{"id":2019,"date":"2020-07-02T10:00:09","date_gmt":"2020-07-02T10:00:09","guid":{"rendered":"https:\/\/niemanstoryboard.org\/2020\/07\/02\/rejecting-the-simplified-news-narrative\/"},"modified":"2024-03-07T17:14:37","modified_gmt":"2024-03-07T17:14:37","slug":"rejecting-the-simplified-news-narrative","status":"publish","type":"post","link":"https:\/\/niemanstoryboard.org\/2020\/07\/02\/rejecting-the-simplified-news-narrative\/","title":{"rendered":"Rejecting the simplified news narrative"},"content":{"rendered":" \n
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\n W<\/span>h<\/span>ile\u00a0reading the news in 2017,\u00a0<\/span>filmmaker\u00a0<\/span>Erin Lee\u00a0<\/span>Carr<\/span>\u00a0first saw the \u201cvery wide, intense eyes\u201d of Michelle Carter. She looked like a\u00a0<\/span>\u201c<\/span>deer in headlights,\u201d\u00a0<\/span>Carr<\/span>\u00a0said. At the time, Carter was\u00a0<\/span>on trial in\u00a0<\/span>Massachu<\/span>s<\/span>setts<\/span>\u00a0on charges of involun<\/span>t<\/span>ary manslaughter<\/span>. She was accused of promoting the suicide of her boyfriend \u2014 whom she had only met with five times in person \u2014 through <\/span>some of the thousands of texts the two exchanged.<\/span>\u00a0<\/span>

The case of\u00a0<\/span>Carter and Roy became the subject of\u00a0<\/span>\u201c<\/span>I Love You, Now Die: The Commonwealth v. Michelle Carter<\/span>,<\/span>\u201d<\/span><\/a>\u00a0a two-part documentary directed by\u00a0<\/span>Carr<\/span>\u00a0for HBO.<\/span>\u00a0<\/span>The film features\u00a0<\/span>Jesse Baron, who wrote\u00a0<\/span>a complex profile of\u00a0<\/span>the case for\u00a0<\/span>Esquire Magazine<\/span><\/a>;\u00a0<\/span>psychiatrist\u00a0<\/span>Peter\u00a0<\/span>Breggin<\/span>,\u00a0<\/span>whose \u201cexpert testimony\u201d at the trial was shredded by the prosecution;\u00a0<\/span>Emily Bazelon<\/span><\/a>\u00a0of the New York Times Magazine<\/span>, and\u00a0<\/span>Marin Cogan<\/span><\/a>, then a\u00a0<\/span>writer\u00a0<\/span>with New York Magazine<\/span>.<\/span>

Few of the in-depth stories of the case<\/span>\u00a0reach a definitive conclusion. But<\/span>\u00a0<\/span>Carr<\/span>\u00a0complicates the media\u2019s popularized narrative\u00a0<\/span>even further.<\/span>\u00a0<\/span>By the end of the film, we see<\/span>\u00a0Carter as a\u00a0<\/span>lonely\u00a0<\/span>woman who lacked emotional support and effective mental health treatment<\/span>.<\/span> (Carter was found guilty and scheduled to begin serving a 15-month sentence in February 2019. In January 2020, the U.S. Supreme Court declined to hear an appeal<\/a> of her conviction.)\u00a0<\/span>

\"Documentary<\/a>
Erin Lee Carr<\/figcaption><\/figure>

This was not\u00a0<\/span>Carr\u2019s<\/span>\u00a0first foray into issues\u00a0<\/span>that\u00a0<\/span>raise questions about\u00a0<\/span>what happens in the mind, what happens on the internet and what happens in reality. Now\u00a0<\/span>32,<\/span>\u00a0<\/span>she\u00a0<\/span>directed her first documentary<\/span>\u00a0for HBO in 2013:\u00a0<\/span>\u201c<\/span>Thought Crimes<\/span>: The Case of the Cannibal Cop<\/span>,\u201d<\/span><\/a>\u00a0probes the court case of a New York City police officer who indulged in\u00a0<\/span>sadistic<\/span>\u00a0fantasies<\/span>, but not, apparently, action.\u00a0<\/span>Since then,\u00a0<\/span>Carr<\/span>\u00a0has released two other feature-length documentaries<\/span>:<\/span>\u00a0<\/span>\u201cMommy Dead and Dearest\u201d<\/span><\/a>\u00a0(2017) is another dive into the question of victimhood; it explores the case of\u00a0<\/span>a young woman accused of killing her mother after being raised as a captive invalid.\u00a0<\/span>\u201cAt the Heart of Gold: Inside the USA Gymnastics Scandal<\/span>\u201d<\/span><\/a>\u00a0<\/span>(2019) revisits<\/span>\u00a0the case of<\/span>\u00a0disgraced<\/span>\u00a0former women Olympics team doctor Lawrence G. Nassar<\/span>.<\/span>\u00a0<\/span>

