Zorn II (2016 - 2018)
“The idea is for it to become alive”, says John Zorn to colleagues practicing one of his compositions. It has to be “organic like a waterfall”. In the second part of his ongoing portrait of the prolific musician, Mathieu Amalric shows the artist as a social man. Like a sponge, Zorn takes in whatever surrounds him: people (mostly colleagues from the New York Underground scene), dreams, technology, cinema (screening films by Maya Deren or Harry Smith during his performances), places and the emotions evoked by sounds. He repeatedly interacts with Amalric while being filmed.
The film thus becomes part of Zorn’s foaming plunge pool, resonating through his constant work between pain and pleasure. “It’s not about sounds, it’s about people”, he continues. Amalric chooses a more structured approach than in the first part. Text inserts reveal details about the composer’s life and his philosophy. The camera gets more in tune with Zorn’s eruptive movements, as he goes onstage at sold-out concert halls as if he were just discovering the instruments there during an evening stroll. He plays each note as if it was the first or last, and Amalric tries to film him accordingly. The result is indeed something organic like a waterfall. (Patrick Holzapfel)
In the presence of Mathieu Amalric.
With ZORN I.
Mathieu Amalric: SANS RIRES (1990, K), MANGE TA SOUPE (1997), LE STADE DE WIMBLEDON (2001), LA CHOSE PUBLIQUE (2003), TOURNÉE (2010), L’ILLUSION COMIQUE (2010, TV), LA CHAMBRE BLEUE (2014), BARBARA (2017), SERRE MOI FORT (2021), MAÎTRES ANCIENS (2022)
- Mathieu Amalric
- Mathieu Almaric
- Caroline Detournay
- John Zorn
- Sylvain Malbrant
- Victor Praud
- Paulina Pisarek
- Yann Brolli (Magnolias Films)