जब मोहल्लों को लीलने की बात आती है, तो जेंट्रीफिकेशन (शहरीकरण और संभ्रांतों का बसाव) किसी अभिशाप की तरह हो सकता है।
Gentrification can be a plague, as it eats up neighborhoods.
Gentrification can be a plague, as it eats up neighborhoods.
डॉक्यूमेंट्री फ़िल्म निर्माण की यही बात मुझे सबसे अच्छी लगती है, हमें कभी पता नहीं होता कि कहानी किस दिशा में जाएगी, आगे क्या होने वाला है, और हम एक ऐसी संस्कृति के बीच होते हैं जिसे आपको कई मायनों में खुद समझना पड़ता है। यह इस बात के बीच का रिश्ता है कि आप क्या सोचते थे कि कहानी क्या होगी, और असल में 'मैदान' (शूटिंग स्थल) पर क्या घटित होता है।
That's what I love about documentary filmmaking, we never know where the story is going, we don't know what is going to happen next, and we're inside a culture of people that you have to figure out in many ways. It's a relationship between what you thought might have been the story, and what happens in the 'field.'
That's what I love about documentary filmmaking, we never know where the story is going, we don't know what is going to happen next, and we're inside a culture of people that you have to figure out in many ways. It's a relationship between what you thought might have been the story, and what happens in the 'field.'
मुझे हर दस साल में किसी कलाकार पर फ़िल्म बनाना पसंद रहा है - इससे मुझे अपने खुद के काम पर गौर करने का मौका मिलता है।
Every ten years or so, I liked to do a film about an artist - this allowed me to reflect on our own work.
Every ten years or so, I liked to do a film about an artist - this allowed me to reflect on our own work.
लियोन गोलुब एक चित्रकार थे। वह न्यूयॉर्क शहर की कला की दुनिया में अपनी जगह बनाने के लिए संघर्ष कर रहे कलाकार थे, लेकिन साथ ही वह एक बेहद राजनीतिक व्यक्ति थे और अपने आस-पास की दुनिया से जुड़े हुए थे। फ़िल्म में हमने देखा कि कैसे वह बाहरी दुनिया धीरे-धीरे उनके चित्रों में भी झलकने लगी। फ़िल्म में मेरा एक पसंदीदा संवाद यह था कि उन्हें और ज़्यादा सटीक होना था, 'लेकिन अब पतलून में सिलवटें आ गई हैं, मुझे ऐसा करना अच्छा नहीं लगा, लेकिन मुझे करना पड़ा।'
Leon Golub was a painter. He was an artist struggling to make it in the New York City art world, but at the same time he was a very political guy, and engaged in the world around him. In the film, we saw how that world eventually encroached into his painting. One of my favorite lines in the film was how he had to be more precise, 'but now the pants have wrinkles, I hated to do it, but I had to do it.'
Leon Golub was a painter. He was an artist struggling to make it in the New York City art world, but at the same time he was a very political guy, and engaged in the world around him. In the film, we saw how that world eventually encroached into his painting. One of my favorite lines in the film was how he had to be more precise, 'but now the pants have wrinkles, I hated to do it, but I had to do it.'
हमारी कोई भी फ़िल्म एक जैसी नहीं होती, हर एक के प्रति हमारा नज़रिया बहुत ही तार्किक और अलग होता है, और 'हूप ड्रीम्स' भी इसका अपवाद नहीं थी। डॉक्यूमेंट्री फ़िल्म निर्माण की यही बात मुझे सबसे अच्छी लगती है, हमें कभी पता नहीं होता कि कहानी किस दिशा में जाएगी, आगे क्या होने वाला है, और हम लोगों के बीच की एक ऐसी संस्कृति का हिस्सा होते हैं जिसे आपको हर तरह से समझना पड़ता है। यह इस बात का तालमेल है कि आप क्या सोच रहे थे कि कहानी होगी, और असल में 'धरातल' पर क्या घटित होता है। इसी से असली कहानी जन्म लेती है, और 'हूप ड्रीम्स' के साथ बिल्कुल यही हुआ था।
None of our films look alike, we are very dialectical in our approach to each one, and 'Hoop Dreams' was no exception. That's what I love about documentary filmmaking, we never know where the story is going, we don't know what is going to happen next, and we're inside a culture of people that you have to figure out in many ways. It's a relationship between what you thought might have been the story, and what happens in the 'field.' Out of that comes the story, which was exactly what happened with 'Hoop Dreams.'
None of our films look alike, we are very dialectical in our approach to each one, and 'Hoop Dreams' was no exception. That's what I love about documentary filmmaking, we never know where the story is going, we don't know what is going to happen next, and we're inside a culture of people that you have to figure out in many ways. It's a relationship between what you thought might have been the story, and what happens in the 'field.' Out of that comes the story, which was exactly what happened with 'Hoop Dreams.'
