Compression, concision, velocity are my three watch words. And you could say that’s true of Marshawn as well.
Lynch: A History is a documentary about American Football player Marshawn Lynch.
I learned about it from Austin Kleon’s tweets this morning. I’d been aware of Lynch and his refusal to speak to the media, which I had never realized was part of the contract professional athletes sign. One day he stopped talking to them. Stopped giving interviews. Stopped playing into the professional sports game of things like we played hard out there or we didn’t do enough tonight to get the win. There’s so much utter nonsense about the interviews after games.
The team either won or they lost. There’s not a lot of deep thought that needs to go into why. They were outscored or they outscored the opponent. Done. Why do we need this “analysis” after the game? Why talk to the tired, sore and frustrated/pleased athletes after they performed for us?
It’s streaming on Kanopy, (likely available free through your local library), so I watched it this evening. Making a film about a man, but without the man himself must have been a challenge. When filmmaker (author and professor) David Shields approached Lynch he was told no, but they wouldn’t stop him from makin it. So the result is a video collage.
The result is almost jazz-like: pulling together more than 700 video clips and a handful of literary quotes, “Lynch: A History” forms a collage around the athlete that spirals out with greater and greater aims. The movie jumps quickly, sans narrator or an overt guiding hand, and yet it tugs its viewers through time, linking sports to mythology to biography to history and back.
Watching the film is like riding on Lynch’s shoulder as he twists and spins his way through blockers and kicks into high speed. It’s a frenetic ride that goes hard for 84 minutes without stopping to breathe. The collage is about race and athletes. The insistence that entertainment and politics should be separate by a vocal minority and how athletes (often black men) are told to Shut Up And Entertain.
With 700 clips, I hadn’t even considered the fair use implications of making this film. There would have been no way to get clearance (or afford it) to make this film, so as Shields had his lawyer on speed dial brevity was key. Use as little of a clip as possible. This exercise in artistic restriction shaped the film into the bruising ride it became. This film is an amazing balancing act.
And then a third thing for us — just sort of boringly but crucially — was just sort of fair-use considerations. I had my intellectual property lawyer on speed dial and he explained to us over and over again that it’s crucial that all clips be as brief as possible, and that they all be making a commentary, and that the cultural commentary be legible to so-called average viewer.
Two things I was curious about that while the film didn’t answer, subsequent stories about the film did.
Has Marshawn Lynch seen the film?
A couple of months ago I sent a vimeo link of the film to Marshawn’s entertainment agent, at the agent’s request, and now I asked Marshawn if he had watched it and what he thought; he said, “I wanted to hate on you, but I couldn’t, ’cause you did a good job with it.”
What’s up with the Skittles?
“You’re not just dating Skittles,” Waggoner told Lynch. “You love Skittles.”
“We intimate,” replied Lynch. “We done became one.”
His love started young.
I wish Lynch: A History would have gone deeper but without his participation, there was little chance of that. It’s an interesting project and a fascinating piece of art. I’m glad to have watched it and tells a story that needs telling.