“安迪·沃霍尔日记”导演安德鲁·罗西（Andrew Rossi）与瑞安·墨菲（Ryan Murphy）合作，AI叙事和人性化艺术家
‘The Andy Warhol Diaries’ Director Andrew Rossi on Teaming Up With Ryan Murphy, AI Narration and Humanizing the Artist
安德鲁·罗西（Andrew Rossi）从小就对安迪·沃霍尔（Andy Warhol）着迷，这可能解释了为什么导演（“第一页：泰晤士报”“五月的第一个星期一”“象牙塔”）在过去的十年中工作了“安迪·沃霍尔日记，” ”六部分的纪录片借鉴了艺术家的死亡日记同名日记。日记从1976年到1987年通过电话给帕特·哈克特（Pat Hackett），于1989年出版，曾在沃霍尔（Warhol）去世两年后出版。在纪录片中，罗西（Rossi）编织了由人工智能创建的沃霍尔叙事，以及与约翰·沃特（John Water）和罗布·洛（Rob Lowe）这样的档案录像和静坐访谈。瑞安·墨菲（Ryan Murphy）制作的Netflix纪录片将于3月9日首次亮相，追溯了沃霍尔（Warhol）穿越时代的旅程，作为艺术家，电影导演，出版商，电视制片人，乐队经理，场景制作者和名人。刺穿沃霍尔的神话为“白色假发下的绝育外星人”。你乞求在2011年完成了您的专题纪录片《第一页：内部时报》之后，该项目的工作。沃霍尔和这本书对您很感兴趣？我是双性恋的，当我在高中弄清楚我的身份时是我不确定是否出门的人，还是他的关系是什么，但我知道我在回应。我了解他的身份并突破了沃霍尔作为一个无性的机器人的想法，这是我对这个故事的热情。您选择了2011年的书籍权，然后在2019年，您将该项目带到了瑞安·墨菲（Ryan Murphy）的旗帜下。是什么让您认为墨菲（Murphy）以纪录片而闻名的墨菲（Murphy）会很合适？因此，我认为他是这个对酷儿社区至关重要的开创性故事的好伴侣Re Warhol存在于此，该系列更多地关注他的关系。为什么？在2011年我开始努力选择这本书时，我被安迪（Andy）关于他的国内伴侣杰德·约翰逊（Jed Johnson），后来的男友乔恩·古尔德（Jon Gould）以及他与让·米切尔·巴斯奎特（Jean-Michel Basquiat）的激烈合作所吸引。我着手将日记调整为一个爱情故事，这将与安迪（Andy）的神话相抵触，因为阿迪（Andy）在白色假发下以无性恋机器人或绝育的外星人的身份。安迪（Andy）是一个活着的，呼吸的同性恋者，他投资于浪漫的关系，并追求他的伴侣 - 杰德·约翰逊（Jed Johnson）或乔恩·古尔德（Jon Gould），这是许多人的启示，他们甚至不一定认为他是酷儿或不认为他他是他在公共场所表演的机器人图标之外的事。还知道他在七十年代和八十年代制作了深度的艺术品，实际上，在某些情况下可以看作是C关于艾滋病毒/艾滋病危机的信息非常新。那些在Uniqlo商店或T恤上看过他的艺术品的人，想知道那个人是什么？该系列绝对不仅仅适用于超级粉丝或艺术历史社区，尽管我确实希望它在我所编织的奖学金方面有严格您为每个情节写下脚本的项目。为什么？写作（剧本）使我有机会采用一种新的讲故事方法，真正使视觉轨道和叙事曲目融合在一起，并在不同的层面上运行。在每一集中，您都在与同事和男友一起在纽约经历纽约冒险的故事，但您也在看他的艺术品，看看他的个人生活如何与艺术品有关，有助于解码它。艺术品非常具有标志性和影响力，但是当他制作的艺术品更深的层次是他所感受到的，以及您如何解释它并不那么清楚。因此，将其写出可以让我绘制故事，但也提供了一种动态的视觉方法。您还将非语言娱乐序列纳入了该系列。您过去的纪录片中没有使用娱乐。为什么现在？希望娱乐有助于将观众深深地沉浸在沃霍尔的世界和内在的圣所中。我的目标是与安迪（Andy）和他的日记里斯特（Dialist Pat）在电话上交谈的一些日记条目与其他场景之间的过渡。我一直在脑海里摇摇欲坠的哈德逊和多丽丝节电影《枕头谈话》，我感到安迪在整个日记中对好莱坞电影的评论得到了增强。但是最终，我希望娱乐与档案融合在一起，以免我们与安迪如此紧密地打破连接的咒语。您在使用AI在电影中创建沃霍尔的声音的系列开始时清楚地表明。您是否在没有清楚地说他在2021年的Docu中使用AI来创造Anthony Bourdain的声音，“ Roadrunner：关于Anthony Bourdain的电影？”反映了安迪（Andy）成为机器人和成为机器的愿望，因为它对他的形象如此重要，就像这个平坦的角色，在他的公众角色背后有空白。因此，我在复制安迪的声音方面的目标不是逃避AI的机械局限性。取而代之的是，我想依靠这样的想法，即这种声音是他渴望成为的机器的产物。但是，当摩根电影的一切发生时，使用AI都具有新的共鸣。反应向我清楚地表明，放置一张标记AI使用的卡很重要，这使我们使用该技术的观众很清楚。虽然您得到了祝福Of沃霍尔庄园，你有最终削减吗？我绝对被削减了。我对安迪或对他的描绘没有什么限制。我已经解释说，我的目标是使安迪人性化，他们现在已经看到了，他们相信该系列会这样做。您还想添加有关沃霍尔的其他内容吗？安迪出于不同的原因与许多人建立联系，我认为这就是为什么他如此出名的原因。这不仅是因为他的作品，还因为许多觉得局外人的人可以与他抓住对话的控制有关。在1980年代长大，当时我所居住的世界非常同性恋，我将安迪视为英雄，这是一种安全的空间，似乎使周围的每个人都允许自己成为自己。我认为约翰·沃特斯（John Waters）说：“将社会对您不利并夸张并将其变成一种风格时，他就完美地总结了这一点。”仍然引起共鸣。作为一个双性恋男人，我从未停止以为安迪有勇气成为如此侵犯的创造者和公众人物。我了解他的身份，并突破沃霍尔作为一个无性企业机器人的想法，这是我讲述他的故事的热情。
