“吸引”和“爱欺诈”电影制片人为自己的故事伸张正义。
‘Seduced’ and ‘Love Fraud’ Filmmakers on Getting Justice for Their Stories’ Survivors
纪录片人塞西莉亚·佩克（Cecilia Peck）和Inbal B. Lessner（“引人入胜：内在的NXIVM邪教”）和Heidi Ewing和Rachel Grady（“ Love Draud”）不仅具有相似的射击哲学，还专注于Vérité，而且他们也热衷于居中关于女性幸存者故事的项目。四部分的Starz系列“ Suctuced”探索了包括印度Oxenberg在内的一些女性之间的联系Showtime的欺诈行为跟随一群妇女（包括赏金猎人卡拉·坎贝尔（Carla Campbell））追随他们偷了自己的心和很多钱的骗子。这些四个强国聚集在一起，谈论他们的经历，使这两个艾美奖竞争系列赛事，除了他们想要为自己的主题而想要的治愈和正义感。在新闻报道中，还有关于犯罪分子的名字的辩论。您如何确定包含多少这些纪录片中的男人？海蒂·尤因（Heidi Ewing）：我们选择通过女人的眼睛看他，当然，他们现在以嘲笑和许多仇恨看待他。但是，要把他们带回到他们遇到他的时候，当他向他们吸引他们时，在美好时光的感觉时，您必须真正让他们记住他，并说他让他们感觉非常好，以及为什么。我们绝对知道我们想将他描绘成受害者 - 不仅是骗子，而且是骗子和虐待狂，以及喜欢看到他人痛苦的人 - 但这确实是我们打动的编辑平衡一遍又一遍地到最后一刻。作为征服和打破女性的一种方式。我们的重点实际上不是邪教领袖基思·拉尼尔（Keith Raniere）。我们触及了他的背景，bu我们真的很想看看为什么女性签署了该计划的开始以及灌输和分解的过程是多么逐渐。说，第一集的前半部分探讨了诱饵和爱情轰炸，这是一种典型的邪教策略，但在[“爱情欺诈”的理查德·斯科特·史密斯（Richard Scott Smith of of to Love Draud）中]肯定是显而易见的。但是，要回到重现第一堂课和第一堂课的感觉，以及这种感觉，社区感和他们所学习的东西的令人陶醉的时刻，这是一个很大的问候。这感觉就像是电影制片人。RachelGrady：最大的收获是提醒每个人看着它很容易成为他们的人。我认为这确实非常重要，因为在这些情况下，怪罪受害者真的很容易，但是[]有一个骗子，或者一个邪教领导者在那里，确切地知道该对您说些什么，您甚至都不知道。这就是他们的工作方式。因此，也许不是那个邪教领袖，也许不是那个男人，女人或其他任何人，因为您永远不会相信他们的胡说八道，但是有人会相信某人的胡说八道。关于他们当时而不是现在感到。其中有多少是在摄像机之外赢得他们的信任？我认为您必须假设有些事情只会发生一次，但是您也不想以负面的方式感到惊讶。我基本上记得让他们知道，对其他女性以及作为董事的帮助，了解他的技术是什么以及为什么如此有效。我与其中一些人分享了一些我自己的个人经历，讨论了一些非常困难的经历我在20多岁的时候和男人在一起。我觉得他们知道，在某些方面，我们所有人都为这样的事情而陷入困境是公平的。 [而且]我不得不说，我真的受到HBO Michael Jackson系列的采访的启发[“ Finding Neverland”]，因为那个导演能够让他们记住他们与他见面的兴奋，并被邀请参加房子和家人。我认为这是出色的技巧，因为您必须知道对他们的意义，才能使背叛至关重要。您不能没有另一个，否则我们认为我们将在情感弧线方面拥有平坦线。因此，当我看到我当时想，“我知道他是否可以把他们带回到那里，我们可以把这些女人带回那里。”其他人可以从他们的故事中学习，也可以是他们康复过程的一部分。你不能强迫那个o发生。但是，在与前NXIVM成员的研究和发展的几个月中，我们确实确实建立了牢固的关系，而NXIVM成员仍在进行中。我们已经与他们建立了一个网站，我们非常努力地为挺身而出的幸存者提供治疗，并建立了他们感到安全和支持的关系。然后，Starz做出了重大贡献，以便我们可以通过发行版继续支持它们，这是重新触发的。在某个时候，我们必须为机组人员提供相同的服务，因为我们在邮政团队中有触发的人。