HBO的“音乐盒”系列如何挖掘肯尼G和Juice WRLD
How HBO’s ‘Music Box’ Series Digs Into Kenny G and Juice WRLD
当HBO在12月的第二个赛季中将比尔·西蒙斯（Bill Simmons）的“音乐盒”纪录片系列更新时，这并不奇怪。批评家，电影节程序员和观众立即与六个文档一起吸引了，该文档于7月推出。但成功的道路是很长的。席梦思（Simmons）在2018年就构思了该系列。他的想法是将巨大成功的体育纪录片的音乐版本“ 30 fet 30”，他在十多年前为ESPN共同创建。就像“ 30 for 30”一样，“音乐盒”的一期不会说明艺术家职业生涯的整个轨迹，而是聚焦音乐领域内的关键时刻，创造和创造者。也像“ 30比30”一样，西蒙斯会吸引A级纪录片制片人使自己的视野变得亮。框电影要发行。其次是艾莉森·克莱曼（Alison Klayman）的Alanis Morissette DocuMentary“锯齿状”，克里斯托弗·弗里尔森（Christopher Frierson）的“ DMX：不要试图理解”，彭妮·莱恩（Penny Lane）的“听肯尼·G（Kenny G）”，约翰·马吉奥（John Maggio）的“先生星期六晚上“关于音乐企业家罗伯特·斯蒂格伍德（Robert Stigwood）和汤米·奥利弗（Tommy Oliver）的“果汁wrld：进入深渊”。因为它们以歌曲为基础。“连接这六个“音乐盒”电影中的每部电影的贯穿线是他们专注于窗户，事件或某种凝结时间表试图回答特定问题的时间表。”两个例子是Price的“ Woodstock 99”，研究了节日最终如何在其自身误导的野心的重量下崩溃，莱恩（Lane尽管如此，极度无罪的音乐仍然激发了极大的愤怒甚至厌恶T在某些人中。 “我认为探索他和他的音乐，使他如此受欢迎，但被关键阶级如此鄙视，这将是一种有趣的方式，可以解决围绕口味和文化的守门问题。”“听肯尼G，”在多伦多音乐节上首映，是西蒙斯为该系列赛委托的五个文档之一。弗里森（Frierson）的“ DMX：不要试图理解”是他唯一获得的电影。当西蒙斯（Simmons）开始开发“音乐盒”时，摩根·内维尔（Morgan Neville）和阿西夫·卡帕迪亚（Asif Kapadia）分别赢得了奥斯卡奖，分别以“距离Stardom 20英尺”和“ Amy”赢得了奥斯卡奖。但是，在西蒙斯和他的数字媒体公司林格花了三年半的时间里，创建，制作和交付HBO系列，有关音乐家的纪录片已经爆炸了。粉红色，泰勒·斯威夫特（Taylor Swift）和蒂娜·特纳（Tina Turner）都在麦当娜（Madonna），Lady Gaga和碧昂斯（Beyoncé在奥斯卡入围名单上：“地下天鹅绒”，托德·海恩斯（Todd Haynes）看着开创性乐队； R.J.的“比利·埃里什：世界有点模糊。”卡特勒以及Questlove对1969年哈林文化节的探索，“夏天的灵魂（或者，当革命无法进行电视转播时）。”每位歌手还通过担任制片人或某些情况下，通过担任制片人来制作各自的纪录片。唱片公司担任制作人 - 对创意控制以及音乐文档是否是艺术努力还是信息商业广告引起了人们的关注。没有他们的祝福，就无法获得人才，许可音乐的预算将反映出一部漫威电影。PolygramEntertainment和Universal Music Publishing Group Group Groudives Jody Gerson和Marc Cimino是将HBO的“音乐盒”脱离地面的关键。需要调解，”西蒙斯说。 “您无法完成系列像这样，没有人真正获得音乐行业的运作方式。席蒙斯（Gerson）和奇米诺（Cimino）担任系列执行制片人时，西蒙斯（Simmons当莫里塞特（Morissette）与克莱曼（Klayman）在9月的“锯齿状”（Jagged）脱颖而出时，在Doc的多伦多INTL前几天，莫里塞特（Morissette）与克莱曼（Klayman）的“锯齿状”（Jagged）脱颖而出时。电影节首映。该医生发行了她的突破性专辑“ Jagged Little Pill”后，捕捉了这位歌手兼作词人1995年的流星崛起。同意参加这部电影的莫里塞特（Morissette）告诉媒体，该文档包括“根本不正确”的信息，电影制片人有一个“卑鄙的议程”。“我不想说发生了什么，但我了解它。”西蒙斯说。 “当某人制作有关您的纪录片时，这是您的生活，并且随着首映式越来越近约会，您可能会对某件事感到不安。或者您可能不喜欢某些事情的描绘。但我认为她会在某个时候感到高兴。 - 他们花了多少钱？ HBO付出了大笔的钱来制作“音乐盒”？答案是号编号的纪录片主管和电影制片人估计，每部电影的制作价格约为200万美元至300万美元，鉴于Music的成本要花多少钱。并且是MTV纪录片的沙皇，他说，Quid Pro允许基于音乐的文档和系列是Greenlit。一个小男孩唱这首歌，”内文斯说。 “但是，如果您正在与他们的合作制作有关乐队的文档或唱片公司的合作，您基本上是以docu的形式出售音乐，因为人们在那里观看了文档后在那里购买或下载音乐。我电影中的这个孩子不会为甲壳虫乐队出售任何专辑。而在音乐纪录片中，您正在出售该实体。这并不意味着这不是一个好文档，而是您正在卖音乐。” Simmons同意。他说：“对于[唱片公司]来说，这是一个收入来源。“ li行的Bizkit在'Woodstock 99'[Premiered]（首映）之后奇怪的是，这是一段时间以来的第一次，”他说。 “因此，纪录片有能力这样做，因为您正在观看它们，然后立即去手机（Spotify）开始聆听。我用“甲壳虫乐队：回来”做到了。我现在有一个甲壳虫乐队的播放列表。这是真正的知识产权，”西蒙斯说。 “生活的IP。我看到了30岁的30岁。’我看到了ESPN能够扩展我们为其创建的所有不同的IP。他们将其卖给了Netflix。他们将其卖给了亚马逊。他们在发射[彩带]时使其成为ESPN Plus的签名。对于“音乐盒”的第2季，西蒙斯计划开发六到七个一次性的板块，他希望在春季宣布，这是“音乐盒”的第2季，它的可持续性扩大了。”除了想创建有关Fleetwood Mac的热门专辑“ Rumors”的文档，Simmons也不会透露他想探索的主题。他说的好主意。“因此，我们的问题是我们如何继续找到好人，然后我们如何真正制作它们？您需要这么多运气。”