Andrew Rossi has been fascinated by Andy Warhol since childhood, which may explain why the director (“Page One: Inside The Times" "The First Monday in May" "Ivory Tower") spent the last decade working on “The Andy Warhol Diaries,” a six-part docuseries that draws upon the artist’s posthumously published diaries of the same name. Dictated over the phone to Pat Hackett from 1976 to 1987, the diaries were published in 1989, two years after Warhol’s death. In the documentary, Rossi weaves together Warhol narration, created by artificial intelligence, with archival footage and sit-down interviews with the likes of John Water and Rob Lowe. The Ryan Murphy-produced Netflix docuseries, debuting on March 9, traces Warhol’s journey through eras as an artist, film director, publisher, TV producer, band manager, scene maker and celebrity.
Rossi spoke with Variety about the project, and his desire to puncture the myth of Warhol as "a neutered alien under a white wig."
You began working on this project after finishing your feature documentary “Page One: Inside the Times” back in 2011. What about Warhol and the book intrigued you?
I'm bisexual, and when I was figuring out my identity in high school, Andy Warhol was somebody who I wasn’t sure whether was out or not, or what his relationships were, but I knew that there was something that I was responding to. Understanding his identity and breaking through the idea of Warhol as an asexual robot was my passion for telling this story.
You optioned the rights to the book in 2011 and then in 2019 you brought the project to Netflix under Ryan Murphy’s banner. What made you think Murphy, who is not known for documentaries, would make a good fit?
Ryan has done so much for queer representation in media broadly. So, I thought he was a good partner for this seminal story that is critical to the queer community, but also to our broader culture -- Warhol in the air that we breathe.
Instead of focusing on the celebrity-sphere Warhol existed in, the series focuses more on his relationships. Why?
