史蒂夫·麦昆（Steve McQueen
Steve McQueen on ‘Uprising,’ His Docuseries Companion to ‘Small Axe,’ and the Power of Music
导演史蒂夫·麦昆（Steve McQueen）跟进了去年关于伦敦西印度移民的叙事选集“小斧头”，还有另一个有关黑人英国历史的系列：“起义”，这是一系列三部分的纪录片系列，讲述了1981年的三场相关活动 - 他与詹姆斯·罗根（James Rogan）共同执导的新系列杂志大火，黑人行动日和布里克斯顿骚乱。抵抗的故事和“亚正常：英国丑闻”，后者关于英国黑人儿童教育的后者。《起义》的第一集，“火”，始于在聚会上的人们的采访，新的十字架大火破裂了一场悲剧杀死了13名黑人青少年。麦昆几乎感觉与“小斧头”电影《恋人摇滚》中的虚构家庭聚会有关然而，张贴了一张大火从未发生的情况。这部传记片跟随小麦在布里克斯顿（Brixton）的年轻成年后，在那里他写音乐并卖出了大麻，直到他因参加布里克斯顿（Brixton）对大都会警察的暴动而被监禁。Wheatle现在以写小说和公开谈论他的经历而闻名 - 他在“起义”的相机面前所做的。希望我对项目的发展时间表感到好奇。您知道在制作“小斧头”时，您将要进行“起义”？是的。我们触及了亚历克斯·惠特尔（Alex Wheatle）的情节中的新十字架火，但我想在方法中进行更多的调查。一个纪录片是我认为与詹姆斯·罗根（James Rogan）一起渗透到这个特定故事的唯一途径。因此，当我在“小斧头”的发展中时，我们开始了这个过程。“恋人摇滚”您对新的越野派对的看法是什么？不。因为我没有想到悲剧。我想专注于喜悦，因为那是一个快乐的时刻。这一切都是关于失去自己的年轻人 - 音乐，衣服，男孩，女孩。因此，这根本不是反应，也不是进入新的十字架火的方法。但是我知道人们已经建立了这种联系。我想他们已经完成了可能发生的事情，而不是不幸的是发生了什么。“起义”不是您的第一部纪录片，因为您拍了一些短片，正确吗？我从来没有做过短裤 - 我Ve制作了艺术品。人们谈论短裤，但是没有一定的长度，而不是全长。我不知道那是什么！我从来没有在我的生活。我做了艺术品。他们本身就是完整的。我喜欢这个定义。但是，您是否想要一段时间以“起义”所采取的形式做出某种形式？不是真的 - 主题告诉我它想要成为什么样的东西。主题想成为艺术品吗？主题想成为故事片吗？主题是否想成为纪录片？对我来说，要调查新的十字架。阐明，说明和教育。但这是关于您要如何吸引观众的。两者都可以深深地激动。但是，有了新的十字架火，我想进行更大的调查。我想脱下洋葱。原因以及“谁”，“如何”和“什么”。第一次见到他是什么感觉？他在作家的房间里为“小斧头”。我想让他写自己的生活，他不想。是t哦，关闭。因此，我本人和另一位作家阿拉斯泰尔·西登斯（Alastair Siddons）在与我们谈论他的生活时，将其扎根于亚历克斯（Alex）的故事。他只是一个了不起的人，因为他在那段时间目睹了很多这些事情。当事情真正升温时，我还很年轻。我记得很多，因为我11岁，但他实际上参与其中。他的信息井。寻找和采访所有其他出现在“起义”中的人的过程是什么？我希望我们要做一本书，因为我们有很多事情。在五年的研究中，您可以想象。我认为有些人渴望讲自己的故事。人们发生了很多创伤，因此有时人们不会那么出色，但是我们很幸运能够获得人们的信任。有趣的是，“起义”如何花时间将它们作为真实的角色充实，分享他们童年时代的快乐回忆以及在这些困难的经历之前是谁丽丝。这很重要，因为这是根据他们的条款。访谈以及他们如何回答问题以及他们想泄露的问题完全按照他们的条件。这必须受到极大的尊重。不是不是在撬动，也不是操纵性的，而是关于他们控制这种情况的全部。因为他们以前从未有过。 “起义”设法将一些独特的摄影与说话的头部结合在一起，例如当人们的眼睛极端特写时。我最喜欢的是，韦恩·海恩斯（Wayne Haynes）谈论他的“小孩子梦想着飞到日落”时，我们看到了他的眼泪。您对访谈的视觉方法是什么？那是詹姆斯，那是镜头。对我来说，这全都与细节有关。警察重建，照片和图纸。使其更具触觉。您可以从相机拍摄或某人的眼睛中得到很多东西。但是您想要的是发生的事情。您可以对某人的脸进行多少镜头？但是你c一个做的就是带人，也带着档案镜头，更接近时间。因此，您了解环境。我非常感谢的是图片结尾处的诗，所有的树木都被种植。从黑暗中脱颖而出。告诉我您使用档案的过程。您如何选择要使用的东西？他们很棒，因为显然，他们必须经历很多小时的镜头。我喜欢档案镜头。您会看到刘易森战役。哦，我的天哪，就像“轻旅”。我认为很多人会看到这种镜头感到震惊。伦敦马背上的一半骑兵都在那里。部署了防暴盾牌。催泪瓦斯。所以很重。镜头很棒，但这一切都与现在以及我们现在所在的位置有关。老实说，我们还没有搬家很多。坦率地说。在英国，这是可以肯定的。音乐是您讲述这些在英国黑人历史上的时刻的主要要素。您能谈谈音乐在作品中的角色吗？在“小斧头”和“起义”中，音乐是心跳，不是吗？尤其是当时在伦敦，现在和现在，在黑人的生活中。这是心跳。一种特殊的音乐及其如何发展等等。音乐是人们早上起床的原因。从某种意义上说，这是一个听觉的折衷。听觉希望。希望，就是这样。让我告诉你，鲍勃·马利（Bob Marley）和阿雷莎·富兰克林（Aretha Franklin）挽救了生命。没有“如果”没有“但是”，没有“也许”。人们仍然因为他们而走这个地球。以及其他音乐家和艺术家。当没有希望时，您就会在音乐中找到希望。当小麦告诉他的监狱男友“对我来说，这总是关于音乐的时刻，”几乎感觉就像您在通过他说话。大声说清楚。这是要抓住的东西。我想，如果不存在，会发生什么？“起义”现在正在Amazon Prime视频上流媒体。
