“养猪的高处”制作人如何讲所有黑色创意团队如何讲述非裔美国人美食的故事
‘High on the Hog’ Producers on How Their All-Black Creative Team Told the Story of African American Food
Netflix的新“ High on Hog”不仅是美食表演，历史表演或旅行表演。这是所有这些流派的快乐结合，对创造非洲裔美国食品的人的人们和地点深深地敬畏 - 进而成为美国食品。杰西卡·哈里斯（Jessica B.在此过程中，该节目揭示了非裔美国人餐桌餐厅及其与黑人历史的关系背后的故事。“高高的猪”是由热爱食品的电影制片人Karis Jagger和Fabienne Toback孵化的，他们曾担任执行制片人，并招募了“生活，动画”电影制片人罗杰·罗斯·威廉姆斯（Ross Ross Williams）直接直接。食品作家，厨师和侍酒师史蒂芬·萨特菲尔德（Stephen Satterfield）参加了该项目的第一个电视节目。在一个纪念贝宁瓦达（Ouidah）的奴隶贸易的纪念网站上，进行了饥饿的少年甜点和传统之旅，这是历史上痛苦和庆祝时刻的广阔而浓厚的镜头，并以南卡罗来纳州的传统声音预订盖切·古拉（Geechee Gullah）摇摇欲坠。“这是我们与我们的烹饪知识相关的农业知识，与这种历史和文化背景相关，我觉得这并没有被视为凝聚力故事的一部分。到目前为止，”萨特菲尔德（Satterfield）告诉《综艺》（Relevary）。从这里，萨特菲尔德（Satterfield），托克（Toback）和贾格尔（Jagger）与综艺节目谈论了他们如何接近开创性系列的制作。您如何决定围绕“猪上的高高”书籍来基于“猪”书？fabienne toback：作家杰夫·戈迪尼尔（Jeff Gordinier）给了我这本书。这是与我们对食物的热爱的美丽联系，这是非常有道理的。当我读到“高高的猪”时，有很多我不知道的信息。作为一个黑人美国人，我想“如果我不知道这一点，有多少其他人对此历史不了解？”史蒂芬，第一次举办一场演出是什么感觉？斯蒂芬·萨特菲尔德：我记得法比安伸出援手问我是否我是否知道杰西卡·B·哈里斯博士的书。我不仅知道它，而且对我的生活产生了深远的影响。我是如此的可爱支持，以至于我的思想不在我主持的空间中 - 我就像，“我希望演出发生。”因此，我花了几次对话才意识到被问到什么。贝宁和哈里斯博士的第一集 - 在那儿拍摄是什么感觉？萨特菲尔德：《纽约时报》中被描述为“非常绿色”。我认为这是真的。我制作了大量媒体。但是几乎所有这些都与我同在相机的另一侧。我只是不知道会发生什么。我只是对整个经历感到敬畏。这将永远是超现实的经历。我和一个我的知识分子和文学英雄的人在一起，这使我加剧了这一事实。您如何拍摄美食场景？这不仅仅是一个烹饪表演。这不是分步的方法，但是食物是讲述故事的组成部分。因此，贾格尔（Jagger）：杰里·亨利（Jerry Henry）是一位令人难以置信的DP，并且做得非常出色。许多地方 - 天气很热，他会花时间确保我们得到所有美丽的镜头。非洲最难忘的食物体验是什么？还有另一个场景，这些妇女在附近的当地村庄准备了食物。它们是旧食谱，是殖民地的。时髦的口味真的很有趣我以前从未有过。我试图用各种辣椒复制这种辣酱。而且我无法弄清楚。我坚信必须是辣椒的风土，因为我无法获得相同的细微差别，风味和香料概况。他们就像，“你在说什么？”没有人知道食谱，但这是他们一生的一部分，我什至不认为他们注意到世界上最特别的辣酱。第二集重点是南卡罗来纳州，海群岛和古拉·盖切（Gullah Geechee）社区 - 为什么它们对非裔美国人粮食的历史如此重要？萨特菲尔德（Satterfield）：我认为那集中最大的收获之一实际上是关于非裔美国人与美国之间的基本关系。这个故事出现在稻米的故事中。当我们LO时还可以如何建立国家的财富，[我们正在推动]反对因我们的身体，我们的身体和强行劳动而被奴役的黑人被奴役的普遍叙述。事实是，实际上我们的思想是国家财富的先驱，因为大米是很难种植的。因此，在这个故事中丢失的部分内容仅仅是关于水稻贸易在建立国家财富的重要性的完全边缘化，以及非洲裔美国人民，被奴役的非洲人如何发展，他们成长的财富不仅如此，不仅如此有了我们的身体，但主要是我们的知识。您如何决定将Geechee Gullah戒指摇动作为每一集的一部分？Toback：第二集是第一个拍摄的，戒指摇摇欲坠。然后我们意识到，除了室内乐团，教堂音乐，德克萨斯大学乐队的乐队之外，每个情节都必须拥有那首音乐作品。每个情节都必须有那些节拍。音乐是非裔美国人历史的重要组成部分。这些前殖民时期的音乐没有您可以访问的音乐，因此引入现代版本变得非常重要。这是什么样的感觉，就像由一个主要是黑人创意团队一起工作的项目吗？萨特菲尔德：这是其中的一部分生产使我马上说是。这个项目的大部分力量都是关于内容的，还有谁有代理商进行演出。我认为您所看到的 - 我们从社区中分享这些故事 - 我认为，我认为如果不完全允许我们的那些拥有生活经验的人成为这些仲裁者和解释者，我认为这是不可能的。故事，投影并反思回到世界。我认为这不会在美国或世界其他任何地方都失去黑人观众。他真的得到了我t。他带着“生命动画”，给讲述这个故事带来了如此细微的敏感性。我们不希望它将其与食物有关，而是要带来这种敏感性，以展示弹性和艺术性。他有足够的影响力和敏锐度来帮助我们做到这一点。罗杰（Roger）在那里带来了很多电影艺术，就允许空间反思而言，并非总是在说话。在斯蒂芬（Stephen）站在田野里的那个美妙的场景中，这就像要发生的事情，将要丢弃某种掘金。我们正在给您停下来。您认为动态终于开始改变了吗？萨特菲尔德：希望我能成为不断变化的动态的一部分。走着瞧。我将一生致力于食物很长一段时间。我对一代年轻的黑人孩子感到非常欣喜若狂，他们会有机会看到他们在屏幕上的相似性反映回到他们身上，并看到他们的历史给予了与我们所教导的所有其他历史相同的关心和关注，这些历史经常被珍视并经常优先考虑。尤其是在烹饪艺术的世界中，我们看到了欧洲美食的等级制度，在该等级制度的tippy顶部和法国美食。因此，我很高兴能早点跳跃，我希望还有其他人在我身后。您希望观众从该系列中脱颖而出？在美国厨房。甚至像Mac和奶酪一样简单的东西，这是如此熟悉的东西，现在它只是被重新考虑。黑色美食不是整体的。我们看到的贡献越广泛，它被孤立的孤立越少，“黑食物是不好的”。当我们看着人们填充SE时雷斯（Ries），我们非常有意。火炬从杰西卡（Jessica）传递到斯蒂芬（Stephen），您会与BJ Dennis和绿色绿色一起看到它，在每一集中，都有一种感觉，下一代需要将故事带给下一代。因此，斯蒂芬（Stephen）将把火炬传递给我的儿子，并不断地传递。“高高的猪”现在正在Netflix上流媒体。
