“伍德斯托克（Woodstock）99：和平，爱与愤怒”电影制片人希望Doc感到“像青少年的电影”
‘Woodstock 99: Peace, Love, and Rage’ Filmmaker Wanted Doc to Feel ‘Like a Teen-Slasher Movie’
7月23日是伍德斯托克（Woodstock）'99节22周年纪念日，以及一部新的HBO纪录片，标题为“伍德斯托克（Woodstock）99：和平，爱与愤怒”，将观众带回了充满暴力的三天音乐节，从庆祝活动变成了庆祝活动骚乱，抢劫和性侵犯。导演加勒特·普莱斯（Garret Price）也与阿夫纳·希洛亚（Avner Shiloah）一起担任联合编辑，并以原始的，和平与爱的伍德斯托克节（Peace and Love Woodstock Festival由诸如对机器的愤怒和li行的重型乐队组成的。带有原始伍德斯托克节的镜头打开？Garret Price：我希望它感觉像是一部90年代的青少年电影，这是一部公路旅行电影，我们倾向于当时的音乐。我希望这就像一个T恤N-Slasher电影，您有一群孩子在一个周末的放荡，饮酒，性爱，摇滚和卷。我采用了这个想法并与之奔跑。重要的是要回到1969年，设置它，并将其用作框架设备以及Woodstock和Woodstock名称周围的神话。我认为伍德斯托克（Woodstock）是如此巨大，因为纪录片本身。我觉得更多的人觉得自己在伍德斯托克（Woodstock他放在一起的第一件事，我们参加了比赛。介绍1969年的剪辑真是太聪明了，因为它只是告诉您太多的神学与现实之间的对比。该开场还介绍了音乐节的威利·旺卡（Willy Wonka）的[原始伍德斯托克联合制片人]。因此，在那之间和60年代之间的并置创造了吸引您的感觉in。档案片段令人着迷。考虑到1999年是在手机生成之前，那里有多少？价格：人们有手机。从90年代开始，与自拍照一代相比，人们可以重做和重做。我有一位令人难以置信的档案管理员，将人们在YouTube和Twitter上追捕，并在地下室发现了所有这些来源，从不同的角度讲述了他们的故事。这些孩子不是专业的电影制片人 - 正是地面上的档案靴为我们提供了一个我们从未见过的故事。人们在相机上说的话，以为它再也看不到了 - 您可以看到人们的行为有很大的不同。每个表现都必须具有超出[性能]的价值。我们都是音乐爱好者，我们本来可以花很长时间的每场演出，但是每一次需要成为讨论更深层次的问题和文化背景的启动板。无论是谈论[1999年在哥伦拜恩的大规模枪击，性侵犯还是互联网和纳普斯特的诞生，都必须通过更大的背景来证明一切都是合理的。我们必须在乐趣和想法之间找到适当的平衡 - 发动机。人们的镜头是黄金。您可以轻松地成为剪辑节目，但是拥有这个真实的镜头使其与众不同。讲述您以前没有被告知的故事最具挑战性的部分是什么？价格：您不想传教。这是为了给人足够的背景供人们思考。这是关于权衡这个节日的所有事物，无论是社会政治还是文化，以及90年代后期的时代精神中的什么。”商业会出现，我的父母坐在那里。回去思考AB是一件奇怪的事情对女性的正常行为。这也是我回去的探索，那段时间我的行为是如何行动的？这部电影的目标之一是吸引人们怀旧，然后让他们思考他们在90年代后期的行为，而不是我们现在的位置。
July 23 marks the 22nd anniversary of Woodstock ‘99 festival, and a new HBO documentary fittingly titled "Woodstock 99: Peace, Love, and Rage" takes audiences back to the violence-filled, three-day music festival that turned from a celebration into riots, looting and sexual assaults.
Director Garret Price, who also served as co-editor alongside Avner Shiloah, opens the film with scenes from the original, peace-and-love Woodstock festival before plunging into the very different 1999 version, which was headlined by heavy bands like Rage Against the Machine and Limp Bizkit.
Price and Shiloah give audiences behind-the-scenes insight through rare archival footage and interviews that help explain why the festival became known as “The day the ‘90s died.”
Why did you open with footage from the original Woodstock festival?
Garret Price: I wanted it to feel like a ‘90s teen movie — a road-trip movie, where we leaned into the music of the time. I want this to be like a teen-slasher film, where you have a bunch of kids going upstate for a weekend of debauchery, drinking, sex, rock and roll. I took that idea and ran with it.
It was important to go back to 1969, set it up, and use that as a framing device and the mythology around Woodstock and the Woodstock name. I think Woodstock is so huge because of the documentary itself. I feel like a lot more people feel like they were at Woodstock because they saw the film and felt that they were there, but I also had a lot of cultural context that I wanted to introduce throughout the film.
Avner Shiloah: That opening was the first thing that he put together, and we were off to the races. It was so smart to introduce that clip from 1969 because it just tells you so much and the contrast between theology and reality. That opening also introduces [original Woodstock co-producer] Michael Lang, the Willy Wonka of music festivals. So having that juxtaposition between that and the ‘60s created that feeling that draws you in.
The archival footage is fascinating. How much was out there, considering 1999 was before the cellphone generation?
Price: People had handicams. There is something so real from the ‘90s, versus the selfie generation now where people can redo and redo. I had an incredible archivist that hunted people down on YouTube and Twitter and found all these sources in the basements to tell their story from different points of view. These are kids who weren’t professional filmmakers — it was archival boots-on-the-ground footage that gave us a story we had never seen before. The things people were saying on camera, thinking it would never be seen again — you could see people acted very differently.
Avner, can you talk about finding the balance of interviews, archival footage and performances?
Shiloah: When I started, Garrett's mandate was that every performance had to have value beyond [the performance]. We’re both music lovers and we could have spent a long time with each performance, but each one needed to be a launchpad into a discussion of a deeper issue and cultural context. Whether it was talking about [the 1999 mass shooting at] Columbine, sexual assaults, or the birth of the internet and Napster, everything had to be justified by having a larger context.
We had to find the right balance between the fun and something thought-provoking. The footage people had was gold. You can easily become a clip show, but having this authentic footage made it unique.
What was the most challenging part of telling this story that you say hasn’t been told before?
Price: You don't want to preach. It was about giving enough context for people to think. It was about weighing out all the things that surrounded this festival, whether it was the socio-political or culture, and what was in the zeitgeist of the late ‘90s.
I remember watching TV [at the time] and a “Girls Gone Wild” commercial would come on, with my parents sitting there. It’s a weird thing to go back and think about that normalized behavior toward women. It was also an exploration for me to go back, and how did I act during that time? One of my goals with this film is to pull people in with nostalgia, and then make them think about how they acted in the late ‘90s as opposed to where we are now.
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发表于 2022-7-5 06:29:42
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