When HBO renewed Bill Simmons’ “Music Box” documentary series for a second season in December, it wasn’t exactly surprising. Critics, film festival programmers and audiences were immediately taken with the series of six docs, which launched in July.
But the road to success was a long one. Simmons conceived the series back in 2018. His idea was to make the music version of the wildly successful sports docuseries “30 for 30,” which he co-created for ESPN more than a decade ago. Like “30 for 30,” installments of “Music Box” wouldn’t tell the entire trajectory of an artist’s career, but instead spotlight pivotal moments, creations and creators within the music sector. Also like “30 for 30,” Simmons would enlist A-list documentary filmmakers to make his vision come to light.
Three and a half years later in July, Garret Price’s “Woodstock 99: Peace, Love, and Rage” became the first Music Box film to be released. It was followed by Alison Klayman’s Alanis Morissette documentary “Jagged,” Christopher Frierson’s “DMX: Don’t Try to Understand,” Penny Lane’s “Listening to Kenny G,” John Maggio’s “Mr. Saturday Night” about music entrepreneur Robert Stigwood and Tommy Oliver’s “Juice WRLD: Into the Abyss.”
While the six films in the series delve into an array of topics and explore all kinds of personalities, Simmons says each installment complements the other, and not because they are based in song.
“The throughline that connects each of these six ‘Music Box’ films was their concentration on a window or an event or some sort of condensed timeline that tried to answer a specific question.”
Two examples are Price’s “Woodstock 99,” which examines how the festival eventually collapsed under the weight of its own misguided ambition, and Lane’s “Listening to Kenny G,” which attempts to answer why the best-selling instrumentalist of all time is so polarizing.
“Kenny G makes extremely inoffensive music that nonetheless inspires a great deal of anger and even disgust in certain people,” says Lane, who pitched Simmons the idea for the film. “I thought exploring what it is about him and his music that has made him so wildly popular yet so disdained by the critical class would be an interesting way to get into issues around taste and cultural gatekeeping.”
“Listening to Kenny G,” which premiered at the Toronto Festival, was one of five docs that Simmons commissioned for the series. Frierson’s “DMX: Don’t Try to Understand” was the only film that he acquired.