在纪录片世界中，有一场重要的对话刚刚开始发生关于二手创伤，我们作为编辑和电影制片人会长时间观看这些艰难的故事。我们必须继续研究并支持从事这项工作的人。D您在不同的阶段发现人们：有些人会伴随着很多愤怒，有些人会带来很多自我厌恶。不管是什么，您都必须具有情商，并弄清楚人们的激励是什么。作为电影制片人的动机是为了为这些女人提供正义吗？Grady：很多！这些女人聚集在一起，还有一个很棒的赏金猎人引起了指控，海蒂和我想：“他妈的，是的，我们完全掌握了这一点。”尤因：我想你可以看到我们如何投入该系列，是因为我们非常透明地雇用了私人眼睛，我们加入了搜索，我们有时会领导搜索。显然，我们从未在影响他们寻找他的情况下，从未做到这一点。这是一个讨论，但他被通缉 - 他被捕了全国逮捕令 - 因此我们不仅仅是骚扰一个家伙。所以我们想，“让我们帮助他们，让对听众来说，我们已经这样做了。”我们投入了至少这些女性的一些小正义。播放：因此，通常是幕后的幕后，但您知道电影制片人可能正在提出建议，因此我非常感谢您对此的提高程度。对于我们来说，有了正义元素，我们正在拍摄一场审判，这是我们讲故事的一部分，因此邪教领袖被绳之以法，然后在我们的系列赛的播出期间，他被判处120年徒刑。那绝对是一个很大的作品，但更重要或相关的是，您如何摆脱创伤，如何治愈？我们真的不会放弃我们绝对的意图，让这些妇女的生活超出了判决，以及她们如何利用自己的声音以及她们如何康复。这种创伤也不会在一夜之间消失，即使邪教领袖被判刑。 [但是]E是他的四部分系列，他的脸在广告牌上，他肯定很难找到没有听到或看过这个的人，所以我认为以某种方式，正义是该系列。我们至少可以通过这种负面的宣传来稍微阻止他的曲目，这种正义感并非总是只需要研究法律结果。这也使这些女人感到听到或受到重视，尤其是对于像印度这样的人，她第一次用自己的话讲述了她的故事。PECK：我们加入我们时，我们重塑了整个叙述。确实要找到另一个脊柱。当塞西莉亚第一次与她交谈时，她说：“我想了解我的大脑发生了什么。”她认为这与实际是什么是推动故事的叙事紧张关系。我们的邪教专家正在帮助您了解真正的作用 - 这里使用了哪些策略？ - 当我们哈[幸存者]带我们从他们的角度看待它的感受的动作，并打开他们的背包：“我到底是怎么回到这里的？”她通过数百小时的脱皮和疗法所学到的知识，以使事后见解意识到该课程如何在她身上发挥作用并侵蚀了她的批判性思维。但是我认为我们也应该谈论两个系列都采用动画。Ewing：对于我们来说，看到真正的情感来自过去的故事，这真的很有趣。为了讲那些故事，我们使用了拼贴画家和动画师，因为我们遇到了足够的照片，没有足够的音频。因此，我们必须找到一种方式来形象化爱，喜悦和浪漫，以及它通过这些拼贴的恐怖。Grady：我们从来没有做过，并且是动画和拼贴画家都没有的。 ：在我们甚至拥有印度之前，想法是遵循试用并介绍NXIVM中真正发生的事情。我们正在观看Taylor Swift纪录片“ Americana小姐”，我们看到了这一小小的法庭插图，我们发现这样做的艺术家Elyse Kelly。一旦印度加入并且必须重塑整个系列，审判实际上是倒退的，但是我们意识到我们可以使用这些动画和插图将您带入她的观点 - 她的主观记忆闪烁。因此，调色板，构图，它逐渐从非常亮，美丽，诱人的场景变成，在她被性虐待和品牌的第三集中，非常黑暗和扭曲。就像记忆更难获取和放在一起。 。作为电影制片人，这是一个很棒的练习，尤其是当我们都在拍摄数字化时而且您不必尽可能纪律。
Documentarians Cecilia Peck and Inbal B. Lessner ("Seduced: Inside the NXIVM Cult") and Heidi Ewing and Rachel Grady ("Love Fraud") not only share similar shooting philosophies, in focusing on vérité, but they are also passionate about centering their projects on female survivors' stories.