Also<\/span>\u00a0in 2019,\u00a0<\/span>Carr<\/span>\u00a0published\u00a0<\/span>\u201c<\/span>All That You Leave Behind<\/span>,<\/span>\u201d<\/span><\/a>\u00a0a memoir about confronting her drug addiction and relationship with her father,\u00a0<\/span>the\u00a0<\/span>late\u00a0<\/span>New York Times\u00a0<\/span>media critic<\/span>\u00a0David\u00a0<\/span>Carr<\/span>.<\/span><\/a>\u00a0<\/span>

With unique journalism techniques,\u00a0<\/span>Carr<\/span>\u00a0<\/span>rejects\u00a0<\/span>convenient<\/span>\u00a0narratives\u00a0<\/span>t<\/span>o peel away layers of\u00a0<\/span>human\u00a0<\/span>complexit<\/span>ies, often reaching into dark corners we would rather deny.\u00a0<\/span>We spoke about how she did it, her interview style, and how she has achieved continual commercial success as a documentary filmmaker. This interview has been\u00a0<\/span>edited\u00a0<\/span>for length and clarity.\u00a0<\/span>\u00a0<\/span>

M<\/span>ichelle Carte<\/span><\/b>r declined to participate in\u00a0<\/span><\/b>\u201c<\/span><\/b>I Love You, Now Die<\/span><\/b>.\u201d<\/span><\/b> How did you recreate her voice and inner thoughts without being able to interview her?<\/span><\/b>
<\/span>I asked (Michelle to be in the film) 17 times. But t<\/span>here<\/span>\u00a0are<\/span>\u00a0a lot of text messages in that movie. I think that we have such intense text messages and digital communications that [they] reflect our state of mind or consciousness. The texts really were interviews. They were saying at the time what she was thinking.<\/span>\u00a0<\/span>

It pushed me to understand the narrative from her perspective and put in her\u00a0<\/span>voice without ever having access to her. I think that’s what made me the director that I am today.<\/span>\u00a0<\/span>

What was the \u201caha\u201d moment for you when formulating your own perspective about Michelle Carter?<\/span><\/b>
<\/span>Documentaries don’t really work like that. There is no \u201caha\u201d moment.\u00a0<\/span>They are<\/span>\u00a0puzzle pieces that you assemble from scrap. I loved in the edit when I was working with\u00a0<\/span>(editor and co-producer) <\/span>Andrew\u00a0<\/span>Coffman<\/span>\u00a0and the puzzle pieces actually fit together. I thought, \u201cOh my gosh, maybe it’s a real thing!\u201d\u00a0<\/span>

Every single time I make something, it isn’t certain that it will work out. There are always these grand moments of doubt:<\/span>\u00a0<\/span>Was this right? Is this the right interview? What are we doing? What are we trying to do?<\/span><\/i>\u00a0Films are so much more collaboration than overt acts of journalism. So, for me, it\u00a0<\/span>i<\/span>s watching the puzzle pieces come together in the edit.<\/span>\u00a0<\/span>

All of your films have been about true crime<\/span><\/b>,<\/span><\/b>\u00a0and\u00a0<\/span><\/b>often\u00a0<\/span><\/b>you\u2019re interviewing people who have been through very traumatic experiences. What is your interview style like<\/span><\/b>\u00a0in those situations<\/span><\/b>?<\/span><\/b>
<\/span>Especially for documentary, it’s about pausing and about break<\/span>s<\/span>. If I talk over you while you’re answering, the bite becomes unusable. I’ve had to get pretty comfortable with silence and letting\u00a0<\/span>(the interview)<\/span>\u00a0pause.\u00a0<\/span>\u00a0<\/span>

\u00a0<\/span>There\u2019s also this weird amount of coaching people through it. You sort of have to say,\u00a0<\/span>We’re<\/span><\/i>\u00a0<\/span><\/i>go<\/span><\/i>ing to<\/span><\/i>\u00a0reset. You’re doing fine. You seem a little nerv<\/span><\/i>ous. What are we going to do for this? Do you want to go get a glass of water? Do you want to break for a second?<\/span><\/i>\u00a0Sometimes I say, \u201cWe’re going to take a deep breath.\u201d Then we look at each other say, \u201cThis interview\u2019s\u00a0<\/span>go<\/span>ing<\/span>\u00a0be great.\u201d\u00a0<\/span>\u00a0<\/span>

