While Mark was playing mandolin inSanta Monica, Jonathan (on bass) used the opportunity of Barney McAll( piano) visiting from New York to record further tracks for the film. Two days at Linear Studios in Leichardt. Joining them were Julien Wilson ( saxaphone) and Hamish Stuart(drums)…and Phil Slater( trumpet), otherwise known as Jedi.I looked around at one stage and he was going through a series of moves with intense concentration. Tai Chi? Qi Gong? Tibetan Yoga?…no, just practicing his golf swing
Posts from the ‘Jonathan Zwartz’ Category
I wrote in a recent post that music for the film on Paulus Berensohn was being done by friends Mark Rivett and Jonathan Zwartz. Mark’s main instrument is jazz guitar. But he also sings. And composes. And plays the five string banjo (a founding member of the Jamberoo Mountain Boys, but more on that another day) and has pulled out the mandolin on which he is no slouch to compose for the film. Jonathan has added bowed bass, and the Appalachian/classical fusion is a beautiful sound.I will find a way of posting some samples of the tracks next week . Another track has him using the banjo but making it sound like a sitar.As an audio engineer (who worked on Abbey Road) at Song Zu, Mark’s recording Studio in Sydney said to me as Mark departed after a session one day..”He’s a talented lad that Mark.”
Editing the Paulus film began before I got back to Australia. Four rugged drives made it into the hands of editor Andrea Lang (thank you FedEx) and the project survived the potentially catastrophic meltdown of the mother drive (no thank you to Lacie thunderbolt drives grrr). Around 90 hrs of footage shot over six weeks.. Andrea inquired as to whether I had ever found the “off “button on the camera, and then valiantly got stuck in by having all the interviews transcribed to begin a paper edit. Key ideas and phrase and links were committed to file cards and that’s them on the wall you can see in the pic. It’s a complex task, telling the story of Paulus’s life and many aspects of his work over an 80 year (almost) period, and this technique allowed us to shuffle on paper before we did in the edit suite. I use the word “we’ in a fairly cavalier fashion here. Though Andrea was ably assisted by her two schnauzers Sir Douglas Dinsdale and Johnny Bangers(with bucket) whose attention never wavered.
My original intention was that the workshop Paulus gave on journal making called”Everything is Art When You’re Dressed for it” would provide both the linking structure for the film and its title. Well that didn’t quite turn out to be the case. The workshop certainly features (and I am preparing a separate edit just on it) but a different, less linear way of telling the story emerged that we are happy with. The title for the film is now “To Spring From the Hand” and comes from an important story in P’s early life .
So we now have a cut of a little over an hour. Color grading has been done and now my very talented dear friends Mark Rivett and Jonathan Zwartz ( looking thoughtful below) are doing the music. A mixture of classical/jazz and Appalachian/classical, with Jonathan on bass and Mark featuring this time on mandolin( pic coming in next blog). Next week we will be in the studio with Barney McAll( piano), Hamish Stuart( drums),Julien Wilson( saxaphone), Phil Slater( trumpet).
Oh the answer to the question posed in the header was supplied by Andrea when I asked her how would we know the edit was done:” When you can’t pay me any more”….. she then added:”Films are never finished, merely abandoned”. Land ahoy!