Netflix's new "High on the Hog" isn't just a food show or a history show or a travel show. It's a joyful combination of all of those genres, shot through with a deep reverence for the people and places that were formative to creating African American food -- which in turn became simply American food.
Based on the foundational book of the same name by food historian Jessica B. Harris, the four-part series travels to Benin, West Africa, as well as around the United States, from South Carolina to Texas, Philadelphia and New York. In doing so, the show reveals stories behind the food of the African American table and its relationship to Black history.
"High on the Hog" was hatched by food-loving filmmakers Karis Jagger and Fabienne Toback, who served as executive producers and enlisted "Life, Animated" filmmaker Roger Ross Williams to direct. Food writer, chef and sommelier Stephen Satterfield took on his first TV hosting gig with the project.
From an emotional moment at a memorial site remembering the slave trade in Ouidah, Benin, to a hunger-inducing tour of Juneteenth desserts and traditions, it's an expansive and lushly-photographed view of both painful and celebratory moments in history, bookended with the traditional sounds of South Carolina's Geechee Gullah Ring Shouters.
"It's our agricultural knowledge tied to our culinary knowledge, with this historical and cultural context, which I feel just hasn't been seen and presented as part of a cohesive story. Until now," Satterfield tells Variety.
Here, Satterfield, Toback and Jagger talk with Variety about how they approached the production of the groundbreaking series.
How did you decide to base the series around the “High on the Hog” book?
Fabienne Toback: Writer Jeff Gordinier sent me the book. It was this beautiful connection to our love of food, and it made perfect sense. When I read “High on the Hog” there was so much information that I had no idea about. And as a Black American, I thought, "If I don't know about this, how many other people don't know about this history?"
Stephen, what was it like hosting a show for the first time?
Stephen Satterfield: I remember Fabienne reaching out and asking me if I knew the book by Dr. Jessica B. Harris. Not only did I know it, but it had such a profound impact on my life. I was so just effusively supportive that my mind wasn't in a space of me hosting -- I was just like, "I want the show to happen." So it took a couple of conversations before I realized what was being asked.
Karis Jagger: Stephen kept thinking that we wanted his help, but we were like, ‘No, we want more than your help, we want you.'
You shot the first episode in Benin with Dr. Harris -- what was it like filming there?