I don’t think many other journalists do anything like that, but you can really tell if someone is very nervous. And unfortunately, if someone’s nervous, people tend to think that they’re lying. I never want people to think that people <\/span>who\u00a0<\/span>are nervous or fidgeting\u00a0<\/span>are<\/span>\u00a0lying. I want them to really reflect their true selves.<\/span>\u00a0<\/span>

When interviewing people for\u00a0<\/span>\u201cAt the Heart of\u00a0<\/span>Gold,\u201d<\/span>\u00a0I was emotional during interviews. I definitely cried during some interviews because my subject was crying. I would never have cried during any of the other interviews. I guess all the films break you down, but I felt pretty broken after that.\u00a0<\/span>\u00a0<\/span>

What was the most emotionally taxing part about making\u00a0<\/span><\/b>\u201cI Love You, Now\u00a0<\/span><\/b>Die\u201d?<\/span><\/b>
<\/span>All of it. The shooting was so painful. I found the whole atmosphere at the courtroom to be really combustible. There was a lot of grief and there was a lot of media attention. The Conrad Roy family was being hounded in court as if they were celebrities and they were grieving the loss of their son. We were all trying to navigate the limelight. I was there with my recorder and trying to get to second angle and it really made me question what I was doing with my life. Am I putting more harm into the world than good? We forget that these people are real people. And I try to remember\u00a0<\/span>every<\/span>\u00a0<\/span>day<\/span>\u00a0that they are.<\/span>\u00a0<\/span>

Despite how difficult it can be to make a living from documentary filmmaking, you have consistently produced commercial work. What has made the difference for you?<\/span><\/b>
<\/span>I am nothing without an audience to watch these things, and I should never forget it. What is\u00a0<\/span>viral<\/span>\u00a0film<\/span>? What do people want to watch? Is there is a way to bake philosophical arguments into must<\/span>–<\/span>watch television<\/span>?<\/span>\u00a0<\/span>

I’m so much more of a strategist than an artist. I’m a robot that is reverse engineering to get people to watch things<\/span>,<\/span>\u00a0and I align myself with institutions that can get this stuff done and that there are big audiences for.<\/span>\u00a0<\/span>

\u00a0<\/span>I think that working with producers that you respect and admire while you’re working on your own thing is important. Try to get cash while you’re trying to make your thing without being reliant on institutions\u00a0<\/span>\u2014\u00a0<\/span>because you’re very rarely going to get paid to make your first film.<\/span>

Kristen Chin<\/strong> is a graduate journalism student at Boston University, documentary filmmaker, and writer. Having traveled to 25 countries and lived in two, she aspires to work on documentaries and docu-series about travel, food, and lifestyle.<\/em>\n <\/div>\n <\/div>\n","protected":false},"excerpt":{"rendered":"

hile\u00a0reading the news in 2017,\u00a0filmmaker\u00a0Erin Lee\u00a0Carr\u00a0first saw the \u201cvery wide, intense eyes\u201d of Michelle Carter. She looked like a\u00a0\u201cdeer in headlights,\u201d\u00a0Carr\u00a0said. At the time, Carter was\u00a0on trial in\u00a0Massachussetts\u00a0on charges of involuntary manslaughter. She was accused of promoting the suicide of her boyfriend \u2014 whom she had only met with five times in person \u2014 through […]<\/p>\n","protected":false},"author":1,"featured_media":8347,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[7],"tags":[],"topics":[],"authors":[335],"issue":[],"class_list":["post-2019","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-5-questions","authors-kristen-chin"],"acf":[],"yoast_head":"\nRejecting the simplified news narrative - Nieman Storyboard<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/niemanstoryboard.org\/2020\/07\/02\/rejecting-the-simplified-news-narrative\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Rejecting the simplified news narrative - Nieman Storyboard\" \/>\n<meta property=\"og:description\" content=\"hile\u00a0reading the news in 2017,\u00a0filmmaker\u00a0Erin Lee\u00a0Carr\u00a0first saw the \u201cvery wide, intense eyes\u201d of Michelle Carter. She looked like a\u00a0\u201cdeer in headlights,\u201d\u00a0Carr\u00a0said. At the time, Carter was\u00a0on trial in\u00a0Massachussetts\u00a0on charges of involuntary manslaughter. 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