'हूप ड्रीम्स' का सफ़र एक अविश्वसनीय संघर्ष था। हम फ़िल्म की शूटिंग के दौरान ही पैसे जुटाने की कोशिश कर रहे थे, और लोगों को यह समझाने में बहुत मेहनत लगी। मुझे याद है कि मैं एक ऐसे व्यक्ति से बात कर रहा था जिसे यह बात समझनी चाहिए थी, वह व्यक्ति पब्लिक टेलीविज़न से जुड़े थे, और उनका मानना था कि तब तक हमारे पास कोई कहानी नहीं है, जब तक कि 'लड़कों में से किसी के साथ कुछ बुरा न हो जाए।' यह बात थोड़ी संवेदनहीन होने के साथ-साथ बिल्कुल गलत भी थी।
'Hoop Dreams'was an unbelievable struggle. We were trying to raise money in the midst of shooting it, and just explaining to people took a lot of effort. I remember talking to someone who should have gotten it, this person was in Public Television, and they didn't think we had a story, until 'maybe something bad happens to one of the boys.' Besides being somewhat heartless, it was also wrong.
'Hoop Dreams'was an unbelievable struggle. We were trying to raise money in the midst of shooting it, and just explaining to people took a lot of effort. I remember talking to someone who should have gotten it, this person was in Public Television, and they didn't think we had a story, until 'maybe something bad happens to one of the boys.' Besides being somewhat heartless, it was also wrong.
'हूप ड्रीम्स' को इतनी दमदार फ़िल्म बनाने वाली चीज़ यह है कि इसमें यह संदेश है कि शायद हम अमेरिका की समस्याओं के समाधान के लिए कुछ कर सकते हैं, जो उन परिवारों की सहनशक्ति और मज़बूती में झलकता है जिन्हें हमने पर्दे पर दिखाया है। इस फ़िल्म में हमने वास्तव में उन किरदारों को देखा जिनकी हमें परवाह है, और साथ ही इसमें एक ऐसा विश्लेषण भी बुना गया है जो दर्शकों को यह समझने में मदद करता है कि इन लोगों के जीवन में क्या चल रहा है। और जो कुछ हो रहा है, उसके ज़रिए दुनिया के बड़े सत्ता-समीकरणों को भी समझा जा सकता है।
What makes 'Hoop Dreams' such a powerful film, is that it carries a message that maybe we can do something about our problems in America, reflected in the resiliency and strength of those families that we portrayed. The film was where we really saw the characters that we care about, interwoven with a analysis that is trying to help the audience understand what is happening in these people's lives. And in what is happening, there is an understanding of the larger power relationships in the world.
What makes 'Hoop Dreams' such a powerful film, is that it carries a message that maybe we can do something about our problems in America, reflected in the resiliency and strength of those families that we portrayed. The film was where we really saw the characters that we care about, interwoven with a analysis that is trying to help the audience understand what is happening in these people's lives. And in what is happening, there is an understanding of the larger power relationships in the world.
'हूप ड्रीम्स' ने हमें वेरिटे फ़िल्म निर्माण की अपनी जड़ों से दोबारा जोड़ा। इसमें हमने जो गहरे भावनात्मक दृश्य देखे - बिना किसी बड़े स्टार के और लगभग तीन घंटे लंबी होने के बावजूद - वे एक अलग और ज़्यादा महत्वपूर्ण दर्शकों तक पहुँचे। इसमें वे लोग तो शामिल थे ही जो इस संघर्ष का हिस्सा थे, लेकिन एक नया दर्शक वर्ग भी इससे जुड़ा जो हमारे द्वारा दिखाए गए लोगों के प्रति सहानुभूति या हमदर्दी नहीं रखता था। वे कभी भी अंदरूनी शहर के परिवारों पर बनी कोई फ़िल्म नहीं देखते, लेकिन उन्होंने 'हूप ड्रीम्स' ज़रूर देखी।
'Hoop Dreams' brought us back to our roots in veríté filmmaking. What we saw in the powerful emotional scenes within it - at nearly three hours long and with no star power - was an outreach to a different and more important audiences. There were the similarly involved folks who saw it that were part of the struggle, but there was also a new audience that weren't empathetic or sympathetic to the people we were portraying. They would never watch a film about inner city families, but they watched 'Hoop Dreams.'
'Hoop Dreams' brought us back to our roots in veríté filmmaking. What we saw in the powerful emotional scenes within it - at nearly three hours long and with no star power - was an outreach to a different and more important audiences. There were the similarly involved folks who saw it that were part of the struggle, but there was also a new audience that weren't empathetic or sympathetic to the people we were portraying. They would never watch a film about inner city families, but they watched 'Hoop Dreams.'