by Thinus Ferreira
Carien Loubser, the owner of the TV production company Brainwave Productions in Cape Town, didn't just create JAN - she's also the director and edited the astounding series in which cameras follow South Africa's Michelin-star chef Jan-Hendrik van der Westhuizen in France and across Europe for two seasons.
I caught up with her to find out more specifically about the quite spectacular second season of JAN which is as close to visually perfect television art as you can get.
Carien Loubser shares some of the production challenges and joys of the filming of this season, how the show's dynamic soundtrack including Edith Piaf in Zulu came to be, getting Jan to open up more in a personable way, why it was that when the Uber in Paris finally arrived it would often just drive past and how she had to come up with a brand-new second season ending.
The second season is absolutely incredible on every conceivable viewing level. I want to ask first about the theming. How did that
come about because it’s different places in France being visited, then also
Europe, for instance Italy. How did the conceptualisation happen to take it
away from the actual restaurant and to theme episodes around different foods
and drinks?
Carien Loubser: I wanted to create a format
that is not remotely close to anything else on TV.
There are so many copies of
copies. The thing that interested me
most about Jan, was the fact that he came from a farm in Middelburg, and became
the first South African to receive a Michelin-star for his restaurant
in France – France, the food capital of the world and the country where the restaurant as we know
it today, originated from.
So for me, I
already knew before we even started filming, that I want to capture that level
of creativity in a TV show.
So in a way, we also challenged Jan. Instead of doing a cooking show, even if we could do it in his restaurant, we decided to travel with him to ordinary places and cool
destinations, and at the end of the day he has to create a dish from something
he saw or experienced on that day.
The second season begins with Jan's
life that came to a standstill in 2019 with the loss of his father, and his
beloved Granny who instilled in him a love for cooking.
He opened a new
restaurant in her name. We then set the
course to retrace his steps, arriving in Paris from South African 10 years ago
and we follow his journey from there to opening restaurant JAN in Nice in 2013.
This basically determined where we went - for instance Paris, Champagne, Monaco, Nice and
then the Piedmonte region of Italy. All of these places have played a huge role in his life and on his journey.
The series is also documenting
his life in a certain way. The second season ends
with him arriving back in South Africa, opening an Innovation studio in Cape
Town and setting plans in place for a new restaurant in the Kalahari, called
Klein Jan.
When was it filmed? An episode about the Notre
Dame cathedral alludes to it being filmed literally a week or so before the devastating fire in 2019? Over
what period was the season filmed and can you talk a bit about the crew who worked on this on-location?
Carien Loubser: Yes, we filmed the
series in sections. The second season we filmed
over a period of 14 months - on and off, of course. We were in Paris literally a
few weeks before the fire in the Notre Dame.
Our crew is small. We have to travel through Europe with a
Rand-budget, so it’s quite a bit of a challenge to do the number
crunching.
Every crew member literally works
twice as hard as we usually do on set. But we all knew that we wanted to create something beautiful. It’s not often that we get to film in these
incredible locations. It was tough - the language, the exchange rate, long hours.
But it's amazing when everyone on
the team shares the same vision. We all
have been working together for many years, so it was great to travel together.
Our camera equipment took almost 9 airport trolleys so it was quite a mission travelling with that.
In Paris we moved around with Uber shuttles but it happened several times that we'd order an Uber and would wait for 45 minutes for a shuttle because they're not as plentiful as Uber cars. When the shuttle eventually stopped and the driver saw the equipment, he would just drive past us. We were deserted a few times on the sidewalks.
Just to check in at the airport took us about 5 hours just to clear customs.
The JAN soundtrack is astounding. Every episode is
sound art that surpasses the previous episode in a sense. Who is responsible for the songs, the
selection, the sound mixing and editing and where did this idea come from to layer sound as almost a separate "sound story" over the visual story?
Carien Loubser: When we started with season
one, I knew that I wanted to compile a
soundtrack for this series.
Usually
music would be a secondary element, but I wanted to make it a primary element
of the show.
The music has to bring the
pictures to life, and do justice to Jan’s dishes – each one an artwork. So instead of just having music in the
background, we brought the music forward
and made it play as important a part of the show as the visuals and storytelling.
With all the elements in
creating this series, we pushed the limits. Jan takes our traditional South African food and incorporates that into
French fine dining. I wanted to do
something similar with the music.
The theme song is a classic French song
(Edith Piaf’s No Regrets) which we translated
into Zulu, and it’s sung by Thembeka Mnguni. We used traditional Afrikaans songs, which is performed in French for instance.
The people profiled are amazing - from someone
explaining in a cellar the origin of certain champagne, to braaiing along the
Seine, a pasta matriarch, shop owners - even a chocolatier. Which were difficult to arrange
and how was it done, for instance location scouts or personal contacts of JAN?
