When Australian jazz musician Simon Barker discovers the music of Korean musician and shaman Kim Seok-Chul during his search for inspiration, Barker is instantly awakened by the music in indescribable ways. He recognizes the genius behind the strange beats and melodies, and is equally puzzled and fascinated by the otherworldly quality of the music. To grasp a deeper understanding, Barker seeks out this master, who remains as elusive as the beauty of his music. Barker’s guide on this journey is Kim Dong-Won, a highly respected Korean percussionist and composer who has studied and performed with legendary musicians, including Kim Seok- Chul. A well-versed musician and teacher himself, the younger Kim not only helps Barker navigate the nuances of cultural boundaries, but also offers a glimpse into the life of a musician training in the art of traditional Korean music. As Barker awaits word on whether he will be able to meet with Kim Seok- Chul, who is officially recognized by the country as one of its “intangible cultural assets,” Kim Dong-Won immerses Barker into his classes and performances to teach him what it means to give oneself completely to the music one plays. Although the waiting wears on Barker at times, the people he meets and the lessons he learns reveal how deeply music is rooted in the heart and soul of the Korean culture. A complex musical and cultural exploration that taps into the spiritual essence of an art form, INTANGIBLE ASSET NUMBER 82 illustrates music as a universal language through which one tenacious musician and his gracious counterparts reach mutual understanding and appreciation.

Filmmaker Q&A

Introduce yourself:
A broad education specialising in the visual and performing arts, law, jazz piano, history & politics and film making, has led Emma Franz to an interesting and diverse career. 17 years of professional jazz singing has taken her to 33 different countries. She has produced many stage performances, three CDs under her own name, and managed a series of musical groups. She is a session singer and songwriter signed to Warner Chappell, has sung more than fifty feature performances on national Australian television, and in 1998, was a finalist in the Australian National Jazz Awards. Emma has a deep interest in people, their stories and cultures, and has been involved in social work locally and abroad.

Emma has worked in various capacities on both narrative and documentary short and feature films, and in 2005 started her own production company, In The Sprocket Productions.

INTANGIBLE ASSET NUMBER 82 is Emma’s directorial debut.

What inspired this film?   How did you find your subjects?
Following eight years working around the world enjoying wonderful exchanges and making close friendships through music, I was inspired to make a film that illustrated music as the universal language that it is.

The inspiration for this particular story came when I was hired to record an album in Hong Kong, as was Simon Barker, the protagonist of the film. Simon and I were colleagues and friend, but I hadn’t seen him for some time. He had arrived in Hong Kong directly from Korea and told me he’d been there looking for a shaman musician. I knew immediately this was the story to follow, that no matter what eventuated, the music would lead to some great encounters, and if Simon did find the shaman, it would be a great demonstration of how people from completely disparate walks of life can communicate through music.

What were some of the biggest challenges/surprises?
Probably the biggest challenge for me during filming was not knowing what would happen from one moment / situation to the next, what the set-up would be, what would be permissible in terms of recording, and trying to be culturally sensitive – trying to get the footage I needed whilst still feeling my way as to where the boundaries were. Almost everything was a surprise!

Who are some of your favorite filmmakers?
Probably my favorites are the Italian neorealists – De Sica, Rossellini, as well as Antonioni, Fellini… I love some of the current Korean filmmakers such as Park Chan-Wook and Kim Ki-Duk, who actually almost seems like a different director with every film, but I love people who don’t feel that they have to limit themselves to a particular style whilst still having so much style… Jim Jarmusch, Almadovar’s a big one for me… Michel Gondry, Errol Morris…

What is your all time favorite documentary?
I don’t have all time favorites, because I like different documentaries for different qualities. If I think of a film like WHEN WE WERE KINGS, which I love, and then one such as THREE ROOMS OF MELANCHOLIA, which was so poetic and which I was profoundly moved by… I could never choose between such dramatically different films in terms of content, form and style. It’s like someone having a favorite song – it’s an absurd idea to me.

What other projects are in the pipeline?
I have started working on a film portrait of the wonderful guitarist Bill Frisell, and am developing some other projects that aren’t related to music too!

Why did you become a filmmaker?
Filmmaking contains so many elements of the things I love – visual aesthetics, stories, rhythm, exploration, challenge, collaboration, expression… it can have social relevance, political importance, intellectual stimulation…

What are some of your creative influences?
Too broad a question with too broad an answer.

Did you go to film school?
No.

What do you shoot on?
Digital cameras, Super 8.

What has been the most unexpected thing to happen since taking the film on the festival circuit?
Feeling re-energized to commence new projects far sooner than I thought possible.

Why did you want to screen your film at SILVERDOCS?
Because of SILVERDOCS’ reputation and focus on documentary.