Garrett Bradley's docuseries, Naomi Osaka, is stunning in its attentiveness to Osaka's somewhat mysterious inner world. The director opens up about the delicate balance the project demanded:
was pulling out of the 2021 French Open shocked tennis officials, commentators, and even fans. She had already, citing mental health concerns, and been fined as a result. But to those who have trouble making sense of the soft-spoken four-time Grand Slam Champion’s recent moves—including pulling out of Wimbledon—a new docuseries may provide a path to understanding.
That’s also what motivates my work, trying to bring people together. Trying to create a more just and transparent and loving world. And that means actually trying to dissolve a lot of the barriers that we think exist there. Naomi was in this place of contemplation, and I think she’s always in a place of contemplation. She’s an incredibly deep, observant person. And she chooses when she wants to speak. And I think that’s actually coming from a place of power [more] than it is anything else.
The questions that these things prompted for her internally, and on a personal level, also then started to radiate into the world. And the world has been asking itself, in the course of our filming, these same questions about value systems. About what it means to have a voice. What it means to work within, and outside of, certain systems that we forget are actually totally malleable, and totally changeable, and totally able to evolve with us.
As you said, sports documentaries often follow an external chronology very closely. Was it easy, once you started shooting, to get outside of that? Because Naomi herself is not conventional. You can’t really compare her to other players, in terms of personality, or even the way she plays. So did that divergent path seem to present itself to you?
The series shows so much of the power in tennis, as well as the choreography of it. When you’re watching tennis live, you don’t necessarily get this level of detail; you don’t see the degree to which a player is adjusting and working. But in series, there’s an angular attention to players moving that makes it look so much more intense. How did you land on that?
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