Satterfield: I was described in the New York Times as being “wonderfully green." I think it's sort of true. I've made a tremendous amount of media. But almost all of it has been with me on the other side of the camera. I just didn’t know what to expect. I was just in awe of the whole experience. It will always be a surreal experience. It was heightened by the fact that I was there with someone who was an intellectual and literary hero of mine.
How did you approach shooting the food scenes? It's so much more than a cooking show.
Toback: When Karis and I were developing this series, we were very intentional that this is not a cooking show. It's not a how-to step-by-step, but the food is an integral through-line of telling the story. So that carried through.
Jagger: Jerry Henry is an incredible DP and did a phenomenal job. A lot of those places -- it was hot and he would spend that time making sure we got all those beautiful shots.
What was the most memorable food experience in Africa?
Jagger: There was this hot sauce that was banging! And there was another scene where food had been prepared by these women in local villages nearby. They were old recipes that were pre-colonial. It was really interesting with funky flavors that I had never had before.
Satterfield: I'm going to piggyback on the hot sauce because it was so elusive. I tried to replicate this hot sauce with all kinds of peppers. And I can't figure it out. I'm convinced that it must be the terroir of the peppers that grow there because I can't get the same nuance, flavor and spice profile.
It was in every restaurant that we went to, and we would ask about it. And they were like, "What are you talking about?" No one knew the recipe, but it was so much a part of their lives, that I don't even think they noticed that they had the most special hot sauce in the world.
The second episode focuses on South Carolina, the Sea Islands and the Gullah Geechee community -- why are they so important to the history of African American food?
Satterfield: I think one of the biggest takeaways from that episode is really about the foundational relationship between African American people and the United States. That story comes out in the story of rice. When we look at how the wealth of the nation was established, [we're pushing] back against the prevailing narrative of Black people being enslaved because of our bodies, our physical beings, and being forcibly put into labor. The truth is, it was actually our minds that were the precursor to the wealth of the nation, because rice is such a difficult crop to grow. So part of what has been lost in this story is just a complete marginalization of how important the rice trade was in establishing the wealth of the country, but also how the African American people, the enslaved Africans, who grew that wealth did so not just with our bodies, but principally with our knowledge.
How did you decide to integrate the Geechee Gullah Ring Shouters as part of each episode?
Toback: The second episode was shot first, and the Ring Shouters were featured in there. And then we realized every episode had to have that musical piece in addition to the chamber orchestra, the church music, the band at Texas University. Every episode had to have those beats. Music is such an important part of African American history. There wasn't music from these pre-colonial periods that you could access, so bringing in modern versions of that became very important.
What was it like working on a project with a predominantly Black creative team?
Satterfield: It was the part of the production that made me say yes right away. So much of the power of this project is about the content, but also, who had the agency to make the show. I think that what you see -- us sharing these stories from our communities -- is a level of care and sensitivity that I don't think would have been possible without completely allowing those of us with the lived experience to be the arbiters and interpreters of these stories, to project and reflect back into the world. I don't think it's something that will be lost on Black viewers, either in the U.S. or anywhere else in the world.
Toback: We were so lucky to partner with Roger. He really got it. With "Life Animated," he brought such a nuanced sensitivity to telling that story. We didn't want it to make it just about food, but also to bring that sensitivity, to show the resiliency and the artistry. He had enough of the clout and an acumen to help us get this made.
There's a lot of film artistry in there that Roger brought to the table, in terms of allowing space to reflect, where it's not always talking. In that wonderful scene where Stephen is standing in the field, it's like something's going to happen, some sort of nugget is going to be dropped. And we're giving you a pause to kind of take it in. That's Roger.
Until recently, many food and travel shows have featured a lot of white guys traveling around the world. Do you think that dynamic is finally starting to change?
Satterfield: I hope I am a part of the changing dynamic. We'll see. I've dedicated my life to food for a really long time. I'm so ecstatic for a generation of young Black children who will have the opportunity to see their likeness on the screen reflected back to them, and to see their history given the same care and attention as all of the other histories that we are taught to value and often prioritize. Especially in the world of culinary arts, we see a hierarchy with European cuisine at the very top and French cuisine at the tippy top of that hierarchy. So I'm happy to jump in early and I hope there are others who are right behind me.
What are you hoping that audiences take away from the series ?
Jagger: I would hope that people see the contributions that African Americans and Blacks have had on the American kitchen. Even something as simple as mac and cheese, which is something so familiar, now it's just being reconsidered. Black cuisine is not monolithic. The broader we see our contribution, the less it gets siloed into, "Black food is bad."
Toback: There's a very high level of activism in regard to telling our story. When we were looking at people to populate the series, we were very intentional.
Jagger: There's also a really beautiful thing of passing the torch and I think that was part of the beauty of having Stephen. There was a passing of the torch from Jessica to Stephen and you see it with BJ Dennis and the greens, and in every episode, there's a feeling that the next generation needs to take the story to the next generation. So, Stephen will pass the torch on, hopefully to my son, and on and on and on.
"High on the Hog" is streaming now on Netflix.
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发表于 2022-7-5 08:56:04
发表于 2022-12-16 21:56:06