（Bronwen Parker-Rhodes）自2019年以来已经导演了三件OP-DOCS短裤：“出生后”，“更年期故事”和“ Just Girls”，后来将于12月发布。7.这三部电影都探索了女人与身体的关系发生变化的女性生活中的关键时刻。虽然Parker-Rhodes并没有收到大量支票来制作每个文档，但每个短裤的影响力被证明是另一种付款方式。Parker-Rhodes。“这么多女人在'更年期故事'之后向我发送了蓝色的电子邮件。这是那部电影中最神奇的事情。这部电影中正在经历的一个主题中，经历了更年期的早期妇女，他们感谢我，并告诉我她们终于感到被看见了。这是制作这部电影最有意义的事情。他对OP-DOC短裤的反应一直是该系列的关键组成部分。 Spingarn-Koff说：“因为这是专栏文章的延伸，我们需要拥有不仅有趣的电影，而且还需要对他们进行对话。” Spingarn-Koff说。根据“ OP-DOCS”系列的现任负责人克里斯汀·凯彻（Christine Kecher）的说法，在国际上扩大了电影制片人的网络，克里斯汀·凯彻（Christine Kecher）于2021年1月加入了《泰晤士报》。凯彻。 “两者在美国地区，都看到我们从未去过的国际市场和节日。 Op-Docs在出版国际电影方面拥有非常悠久的历史，并且能够做到这一点，这是行业中的奢侈。该倡议还促使娱乐业认真对待简短的文件。我们开始了OP-DOC，很少有Doc短裤市场的市场，” Spingarn-Koff说，“因此，当《纽约时报》与OP-Docs一起出现时，这很陌生。但是今天您有Netflix，《纽约时报》，《纽约客》，MTV纪录片，A＆E，《卫报》，ESPN和视野都制作了简短的纪录片。添加。“他们背后有真正的钱。人们可以赚取短裤的实际费用。（上面，从左顺时针顺时针：加勒特·布拉德利（Garrett Bradley）的“孤独”，布朗温·帕克·鲁霍德斯（Bronwen Parker-Rhodes）的“更年期故事”，托帕兹·琼斯（Topaz Jones）和橡胶带的“不要告诉你的妈妈”，而本·普罗德福特（Ben Proudfoot）的“你的妈妈”的“篮球女王。”）
Ten years ago, the New York Times embarked on an experiment to incorporate short documentary films into its opinion section and quickly established itself as an alternative to HBO Documentary Films, then the most prominent distributor of short documentaries, growing along with the market for these short nonfiction films in its first decade.
Errol Morris, Jessica Yu and Alex Gibney made shorts for “New York Times: Op-Docs” its inaugural year and since that time its roster has expanded to include Garrett Bradley and Laura Poitras, who expanded their respective op-docs into features that garnered favor with Oscar voters: Poitras’ Oscar-winning documentary “CitizenFour” was born out of “The Program" (2012), while Bradley’s Oscar nominated “Time” grew out of her 2016 op-doc short titled “Alone.” Four op-docs shorts have received Oscar nominations, including “Walk Run Cha-Cha” and “A Concerto Is a Conversation” the past two consecutive years, and the program’s docs have also received Emmy and Peabody recognition. Most recently Ben Proudfoot’s “The Queen of Basketball” was awarded best short documentary at the sixth annual Critics Choice Documentary Awards.
Its library includes 370 films that were either commissioned or acquired at various stages of production. “New York Times: Op-Docs” partnered with the filmmakers behind the Sundance Film Festival award-winning short “Don’t Go Tellin' Your Momma” to release the short in September, for example.
Before launching the program in late 2011, however, New York Times editors grappled with the best way to get it off the ground. The goal was to increase voices in the opinion section while maintaining the news organization’s rigor.
“Before I started, there was a question: ‘Should op-ed writers be filmed on camera’?” recalls Jason Spingarn-Koff, former commissioning editor for opinion video at the New York Times, who launched and oversaw the program from 2011 to 2015. Rather than having them read their op-eds, he had another suggestion.
“What I was putting forward instead, and what I believed, is that the filmmakers could use their medium, their visual language and their creativity to contribute very impactful work that could be as exciting and as impactful, as a written op-ed, but these would be films,” says Spingarn-Koff, now director of original documentary programming at Netflix.
But he knew convincing established filmmakers like Morris, Heidi Ewing, Rachel Grady, Stanley Nelson, Lucy Walker and Roger Ross Williams to make an op-doc would be challenging. Prior to the program’s launch in late 2011, HBO’s documentary arm was a haven for filmmakers seeking to move from shorts to feature films that could compete for an Academy Award.
“There was a big question: Why should esteemed filmmakers do this? What’s the value to them?” he recalls. “We didn't have that much money, so there was an argument that if they could sometimes adapt footage that they had already been working on for another project, they could do a unique film for the New York Times, get a huge audience, and that would help advance what they were doing. It took time to build up that trust in the community.”
Penny Lane’s and Brian L. Frye’s “The Silent Majority” was the first op-doc offering. Categorized as an experimental documentary, the four-minute film consists of archival footage filmed by President Richard M. Nixon’s aides during his campaign to win an elusive majority. Errol Morris’ six-minute “The Umbrella Man,” about a man that appears in the Zapruder film during the assassination of president John F. Kennedy, was the next film in the series.
“From the beginning we were trying to show this range of great formal experimentation while also having things that feel appropriate to the New York Times and would also have journalistic integrity,” says Spingarn-Koff.
