Fin Pictures’ Marcel Duvenage finished the sound mixing of their upcoming feature film, Woodwind on Monday night.
We spoke to editor Josef Kahn (and director Fin Manjoo) who gave us as deep an analysis of the final cut that he’s allowed to reveal.
Josef, your overall view of the edit?
Kahn: “It works! For the last 90 minutes or so, we experience a series of the most anticipated scenes, one after another, which all build into an unforgettable climax and conclusion.
“The beginning is different in that we develop the story, introducing the characters and the premise. We see where Bonifaz comes from, and it’s clear that this lost composer is searching… but who or what is he looking for? It’s a mystery and the interpretation is open, depending on the viewer’s perspective, all being quite satisfying for the audience member who loves to think about the various possibilities.”
Talking about setting up the story, the general plot has already been released to the public as such: A mythic portrait of a composer, who travels to India to meet a female painter who envisions his movements from across the world; searching for the truth behind the mystery and the source of his music inspiration.
So, Fin, we’ve read a lot about the importance of music as an art form in Woodwind, but the plot speaks about a movie on romantic relationships.
Manjoo: “Woodwind cannot be boxed into a traditional understanding of genre. Firstly, according to the dictionary Woodwind isn’t a musical because there’s no singing or dancing to move the narrative. However there’s music throughout, with Woodwind being about the power of music.”
Manjoo: “Similar to what I said about genres, this applies here too. The story of Woodwind is driven by Bonifaz’s relationships, but you can’t just say that the film is about that. I think we approach this subject unlike any other film, looking deeply into the nature and significance of connections between people.”