“ Billie Eilish”导演R.J.卡特勒（Cutler）关于泰德·萨兰多斯（Ted Sarandos）如何帮助他预测纪录片繁荣
‘Billie Eilish’ Director R.J. Cutler on How Ted Sarandos Helped Him Predict the Documentary Boom
在Netflix成长为一个被世界征服的流媒体巨头“ Billie Eilish：世界上有点模糊”之前，导演R.J.卡特勒通常会在电影节巡回演出中碰到该公司的联合首席执行官TED Sarandos。 Netflix当时仍然是DVD的租赁服务，萨兰多斯向他坦白说，“战室”（卡特勒的奥斯卡奖提名的比尔·克林顿竞选文件）是其最受欢迎的租金之一。纪录片制作中的流媒体繁荣似乎对卡特勒来说并不牵强。他说：“对我来说，完全有意义的是，当Netflix转变为流媒体服务，然后开始制作原创内容时，观众对非小说的热情将继续构成流媒体成功的关键要素。” “如果它在Netflix上工作，那将意味着它将在亚马逊，Hulu，Disney Plus，Apple TV Plus，HBO Max，Discovery Plus，Peacock等。”特勒（Tler）反思了30年的职业生涯，该职业生涯始于“战争室”，这是他通过Apple TV Plus'Billie Eilish Doc和即将到来的玛莎·斯图尔特（Martha Stewart）的项目制作的广受好评的功能。 2020年代作为“文档的十年”，他对观众说：“在真理本身被围困的时候，我们的艺术形式将现实生活用作原材料来讲述有力的故事来检验真理的复杂性，正在吸引卡特勒（Cutler）承认，当他决定与CinémaVéritéPioneersD.A.合作时，无法保证这样的成功。佩内贝克（Pennebaker）和克里斯·海格（Chris Hegedus）在“车间”上，这将获得奥斯卡最佳纪录片奖的提名，并享受广泛的戏剧发行。他回忆说，到十月电影获得了25,000美元的预付款，最终在一部“可能花费我们一百万美元的电影中，都将自己的款项达到100,000美元。”“三十年前，没有纪录片的金融生态系统。每部电影都必须找到自己的商业模式，”他说。 “每个项目都是一个激情的项目。”在Netflix，Amazon和其他全球流媒体平台等对无脚本内容的需求激增的推动下，景观自此发生了巨大变化。 “纪录片已被证明与叙事特征一样受欢迎。同样大生意。”他说。 “功能文档通常会在市场上指挥八位数字的交易，电影制片人享受终身职业并为他们的工作报酬。他们中的一些人甚至已经升至“ Doculebrity”的状态。最重要的是，艺术形式本身正在蓬勃发展。他指出，去年有200多部纪录片享受了奥斯卡奖的戏剧性播放，他指出，在冠状病毒大流行中，包括“比利·埃里什（Billie Eilish）”在内的三部纪录片，包括“ Billie Eilish” - 享受了MOR的戏剧性释放。E比2021年的屏幕超过700个屏幕。导演提供了一个幕后的观察，探讨了广为人知的“世界上有点模糊”的作品，这不仅依赖于电影制片人的镜头，还依靠Eilish本人拍摄的视频；歌手的母亲玛姬·贝尔德（Maggie Baird）；而且，对于在米兰的演出中拍摄的结局，材料从互联网中源为数千名参与者的互联网。现实生活中的无处不在 - 一个开发的卡特勒（Cutler）追溯到2009年iPhone 3GS的引入，该录像机的引入了2009年。允许个人成为“自己生活的摄影师” - 标志着他说的技术转变将改变媒介的前进。 ，“ 他说。 “每个主题都有机会比以往任何时候都更深入地了解他们的个人经历。 Vérité船员，结合主题录像Wil我相信，成为新浪潮。这是亲密，情感，基于访问的，电影的电影制作的未来。迪克·切尼（Dick Cheney）的说法”，卡特勒说，他的电影是基于对他的主题的信任，并意识到了他们之间的界限。“我尊重电影，故事，故事，属于这个主题 - 人生故事属于这个主题，而不是我。”他说。 “我不是在那里试图让他们做某事。我不是在外面想拍摄某些东西。我的工作（在“世界有些模糊”中]是要在我和她拍摄的那一年中尽可能清楚地看到比利的生活。这是她的生活。当众所周知他即将上映的Stewart纪录片中，他的细节已被包裹着，Cutler说：“我们在努力工作和ver，是的，对此非常兴奋。与往常一样，当我们制作电影时，我们对它们的谈论不多。但是我可以告诉你，玛莎是美国文化，社会和历史，即使不是世界文化，社会和历史，是一个了不起的主题和独特的主题。她的完整故事将被告知。”
Before Netflix had grown into a world-conquering streaming giant, “Billie Eilish: The World’s a Little Blurry” director R.J. Cutler would routinely bump into the company’s co-CEO Ted Sarandos on the film festival circuit. Netflix was still a DVD-by-mail rental service at the time, and Sarandos confided to him that “The War Room” – Cutler’s Oscar-nominated Bill Clinton campaign doc – was among its most popular rentals.