The four-part Starz series "Seduced" explores the connection between a few women, including India Oxenberg, who escaped the clutches of NXIVM and its more dangerous subsets Jness and DOS, while the four-part "Love Fraud" for Showtime follows a group of women (including bounty hunter Carla Campbell) as they go after the con man who stole their hearts and a lot of their money.
These four powerhouses came together to talk about their experiences making these two Emmy contending series, as well as the sense of healing and justice they wanted for their subjects.
There is often a debate over how much to say a criminal's name in a news report; how did you determine how much to include the men in these docuseries?
Heidi Ewing: We chose to see him through the eyes of the women, and of course they view him with derision and a lot of hatred right now. But to bring them back to when they met him, to when he was wooing them, to how they felt in the good times, you had to really allow them to remember him fondly and say that he made them feel really good and why. We definitely knew that we wanted to paint him as a victimizer — as not just a con artist, but [also] a liar and a sadist, and somebody who enjoyed seeing the pain of others — but it was really an editing balance that we struck over and over and over again to the last moment.
Cecilia Peck: We were really interested in exploring the vulnerability of the human mind and how vulnerable we all are to influence — especially a kind that's unethical — and [we] really wanted to explore coercion as a way to subjugate and break women. Our focus really wasn't on Keith Raniere, the cult leader. We touched on his background, but we really wanted to look at why women signed up for this program to begin with and how gradual the process of indoctrinating and breaking them down was.
Inbal B. Lessner: There's an interesting parallel between the two series because we both spend, I would say, the first half of the first episode looking into the lure and the love bombing, which is a typical cult tactic but definitely evident with [Richard Scott Smith of "Love Fraud"] to another level. But to go back to recreating those moments of what it felt like to be in that first intro and the first class and how intoxicating that felt, the sense of community and what they were learning, that was a big ask. And that felt like a big responsibility to take on as a filmmaker.
Rachel Grady: The biggest takeaway is to remind everybody that's watching it how easily it could be them. I think that's really, really important because it's really, really easy to blame the victim in these cases, [but] there is a con man out there, or a cult leader out there, that knows exactly what to say to you, and you don't even know it. That's how they work. So maybe it's not that cult leader, maybe it's not that guy or woman or whatever, because you would never believe their bullshit, but there's someone's bullshit that you will believe.
You touched on getting the women to the place of being able to speak how about they felt then as opposed to now. How much of that is earning their trust off-camera first?
Ewing: We're not huge fans of doing a super, super long conversation before the camera rolls. I think that you have to assume that some things are going to only happen once, but you don't want to surprise them in a negative way either. I basically remember letting them know that it would be so helpful for other women, and for us as the directors, to understand what was his technique and why it was so effective. I shared a little bit of my own personal experience with some of them about some very difficult experiences I had with men in my 20s. I felt like it was the fair for them to know that in some ways we all have fallen for something like this. [And] I have to say that I was really inspired by the interviews in the HBO Michael Jackson series ["Finding Neverland"] because that director was able to get them to remember how excited they were to meet him and to be invited to the house, and the families too. And I thought that was excellent technique because you have to know what it meant to them in order for the fall to matter, in order for the betrayal to matter. You can't have one without the other, otherwise we thought we'd have a flatline in terms of emotional arcs. And so when I saw that I was like, "I know if he could get them back there, we can get these women back there."
Peck: Documentaries come together when people are ready to tell their stories, whether it's because they believe that other people can learn from their stories or it's part of their healing process. You can't force that to happen. But we did definitely develop strong relationships during the months of research and development with the former NXIVM members who had come forward, and those are still ongoing. We've built a website with them and we worked very hard on providing therapy for the survivors who came forward and on having relationships where they felt safe and supported.