Director Steve McQueen has followed up on “Small Axe,” last year’s narrative anthology series about West Indian immigrants in London, with another series about Black British history: "Uprising,” a three-part documentary series about three related events in 1981 -- the New Cross house fire, Black People’s Day of Action and the Brixton riots.
The series, which he co-directed with James Rogan, is now streaming on Amazon Prime, along with two companion documentaries that McQueen executive produced: "Black Power: A British Story of Resistance" and "Subnormal: A British Scandal," the latter about British education of Black children.
The first episode of "Uprising," "Fire," begins with interviews of people present at the party where the New Cross house fire broke out, a tragedy that killed 13 Black teenagers. While it almost feels related to the fictional house party in the "Small Axe" film "Lovers Rock," McQueen says that they're completely unrelated, besides that "Lovers Rock" perhaps presents a picture of what it might have looked like if the fire had never happened.
The "Small Axe" film "Alex Wheatle," however, sets up the audience to better understand "Uprising." The biopic followed Wheatle's young adulthood in Brixton, where he wrote music and sold marijuana until he was incarcerated for participating in the Brixton riots against the Metropolitan Police. Wheatle is now known for writing novels and speaking publicly about his experiences — which he did in front of a camera in "Uprising."
McQueen spoke with Variety about his collaboration with the real-life Alex Wheatle and how music is what inspires his sense of hope.
I’m curious about the development timeline of the project. Did you know while making “Small Axe” that you were going to be making “Uprising”?
Yes. We touched on the New Cross Fire in our episode Alex Wheatle, but I wanted to be much more investigative in my approach. A documentary was the only way I thought possible to infiltrate that particular story, along with James Rogan. So we started the process when I was within the development of “Small Axe.”
Was “Lovers Rock” your take on what the New Cross house party might have looked like?
No. Because I wasn't thinking of tragedy. I wanted to focus on joy, because it was a joyful time. It was all about losing yourself as young people — the music, the clothes, the guys, the girls. So it wasn't a reaction at all, or a way into the New Cross Fire. But I know people have made that connection. I imagine that they've made it of what could have happened, rather than what unfortunately did happen.
“Uprising” isn’t your first documentary work, as you’ve made some short films, correct?