Carien Loubser: Because we followed Jan’s journey
in France, it led us to people he already knew or admired.
We shoot reality-style and a lot of what
happens is impromptu. For instance, Betty in her bar in VilleFranche, Mado who made him croissants at her café next
to the Notre Dame. That wasn’t planned at all.
We literally stopped there to grab a coffee
for the crew, it was early in the morning and quite nippy. She was so great opening her doors – offering
us croissants and coffee on the house. We also look for experiences
and places that are authentic and off the beaten track.
How is the food filming done - the actual dishes and preparation in the end segments? How long did this take and how many takes? How difficult or challenging is it to arrange, set up and capture these amazing food shots?
Carien Loubser: Once again this is done
reality style, so we don't have second takes. It's not like there's a set recipe – Jan creates new dishes, we film it.
His dishes are like art works, for instance the chocolate mousse sculpture,
inspired by the Louvre.
It’s 15 cm tall
and filled with Kaapsche jongens (hanepoot grapes) inside. When he sets it alight it melts and the
grapes inside are revealed. We only have that one shot.
Our cinematographer Chris Lotz
is amazing with this, he really has a good eye and impeccable taste, and I guess the fact that he has done many
food shows and knows his way around a kitchen is a huge bonus.
We also want to leave room for
Jan to be creative in, so we can't kill the creative process with a strict shot
list. We literally get everything that
he does in the kitchen and then create a story around it in post-production.
The cooking segment is where everything comes
together – the travelling, the people he met and the places he’s been to.
Let's talk about the cinematography. Who is responsible for this? In terms of framing there are several "picturesque" images of Jan
just standing, sitting, drinking wine or against walls or in gardens, with voice-over. It's beautifully captured. Can you speak about the style and
how it was achieved and why?
Carien Loubser: My brief to the camera crew is
exactly that – postcard-like frames and images, creating special moments in time with slow-motion shots, strategically used with beautiful music.
When you have a Michelin-star restaurant,
you have to give attention to every detail – even how the toilet paper is
folded in the bathrooms. We wanted to
incorporate that in the way we capture and film this series.
Basically every single element
to Jan’s life as a chef we took and made it part of the format and style
guide.
The new season also reveals a lot more about
Jan’s actual personality, mannerisms and personal background and history. Is that
just an effect of being away from the restaurant and in his own kitchen and
interacting with other people, or was it an intentional decision to
have the story intrude more into his story?
He’s more open and spontaneous - almost drunk in an episode - with almost borderline “bloopers” included. Was it a conscious directing decision to reveal a deeper layer of Jan?
Carien Loubser: Absolutely.
Like I said earlier – making jaw-droppingly
beautiful food is one thing, and that’s amazing. But what interested me more was who Jan is as
a person. To discover that – for me that
was the essence, and then to show viewers that.
I think in the beginning Jan
thought I was crazy, because who wants
to see the off-camera stuff – but that’s just the beautiful thing – people want
to see realness, they sometimes appreciate it more than curated and polished one-liner scripts.
From a directing point of
view – that was the challenge – to still be able to film a beautifully polished
programme, but also have the freedom to create as we go and capture Jan’s
personality in the process.
I think over a period of 3
years we also developed a deep relationship of trust – where he knows that he
can be vulnerable and true to himself, without us taking advantage of
that.
If you are a creative person,
your personal life plays a huge part in your work. So it’s a no brainer that we should get to
know Jan better as a person, in order to truly understands his food philosophy.
How long did the editing and post-production take
and how much stuff was filmed per episode that then had to be reduced to an
hour episode? What was fun about this season and what was challenging or
exciting?
Carien Loubser: The post-production takes the longest.
It takes about 5 to 6 weeks to put each episode
together. We're based in Cape Town and Jan is based in Nice. It takes careful planning to put everything
together.
Some of the episodes can be 6
hours long! To edit it down to 50 minutes is quite challenging. The hardest part of it all is the stories
and footage that we have to cut out. What people don’t see on
screen is how gracious and hospital the people are behind-the-scenes - especially in Italy.
Gemma, the nonna making pasta, literally
served us 9 courses. We could eat
everything, and that was amazing to experience.
Our plan was to film the
ending of the season in the Kalahari, but with the Covid-19 coronavirus at play, we
weren’t able to go, so I had to create a whole new ending for the season.
The season 2 finale (episode 12) of JAN is broadcast on VIA on Monday 20 April 2020 at 20:00.
The box set of JAN season 2 is available on DStv Catch Up on DStv Now until 18 May 2020.
Box sets of JAN season 1 and season 2 are available on Showmax.