Lessner: We put together this fund to fund their therapy before, during and after, and then Starz made a significant contribution so that we could keep supporting them through the release, which was re-triggering. And at some point we had to offer the same services to our crew, because we had people on the post team that felt triggered. There's an important conversation that's just starting to happen in the documentary world about secondhand trauma that we have as editors and filmmakers watching these difficult stories for an extended time. We have to keep looking at that and support the people who are doing this work.
Grady: And you find people at different stages: Some people come with like a lot of anger, some people come with a lot of self-loathing. Whatever it is, you have to have emotional intelligence, and figure out what people's incentive is.
How much of your incentive as filmmakers was to get justice for these women?
Grady: A lot! The fact that these women were getting together and that there was this awesome bounty hunter that was leading the charge, Heidi and I were like, "Fuck yes, we're totally on board with this."
Ewing: And I think you can see how how invested we were in the series because we make it very transparent that we hired a private eye, that we joined the search, that we lead the search at some times. We'd never done that before where we we affected the outcome, pretty obviously, by helping them look for him. And it was a discussion, but he was wanted — there was a national warrant for his arrest — so we weren't just like harassing a dude. And so we were like, "Let's help them and let's make it obvious to the audience that we have done so." We were that invested in getting some minor justice at the very least for these women.
Peck: So often it's behind the scenes but you know that filmmakers are possibly making suggestions, so I really appreciate how upfront you were about it. For us, with the justice element, we were filming a trial that was part of our storytelling so the cult leader was being brought to justice, and then during the airing of our series he was sentenced to 120 years in prison. That was definitely a big piece but, even more important or related was, how do you get out of trauma and how do you heal? We really would not give up our absolute intention to follow these women through their lives beyond the verdict and how they're using their voices and how they're recovering. That kind of trauma doesn't go away overnight, even when a cult leader is sentenced.
Ewing: In "Love Fraud" he doesn't get that much time and a lot of people are so mad. [But] there's a four-part series on him and his face is on billboards and he's definitely having a hard time getting to find people to date that haven't heard or seen this so I think in a way the justice was the series. We can at least stop him in his tracks slightly with this this kind of negative publicity.
A sense of justice doesn't always have to be just looking at a legal outcome. It's also making the women to feel heard or valued, especially for someone like India, who was telling her story for the first time in her own words.
Peck: We reshaped the entire narrative when she joined us.
Lessner: Yes, it forced us to find another spine for it, really. When Cecilia first talked to her, she said, "I want to understand what the fuck happened to my brain." What she thought it was versus what it actually was is the narrative tension that drives the story. Our cult experts are helping you understand what's really at play — what are the tactics that are being used here? — while we have the [survivors] take us through the motions of how it felt from their points of view and have them unpack, "How the hell did I get here?"
Peck: India was telling us the story of what happened but also having to incorporate what she has learned through her hundreds of hours of deprogramming and therapy to apply hindsight in realizing how that curriculum worked on her and eroded her critical thinking. But I think we should talk also about how both series employed animation.
Ewing: It really was interesting for us to see that the real emotion came from the stories in the past. In order to tell those stories we employed a collage artist and an animator because we had this problem of enough photos, not enough audio. So, we had to find a way to visualize the love and the joy and the romance, and the horror that it became through these collages.
Grady: We've never done it before and are animator and collage artist hadn't either.
Lessner: Before we even had India, the idea was to follow the trial and cover what really happened in NXIVM. We were watching "Miss Americana," the Taylor Swift documentary, and we saw this one tiny sequence of courtroom illustrations, we found that the artist who did that, Elyse Kelly. Once India joined and the whole series had to be reshaped, the trial actually took a backseat, but we realized we could use these animations and illustrations to bring you into her point of view — her subjective memory flashes. And so, the color palette, the composition, it gradually changes from very lit, beautiful, alluring scenes to, in the third episode when she's being sexually abused and branded, really dark and distorted. It's like the memories are a little more difficult to access and put together.
Ewing: [Using animation] is almost akin to shooting a film on 35-millimeter because everything has to be exact, you only share what's necessary, you only animate what's necessary. It's a great exercise as a filmmaker, especially when we're all shooting digital and you don't have to be as disciplined as you could be.
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发表于 2022-7-5 08:25:22
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