Reading through the text back in 2011 when I embarked on an effort to option the book, I was riveted by Andy’s stories about his domestic partner Jed Johnson, his later boyfriend Jon Gould and his intense collaboration with Jean-Michel Basquiat. I set out to adapt the diaries as a love story that would counter the myth of Andy as an asexual robot or a neutered alien under a white wig.
What do you think viewers will be most surprised to learn about Warhol?
I think the idea of Andy as a living, breathing gay man, who was invested in romantic relationships and in pursuing his partners -- either Jed Johnson or Jon Gould -- is a revelation for many people who don't even think of him necessarily as queer or don’t think of him as being anything more than the robotic icon that he performed in public. Also knowing he made artwork in the seventies and the eighties that has depth and in fact, in some cases can be viewed as a commentary on the HIV/Aids crisis is very new.
Do you think this series will appeal to not just Warhol fans but also those who aren’t fans of his?
I hope that it appeals to those who are not fans of his, or to those who have seen his artwork in the Uniqlo store or on a T-shirt and wonder: What is that person about? The series is definitely not meant for just the super fans or the art historical community, although I do hope that it has a rigor in terms of the scholarship that I wove into it.
You have done a lot of verité work throughout your career but with this project you wrote out scripts for each episode. Why?
Writing (the scripts) gave me the opportunity to have a new storytelling approach that really condenses a visual track and a narrative track that are operating on different levels. In each episode you are in the story of Andy's adventures through New York with colleagues and his boyfriends, but you're also looking at his artwork and seeing how his personal life relates to the artwork and that helps to decode it. The artwork is very iconic and impactful, but the deeper layers of what he was feeling when he made it and how you might interpret it are not so clear. So, writing it out allowed me to plot out the story, but also give an audio visual approach that is dynamic.
You also incorporated non-verbal recreation sequences into the series. You haven’t used recreations in your past documentaries. Why now?
The recreations helped to, hopefully, immerse the viewer deeper into Warhol’s world and inner sanctum. My goal was to structure the transitions between some of the diary entries and other scenes with Andy and his diarist Pat talking on the phone. I always had in my head the Rock Hudson and Doris Day movie "Pillow Talk," which I felt reinforced Andy's commentary on Hollywood movies throughout the diaries. But ultimately, I wanted the recreations to meld with the archival, so that we wouldn't break the spell of connecting so intimately to Andy.
You make it clear at the beginning of the series that you used AI to create Warhol’s voice in the film. Did you put that card in the series due to the backlash Morgan Neville faced after not clearly stating that he used AI to create Anthony Bourdain’s voice in his 2021 docu, “Roadrunner: A Film About Anthony Bourdain?”
I always wanted to include a significant reflection of Andy's desire to be a robot and to be a machine because it is so central to his image as this flat character who has a void behind his public persona. So, my goal in reproducing Andy’s voice was not to escape the mechanical limitations of AI. Instead, I wanted to lean into the idea that this voice is the product of the machine that he aspired to become. But using AI took on even new resonance when everything happened with Morgan's film. The reaction made it clear to me that it would be important to put a card flagging the use of AI that makes it clear to the viewer we used the technology.
While you got the blessing of the Warhol estate, did you have final cut?
I absolutely had final cut. There were no restrictions on what I could say about Andy or the depiction of him. I had explained that my goal was to humanize Andy, and they've seen it now, and they believe the series does do that.
Is there anything else you wanted to add about Warhol?
Andy connected with many people for different reasons, and I think that's why he is so famous. It's not just because of his artwork, it's because many people who feel like outsiders can relate to his effort to seize control of the conversation. Growing up in the 1980s, the world I inhabited at the time was very homophobic, and I looked at Andy as a hero, a kind of safe space that seemed to give everyone around him permission to be themselves. I think John Waters sums it up perfectly when he says: “Take what society uses against you and exaggerate and turn it into a style.” That still resonates. As a bisexual man, I never stopped thinking that Andy had courage to be such a transgressive creator and public figure. Understanding his identity and breaking through the idea of Warhol as an asexual robot was my passion for telling his story.
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发表于 2022-7-5 02:03:12
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