One of the tragedies of art is how much perfectly decent stuff is chucked away. The 300 hours of footage I shot for Janapar is a case in point. The finished film is 79 minutes long, so for every minute of footage I shot, another four hours were binned. (Admittedly, plenty of it was shite, but a lot of it wasn’t.)
Beginning today, then, I’ll be bringing the best of this extra material back to life. For those who’ve seen Janapar, these clips will explain a few things glossed over in the main feature. For those who haven’t seen it, they’ll be entertaining glimpses of life on the road in their own right.
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The first clip answers the question of why Tom appears to be exhibiting the remains of a black eye in some of the Armenian winter shots.
This dramatic scene was included in the main feature until quite a late stage in the edit, but it needed to be quite lengthy to make sense, and so it stalled the momentum of the story, which at that point was resolving the earlier question of how Tom & Andy came to be separated.
We found that we could ‘hide’ the injury in later scenes and explain the conflict more concisely and poetically through Andy’s parallel love interest, and so it had to go. (This particular tale is fully recounted in the book, as it did become a significant turning point.)
As always, your questions and comments are very much welcomed. Next week’s clip will bring a touch of comedy in some rather unusual sleeping arrangements.