When Simmons began developing “Music Box,” Morgan Neville and Asif Kapadia had won Oscars for “20 Feet From Stardom” and “Amy,” respectively. But during the three and a half years that it took Simmons and his digital media company, the Ringer, to create, make and deliver the HBO series, documentaries about musicians had blown up. Pink, Taylor Swift and Tina Turner had all followed in the footsteps of Madonna, Lady Gaga and Beyoncé and become doc stars.
There are three music docs on the Oscar shortlist: “The Velvet Underground,” Todd Haynes’ look at the seminal band; “Billie Eilish: The World’s a Little Blurry,” from R.J. Cutler; and Questlove’s exploration of 1969’s Harlem Cultural Festival, “Summer of Soul (…Or, When the Revolution Could Not Be Televised).”
Each singer also had a hand in making the respective documentaries by serving as a producer — or in some cases, the record label served as a producer — which has raised concerns over creative control and whether music docs are artistic endeavors or infomercials.
To be fair, making a music docu without the backing of a pop star or the record label is difficult. Without their blessings there would be no access to talent and the budget for licensing music would mirror a Marvel movie.
Polygram Entertainment and Universal Music Publishing Group executives Jody Gerson and Marc Cimino were key to getting HBO’s “Music Box” off the ground.
“You need a conciliary,” says Simmons. “There’s no way you could do a series like this without people who really get how the music industry works. Marc and Jody were the ones with the relationships.”
While Gerson and Cimino served as series’ executive producers, Simmons notes that Universal Music and the artists behind each “Music Box” film did not have final cut.
Any issues over who was in control of the series’ first season became clear when Morissette distanced herself from Klayman’s “Jagged” in September — days before the doc’s Toronto Intl. Film Festival premiere. The doc captures the singer-songwriter’s 1995 meteoric rise to fame after the release of her breakthrough album, “Jagged Little Pill.” Morissette, who agreed to participate in the film, told the media that the doc included information that was “simply not true” and that the filmmakers had a “salacious agenda.”
“I don’t want to say what happened, but I understand it,” Simmons says. “When somebody’s making a documentary about you and it’s your life and as it gets closer and closer to the premiere date you might get skittish about something. Or you might not like how certain things were portrayed. But I think she’ll be glad at some point that the film exists.”
While HBO won’t divulge the budget of each “Music Box” installment, Simmons says the network licensed all the songs used in the series, which begs the question —how much did they cost? Is HBO paying big money to make “Music Box”? The answer is no.
Veteran documentary executives and filmmakers estimate that each film was made for approximately $2 million-$3 million, which is relatively cheap given how much it costs to license music.
Sheila Nevins, who served as head of HBO Documentaries for 38 years and is the czar of MTV Documentary Films, says quid pro quo allows music-based docs and series to be greenlit.
“I have a docu where a kid sings ‘Let It Be’ and I have to [incorporate] fair use and pay substantially for a little boy to sing this song,” Nevins says. “But if you are making a docu about a band with their cooperation or the record label’s cooperation, you’re basically selling music in the form of a docu because people go out there and buy or download that music after watching the docu. This kid in my film is not going to sell any albums for the Beatles. Whereas in a music documentary, you’re selling the entity. That doesn’t mean it’s not a good doc, but you are selling music.”
Simmons concurs. “It’s a little bit of a revenue stream for [record labels].
“Limp Bizkit, weirdly after ‘Woodstock 99’ [premiered] had a moment for the first time in a while,” he says. “So documentaries have the power to do that because you’re watching them and then you immediately go to your phone — to Spotify — and you start listening. I did that with ‘The Beatles: Get Back.’ I have a Beatles playlist now.”
So what’s in it for HBO besides ratings?
“One of the reasons I was able to talk HBO into [doing this series] was I felt like it’s real intellectual property,” says Simmons. “IP that lives on. I saw it with ‘30 for 30.’ I saw all the different ways ESPN was able to extend this IP that we created for them. They sold it to Netflix. They sold it to Amazon. They made it a signature piece of ESPN Plus when they were launching [the streamer]. It had a sustainability that extended beyond the premiere.”
As for Season 2 of “Music Box,” Simmons plans on developing a slate of six or seven one-offs, which he hopes to announce in the spring. Besides wanting to make a doc about Fleetwood Mac’s hit album “Rumours,” Simmons won’t disclose which topics he wants to explore.
“I don’t necessarily want to give away any secrets because it’s so competitive right now, but there’s a lot of good ideas left out there,” he says. “So, the question for us is how do we keep finding the good ones and then how do we actually make them? You need so much luck with this stuff.”
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发表于 2022-7-5 02:46:51
发表于 2022-9-19 05:20:00