Flash forward a few years, and the streaming-fueled boom in documentary filmmaking didn’t seem so far-fetched to Cutler. “It made complete sense to me that when Netflix transformed to a streaming service, and then began producing original content, the audience’s passion for nonfiction would continue to form a key element of the streamer’s success,” he said. “If it works on Netflix, that meant it would work on Amazon, Hulu, Disney Plus, Apple TV Plus, HBO Max, Discovery Plus, Peacock and others.”
At a keynote address at Rome’s MIA Market on Friday, Cutler reflected on a 30-year career that began with “The War Room,” the critically acclaimed feature which he produced, through Apple TV Plus’ “Billie Eilish” doc and a forthcoming project on Martha Stewart that was acquired by Netflix.
Describing the 2020s as “the decade of the doc,” he told the audience: “In a time where truth itself is under siege, our artform, which uses real life as the raw material to tell powerful stories that examine the complexities of truth, is engaging with audiences more than ever before.”
Cutler admitted that such success wasn’t guaranteed when he decided to collaborate with cinéma vérité pioneers D.A. Pennebaker and Chris Hegedus on “The War Room,” which would earn an Academy Award nomination for best documentary feature and enjoy a wide theatrical release. He recalled being offered a $25,000 advance by October Films, eventually haggling his way up to $100,000 on a movie that “had probably cost us a million dollars to make.”
“Thirty years ago, there was no financial ecosystem for documentary films. Every film had to find its own business model,” he said. “Every project was a passion project.”
Driven by the surge in demand for unscripted content from the likes of Netflix, Amazon, and other global streaming platforms, the landscape has since changed dramatically. “Documentaries have proven to be just as popular as narrative features. And just as big business,” he said. “Feature docs are routinely commanding eight-figure deals in the marketplace, filmmakers are enjoying lifelong careers and getting paid for their work. Some of them have even risen to the status of ‘doculebrity.’ Most importantly, the artform itself is thriving.”
Despite the streaming boom, Cutler added, “big-screen distribution is as robust as ever.” More than 200 documentary films enjoyed Oscar-qualifying theatrical runs last year, he noted, while in the midst of the coronavirus pandemic, three documentaries – including “Billie Eilish” – enjoyed theatrical releases on more than 700 screens in 2021.
The director offered a behind-the-scenes look at the work that went into the critically heralded “The World’s a Little Blurry,” which relied not only on the filmmaker’s footage, but video shot by Eilish herself; the singer’s mother, Maggie Baird; and, for a finale filmed during a performance in Milan, material crowd-sourced through the Internet from thousands of fans in attendance.
The ubiquity of real-life footage – a development Cutler traced back to the introduction of the iPhone 3GS in 2009, which allowed individuals to become “the cinematographers of their own lives” – marks a technological shift that he said will transform the medium moving forward.
“We are living in a time I would like to call neo-vérité, which offers remarkable opportunities for documentary filmmaking,” he said. “Every subject offers the chance to go more deeply into their personal experience than ever before. Vérité crews, in combination with subject-shot footage will, I believe, become the new wave. This is the future of intimate, emotional, access-based, cinematic vérité filmmaking.”
Having captured intimate details from the life of Eilish, as well as high-profile subjects including Anna Wintour (“The September Issue”) and Dick Cheney (“The World According to Dick Cheney”), Cutler said his films are built on trust with his subjects, and an awareness of the boundary between them.
“I respect the fact that the film, the story, belongs to the subject – the life story belongs to the subject, not to me," he said. "I’m not out there trying to get them to do something. I’m not out there looking to film certain things. My job [in ‘The World’s a Little Blurry’] is to see Billie’s life as clearly as possible for the year that I’m filming with her. And it’s her life. It has nothing to do with what I want.”
When asked by Variety about his forthcoming Stewart documentary, whose details have been kept under wraps, Cutler said: “We’re hard at work on it and very, very excited about it. As always, when we’re making the films, we don't talk a lot about them. But I can tell you that Martha is a remarkable subject and unique in American culture, society, and history, if not world culture, society, and history. And her full story will be told.”
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发表于 2022-7-5 04:22:42
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