Op-doc filmmakers are not members of the New York Times staff, but their shorts, which run under its opinion, not news, banner, are vetted just like a printed article.
As the former senior producer of op-docs, Lindsay Crouse was in charge of fact checking a wide array of these offerings. She recalls that there was “a lot of pressure on us to ensure that every single film that we published was held to the same journalistic rigor as any other piece that the Times would publish. So for a lot of my time at op-docs I was in charge of vetting each film for transparency, vetting the identities of different people, going through each scene,” explains Crouse, who now serves as a senior editor at the Times’ opinion section.
“And every documentary filmmaker has a different process. So that's something that we took really seriously -- bringing all of these different processes up to the standards of the Times.”
Being part of the Times’ opinion section allowed for “wide creative latitude and flexibility,” she points out.
“I took that really seriously in terms of really enabling filmmakers, no matter who they were or what their approach was, to be as creative and flexible with the medium as possible,” she says. “What was most important as we went through every scene, was to just ask them, ‘Is this real?’ ‘Is this reenacted?’ and to be as transparent with our audience as possible so that no one was misinterpreting anything. With that came tremendous freedom and a lot of really exciting opportunities.”
The first op-doc to incorporate actors into a film was Peter Middleton and James Spinney’s “Notes on Blindness.” The 12-minute short about the deteriorating vision of writer and theologian John Hull was accepted in the Sundance Film Festival in 2014.
“What it really comes down to for the op-docs team when you’re taking any creative leaps is the contract with the audience,” says Kathleen Lingo, who worked on the series from 2013-2018, running it for three years following Spingarn-Koff’s 2015 departure. “That was something that the editors who we worked with always insisted on -- people should not feel tricked. So in the beginning of ‘Notes on Blindness,’ there’s a card that says actors are used. With that clarity with the audience, you can then take huge creative leaps and never lose their trust. And I think that is a big difference that remains between op-docs and other documentaries where there’s creative decisions that the filmmakers are making.”
If you ask other documentary filmmakers about creative decisions they’ve made, “they'll tell you, but there’s nothing within the film that reveals it,” observes Lingo, who now serves as the editorial director for film and TV at the Times.
The nonfiction series has also served as a conduit for filmmakers to explore bigger stories. While making a 13-minute short titled “Alone,” which won the 2017 Sundance Film Festival short form jury award in nonfiction, Bradley met Sibil Fox Richardson (a.k.a. Fox Rich), who spent two decades fighting for her husband’s release from prison. She would become the subject of Bradley’s feature docu “Time,” which was nominated for an Academy Award earlier this year.
Poitras, meanwhile, came into to contact with Edward Snowden after he saw her op-doc entitled “The Program,” and that led to her Oscar-winning documentary “CitizenFour.”
“Laura was interviewing a National Security Agency whistleblower, and we did a piece about this guy putting forward this incredible, shocking revelation about a domestic spying program,” says Spingarn-Koff. “That film was seen by a guy named Edward Snowden, and he reached out to Laura and began this relationship which changed the world and led to ‘CitizenFour.’ That showed the filmmaking community as well as the world that op-docs could have a lot of impact.”
Lance Oppenheim did the reverse: He turned left over footage from his “Some Kind of Heaven” feature doc about a retirement village in Florida into “The Paradise Next Door,” an eight-minute short that debuted earlier this year.
Bronwen Parker-Rhodes, meanwhile, has directed three op-docs shorts since 2019: “After Birth,” “Menopause Stories” and “Just Girls,” the later set to release Dec. 7. All three films explore the pivotal moments in a woman’s life where her relationship with her body changes. While Parker-Rhodes did not receive large checks to make each doc, the reach each short had proved to be a different form of payment.
“The response that I got from both ‘After Birth’ and ‘Menopause Stories’ was crazy,” says Parker-Rhodes. “So many women emailed me out of the blue after ‘Menopause Stories.’ That was the most amazing thing about that film. So many women going through early menopause, which one of the subjects in the film is going through, were thanking me and telling me that they finally felt seen. That was the most rewarding thing about making that film.”
The response to op-doc shorts has always been a key component of the series. “Because it was an extension of op-eds, we needed to have films that were not just interesting, but films that would actually have dialogue around them,” Spingarn-Koff says.
The same approach applies today, but there’s even more focus on broadening the network of filmmakers internationally, according to current head of the "Op-Docs" series, Christine Kecher, who joined the Times in January 2021.
“At the moment we're really focusing on expanding our network of filmmakers geographically,” says Kecher. “Both regionally in the U.S. and seeing what international markets and festivals we've maybe never been to before. Op-docs has a really strong history in publishing international films and it’s a luxury in the industry to be able to do that.”
The short films are posted on the New York Times’ homepage and YouTube channel. The initiative has also spurred the entertainment industry to take short docus seriously.
“When we started op-docs, there was very little of a market for doc shorts,” says Spingarn-Koff, “So when the New York Times came on the scene with op-docs it was very foreign. But today you have Netflix, the New York Times, the New Yorker, MTV Documentary Films, A&E, the Guardian, ESPN and Field of Vision all making short documentaries.
“It has become a professionalized competitive field, which is really exciting,” he adds. “There's true money behind them. There are actual fees that people can earn to make shorts. It's a completely transformed landscape.”
(Top, clockwise from left: Garrett Bradley's "Alone," Bronwen Parker-Rhodes' "Menopause Stories," Topaz Jones and Rubberband's "Don't Go Tellin' Your Momma," and Ben Proudfoot's "The Queen of Basketball.")
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发表于 2022-7-5 03:09:58
发表于 2023-10-31 23:07:12