I have never made shorts — I’ve made artworks. People talk about shorts, but there’s no such thing as a certain length which is a short rather than a full-length. I don't know what the hell that is! I've never made a short film in my life. I’ve made artworks. They are complete in themselves.
I like that definition. But had you wanted for a while to make something in the form that “Uprising” takes?
Not really — the subject tells me what it wants to be. Does the subject want to be an artwork? Does the subject want to be a feature film? Does the subject want to be a documentary? For me, the New Cross Fire was to be investigated. To illuminate, illustrate, and educate.
A documentary can be fiction, and fiction can be a documentary. But it's about how you want to capture an audience. Both can be deeply emotional. But with the New Cross Fire, I wanted to be much more investigative. I wanted to unpeel the onion. The causes, and the “who,” “how” and “what” of it all.
Alex Wheatle served as a consultant on the "Small Axe" film you named after him. What was it like meeting him for the first time?
He was in the writers room for “Small Axe.” I wanted him to write about his life, and he didn't want to. It was too close. So myself and another writer, Alastair Siddons, took it upon ourselves to work on Alex’s story as he spoke to us about his life. He was just an amazing guy, because he had witnessed a lot of these things during that time. I was a bit younger when things were really heating up. I remember a lot because I was 11 years old, but he actually was involved. He was a well of information.
What was the process of finding and interviewing all of the other people who appear in “Uprising”?
I’m hoping we do a book about it, because we have a wealth of things. Over five years of research, so you can imagine. I think some people were desperate to tell their stories. And there was a lot of trauma that happened to people, so sometimes people weren't so forthcoming, but we were very fortunate to get people's trust.
It’s interesting how “Uprising” takes the time to flesh them out as real characters, to share the joyful memories from their childhoods and who they were before these difficult experiences.
That was important, because it was on their terms. The interviews and how they answered the questions and what they wanted to divulge was totally on their terms. That had to be hugely respected. It wasn't wasn't prying, it wasn't manipulative, it was all about them taking control of that situation. Because they've never had that before.
“Uprising” manages to incorporate some unique cinematography along with the talking heads, like when there are extreme close-ups of people’s eyes. My favorite was when Wayne Haynes talks about his “kiddie dreams of flying off into the sunset” and we see a tear in his eye. What was your visual approach to the interviews?
That was James, that shot. For me, it was all about the details. The police reconstruction, the photographs, the drawing. To make it more tactile. There's so much you can get from a camera shot, or someone's eye. But what you want is the physicality of what's going on. How many shots can you do of someone's face? But what you can do is bring people, also with the archive footage, closer to a moment in time. So you understand the environment. And something which I was very much appreciative of was the poem at the end of the picture, with all the trees that were planted. Coming out of that darkness into some kind of light.
Tell me about your process of utilizing the archives. How did you select what you wanted to use?
[I give] a lot of praise to the editors [Brett Irwin and Esther Gimenez]. They were amazing, because obviously, they had to go through a lot of hours of footage. I love archive footage. You see the Battle of Lewisham. Oh, my God, it's like “Charge of the Light Brigade.” I think a lot of people will be shocked to see that kind of footage. Half of the cavalry on horseback in London was there.The riot shields were deployed. Tear gas as well. So it's heavy. The footage is fantastic, but it's all about what it means to us now, and where we are now. And to be honest with you, we haven't moved on that much. To be quite frank. In the U.K., that's for sure.
Music is a major element of your telling of these moments in Black British history. Can you talk a bit about the role of music in your work?
In “Small Axe” and “Uprising,” music is a heartbeat, isn’t it? Particularly in London at that time, and here and now, in Black people's lives. It's the heartbeat. A particular kind of music and how it evolves and so forth. Music is the reason why people get up in the morning. It's an audial corralling, in a way. An audial hope. It’s hope, that’s what it is. Let me tell you, Bob Marley and Aretha Franklin have saved lives. There's no “if,” there's no “but,” there’s no “maybe.” People are still walking this earth because of them. And other musicians and artists. When there’s no hope, you find hope in music.
The moment in “Alex Wheatle” when Wheatle tells his prison cellmate, “For me, it was always about the music,” it almost felt like you were speaking through him.
You’ve said it loud and clear. It’s something to grab onto. I imagine, if it wasn't there, what would have happened?
"Uprising" is now streaming on Amazon Prime Video.
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发表于 2022-7-5 04:58:52
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