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  • Do you like to see handicapped people depicted as people?

  • Excuse me?

  • I think that there were a lot of stories in the film that

  • fell on the cutting room floor

  • because we made the decision to tell the film

  • as, kind of, the story of a band of friends.

  • One of the things I remember was, we talked

  • about my, getting my first car.

  • It was really kind of, where did my liberation

  • start happening? Where I didn't feel like a burden

  • or a problem, where I didn't feel penned in.

  • I got my driver's license when I was 17

  • for my senior year in high school.

  • And my first car was a used

  • 1967 Oldsmobile Vista Cruiser Station Wagon

  • When I got my driver's license, everything changed.

  • There's a part of driving that was like a great equalizer

  • for me, it was like I could do it as well as anybody else.

  • And behind the wheel, no one knows that I have a disability.

  • I can be out in the world and not be stared at

  • or know that I'm sticking out.

  • One of the best things about having a car was

  • that I could go see Nancy

  • without having a friggin' chaperone.

  • We didn't sleep together until a trip I made to see her.

  • She was going school and living in the dorms.

  • It felt kinda natural when we really kinda knew each other.

  • We knew that we didn't have to explain

  • that our bodies were different, we knew that.

  • Some characters' back stories had to stand in for others.

  • Some characters' journeys had to stand in for others,

  • and one of the things that I felt sad

  • to lose was the back story of our character Denise Jacobson

  • because she grew up in the Bronx

  • in an apartment building that was on the second floor,

  • and she couldn't get up and down the stairs.

  • There was no elevator, so she was literally stuck

  • in an apartment completely isolated,

  • and she had a very vivid, powerful way of describing

  • that experience of isolation and then the joy she felt

  • in landing in the camp and finding friends and being able

  • to roll wherever she wanted and having freedom.

  • We edited for about a year and a half on this project.

  • Yeah, our first assembly of the film was

  • about two and a half hours long.

  • A bit longer than I think that we expected at first,

  • but like every documentary,

  • it kinda reveals itself to you in a lot of ways.

  • One of the exercises that we were really encouraged

  • to do was to try to make a 90 minute cut,

  • and it became clearer and clearer

  • how important the camp was,

  • and how the evolution of these people's lives were,

  • and kind of make it not seem like two different films.

  • Camp and after camp.

  • In the long run, at least, you know,

  • we found the right length of the film.

  • Well I think we believed from the beginning

  • that it had to be a feature film to start with.

  • The narrative structure was the power of the camp

  • through to the passage of the ADA,

  • and seeing how the spark of the camp and the power

  • of these individuals coming together was gonna make

  • things change throughout the entire world.

  • The challenge that was exciting was,

  • how do we take all of this complexity

  • and all of this history across time,

  • and how do we blend this really immersive footage

  • that we had from the camp with the scraps

  • of archival that we were digging up

  • from all over the place to follow people

  • across time and how do we make that one story arc?

  • Because of that, a lot of things did have

  • to fall on the cutting room floor.

  • We definitely had in our minds-eye tracing things

  • up to the ADA, and we thought that the kind of end

  • of the second act would be the incredible victory

  • at the end of this 26 day takeover

  • of a federal building, and the enforcement

  • of the first disability rights legislation.

  • We worked our way towards I think knowing

  • that where we had to end the film was back

  • at camp, back where everything started,

  • and kind of the resolution of the life journeys

  • of the characters that we had followed.

  • One of the things that got us there was playing around

  • with combining the camp footage,

  • the old camp footage with the return to the campsite,

  • and this incredible song "Sugar Mountain" by Neil Young,

  • and there's something of kind of like a longing

  • to go back to that place in your youth

  • in that song that had the emotion

  • that we wanted to end the film with.

Do you like to see handicapped people depicted as people?

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クリップ・キャンプの信じられない削除シーン|Netflix (Incredible Deleted Scenes From Crip Camp | Netflix)

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    林宜悉 に公開 2021 年 01 月 14 日
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